Gonin

An extremely fast paced gangster film with a couple of great elements that rescue it from being ordinary. Takashi Ishii's wonderful neon/fluorescent aesthetic runs throughout the film. Everything is either some kind of oddly-colored light source, an actor, or pitch black. The music is moody and the violence is just erratic and savage enough to be fairly unpredictable. Of course, nobody conveys violence quite like Takeshi Kitano who shows up for the last half of the movie as a hitman creepy enough make Christopher Walken uneasy. The homoerotic tension between the heroes is surprisingly touching by the end and there is one psychotic salaryman that makes an awfully big impression, which I won't risk giving away.

GONIN is one of the best Japanese movies I've seen. It's use of symbols and dreams in almost every scene makes it a bit hard to get into at the first watching, but if you see it several times, you will see why this is one of the highlights of Ishii.

The story is easy to follow and is about five men trying to rip of the Yakuza. Things doesn't go exactly as planned (do they ever?), and they end up chased instead.

This could have been a really bad film because of the simple plot, but because of the extremely powerful characters, the complex figures that we see and with full blown motives of everyone involved, this gets to be a very interesting and good movie.

I've seen this movie about five times now, and I must say that it has grown. I see new things and can explore side-plots still, which is why I keep coming back to this wonderful film.

If you think it is too slow, too weird, too violent, too Japanese or antyhing like that, maybe you should give it a second chance.

This is NOT your standard action movie. This is NOT Violent Cop or a HK-film. This is pure drama with an action movie thrown into the mix. Beautifully made, with exploring of gay sexuality, mafia psychology, more true characters than any other action film. It's a gem.

I've voted 9 of 10. I would have given it a 10 if I had thought what I think of this movie the first time I saw it. Now, it might be a bit too complex, but that again just makes it a film that will be nice to see in ten years from now.

Very good film.

I never understood why this movie got such bad reviews. I think it's because the people who watched it don't know much about Japanese society and how absolutely excruciating it can be! In Japan, you MUST be part of the group. As an individual, with your own free mind or choices, you're likely to get crushed.

In a way, this is what happens to all our "go nin", literally "five people". One can't make the transition from successful Japanese singer to nightclub owner (due to the Bubble bursting), another lost his job of 20 years. A third makes his living by extorting rich, homosexual man, but actually is homosexual himself (although he won't let anyone know, wearing a mask of kinds). One is a pimp who actually loves one of the girls he should look after, eventually leading to both their demise. And the last is a cop that went to jail for something he didn't do, losing his job and family that meant so much to him.

Society has taken from these men. It made them outcasts. Now you have to remember that the Yakuza started as exactly that! A group of people the feudal Japanese society shunned for their jobs, who in return formed groups to protect themselves. So what irony is it then that a group of outcast robs another group of outcasts? And is finally hunted down by a homosexual hitman couple in a dom/sub relationship, also being outcasts themselves.

From its excellent soundtrack to the beautiful, gritty way it is filmed, Gonin to me stands far above most of Kitano's other movies. I do like Brother and the Outrage saga is great. But Gonin, although hardly having Kitano in many scenes is the strongest of them all, probably because it goes against all mainstream and rules. I can definitely recommend this movie.

The first Takashi Ishii movie I watched was his excellent rape/revenge thriller 'Freezer', but his reputation as an exciting director with a lot of potential mainly rests on his yakuza movies, of which 'Gonin' is perhaps the best known. This is a really impressive movie, very dark, strange and violent. The bare bones of the plot - a group of guys decide to rob some gangsters, the gangsters vow revenge - is one that we have seen many, many times before in American movies, but Ishii manages to put a fresh spin on it, with unusual characters, and consistently original direction. I was fascinated from beginning to end. The ensemble cast are all excellent, but the most memorable performances are by Naoto Takenaka (who later appeared in 'Freezer', and Tsukamoto's astonishing 'Tokyo Fist'), who plays the unhinged salaryman Ogiwara, and cult figure Beat Takeshi, who plays Kyoya, the ruthless eyepatched hitman. Takeshi steals every scene he is in, and plays one of the nastiest characters of his career, only really topped by the psycho he played in his own 'Boiling Point'. 'Gonin' is highly recommended to anyone who enjoys doomed caper films, a genre that has its fair share of classics from 'Bob Le Flambeur' and 'The Killing' to 'Reservoir Dogs' and 'The Usual Suspects'. Add 'Gonin' to the list of those crime classics. Yes, it's that good!

The Five (1995), directed by Takashi Ishii, is a dark and thrilling crime drama that keeps its audience on edge from start to finish. The film follows five men who plan to steal a large sum of money from the local yakuza, only for their plot to unravel in unexpected and dangerous ways. As the men are hunted by contract killers, the tension escalates, leading to a series of unpredictable twists and turns. The film effectively combines elements of action, crime, and suspense, offering a gritty and compelling ride.

The performances by the ensemble cast, including Kôichi Satô, Masahiro Motoki, and Jinpachi Nezu, stand out. Each actor brings depth and authenticity to their character, capturing the fear, desperation, and camaraderie of the group. The characters are flawed and morally ambiguous, which adds layers to the narrative and makes the stakes feel personal. While their motivations aren't always fully explored, their performances do enough to establish emotional stakes, making the audience invested in their fate.

Takashi Ishii's direction is sharp and purposeful, drawing out the tension in both quiet and explosive moments. The pacing of the film, while occasionally slow during reflective scenes, keeps building toward the inevitable chaos. The narrative does not shy away from violence, which is depicted in a raw and unflinching manner, adding to the harsh realism of the world the characters inhabit. This intensity is one of the film's strong points, as it keeps viewers on edge, unsure of what will happen next.

The cinematography is dark and moody, perfectly capturing the grim atmosphere of the yakuza underworld. The stark visuals enhance the sense of danger and moral ambiguity surrounding the characters. The film's visual style complements the grim tone of the story, creating an immersive experience that pulls the viewer into its world of betrayal, desperation, and violence.

The Five is a well-executed crime thriller that delivers both tension and unpredictability, though its focus on action and violence may overshadow deeper character development for some viewers. Nonetheless, the strong performances and gripping narrative make it an engaging film for fans of the genre.

Rating: 7/10. A tense and compelling crime thriller with strong performances and unpredictable twists, but its reliance on violence may detract from emotional depth.