Angel Dust

I first thought this movie borrowed heavily in terms of cinematography from David Lynch "Lost Highway", i.e. the viewer watching the action from a TV thats recording the subject, i.e. the psychological nuttiness between male/female relationships, etc.. But i just discovered that Lost Highway was made 3 years AFTER Angel Dust, and so that makes Angel Dust that much more innovative, IMO. I agree with all the other comments below, its somewhat "muddled" but overall very intense and worth watching.

The main female detective is not that interesting compared to the doctor of the "re-brainwashing" clinic. He is the centerpiece of the movie, and his ideas are something to always think about.

Starts off feeling a little bit like a cross between Red Dragon and Silence of the Lambs in terms of it being a crime/police procedural mixed with a psychological thriller, but it becomes something different and far harder to describe or compare to anything as it goes along.

It never entirely lost me, thankfully, and it was consistently interesting to see where it would go next. You get the sense wherever it's going it bound to be dark and twisted, but it's never easy to work out how it's going to shock or surprise you as a viewer next.

If there's any complaints I had, I guess I wish it had been a little tighter/shorter, but still pretty good either way.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon.)

There's some interesting use of sound In "Angel Dust" and some splendid cinematography by Norimicho Kasamatu, especially of interiors and the memorable scene with many umbrellas. Kaho Minami, who plays the female lead, Setsuk Suma, a Tokyo "police psychologist," is beautiful, and her co-star Takeshi Wakamatsu, as psychologist Rei Aku, has an appealing rakishness about him. Unfortunately the plodding direction by Sogo Ishii lacks tension and rambles more than a bit. Add to that a convoluted mishmash of pop psychology, stilted dialogue, posed theatrics, and we have one long disappointment.

The dialogue is probably not as bad as it appears in the English subtitles, which were very poorly edited with bad verb numbers, wrong tenses and some strange word translations, e.g., "re-brain- washing" for reprogramming. Or, "You're a pleasure homicidal mania" the killer is told, meaning the killer enjoys his work, I imagine. Annoying, unconvincing and too long were the "re-brain- washing" sequences presented in grainy, flickering black and white (we were supposed to be seeing them as on video tape). The idea of a religious cult member committing murders on the Tokyo subway is as real as newspaper headlines, of course, but the psychology behind the killings here didn't wash. The "religion" was so generic as to be anonymous. We felt nothing for the victims because they were not made real, nor were any of the characters except the leads really animated.

More than anything though this movie suffered from the miscasting of Kaho Minami as the police shrink. She was somewhat believable in her "disintegrating" phase (although the scene at Aku's sanatorium with him on the TV screen was unintentionally silly), but entirely too wimpy and dreamy to be convincing as any kind of cop. The scenes with her and Aku were interesting as far as they went; unfortunately, the sharp chemical contrast between his macho nature and her alluring femininity was not ignited. One had the sense they were saving that for after the film was over. Too bad. The androgynous nature of her husband and the killer seemed pointless, but again possibly something was lost in the translation.

I think what happened here is Sogo Ishii got caught between a theatrical tradition and some notions of Western style realism, and ended up with succotash.

Innovative, tense and unnerving tale that is also very stylish, with inspired visuals, imaginative use of sound and spectacular editing. It is also a little confusing upon first viewing but it is clear by the end that everything did make sense. An intelligent work that deals with gender/work issues, psychological make up and it's consequences plus the question of dealing with cult 'victims'. In short a lot of ground is covered and it should not be forgotten that this is still a rattling good yarn involving a serial killer who acts each Monday on a Tokyo underground line at 6.00 pm. Setsuko is called in to help police with the case, she having had experience in the field and,, it turns out, worked rather closely with another certain gentleman who we meet a little later. The b/w security camera sequences shot in his clinic are possibly a little long but it is fearsome stuff

If you've come across the VHS of Angel Dust in your local rental store, you've probably seen the promo material refer to it as "The Japanese Silence of the Lambs." It's really not, however. Yes, the two films share a basic plot: an attractive female detective/ psychologist tracks a serial killer while tapping into the talents of a manipulative mentor type to help get into the killer's mind in order to catch him. But the similarities pretty much end there. There are elements of a whodunit and we get just enough police procedural to keep us on track, but those expecting a big-star Hollywood type production like Silence of the Lambs, or a trendy, graphic thriller like Tell Me Something will probably be disappointed.

However, if you enjoy the psychological aspects of a hunt for a serial killer; think that a secluded brainwashing clinic can be a creepy setting; and appreciate mood, atmosphere, and symbolism over jump scenes and gore, then I suggest that you seek out this little-known film.

Every Monday at 6:00 PM a 20-something girl drops dead right in the middle of the crowded Tokyo subway. The killer's predictability is more than offset by his elusiveness. Meanwhile, we are introduced to our detective, Setsuko Suma. Described as an "analyst on abnormal criminal personalities," she seems to be a cross between a psychic and a empath and is driven to get into the mind of the killer in order to stop him. However, Suma is no confident and strong Clarice Starling. In fact, she is barely hanging on to her sanity, and we get the feeling that the efforts of the investigation just might tip her over the edge, if not kill her. Suma has frequent nightmares and fugue states. In these she finds herself descending into a cave (her nightmares? her memories? a trap from which there is no escape?). The symbolism is effective.

To complicate matters, her investigation leads her to a former mentor and lover (Rei Aku), a mysterious renegade psychologist who has set up a "reverse brainwashing" clinic known as a "Re-freezing Psychorium." We aren't quite sure if the mind games he draws Suma into serve the purpose of helping her in her quest, or something more diabolical. In any event he is always several steps ahead of her and she finds herself psychologically and emotionally at his mercy once he gets into her head.

Something that impressed me greatly about Angel Dust was the visual style and the director's stylistic touches. The look of the film is grainy and washed out. The Tokyo of Angel Dust is bleak and full of urban decay that hangs like an oppressive weight over everything. The color palette tends toward sepia and a pale industrial green that will have you thinking about basement cafeterias, hospital corridors, and flickering fluorescent lighting.

We are treated to some interesting visuals, and I firmly believe the sound editor must be a genius. (I can hear you saying it now--"Oh great...he's going off on the sound editing, that's like telling me the sister has a great personality"). No, no, really. It's very effective, including the use of an atonal synthesizer that really complements the production design.

In sum, well worth the effort to seek out if you are in the mood for something different from the typical Hollywood fare.