Kaosu

After the huge success in recent years of the Ring movies and Dark Water, i was looking forward to watch this movie as I've become a big fan of those aforementioned films. Chaos though is not a horror, and is instead a taut thriller surrounding a kidnapping of a women by a young man which is not what it seems (which is what the "Chaos" title is referring to).

As expected from the director, as per his other movies, the direction and camera work is excellent, and the female lead is the main gist of the movie, haunting the viewer and being the centre-point of the action. The female lead is excellent but is well complimented by her male colleagues in the film.

The main drawback is though that the script simply is not as intriguing as the filmmakers believe it is, and to be quite honest, it can be very predictable. Twists and turns keep your attention, and you will enjoy it, but i find the movie was a lost opportunity for something stronger. It is not a disappointment, but the director here has produced something below his high standards.

Overall, a fair thriller which most will enjoy, just don't expect something to keep you thinking and talking for days on end like some of his other films.

Japanese horrormeister Hideo Nakata took a break from his genre of choice to make this twisty, occasionally twisted, and highly effective thriller.

"Chaos" starts off seemingly with a nod to "High and Low" (1963) - an industrialist dealing with a kidnapping - but soon you realize this film worries not about complex moral ambiguities. Instead, "Chaos" has more in common with American film noir from the 1940s and '50s than anything by Kurosawa. Director Nakata and writer Hisashi Saito (adapting a novel by Shogo Utano) also adopt a Hitchcockian feel, borrowing rather generously from "Vertigo" (1958).

"Chaos" owes more to film noir in story than in style. We have the hoodwinked sap, manipulative femme fatale and rich husband, who might harbor his own secret. The performances are uniformly good, especially Miki Nakatani as the object of desire who knows exactly how to play the men in her life and does it to perfection.

This is a well-done, deceptive thriller that relies on a tightly wound plot to keep us guessing. What's gratifying is the characters seem to be on the verge of erupting into violence. There's always that sense of dread; we never know when something or someone will turn deadly. The film is smartly plotted, though there's one glaring plot point - involving the husband's sister - that isn't satisfactorily answered. In fact, I'm not quite sure why it was included.

But "Chaos" remains an intriguing film. To deceive us for as long as possible, because nothing is what it seems in this film, Nakata unravels his mystery in nonlinear fashion, never telling us when flashbacks are about to happen. Although this might confuse some viewers (though it shouldn't), the nonlinear structure isn't merely a gimmick. It works perfectly and, frankly, there's no other way this story could have been told as effectively. "Chaos" trusts its audience to keep up with the twists and turns - and there are many - and how refreshing that is.

Of course, because "Chaos" was a successful Japanese film and remaking newer Asian films is the rage in Hollywood, director Jonathan Glazer is remaking "Chaos," in the footsteps of two other remakes of Nakata films - "Ringu" (1998) and "Dark Water" (2002), which will be at your local multiplex early next year starring Oscar-winner Jennifer Connelly and John C. Reilly. Although no official announcement has been made, it's perfectly clear Hollywood studios are now utterly devoid of original ideas and stories. Robert De Niro is to star in the "Chaos" remake, and as brilliant an actor as he is (though he has been phoning it in the last few years), I can't see how Glazer could possibly improve on the original.

If you liked "The Lion In Winter," "Blood Simple" and "Memento," I can recommend this one highly. It's an incredibly contorted mystery story full of doubles-crosses and stabbings-in-the-back -- the kind of movie that leaves you so bollixed up that until almost the final frame, you are asking what's happened to whom and why, and if any of it is even real. The kidnapping and killing may or may not have happened, and the reasons gets less and less clear as time goes on. At the very end they pull it all together so you finally get what really happened -- WITHOUT resorting to having a character sit down and explain it to you. It may well be that the viewer understands more of what's going on than any of the characters in the story. My only complaint is that the pace is just a leetle slow for my taste -- it gave me a few hair-tearing moments of "Dear Cod, are they ever going to finally explain what's going on here?" I found it very satisfying, and was not sorry I stayed up late to see the end.

Hideo Nakata, director of RINGU (1988), followed up his spooky international hit with this complex and compelling thriller in which a beautiful woman hires a handyman to kidnap her, with the hope of winning back her cheating husband's attention. But things soon begin to go awry when the amateur-kidnapper-for-hire returns to his hideout to find the 'captive' woman dead, and then receives a mysterious phone call instructing him to dispose of the body.

As the film gradually unfolds, we learn, via the use of various interesting storytelling techniques, that there is much more to his predicament than at first meets the eye.

With a choppy non-linear narrative that requires full attention from the viewer, Chaos is definitely not an easy film to follow (particular if you choose to watch with subtitles), but those who do make the effort to keep track of events will be rewarded with an effective and inventive slow-burner. With more twists and turns than a python doing the samba, this movie constantly surprises, and only a rather abrupt ending stops the film from being a truly 'great' experience.

If you're a not a fan of Nakata's supernatural work, don't let that put you off from seeing this intriguing movie; a different kettle of fish altogether, Chaos is well worth giving a go.

I can easily see my rating for director Hideo Nakata's Chaos (aka Kaosu) going up on subsequent viewings--if I can ever figure out the plot. I doubt anyone has ever accused Japanese genre directors of being overly transparent, but usually Nakata is not quite this inscrutable.

It's not that Chaos makes no sense. With just a little bit of puzzle sorting, most viewers should be able to piece together the basics. And the gist of the plot is quite good, told with a lot of style by Nakata--after Dark Water (aka Honogurai mizu no soko kara, 2002) Chaos may just be his best film visually. But there are many plot details that most viewers will not be able to figure out on a first viewing, and given the somewhat rushed ending and extremely puzzling dénouement, it's difficult for me to award more than a 7, or a "C", after seeing Chaos only once.

At the very least, potential viewers should be forewarned that they're likely to leave the film scratching their heads in wonder. Chaos may be less than satisfactory to you if you do not plan on watching the film multiple times and reading a lot of analysis online.

For those who haven't seen the film yet, it's probably better to not give out too many details --to an extent, the effectiveness depends on figuring out what's going on, mystery style, so I'll try to keep my usual synopsis relatively vague/incomplete. As presented on the surface in the first few scenes, the story involves a bank executive, Komiyama (Ken Mitsuishi), and his wife, Saori (Miki Nakatani). They're having lunch together. Komiyama goes to pay their bill as Saori heads outside. As we learn later, Komiyama didn't see his wife when he went outside, but didn't think it odd enough to be alarmed. While he's at work however, a man whom we shortly learn is named Kuroda (Masato Hagiwara) has kidnapped his wife and is demanding 30 million yen as ransom. There are other odd complications--Kuroda contacts Satomi's sister, for instance--and eventually there are many twists.

"As presented on the surface" above might suggest to some viewers that there is some heavy rubber reality stuff happening here. That's not the case. Rather, Chaos is a Tarantinoesque thriller, complete with the complicated double-crossing and fractured timeline that you'd expect from a heavily Tarantino-influenced film. The principal female character also seems pretty crazy at times, but it's not clear how far we're meant to take that.

The timeline of Chaos is, well, chaotic to say the least. That's one of the aspects that make it so difficult. About 75% of the film seems to be presented backwards. Here, we see sequence E, which is followed by sequence D explaining how we got to sequence E, then sequence C and so on. Except that there are a few sequence F's and G's thrown in to ensure that the plot isn't too easy to figure out--as it might be if we could discern a simple pattern.

Surprisingly, maybe, a lot of this temporal mishmash begins to fall into place about two-thirds of the way into the film. At least if we overlook a few scenes. It may not help that some characters look very similar to one another--in fact, I believe that two are played by the same actress, Vertigo (1958)-style (I can't read the Japanese credits to check)--but this has to be the case, because as in Vertigo, it is one of the hinges of the plot. In any event, the "infinite regression of justifications and motivations" timeline is a very interesting idea, even if this isn't a perfect realization of it.

Vertigo may be a more concrete reference that you'd think. Next to the Tarantino influence, Nakata is more in a Hitchcock mode here than his standard horror/thriller mode. Nakata even manages to produce just about the most creative reference I've seen to the Psycho (1960) shower sequence (right after a character walks up a stairway carrying a red umbrella, for those who have seen the film). I suppose that if Hitchcock were a Japanese genre director working around the turn of the 21st Century, this is something like what he'd produce.

Although the usual Nakata horror material is mostly absent, other elements of his style are here in full force, such as the regular appearance of water in various guises. I'm not sure what water symbolizes to him, but he tends to film it as effectively mysterious, permeating and shaping the world, while his characters often overlook it (Dark Water in contrast marks the instant when Nakata's characters must come face to face with the force). A very intriguing book on Nakata's water symbolism could be written, but we should probably wait until he has a larger body of work behind him.

Another Japanese director who has employed a lot of water symbolism is Shinya Tsukamoto. Like that director's A Snake of June (aka Rokugatsu no hebi, 2002), Chaos has elements of an erotic thriller, and like Tsukamoto, the eroticism tends to be twisted/depraved here, although it is a more minor feature.

The cinematography in Chaos is often subtle and symbolic. The colors are rich and varied. Nakata makes great use of shadows and very careful placement of background elements, both human and inanimate. Equally sublime, although underused, is the score, especially the spacey, percussion-heavy material, which is somewhere between Pink Floyd and the Goblin score for Dario Argento's Suspiria (1977).

If only I could figure out the plot better.