"Kairo" is one of those movies that, like the films of David Fincher,
Jeunet & Caro, or even Kurosawa's own "Cure," succeeds in fully
encompassing the viewer in the world of the film. In other words,
the atmosphere is vivid, and gets under your skin.
However, unlike Kurosawa's elliptical, enigmatic "Cure," "Kairo"
fails in its plot implausibilities. It is only when Kurosawa attempts
to explain the existence of the film's Internet-transmitted ghosts
that the film falls apart. Now, perhaps something is lost in the
translation - some subtlety or linguistic schema. However, all the
same, it is maddeningly implausible.
That aside, the atmosphere is still sumptuous. Who could resist
the film's apocalyptic finale? Or the ominous "forbidden rooms"
oozing with shadow, decay and, ultimately, anticpation of the
unknown.
Another note - Kurosawa's blend of horror is especially enticing to
fans of Kubrick, Godard and Antonioni. Maybe it's the coolly
detached characters and the overbearingly sparse settings.
Jeunet & Caro, or even Kurosawa's own "Cure," succeeds in fully
encompassing the viewer in the world of the film. In other words,
the atmosphere is vivid, and gets under your skin.
However, unlike Kurosawa's elliptical, enigmatic "Cure," "Kairo"
fails in its plot implausibilities. It is only when Kurosawa attempts
to explain the existence of the film's Internet-transmitted ghosts
that the film falls apart. Now, perhaps something is lost in the
translation - some subtlety or linguistic schema. However, all the
same, it is maddeningly implausible.
That aside, the atmosphere is still sumptuous. Who could resist
the film's apocalyptic finale? Or the ominous "forbidden rooms"
oozing with shadow, decay and, ultimately, anticpation of the
unknown.
Another note - Kurosawa's blend of horror is especially enticing to
fans of Kubrick, Godard and Antonioni. Maybe it's the coolly
detached characters and the overbearingly sparse settings.