Metacritic-Rezensionen

It shows how violent gangster movies need not be filled with stupid dialogue, nonstop action and gratuitous gore. Sonatine is pure, minimal and clean in its lines.

Like the character he plays, Kitano directs the film in a style that alternates between tenderness and brutality, making it a relentlessly tense suspense film one minute and a gentle character study the next. Either half would make Sonatine worth seeing. But taken together as the story of a man who regains his soul but whose face remains permeated with the knowledge of its inevitable loss, it becomes an artful gangster film, Yakuza poetry, and essential viewing.

Sonatine, made in 1994, predates the Japanese director's art-house hit Fireworks by three years and is arguably stronger than its successor.

Mostly, Kitano is as expressionless as Buster Keaton, but now and then a smile breaks out on that weather-beaten face. He doesn't use much camera movement either, but the combination of understatement and outrageousness is unique, and oddly appealing.

Challenging, witty, adventurous and utterly singular.

Kitano has his problems; for instance, he hasn't quite figured out how to create fully dimensional, interesting women. But at a time when action movies typically hand us a canned experience, his pictures carry a charge of originality.

Kitano treated us to a similarly complex crime drama, Fireworks, but Sonatine (which was made in 1994) is a darker, deeper, more polished work.

If you feel hostile toward art that not only confuses you but then also suggests that your confusion is precisely the point, you'll probably want to pass on Sonatine. But if disciplined, minimalist storytelling, formal innovation, and contemplation of mystery for its own sake appeals to you, a real feast awaits you in the films of Takeshi Kitano.

Kitano, thankfully, displays the occasional flash of showmanship, and he certainly establishes a unique tone, but troublesome things like plot and pacing don't seem to be to his liking.

Sonatine eliminates the one virtue American action films can legitimately claim -- vitality -- and replaces it with fake- existential claptrap wrapped in an inept narrative.