Sonatine (1993) User Reviews

A Mobster's Mid-Life Identity Crisis

[drqshadow-reviews · 6/10 · 17 February 2021]

Given the opening chapter's focus on internal Yakuza machinations and street-tough theatrics, it would be easy to reflexively label Sonatine as just another dose of dirty criminal intrigue. But then, when an inauspicious job goes sideways and the little crew of posh mobsters and crass underlings are forced into hiding, it takes a hard left and becomes something entirely different. Whiling the days and weeks away in an abandoned beach house, we explore the duality of these lives and soften their outer veneer.

In that sense, the internet-famous cover photo of writer/star/director Takeshi Kitano grinning broadly while holding a gun to his head is a precise depiction of the film's themes. These gangland thugs might be all business when they're intimidating store owners or trading bullets with a rival gang (nary an eyelash is batted when Kitano and company dunk a victim for too long and accidentally drown him), but on their down time, they need to cut loose, have a few laughs and make human connections, too. The really interesting points are where those two opposite modes meet, a jolting transformation when light amusement slams into stone-serious reality and all the easy smiles melt. There's always a momentary hesitation where we can't be certain which way the scales will tip, and that's dangerously exciting. Those key moments take time to develop, though, which leads the plot to really sag in the middle.

Kitano performs very well as the central figure, a stark dichotomy of incompatible moods, but he can't be on-screen at all times and isn't always surrounded by the best supporting talent. A strong thematic concept, one which evidently developed live in the field as the script was extremely bare bones, but not especially well-executed. Loaded with promising ideas, much of Sonatine's ephemeral potential depends upon what you, the viewer, are willing to bring to the table.

Poetic vision of a hard man's lonely life

[thehumanduvet · 8/10 · 1 March 2000]

This is exactly what I'd do if my gang's territory was being threatened by conspiracy and rivalry in the criminal underworld - hide out on a nice beach playing fantastic-looking firework and sumo games with me mates and some random passing woman, listening to crazy old men singing in incredible voices, watching out for assassins in fishing gear and generally building myself up for a massive showdown. Beat Takeshi is a genius with this kind of stuff, he makes his gangster a real man in full 3D, hardened by a hard life but still full of uncertainty and needs, and who in the world could have outdone his deadpan but humourous face, especially in those bleak final scenes. Shame about his appalling TV "comedy" though.

Unsentimental violence and playful boredom--a strange combination

[TheMrLee · 8/10 · 11 February 1999]

I'm not entirely sure what to make of this film--I suspect I need to view it at least once, and probably several more times before I can get a good hold on it. However, my inability to fully comprehend what "Sonatine" is about doesn't strike me as a flaw. Rather, the film is much more complicated than the usual gangster film.

It begins with very unsentimentalized and nonglorified violence. People hit and kill each other and it isn't much different than toast popping out of the toaster. It is fast, moderately bloody, and there. Kitano doesn't seem to be interested in thrilling us with either the danger, grotesqueness, or thrill of violence--another, not clearly defined agenda is at work here.

At perhaps a third of the way into the film, it makes a sudden transition from this gangster life to a period of forced inactivity. I suspect this section, which is delightfully playful, is at the heart of this film.

Sonatine Revisited

[Sonatine97 · 9/10 · 3 January 2002]

I first wrote a review of this film here on IMDb back in June 2000. At the time I was totally in awe of the film, the script, the acting, the cinematography, the musical score and above all the direction from Tekashi "Beat" Kitano.

Some 18 months on and I still love the film and is certainly one of my top five international films. I have seen Kitano's latter films, Hana-bi, Brother, Tokyo Eyes & Gonin, and even though production values have improved, especially with Brother and Hana-Bi, I personally feel that Sonatine still remains Beat's best film to date.

In retrospect one can see within the film a vision of Beat's state of mind at the time. It is no secret that he tried to commit suicide in real life shortly after the completion of Sonatine. With this in mind it is easy to understand the motive within film and how it is structured within Kitano's head.

Even though it is a film about Yakuza and gangland killings Kitano doesn't fill every scene with a running commentary or 100mph action-fests. Instead Sonatine is very much an avante-garde kind of film with the "action" taking a backseat to the humdrum lives of the gangsters themselves.

Kitano is the boss of a successful Yakuza mob in central Tokyo at the expense of its poorer rivals. As a consequence a plot is hatched to get him and his members on a meaningless trip to Okinawa to sort out a peace-deal between waring factions and thus leaving his "patch" vulnerable to a take-over.

So Kitano's gang arrive in Okinawa only to find that there is no such "deal" but instead his gang are steadily killed off leaving only himself and 3 other gang members and an abandoned young woman, whom he saves from a rape ordeal by her husband

They move to the coast well away from central Okinawa and wait for the troubles to calm down before considering returning to Tokyo. During that time they have very little to do other than play beach games, sing songs or play Russian Roulette in order to pass the time.

But eventually even the beach hut where they live is no longer safe from the assassin's bullet and so Kitano has no other choice but to face his rivals once and for all in a bloody gun battle finale.

And so ends the film. It is not a happy film with no satisfying "Hollywoodesque" ending. Far from it, the ending only illustrates the working mind of Kitano at the time. In fact there are many examples within the film that underlines the bleak suicidal tendencies of his mind for real, especially the Russian Roulette scene.

It is also interesting that these gangsters think nothing of their own lives or safety: they accept their fate as a death-wish. They have witnessed so much death in their lives that they have lost their morality & humanity in themselves and to other people. So it is no surprise that during the various gun battles between rival groups neither Kitano or his men hide behind furniture in order to avoid the bullets. Instead they stand erect like statues firing their guns, hoping for the best waiting to be killed by their enemy in full view.

The life of the Yakuza in the context of this film, therefore, counts for little. They have no life, only a limited existence. There are few highlights - such as the Sumo scene, the firework fight and even the scene where Aya Kokumai removes her t-shirt in front of Kitano so that she is semi-nude before him. And yet not even this makes an impression on him. He is has become such an empty shell that even his sensual nature has long since gone, such is the life of a Yakuza warlord.

Critics would argue that this film is too anal for its own good, that nothing much happens and that the film is punctuated with "to camera" shots of the main protagonists looking vacant at the audience waiting for something to happen.

In my opinion these critics miss the point. There is a reason why they stare back at the camera/audience. There is no sparkle in their eyes, no smile playing on their lips, no supple skin tone, no positive body language to tell us that these people are really happy. Instead, we see nothing but ghosts, empty husks of humanity awaiting their fate with the silver bullet; they look at us as if they are pleading with us to put them out of their sad existence. They may have guns, the money, the power but they are not happy, they are not content, they are not you and me!

Sonatine remains one of the most influential films ever to come out of Japan. So impressed was I with this film that I created this IMDb login in honour of its majesty. Yes, it maybe seen as a sad act to name a login after a film but for me Tekeshi Kitano has yet to direct a better film and Sonatine will haunt me for all sorts of reasons for years to come, especially the excellent score from Joe Hisaishi.

*****/*****

A Masterpiece of Minimalism

[reelreviewsandrecommendations · 9/10 · 6 November 2022]

Murakawa is a mid-level Yakuza enforcer weary of the gangster lifestyle, toiling away his days in Tokyo. His superior orders him to Okinawa, ostensibly to settle a dispute with a rival gang in the area. Murakawa thinks the assignment is merely an attempt to have him taken out, though still makes the trip alongside his motley crew of ruffians. After their headquarters in Okinawa is bombed, Murakawa takes his men to the seaside, where they engage in childish games (with sinister undertones) in order to pass the time. All the while, Murakawa feels the cold hands of fate tightening around his neck, and just what that cruel mistress has in store for him remains to be seen in Takeshi Kitano's 'Sonatine.'

A masterpiece of minimalism, 'Sonatine,' is a powerful, quiet film that speaks volumes without the need for words. Written and directed by Kitano, the film parodies the conventions of gangster films whilst playing into them, showing how facile and vacuous the majority of them are. The film strikes the perfect balance between introspection and sudden, whirlwind action, containing no unnecessary moments, stylizations or lines of dialogue. It is an economic, intelligently constructed movie that simmers steadily over its' runtime up to a terrific boil of violence, nihilism and existentialist depth.

'Sonatine' is oft compared to the films of Jean-Pierre Melville, in particular 'Le Samouraï.' Indeed, both films adopt a nihilistic attitude towards violence and feature long sequences containing limited dialogue. This allows the audience to experience the film's atmosphere and take themselves into the mind of the characters in a manner unfettered by extraneous noise. However, 'Sonatine' is less emotionally frigid than the work of Melville, and contains much humour; something rarely if ever found in Melville's movies. It is- on the whole- a far more entertaining cinematic experience; not to mention being a more rewarding intellectual one.

The film is shot by Katsumi Yanagishima, who worked on Kitano's previous efforts 'Boiling Point' and 'A Scene at the Sea.' Under Kitano's firm guidance, his cinematography is understated and naturalistic, producing haunting visuals that linger in the mind long after the credits have rolled. Kitano's films rarely if ever feature orthodox composition or framing of images, and the fresh, organic and off-beat approach to visuals in his movies is continuously striking and distinct. Yanagishima would go on to work on Kitano's next thirteen directorial features; though their collaboration on 'Sonatine' may still be their crowning achievement.

'Sonatine' features the work of another frequent collaborator of Kitano's: composer Joe Hisaishi. His score is beautiful, mournful and melodic; drifting through the film like a euphonious wind. There are few partnerships between composer and director as fruitful in cinema, perhaps only that of David Lynch and Angelo Badalamenti comes close. Hisaishi's work is muted and evocative, adding unquestionable power and depth to the proceedings. Hisaishi worked on seven of Kitano's films, and never once was his score anything other than mellifluous, pure and unobtrusive; as it is in 'Sonatine.'

Additionally, the film boasts a commanding central performance from Kitano as Murakawa. Few have a presence on screen as magnetic and quietly confident as Kitano. He performs with an unabashed ease and an unmatched stillness; seeming like a silent Cheshire cat without the grin, noting the proceedings around him with prescience and irony. His Murakawa is a composed man capable of extreme brutality, one tired of his existence and all too used to the grind and violence of life. Kitano fully becomes this character in so subtle a manner some might think he isn't doing anything at all; the highest compliment any actor can be paid.

His supporting cast features many talented performers working at the top of their games, most notably the great Susumu Terajima and the late Ren Ôsugi; both frequent collaborators of Kitano. Here, Terajima stars as Ken, one of Murakawa's underlings, delivering an assured performance of depth and wit. Ôsugi is equally outstanding, playing a smaller role as an associate of Murakawa's named Katagiri; though still impressing with his range and naturalness.

Takeshi Kitano's 'Sonatine' is a brilliant crime film of the ascetic variety that is unforgettable and unique. On every level, the movie impresses, from the excellent performances to Katsumi Yanagishima's striking visuals; and of course the stirring score from Joe Hisaishi. It is- for lack of a better term- the thinking man's crime film, as it contains moments of profundity and silence that would no doubt put many off or leave them clamoring for more action. In short, 'Sonatine' is a memorable, mature masterpiece of minimalism from an original, incomparable auteur. If you haven't seen it before, watch it now; 'Sonatine' is not to be missed.

One of the best films i ever had the pleasure to see ...

[logan2 · 17 January 2001]

Since Sonatine was the first movie by Kitano that i enjoyed, I had no real expectations (except for an action-thriller thanks to the cover)and was totally taken aback by what I saw.. Not an Action Film with high bodycount but a story about a man who leads a life without hope and then when all trouble would be removed from it is too scared to start anew (or unable to). The story is told in a totally minimalistic and realistic way that doesn't chase you from one scene to another only to show you the important parts but always takes the time (often more than once) to let you study the protagonist and his comrades only through their faces so you have to figure out what they think on your own. Films that explain nothing often make everything clear. Films that explain everything often have nothing to explain.

In my opinion either you love this film or you hate it, there is no in between, since its so different from the standard or even great gangster movies of our time . I for myself was mesmerized by its artistic beauty, its compelling acting and its wonderful soundtrack.

By now i have seen Hanabi and all the other Kitano movies, but this remains the best to me..

Slow and atmospheric.

[Peach-2 · 6/10 · 6 June 1999]

Sonatine is a very slow action drama. Kitano has an interesting style of direction and acting in this film. Kitano likes for his camera to linger on things longer than most film-makers would even consider it. I liked the style he brought to this picture in the emotionless faces of the actors. I just think the film's pace wasn't as tight as it could have been.

A truly masterful minimalist work

[*(CableGuy)* · 10/10 · 14 December 2001]

Having finally experience Sonatine, I can't say enough for this poignant and moving film. Beat Takeshi may face death with that same disconnected look on his face, but it is the inaction, the time between the killings, that carry all the meaning. Even when in gunbattles, nobody moves, nobody tries to dodge, it is as if everyone simply feels chained to their fate. This is jarring to Asian cinema lovers used to side-jumping, dual-gun gymnastics and amazing set pieces.

I love how the only emotions Murakawa expresses are humor and nihilist apathy. The "sumo scene" is so delightfully out-of-place, while the ending simply leaves your mouth open. The warmth the characters show just makes it more hurtful when they meet such pathetic, low-key ends. I'm not an expert on Japanese society, but I see this film as a comment on the emptiness of a fear-filled culture of reservation, where it is more important to show restraint and respect than it is to continue living.

I'll still enjoy good ol' HK pistol operas, but I'll never see them quite the same again.

Yakuza's On The Beach

[danielatala8 · 6/10 · 9 July 2022]

Like the title suggests most of this movie is based around the nostalgic and tropical atmosphere of Okinawa. One would almost forget that this is a Yakuza movie but there's always something dark brewing under all that nostalgia and carefreenesses. This is supposedly the last movie in a minimalistic Yakuza-themed trilogy by Takeshi Kitano, I've already seen the second one "Violent Cop". I understand why they're regarded as a trilogy, while they do not have a cohesive story they're all somehow ruminations on the hopelessness of being a part of the crime world, if Violent Cop is more about the violence and corruption Sonatine is more about the lost innocence and the struggle to find a meaning within all that crime.

We follow Takeshi Kitano's character a Yakuza that aims to end a gang war between Yakuza so he and his group of Yakuza travel to Okinawa where the other group is posted- soon after one of his Yakuza friends (didn't understand this part) gets attacked he decides to hide with his group in a hit by the Okinawan beach. You sense a sort of doubt within him and that doubt becomes even more apparent when all of his yakuza friends start to act as children, recouping a lost innocence- it is at times very sweet and fun, but you just feel that this happiness isn't forever. All this is reflected on Takeshi Kitano's character who always in some ways makes the games a little bit dangerous, as if he's dancing with death even when they're supposed to be safe! That is at least my interpretation.

For all of its symbolism and minimalistic storytelling and humour I found it actually hard to be engaged in any of the characters of this movie- they all do a stellar job acting but I think the problem doesn't lie in their acting capabilities but more on the scripting and storytelling- we all know that Takeshi Kitano loves a minimalistic and art house vibe in his movies but somehow those elements are even more prevalent in this movie which gives way to a mixed effect, for me I didn't feel very engaged or invested in what happened except for in the time they were all having fun in the hut by the beach- all of the Yakuza and crime storyline was somehow a bit boring to me, even the ending felt a bit anticlimactic and also kind of expected if you've seen "Violent Cop" before (it's not supposed to be a happy ending) which is not very good.

The music however is excellent! Joe Hisaishi conveys the mood so expertly with gorgeous and lush soundtracks combining synth and orchestral arrangements that feel so nostalgic and fitting for the movie.

Another thing that is gorgeous is the cinematography, even if it was filmed in the 90s the footage and scenography is just so crisp and beautiful- really paradisiac and fitting to how the movie is!

All in all I'd say it is an interesting movie, not a movie I'd like to revisit but interesting nonetheless! It has a wonderful and atmospheric feel that is beautiful but the story isn't much to hang onto! I appreciate some of the humour it has but otherwise it is not a film that I want to go back to! Check it out either way cause there's something to gain by it!

not an action movie

[Cindy-39 · 9/10 · 8 June 1999]

I think the people who criticize this film do so because they've been trained to watch movies the way Hollywood makes them. This is as far from Hollywood as a gangster film can get. The quiet (or as some might say, boring) moments are there because the characters exist in a realistic world where sometimes they can do nothing but sit and think. Sonatine isn't perfect, but it can certainly be appreciated if the viewer will approach it with an open mind. Also, the sumo scene is very fun and beautiful.

Nihilism.

[cla68 · 7/10 · 27 December 2000]

I believe this movie was made by Beat Takeshi just before his famous suicide attempt. If true, the nihilism evident in this movie I think really indicates the tortured mindset that Takeshi must have had at the time. I've been led to understand that the real Yakuza pride themselves on restraint when it comes to violence. So the ruthless and wanton brutality shown by the "Yakuza" characters in this movie must surely originate solely in Takeshi's head and further leads me to believe that Takeshi was expressing his inner torment. Doesn't that indicate a huge ego on Takeshi's part to use a movie production and all that money to simply show how Takeshi happens to be feeling at that time in his life?

Hardboiled men's return to childhood freedom and innocence

[Bogey Man · 10/10 · 24 June 2002]

Sonatine is the last film in Takeshi Kitano's yakuza related trilogy. The first two films are Violent Cop and Boiling Point. Sonatine is, in a way, a combination of these two films, and it is the greatest in this outstanding trilogy, and Sonatine ranks also to the top in Kitano's filmography with Hana-Bi. Sonatine tells the story of middle aged yakuza boss Murakawa (played by Kitano) and his gang's trip to Okinawa to settle some yakuza wars and return the peace to the criminal underworld of Japan. However, they are assaulted many times there and they are forced to go to beautiful beach location and spend some days there and wait for orders from Tokyo, from the higher yakuza authorities. What follows is all the unique elements from both Violent Cop and Boiling Point and totally stunning and breath takingly beautiful piece of art.

There are all the Kitano elements as beautifully present as possible. The scenes are often without too much dialogue, and the film is very symbolical and calm. The faces are among the most important elements in Kitano's films, as there are so many things to be read from characters' faces. Kitano has created this very personal element and it is always there in his films. The setting at the naturally beautiful and uncorrupted seaside has been captured with the camera as brilliantly as we can expect from Kitano; this film is a result that would be born if Kitano had script in which read only one word: Beauty. Similarly beautiful film is his Hana-Bi and Boiling Point has also these elements.

The elements of beauty among others are flowers, firecrackers and colors in general. The scenes at the beach as the gangsters play and have fun are so full of life and certain positivism, it is easy to feel a need for crying during those scenes, and I must say that at least equally powerful experience is the mentioned Hana-Bi, translated to Fireworks in English. The theme of Sonatine is that those brutal and violent humans return to the time when they were still innocent and free of all the wickedness of the world. They play so emotionally and devotedly that it is clear they know there is a better place to be than this world. The girl that is raped is perhaps only person in the film who would not hurt anyone and is like angel here. She knows and has learnt many things about life by the end scene, and make sure you watch the film thoroughly and the end credits, too, as there is more imagery after the credits.

The music in Sonatine is outstandingly beautiful and sad, and is among the greatest musical experiences I've had the pleasure of hearing. The composer is the same as in Brother and Hana-Bi, and the work is as masterful in those more recent films, too. Violence in Sonatine is as sudden and irrevocable as in other Kitano films, and his films really show the real results and face of violence as a weak souls' tool of communicating. If someone considers Kitano's films gratuitously violent, they miss the whole point of the films; these film analyze and tell more about violence than most Hollywood films have ever done, but to admit this, one has to be able to interpret movies and really understand the abilities and power of Cinema. Kitano's films are far too difficult for many to understand, so it is no use trying to show his films to mainstream audience and people who see (if see!) in films only what is explained and said with easy means. If someone says without arguments or understanding to this art form some Kitano film is bad, stupid, gratuitously and excessively violent, unexplained or something else of the usual statements, it is no use taking those "opinions" seriously or consider them noteworthy because people who say so see exactly things that are NOT there.

Sonatine is one of Kitano's most masterful pieces of cinema, and is among the reasons why Japanese (and Orient) cinema is so unique. Sonatine gets 10 out of 10 rating from me, and makes Takeshi Kitano one of the most sensitive, symbolic, stylish in every sense and remarkable film makers of our time, and his films will live as important pieces of history of Japanese and world cinema.

Sonatine

[henry8-3 · 6/10 · 1 March 2022]

Whilst unhappy with his orders, tough World weary Yakuza Murakawa (Takeshi Kitano) goes with his team to sort out a dispute between warring families. This doesn't go well and the team retreat to a beachside property to hide out where they all start to enjoy life, and Murakawa falls for a girl he saves from being raped. Inevitably there are hitches.

Gritty, violent thriller with Kitano doing a fine job of giving his hardened lead character a chance to consider a life other than being a violent gangster. The central section at the beach is the lightest, most character driven and is occasionally quite funny as the baddies muck around together and play tricks on each other. Not sure I entirely bought into the final scene, but it's still definitely worth catching.

a bit plodding

[PIST-OFF · 5/10 · 9 November 2005]

i gotta say i was a bit disappointed with this film. i thought i was in for a good yakuza film but a lot of it was plodding and dull. i understand and support the concept of adding a fresh perspective or something unexpected to a tired genre but in the case of the juxtaposing scenes of violence with scenes in which the mobsters play like children i simply found it distracting and wasteful. the movie centrally focuses on the main hero who is built up slowly through the movie but then any building tension is undermined by meaningless shenanigans. all of the other characters come of as even less then one dimensional, and the scenes of violence are filmed in a way that makes them look amateur night.

could have been better 5 out of ten

Another brilliant movie from Beat Takeshi. Slow, poetic, beautiful, minimalistic, thoughtful, and yes, occasionally extremely violent.

[Infofreak · 25 February 2003]

Beat Takeshi movies are without doubt an acquired taste. Newcomers to them, presumably expecting some kind of flashy, gun happy, John Woo-style "action" movie, are often shocked because they are the complete opposite to most Hong Kong cops'n'robbers movies. Slow, atmospheric and character driven, they really make you WORK. Things are not handed to you on a plate all neatly packaged, and generally it's what is NOT said and shown which counts. And yes, they are violent, but only intermittently. Takeshi lulls you into a false sense of security with his stunning visuals and thoughtful character studies and then WHAM, when you least expect it, we get violence, REAL violence. With consequences. The best Takeshi movie I have seen is 'Hana-bi' but 'Sonatine' comes a very close second. Takeshi stars as the kind of character he often plays, an ageing, dissatisfied man. Sometimes he's a cop, this time he's a yakuza. But he basically plays variations on the same "type". And let's face it, he does it very, very well. Takeshi also wrote, directed and edited this wonderful movie. A very impressive feat! If you aren't familiar with his style, this might be a good place to start. Leave your expectations at the door, and I'm sure you will be impressed. The supporting cast, many of whom are Takeshi regulars, are uniformly excellent (and may I say that Aya Kokumai is a real hottie?), but it's Takeshi himself who really impresses as an actor as well as a film maker. Highly recommended, as is 'Hana-bi'. Two of the very best movies released in the last ten years. If Hollywood was this good!

A Superbly Shot Film- Almost Dream like.

[andrewsterling222 · 10/10 · 26 June 2005]

This film is one of my all time favourites for chilling out to at night. The cinematography is beautiful, making full use of the lovely beaches of Okinawa, and the shots tend to linger on a face or a car driving off into the distance, which creates a sort of hypnotic effect on the viewer. The score is beautifully composed by Joe Hisaishi, who also gave you the music for Spirited Away. Personally, I think that the film wouldn't be half as good if it wasn't for the music.

Plot wise, it's quite basic. A group of Yakuza are assigned to Okinawa to make peace with a rival clan. Things go horribly wrong and they take shelter in a disused beach hut. I think the main subject the film deals with is what guys do to make the most of a bad situation. There is an underlying theme of helplessness and pessimism......Maybe self realisation. Although there is never any feeling shown by the main character, you get a perfect picture of the characters state through Kitano's relaxed acting style. He reminds me of an oriental mix of DeNiro and Keitel.

All in all, a classic film that speaks in whispers.

Andy

National peculiarities of Japanese gangsterism

[hmsgroop · 10/10 · 10 June 2000]

I have always wondered why Americans always label everything they can lay their hands on; that's how Sonatine became "an action movie", Arizona Dream became "a comedy", etc. Maybe their viewers need to be told what is what because it's hard for them to think for themselves. Sonatine is NOT a typical action movie. Though the characters are gangsters and they DO kill people occasionally it's not the killings that are important. The director and the cast show that those gangsters are also human, with their likes and dislikes, their games and pranks, their love and loyalty.It's a very Japanese film showing the beauty of the fleeting moments of life, fragility of life, beauty of nature and of human soul which is capable of self-sacrifice and devotion. I particularly loved the game of cardboard wrestlers they palyed on the beach and the fireworks. It's fresh, genuine and filmed in a non-American way (thanks god!)mostly as far as its framing and editing are concerned. Calm and life-like sequences of frames make it look NORMAL, not "movie-like". Thanks god there's nothing like Unreal Tournament gun-happiness and no heroes walking away in a most manly way against the background of flames and nuclear explosions, which are omnipresent in American productions. Takeshi, go, go! We are on your side!

Wierd

[samde-51795 · 6/10 · 6 March 2022]

I love Takeshi, but honestly not what I was expecting at all, got wierd about halfway then the story was completely changed, maybe that's his comical side, of which I'm not aware cause only movies I watched for him were really serious yakuza flicks like Outrage and Brother.

Not for lazy movie-goers...

[benz0325 · 8/10 · 11 January 2000]

Like most of Beat Takeshi's movies, you have to really observe it, rather than watch it, to really appreciate his movies. His style is almost Zen-like in its lingering shots of people and scenery. You have to be very attentive to everything he presents to you, or you are just not going to "get it." People here in the US are used to being spoon fed their information and it's no different in US-made movies. They need to be told if the character is angry, sad, tired, etc... and movies like Sonatine tells you "hey, you're on your own, use your brain for once." In most Asian cultures, males tend not to verbally express their emotions, but they will show in their eyes and body language, which is why Westerners have such a hard time understanding our culture. I'm Chinese, born and raised in the US, and I found this movie to be a wonderfully complex and beautifully shot.

Yakuza Life

[claudio_carvalho · 6/10 · 3 January 2023]

In Tokyo, the hardened boss of a well-succeeded clan, Aniki Murakawa (Takeshi Kitano) is thinking about retirement and living with the profits of his turf. His boss, Kitajima (Tonbo Zushi), sends Murokawa and his men to Okinawa to resolve a dispute between their allies, the Nakamatsu and Anan clans. They are welcomed by the Nakamatsu's boss Uechi (Tetsu Watanabe). He learns from Uechi that the dispute between clans is under control and out of the blue, they are ambushed while drinking beer in a bar. Murakawa and the survivors flee to beach house that belongs to the brother of one of the Nakamatsu's gangster and they spend their time playing childhood games. Until the day Murakawa learns that he was betrayed by Kitajima.

"Sonatine" is an overrated 1993 movie by Takeshi Kitano even when revisited in 2022. The plot is too short for 1h 34min running time, and consequently the pace is too slow. The scenes at the beach, with the yakuza's men playing like children, is too long and unnecessary. The murder scenes are top-notch and it is impressive the cold blood of the killers. My vote is six.

Title (Brazil): "Adrenalina Máxima" ("Maximum Adrenaline")

What a wonderful film!

[shabulia · 8/10 · 14 October 2005]

The first time I heard of this movie was when I went to pick up the Zatoichi DVD. It came coupled with the blind swordsman movie and I really didn't know anything about it. A critic's statement, on the box, says "...very reminiscent of Goodfellas." So I thought it might be pretty good.

Upon watching this film, I was very angry by the critic's words. Did he even watch the same movie? This film is not some Japanese Scorsese imitation. On the contrary, this film soars where Scorsese films try and fail. Sonatine does have some violent moments, but they are few and far between. This is more of a story of friendship and love that can be found in the most unlikely of places. It is a visual masterpiece that focuses more on plot development through style and storytelling and less on action and adventure.

This is a typical Takeshi Kitano film, which is to say it is slow paced and possesses a very artistic quality that touches you deep within. Films like this simply aren't done in America. Kitano is a master of using imagery and general feel to get his point across. This is a beautifully shot film and many images (like the beach scenes) will stick with you after seeing it.

As I said before, this is not a big action movie. Many that give it a shot might be disappointed as they have acquired a taste for big explosions and big shootouts, typical of American and Hong Kong action flicks. If that's what you're after, this is not your movie. If you are after a film that wears the coat of a Yakuza movie, but instead focuses on the humanity of its characters and gives you a very unique visual style, you are in for a treat.

This movie almost seemed to be a cross between Kikujiro no natsu (Kikujiro in the US) and Hana Bi (Fireworks in the US), both Kitano films. If you enjoyed either of those movies, then sit back and prepare yourself for another masterpiece. I couldn't recommend this movie more.

Slowest Yakuza film in history

[x_manicure_x · 7/10 · 14 August 2021]

"Sonatine" is often mentioned as the quintessential Japanese mob film, but it's quite the opposite. It's an incredibly slow-paced, contemplative, weirdly edited film with little action, some old man jokes, and tons of escapist slice-of-life sequences. However, it definitely has its own unique mood that makes it worth watching.

Murakawa (Kitano) and friends are sent on a suicide mission to Okinawa, and spend their days drinking and playing games at their idyllic seaside hideout. We are shown how cold-blooded killers waiting for their inevitable fate to happen are unknowingly embarking on an internal journey to win back their long-lost humanity and innocence. The film lies the ground for psychological, character-centered cinema, but unfortunately, that's not really the case. The characters are shown doing all kinds of things, but we are rarely taught anything about them. That's why when they are eventually killed, it's hard to feel anything at all. Maybe that was the whole point: to get into the same state of apathy as Murakawa?

A Japanese Masterpiece

[TheFilmGuy1 · 9/10 · 16 July 2014]

"When you're scared all the time, you almost wish you were dead."

This film is absolutely incredible. Breathtaking, thoughtful, fun, violent, intriguing, artistic... I could go on. It's about a group of Yakzua who go to Okinawa and end up hiding out in a cabin by the beach. While the film starts off in a very typical Yakzua film way, it becomes a lot more than that.

First, let me say that Kitano does a great job here. He wrote, directed, edited and starred in this film, and he does a great job at it all. The cinematography is beautiful, and it really makes this a pretty film. It really is in need of a bluray release, but sadly right now there isn't one. Kitano puts a lot of color into this film, using things like brightly colored shirts or the beautiful scenery or a bright blue car. The film starts looking very gritty and dull when they're in Tokyo, much like any Yakuza film, but as they go to Okinawa, it becomes much more rich in color, which is very interesting to see. You really get to soak in the beaches and waters of Okinawa, which are absolutely beautiful and make you wish you were there.

The soundtrack plays a huge part in this film too. Joe Hisaishi does the score, and he has done other scores for Kitano films like Kikujiro and even studio Gibli films. His score gives the film varying moods, which range from mysterious and brooding to fun and whimsical, which fits the film well seeing as it has a little bit of all of these things.

The movies starts as a violent and gritty Yakuza film, but about 30 minutes into it when they go to the beach to hide out, the film becomes almost like a kids movie (Reminiscent of Kikujiro, another Kitano film that has a more kid friendly vibe to it). They goof around and have fun, which really makes you like these characters. You feel like you know what these characters are like and they feel real. Everyone in the cast does a good job, especially Kitano.

This is a movie that really makes you think as the credits roll. It gives you enough to understand what Kitano is trying to say, but also leaves a few things up to the viewer to decide, and I really like that. I don't want a film to give me everything, but at the same time, I don't want to be 100% confused. This movie really pulls that off.

I highly recommend this to anyone. Fans of Japanese films, fans of Yakuza movies, fans of art house films, just fans of film in general. It's a masterpiece that is very underrated, and absolutely needs to be seen by more people.

Enjoyable, but not great, and overstays its welcome

[Groverdox · 7/10 · 20 June 2023]

"Sonatine" is the Takeshi Kitano flick where he plays a yakuza who lays low at the beach with his cronies, pretends to play Russian roulette (and imagines he does it for real), and they pretend to be in a giant sumo game.

I like Kitano's movies, but I don't know if I've ever loved one. They always have an obscure narrative, focus on every day things, and quick bursts of violence. And not to mention, long shots of impassive faces, and a camera that never moves.

These are arthouse gangster flicks. The focus is on cinematography, beautiful still shots, basically life itself. It's not on the parts of being a gangster that people are actually interested in, ie. The violence. The movie wants to show us the bits in between the violence.

Thing is, I never got that much of a sense of who the characters are as people. A lot of the behaviour in the movie is strange and inexplicable, which is typical for a Kitano flick. You never know what they're going to say or do next.

The only thing that's predictable is how Kitano will show it from behind the camera, with all those long shots of unmoving faces and random action.

I enjoyed "Sonatine" for these reasons, but these are also what made me lose patience with it toward the end.

Underwhelming

[KFL · 5/10 · 5 November 2001]

Real-life yakuza are very different from those portrayed in this movie. They're more interested in making money, in liquor and women and gambling. They're much, much less inclined to bloodshed.

Out of curiosity, I did a web search. A (Japanese-language) report at www.police.pref.okinawa.jp, the Japanese prefectural police web site, indicates that between 1961 and 1991, there were a total of 20 deaths caused by yakuza in Okinawa. Though it has its own problems, Itami's "Minbo no Onna" is probably a more realistic look at today's yakuza. ...OK, so the violence in Sonatine is exaggerated. Wildly, even. Is it worth seeing anyway?

Well, no. There really isn't much here that's original, and the few amusing scenes (the sumo-on-the-beach scene, for example) are wildly out of place. The whole thing comes off as an ego-boosting trip for actor/director Kitano--who, as another reviewer notes, can act when he really wants to, as he proved in "Merry Christmas, Mr. Lawrence". Unfortunately he doesn't appear to have wanted to in this movie.

Roger Ebert is duly impressed with Kitano's Murakawa, the main character, explaining that "The less he gives, the less he reveals, the less he says and does, the more his presence grows, until he becomes the cold, dangerous center of the story." Unfortunately Ebert makes the blunder, common to many Westerners, of mistaking reticence and listlessness for Zen-like profundity. This is rather like regarding a Sly Stallone character as profound because he only grunts now and then.

I've seen worse, but I'm not inclined to look for any more Kitano flics.

4/10