Kiyoshi Kurosawa
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At least the American shock cinema that this film recalls, like 1984�s valley girl apocalyptic vision Night of the Comet, had a sense of fun.
We have the theme of the neighbour under suspicion that underlies Rear Window; and the family member who isn’t what he appears to reflect Joseph Cotton’s Uncle Charlie in Shadow of a Doubt.
…the last 15 minutes of “Weapons” so perfectly braids abstract psychic anxiety together with cartoon ultra-violence that it creates a sublime harmony between sketch comedy and Kiyoshi Kurosawa horror. I suddenly have a strange hankering to see The Lonely Island remake “Cure.”
In the end, this is rather like Kiyoshi Kurosawa’s Cure (1997) – an intriguing enigma whose solution is perhaps less important than the community ills exposed along the way…
For anyone who has seen a handful of notable works in the thriller or horror genre, such as David Fincher’s Zodiac, Kiyoshi Kurosawa’s Cure or the aforementioned The Silence of the Lambs, Perkins’s screenplay will sound somewhat familiar.
Those who end up falling under Longlegs’ slow-burn spell would do well to check out director Kiyoshi Kurosawa’s 1997 masterwork Cure, another serial killer thriller that flirts with the supernatural. However, where Cure offered startling ambiguity in place of concrete answers, Longlegs takes an unfortunate lapse into belabored exposition during its final stretch. While the reveal of what’s really happening is entertaining in the moment, it’s the kind of convoluted explanation that falls apart once you stop to think about it for more than 10 seconds.
We have the theme of the neighbour under suspicion that underlies Rear Window; and the family member who isn’t what he appears to reflect Joseph Cotton’s Uncle Charlie in Shadow of a Doubt.
His wife, Yasuko (Yûko Takeuchi, "Ringu"), is anxious to make friends with the neighbors, but Mrs. Tanaka says she and her moaning, bedridden mother 'don't associate with people around here.'
Director Kiyoshi Kurosawa made a splash in the late 1990s/early 2000s, when U.S. audiences were introduced to J-horror by movies like Hideo Nakata's influential Ringu.
I was thrilled by the final shot, which is an x-ray of a nighttime shot that closes Kiyoshi Kurosawa’s lavishly daffy “Charisma” (1999).
Unlike George A. Romero's Night of the Living Dead, there's no panic; just a slow rational realization that doomsday is approaching.
Frankly, Maximum Overdrive, the cheesy Stephen King epic from the eighties, paints a more terrifying portrait of technology gone wrong than in the bizarrely bloodless Pulse, which feels roughly like a somnambulistic version of a camp movie yet to be made (think �I Was a Teenage Internet Zombie!�).
Like the former, he draws on a fascination with evil (one can imagine Lang’s masterpieces M and The Testament Of Dr. Mabuse remade as Kurosawa movies), and like the latter, he merges the macabre and the everyday in a way that unsettles feelings about both.
In its final section, the film begins to resemble one of those gruesome shockers that Takashi Miike used to make in the late 1990s, for example, Audition.
There’s a hint of Alfred Hitchcock’s Vertigo in Kurosawa’s approach to his material, with the swooping camera work and eerie, orchestral score.
Two trendlets of the mid-2000s—the hitch-stepped, image-phobic world of J-horror films like The Ring and Pulse , and bleak, hard-R extreme horror—combine to diabolical effect in Scott Derrickson’s Sinister , an occult thriller that scares with an absolute relentlessness.
Come True’s vapid center is completely undone by a last-minute plot twist pulled right out of Japanese director Kiyoshi Kurosawa’s Real.
Not since “Bad Boy Bubby” has plastic wrap been put to such scary use on screen as it is in “Creepy,” Kiyoshi Kurosawa ’s nail-biting thriller dominated by a psychopath who exerts a malevolent hold on his neighbors.
Actor Yakusho is probably best known to American audiences as a typically mild-mannered light leading man in such films as Shall We Dance? and Babel, although he hit his international stride at the forefront of director Kiyoshi Kurosawa's stock company in Cure, Séance, Doppelganger, and Tokyo Sonata, among others.
It's isn't nearly as powerful as Ordinary People, Boyhood, Tokyo Sonata or The 400 Blows, but at least it's not as schmaltzy as Belfast.
…especially Cloud, the latter of which is about a predatory internet reseller who becomes prey to an online community of people he’s wronged…
Kiyoshi Kurosawa flicks playing the Japanese Film Festival, including The Serpent’s Path, Chime and especially Cloud…
Like most notorious “hunt for a serial lunatic” films, from Seven to The Silence of the Lambs, Creepy maps out the intersection where good intentions and naive moralizing collide with pure evil, though this description suggests a movie of much greater velocity.
Produciton designer Norifumi Ataka (“Norwegian Wood,” Kurosawa’s “The Seventh Code”) captures Tokyo suburban life with impressive verisimilitude, and with dirt and ugliness unceremoniously accumulating around the corners.