Aniki, mon frère

"Brother" may be Kitano´s most well-known and successful movie, but after all it´s just another sign that success at the box offices doesn´t make the perfect movie, because it lacks in many respects: the story is too one-dimensional and delivers nothing really new, the characters are not developed enough, excluding the brilliant play of Omar Epps and, of course, Kitano himself. However, if you like heavy gunfight violence in the style of "Reservoir Dogs" or Takeshi´s elder "Violent Cop" this is the right film for you! The body count is higher than in all Quentin Tarantino/Sam Peckinpah films together and even some gore like cut off fingers and heads is brought on here and there. Once more the violent pictures are laid under with beautiful piano music what gives some disturbing aspects as well as emotional rollercoasters to this film. Definitely one of the better gangster movies of the last few years, but not the best as often said. A good film which is a little bit overrated... Can´t await to see Kitano´s "Battle Royale" - this one must be really brilliant..!

Normally I like to give more detail in a review, but this is a quick one.

I enjoyed this movie a lot. I'm not entirely sure why. I think mostly it was just plain fun. 'Beat' Takeshi was just brilliant in the role of Aniki. It's a sign of a great actor when he can command your attention without really doing anything.

I loved its thoughtful pace and purpose, and how there was a real symmetry in the story. In terms of introduction of the characters and their interactions, the story closes in reverse really nicely. I won't say much more, as I don't want to spoil it; it's not major, just nicely done.

All in all, I highly recommend it. It's quite violent at times, but if you're okay with that (and hell, perhaps even like it in a Kill Bill kind of way) then definitely check this out.

This is the 4th Kitano film I've seen recently. It has most of the characteristics of the other films - the sudden, shocking violence, the impassive silences, the same supporting actors, the obligatory seaside scene. But the shift to an American location weakens it, despite the excellent contributions of the US actors, especially Omar Epps.

But the core, unmissable qualities of a Kitano film remain. Takeshi Kitano must be the natural successor to Clint Eastwood as an anti-hero. Most of the stylised violence takes place off-screen, with a flash of humour, then the after-effects vividly on display. The sound-track from Joe Hisaishi matches the screen action perfectly, at times an aggressive supplement to the violence, at other times hauntingly peaceful.

The ending is the film's weakest part, as though Kitano pandered to imagined (or real) American requirements. The out-of-town setting and road movie elements fit uncomfortably with the rest of the film. But if this is the compromise needed to get Kitano to make more films out of Japan, it must be worthwhile.

I am a huge fan of the brilliant cinematic genius Takeshi Kitano, his films "Hana-Bi" (1997) and "Violent Cop" (1991) are two of my all-time favorites and I also found several other Kitano films such as "Zatoichi" (2003) excellent. "Brother" of 2001 is in my opinion Kitano's weakest film up to date, which does not mean that it's bad. It is just not quite as brilliant as Kitano's other work. Kitano is once again director and leading actor, and he once again delivers a great performance in the lead.

Yakuza Aniki Yamamoto (Kitano) flees to America after his death is ordered by a Yakuza clan. Yamamoto goes to LA where his younger brother Ken is supposed to study. Instead of studying, however, Ken deals drugs with some American friends. And it doesn't take Yamamoto long to plan some drastic improvements for his little brother's gang...

Takeshi Kitano's performance is once again superb, this guy certainly is one of the greatest cinematic multi-talents who ever lived. I found the Japanese characters great in general, and if it was only for them, "Brother" would have probably almost reached Kitano's masterpieces in brilliance. I personally didn't like the American characters though. Omar Epps certainly is a good actor, but his character of Denny is just not very deep, simply the very stereotypical African American street gangster seen in two out of three cheesy Hollywood blockbusters. And that counts for the other American characters too. It wasn't actually that bad with Omare Epps, simply because he is a very good actor. Besides the flatness of the American characters, I found the movie very good. It is once again beautifully and imaginatively filmed in typical Kitano style, and it has the typical Kitano humor that I love. The movie is also very violent, so it's probably not for people who are easily offended by brutality in films. What I also really like about "Brother" is the fact that at least half of the movie is in Japanese. The Japanese characters also talk Japanese when they are in the US.

"Brother" is arguably Kitano's weakest movie, and definitely my least favorite of his movies, but that doesn't mean it's bad. We're talking about a great cinematic genius here, and "Brother" certainly is a good, suspenseful, entertaining, stylish and interesting film. In case you don't know Kitano yet, i recommend to watch "Hana-bi" or "Violent Cop" before watching this, but in case you're already familiar with Kitano "Brother" is certainly worth watching. My fellow Kitano fans should not miss this. Recommended 7/10

Brother (2000) marks the English language directorial debut for Takeshi Kitano in this cross over gangster film about a deposed Yakuza living in exile on the streets of L.A. This entertaining and surprisingly fast moving picture (for a Kitano film) release date was delayed in the United States by more than a year. When it was finally released the film played mainly in Art houses and was heavily edited by the old cronies that sit on the M.P.A.A. board. It's impossible to see this movie how it was original meant to be show. Sadly, prior releases (even on video) were the same old prints that were used during it's theatrical release. Ho-hum. I recommend the director's/international version of this film. The M.P.A.A. cut lacks the punch of the original.

A+ (International)

B+ (american)