Gonin

I never understood why this movie got such bad reviews. I think it's because the people who watched it don't know much about Japanese society and how absolutely excruciating it can be! In Japan, you MUST be part of the group. As an individual, with your own free mind or choices, you're likely to get crushed.

In a way, this is what happens to all our "go nin", literally "five people". One can't make the transition from successful Japanese singer to nightclub owner (due to the Bubble bursting), another lost his job of 20 years. A third makes his living by extorting rich, homosexual man, but actually is homosexual himself (although he won't let anyone know, wearing a mask of kinds). One is a pimp who actually loves one of the girls he should look after, eventually leading to both their demise. And the last is a cop that went to jail for something he didn't do, losing his job and family that meant so much to him.

Society has taken from these men. It made them outcasts. Now you have to remember that the Yakuza started as exactly that! A group of people the feudal Japanese society shunned for their jobs, who in return formed groups to protect themselves. So what irony is it then that a group of outcast robs another group of outcasts? And is finally hunted down by a homosexual hitman couple in a dom/sub relationship, also being outcasts themselves.

From its excellent soundtrack to the beautiful, gritty way it is filmed, Gonin to me stands far above most of Kitano's other movies. I do like Brother and the Outrage saga is great. But Gonin, although hardly having Kitano in many scenes is the strongest of them all, probably because it goes against all mainstream and rules. I can definitely recommend this movie.

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.

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.

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.

The Five (1995), directed by Takashi Ishii, is a dark and thrilling crime drama that keeps its audience on edge from start to finish. The film follows five men who plan to steal a large sum of money from the local yakuza, only for their plot to unravel in unexpected and dangerous ways. As the men are hunted by contract killers, the tension escalates, leading to a series of unpredictable twists and turns. The film effectively combines elements of action, crime, and suspense, offering a gritty and compelling ride.

The performances by the ensemble cast, including Kôichi Satô, Masahiro Motoki, and Jinpachi Nezu, stand out. Each actor brings depth and authenticity to their character, capturing the fear, desperation, and camaraderie of the group. The characters are flawed and morally ambiguous, which adds layers to the narrative and makes the stakes feel personal. While their motivations aren't always fully explored, their performances do enough to establish emotional stakes, making the audience invested in their fate.

Takashi Ishii's direction is sharp and purposeful, drawing out the tension in both quiet and explosive moments. The pacing of the film, while occasionally slow during reflective scenes, keeps building toward the inevitable chaos. The narrative does not shy away from violence, which is depicted in a raw and unflinching manner, adding to the harsh realism of the world the characters inhabit. This intensity is one of the film's strong points, as it keeps viewers on edge, unsure of what will happen next.

The cinematography is dark and moody, perfectly capturing the grim atmosphere of the yakuza underworld. The stark visuals enhance the sense of danger and moral ambiguity surrounding the characters. The film's visual style complements the grim tone of the story, creating an immersive experience that pulls the viewer into its world of betrayal, desperation, and violence.

The Five is a well-executed crime thriller that delivers both tension and unpredictability, though its focus on action and violence may overshadow deeper character development for some viewers. Nonetheless, the strong performances and gripping narrative make it an engaging film for fans of the genre.

Rating: 7/10. A tense and compelling crime thriller with strong performances and unpredictable twists, but its reliance on violence may detract from emotional depth.