Gonin 2

Gonin 2 (1996), directed by Takashi Ishii, serves as a powerful and intense follow-up to the original film, expanding on the themes of revenge, morality, and personal redemption. The film follows a man deeply in debt who, after his wife is assaulted, embarks on a quest for vengeance, eventually crossing paths with the Gonin thieves from the first film. With a fresh narrative that focuses on loss and retribution, the sequel delivers a darker, more emotional experience while maintaining the suspense and gritty realism that made its predecessor so compelling.

The performances in Gonin 2 are outstanding, with Ken Ogata, Shinobu Ôtake, and Kimiko Yo leading a cast that brings depth and intensity to their roles. Ogata, in particular, delivers a gripping portrayal of a man consumed by grief and revenge, adding layers of emotional complexity to his character. His journey from desperation to vengeance is believable and heartfelt, and it's his performance that drives the emotional core of the film.

Ishii's direction maintains the same atmospheric tension present in the first film, but he takes a more introspective approach with this sequel. The pacing is slower, allowing for more emotional development and providing the audience with a deeper understanding of the protagonist's inner turmoil. This slower pace also contributes to the film's weighty, melancholic atmosphere, which complements the story's exploration of moral dilemmas and the cost of revenge.

The cinematography is as gritty and raw as the first film, using dark and shadowy visuals to reflect the internal struggles of the characters. The film's bleak visual style reinforces its themes of revenge and emotional decay, creating an atmosphere of inevitability that builds toward a tragic conclusion. The use of silence and stillness in key scenes heightens the emotional tension, making the violent outbursts feel all the more impactful.

While Gonin 2 retains the suspense and action that fans of the genre appreciate, it stands out for its more intimate, emotionally-driven narrative. It's a sequel that expands the world of its predecessor while deepening the characters and their motivations. The film may not have the same immediate impact as the first, but its slow burn and exploration of vengeance make it a worthy follow-up.

Rating: 8/10. A gripping and emotionally charged sequel that delves deeper into the characters' psyches, offering a darker and more poignant narrative while maintaining the tension and suspense of the original.

I have no idea what the original GONIN is, having never seen or heard anything about it, but when I saw this unconnected sequel for sale I decided to snap it up, having long been a fan of both Japanese cinema and gangster movies. The blurb on the box promised an action-packed outing, but GONIN 2 turns out to be a crushing disappointment, a badly made girls vs. gangsters story that has very poor production values and everything else besides.

On paper, the storyline must have looked good; a story about an ordinary guy, driven beyond his ordinary world into an odyssey of violence, teaming up with a gang of gun-toting women to tackle a group of ruthless gangsters. What it all boils down to is some low-rent melodrama, lots of supposedly arty shots of swirling smoke and dimly-lit room interiors, and more talk than content. Despite the promise of an adrenaline-charged premise, there's little suspense here and even the film's most violent and shocking scenes are muted and easy to miss.

Ken Ogata bags the most interesting role as the vengeful husband, but he isn't given a great deal of screen time and despite being the most developed character in the film, we learn little about him. Aside from one or two slimy faces, the villains are a bland bunch and the girl gang even worse, most of them interchangeable and required to appear in order to disrobe on film and for little other reason. The acting makes no impact whatsoever, and Takashi Ishii's lacklustre direction saps the narrative of both vitality and intrigue. It's a pointless little movie.

Disappointed by the original film, I was hoping that Tadashi Ishii would deliver a better rendition and stark contrast to his stylized and dark feature Gonin with this sequel. The premise was promising. Not only did Ishii replace the five desperate men with five equally desperate women but also added Ogata Ken as a sympathetic male ally to the five `angry women'. I guess I was asking for too much. Gonin 2 is every bit as cruel, blood drenched and gloomy as the first movie. What's more, the Five (Yumi Takigawa, Kimiki Yo, Shinobu Otake, Yumi Nishiyama, Mai Kitajima) are basically underdeveloped characters who are just there to window dress and show off their assets at every opportunity. Fans of the Hong Kong `girls with guns' genre may find this movie interesting but those expecting a Japanese version of Set It Off may be disappointed as I was. Ishii's strong points are his cinematic style and hard edged action sequences but those alone could not save this film. Unlike Gonin, Gonin 2 features no real characters we can understand or care about. Sure, the viewer can sympathize with their individual plights and anguishes but we aren't really given the chance to really care for these characters. Gonin 2 could have been and should have been a much better film, if Ishii weren't so consumed with painting his world with blood and gloom.

Fun movie with a new original story. It isn't a continuation of the previous movie, but the themes are still relatable enough to make it feel like a sequel. The catchy theme song is also back. Characters are not as memorable as in the original (the girls seem to have very similar looks and personalities, also no Kitano this time), but the performances are pretty convincing to make me feel all the tension and the action is cool. Glad I gave this a rewatch, this movie deserves a little more attention.

Awful just awful. Some terrible scenes with poor acting bad directing and incomprehensible plot-line. The interesting cohesion between the two plot lines was destroyed by plot flaws in both. Rape scenes and ridiculous pseudo-feminism also add to this movies lack of believability. Awful, just awful.