Lumberjack the Monster

Um tema interessante com uma caraterização pouco convencional dos personagens, especialmente o ambíguo protagonista Akira, e ligações inesperadas aos seus passados. Um thriller policial com a escrita fria, mas divertida de Miike, com novos factos a serem constantemente revelados para dar sentido a estranhos acontecimentos anteriores. Infelizmente, porém, sem envolvimento emocional suficiente para tornar o filme uma experiência mais forte. [Sitges FF] (15/10/2023)

An unconventionally conceived whodunit with an interesting, sort of sci-fi premise that turns the viewer's perception of the main character around. With its B-movie potential, it probably didn't need to be quite the two hours it was, but it's still definitely very solid entertainment that recalls the best of Takashi Miike's extensive body of work. (24/10/2023)

Due to the imaginative nature of the whole concept (Japanese folk horror meets Dexter meets Black Mirror), it repeatedly cycles through (necessary) passages where one character explains at length to the other (read the viewer) "who, what, why, how". It doesn't have a breakneck pace, and it feels a touch longer than the billed two hours. The infodumping could have (and should have; even considering the author's abilities) been delivered in more cinematic language rather than through static conversations, with the special finale feeling like a live-action episode of Scooby-Doo. It doesn't matter that much, though, because the ambivalence of the characters, along with the concept, pull it off. A hard to describe study of (a)morality, where the responsibility for oneself, who is or isn't a monster under the surface, where the responsibility of a psychopathic personality for whom actions (don't) speak begins or ends, but delivered in a genre-bending trashy style of Takashi Miike. There is a rampaging monster, but there are no horror scenes. It's seen from the point of view of the police, who make their way to the crime scenes, and primarily through the eyes of one of the potential victims, who doesn't feel like a victim, on the contrary, she herself is often on the hunt. It's original, imaginative, thought-provoking and just plain good. However, there was room and talent involved to elevate this to another of genre chameleon of Miike's timeless cult films. It's intriguing, it's out of the ordinary, but for many it will be more of the "much more fun to discuss in the pub over a pint than to watch for two hours" variety. (03/06/2024)