Cure (1997)
If I had to describe this movie in a word, I would use a relatively new term: ragebait. Now, don’t get me wrong – I absolutely adored this film and am not referring to the movie itself when I say so, but rather a particular character who forms the basis of the madness going on here. We have Detective Takabe, a relatively seasoned detective, investigating a string of gruesome, inexplainable murders with one singular link: a man. Without spoiling too much, I will say this movie centres on strategic psychosis, what that means I will not say because by the end of the movie you will agree with me. This is a classic within the horror genre and for good reason because, while predictable, it has the viewer reflect on their psyche with its isolated spaces, elongated shots, preferring an unsettling humanity to the regular fast-paced jump scares. A particularly interesting feature of this movie is the use of muted tones to establish a clear illustration of the looming supernatural threat. The minimal camera movement contributes to this drab style, and we begin to envision ourselves as the characters as the lines between our reality and theirs are blurred. This is not a terror through performance but through suggestion. A must-watch for a beautifully unsettling time.
Creepy (2016)
If creepy was synonymous with confusing, then yes, the title is fitting. We begin with another seasoned detective, who now works as a university professor, Takakura, who very closely escapes from an attack on his life by a psychopath and now is confronted with a cold case he reopens at the goading of his former colleague. I personally rate this movie 2 stars, because while it embodies some of Kiyoshi Kurosawa’s likeness, it fails to deliver the true essence of his work, his outré. The characters are not fully fleshed out; they lack the detail and the precision he gave to personalities in his non-horror works, like Tokyo Sonata, which was a wonderful take on family dynamics and the imminent threat of capitalism fails to manifest. The movie is about breaking out of the cyclical nature that is Takakura’s regret; the puzzle, however, is disappointing. The visuals are, of course, perfect as always, the attention to wardrobe especially was compelling, particularly the use of ankle-length trousers for the antagonist and the formal full suits for our detective, even his home clothes harmonised well. This movie does something different from Cure, the viewer here feels omnipresent; and almost comes to despise everything unfolding (at least I did) maybe that was intended, but whatever it may be I would hesitate to call it creepy. It may have given us a glimpse of the lengths humans can descend to, but it is not meticulous like I would have expected. Overall, it tries to be Mindhunter (2017) but is unsuccessful.
Pulse (2001)
We have reached my favourite on the list. This is one of those films that a person must rewatch a few times before reviewing. I made the mistake of judging it on my first watch, but now, after my third, I can safely say this is truly profound. The afterlife is the premise. As an avid sci-fi/paranormal fan, I would cognate this with Serial Experiments Lain (1998), the anime or even Lucy (2014). Isolation, we all tend to go online to find a kindred spirit to connect, and here that concept is explored, albeit in a contagious way. The pacing of the movie is difficult to fully engross oneself into, believe me, I tried three times. The multiple characters which explore this phenomenon of existential dread give the viewer a mirror of themselves and establish the visceral fear one has of change. Truly a masterpiece considering the timing of its release; during the dawn of the age of the internet, this movie grounds the viewer in a way which is honestly inexplicable but very Kurosawa. What happens when the next world runs out of space? That is what this film aims to answer by the end. There is a terrifying amount of horror ASMR in this movie (not sure if that’s a thing), but it is here. Metaphors fill every bit of silence with axial cuts and match cuts, creating one of the most serene yet mortifying scenes in horror. This is one of those movies where the more you watch it, the better you understand, and the scarier it gets.
(A special mention for Ryosuke Kawashima, whose gloriously awkward presence may be the most memorable bit of comic relief in any horror film.)
“Kiyoshi Kurosawa at the 2024 Toronto International Film Festival” by John Sears is licensed under CC BY-SA 4.0.