Villain (2010) User Reviews (9)

Sang-il Lee's "Villain" is a somber look at the human condition...

[jmaruyama · 6/10 · 13 March 2011]

Sang-il Lee's "Akunin" (Villain) is a sobering look at human relationships and manages to challenge audience perceptions of good and evil. The true "villain" are the ones that we think.

Shimizu Ryuichi (portrayed by the wonderful Tsumabuki Satoshi) is a shy and lonely day laborer looking for love. He aimlessly spends time corresponding with girls via telephone dating services and going on random encounters with girls looking for spending cash.

His world is shattered one day when he is involved in the murder of one of his former encounters, the sweet-faced Ishibashi Yoshino (pretty Mistushima Hikari)who after being jilted by playboy Masuo Keijo (Okada Masuo playing against type)berates and mocks the troubled loner.

Yoshino's family is devastated by the death and Yoshino's father Yoshio (portrayed by the brilliant Eimoto Akira)in particular takes the death particularly hard vowing to find those responsible for her death.

Fleeing his hometown of Nagasaki, Ryuichi encounters a kindred-spirit in fellow loner and plain-jane Magome Mitsuyo (the beautiful Fukatsu Eri) who is works as a sales clerk in the neighboring town of Saga. Falling in love the couple decide to hideout in a local lighthouse but Ryuichi's increasing emotional instability and guilt soon overcomes him and endangers his newfound happiness with Mitsuyo.

From the opening "Psycho-like" sequence to Hisaichi Jo's "Vertigo" like music rifts, it is clear that Lee wanted to make a thriller with Hitchcockian overtones. Lee's deliberate pacing of the film and story plot twists also invoke those of the master the end result is a bit too familiar to other stories about convicts on the run.

While the screenplay based on Yoshida Jyuichi's popular novel is faithful to the source material, the film tries a bit too hard to be social commentary and a mirror to the prejudices and bias of audiences.

The true "villain" of the film is not Ryuichi but rather other sub-plot characters whose are the stereotyped heartless scum we love to despise like Masuo Keijo, a self-absorbed pretty whose vanity is vomit inducing; Tsutsumishita (Masuo Suzuki), a smooth-talking con-man and Yakuza affiliate who specializes in manipulating elderly woman out of their money, Shimizu Yoriko (Yo Kimiko), Ryuichi's negligent mother who leaves Ryuichi in the care of his kind but elderly grandmother (portrayed by the always outstanding Kiki Kirin) and the Japanese Tabloid Media whose relentless coverage of the murder destroys the lives of three families. It's overly familiar territory.

Yet "Akunin" still succeeds on the strength of Lee;s masterful direction and presentation. While "Hula Girls" is definitely the better film, Lee does bring the same type of energy and human drama to this film. Cinematographer Kasamatsu Norimichi's beautifully captures the rough landscape of the South, with wonderful backdrops of Nagasaki, Saga and Fukoka.

With his good looks and powerful presence Tsumabuki Satoshi delivers another energetic performance and portrayal of the emotionally fragile Ryuichi. The chemistry between his character and Fukamatsu Eri's Mitsyo is very convincing and the two make a wonderful odd couple. Kiki Kirin is the other standout as Ryuichi's kindly grandmother who befalls financial tragedy as the victim of a cruel conman. Eimoto Akira is also another highlight of the film. His tearful portrayal of a grieving father is very effective and tugs at the heartstrings. Okada Masuo's Keijo makes a great "villain" although he certainly is not one for subtle performances. His Keijo screams out "douchebag".

Lee's film is a very conventional film and is not overly ambitious or original but it does what it set out to do and make audience think.

shades of grey

[LunarPoise · 8/10 · 18 December 2011]

Villain lost out at the 2011 Japan Academy Awards on the big prizes to Confessions. While Directing, Script and Best Picture went the way of the bleak, hyper-stylised Takako Matsu flick, all four acting awards were scooped by Villain. The reason for that split is abundantly clear.

Villain centres on lonely Yuichi who drives through the night and occasionally meets women through online dating sites. The forum for their meeting suggests each is as flawed as the other. When one assignation goes very badly indeed, something dark in Yuichi is unleashed. He then gets a message from another female via the site, and so two life-changing events take place within seconds of each other.

Villain explores complex questions of moral responsibility, the hypocrisy of social condemnation, and the extent of individual responsibility. The direction is workmanlike, and the framing rarely gets beyond a TV aesthetic. But the script is naturalistic and offers genuine insight, peaking in the father of the victim (Akira Emoto) revealing that hateful people are the way they are because they are too cowardly to risk caring for someone. Emoto and Kirin Kiki excel as the elder generation struggling to come to terms with the ugly turn the world has taken. Krini Kiki, faced with extortion, goes from bewilderment to fear to resignation all by changes of expression and never a word spoken. But it is the two young leads, Eri Fukatsu and Satoshi Tsumabuki, who truly excel here. Fukatsu especially shows a young woman capable of living with the emptiness inside her, until meeting someone who can fill it proves too much to bear. The cathartic peak of the film is her scene of self-awareness. Tsumabaki also gets to test his range at the end, but in a much more chilling and wonderfully ambiguous direction.

There are good guys and bad guys here, as you'd expect given the content, but they are not where you expect to find them. There is a murderer, but we are less convinced of our stance towards him than we are to the press-pack parasites, conman doctor, self-absorbed mother, and shallow and narcissistic university undergrad. A bus driver strangely earns our cheers, and is perhaps the only unambiguous 'good' character in the film. In a time where heinous crimes have become everyday and our ability to relate with one another seems fragmented and brutalised, the causes may not always be where the lazy self-appointed moral guardians in the media and corridors of power suggest they lie.

Villain is a slow build to its message, a slightly meandering survey of its theme, and the pacing can frustrate over the flabby 139 minutes. But it is worth sticking with for the questions it forces you to reflect on at the end, and the consummate acting. One of the best films to come out of Japan this century.

Flawed - but worth the watch.

[jamesmartin1995 · 6/10 · 21 April 2012]

God, I wanted to rave about this film. 'Villain', billed as a gritty thriller from Japan, tells us in its plot synopsis that this is about the murder of a young woman and the search for the killer. I disagree completely. Even the genre in which its advertisers have pigeon holed it is incorrect. This is not a thriller – please don't enter the cinema expecting nerve jangling suspense. What we have here is the potential for a great film – and for the most part, what we are shown is excellent.

So I'll start with the positives, for when 'Villain' is good, it's incredible! 'Villain' does not follow the search for the killer at all – it largely follows the killer himself. There are a lot of characters in this movie, and a myriad of sub plots (which, incidentally, isn't beneficial – but more of that later). It is, as I saw it, a very slow, patient, observant film, which instead of reaching for cheap thrills and jump moments, is actually brave enough to step back and do something which very few films of this kind ever take the time to do: it peers into the misery and loneliness of its central characters, and their disillusionment concerning the immorality of the people around them. There is much cruelty in this film, and sharp prickles of nervousness and fear – but it is not a nasty story.

Undoubtedly the most successful plot line running through the film is, luckily, the one given the most attention: this is the relationship that is formed between Yuichi, our young murderer, and Mitsuyo, a lonely woman who works long hours selling suits and lodges with her sister and her sister's boyfriend. Their first meeting is embarrassing and ends horrifically – Yuichi, still consumed by guilt and anger, makes assumptions about Mitsuyo which he will later regret. Mitsuyo is desperate and understanding, and as the film goes on, we begin to understand just how much these two need each other.

Intercut with this is the storyline following the family of the murdered girl. This also is incredibly successful in the way in which it shows the grief of her parents – how they must come to terms with who their daughter really was, how they fight and turn on each other, and finally come to sad realisations, not only about themselves and their child, but about the people around her and them, and the corrosive cynicism and immorality of a new generation. Fair enough, on paper, that might sound a little pretentious, but unlike the majority of trashy whodunits that Hollywood churn out on an almost weekly basis, this is a film with much to say. It is deeply sad, and in many scenes, you can almost feel the director's sorrow and anger.

Less successful are plots involving Yuichi's grandmother and how she is cruelly scammed by her 'doctor' (this seems like a touch too far on the 'oh look at what a terrible society we live in' front), and the ending, although well meaning, is miscalculated. The way in which the director chooses to bring the relationship between Yuichi and Mitsuyo to a close seems like a strange choice – it might have worked, but nothing we have seen has led us to expect it, and as it comes so out of the blue, it is hard to believe in. It is, quite frankly, a bit of a cheat – a wrong footing that casts a somewhat distorted light on all the searing emotional honesty we have seen previous to that.

The film, however good some of the individual parts that make it up may be, is ultimately flawed. Clocking in at 2 hours and 20 minutes, it's about half an hour too long, and although the cinematography generally is exceptional (there's an inspired shot in which a flashback begins as the camera zooms into the pupil of a fish eye that will take the breath away from any film buff), the editing can sometimes be a little choppy. If only they had stuck with the love story at the movie's centre and the storyline involving the family of the dead girl, keeping the scenes with her father and the immoral young man that his daughter was smitten with, this would undoubtedly be one of the best films of the year. As it stands, 'Villain' is a good film – and despite its flaws, it's definitely worth the watch. I, for one, liked it very much.

A Very Moving Film

[s-tony-kim · 10/10 · 22 August 2014]

This was quite a moving film for me. I watched it starting at midnight lying in bed from a laptop sitting on my belly, and I was riveted throughout the 140 minutes. That's how engaging it was. It is one of those well directed realistic slice-of-life movies that depict flawed human beings and how their desires, ambitions, and inner demons combine with the forces around them to create a fateful drama that is tragic, ironic, or otherwise very moving. For me, this kind of real life stories, if done right, have so much greater impact than the fantasy movies. You are indirectly but in a very powerful way experiencing a fundamental facet of this life, while peeking into the souls of your fellow humans.

Villain deals with the concept of good and evil, love and all the intricate workings in peoples' fate it entails, and the flaws and limitations in all of us. Blown away by the film, I also read the book. My conclusion is that the movie is better than the book. Sang Il Lee created a wonderful work out of a novel that is good but not earth-shattering.

I was a bit disappointed with the final turn of events toward the end, but it's still a quiet, heavy impact story. And the final scene of the two protagonists gazing at the rising sun with tears in their eyes is one of the best scenes I've seen all my life. All in all, it's a great experience. I recommend it to anyone, especially those who love realistic, moving films.

hurt vs love vs time

[post-103 · 9/10 · 11 August 2011]

There is no right or wrong. People are just driftwood. The currents decide where we go, who we meet. What we do have is our choice though. It's basically yes or no that we decide. But mostly we don't choose at all. How many people take fate in there own hands? Create their own world? In Akunin the main characters live their lives until cumulated anger takes it all apart. Hurt remains. Love seems to be the healing factor, but love is under a permanent siege. Then time is the healing factor.

Akunin is a film that looks at the state of mind of several people connected to the murder of a girl. At first it isn't clear who murdered the girl, and that makes out the suspense in the first half of the story. Then when the murderer is known, the love story between the murderer and a very lonely girl begins. Even when he tells her that he killed someone she won't let go of her one glimmer of hope to get out of her dreary existence. This love story leads to catharsis for the killer. The girl is left with regrets though... and an experience. The family of the murderer and the victim is also an important part of the story. The father of the victim is trying to find out more to take revenge. He will ultimately confront the person who mistreated her before the murder took place. This is not the one who killed her, but has provided the opportunity to have her killed. He's an elite and a coward with a gutter mentality. It's gratifying to see him suffer, but troubling to think that he will be in a position of power. The grandmother of the killer takes all the blame and tries to survive this horrible situation. She raised the kid, and finds it hard to understand why he would kill someone. She is innocent, but gets most of the burden. She is just an easy person to put the blame on... because she takes the responsibility. The story is well told and beautifully shot. The actors are the creme de la creme of Japanese cinema: Tsumabuki Satoshi, Fukatsu Eri, Emoto Akira, Mitsushima Hikari, and Kirin Kiki(!) as the granny.

steady, solid, believed in and assured,

[dumsumdumfai · 8/10 · 26 April 2011]

There is only a simple message. Not sure about you but I kind of saw earlier on how the title of villain is indistinguishably played on the various characters and their actions in the storyline. Howerver, that being said, it is a well executed movie.

Japanese crime dramas, from books, TV is unlike the Western "Who doneit", but more of the question of How. Greate example is the TV series Ten to Sen (Dots to Line) http://www.imdb.com/title/tt1067131/ Lately, they go even beyond that from the 'How' to the 'Why'.

And so is Villain. Not over the top, fairly realistic especially on the flash back on the key event. Not shocking, one can relate to most who are involved, even college grad.

A social commentary on various things that can happen to any developed society. This case is kind of sad and to some degree fatalistic real - except the ending.

Acting is fairly good. Maybe a little too much background to the main characters but then again they are the main characters. The alternating amongst the many side of the issue is natural, completed and balanced.

Right person, wrong time

[Mignon00 · 10/10 · 18 September 2017]

The very first time I had seen this movie was a couple of years ago. Still, it made a strong impression on me as if I were watching it a few days ago.

This love story is doomed from the beginning. A young man who only wants to be loved instead of being a laughing stock and a young woman brave enough to love and accept the true colors of her final choice.

Is one rewarded or punished if after becoming a sinner we meet a saint? If so, is it because we are given the second chance or are we shown what was the right thing to do? To risk everything you have and you have known for and let your destiny to take over? Staying true to yourself is the bravest thing you can do.

This stunning movie is all about mixed emotions. What is your final though - it's up to you.

You won't regret.

About the sickness of the modern world

[mister_bateman · 9/10 · 7 June 2020]

This movie perfectly illustrated how the modern world cheapens everything meaningful by making it transactional and soulless. Young women leave their rural communities, their parents and their homes to go live in the city and become consumers and interchangeable cogs in the machine that doesn't care about them. Courtship, relationships and love have been reduced to meeting people on dating sites, like ordering something from Amazon, with infinite replacements instantly available, should there be a small flaw or the temptation of an upgrade. And yet, deep down everyone is yearning for something realer. For the way it used to be. That's why despite the higher living standards of today, people are the most lonely and unhappy.

A very nice film.

Favourite Japanese Movie

[avisionofsorrow · 8/10 · 3 August 2011]

Wonderful movie that had me captivated from the beginning, please find this movie! Very good acting for an Asian movie (lets be honest!), great concept, climatic ending and thought provoking. A great range of characters are employed and the handling of their relationships is sublime. Hopefully the messages of the movie won't be lost to those that check this out, if I could hint at some of what it meant to me I'd say life/people aren't as cut and dry or black and white as many would like to think they are. In many ways there are 'villainous' aspects to all of us and the lines between rage/hate/murder/condescension can blur together. Inhumanity, it seems we have to accept, is rather an intrinsic though unwanted/suppressed potentiality of our nature.