[6]

I miss the old Kiyoshi. The can't-be-sold Kiyoshi. Back in the fold Kiyoshi. That was the bold Kiyoshi. Remember Cure Kiyoshi? That wasn't your Kiyoshi? 'Cause that was my Kiyoshi. Damn, that was fly, Kiyoshi! You came with Kairo, Kiyoshi. That shit was fire, Kiyoshi! Even Bright Future Kiyoshi, that ill repute Kiyoshi. I dug it all, Kiyoshi. So why'd you stall, Kiyoshi? And then that Journey to the Shore? You got some gall, Kiyoshi!

I miss the real Kiyoshi. I miss the real Kiyoshi. The danger you can't see but you can feel Kiyoshi. Stain on the wall Kiyoshi. Man, that was all Kiyoshi. Remember jellyfishin' mesmerism baller Kiyoshi?

I guess that Creepy's alright. I guess that Creepy's…

49/100

"A vision of absolute evil that somehow becomes more disquieting and suggestive as it becomes more obvious and literal," observes my A.V. Club colleague Ignatiy Vishnevetsky of one particular element in Creepy. Alas, I had precisely the opposite reaction to the movie as a whole, which stays masterfully true to its title for over an hour before abruptly shifting into...well, let's just say that I spent much more of its second half recalling Egoyan's The Captive than I would have preferred. Explanations cripple Kurosawa, who excels at evoking the uncanny but has no real taste for outright horror; Creepy is at its best when things are just...slightly...off, a quality embodied in everything from Teruyuki Kagawa's Asperger-y performance to the…

Detractors seem to agree that the first hour is magnificent, but contend that it falls apart in the second. But this film wouldn't work nearly as well without the interplay—not to mention the perfectly modulated escalation—between the two halves. "The formalities are a hassle," says a neighbor early on, a statement that the setup both fulfills and undercuts in the first section, presenting scenes just a step away from hysteria, the (cultural) politesse just barely keeping things in check: e.g. an invitation ("Would you like to see my wife?") that practically guarantees social distance; or the couple omitting details in conversation to preserve a sense of decorum. The film initially seems to be about (sub)urban alienation, but that turns out…

textually about an ex-detective discovering that his neighbor's a serial killer, subtextually about how a man being a thinly-veiled workaholic cannot help but manifest his entire life into the narrative of his job, and how you can never really stop being what you are regardless of any veneer of suburban normality. all that normality does is get in the way, it's a comforting illusion, but at the end of the day, it's bullshit, my man's a detective, and his neighbor is what is being detected. all his 'retirement' did was allow him the bourgeois comfort of lowering his guard and thinking he was above his own habits. if he had never called it quits, he would have inevitably come across…

Existe uma semelhança muito marcante com Parasita. Inevitavelmente algo daqui foi tirado. Não apenas o mistério que envolve a casa, mas a abordagem que caminha pelos mais diversos gêneros.

Como é característica de Bong John Hoo, Parasita ainda carrega uma abordagem de humor do absurdo. Em Creepy, porém, Kiyoshi Kurosawa enviesa sua narrativa para um diálogo de gêneros que não o fazem sair de uma atmosfera mais densa, profunda.

Drama, investigação policial e uma forma muito especial de relacionar características do horror e do mistério. A cada resolução apresentada, um novo conflito parece surgir.

Uma cena interessante que demarca a encenação do filme está no momento em que nosso personagem principal interroga Honda. A menina nos dá relatos de um…

If you go into this expecting another Cure it might be worth reigning in those aspirations. Creepy is effectively a film of duplicity. First of all it exists in two halves. The first hour is very slow burning but sets up a solid and intriguing mystery well enough, even though it's always obvious what route it's going to take. The second half goes way off over the cliff in terms of believability. The way that the twist is revealed is shocking but I was really hoping for something much more intelligent given the build up in the first hour. The lead villain is something of a masterpiece however. Kiyoshi Kurosawa depicts a man who first appears like a creepy neighbour…

‎I watched this film years ago and decided to give it another try, thinking maybe my perspective would have changed. You know how you’re a different person each year, sometimes your taste in films evolves, or maybe I missed something the first time since so many people rate it highly. After watching it again, though, nothing changed. If anything, it made me genuinely frustrated that I wasted my time on a rewatch.
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‎The script is deeply flawed. Every character..cops, the wife, the psychopath, even the fake daughter is frustratingly dumb. But the main character, the detective, is the dumbest and he acts like a crazy teenager. I understand the film tries to explore psychology, it constantly begs the viewer…

Hoop-Tober, year three, film #20:

Memories and isolation -- a piece shoved somewhere dark, drenched & cold, the most remote corners of the human psyche. Drifting along a current of chasmic gloom that could only be comprehended and recreated with such assuredness, as displayed here, by a mind with a much deeper knowledge of the unexplained movements and sudden jolts of the reality that exist in abnormal psychology -- its exploration, attempting to attune with brains blockaded by barriers impossible to break and desperately dispose of. Thoroughly unsettling, and consistently both one of the most repellent and absorbing of recent watches (but always difficult -- no matter the almost soft undercurrent of dreamlike hyper-realism), allowing us to peer, though only for…