Brother (2000)

"Brother" makes the "Godfather" trilogy look like a kindergarten Christmas production. Kitano is definitely glorifying gratuitous violence, I am sorry to say it but it's true. He's smart and chic enough to know that he could be making wonderfully poetic films for the artsy crowd but perhaps he wants to offend on purpose. However, he ends up making beautifully directed odes to brutality in which japanese contemporary society appears only as backdrop against the vicious and callous homicidal maniacs obssessed with serial killing. Here, Kitano ,expatriated in LA, quickly manages to practically wipe off entire Cholo (Chicano) mob population: dozens of bodies mowed left and right with an aide from three inept street hustlers (one of whom is his americanized half-brother)... Of course, "Brother" does have Kitano's trademark scenes even if not nearly as elaborate as those in "Sonatine" or "Fireworks": a brief long-shot scene at the beach and a GREAT roof scene with the paper airplane...LOOK, OF COURSE, FOR SOME CHOPPED FINGERS ETC.

I am perhaps rambling a little. It shows you how ambivalent my feelings about Kitano in fact are. On one hand I like him a lot and consider him a rarely gifted film maker. In fact, one of the finest. On the other hand I deeply deplore his basic premises: death and misogyny. I can't make up my mind. I keep wanting to stay away from his films and I end up seeing them one after another. A strange experience for me.

Fmovies: I am a huge fan of the brilliant cinematic genius Takeshi Kitano, his films "Hana-Bi" (1997) and "Violent Cop" (1991) are two of my all-time favorites and I also found several other Kitano films such as "Zatoichi" (2003) excellent. "Brother" of 2001 is in my opinion Kitano's weakest film up to date, which does not mean that it's bad. It is just not quite as brilliant as Kitano's other work. Kitano is once again director and leading actor, and he once again delivers a great performance in the lead.

Yakuza Aniki Yamamoto (Kitano) flees to America after his death is ordered by a Yakuza clan. Yamamoto goes to LA where his younger brother Ken is supposed to study. Instead of studying, however, Ken deals drugs with some American friends. And it doesn't take Yamamoto long to plan some drastic improvements for his little brother's gang...

Takeshi Kitano's performance is once again superb, this guy certainly is one of the greatest cinematic multi-talents who ever lived. I found the Japanese characters great in general, and if it was only for them, "Brother" would have probably almost reached Kitano's masterpieces in brilliance. I personally didn't like the American characters though. Omar Epps certainly is a good actor, but his character of Denny is just not very deep, simply the very stereotypical African American street gangster seen in two out of three cheesy Hollywood blockbusters. And that counts for the other American characters too. It wasn't actually that bad with Omare Epps, simply because he is a very good actor. Besides the flatness of the American characters, I found the movie very good. It is once again beautifully and imaginatively filmed in typical Kitano style, and it has the typical Kitano humor that I love. The movie is also very violent, so it's probably not for people who are easily offended by brutality in films. What I also really like about "Brother" is the fact that at least half of the movie is in Japanese. The Japanese characters also talk Japanese when they are in the US.

"Brother" is arguably Kitano's weakest movie, and definitely my least favorite of his movies, but that doesn't mean it's bad. We're talking about a great cinematic genius here, and "Brother" certainly is a good, suspenseful, entertaining, stylish and interesting film. In case you don't know Kitano yet, i recommend to watch "Hana-bi" or "Violent Cop" before watching this, but in case you're already familiar with Kitano "Brother" is certainly worth watching. My fellow Kitano fans should not miss this. Recommended 7/10

"Brother" may be Kitano´s most well-known and successful movie, but after all it´s just another sign that success at the box offices doesn´t make the perfect movie, because it lacks in many respects: the story is too one-dimensional and delivers nothing really new, the characters are not developed enough, excluding the brilliant play of Omar Epps and, of course, Kitano himself. However, if you like heavy gunfight violence in the style of "Reservoir Dogs" or Takeshi´s elder "Violent Cop" this is the right film for you! The body count is higher than in all Quentin Tarantino/Sam Peckinpah films together and even some gore like cut off fingers and heads is brought on here and there. Once more the violent pictures are laid under with beautiful piano music what gives some disturbing aspects as well as emotional rollercoasters to this film. Definitely one of the better gangster movies of the last few years, but not the best as often said. A good film which is a little bit overrated... Can´t await to see Kitano´s "Battle Royale" - this one must be really brilliant..!

Brother fmovies. Beat Takeshi is a filmmaker so distinct and so completely different from any other filmmaker that you have to be prepared before seeing one of his films to watch something differently than you normally would. Brother is his first overseas production, and to this day his only one, and perhaps its minimal success and marginal fan base is due to its seeming lack of plot, its evasive editing, or something else that Takeshi customarily draws attention to, whether purposefully or not.

Brother is not quite his best film, but you will realize that the focus is not on the story but on the themes of its story. Completely unlike its characters, especially Takeshi's stone cold killer, its story is something to feel your way through. These characters do not feel much. They do. The movie is mostly made up of deadpan scenes of bloody violence, occasional dialogue, and quiet medium closeups. The music, which like in all Takeshi films is lush and emotional, directs our feelings.

Brother is great for fans of crime movies, gangsters, violence overall, Asian cinema, and even action fans, but Takeshi Kitano's style is a strangely deadpan and very personal approach. It's an acquired taste.

to say that this was good is a complete understatement. I had heard about this movie before but never saw until one night it popped up on HBO Zone. I was like "what the hell" and figure it wouldn't hurt to watch, but when I did - I LOVED IT!! there isn't much English dialogue in this movie, but there's enough - it's understandable as it's about a Yakuza gangster(Kitano) who is Exiled from Japan only to form an American Yakuza overseas in the U.S. - He collaborates with his brother(Miko) and his crew to form the organization. Omar Epps is in this as Denny, he is pretty good in this but it was the Japanese in this movie that really made this worth the watch... VERY Good mafia flick

10/10

This is the 4th Kitano film I've seen recently. It has most of the characteristics of the other films - the sudden, shocking violence, the impassive silences, the same supporting actors, the obligatory seaside scene. But the shift to an American location weakens it, despite the excellent contributions of the US actors, especially Omar Epps.

But the core, unmissable qualities of a Kitano film remain. Takeshi Kitano must be the natural successor to Clint Eastwood as an anti-hero. Most of the stylised violence takes place off-screen, with a flash of humour, then the after-effects vividly on display. The sound-track from Joe Hisaishi matches the screen action perfectly, at times an aggressive supplement to the violence, at other times hauntingly peaceful.

The ending is the film's weakest part, as though Kitano pandered to imagined (or real) American requirements. The out-of-town setting and road movie elements fit uncomfortably with the rest of the film. But if this is the compromise needed to get Kitano to make more films out of Japan, it must be worthwhile.