Izo is a vector-movie: it has a point of origin (Izo is put to death in the opening sequence), direction and speed (arbitrary revenge as determined by the edge of Izo's sword), but no destination. It must be stressed that unlike "traditional" narratives, it consciously avoids the end-point/solution/destination. The movie lets the aesthetics of its form shape the meaning of the story. The aesthetics in question being: hyper-loaded symbolism as conjured in Noh theater; PS2 architecture of the action - labyrinthine violence for its own sake leading up to the next level, which is more of the same with a different CGI background; MTV approach to video editing - Izo's bounces between layers of reality with the approximate speed of a cable channel surfer are spliced with archival footage and several "unplugged" Kazuki Tomokawa performances where the ancient Greek chorus would provide emotional emphasis.
The experience is not exactly rewarding but definitely unparalleled.
Apart from some questionable world-conspiracy and misogyny moments, an overall entertaining, extreme, and cryptically new take on film storytelling. Miike in his radical element.
The experience is not exactly rewarding but definitely unparalleled.
Apart from some questionable world-conspiracy and misogyny moments, an overall entertaining, extreme, and cryptically new take on film storytelling. Miike in his radical element.