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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.

Very reminiscent of Dario Argento's films without being anywhere near as violent. The story is somewhat muddled but the cinematography is amazing. The film's many weak points are overcome by an incredible look and feel and atmosphere. Like the recent anime Perfect Blue the problems with the story only bother you when it's over, while you're watching it the atmosphere carries you along.

There are few movies as original as Angel Dust, especially in the realm of thrillers with hoary cliches, transparent plot turns, and questionable endings. Billed as both a Usual Suspects-style stumper and a Silence Of The Lambs-style thriller, Angel Dust sports a plot which climbs a tension ladder masterfully, pausing long enough between rungs to entertain a host of solution theories -- usually presented by lead police investigator Suma's partners -- and examinations of Suma's method of investigation. Complications abound in Suma's case, and, as with The Big Lebowski, we only know what the protagonist knows. (In other words: the whats, not so many of the whys.) As Suma's case progresses unevenly, waiting for the payoff might frustrate; the solution stays at arm's length throughout the movie, but the cinematography and editing are pristine (the waltzing cuts in Suma's reunion with ex-boyfriend/research partner/current suspect rule! RULE!), getting you through the first viewing as well as repeats. The plot thankfully holds up to scrutiny as well, though the details trickily come in clumps (hard on Suma as well as the viewer). My only beef with director Ishii is that while Suma is deftly depicted early on as an unconventional, instinctual investigator with a bizarre lifestyle, we still have to see her puffing away in no-smoking zones a la Martin Riggs. We get it -- she lives on her own planet. At any rate, Angel Dust is a must-see lesson in treatment of fringe characters, deliberate but graceful plot movement, economy of dialogue, use/absence of sound, and mind-mangling psychological tension (with little onscreen violence). Yay! Also check out March Comes In Like A Lion, Junk Food, Maboroshi, Audition.

"Angel Dust" is about a woman who is seeking a killer. The killer strikes every Monday night at 6:00 pm. The killer targets young women, killing them with a lethal injection in a public place. The woman seeking the killer is a brilliant psychologist who allows the killer's traits to enter her mind and as she begins to think like him, she can use this to trap him. It's a classic set-up and one that's been done before.

In "Angel Dust" it's done with a flair not felt in the cinema for a long time. With careful attention to how imagery can shape the psychological thriller, (the film looks as if it were shot in black and white in the rain and then given to a child to color vibrantly with a 64-pack of crayolas) the film has a mood that is unshakeable. The film is not merely disturbing, but eerie. It's aura is not really reminiscent of too many American films - though some of the themes, such as brain washing ("The Manchurian Candidate") and psychologist getting to close to a killer ("Manhunter") feel familiar - but are done in a deeply original fashion. Watching the film is no easy task either. It's brutally methodical, leading the viewer on an excessive mind game, trying to figure out who's lying to who and who the killer is becomes nearly painful - keep some aspirin handy. The film's real trick is that it's story is ambiguous and has a wifty editing style. The movie can move as quickly as an action picture and then stop, on a dime, to examine something for up to 15 minutes - very succinctly, very carefully and very, very cinematically.

Pulling the threads together reveals that there's a bitter purpose to everything in the film's world. It's creepy and heavy as Stoudt, but none of the negative things I've hinted at are flaws in any way. All are there for a reason. This is one of the best crime films I've ever seen. It's absolutely stunning.

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