4 more reviews

1. ›Film Review: Battle Royale (2000)@drax184d

   

   Kinji Fukasaku's 2000 film Battle Royale is one of the most controversial and influential Japanese productions of the modern era. Based on Koushun Takami's bestselling 1999 novel, the film presents a dystopian near-future where Japan's government combats juvenile delinquency through a brutal reality show: randomly selected class of high school students is transported to a deserted island, fitted with explosive collars, and forced to kill one another until only one survivor remains. While the premise invites comparisons to later works like The Hunger Games, Battle Royale is a unique cinematic achievement that transcends its shock value through genuine social commentary and technical mastery.

   The film's extremity is undeniable. Compared to conventional teen-oriented cinema from Hollywood or elsewhere, Battle Royale presents violence that is unflinchingly graphic, humour that is profoundly dark, and melodrama that reaches operatic proportions. However, this extremity serves a purpose beyond mere sensationalism. Fukasaku, drawing from his traumatic childhood experiences during World War II—where he witnessed school friends killed by American bombardment—crafted a film that reflects his deep distrust of governmental authority and established institutions. This personal history informs every frame, transforming what might have been exploitation cinema into a visceral critique of state control and the fragility of civilisation.

   Structurally, the film demonstrates remarkable restraint. The Fukasakus (director Kinji and his son Kenta, who wrote the screenplay) wisely avoid excessive world-building, focusing instead on the immediate horror of the students' predicament. Rather than explaining the mechanics of this dystopian society, they use brief flashback sequences to develop character motivations, allowing the audience to understand why certain students embrace the killing game while others resist. Despite the large ensemble cast, several characters emerge as fully realised individuals, making their fates genuinely matter to the viewer—a remarkable achievement given the film's breakneck pace and high body count.

   The young cast delivers performances that range from adequate to extraordinary. Taro Yamamoto shines as the hardened survivor Kawada, bringing an authenticity that resonates beyond the screen—his subsequent transition from acting to anti-establishment politics mirrors his character's rebellious spirit. Kou Shibasaki is chillingly effective as the sociopathic Mitsuko, while Chiaki Kuriyama's athletic Chigusa left such an impression on Quentin Tarantino that he cast her as Go Go Yubari in Kill Bill Vol. 1. The nominal protagonists, Tatsuya Fujiwara's Shuya Nanahara and Aki Maeda's Noriko Nakagawa, while somewhat overshadowed by their more flamboyant classmates, provide the necessary emotional anchor as the most recognisably "normal" teenagers caught in this nightmare scenario.

   Battle Royale's cultural timing proved eerily prescient. Its premiere coincided with the explosive growth of reality television, making its critique of media exploitation and audience voyeurism particularly resonant. More disturbingly, the film's parallels to real-life school shootings like Columbine created a climate of fear that prevented proper distribution in the United States. Hollywood studios, wary of courting controversy with the MPAA, avoided an official release, which explains why many Western audiences later mistook The Hunger Games for an original concept. While Takami claimed inspiration from Stephen King's The Long Walk and his own dreams, the film's DNA can be seen throughout contemporary dystopian fiction.

   The film's legacy extends far beyond cinema. Its influence on television series like Lost and Squid Game is evident in their ensemble casts and survivalist themes, but its most significant impact has been in video gaming. The entire "battle royale" genre—exemplified by titles like PlayerUnknown's Battlegrounds and Fortnite—owes its name and fundamental mechanics to Fukasaku's vision. This transformation of controversial cinema into mainstream gaming culture represents both the film's enduring appeal and the complex ways society processes violent entertainment.

   Critically, Battle Royale is not without flaws. Takeshi Kitano's performance as the teacher-turned-game-master sometimes feels disconnected from the teenage drama, and the film's conclusion lacks the narrative satisfaction of its setup. Some script issues occasionally undermine the otherwise tight pacing. However, these shortcomings are minor compared to the film's achievements. Fukasaku, who passed away during production of the 2003 sequel Battle Royale II: Requiem, crafted his final masterpiece—a film that balances visceral thrills with genuine thematic depth.

   In the end, Battle Royale transcends its reputation as mere shock cinema. It is a complex examination of generational conflict, the corrupting nature of power, and humanity's capacity for both savagery and compassion under extreme pressure. Its influence on global popular culture—from literature to television to gaming—cements its status as a landmark work that continues to challenge and provoke audiences decades after its release. While controversial and often difficult to watch, Battle Royale remains essential viewing for anyone interested in how cinema can confront society's darkest impulses while maintaining artistic integrity. Fukasaku's final film is a mirror held up to our collective fascination with violence and survival, making it as relevant today as it was upon its controversial premiere.

   RATING: 8/10 (+++)

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2. ›The dystopia of 'Battle Royale'@namiks1070d

   

   I have fond memories of watching the Battle Royale film. As a young teenager, I would watch films late at night on an old 13" Toshiba CRT, this television screen small, with a very square box to fill up the surrounding space. I would have to move around by hand an old aerial in hopes of establishing a better connection to gain access to the four television channels to choose from. I have mentioned this in the past: how one channel would often air international films, mostly Asian, late at night. I would sit on school nights and find myself indulged by these films. Curious of the world around me that seemed so different to the one I had known. With limited internet access at the time, to watch these international films was to discover that beyond the small town I lived in were lands of vast forestry, different languages, and thus different cultures and histories. It captivated me, and to this day fills me with nostalgia.

   The other day I remembered Battle Royale. I realised I had not seen it since those days. I couldn't really remember much about it, other than its main premise was teenage students are forced together to fight to the death by the Japanese government. A few scenes here and there came to mind; but what was it really about? These ideas roamed through my hand, and I just couldn't help but decide to watch it again with such curiosity. Watching it this time, however, led to a very different experience now that I'm older. I couldn't help but find similarities to the film with our strange reality. So much so, that I feel the need to write these thoughts down in a post. So, this isn't even a review of the film, but I guess an admiration for the themes this film had, and how it really is a reflection, with some exaggeration, on the polluted societies we all live in to this day. One of constant challenge, sickness, and regret. Full of extremities rather than true solutions. Battle Royale is far more than a Japanese action film that spawned a genre that led to highly successful games.

   If you haven't seen the Battle Royale film, there may be the odd spoiler here and there. But probably nothing major. There's a good chance you've already seen the film, too given the massive popularity of the genre in the video game world.

   The Punished Youth

   

   If there's something the whole battle royale genre of films has managed to convey, it's that they take place in a dystopian setting that sets its citizens against each other in a desperate bid for control over the broader population in one way or another. The idea in which there is an elite that pulls the strings, and a population that needs to be put into place. In modern day we often hear of the productivity issue in wester "first world" nations, the idea that people have grown lazy, lost, and hardly patriotic citizens that wish to work; we are facing uncertain times as the information era shifts the way we perceive life, void of direction. Our most basic emotions manipulated by the machines around us, essentially fighting each other for control of our attention, and thus the never-ending rush for dopamine heights. The dystopian fiction is becoming nonfiction by the year, making these 'battle royale' genre titles actually a lot more real and something to fear.

   If there's a particular demographic that faces the most confusion in these times, it's the youth. Those born into this constantly changing world to which no normal is ever actually established. What "normal" is changes rapidly, as does the idea of value and spirituality. In such times, how does one influence a troubled, lost youth? As unemployment skyrockets around the world, youths reducing themselves to their bedrooms in search of comfort and safety with these devices that provide dopamine and a sense of accomplishment, what would a solution to this look like? In reality, we don't really have any solutions to this issue. There's a plethora of articles and discussion about it around the world, but nobody really has an answers as to how the youth should be inspired and healthy in a world that is the total opposite. It makes sense that such a lost society would take to even more drastic measures, instead of helping the youth, only punishes and damages them more.

   In Battle Royale, the youth are thrown together on an island in which they're forced to battle to the last person standing. They are given bags of random items to help them on their quest. The government, and of course army, is in on this. The students have explosive collars attached to their necks in the event that they stray too far from the objective, killed within a few short moments. For the most part, the students don't actually want to contribute to this at all. They form alliances, stick together, and even come to plans to try to survive and save others. It's an interesting idea that shows that in reality, the youth actually have a lot of emotion and humanity to them, more than what the government and general society implies. It serves as a contrast to the adults subjecting them to death, as well as the very few fucked up students that apply to be part of this event for fun. The idea that the majority of the youth are actually innocent, good-hearted, but just lost.

   There's a commentary here that shows the reality. That the youth are indeed lost, that sure they may not be the most productive and ambitious members of society; but who is at fault for that? Watching through the film, it almost made me uncomfortable to look at how society now is. To look at a film as violent and dystopian as this one, and see the very formations of its foundations within reality. What's interesting regarding this idea of Battle Royale, compared to something like The Hunger Games, is that these events within the story are not televised. It's a very private, tucked away idea. Only serving as more signs that the dystopian world these characters live within knows it's sick and won't even display this sickness to the rest. This is amplified by the ending screen, in which we see a photograph of the class together. The community they had, the friendships, the alliances that they formed in a time of struggle. Community was still very much visible and strengthened.

   All of this has you realise that the escapism is justified in such society. That the way of life and the rejection of what's considered a "norm" is a safe reaction to an otherwise ill structure. To reject it all is in fact a healthy option, even if the other options are not particularly healthy themselves. I think this revisit to Battle Royale sort of awakened me to the realisation of how bad things really are. And that perhaps the youth, who are if not more lost than anyone else, are actually also some of the healthiest by pursuing a different idea of enjoyment. That the insane tech dystopia calls them sick and unproductive while telling anyone who finds themselves depressed at it all that they should take medication and accept it. Well, I have a newfound appreciation for this film as a result. And I hope it doesn't continue to become relatable as the future years come. Perhaps I'll give the film an actual review. There's much more to appreciate about it other than its themes. I definitely recommend it if you haven't seen it.

   

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3. ›Battle Royale (2000) review: The Hunger Games before The Hunger Games.@richardalexis1224d

   Source

   

   Despite its greatest merit today being known as the obvious inspiration for The Hunger Games, Squid Games, and one of today's most important video game genres, Battle Royale is a genuinely quality film that manages to do a lot. things good, although a couple of flaws can slightly affect the experience it provides.

   Its premise is quite simple: 42 students are randomly selected to fight on a desert island, in the end, the only one left standing wins the right to leave it.

   The first half hour of footage holds up extremely easily, considering that its pace is fast, and there is something intrinsically interesting in the central conflict, as viewers we will be interested in the rules of the game, the narrative possibilities that they present, and at least in my case: we will try to understand why these young people are forced to brutally destroy themselves in a period of 3 days.

   Each student is given certain supplies: Water, food and a random weapon that could either be very good or very bad, they also have a "smart" necklace that can be controlled by the event organizers to end their lives in a random way. immediate if necessary, and, if the 3 days expire without a winner, kill them all.

   Although the structure of the battle royale is fascinating and gives us a good dose of action and tension, we regret that not only is it not capable of justifying its own existence with much sense (Beyond explaining in the opening sequence that it is a form in which that the Japanese government seeks to counter the horrible unemployment rates, something illogical and nonsensical from a logistical point of view), but that all the characters that are presented with a relatively main role, end up taking the limelight away from each other and making it difficult to support a specific one.

   For example, Tatsuya Fujiwara and Aki Maeda play Shūya and Noriko respectively, central characters within the plot and essential to understand the true intention of the film, in the end, we spend very little time with them and their triumphs and defeats do not cause no kind of emotional impact, something crucial in a story that seeks to be as violent and heartbreaking as it is.

   Beyond this, I think it's important to highlight the virtues of Battle Royale, not only because it contains a brilliant concept behind it (and makes a lot of use of it), but also because from a technical perspective it's very well done: The action is effective, it's easy to understand the magnitude and scale of the island and as I said previously it has a very good rhythm.

   The books, series, movies, and videogames that derived from this project understood this perfectly, taking advantage of the same ideas to tell new stories, or simply making us part of these survival adventures.

   Source

   It's not particularly deep, but ironically I feel that for this very reason it can help us understand a wilder area of our human nature.

   

   Source

   

   A pesar de que en la actualidad su mayor mérito es ser conocida como la evidente inspiración de The Hunger Games, Squid Games, y uno de los géneros de videojuegos más importantes de la actualidad, Battle Royale es una filme de calidad genuina que logra hacer muchas cosas bien, aunque un par de defectos puedan afectar ligeramente la experiencia que brinda.

   Su premisa es bastante simple: 42 estudiantes son seleccionados aleatoriamente para combatir en una isla desierta, al final, el único que quede en pie gana el derecho de salir de ella.

   La primera media hora de metraje se sostiene con extrema facilidad, considerando que su ritmo es acelerado, y existe algo intrínsecamente interesante en el conflicto central, como espectadores sentiremos interés por las reglas del juego, las posibilidades narrativas que las mismas presentan, y al menos en mi caso: intentaremos comprender por qué estos jóvenes son obligados a destruirse brutalmente en un lapso de 3 días.

   A cada estudiante se le otorgan ciertos suministros: Agua, comida y un arma aleatoria que podría o ser muy buena o muy mala, también cuentan con un collar "inteligente" que puede ser controlado por los organizadores del evento para acabar con sus vidas de forma inmediata si fuera necesario, y, en caso de vencerse los 3 días sin un ganador, matarlos a todos.

   Si bien la estructura del battle royale es fascinante y nos otorga una buena dosis de acción y tensión, lamentamos que no solo no es capaz de justificar su propia existencia con mucho sentido (Más allá de explicar en la secuencia inicial que es una forma en la que el gobierno japonés busca contrarrestar las horribles tasas de desempleo, algo ilógico y sin sentido desde un punto de vista de logística), sino que todos los personajes que se presentan con un rol relativamente principal, terminan quitándose el protagonismo entre si y haciendo que sea difícil apoyar a uno en específico.

   Por ejemplo, Tatsuya Fujiwara y Aki Maeda interpretan a Shūya y Noriko respectivamente, personajes centrales dentro de la trama y esenciales para comprender la verdadera intención de la película, al final, pasamos muy poco tiempo con ellos y sus triunfos y derrotas no llegan a causar ningún tipo de impacto emocional, algo crucial en una historia que busca ser tan violenta y desgarradora cómo está.

   Más allá de esto, me parece importante resaltar las virtudes de Battle Royale, no solo porque contiene un concepto brillante detrás (y la saca bastante provecho), sino porque desde una perspectiva técnica está muy bien hecho: La acción es efectiva, es fácil comprender la magnitud y escala de la isla y como dije previamente tiene un muy buen ritmo.

   Los libros, series, películas y videojuegos que derivaron de este proyecto entendieron esto a la perfección, aprovechando las mismas ideas para narrar nuevas historias, o simplemente haciéndonos formar parte de estas aventuras de sobrevivencia.

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   No es particularmente profunda, pero irónicamente siento que por esto mismo puede ayudarnos a comprender un área más salvaje de nuestra naturaleza humana.

   

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4. ›Battle Royale (2000): the original deadly game | el juego mortal original@cristiancaicedo1226d

   

   A Japanese dystopia with gore elements Una distopía japonesa con elementos gore

   MUBI has changed my life in a positive way. Before subscribing to this platform, I spent hours trying to find an attractive option for me on Netflix and Amazon Prime Video or trying to choose a movie from the dozens that I have stored on my hard drive. However, in recent weeks all I do is look at the alert that MUBI sends me with the movie of the day, I read two or three lines of the synopsis and I see it almost immediately (it has happened to me at least three times in the last ten days).

   MUBI me ha cambiado la vida de forma positiva. Antes de suscribirme a esta plataforma pasaba horas tratando de encontrar una opción atractiva para mí en Netflix y en Amazon Prime Video o intentando escoger alguna película de las decenas que tengo almacenadas en mi disco duro. Sin embargo, en las últimas semanas lo único que hago es ver la alerta que me envía MUBI con la película del día, leo dos o tres líneas de la sinopsis y la veo casi de inmediato (me ha ocurrido al menos tres veces en unos diez días).

   

   Poster

   That's how I found out about the existence of Battle Royale which, according to what I've read, is one of Quentin Tarantino's favorite movies and it's clear why. Directed by Kinji Fukasaku and written by Kenta Fukasaku based on the 1999 novel by Koushun Takami, Battle Royale is a dystopia with plenty of gore. At the dawn of the new millennium, Japan is on the verge of a social collapse: unemployment is high, millions of people are engaging in violent behavior, especially teenagers who seem to be ignorant of law and authority, not only attacking teachers within school but also not attending classes just because. Another social paradigm is added to the myth of childhood innocence: children are untouchable. So, how to control a mass that becomes dangerous for society if the government cannot fight it openly? It is there where the official adult minds use their power to promulgate a law known as "Battle Royale": every year, a ninth grade class from a school is chosen at random to be subjected to a cruel and violent game, only that now adolescents will have to discharge that violence against themselves and not against others.

   Fue así como me enteré de la existencia de Battle Royale que según he leído es una de las películas favoritas de Quentin Tarantino y está claro por qué. Dirigida por Kinji Fukasaku y con guión de Kenta Fukasaku a partir de la novela de 1999 de Koushun Takami, Battle Royale es una distopía con mucha sangre. En el albor del nuevo milenio, Japón está al borde de un colapso social: el desempleo es alto, millones de personas están desarrollando una conducta violenta, en especial los adolescentes quienes parecen desconocer la ley y la autoridad, no sólo atacando a los profesores dentro de las escuelas sino también dejando de asistir a clases sólo porque sí. Al mito de la inocencia infantil se le suma otro paradigma social: los niños son intocables. Entonces, ¿cómo controlar una masa que se vuelve peligrosa para lo sociedad si el gobierno no puede combatirla abiertamente? Es allí donde las oficiales mentes adultas utilizan su poder para promulgar una ley conocida como “Battle Royale”: cada año, un curso de noveno grado de alguna escuela es escogida al azar para ser sometida a un juego cruel y violento, sólo que ahora los adolescentes tendrán que descargar esa violencia contra ellos mismos y no contra los demás.

   

   The class | La clase

   Dragged to a deserted island, each student is given a backpack containing a surprise weapon, water, and some food to survive for the three days of the game, after which only one survivor must remain; If not, they will all die by means of an explosion in their collars controlled by the game monitor who also sends them a report every six hours with the casualties and with the danger zones on the island, areas in which... wait a minute, sounds familiar?

   Arrastrados a una isla desierta, a cada estudiante se le da una mochila que contiene un arma sorpresa, agua y algo de alimento para sobrevivir durante los tres días que dura el juego, al cabo de los cuales debe permanecer sólo un sobreviviente; si no es así, todos morirán mediante una explosión en sus collares controladas por el monitor del juego quien además cada seis horas les comunica un reporte con las bajas y con las zonas de peligro en la isla, áreas en que... un momento, ¿les suena familiar?

   

   Poster

   Squid game is one of the more recent antecedents of cruel games on the screen, but a decade or so ago there was a wave of dystopian stories starring teenagers that flooded movie theaters. Of all of them, most will remember the Divergent saga and the Maze Runner movie, but without a doubt many will have the idea that it all started with The Hunger Games. Curiously (?) all these stories were based on novels published around the year 2010 that had some elements in common such as survival through violence imposed by an institution, organization or in any case someone external to the perpetrators: the perpetrators are forced to involved in killing so as not to die. However, a decade before the novels by Veronica Roth, Suzanne Collins and James Dashner were adapted, in the Land of the Rising Sun Kinji Fukasaku created a stir with the adaptation of a novel that, seen today in retrospect, can be considered as the hunger games before the hunger games.

   Squid game es uno de los antecedentes más recientes de juegos crueles en la pantalla, pero hace más o menos una década hubo una oleada de historias distópicas protagonizadas por adolescentes que inundó las salas de cine. De todas ellas, la mayoría recordará la saga de Divergente y la película de Maze Runner, pero sin duda muchos tendrán la idea de que todo comenzó con Los Juegos del Hambre. Curiosamente (?) todas estas historias estaban basadas en novelas publicadas alrededor del año 2010 que tenían agunos elementos en común como la supervivencia a través de una violencia impuesta por una institución, organización o en todo caso alguien externo a los ejecutores: se obliga a los involucrados a matar para no morir. Sin embargo, una década antes de que se adaptaran las novelas de Veronica Roth, Suzanne Collins y James Dashner, en la tierra del sol naciente Kinji Fukasaku levantó revuelo con la adaptación de una novela que, vista hoy en retrospectiva, puede considerarse como los juegos del hambre antes de los juegos del hambre.

   

   William Golding's most famous book El libro más famoso de William Golding

   The similarities between the two stories are numerous and obvious (many pointed out plagiarism), but I prefer to focus on the aspects that stand out in Battle Royale. The story destroys the myth of childhood innocence in a similar way to William Golding in Lord of the Flies or Janne Teller in Nothing. As in the first of these two books, the young are thrown onto an uninhabited island (although in Golding's novel it was due to a plane crash) and as in Teller's novel, there is a psychological break in the characters and innocence turns into cruelty. Little by little, these children, frightened by the possibility of having to kill in order to die, begin to be carried away by violence, bloodlust and the most powerful instinct that human beings have: survival. We are quick to say that we would be incapable of doing something immoral, unfair or malicious, but really put in the situation, would our will be just as strong? Faced with another person who is going to kill you, would you let yourself be killed or would you survive at any cost? The dilemmas that the film unleashes in the viewer's mind are truly profound.

   

   The book | El libro

   Las similitudes entre ambas historias son numerosas y evidentes (muchos señalaron plagio), pero prefiero concentrarme en los aspectos que resaltan en Battle Royale. La historia destruye el mito de la inocencia infantil de una forma similar a como lo hace William Golding en Lord of the Flies o Janne Teller en Nothing. Tal como en el primero de estos dos libros los jóvenes son lanzados a una isla deshabitada (aunque en la novela de Golding haya sido por un accidente aéreo) y tal como en la novela de Teller, hay un quiebre psicológico en los personajes y la inocencia se convierte en crueldad. Poco a poco estos niños asustados ante la posibilidad de tener que matar para morir comienzan a dejarse llevar por la violencia, la sed de sangre y el instinto más potente que tenemos los seres humanos: la supervivencia. Somos rápidos al decir que seríamos incapaces de hacer algo inmoral, injusto o malicioso, pero puestos realmente en la situación, ¿nuestra voluntad sería igual de firme? Estando frente a frente con otra persona que va a matarte, ¿te dejarías matar o sobrevivirías a costa de lo que sea? Los dilemas que desata la película en la mente del espectador son realmente profundos.

   

   Scene from the movie | Escena de la película

   Compared to all those later dystopias, Battle Royale is bloodier. His scenes are closer to Kill Bill and Pulp Fiction than to the more "conservative" style of The Hunger Games. Gushing blood, severed and exploited heads, are some of the things found in the scenes of this film, as well as psychological breakdowns. One of my favorite scenes is almost at the beginning when a girl appears - the winner of the last call - bathed in blood, holding a doll in her hands and smiling in a macabre way (it's the presentation image of this post). The girl says nothing, but the scene is perfect and eloquent. Later in the story there are dramatic, violent, funny, romantic moments, plot twists, but nothing beats the impression that that girl's gaze and smile make on the viewer, especially since we are just beginning to understand what we are being told.

   

   Scene | Escena

   En comparación con todas esas distopías posteriores, Battle Royale es más sangrienta. Sus escenas están más cerca de Kill Bill y Pulp Fiction que del estilo más "conservador" de Los Juegos del Hambre. Sangre a borbotones, cabezas cercenadas y explotadas, son algunas de las cosas que se encuentran en las escenas de esta película, como también quiebres psicológicos. Una de mis escenas favoritas está casi al inicio cuando aparece una niña - la ganadora de la última convocatoria - bañada en sangre, sosteniendo una muñeca en sus manos y sonriendo de una forma macabra (es la imagen de presentación de este post). La niña no dice nada, pero la escena es perfecta y elocuente. Más adelante en la historia hay momentos dramáticos, violentos, divertidos, románticos, plot twists, pero nada supera la impresión que provocan en el espectador la mirada y la sonrisa de esa niña, sobre todo porque apenas estamos comenzando a comprender lo que se nos está contando.

   

   Chiaki Kuriyama

   That Tarantino loves this film doesn't surprise me, let alone discovering that one of the characters in Battle Royale is played by Chiaki Kuriyama (who three years later would play the deadly Gogo from Kill Bill Vol. 1). It is a story that despite not having the technological deployment that its successors could use (here the technology is a little more primitive) has elements that add value to the narrative. For those who see it, it will be inevitable to compare it with the dystopias that I mentioned before, but consider that this story was released a decade before all those others and that despite its similarities it has important differences that separate it from those youthful sagas. It's not a perfect movie, but it has a thriller, dystopia, gore elements, drama, some romance, reflections on life, death and crime and an endless ending that satisfied me, did any of you know this movie? and if not, would you see it? I read you in the comments.

   

   Poster

   Que Tarantino ame esta película no me sorprende y menos aún descubrir que uno de los personajes de Battle Royale es interpretado por Chiaki Kuriyama (quien tres años más tarde encarnaría a la letal Gogo de Kill Bill Vol. 1). Es una historia que a pesar de no contar con el despliegue tecnológico que pudieron utilizar sus sucesoras (acá la tecnología es un poco más primitiva) tiene elementos que agregan valor a la narración. Para quienes la vean será inevitable compararla con las distopías que mencioné antes, pero consideren que esta historia fue estrenada una década antes que todas esas otras y que a pesar de sus similitudes tiene diferencias importantes que la separan de esas sagas juveniles. No es una película perfecta, pero tiene thriller, distopía, elementos gore, drama, algo de romance, reflexiones sobre la vida, la muerte y el delito y un final sin final que a mí me dejó satisfecho, ¿alguno de ustedes conocía esta película? y si no, ¿la verían? Los leo en los comentarios.

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   Reviewed by | Reseñado por @cristiancaicedo

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   The Great Gatsby (1974, 2013): which adptation is better? |

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