Lumberjack the Monster

And it is meandering. It starts about one thing. Then it's another thing. And another thing. And another thing. And another thing. And before it winds back to being how all this things are connected, it just becomes exhausting and a big so-what.

It's not Seven. It's not Silence of the Lambs. It's not Zodiac. And it's not good.

If it was just about the Lumberjack figure and the lore, it probably would have been much better. But, instead, it has to be twenty-five different genres with a hundred unlikable characters and seventy-three thousand plot threads.

By the end, I just didn't care anymore.

This dropped on Netflix with little fanfare,word of mouth or press releases which is surprising as its directed by cult filmmaker Takashi Miike.

It's an interesting,stylish and extremely well made thriller with solid production values with the cinematography and sound design top notch.

It's a mash up of Jagged Edge,Seven and Memories of Murder but like them outstanding films it's talky and ponderous with some thrilling moments and come few and far between. Although the attack by 'Lumberjack' in the high rise storey building was jumpy.

The problem lies in a overloaded script with too many characters to follow, a sub plot about' neuro chips' that add to very little and little character development.

I wonder if this would have been a better three part Netflix series instead?

Nonetheless, an interesting take on the thriller genre by a world class visionary.

"Lumberjack the Monster" was first released at the Sitges Fantasy film festival in October last year (2023). Given the prominence of Miike as well as the dominance of Warner Brothers as the producers, one may pretty safely bet a few bucks on both parties expecting Sitges to be a great tool to market a successful premiere off. Unfortunately, Sitges was swamped with exceptional films (I kid you not, not less than 5 magnificent horror films). The long and the short is that "Lumberjack" just did not get any traction and probably not unfairly. In fact, "Lumberjack" ended up as a quiet early summer Netflix release. So the obvious question is, "is it that bad?". The good news is, no it's actually pretty good". The bad (or some might argue "better") news is, the film is a bit of an "unbalanced" balancing act. One immediately gets the impression that the length of the film was intentionally limited to the 80 minutes "action movie going crowd";sweet spot. It is unlikely that a future extended release is not foreseen, and releasing the 80 min theatre version "directly to video" (so to speak) was an opportunity missed , where a slightly longer Netflix release would potentially have resolved basic issues around character development and most of the unwanted "chaos" in story presentation. Now, it's true that Miike attained acclaim for just that, i.e. His effortless ability to create a chaotic pursuit of extreme violence in a uniquely artistic (and much loved) manner. Miike might have achieved cult status with such films (eg Ichi) but his repertoire and talents are extremely diverse and the intention with this film was clearly not to create a homage to "his" Asian Extreme genre It's simply not that type of film. Yes the book (on which the film is based) lends itself to instances of ultra violence, but it is essentially a psychological thriller / whodunnit. Miike, being Miike could also not merely push out a sleek 90s J-horror / thriller. Thus this balancing act to develop the back story and the characters. Miike sometimes makes use of clever mechanisms, such as the reading of the fairy tale, and other times het relies on interactions between main characters which occurred in the past and pops up in conversation, and unfortunately and obviously often necessarily, on flashbacks. Given the urgency / pace of the film, the actual person created through what we learn through the character backstory is conveyed through acting, tempo and atmosphere (mostly cinematography). Fortunately, all of this worked and worked well. No it does not fill all the holes in character development and storyline, but for me that is part of what makes it a Miike film. The violence is also signature Miike and OTT black comedy situations, like blood projecting out of wounds pops up without feeling out of place. The nods / homages to Gialo similarly was well placed and -executed. Even the slight body horror homage, which essentially forms the moral or philosophical basis for the film, was not overplayed or presented in a over-emotional or preachy manner. One can even call the plot and character development gaps an homage to 70s and 80s Japanese thrillers and horrors.

Thus, TL:DR: The film is very much something which Miike fans and, hopefully, everyone else will enjoy. It does not take itself too seriously and it should not. An entertaining, OTT violent whodunit with some plot holes and other slight issues but if they were not there, it would not have the film Miike was aiming for and it would definitely have lacked the needed soul.

It's not a mystery if everyone can see it coming

It's not a thriller if there's nothing to be excited about

Blander than eating paper-the movie features subpar acting, student-grade editing, and a horrible library of soundtracks (ie: there's basically none).

The movie banks it all on a detailed mask for the villain, and a flimsy dive into "modern" scientific concerns-but other than that it is empty.

Psychopathy in this movie is so horribly represented, stereotyped into emotionless "shocking" actions which the characters perform mechanically.

Agreed with a previous reviewer that it may be better watching paint dry than this movie.

Skip it and save your time.

Lumberjack the Monster: The prolific Takashi Miike who brought us Audition, 13 Assassins and Blade of the Immortal directs this serial killer film which definitely enters horror territory. At least 3 serial killers figure here, the Lumberjack tracks down nasty people and smashes their heads in with his ax. He has already dispatched a Ponzi scheme organizer and a violent criminal but his third victim, Akira (Kazuya Kamenashi) turns out to be a bit tougher and fights him off. We've already seen Akira murder a man who was attempting to blackmail him and we've met his doctor friend Sugitani (Shota Sometani) who carries out lethal experiments on living patients. Akira must now track down and kill the Lumberjack if he is to survive. There's also a profiler Ranko (Nanao) who takes an interest in Akira and a driven detective (Kiyohiko Shibukawa) who is obsessive in his pursuit of murderers, none of these are stock characters, they are fully fleshed out. Some really disturbing scenes of heads being crushed, jugular veins slashed and scenes of existential horror. I won't describe the latter as it would give too much away, similarly I can't name the actor who portrays Lumberjack. There is also a conspiracy stretching back 30 years and a few interesting plot twists. Good performances from the main cast. Directed by Takashi Miike, Screenplay by Hiroyoshi Koiwa, based on the 2019 Mayusuke Kurai novel of the same name. On Netflix. 8/10.