Gozu

From the twisted minds of Takashi Miike and Sakichi Sato comes this atmospheric and absurd crime comedy about a Yakuza underlings' quest to find his missing colleague. To discuss the plot any further would be an exercise in cruelty to uninitiated viewers, as to watch this film without knowing what'll happen next- or without knowing anything about it at all, for that matter- is an experience like no other. It's a terrifyingly hilarious tour through the subconscious to the darkest recesses of the mind, featuring the Lynchian-Cronenbergian mix of horror and comedy that is the hallmark of Takashi Miike's best work.

Hideki Sone- now known as Yuta Sone- plays the central character, Minami. A low-level Yakuza, Sone's Minami is a perfect conduit for the audience as the film burrows into the dark and strange. He is as disturbed by the spectacle of madness that confronts him as many viewers likely will be. At times the character bears a resemblance to Anthony Perkins' K in Orson Welles' version of 'The Trial', in that everyone around him doesn't appear at all disturbed by the confusing, bizarre scenes that are occurring. Minami is the only one perturbed by the happenings in 'Gozu', and Sone's naturalistic, bewildered performance is pitch perfect for the role.

Show Aikawa plays Minami's missing colleague Ozaki, and he is brilliantly unhinged. A frequent collaborator of Miike's, Aikawa is a very versatile actor with the admirable, enviable ability to give believable, grounded performances as outrageous characters (see him in Miike's 'Dead or Alive' series for proof of this notion). Few roles he's played have been as crazy as Ozaki though, a violent, paranoid Yakuza distrustful of dogs and humans alike. Though he has relatively little screen time, Aikawa leaves a lasting impression; and 'Gozu' may be one of the most memorable movies he's made with Miike.

The rest of the cast is made up of talented performers, with Renji Ishibashi- another frequent collaborator of Miike's- and Keiko Tomita standing out, playing two sick, strange characters. Miike usually gives Ishibashi roles as creepy, twisted people; and his character in 'Gozu'- a ladle-loving sadomasochist- may be the creepiest of the lot. Tomita plays an innkeeper Minami encounters along the way who has a very weird secret and she steals her scenes completely.

Kazunari Tanaka's cinematography is unobtrusively refined and he captures the outlandishly bizarre images in the film with real panache. Sakichi Sato and Miike worked together two years before on 'Ichi the Killer,' and his script for 'Gozu' is terrifically weird and wonderfully sinister- not to mention bizarrely funny. The film doesn't take itself too seriously- though its themes are dark and deep- and his strong screenplay reflects this. Many times, while wondering what the peculiar images signify and just what the hell is going on; most will also be laughing while watching 'Gozu.'

Yes, while most will find humour alongside the macabre in 'Gozu', it is almost a certainty that some will be nothing more or less than disgusted and discouraged at the spectacle of psychological, abstract horror in the film. If you are squeamish or easily perturbed, you should probably avoid it at all costs. If you appreciate the complex, the strange and the dark, however; then 'Gozu' is the film for you.

The reason black comedy really isn't funny anymore is because all modern black comedies just repeat the same jokes. Though Gozu isn't going to have you laughing on your first viewing, it definitely will have you laughing in shock when you look back post-viewing, after everything comes together. Gozu isn't really hard to understand, it isn't complex, but it certainly isn't forgettable. If anything, it's set up a lot like a sick version of The Wizard of Oz: a straight path, with the lead character meeting eccentric secondary characters that help him along until he reaches the final solution to his problem. While this seems simplistic, it's impossible to not notice Takashi Miike's stunning originality throughout. While most Asian horror is riddled with cliché ghosts and evil mothers, Takashi Miike proves here that he is not only the most original Asian director out there, but one of the most original directors working in the industry today. And I think Gozu may be his masterwork.

I'm personally sick of movies that claim to be a mind trip, filled with "weird" ideas that turn out to be nothing but cliché mentions of time travel and every other genetic idea. I could list names of these films—Donnie Darko, 12 Monkeys, etc.—but the point is, weird isn't weird anymore in modern cinema. If you were been born and raised on The Twilight Zone like I was, all these movies are as generic as average spy thrillers. Gozu, however, may be one few films to come out post-2000 that I can honestly call weird. And, believe me, that is a good thing. Instead of rehashing tired clichés, Gozu brings the viewer to placed they've never even thought of before. The opening instructs the viewer not to "take anything seriously—it's all a joke", and the punch line has to be one of the most bazaar endings in cinema history. It's terrifying and genuinely grotesque, as well as hilarious. Everything in this movie is stuff writers/directors would sit around and joke about, but never, EVER, have the balls to actually film. That's what makes the story behind Gozu so refreshing and truly original. I can't believe I'm actually writing that final line in a review.

Miike's directing is stylish, as always. He knows how to set up a scene and inflict a terrifying mood. The entire film takes itself so deadpan seriously, and though that would usually be a fatal blow to most movies, Miike makes it work here. Somehow. Whenever a major plot point happens, it's done so flawlessly it's impossible not to be immersed in the moment.

So why didn't I give Gozu a perfect score? Because as much as I loved it, the movie needed to be shortened. Do not get me wrong: I love Miike's slow dialogue as much as I love his balls-to-the-wall action, but here it gets a little overbearing. Characters sit and stare at things without any purpose, and while it works, it's just not entertaining at all. The movie could have been shortened by at least 20 minutes, and if it had been, it would have been near perfection. Also, a few scenes became very repetitious and even mildly annoying. What I mean to say is, although the story is amazing, Gozu lacks a lot of entertainment value.

Overall, though, despite its flaws, Gozu is not forgettable. It's hard for me to remember a time when I would pop in a DVD and actually remember what I watched by the next morning. In a world of cheap carbon copies plots and cheesy horror elements, Gozu seems almost like perfection, even though it really isn't. But I have no room to complain. I'd take this over another black-haired-ghost-girl-evil-mother-terrorist-time-travel movie ANY DAY.

7/10

The synopsis on the DVD case compares it to something in the style of David Lynch. I would agree with that. It's definitely a surreal and strange movie. I would not rank it as high as Ichi the Killer or Audition , both of which I loved. This is Takishi Miike doing what he does best, trying to shock people but I think he's trying too hard with this movie at times to the point where it gets boring. The movie seems to loose itself in it's own strangeness at times but overall it's accomplishes what it's out to accomplish.

This movie is a nice piece of artistic filmaking and I must say that it actually made me much more uncomfortable then Ichi or Audition especially the last 30 mins or so.....watch it and you'll know what I mean.

Overall, if you are a Miike fan or a fan of David Lynch or that style of film-making then you'll appreciate this movie. If you have seen this and have not seen Ichi the Killer or Audition, do yourself a favor and go out and rent or buy those.

Another unique outing by Takeshi Miike. Way off the wall. A yakuza soldier finds himself searching for his brother (possibly dead) in a town full of lunatics and cow-headed demons. Weird Buddhist and Freudian symbols abound. One can't help but draw comparisons to David Lynch's work -- in particular Lost Highway and Mulholland Drive. I think Miike has admitted as much himself. Highly imaginative filmmmaking. My only complaint is the pacing. It's way slow for like the first hour. I had the same problem with Audition. I can appreciate the patient construction of a creepy mood, but I think Miike could step on the gas every now and then. Still, I recommend this one. It's quite a trip. There's also a fair dose of tongue-and-cheek humor in this film. (I guess it depends on one's sense of humor.)

Dog-lovers will delight in the opening scene.

e seen more than half a dozen Miike flicks and GOZU is definitely he's most deviantly outrageous so far. What it all means is never clear. And yet that's exactly why the movie remains so strangely compelling. There are points where absolutely nothing makes sense and there are moments were everything magically clicks together, revealing a world of possibilities, a horrible, absurd, funny, nightmarish fabric that should be woven of crotchless panties, breastmilk and cow head masks.

GOZU's tagline should be "Beware all who enter". Even seasoned Miike fans might be put off. The first scene involving a mad yakuza beating six shades of sh#t out of a "yakuza-sniffing" dog only hints at what is to follow. Is it gonna be an outrageous crime flick in the mold of FUDOH and DOA or is there more to it? Basically the plot involves a yakuza underling driving the aforementioned mad brother in a remote town called Nagoya in order to "dispose" of him according to the boss's orders who fears his madness is getting out of hand. After doing so, he stops to grab a bite leaving the corpse in his convertible car which upon his return finds missing. The corpse, not the car.

From then on GOZU plunges headlong in a bewildering world populated by a motley crowd of the most insane characters where surrealism, mystery and dark comedy seamlessly intertwine. To what purpose? In a way, this is Miike's most Lynch-ian movie to date and not just because it's so perplexing; psychosexual abuse, perversion, identity are all key themes here. Is the main character fighting and coming to terms with his homosexuality? If ERASERHEAD is Lynch's feverish nightmare on parenthood, is GOZU its companion piece on motherhood? Right down to a finale that reminded me of Cronenberg's brand of 'body horror', GOZU is in turns exhilarating, hilarious, puzzling but above all a creative, original work. Which is more than can be said for directors with twice Miike's name and reputation.