The Third Murder Screen 4 articles

The Third Murder


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  • There are plenty of allusions to Kurosawa’s Rashomon in The Third Murder, as Kore-eda constantly blurs the facts around the film’s eponymous assassination, leaving one with the frustrating feeling the deceased’s young daughter Sakie (Kore-Eda’s regular Suzu Hirose) perceptively nails at the end of the film: “nobody here tells the truth.” Unsettling as it may be, the impossibility of knowing the real version (and motives) behind the crime is The Third Murder’s greatest merit.

  • Despite occasionally flashy moments, it’s a soberly told tale, emphasizing characterization and social critique. By the end, Misumi acquires a weary, radiant dignity, while entrepreneurial capitalism and the justice system are revealed as compromised... In moving to the sordid terrain of the crime story, The Third Murder shows that Kore-eda hasn’t given up his sympathetic probing of human nature and his praise for un-grandiose self-sacrifice.

  • Although there are only two dream sequences in Hirokazu Kore-eda’s The Third Murder, their jarring appearance produced such chills in me that I nearly felt sick. An endless lucid nightmare, The Third Murder buries itself deep into the law from the beginning to the end of a murder trial with so many turns that justice itself begins to feel as numbing and sunken as a bottomless pit.

  • Koreeda uses the momentum of the genre to an unusual end, rejecting a satisfying conclusion for a complex moral conundrum... Sleek and suspenseful, deceptive and profound, The Third Murder is an artful addition to the canon of modern-day crime drama, one whose core mysteries encompass more than just the case at hand.

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