SummaryNishi leaves the police in the face of harrowing personal and professional difficulties. Spiraling into depression, he makes questionable decisions.
SummaryNishi leaves the police in the face of harrowing personal and professional difficulties. Spiraling into depression, he makes questionable decisions.
Hana-Bi is a film by an artist too creative -- and too talented -- to set limits for himself. He is a rarity among filmmakers nowadays: A genuine original. [17 Apr 1998]
It’s a weird experience that Kitano is offering to movie audiences: We thrill to the violent, heroic exploits that leave many a pierced eyeball, many a severed limb, many a bullet-riddled corpse, but we find uplift in his celebration of community, music, dance, light, color, and companionship.
Fireworks is bracing and original, an indefinable film made from familiar elements. "Hana-Bi," its title in Japanese, is a combination of the words for "flower" and "fire," and filmmaker Takeshi Kitano has, in the same way, adroitly fused genres, creating a film in which almost every moment pops out in unexpected ways. [20 Mar 1998, p.F4]
A work at once detached and thrillingly intense, an experience where intellectualizing turns to a raw emotion so overwhelming, unexpected in its power, that you sit in your seat as the end credits roll, unable to move.
The new Japanese film Fireworks is like a Charles Bronson "Death Wish" movie so drained of story, cliche, convention and plot that nothing is left, except pure form and impulse. Not a frame, not a word, is excess.