Akumu tantei 2

We try, don't we? We try to be open-minded when we watch a movie, even if we don't have high expectations. Even if, say, it's the sequel to a movie that left a poor impression to begin with. I thought Tsukamoto Shinya's 'Nightmare detective' of 2006 had some good ideas, but it was rough and unworked both in conception and execution, and in my opinion didn't hold much proverbial water. Would a follow-up two years later have any chance to succeed where its predecessor did not? Actually, awkwardly, in a couple important ways I do think this is better in some measure. The writing is far tighter and more cogent as the filmmaker now works alongside Kuroki Hisakatsu; the direction is more focused and sure-footed. All this furthermore results in performances that are more confident, polished, and impactful, and frankly the same verbiage applies to other facets like the sound, and the music. It's readily apparent that Tsukamoto had a much clearer and more certain vision for 'Nightmare detective 2,' and the result is more convincing, more engaging, more absorbing, and more satisfying - even as this adopts the approach of being a fantastical horror-drama more than a horror-thriller, even as computer-generated imagery has a greater presence and practical stunts and effects a lesser one, and even as the picture is not as stark and violent.

That's not to say that it's perfect. Despite being cut from the same cloth (albeit, a portion that was vibrant and intact instead of faded and tattered), the nominal horror element is significantly reduced here, filling a smaller and softer corner. Granted, at select points, it's just as if not even more potent than what the man gave us two years before, though not so bloody. As events ramp up in the latter half Tsukamoto and fellow cinematographer Shida Takayuki show a predilection for handheld camerawork that's shaky and messy, and in turn the fundamental visualization of many scenes is diminished, and less than completely lucid. Perhaps more substantively, I would suggest that there are still issues with the writing. The concept is much more solid this time around: the titular figure, Kagenuma, is struggling with memories and dreams of his mother, and his childhood, and he sees a potential kinship to examine in the dreams that a high school student, Yukie, is having of troubled fellow student Kikugawa. However, the link is less than profound and rewarding, and would be mundane if not for the supernatural abilities involved, and this applies to the whole narrative in turn. Moreover, as Kagenuma works to resolve all threads in the last act, the tone and pacing weaken, and what strength the film had previously found is yet again on uneven ground.

And still, even with distinct imperfections and shortcomings, 'Nightmare detective 2' reflects the attentive, mindful care, and the nuance, that its antecedent did not. The dialogue is smarter and more meaningful, and so are the characterizations. Even if the scene writing and narrative are sometimes a tad messy, and maybe slightly imbalanced, both are much heartier, engrossing, and stimulating, if operating on an emotional and intellectual level more than an intended visceral one. The story finds more strength over time, too. Tsukamoto may have made his reputation on outrageous genre fare boasting his own particular style, but here he demonstrates that when he puts his mind to it he is able to pretty much just as capably craft a quieter variety of feature. Provided such firm foundation in the writing and direction, the cast are able to illustrate fine acting skills to further bring the saga to bear with all due range and emotional depth; among others, Matsuda Ryuhei, Miura Yui, and Ichikawa Miwako are all excellent. The audio is more balanced, and though neither any sound effects nor the music stand out, both are terrific as they add to the proceedings. Stunts and effects, and even those post-production additions, look great. And in most every other regard this is well made, but the emphatic improvement in the writing and direction, and consequently in the acting, absolutely takes precedent as we're watching.

Overall it's a much more low-key and thoughtful sort of genre piece, but that's exactly why it works so well and has such lasting value as Tsukamoto allows the narrative to develop naturally instead of forcing it into a specific shape. It's not a flawless accomplishment, but it is a success, and it does more than its forebear to prove that the root idea has legs. There's no need to go out of your way for this flick, and one may do well to know the tenor it adopts before watching, but 'Nightmare detective 2' is a pleasant surprise coming from this filmmaker, and it's well worth checking out if you have the opportunity.

I remember thinking the first Nightmare Detective was a pretty good film, but fairly conventional as far as the great Shinya Tsukamoto is concerned. This sequel is a huge improvement. Ryuhei Matsuda returns as the titular detective. He is recruited by a high school student (Yui Miura) to dissipate her nightmares, which are being haunted by a still living classmate whom she and her friends bullied. Matsuda finds similarities between the girl's problems and his own nightmares, which concern his mother (Miwako Ichikawa), who attempted to murder him twice before ending her own life. There is a great uneasiness to the picture: for one, thing, it's always quite ambiguous on whether we're in the real world or a dream. I think a good 90% of the film does take place in dreams. There are tons of frightening images, but Tsukamoto is incredibly subtle in his direction (I must say, though, I'm no fan of the hand-held, digital camera work). The film handles the emotions of Matsuda's past beautifully, and, in the end, the film is surprisingly moving.

I'm usually wary of IMDb consensus but in this case I must agree, the sequel completely trumps the first Nightmare Detective. It's still very much Paprika made as a J-horror but Tsukamoto here is trying to reach outside of the comic book panel.

Kiyoshi Kurosawa presented us in Kairo with the stage of a grand guignol theatre where the horror came from the dissolution of the self, but the horror was distant, observed from behind screens. Here, grief and horror flow from one another in a touching cause and effect. It's a jittery, vivid, film, and Tsukamoto's nervous camera makes sense in context, unlike the previous film.

At least on one level, it's an easy film to like or dislike. It plays like a best-of showreel of archetypal J-horror moments, we know them almost by heart and they pose little challenge. If they work for the viewer elsewhere, they should work here too. If we find in J-horror a cinema of scares and foreboding, Nightmare Detective 2 is a scary film.

Lesser directors like Shimizu and Nakata have been there, so what does Tsukamoto add to the heady brew? In a sense, the film works for me in how it eschews J-horror. Tsukamoto draws on broad ideas and explores them only in general directions, but it's that effort to reach from beyond the pale, the supernatural, back into what is essentially human about suffering that marks him separate.

In Vital he asks where does the soul reside. Here he is confounded with human suffering, where does this war inside us come from. The abstractions of this he uses, two separate characters who are inexplicably mortified of life, are rather naive, lack the complexity of a human portrait, but in this exaggeration he builds earnestly.

Love heals, he tells us. It's a shockingly humane conclusion to arrive at for the director of Tetsuo, but I welcome the emotional clarity. It's poignant for me then that he gives us this with a shot of the Nightmare Detective hugging in a dream the mother that scarred him so much as a child. The mother is dead now and the absolution exists only in the dreamer's mind, but it's enough that forgiveness exists there.

Another moment brilliantly exemplifies this. When the Nightmare Detective mercifully strangles a young girl to set her free from her traumatized life, we see his reflection in a mirror and in place of a head we see a yawning void. Ultimately he stops, this is not his choice to make and if we can't do anything for others, it's enough to be close.

Dreams within dreams, dreams where the dreamer is sinking into a bottomless sea, unable to wake up, these work as metaphors of souls in disconnect, in solitary struggle with inner demons, yearning to wake up to a life of peace.

Shinya Tsukamoto doesn't make very many films as a director. In 20+ years his portfolio totals only 15, but his only true slump came between 1989 and 1995. After his breakthrough film "Tetsuo: The Iron Man" (1989) he contributed two mediocre projects before rebounding with the excellent "Tokyo Fist" (1995). Subsequently, he's been very consistent in terms of quality, with no duds to speak of. However, "Vital" (2004) was his last truly great film. That is, before crafting "Nightmare Detective 2" (2008), which is basically about a dream traveler who tries to overcome his own nightmares while also helping a schoolgirl overcome hers.

What makes this film so good is Tsukamoto's admirable patience that completely eliminates jump scares as he opts instead to build tension thru long-lasting suspense sequences. I frequently compare this to the little known Japanese horror flick "Creepy Hide and Seek" (2009) because of its deliberate pacing and slow-burning tension. One of the most memorable scenes involves the lead actress who attempts to elude a psychotic schoolgirl who threatens to stab her with a sharp pen. Just imagine what this scene would look like . . . now scrap your preconceptions and watch how Tsukamoto does it! The entire sequence occurs with little to no dialogue and takes place within a claustrophobic apartment complex where the antagonist nightmarishly stalks the protagonist around corners and elevators. It's really a great series of events that should impress many viewers.

Another notable aspect of this film is the acting. Tsukamoto has extracted the best out of acclaimed actors like Tadanobu Asano and has also improved the performances of otherwise average actors like Tomorowo Taguchi, but dealing with the frequently inept Ryuhei Matsuda must have been one of his most difficult challenges. The first "Nightmare Detective" (2006) had decent performances despite Matsuda's typical overacting (in case you hadn't noticed, I'm no fan of his), but in "Nightmare Detective 2" something very improbable happened. All of a sudden, as if by magic, Matsuda became a good actor! I've seen a number of his films, and I kid you not, this is one of the few performances that I would categorize as "admirable" and/or "very good." The lead actress, Yui Miura, is also good here.

One big hurdle for viewers to overcome is the fact that this film is jam-packed with ambiguity from start to finish; while this may leave some viewers frustrated, it greatly accentuates the serrated structure of actual dreams and creates a hypnotic mood to boot. It's not as confusing as "Spider Forest" (2004) or "Marebito" (2004), but those who enjoy surrealism and ambiguity will likely take great pleasure in watching "Nightmare Detective 2." Those who need details explained will consequently have problems with this film.

Overall this was a very fine effort on the part of everyone involved. I would also recommend "Creepy Hide and Seek" (2009), "Carved 2" (2008), and "Tamami: The Baby's Curse" (2008) for recent Japanese horror goodness.

In NIGHTMARE DETECTIVE 2, Kyoichi (Ryuhei Matsuda) reluctantly helps a girl who is haunted by dreams of a girl she tormented.

Meanwhile Kyoichi is plagued by dreams of his own, involving his apparently insane mother. When he enters the girl's mind, their dreams merge and all hell breaks loose!

This sequel is different from the first film in several ways: There is no supernatural serial-murder, and no police involvement. The story is more personal and emotional, along with being paranormal. Part 2 deals with redemption and healing the past.

However, have no fear. It's just as chilling and bizarre as its predecessor!

A great follow-up...