Violent Cop (1989) User Reviews (59)

Uncompromising, Relentless, Ultraviolent Cop - Kitano's Brilliant Debut Is Dirtier Than Harry Ever Was

[Witchfinder-General-666 · 8/10 · 2 January 2009]

There is no doubt in my mind that Takeshi Kitano is one of the greatest cinematic geniuses alive, and his nihilistic 1989 directorial debut is a fantastic proof for that. "Sono otoko, kyôbô ni tsuki" aka. "Violent Cop" is one of the rawest, most uncompromising cop films ever made, and, at the same time, arguably one of the most promising debut films ever delivered. Due to its 'unorthodox cop' premise, the film is often compared to films like the "Dirty Harry" series or "Bad Lieutennant". The stone-faced and irascible copper Azuma (brilliant performance by director Kitano, under his acting name 'Beat Takeshi'), is ten times dirtier than Harry ever was and incomparably more ruthless than the Baddest New York Lieutennant. Azuma could even give the ultra-unorthodox coppers in 70s Italian Poliziotteschi flicks a lesson in police violence. At least most violent cops in 70s exploitation cinema did what they did to protect society from scumbags, whilst Azuma does it out of anger, and he does not even bother asking questions before beating confessions out of criminals. Honestly, "Violent Cop" beats everything in the copper-flick field in its incredibly nihilistic premise, and yet it finds the time for slower moments, and Kitano's typically absurd and ingeniously black humor.

Detective Azuma (Kitano), and irascible homicide detective hates the criminal as he hates the crime, and he does not attempt to hide this attitude. His unorthodox methods, which include the severe beating of suspects, have caused him trouble with his superiors in the past, but Azuma does not seem to care. When ruthless Yakuza gangsters make things personal, they have to realize that they might have made an enemy whose relentlessness easily equals theirs...

I would love to further discuss the film's ingenious plot, but I do not want to spoil anything, as every true film lover should be able to experience the greatness of "Violent Cop". Unlike Kitano's other films, for which Kitano himself wrote the stories, this film is an adaptation of a novel by Hiashi Nozawa. Kitano's work, however, is ingenious, as screenwriter, director and leading man of this film. There is no other director who is capable of combining brutal nihilistic violence, tragedy and (black) comedy as effectively as Kitano does. Asked about the violence in his films in an interview, Kitano himself has once stated that nobody could possibly want to reproduce the violence seen in his films, simply because it is painful to look at. And it is true, hardly another director makes the pain caused by the violence as obvious as Kitano does. Kitano has a unique stamina when showing violence, which makes the viewer almost feel the pain. I don't want to spoil anything by giving an example - see this film and know what I am talking about. At the same time Kitano always has moments that are absurdly comical. As all Kitano protagonists, Azuma, even though an irascible and violent man, has a very odd sense of humor. His response to a barmaid's question what he does for a living is just one example for that. Also in a typical Kitano-manner, the film takes the time for slower parts in-between, like Azuma crossing a bridge for example.

Kitano is as great as leading man as he is as director here. His stoic performance as Azuma is brilliant. The stone-faced copper always has a poker face, but it is nonetheless obvious that he is boiling in fury - how many other actors could be predestined for a role like this as Kitano is. No one, in my opinion. It is Kitano's performance which carries this film, and yet the other performances are also excellent. Hakuryu is particularly excellent as a sadistic Yakuza hit-man. Maiko Kawakami is also very convincing as Azuma's mentally disturbed sister. The rest of the cast includes several great character actors who have since become regulars in Kitano's films, such as Ittoku Kishihe as a Yakuza boss or Makoto Ashikawa as Azuma's young colleague. Lovers of Italian cult-cinema, by the way will be delighted to see a scene in which Kitano brilliantly pays tribute to Sergio Martino's Giallo "La Coda Dello Scorpione" (1971). "Violent Cop" is greatly shot and accompanied by an insanely brilliant score. Kitano's use of music in his films is another part of his brilliance, and really has to be experienced instead of explained.

All said, "Violent Cop" is a unique cinematic experience that must not be missed. Ultraviolent, nihilistic, sometimes slow in detail and more often fast and incredibly raw, brutal, sometimes tragic and sometimes oddly comical, this is the uncompromising masterpiece that marks the beginning in the cinematic career of one of today's most brilliant filmmakers. And, apart from his unmatched 1997 masterpiece "Hana-Bi" (aka. "Fireworks"), Kitano's debut still ranks among his greatest accomplishments. A true must!

Dirtier Than Harry

[TheFilmGuy1 · 8/10 · 22 July 2014]

This is Takeshi Kitano's directorial debut, and damn, it's a good way to open a directing career. Violent Cop is a film about, well... look at the title. While it may not be 100% in the style that Kitano's later films are, you can see many aspects of his later films were started.

Kitano plays a cop who goes above and beyond when it comes to the kind of wild things that Dirty Harry did. He's an even looser cannon than Harry, and that's saying something. Kitano plays the role well, doing his usual stoic face act. He comes across as quite scary and threatening. All the other side characters do a good job too.

Visually it does a lot of the things that Kitano is known for. Long shots, close ups, interesting editing, etc. You can see the foundation of Kitano's later films within this one. Now since this was his first attempt at directing, it can occasionally feel a bit slow. When I was about half way through, it felt like I had been watching for longer. Also the plot can be a bit confusing at times. Scenes occur that sometimes feel like they didn't have a lot to do with the main plot, or characters appear that you aren't exactly sure if you have seen briefly before or not. Kitano's later films tighten up the plot for sure, so I understand that this one is a little bit more rough since it's his first directing gig.

Over all, it's an interesting tale of a loose cannon cop. If you're a fan of Kitano and haven't seen it, check it out. Also watch it if you are in the mood for an unique Japanese film or a movie that shows that late 80's/early 90's vibe, because this movie certainly has that.

Detective Pitiless

[kluseba · 8/10 · 10 April 2019]

Violent Cop is the first directorial work of comedian and television host Takeshi Kitano. He wasn't even supposed to do this job but when the initially hired director pulled out of the project due to scheduling conflicts, Takeshi Kitano took over and rewrote large parts of the script in the process. People must have been surprised when this film was initially released because it has nothing to do with Takeshi Kitano's quirky, funny and entertaining shows throughout the seventies and eighties. Violent Cop does its title justice and is brutal, cynical and nihilistic. It is often compared to the Dirty Harry franchise but while the titular hero of the American franchise is able to keep his cool, Takeshi Kitano's main character is unstable, unpredictable and pitiless.

Takeshi Kitano plays brutal veteran detective Azuma who doesn't show much respect for his superiors, colleagues and rookies. He treats criminals the way they would actually treat their victims. The opening sequence is quite revealing in that regard as the detective follows the leader of a group of teenagers who beat up a helpless old man and proceeds to beat him up in his parents' house. The only person this detective seems to care about is his fragile sister who spent time at a hospital to treat a head injury. Once we are introduced to the detective's life, the actual plot unfolds. The detective discovers that his partner is involved in drug trafficking but before he can conduct further investigations, his partner is found hanged under a bridge. Azuma understands that the suicide had been staged and tries to track down the boss of the drug trafficking ring by any means necessary.

The cinematography of this movie is very experimental and foreshadows Takeshi Kitano's later works. The movie has few dialogues and especially the main character prefers to use his fists before asking any questions. The movie features long moments of silence and static camera work before they are interrupted by hectic sequences and brutal acts of violence. The movie is quite brutal indeed and the body count rises quicker and quicker as the film progresses. Innocent bystanders get killed, a helpless homeless man gets beaten to pulp and even a pitiful woman gets executed. The film's conclusion is particularly cynical and nihilistic but offers an unexpected twist and some food for thought.

Fans of Japanese V-cinema and enthusiasts for brutal yakuza movies will adore Violent Cop. It has an intriguing atmosphere, unusual characters and lots of violence. Despite its cynical, nihilistic and pitiless attitude, the movie is never shallow and actually offers some food for thought. The film has aged quite well and shows the dark side of Japan's society.

Early Kitano classic

[FilmFlaneur · 21 March 2002]

When, in 1988, director Kinji Fukasaka walked off ‘Violent Cop/Sono Otoko, Kyobo ni Tsuki' at short notice, TV chat show host, author, actor and comedian Takeshi Kitano stepped in to take over. Few expected much out of the ordinary. What audiences saw instead was the unheralded arrival of a major talent. Yakuza flick auteur Fukasaka had already lined up the script, and the project was well underway when Kitano (nicknamed ‘Beat') assumed creative control. Hence the final film, although clearly part of the director's oeuvre, lacks some elements making his later work so distinctive. But here already are the moments of stillness and sudden violence, the therapeutic view of the sea, the touches of surreality, as well as the shambling tension of Kitano's own presence which have since marked him out as one of Japan's leading directors.

Outside of tinkering with the finished result, Kitano had little to say about Hisashi Nozawa's script with which he was working. After this experience, the director took to frequently writing his own films, notably ‘Sonatine' (1993), ‘Hana-bi' (1997) and the American set ‘Brother' (2000). In his first film he was confronted with a story that had vague echoes of such tough police procedural thrillers as ‘Dirty Harry' (1971) as well as being predicated around the Nipponese Yakuzi revenge drama.

Police Detective Azume (Kitano) is the morose, violent cop of the title, who became a detective `through friends', constantly in trouble with his superiors for roughing up suspects. Like Siegal's Inspector Harry Callahan, at times he is virtually indistinguishable from the crooks he persecutes. `We sell guns' he jokes convincingly at one point to a bar girl who as asked what he and his partner do for a living. Even the dialogue supports an analogy: `Write a mitigating statement' demands Azuma's boss. `The usual'. `I want some drugs' says someone later on: `What sort?' `The usual'. Like Siegal's anti-hero, too, his life is subject to personal trauma: Dirty Harry's wife was killed leaving him an embittered loner, while Azume's sister is mentally deficient. (This seam of personal grief also informs the later ‘Hana-bi', where, again playing a police inspector Kitano learns his wife is terminally ill). There's another resemblance to ‘Dirty Harry' in that Callahan has his ‘double' in the killer he so obsessively hunts as Azume's brutality and callousness is mirrored by the yakuza assassin Kiyohiro. Although sworn to each other's destruction, the fate of each is inexorably intertwined, and their moralities blur.

Loyalties are no clearer elsewhere. Azuma discovers that his friend and colleague, Iwaki, is supplying drugs from within the police force. Helped in his investigation, he has a new partner, Kikuchi, to whom he acts disdainfully, borrowing money and offering little advice or friendship (in the Dirty Harry films there are a stream of ‘partners' Inspector Callahan rejects and abuses.) By the end of this film however, Kikuchi steps neatly into the shoes left by the deceased Iwaki, and the film ends on the busy typewriter in the new drug baron's office. Business is carrying on as normal after the `craziness' of the Azume-Kiyohiro feud, and the struggle between cop and gangster has been a temporary, personal aberration.

As can be deduced from this description, none of the plot is particularly fresh. What makes the film remarkable is Kitano's handling of the material and his own impact as an actor on screen. Some viewers have identified an alleged ‘dullness' in the film, better viewed as Kitano's distinctive way of distributing tension. For instance Azuma and Kiyohiro stare at each other, at length and in silence, three times during the course of the film. In each case one or both of the characters is presumed close to the point of death. Such contemplation in extremis is hardly a dull moment, more a reflection of the personal honour at stake and of the gravity of the encounter. When violence does erupt, it is explosive and sudden – made more so by the mute suspense of the preceding scenes. Whether sudden and unexpected (the schoolgirl's head struck by a stray bullet as Azuma and Kiyohiro struggle in the street), or extended and moody (the struggle between the cop and the escaping drug dealer armed with a baseball bat), Kitano's presentation is stylised and arranged. Its another hallmark of a director whose formalism can be seen as one characteristic of the best Japanese cinema.

Previously only familiar to western audiences through ‘Merry Christmas Mr Lawrence' (1983), Kitano the actor often has a glum determination about him, entirely in line with the roles he sets himself to play. For home audiences, more used to seeing him as a TV host, the effect of his cop film must have been disturbing, to say the least. (Azume's coldness is cracked only one occasion, when he is taunted into rage about his sister, as even the death of Iwaki has no visible effect on him.) The effect must be roughly akin to seeing UK's Noel Edmonds or USA's David Letterman playing ‘Popeye' Doyle. Arguably, the violence of ‘Violent Cop' is on viewer preconceptions as much as the criminal fraternity. Recommended.

Violent Cop? They weren't kidding...

[mondo_kane · 7/10 · 10 August 2005]

I love Takeshi Kitano. There I go, outing myself again (in a cinematic sense at least). Seriously, I could watch this guy all day - even in that dross JOHNNY MNEMONIC. If he didn't exist, you'd have to invent him. He looks perfect - like some eternally world-weary tough guy... with his constantly frowning face and slight limp, you really get the idea the world tried to chew him up but he was just too hard to swallow so it spat him out. And here in VIOLENT COP it's just perfect.

Takeshi plays Azuma; an old-school, hard-boiled cop. He's undiplomatic, tactless, rude, and liable to try and solve problems with his fists. Within the first five minutes of the film we see his methods in action as he deals with a local juvenile delinquent - he just walks into the kids house, bluffs past a concerned mother and proceeds to beat the hell out of the kid. He leaves with a promise to come back if the kid doesn't turn himself in, convincing you that he might not be a nice guy, but he sure gets results.

Azuma, being one of the older cops in a precinct filling up with young hotshots who want to make their names busting mobsters, is a loner. Suddenly dumped with a green-about-the-gills rookie for a partner, Azuma pulls out all the stops to prove how his "methods" and desire to remain a solo cop are correct. He takes advantage of the youngster, bumming money off him and embarrassing him in public, and openly planting evidence as they try to break up a local drugs ring. When a whiff of massive police corruption rears its head, you already know this is going to end badly, considering Azuma's rough brand of justice could never be bought off.

He does have a redeeming side though, in his care for his younger sister, recently released from a hospital and living in a childlike state of obliviousness. He plays the caring big brother to the hilt - right down to roughing up some guy he finds in bed with her one afternoon (I challenge anyone not to laugh as he clouts her randy suitor into his clothes, down the stairs, up the street and right to the bus-stop). Another great sequence features Azuma's take on solving a domestic abuse case - he beats the aggrieved girl's boyfriend up in the stationhouse corridor, telling him he should respect her more between kicks. As you can imagine, his commander hates his behaviour, and several scenes revolve around his less-than-clean methods.

While the first half is quite humorous in a dark way, things become blacker and more nihilistic when Azuma's sister is kidnapped by the local drug pushers. Almost like a ship losing its anchor, he goes right over into the shadows and stops slapping people about and starts shooting them, all leading up to a desperately grim conclusion, with a cynical twist that is at once sickening and almost completely expected.

VIOLENT COP is an unflinching movie, it does not shy away from showing the audience some pretty grim scenes, and sometimes while the repeated cloutings he gives the scum of the city are amusing, they often continue into a more sadistic vein. By the end, this demon in Azuma comes full circle and once unleashed cannot be put back in its bottle. The movie is unsettling, and it creeps up on you suddenly, stopping any laughter in its tracks. It's a dark movie, broken up by moments of tranquillity and humour despite the harsh reality it takes place in.

While VIOLENT COP might not be everyone's cup of tea, it certainly is a great, hard-boiled crime movie. Just don't be too shocked when it takes its inevitable trip into bleak seriousness. This movie is called WARNING - THIS MAN IS WILD in some parts of the world, and in this case, they really are not kidding.

Masterful exploration of nihilistic violence

[contronatura · 10/10 · 20 February 2000]

A shallow description would refer to this as a Japanese version of Dirty Harry. And it does bear some resemblance to that film, but while Dirty Harry broke the rules in order to get a criminal at any cost, Kitano's character Azuma seems to seek vengeance due not only to his lust for revenge but because he's psychotic. There's a sense that Azuma won't rest until he gets his man not out of duty but out of madness. Kitano gives what might be his best performance in this film; he is absolutely riveting. And the film itself is beautifully shot, and the score is especially good. But the best part of this is perhaps the end - the film ends on a perfectly cynical note that couldn't be topped. Seek this out.

violent curiosity

[GyatsoLa · 7/10 · 1 September 2007]

I find it very difficult to rate a movie like this, as most of its interest is in who made it and how it points to his much superior later movies like Hana-bi. The script here is obviously just a standard actioner - the usual elements we've all seen a million times are there, the hard man cop with his innocent rookie partner, his one weakness (in this case, his sister), his 'no nonsense get things done attitude'. But this being Kitano, its full of mysterious, compelling scenes that in themselves often don't often make sense. The ending was never really in doubt, but the fascination of Takeshi movies is how he gets there. There really is nobody out there making movies quite like him now - such weird blends of Japanese sensibility, American action tropes and European art movie editing and camera-work. It shouldn't work, but somehow it does. Violent Cop is nowhere near his best work so I wouldn't recommend it to anyone curious about watching it, but its certainly worth a view for those who have seen his later movies and want to explore his strange vision of the world.

A landmark in Japanese cinema

[simon_booth · 10/10 · 17 March 2002]

Rewatching Takeshi Kitano's debut feature, it doesn't have quite the same impact it did when I first saw it some years ago, my introduction to the murky world of Kitano. Partly that's because so much of the movie does depend on shocking you, on defying your expectations and throwing surprises right in your eye. Mainly violent ones The violence in the movie is a sharp contrast to HK's Heroic Bloodshed - here, it comes suddenly, brutally, painfully and not necessarily to those who deserve it. There are no heroes here.

Given that this was Kitano's first job as a director, and that he wasn't even meant to be the director originally, his distinctive style is surprisingly recognisable from the start. The way scenes are filmed, the characters, the dialogue, the soundtrack and of course the violence are all very Kitano. Definitely a man with a vision, and a big influence on the development of Japanese cinema since he made this movie.

Violent Cop is a bleak movie... unrelentingly so in fact. It goes straight into the bowels of humanity and has no shame in showing you what it finds there. Tremendously nihilistic! Not Kitano's best film, though it was the one that did have the biggest effect on me when I first saw it. Movies like Sonatine, Hana-Bi and even Kikujiro all refine his style a little more. Violent Cop is still an important movie in the history of world cinema.

Sadly, such an important movie has been brought to the US market on what is quite possibly the worst DVD I have ever seen - to get such a messed up picture they must really have had to try hard. Almost painful to watch. I had been hoping that the recently released UK DVD would correct this state of affairs, but apparently it's just as bad or even worse. So sad, so sad!

Another classic from Takeshi Kitano...

[benz0325 · 7/10 · 28 December 1999]

Having seen both Sonatine and Boiling, I just saw "Violent Cop on DVD. Kitano gives another stoney-faced, high-voltage performance as Azuma. The slow pacing in this case intensifies the tension and bursts of violence in the movie. Azuma's close and caring relationship with his sister adds the emotional charge to this movie. Highly recommended to fans of this genre.

Kitano's early effort just doesn't seem to work

[economically_deficient · 8/10 · 14 July 2010]

I admit, I have fallen prey into appreciating, respecting, and even loving the style of Takeshi Kitano. With "Brother" being my first Kitano film, it was slightly difficult for me to get into his awkward directing methods. Long takes of characters moving (or sitting, or standing) lifelessly, sudden bursts of graphic violence, occasional humor, strange editing techniques, etc. It took me a while to fully appreciate his way of telling a story and developing his characters. Eventually, once I realized how it was meant to be I simply got hooked. Kitano has definitely set a name for himself as a respected filmmaker in Asian Cinema and film-making itself.

All the ass-kissing aside, I decided to check out his early stuff to see how it all started. And I must say, Violent Cop came out as a disappointment to me.

In fact, if it wasn't for a few interesting scenes and the Kitano flavored direction, I'd say it was downright HORRIBLE.

So where do we go from here? Well, I've barely seen any of Kitano's usual comedic routines in Japan, so I was able to take him seriously in this film. That's a start.

I'll try summing up what I think went wrong with this film: Kitano got a hold of a director's position for the first time, but got too excited and smeared the whole film (nervously) with his own style.

That's how it feels like watching Violent Cop. It tries too hard to be different (not saying being different is a bad thing, but it certainly feels forced in this one). I understand this was Kitano's very first effort in directing (he even acknowledges in an interview that he truly dislikes this film), but if you're more into his recent work (or anything after Violent Cop really), there's a high chance you'll be disappointed.

"The Cons": The BIGGEST issue I have with the whole film isn't the direction (it's not bad at all), it's the freaking script. The story almost goes nowhere. I had a hard time telling why many scenes were in the film (especially by the second half). It feels like they were there for the sake of being there. Maybe I'm wrong, or I don't grasp the whole "art" behind it, but it certainly felt very sloppy in this one. Don't get me wrong, the story has its moments, and it's not much confusing, but there's too much focus on the most unnecessary of things.

"The Pros": Now that I've vented my frustration with the film... The presence of Kitano's direction make up for the whole messed up script. I find the opening shot to be bizarrely riveting, and traces of the Kitano directorial spice which eventually evolved into much better films are to be found in Violent Cop. The characters were quite believable (Kitano does shine as always with showing very little emotion-besides rage, of course), some were creepy, some just really messed up (I felt truly sorry for the main character's daughter), all in all a decent acting effort. The violence was pretty satisfying, too. Also, the film contains probably the single most awesome foot/car chase I've ever seen (don't get your hopes up, though); seriously, as these mainstream films try their best to make it "breathtaking", Kitano captures it beautifully in this one. The slow music, the way we see them running from the strangest angles, the whole scene lasts over ten minutes, and it's simply really damn cool!

In the end: Check it out, it won't hurt. Though, if you've seen any of Kitano's other films then prepare to be somewhat disappointed. If you're starting out with him, I suggest you seek out a different title instead (perhaps Sonatine or Brother).

interesting in spite of itself

[Lumpenprole · 6/10 · 5 June 2002]

Not much here as far as a story goes. It's a standard dirty cop movie that's got the requisite Yakuza flick blood, blood, more blood, guns, drugs and gang rape. There isn't a single character or situation that doesn't have a well-worn precedent the Dirty Harry or HK Triad genres. The ending is quite bleak. Of course, Kitano had nothing to do with the cookie cutter script and this was his first effort directing.

That said, it's really interesting to see it because it was Takeshi Kitano's first time directing. It was a pleasant surprise to see the way that Kitano handled the scene where his character confronts a crooked vice cop who was once a close friend. Instead of impassioned, cliched speeches we can all recite by heart, Kitano shows them sitting down together at a restaurant for a confrontation. We see them through the windows, from across the street. There is a sense of time passing as cars flash by and the camera lingers on their impassive faces. They might be saying the words we all know - it's just not necessary for us to go through it again. Instead Kitano makes the moment personal for them by backing the camera out the window and across the street, as though respecting their privacy. By showing the two at ease like that, Kitano probably created a much stronger sense of a broken past between the two men than if he had shown them shouting about who had `changed' since they were kids or something.

There are choices like that made throughout the film. It's interesting to watch for Kitano's style in such an unoriginal movie. Particularly his sense of how long tension can last.

Also, I happen to think that Kitano's acting is almost always worth watching. He's fun and always full of potential. Like Christopher Walken in Pulp Fiction or O'Toole in almost anything - you never know when he's going to say or do something utterly insane. Violent Cop is so by-the-numbers that it's not too hard to figure out what's coming next, but he has some moments. Or maybe I just like seeing him slaughtering people like in Gonin.

Sticks with you long after the credits.

[bakergarrett · 8/10 · 2 December 2021]

Takeshi Kitano is an all-star of Japanese cinema, and violent cop is his directoral debut. Kitano stars in the movie and is fantastic playing the title character in a way that is both scary and intimidating but also sad and extremely pathetic. The way this movie is shot is really striking and if you can get through some slower moments I promise you, it will not disappoint in the slightest.

I find it dissapointing that Kitano himself, doesn't really like this movie, cause I think it's great.

Hard to watch, beautiful to watch

[dromasca · 7/10 · 18 January 2004]

Warning - possible spoilers!

My IMDB research tells that 'Violent Cop' is the first directing work of Takeshi Kitano, one of the personalities of the Japanese film industry. I have not seen any of his other films, but I am now very curious to do it. If this is a debut film, then the following works may be very good indeed.

This is a story and a film not for the weak too watch. If there was a triple R rating for violence this film would have gotten it, and Terentino seems to have seen it before doing some of his tough stuff. The main character is really as violent as the title says it, but he also has the moral integrity in fighting crime that places him on the good side of the balance, and will lead him to an inevitable dark end. You can look at the film as a moral commentary like 'violence leads to violence, even if it is done in the name of a good cause' or as a tough social comment on todays Japan moral and social structure. To illustrate this - in the last scene the new cop is seen talking with the new mafia boss - 'Peace' has returned and the world is back to 'normal' - meaning corruption and crime leave peacefully among us.

The film has some astonishing camera takes, and a remarkable soundtrack. Despite its beauty it is not easy to watch, and not only because of the graphical violence. Too many characters compete on the screen and seem to disappear before making any point. Some scenes lack elementary logic (e.g. how can a cop get into the office of the mafia boss with a weapon and gun down the chief mafioso without any of the guards showing anything but Japanese serenity?). These downfalls prevent the film from entering in the best marks area, and it gets only a 7 out of 10 on my personal scale. However, I will look for this artist's later work - this is sure.

Boring Cop.

[gridoon · 3/10 · 25 March 2004]

What is "Violent Cop"?

A: A boring, ridiculous B-movie (bang-bang, you're dead) masquerading as "art"?

B: A pathetic attempt to jolt the viewer out of his lethargy by repeated shots of graphic violence (mostly heads splattered)?

C: A test by Kitano to see how long he can keep his camera still on his expressionless face, without giving us any insight into his character (apart from the fact that he's a cop, and he's violent)?

D: All of the above?

The choice is yours. But one thing is for sure: by the time (SPOILER WARNING) Kitano gets hit by the 15th bullet or something and still doesn't fall down, it was clear that my second experiment with his films (after the equally awful "Brother") will probably be the last.

For a couple of good scenes (the foot chase and the confrontation on the roof of a building), I give "Violent Cop" *1/2 out of 4.

The Trapped Knife

[robotman-1 · 29 June 2001]

Kitano cripples the senses and jars the nerves in his films. This is a movie about a two-fisted cop whose blunt face and cliff's edge personality drive every scene, even the ones Kitano is not in. Kitano's character is not reacting to a violent world, but infecting it with his own brand of violence. The "violent cop" has lost his hope, therefore he fears nothing.

Kitano as director gives us a real world of humor and interaction. Events happen, there's no plot. Every scene has this pulse that is raging, the characters even when still seem kinetic as sprinters. Punches, kicks, and bullets explode bodies. Kitano's character clashes with a psychotic hit man, but it is Kitano's cop who is out of control, unstoppable in his desire to inflict justice as he sees it.

There's scenes which cannot be forgotten: Kitano's cop

interrogates a punk drug dealer in a club rest room. These two actors go through a scene in which Kitano slaps this man over and over until he talks. The difference is that Kitano is really slapping this actor, and slapping living hell out of him. Cringe-worthy, and up there with one of the other scenes that illustrates what a hard man Kitano is: stabbed with a knife, Kitano grips the blade as it comes out of him, clinching his fist down on it so he cannot be stabbed again. Blood pours out from between his fingers, he cannot let it go because his fist and knife are one; Kitano understands the brutality of the fight, the reality of two men trying to kill each other, no quips, no words, no yells or curses, just blood and rage; cut to the bone, it's the way the whole film makes you feel.

As far as the recent BROTHER is concerned, it makes perfect sense for Kitano to use similar themes seen in his earlier films. BROTHER is Kitano's first real attack on American audiences. They, en mass, haven't seen his stuff, and if Kitano's going over old ground, he's doing it in HIS style. Better a retread Kitano than most of Hollywood's slobbering star-cramped idiocy.

A developing Kitano.

[thewarriors-13368 · 7/10 · 10 June 2021]

Although known for his humour throughout Japan, Kitano's films are often cynical, but his own directorial flavor is what makes these films more than just "edgy". Beat Takeshi's unique method of filming, editing and acting creates a style and feel distinct to only Kitano films. Violent Cop is his first attempt at being a filmmaker, and it's one of his most cynical story, although, compared to his later films like Sonatine or Fireworks (with Sonatine being my favorite of his), this one feels cynical for cynical's sake, especially with its ending, and therefore lacks the rewatchability of said titles.

Unlike most directors who have to go through quite a few films before figuring out their own thing, Kitano's unique style is already visibly present throughout his directorial debut, so for Kitano fans, this will still scratch that itch for the melancholic cynicism that only he can deliver, but with a script that lingers on a bit longer that it needed in certain places, the film is far inferior to his later works. Worth a watch, but not if you're not already a Kitano fan.

Cold, gritty, and disturbing

[Leofwine_draca · 8/10 · 27 November 2016]

Beat Takeshi was best-known as a television host (see, for instance, TAKESHI'S CASTLE) when he made his mark with this violent cop thriller, best seen as a Japanese version of the classic DIRTY HARRY films. VIOLENT COP is an odd, unconventional movie that should be virtually unwatchable, due to long periods of inaction and a total lack of music in the production. Instead, it flies by at a speedy pace and often proves to be unmissable viewing.

Takeshi himself, typically stony-faced and taciturn, presides over the film as the violent cop, although the true violence of his character isn't revealed until the film's conclusion. Many scenes see him going about his duty, slapping the heck out of drug dealers, abusive husbands, and minor thugs, before things take a turn for the darker in the last half-hour of the movie. The last part of the film sees Takeshi tangling with a ruthless assassin, setting the scene for a truly nihilistic conclusion that bears more than a passing resemblance to the Shakespearian tragedies of old.

Violence is hard-hitting and gruesome; the worst scene for me is when the lookout cop has his head shattered with a baseball bat. But the ending, with its "everybody's crazy" coda, makes for very uncomfortable viewing, and the final shot – revealing that a rookie cop has become corrupt as all the rest – makes one question the value of humanity. Cold, gritty and altogether disturbing, VIOLENT COP is a film as ruthless as Takeshi himself.

Walk this way...

[keirondarbyshire · 6/10 · 25 March 2023]

If you like to watch walking, then this is the film for you.

Watch Takeshi walk over a bridge.

Watch Takeshi walk up steps.

Watch Takeshi walk past cars.

Watch Takeshi walk on a street.

Yup, endless slow scenes of Takeshi walking.

Now I like walking as much as the next man, but there's a time & a place.

If it's meant to add to the scene, I'm not getting it.

I don't mind arty takes that add something to the story, but I'll hazard a wild guess that out of the one hour and forty minutes of film, about twenty minutes if it was... watching Takeshi walking haha.

If only they'd have jazzed it up & bit, maybe stick him on a push bike?

Kitano's masterpiece number 1:it is the method which counts when cops deal with hoodlums.

[FilmCriticLalitRao · 10/10 · 10 July 2007]

Violent cop is an excellent film in the league of cops versus hoodlums genre.What is amazingly unique about it is that even though maverick master Kitano has always maintained close proximity to the sphere of Japanese Yakuza gangs,he has nevertheless been able to portray a concise,crisp,candid vision of the sordid milieu of the Japanese cops. While watching it,I was mesmerized by its mellifluous soundtrack which has some of the most haunting effects ever recreated for a film.As far as similarities with Dirty Harry are concerned one must look at that aspect from cultural point of view.In Kitano's film there is good deal of respect for family relations. I don't know whether the same holds true for Eastwood's film.It can be said that those liking this film will be impressed by one of its opening sequences which best exemplifies the notion that the method adopted is acceptable if the results achieved are satisfactory. All in all this film is a decent commentary about the sorry state of affairs of Japanese police system which is not at all different from those of other countries.

Stepping stone for better Beat movies

[jordondave-28085 · 6/10 · 30 October 2023]

(1989) Violent Cop (In Japanese with English subtitles) CRIME DRAMA THRILLER

Co-written (uncredited) and directed by "Beat "Takeshi Kitano as he plays cop, Azuma living with his disabled daughter, Akari (Maiko Kawakami). Who him and his partner, Kikuchi (Makoto Ashikawa) eventual clash with gangster, Nito (Ittoku Kishibe) leading to the inevitable.

Beat Takeshi's directorial debut which is not bad which is a Takeshi's own version of "Dirt Harry". I didn't quite understand this film upon seeing it, for this film cannot be watched for it's story, and has to be looked at more for it's situations of what Beat would do in whatever situation!! It has a low budget kind of feel to it!.

Awesome Japanese cop film!

[gangstahippie · 9/10 · 31 August 2007]

Rated NR(would be Rated R for Strong Violence,Sexuality and Drug Content)

I have seen Violent Cop twice on IFC.I must say it is an excellent movie and if you get the chance to watch it, do so!.Its one of the greatest non-anime films to come out of Japan.Apparently, the main star,writer and director of this film Takeshi Kitano was originally a Japanese comedian.If that's true, then he did an excellent job in playing a serious role.The acting is excellent.I saw this film a while ago so I don't remember the storyline very well but I remember it has a deep story,great performances and a powerful ending.If you can find this film or watch it anywhere, I recommend you do so!

The Japanese Harry Callahan

[Groverdox · 7/10 · 17 June 2023]

The man formerly known as "Beat" Takeshi Kitano has had one of the strangest career arcs in show business. He started as a comedian who did acting on the side, and went on to host "Takeshi's Castle", a whacky gameshow that was successful enough to make him known in the west.

With "Violent Cop", the first movie he directed, Kitano made a brutal break from his comedic persona that was famous among the Japanese by re-creating himself as a Clint Eastwood or Charles Bronson type. The script of "Violent Cop", hard as this is to believe now, was originally a comedy. Kitano wanted to break from comedy so badly that he rewrote it and removed all traces of humour.

Kitano has said that he's embarrassed by "Violent Cop" now. He has indeed become one of the world's great directors, with an indelible style, and this debut effort does feel a bit slapdash. What's funny, though, is that Kitano's style as a director is very evident, even this early on. "Violent Cop" features his trademark static camera, minimal dialogue, shots of impassive faces, and sudden bursts of violence.

Even the final scene, a confrontation between Kitano's prolifically violent detective Azuma, and a sociopathic Yakuza hitman who is his underworld equivalent, isn't a fluid shootout scene like it would have been if this movie had been made in Hollywood or Hong Kong. Instead, the gunshots come staccato, and still manage to be surprising, in a way that almost feels ridiculous, and is certainly gratuitous.

It's disappointing, but after rewatching "Violent Cop" just now I've come to the conclusion that I don't like it as much as I thought I did. Kitano's style doesn't fit a thriller, although there was some small amount of tension about Azuma meeting the bad guy at the end. It also seemed to be trying to make some kind of statement at the end about police corruption, but I didn't get the point of it. Was it trying to show that the whole world is corrupt, not just the world of criminals? Or that Azuma really was the good guy after all, despite his violence?

I just didn't find it very convincing. Kitano, and his unmoving camera steals the show, as does all the red stuff splattered in front of it. "Violent Cop" feels like a creative exercise, perhaps a dress rehearsal for the movies that made Kitano famous as a filmmaker, "Hana-bi" and "Sonatine". It's still pretty enjoyable though.

Perhaps the bleakest Kitano film

[Bogey Man · 9/10 · 3 June 2002]

Violent Cop (1989) is Kitano's directing debut as Kinji Fukasaku didn't direct this for some reason and gave the job to Takeshi Kitano, a comedian back then. The result is among the greatest modern Japanese films but it is not Kitano's masterpiece, although this is still very great film. The world in which his films' characters live is ugly, crude and violent, and once the violence is let loose, NO ONE is safe. This is the strongest element in this master's films as they are realistic, thought-provoking and cinematically stunning at the same time. His films are way too difficult for many to understand, because to understand this hard cinema (and Asian cinema in general), the viewer has to be able to see inside the film and interpret it.

The themes in Violent Cop are very pessimistic, as this ends very sadly and there is no sign of better tomorrow, but it is our own fault, and maybe the dead characters are happier now that they've got away from this selfish and violent planet they were born to. The end scene at the garage is marvelous and reminds me of Takashi Ishii's masterful Gonin (also co-starring Kitano), and the theme is the same in these films: Man is such a primitive that it doesn't understand to quit until it's too late, and eventually the only solution is death. Kitano's character in Violent Cop doesn't want bad things to happen or anyone to get killed. He just wants to maintain justice and he uses any methods imaginable to get that goal. He is not too merciful for criminals, but he is willing to sacrifice himself in order to save others or stop some crime lords career of killings and destruction. The film (and other Kitano films) definitely NOT praise violence, they only depict it as realistically and challengingly as possible, and for them who think "yeah! kill that bastard!" the film shows their ugly mirror image..

Takeshi Kitano's cinema is among the most beautiful and unmatchable I've seen, and I love his art very much. Violent Cop is the bleakest of his films, and his forthcoming masterpieces, like Sonatine and Hana-Bi, have some outstandingly beautiful and stunning cinematic elements, that give some positivism to those films, even though they do not end any happier than Violent Cop. Kitano's films are very challenging as they contain strong scenes of violence which is very off putting and sudden and there are no warnings when someone will be hit by an angry bullet launched by other human being. Violent Cop was followed by very different Boiling Point and heart stopping Sonatine, and these three films are considered as Kitano's crime trilogy and I appreciate this "trilogy" as highly as his other work, both as an actor and director.

9/10

The Walking Fist

[Doctor_Enigmatic · 7/10 · 22 May 2023]

I remember watching Clerks 2, and Randall talks about how the lord of the rings movies, and how it was a lot of walking. I guess that means Mr Bad Taste Jackson watched this movie for inspiration.

It's like the film equivalent of watching a marathon. I feel like we were sponsoring him for a walk-a-thon, the donations went to the people he maims once he catches up to them.

I can't really fault his detective style; if I spent hours walking around an island in dress shoes, the people I run into on the other end are gonna get whooped. This man does his cardio! To have that kind of energy for a good old fashion waffle stomp on someone's face, after you walk a 25 mile walk about, is just crazy. I feel like I got this week's steps done watching this.

I love the man, he can even make wandering interesting enough that I want to see what happens.

graphic violence without a good script

[planktonrules · 2/10 · 14 September 2005]

I am sure this will be an unpopular review, but I really did NOT like this movie. It wasn't just because it was EXTREMELY violent (though it was needlessly graphic) but because I just didn't care about the characters and the script lacked finesse. In other Kitano films I have seen, such as Kikujirô no natsu, Sonatine and Zatoichi, there was violence (particularly in the latter two) BUT there was also a certain likability of the main character--even when he was not a "good" guy. In addition, the movies abounded with wonderful little moments and extra touches that gave them charm and color (such as the idiot gangsters trying to shoot things off each other's heads when they got bored at the beach in Sonatine or when the weird guy in the diaper kept re-appearing in Zatoichi). But in Violent Cop, there were few, if any, interesting little touches--just Kitano beating the crap out of EVERYONE! He made Dirty Harry look like Captain Kangaroo! In fact, he was SO over-the-top, that you couldn't help but wonder WHAT police force would keep him one the job. Even the KGB or Nazis would find him a liability due to his MINDLESSLY violent tactics. In other words, such an out of control nut couldn't last very long on any job! I do NOT recommend this movie for kids or teens--or even adults for that matter. All violence and no style make for a poor cinematic experience.