Takeshi Kitano of XXI century is greater than Takeshi Kitano of XX century by that there are no good flick with the second. Zatoichi is mesmerizing as it’s deep philosophical ending. Intricate in screenplay, high gripping in narration and excellent in twists director’s yakuza movies Outrage and it’s sequel Beyond Outrage after that was a unsophisticated threequel Outrage Coda in which a stagemaker did nonsense with storyline by making that a little squad executes armless bunches of organized crime enemies constantly and Kitano was infatuated in putting of Japanese trademark cruel sadism scenes, which lose touch with seriousness. This movie is wonderful in final with a main personage.
The director initially makes statement in Kubi (“Neck” in English.) that he goes on with cruelty and sadism in doing fun on history of Oda Nobunaga’s fall. Ryo Kase, who not so good performed a known daimyo, behaves as lunatic sadist, which does for public, whereas it deprives him credibility in portraying of real personality.
I tried to accept that Kitano doesn’t make with seriousness. It wasn’t possible. The director comes to surrealistic with history, same becomes in fiction arcs and characters in a man who has two-masked females which speak in one and finish sentences for him. Effective fights aren’t anymore in moment when I was going to switch off, because Kitano takes dramatization first what, as it was yesterday with The Convert, is detrimental for realism and flick’s goodness.
A director who slated support of gay marriage by making comparison that it would be same to approval of holy union with animals was criticized and he tried to excuse by that his said had wrong interpretation and, in this movie, he followed of common stream by including homosexuality, which had a place between samurais, but Kitano made it with actual persons (Araki Murashige and Akechi Mitsuhide) who were heterosexuals.
Kubi is well that is natural. No computer-generated imaginary. However, it shouldn’t accept as advantage.