Lumberjack the Monster

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.

This is a very cool and unusual thriller out of the Japanese film market. From the very beginning it will have you engaged in its creepy feel and disturbing imagery. The movie has many elements involving modern scientific and biological experimentation and their dangers- a modern day Frankenstein's tale, if you will. The acting and cinematography are very engaging. The characters are strong. The story is good, but there are elements that are a little hard to follow. The pacing and action are good. I really like the films of Japan. They have their own sensibility and sense of originality. Worth seeing.

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.

I recently watched the new Japanese film Lumberjack the Monster (2023) on Netflix. The storyline follows an arrogant lawyer with a checkered past who is attacked by a serial killer and barely survives. The lawyer's arrogance won't let him be just another victim, so he decides to go from the hunted to the hunter.

The film is directed by the iconic Takashi Miike (Audition) and stars Kazuya Kamenashi (Joker Game), Nanao (Miss Devil), Keisuke Horibe (Tokyo Gore Police), and Shidô Nakamura (Fearless).

This movie wasn't what I was expecting at all. The main character feels like the actual villain as the story unfolds. The backstories are very well told, and the horror elements are elite. The costumes and kill scenes are top-notch, with great stab scenes and throat slashes. The ending is actually quite rewarding and serves as a perfect conclusion. However, the killer reveal is disappointing and this picture was not what I was hoping for from Miike.

In conclusion, Lumberjack the Monster didn't live up to my expectations of Miike, but it had enough worthwhile elements to watch once. I would score this a 5.5-6/10 and recommend seeing it once.

"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.