Beyond Outrage Screen 13 articles

Beyond Outrage


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  • Outrage, Kitano’s 2010 return to yakuza mayhem, felt like a retreat: all creative violence all the time, with little of the offsetting beauty that made the carnage distinctive. And now he’s made his first outright sequel, Beyond Outrage, which is also, not coincidentally, the first Takeshi Kitano movie that could be called lazy.

  • Everything about the movie feels like the subtlest joke, as clichéd scowls compete for screen time with sleek luxury cars and ashtray-to-head pummeling. Kitano, a smart guy (and a compellingly blank onscreen presence), must intentionally mean for his characters’ tough talk to be this po-faced. Still, the film lacks any kind of human interest, relying instead on our inferred love of lengthy strategy sessions and displays of ruffled pride. When it comes to yakuza cinema, you can do better.

  • The apparent death of Kitano's protagonist Otomo, as well as the fact that the story made its point conclusively via an everyone-falls-down finale, suggests that Beyond Outrage was a redundant proposition from the outset. Still, it's somewhat surprising to find the filmmaker's sequel marked by such a lack of urgency. The action here seems dutiful, devoid of the indignation at criminal vileness that seethed below Outrage's surface.

  • In this relentless, insular sequel to Mr. Kitano’s 2011 hit, “Outrage,” actual physical violence is often less shocking than the scheming and betrayal that routinely shake up the traditional hierarchies behind these criminal enterprises.

  • Beyond Outrage is mostly identical to its predecessor... It's dreary stuff, especially since the idea of a bloody gangster farce as a metaphor for the disreputable conduct of legitimate corporations was established with much more subtlety in the first film, and has been done with far greater elegance in Johnnie To's recent spate of standout gangster sagas.

  • I quickly got lost in its labyrinth of clans, bosses, henchmen and cops, though I doubt my confusion was due only to festival exhaustion; not unlike Jean-Pierre Melville, Kitano deliberately sees crime gangs as interchangeable entities in an unending Möbius strip of tableaux shattered by bullets and knives. Even when applying a power drill to an enemy thug or making grisly use of a baseball batting cage, his camerawork is here at its most classical...

  • "Beyond Outrage" doesn't really go "beyond" in any sense except carrying the story a bit further. There are gruesome acts of violence, including a torture-by-drill, but for the most part Kitano seems content to expand on one of his biggest international hits by taking a page or two from Francis Coppola's "Godfather" trilogy.

  • Kitano's sequel, Beyond Outrage, trades the relentless momentum of the earlier film for a slow build-up of secret alliances and triple-crosses. As such, it lacks the urgent tension of the original, though Kitano's considerable gifts as a screenwriter and stylist—namely, his talent for staging violent outbursts and conveying narrative through elliptical cuts—are enough to sustain the film as a twisty, cynical underworld yarn.

  • A comedy of gangster manners. Kitano gets a lot of laughs (and good points) out of violence understatement as body disembodiment is just another day in the work for every character on sight.This is Like To’s Election 2 just a good deal funnier if still terrifying. Kitano’s gangster is the end of most jokes with his outmoded code of honor but Kitano the director pulls the trick of treat him very seriously without ever making his film fall to nostalgia for some mysterious good old times.

  • Beyond Outrage... is no less cynical or machine-like than its precursor, but it’s a lot tighter. It’s so pared down, so utterly businesslike that it takes on the inexorable logic of a scientific demonstration: it sets out its milieu, its players, the nature of the interacting forces, and then lets the mechanism run until all the factors are satisfactorily used up. It feels less like a drama than like a theorem working itself out.

  • For the most part the killings are quick and clean – like watching a lethal one-sided game of peek-a-boo (or should that be peek-a-boom?) – but occasional flashes of fantastically inventive Old Testament butchery prompted horrified groans and nervous laughter from the audience... As its title suggests, Outrage Beyond is bigger, slicker and shoutier than its predecessor, with a body count to satisfy the most voracious action fan and an ending that’s executed to absolute perfection.

  • A film with exactly two female minor characters, one of whom is a whore, Outrage Beyond is the most surprising and satisfying when it enters the arena of male emotional bonding (albeit involving some gory self-mutilation). The conclusion is extremely satisfying.

  • Once the nostalgic spectator accepts that the naturally melancholic Kitano will no longer simply repeat himself, she or he can enjoy the aesthetic pleasure offered by a film that follows the path traced by its predecessor, while downplaying both its action and humour in pursuit of a thorough refinement of the yakuza eiga.

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