Gonin

I never understood why this movie got such bad reviews. I think it's because the people who watched it don't know much about Japanese society and how absolutely excruciating it can be! In Japan, you MUST be part of the group. As an individual, with your own free mind or choices, you're likely to get crushed.

In a way, this is what happens to all our "go nin", literally "five people". One can't make the transition from successful Japanese singer to nightclub owner (due to the Bubble bursting), another lost his job of 20 years. A third makes his living by extorting rich, homosexual man, but actually is homosexual himself (although he won't let anyone know, wearing a mask of kinds). One is a pimp who actually loves one of the girls he should look after, eventually leading to both their demise. And the last is a cop that went to jail for something he didn't do, losing his job and family that meant so much to him.

Society has taken from these men. It made them outcasts. Now you have to remember that the Yakuza started as exactly that! A group of people the feudal Japanese society shunned for their jobs, who in return formed groups to protect themselves. So what irony is it then that a group of outcast robs another group of outcasts? And is finally hunted down by a homosexual hitman couple in a dom/sub relationship, also being outcasts themselves.

From its excellent soundtrack to the beautiful, gritty way it is filmed, Gonin to me stands far above most of Kitano's other movies. I do like Brother and the Outrage saga is great. But Gonin, although hardly having Kitano in many scenes is the strongest of them all, probably because it goes against all mainstream and rules. I can definitely recommend this movie.

An extremely fast paced gangster film with a couple of great elements that rescue it from being ordinary. Takashi Ishii's wonderful neon/fluorescent aesthetic runs throughout the film. Everything is either some kind of oddly-colored light source, an actor, or pitch black. The music is moody and the violence is just erratic and savage enough to be fairly unpredictable. Of course, nobody conveys violence quite like Takeshi Kitano who shows up for the last half of the movie as a hitman creepy enough make Christopher Walken uneasy. The homoerotic tension between the heroes is surprisingly touching by the end and there is one psychotic salaryman that makes an awfully big impression, which I won't risk giving away.

Unlike a lot of stylized American crime cinema, this was an unrepentantly dark film. Filmed with many shots for dark, dank, rainy streets and warehouses, the cinematography reinforces the bleakness of the situation the characters face. As the Japanese economy busts in the mid 1990's, a group of out of luck businessmen rob a crime boss of a large amount of money. The gangsters send a couple of hit men out to even the score with predictable results. (6 out of 10)

The Five (1995), directed by Takashi Ishii, is a dark and thrilling crime drama that keeps its audience on edge from start to finish. The film follows five men who plan to steal a large sum of money from the local yakuza, only for their plot to unravel in unexpected and dangerous ways. As the men are hunted by contract killers, the tension escalates, leading to a series of unpredictable twists and turns. The film effectively combines elements of action, crime, and suspense, offering a gritty and compelling ride.

The performances by the ensemble cast, including Kôichi Satô, Masahiro Motoki, and Jinpachi Nezu, stand out. Each actor brings depth and authenticity to their character, capturing the fear, desperation, and camaraderie of the group. The characters are flawed and morally ambiguous, which adds layers to the narrative and makes the stakes feel personal. While their motivations aren't always fully explored, their performances do enough to establish emotional stakes, making the audience invested in their fate.

Takashi Ishii's direction is sharp and purposeful, drawing out the tension in both quiet and explosive moments. The pacing of the film, while occasionally slow during reflective scenes, keeps building toward the inevitable chaos. The narrative does not shy away from violence, which is depicted in a raw and unflinching manner, adding to the harsh realism of the world the characters inhabit. This intensity is one of the film's strong points, as it keeps viewers on edge, unsure of what will happen next.

The cinematography is dark and moody, perfectly capturing the grim atmosphere of the yakuza underworld. The stark visuals enhance the sense of danger and moral ambiguity surrounding the characters. The film's visual style complements the grim tone of the story, creating an immersive experience that pulls the viewer into its world of betrayal, desperation, and violence.

The Five is a well-executed crime thriller that delivers both tension and unpredictability, though its focus on action and violence may overshadow deeper character development for some viewers. Nonetheless, the strong performances and gripping narrative make it an engaging film for fans of the genre.

Rating: 7/10. A tense and compelling crime thriller with strong performances and unpredictable twists, but its reliance on violence may detract from emotional depth.

After all you only need three words to describe "Gonin" apt:

DARK

YAKUZA

THRILLER

Got it?!? If you want to know more check out my following review: A very explosive film indeed that seems if director Takashi Ishi had crossed Hollywood examples like "Reservoir Dogs" and "Thing to do in Denver when you´re dead", and added some stylish pictures and typical Asian gun violence to the result. "Gonin" is distinguished by a sinister and hopeless atmosphere as well as the great performances of his main actors. Once more, the appearance of the unique Takeshi Kitano makes the whole film!

Maybe not the greatest movie of Japan´s 1990s cinema, but still a great work and better than 90 % of all those Tarantino rip-off gangster flicks which come from America!!!