Rétribution

Kyoshi Kurosawa is a talented but maybe too prolific director. Since the early 90's, he had almost directed 30 movies. No wonder that, when Takashige Ichise, the master producer of J-Horror ("Ring", "The Grudge") asks him to direct one of the Jap-Horror trilogy movie along with Hideo Nakata and Shimizu, you get a little feeling of "Déjà-vu" in front of his new movie : "Sakebi" (Retribution).

Of course, there's still lots of excellent ideas in the movie, and some parts are majestically directed : all the ghosts apparitions are really beautiful, and the movie take there and then an experimental approach in their representation. It almost looks like a modern art installation. Some shots are also really well thought, as the one of the interrogation of a suspect, filmed in continuation, with the help of a mirror in the back in order to create a double space. But the most original aspect of the movie is the depiction of the modern Tokyo, witch doesn't look modern at all. In the movie, the city looks like a post-war town, everything is rotten and lugubre, there's nobody in the dark streets. You don't often see such a representation of Japan, far from the clichés of the ultra-modern society it's supposed to be.

But the problem is that all this was ultimately in others Kurosawa's movies, as if he wanted to offer a sort of best-of his previous works here. His style haven't change, and the story isn't really surprising for any "Kaïro"'s spectator. This lack of surprise leads to a feeling of boringness, and I couldn't get out of my mind, after the movie, the idea that it was clearly unoriginal (for a Kurosawa's movie, of course) and a little bit too long (maybe cutting 20 minutes of the movie would have been a good thing).

But all in all, this movie is a good introduction to his tormented universe, and for those who already know it, well, a new Kyoshi Kurosawa's movie certainly comes out in 3 months.

This really is another masterpiece in a gathering of work that puts so many American mainstream horror directors to shame.

A rich tale of longing and unrequited desire, summed in an intensely satisfying, and beautiful prose. Delicate, yet overwhelming at times. Smart and distracting, like the written lines of Haruki Murakami, filled with lynchesque overtones. It reminded me of Miike doing Izo, in its expertise in skipping genre and time planes to find its core story. I loved this movie. I know it is clique, but I laughed, I cried. I jumped out of the seat of my pants!!!

For a lover of Kurosawa, this is a must!

You know you're getting something special and unusual when watching a Kiyoshi Kurosawa movie. Reason why I often like his movies so much is because they always start of as something formulaic and you're sure the movie will be heading in a certain direction but then suddenly it will completely turn around and the movie and its story start taking an unexpected approach.

The movie pretty much starts off as a thriller, in which the police is hunting down a supposed serial killer. But it soon starts to become apparent that there actually is far more going on and the movie takes a more horror-like turn.

But please don't watch this movie expecting a typical Japanese horror flick, with scare moments and such. This movie is anything but typical and it's just not really a straight-forward horror flick. It's more subtle and clever with its story and build-up. Some people might find it too slow but those were probably expecting this movie to be a more typical Japanese horror flick.

It's really a movie that is heavy on its build-up. It can definitely get hard to follow and understand at times but this is basically always the case with a Kiyoshi Kurosawa movie. They allow you to think and interpret certain scenes and moments in your own way. Lots is always being left up to your own interpretation, so also don't expect the movie to just hand you all of the questions or to give a clear explanation of everything at the end.

It's really a very well directed movie, that also focuses heavily on its visuals. It's a real fine looking movie, with nice cinematography and some great settings got picked, for the movie its story. Kiyoshi Kurosawa is also an horror director who often uses special effects for his movies. It's always very well incorporated into his films and all serves a purpose within the style and story of the movies, as is also the case with this movie.

Really a movie you have to experience for yourself.

8/10

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I am a huge fan of Kiyoshi Kurosawa's work and I also greatly admire Koji Yakusho as well. Ironically it was his performance in Warai no Daigaku cemented my admiration. None the less, seeing both of these talented people partner up for a film filled me with anticipation. Before seeing Sakebi I knew that it would not be along the lines of other genre mates like Juon or Chakushinari. I also knew that the film would be carried over to the West on the wings of Hollywood remake hype and be marketed as the "scariest thing ever".

Well those advertising execs have to learn that the definition of "scary" in the West, particularly nowadays, is a heck of a lot more literal and straight to the point: the ghost appears, augmented by all manner of cgi effects, just in case we didn't realise her nature, and then cue loud audio cue, "boo!". Was it as scary for you as it was for me? It also seems that knowing everything that there possibly is to know about a ghost apparently makes the whole situation more frightening.

It exasperates me that today's spoon-fed audience chalk up anything inexplicable or mysterious about a film as bad writing and direction. As far as these viewers are concerned, mysteries are OK as long as they are smart enough to work them out, crying out "I didn't pay to be confused" as they eject the DVD in perplexed disgust.

Which leads me to the film in question. The tag-line "There is no escape from the ultimate retribution" should have been saved for the next regurgitation of Friday The 13th. A film such as Sakebi deserves promotion targeting a much more sophisticated audience. Where are the people that enjoyed Don't Look Now, one of most effective and haunting supernatural thrillers ever made? They aren't going to see a film with a tag-line that could have been made from some university student's Internet horror tag-line generator.

But it seems that I have typed so much and barely touched on the film itself. I won't go into the story more than just to say that it revolves around the investigation into a series of similar murders occurring largely in and around the coastal landfill and reclamation areas of Tokyo. This setting lends the film a strong sense of isolation, and the characters reflect that. Thematically, Sakebi deals with loneliness and abandonment, which while not new for the horror genre, Kurosawa gives them a breath of life.

There is much about this film that strays from genre trappings, and there is perhaps equally as much that stays within them. However, ultimately this is a Kiyoshi Kurosawa film and it isn't going to appeal to everyone. Its stillness and reflection will turn off many viewers, as will its unwillingness to lift the curtain and expose the workings of story. Terrible acts shown in long shots give us a feeling of helpless voyeurism, with no fast editing or closeups to remind us that we are watching a film. The film's score is so unobtrusive that I can't really recall even hearing it, and most of the film is on a background of ambient sound.

But perhaps it is Kurosawa's trademark of staying with the characters and rejecting the God's Eye View of the story that will perplex and affront viewers the most. There is an expectation that at least we should be let in on the secret and know more than the characters do. We are smarter than they are, aren't we? But why should we know? Life is full of mysteries, irrationality and actions with unknown motives. We can't even explain why a man kills his whole family and them himself, so how can we hope to know the motivations of a restless spirit.

I think that this touches on something important: people WANT to know why people do terrible things and the confessions of a ghost are the ultimate revelation. Horror, like science fiction are so often reflections of the fears and insecurities of our time. We can't explain the tragedies around us, but maybe through the genre of horror we can try to come to terms with them.

On the other hand, for some reason, more than likely cultural, Japanese horror does away with the naivety that we could somehow fathom the ultimate mysteries of death. Instead it shows us something bleak and inevitable, far beyond our knowledge and understanding. Something that has transcended our existence, yet profoundly affects us. Japanese horror reminds us that we don't have as tight a grip on the universe as we like to believe, and that bothers some people.

This is not your typical j-horror. There are no bloody murders, no nudity, and you really have to contemplate everything to figure it out. It requires and investment that most horror aficionados would be loathe to do.

Kôji Yakusho (Babel, and the original and much better Shall We Dance?) is Yoshioka, a detective that is investigating a murder, and he finds clues that point to him as the killer. He is visited by a ghost of the victim (Riona Hazuki) and he is going crazy because he can't figure what he did wrong. Even after they find her killer, she still haunts him.

Repetitive occurrences and talk indicate that they may be clues to the mystery - frequent earthquakes, all the victims were drowned in salt water (including one in a tub), the preoccupation with the ferry from 15 years ago, and the constant talk of tearing down and rebuilding along the coast.

These things keep occurring, but they don't bring you any closer to the truth.

Manami Konishi, as Yoshioka's girlfriend was a pleasurable presence, as well as an excellent actress.

Kiyoshi Kurosawa certainly knows how to tell a ghost story.