Kurîpî: Itsuwari no rinjin
Director: Kiyoshi Kurosawa
Writer: Chihiro Ikeda, Kiyoshi Kurosawa
Based on: Yutaka Maekawa’s novel
Cast: Hidetoshi Nishijima, Yûko Takeuchi, Teruyuki Kagawa, Haruna Kawaguchi, Masahiro Higashide, Ryôko Fujino, Toru Baba, Takashi Sasano
Part of: /slash Filmfestival
Seen on: 26.9.2016
[Review by cornholio.]
Takakura (Hidetoshi Nishijima) used to work as a detective, but has given the field up for a teaching position. When he is pointed in the direction of an old case of a family’s disappearance, his curiosity is triggered and he starts to investigate, beginning with the family’s only remaining member, Saki (Haruna Kawaguchi). Meanwhile his wife Yasuko (Yûko Teakeuchi) is busy with their new house and their strange neighbor Nishino (Teruyuki Kagawa) who is by turns stand-offish and disregarding of boundaries. Nishino’s daughter Mio (Ryôko Fujino) also behaves weirdly. But that’s only the beginning of the strangeness.
Creepy starts off well enough with a decent amount of tension and intrigue, but the further we get into the plot, the stupider it gets and the more it lost me and my attention or regard. In the end it becomes a film that is at its best when it’s laughed about afterwards.
As long as the film sets things up, it works very well. Especially due to Teruyuki Kagawa and his absolutely creepy (no pun intended) Nishino. He is intense and inscrutable and the perfect embodiment of “is he just weird or is something wrong here?”
But then the movie starts to explain things and people start to act on what they find out or think they find out and EVERYTHING and EVERYBODY (special offenders: Mio and the police) is so unbelievably stupid and acts so stupidly, and it all just devolves completely. Plus, the story relies so much on coincidences, if you take just one of them away, it falls apart entirely. And that’s not even touching on the brainwashing angle that is introduced into the story and that never makes a lick of sense at all.
Despite the good beginning, after the film we stood around in a circle and simply tore the film apart under fits of laughter – from Takakura’s nonsense lesson on serial killers to the resolution of the plot – and that is the most entertainment that can probably be gotten out of the film in any case. It takes itself much too seriously for anything else.