The finale is too tedious and misses some sort of substance, which the movie hinted at at the beginning. The effect being that the rapid sequences of revelations appear almost unintentionally comical. Lol I dug this one! It is quite a shame since lead performances are quite good and the source material seen through Japanese lens could have led to a more compelling project. Furthermore, his performance is seconded by the performances of Hideaki Ito and the other members of the cast; each actor bringing enough soul and body to their respective characters. Hideaki Ito does grizzled cop quite well and is a good compliment to the annoyingly slick Tatsuya Fujiwara.
Lieber gleich zum Original vom kleinen Nachbarn Südkorea greifen. Back in 1995, rookie detective Makimura Hideaki Ito was involved in a string of strangulations, which unfortunately led to nowhere, and now in present-day Tokyo, the statute of limitations on the crimes is expiring. Only do this fudge if the pleasantly clean looking South Korean original 2012 is untraceable for your Asian thriller dealer. Packender Stoff zwanghaft hipp neu aufgelegt. Tatsuya Fujiwara as the mystery man gives a quite good performance, which is stripped of his usual, misplaced exaltations, at last, as he presents a man who is evil and is not afraid to present his nature to the world. In the very same year, the Japanese government revises the statute of limitations, eliminating it for capital offences.
Yes, but not in a good way. But then it is revealed that both of them are frauds. The author, Masato Sonezaki, has an attractive appearance and appears at a press conference for his newly published book. A collective interest that, for the victims, constitutes a repeating confrontation with the impact of the trauma, but also enables them, as Sonezaki drapes himself with the image of the murderer, to orient their anger, an anger that could not be oriented for twenty-two years. The placing of the cuts frequently aims to give the narrative space its continuous character — or, in the case of flashbacks, consistency at the level of the character. The scene with his editor is the highlight of his performance, as he manages to ooze evil and danger without doing much, just through his tone of voice and movements.
In terms of imagery, Yu Irie's remake is just unspectacular. The killer is then taken to police custody. His book becomes a bestseller and now he becomes a target - for the survivors want revenge. Johnson,1,Jet Leyco,2,Jia Zhangke,2,Jigoku,1,Jimmy Henderson,4,Jin Xingzheng. Ultimately, the same could be said of the story.
Much of it is faithful to the original film, with Tatsuya Fujiwara playing the role of killer-turned-author in Masato Sonezaki. On the other hand, the remake is also a little bit more easygoing. Even though fixed camera viewpoints are often used, especially near the end, the grim and bleak narrative world tends to be framed with slow moving shots, giving the narrative space of the shot, as it eliminates unnecessary cuts, with a certain consistency. The plot unfolds in flashbacks and of course, at some point, you have to ask yourself whether Sonezaki is really the murderer or just somebody who wants to exploit the fame to sell his book. However, the movie barely succeeds doing so.
Toru Nakamura as Toshio Sendo is quite good, emitting the seriousness and professionalism his character demands. The film stars Sol Kyung-gu, Kim Nam-gil and Kim Seol-hyun. Kaho, Ryo Iwamatsu, Koichi Iwaki, Misuru Hirata and Anna Ishibashi lend presence and that is basically it. On the one hand, the Japanese remake has a consistent tone and a dark, thriller-like atmosphere, whereas the original throws together a couple of genres quite successfully, I would say, even if some other reviewers might disagree. It becomes an instant best-seller if not only due to the controversial content and the only murderer Masato Sonezaki Tatsuya Fujiwara revels in the spotlight.
Korea,2,Saayak Santra,9,Sabrina Baracetti,1,Sabu,4,Sade Sato,1,Salaam Bombay,1,Samui Song,1,San Diego Asian Film Festival,15,San Diego Film Festival,2,Sanjay Leela Bhansali,2,Sanjeewa Pushpakumara,2,Sankha Ray,31,Sarita Khurana,1,Satan's Slaves,3,Satoru Hirohara,1,Satoshi Kon,3,Satya,1,Satyajit Ray,1,Say Yes,1,Sayandeep Bandyopadhyay,6,Scarlet Heart,1,Score,1,Sea Fog,1,Seijun Suzuki,3,Sekigahara,1,Serga Mathang,1,Sexy S. Overall, Memoirs of a Murderer is an inferior remake as well as a bland film that does nothing to stand out from the crowd and really should belong in television, rather than be a theatrical release. The victims were strangled to death in front of family members and the murderer messed around with the police. This limit is clearly exceeded here. The perverse pleasure that the media and the public derives from Sonezaki, as the one who went beyond the law, is very sensibly brought to the fore in the narrative and becomes even slightly disturbing for the spectator. Makimura remains a shallow character and he sometimes even seems cold.
The tension between killer and cop wisely eschews the temptation to rush through a roller coaster of chases and action scenes, instead favoring a persistently ominous sense of malaise, aided by a gloomy cinematography, and effortless weaving in and out of flashbacks. In 1995 five brutal murders took place in Tokyo. Make sure to stay through the credits. In that case you should swap dealers. For those who know who the actor or actress is, the casting alone ruins the twist and makes it horn-honkingly obvious.
With book signings, press conferences and media interviews racking up, Masato dangles himself as willing fodder for Makimura Hideaki Ito , the weary veteran policeman who bears the physical and figurative scars of his inability to catch the killer 22 years prior. Sul Kyoung-Gu gives an incredible performance as Byung-Su and carries the whole film. In 2017 however, now no longer able to be tried for his crimes, the killer reveals his identity when he comes forward to promote a book that describes the killings in detail. However, some flashbacks, which are supposed to remind us of important information given before and key scenes, do seem unnecessary. Starting from my own blog in Greek, I then moved on to write for some of the major publications in Greece, and in a number of websites dealing with Asian cinema, such as Taste of Cinema, Hancinema, EasternKicks, Chinese Policy Institute, and of course, Asian Movie Pulse. Johnson,1,Matthias Hoene,1,Maundy Thursday,1,Mayaanadhi,1,Mayurakshi,1,Meghe Dhaka Tara,1,Memoir of a Murderer,1,Merantau,1,Mermaid,1,Miaoyan Zhang,1,Michael Haertlein,1,Michelle Hung Tsz-ching,2,Midi Z,1,Midnight Runners,1,Midori Impuls,4,Midori The Camelia Girl,1,Mikhail Red,4,Milk the Maid,1,Minamata: The Victims and Their World,1,Ming-Yeh Rawnsley,1,Minoru Kunizawa,1,Mira Nair,1,Miss Zombie,1,Miwa Nishikawa,2,Mohammad Rasoulof,1,Mohammad-Reza Lotfi,1,Mon Mon Mon Monsters,1,Mong-Hong Chung,2,Mongolia,2,Monika S-r,1,Monologue,1,Moon Lovers,1,Moon So-ri,1,Mototsugu Watanabe,4,Mouly Surya,3,Mountains May Depart,2,Mourning Forest,1,Movie,2,Moving,1,Mr Long,1,Mr.