Gonin

This film by Takashi Ishii should be more well known.

A night club owner, a extortionist, a pimp, an insane business man, and an ex-cop come together to create the title's team of Five to rob the Yakuza. As the film goes on, they are hunted by two pro killers that are seemingly around every corner.

The story itself is nothing groundbreaking, but the style makes it worth it. There are several elements Ishii uses to create this solid crime thriller.

The overall cinematography is excellent, presenting dark shadowy shots, which reflect the film's dark tone and settings.

The characters are also well done, each one's backstory slowly revealed as the film goes on. They're fairly unique and interesting, enough so that the audience can sympathize. Each actor puts on a satisfactory performance that is pretty realistic.

The soundtrack combined with the great directing constructs genuinely unsettling scenes.

Some parts here and there are a teeny tiny bit forced, but can be easily forgiven.

Many of this film's viewers come to see Takeshi Kitano, but he's only a small part of the whole thing. If you're disappointed, there is much more to this picture to look forward to. It's one of Beat Takeshi's best films he only acts in.

Ishii is well known for his manga art, but that should not over shadow his film making capability. I have not seen Gonin 2, but look forward to seeing it. He is know releasing a third, Gonin Saga which I am excited for.

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.

After all you only need three words to describe "Gonin" apt:

DARK

YAKUZA

THRILLER

Got it?!? If you want to know more check out my following review: A very explosive film indeed that seems if director Takashi Ishi had crossed Hollywood examples like "Reservoir Dogs" and "Thing to do in Denver when you´re dead", and added some stylish pictures and typical Asian gun violence to the result. "Gonin" is distinguished by a sinister and hopeless atmosphere as well as the great performances of his main actors. Once more, the appearance of the unique Takeshi Kitano makes the whole film!

Maybe not the greatest movie of Japan´s 1990s cinema, but still a great work and better than 90 % of all those Tarantino rip-off gangster flicks which come from America!!!

Unlike a lot of stylized American crime cinema, this was an unrepentantly dark film. Filmed with many shots for dark, dank, rainy streets and warehouses, the cinematography reinforces the bleakness of the situation the characters face. As the Japanese economy busts in the mid 1990's, a group of out of luck businessmen rob a crime boss of a large amount of money. The gangsters send a couple of hit men out to even the score with predictable results. (6 out of 10)

Mikihiko Bandai is a disco owner whose business has been severely affected by the economic downturn. He is in massive debt to the Yakuza, and has no way to pay them back. After a scuffle in his disco, Bandai decides to rob the Yakuza, enlisting the help of an ex-cop, a gay hustler, an unhinged salaryman and a Thai pimp. The five pull off the robbery, but in a most frantic and unprofessional fashion, and the Yakuza subsequently hire a couple of deranged sadomasochistic hitmen to track down and take out the thieves. So begins a game of cat and mouse, where Bandai and his crew struggle to stay ahead of impending death, in Takashi Ishii's 'Gonin.'

A corker of a crime film, 'Gonin' is an unpredictable and entertaining trip across Tokyo in the company of wild and crazy fellows that one will find hard to forget. Written and directed by Ishii, his tale is full of unexpected moments and biting, pulpy dialogue, as well as featuring brilliantly realized, distinctive characters and a fantastic ending. The heist sequence is thrilling, while the ensuing hunt is one full of tension and suspense. The film also examines the nature of homosexual relationships with particular regard to power dynamics, and how these can be both healthy and unhealthy, while still containing genuine affection among those involved.

To expand upon this point further, there are two sets of homosexual couples in the film, one of which is based upon affection and respect, the other of which is based on sadomasochism and violence. While Ishii clearly makes the healthiness of these relationships distinct from one another, both are based on love and a deep need for connection. Though perhaps a somewhat cursory investigation, Ishii's exploration of homosexuality in all its' forms is most interesting, giving the film another dimension for viewers to ponder.

'Gonin' features arresting cinematography from Yasushi Sasakibara, who makes excellent use of light and shadows to reinforce the darkly mysterious tone of the film. His work under Ishii's direction is fitful and evocative of noir, exuding at times a dreamlike quality that makes the irregularity of the narrative all the more potent. Akimasa Kawashima's editing is intuitive and intelligent- no scenes go on too long, nor does the film's determined and frantic pace ever lose momentum. It is a supremely fine picture in visual terms, with much to laud over on the technical side of things.

Additionally, Goro Yasukawa's score is dramatic and stirring, giving to the proceedings a mournful quality that heightens the narrative impact. Alicia Hayes's costume design is also of note, especially her crocodile skin outfits for the gay hustler, which adds both to his characterization and to the depth of the picture's detail. On the whole, 'Gonin' is an achievement on practically every level; and a very memorable one at that.

The film features an ensemble cast, though Koichi Sato is the ostensible star, playing Bandai. He delivers a performance of unwavering certainty and resolve; were this film 'Oceans 11' he would be Frank Sinatra: calm, cool and consistently collected. Masahiro Motoki co-stars as the gay hustler and seriously impresses with his range of emotions and mastery of understatement. The character becomes something of the emotional heart of the film, and Motoki will move any viewer with heart left enough to stir.

Also worth mentioning from the cast are Naoto Takenaka and Takeshi Kitano, playing the unbalanced salaryman and the leader of the hitmen, respectively. Takenaka showcases the madness of his role wonderfully, going rather over-the-top, but not in an offensive way; remaining sympathetic- though utterly insane. Kitano all but steals the show as the sadistic, gay hitman, a role echoing the one he played in his previous 'Boiling Point.' He is terrifying, sometimes a little humorous; and always captivating to watch. Though he has less screen time than Motoki, Sato or Takenaka, Kitano really makes his presence known, dominating the latter half of the movie completely.

A colorful, commendable crime caper, Takashi Ishii's 'Gonin' is a marvelous movie sure to entertain and thrill audiences everywhere. Featuring an original, wild story full of sharp dialogue and well-rounded characters, the film is an unpredictable as it is enjoyable. Boasting strong performances from an ensemble cast, an assured visual style and a fine score from Goro Yasukawa, there is very little not to commend about the picture. If you are a fan of crime fiction, watch 'Gonin;' it shouldn't disappoint.