Izo (2004) User Reviews

A Time-bending Thrill-ride

[reelreviewsandrecommendations · 6/10 · 11 December 2022]

Sometime during the late Endo period, noted samurai Okada Izo is tortured and ritually slain upon a crucifix. His soul does not die, however, embarking on a period hopping journey through space and time. Fueled by bloodlust- and with occasional pauses for philosophical rumination- the vengeful spirit of Izo murders with impunity, slaying any and all who cross his path. Whether or not his appetite for revenge is satiated- and if his soul is cleansed by all the bloodshed- remains to be seen in the strange, stylish thrill-ride that is Takashi Miike's 'Izo.'

An action epic with a metaphysical foundation, 'Izo' is a bloody odd film from a director who specializes in them. Written by Shigenori Takechi, the film has a non-linear narrative structure that jumps through time periods like a springbok, and can be a little confounding and hard to follow. The journey the titular character goes on is intensely violent and frequently exciting, though uneven and imperfect. Throughout the film, thrilling battle sequences are interspersed with plodding, dialogue-heavy scenes that frankly don't work.

While one can appreciate the fact that Takechi and Miike are attempting to add another dimension to the tale, amid the madness of time-shifting, gore-splattered fight scenes, philosophical ponderings are jarring and out of place. The narrative becomes imbalanced, and the film's pacing suffers as well. Which is not even to mention the fact that the philosophy at the heart of 'Izo' is rather shallow and simplistic, and could easily be expressed in a more eloquent, understated manner. Fans of Miike will probably be left a little underwhelmed by the proceedings; some may even be bored.

Though, to repeat oneself, the action in 'Izo' really is pulse-pounding stuff. Expertly choreographed, the battles are fast and frenetic; and will surely have you on the edge of your seat. Federico Benvenuti and Ravindra Pratap Singh Ricky of the stunt team do marvelous work and the displays of swordplay in the film are breath-taking. In fact, the brilliance of the action unfortunately underscores again the deficiencies of the story and dialogue. It's a real shame Miike didn't have a screenplay to work with as strong as the action in his film.

What he does have is an emotive, off-beat soundtrack from Kazuki Tomakawa that is unforgettable and unique. Tomakawa periodically turns up in the film to serenade Izo and the audience, like the minstrels in 'Cat Ballou,' or Jonathan Richman in 'There's Something About Mary.' Tomakawa sounds a little bit like a Japanese Tom Waits, and the intensity and weirdness of his songs and his performance suit the crazed events of 'Izo' perfectly.

The film also boasts stylish cinematography from Nobuyuki Fukazawa, who has for many years worked on the show 'The Woman of S. R. I.' His muted efforts give the film an assured, stark visual style that is arresting and admirable. The set and costume design is also striking, with the titular character's main outfit being especially notable. Additionally, while Yasushi Shimamura's editing is a little loose during the dialogue scenes, he cuts the battles together masterfully; and his work deserves praise.

Also praiseworthy is Kazuya Nakayama, starring as Izo. Nakayama has a strong presence that dominates the screen, and his performance is steady and impressive. He handles himself well in the fight scenes and manages difficult dialogue with a remarkable ease. The character and his motivations may be somewhat recherche, but Nakayama is consistently commendable. His supporting cast are all terrific, but get very little to do in comparison. Kaori Momoi and Takeshi Kitano are particularly good and, though on screen for a short time, leave an indelible impression on the viewer.

At the end of the day, Takashi Miike's 'Izo' is a bit of a mixed bag. Though containing thrilling action sequences that will have you glued to the screen, the dialogue is mediocre and overly wordy. Additionally, the film's philosophical cogitations come across as a little half-baked, and the non-linear narrative structure can be confusing. The film does feature a great Kazuki Tomakawa soundtrack and a strong central performance from Kazuya Nakayama, as well as fine cinematography from Nobuyuki Fukazawa. To cut a long story short, 'Izo' is a film both muddled and memorable; another unique offering from one of the strangest directors in cinematic history.

Too long, too sloppy, but worth seeing once

[trippycheez · 5/10 · 11 April 2005]

The Philadelphia Film Fest program guide described the plot of IZO as such:

"A samurai travels through time with just one goal: to kill every single human on the planet."

That basically sums it up. A man takes a sword and hacks away at nearly all the people he comes in contact with. He stabs a military general to death with the help of some zombie soldiers. He slices his own mother's body in half from the waist down. He kills some kids, he kills some businessmen, and he kills a real estate agent who turns out to be a vampiric demon. When he kills infinity (yes, infinity ITSELF, not an infinite number of people) and the movie STILL doesn't end, things start to get a little tedious.

Knowing Miike, you'd be right to expect some outlandish violence, a high body count, and perhaps a mind-boggling plot from all of this. What you might not anticipate is a lot of philosophical mumbo jumbo, World War II stock footage played backwards and forwards, and a guitar player who appears every so often to sing throatily about elephants and flowers. (At one point the camera lingers on this guitarist's face for a full SEVEN MINUTES or so without any cuts or camera movement.)

Though I think I may have liked Izo, I have many criticisms.

First of all, for a film about sword-fighting, IZO lacks both the beauty of HERO and the direct outrageousness of KILL BILL. Quite simply, the fights were poorly choreographed and involved too many cheesy stunts. Izo flies over his enemies a few times, just like the characters in CROUCHING TIGER flew, only less elegantly. Izo dodges a bullet in slow motion just like Neo did in the MATRIX. The sound of a heart beating played over fade-ins and fade-outs just like it does in every made-for-TV horror flick in existence. During the rare times when Miike WASN'T deploying effects that have already been clichéd for years, each sequence seemed to go like this:

1. Close up of Izo's face 2. Close up of other guy's face 3. Shot from behind other guy as Izo hits him in the stomach with sword 4. Close up of other guy falling down

For the first ten minutes I didn't mind the lack of special effects or variety, but once I realized that there wouldn't be any progression and that the film would go on like this for a full two hours, I began to feel rather antsy.

The repetitive fight scenes could have been alleviated by some decent cinematography. If you can't give me an engaging plot, at LEAST give me something interesting to look at! But no. The whole movie had a very sloppy vibe, as though it had been rushed through production. Many of the shots seemed haphazardly composed or not composed at all, like arbitrary shots of tree branches and jittery hand-held action footage. Indoor shots were often over-exposed by light coming in from the windows but otherwise under-exposed. I sometimes had the sensation that brief flashes of stock footage were inserted to make up for gaps in continuity. Also, it could be that I saw a worn print, but the first half of the movie had a very brown, drab feel. Perhaps some sharp color could have livened things up.

So yes, the movie was boring, ugly and maybe an EL TOPO rip-off, but somehow I thought it was good anyway. Part of my positive opinion stems from the fact that I admire any director who has a dream and achieves it, no matter how wrong they may be to do so. Also, intellectually, this IS a very engaging film. Since Izo is so unrealistic as a character, the viewer is practically forced to understand his journey as an allegory. In my opinion, Izo represents the grudge mentality: when someone hurts him, or acts like they want to hurt him, he always reacts swiftly and lethally. When a person ignores him or approaches him in kindness (like the schoolteacher, a few of the women, or the children of the future who have learned that nations do not really exist), he lets them pass without harm. His general aim is to destroy anyone who claims to have more power than he does, including the Prime Minister and God. Through juxtapositions with World War II footage, we see that Izo's attitude is linked with Japan's stance during World War II: surrender is dishonorable, but by not surrendering, one is only asking for more violence. In order to stop war, one must cease to threaten it, thereby undercutting the formation of a grudge.

While watching IZO, I felt like I would understand the details better if I were more familiar with Japanese traditions and culture. My feeling was correct. After probing around the internet, I learned that Izo was a true historical figure, a samurai-turned-homicidal maniac. I also learned that the unusual style of music played by the guitarist (fanciful lyrics, anguished voice) is a distinctive Japanese genre that emerged after World War II in response to all the suffering.

Still, I would not recommend IZO lightly, not even to Miike fans. I'm not sure if the film is brilliant or terrible, but overall... life is short and IZO is long. Watch it only if you have the time or patience for such an undertaking.

it is a 'love it or hate it' movie, and I love it and hate it in almost equal measure

[Quinoa1984 · 5/10 · 23 November 2006]

After watching perhaps the most reckless, surreal, mystical-style take on the ultra-bloody grind-house samurai epic, I'm not too sure who is more relentless, its main character- the unstoppable un-dead/spirit Izo (Kazuya Nakayama, likely in the performance of a career, for better &/or worse) or its director Takashi Miike. It's been compared to both Greek mythology and Jodorowsky's El Topo, and I can definitely see credence in both examples. In the first half hour to forty five minutes, actually longer if you account for, um, story, you're not sure precisely what the hell (no pun intended) is going on. Izo, at the start, gets crucified, and then we learn after a while (err, it's pretty obvious) he was quite the warrior and swordsman, who is out for vengeance as he comes back as an un-crushable spirit. Later on, we get a view into what tags along with him, in a female form, as a 'fragment', but for the most part one can only try to assume that Izo is on a collision course to nowhere, a pure embodiment of nihilistic anarchy who could be the Terminator in blood-eyed samurai garb if he/it actually had the mission.

I can't deny that Miike deserves an 'A' for effort on this sort of thing, but it's also the kind of project that veers the closest of all the work I've seen of his so far to that most overused of terms- pretentious (albeit I haven't dug deep enough into his oeuvre to make that definitive). I mean, really, what are we to make of cut-aways at varied, completely random times of newsreel footage of dictators and famous world wars and atom bombs going off in black and white, sometimes in reverse mode, or in sped-up mode? What about a guy who comes in and out of the (very loosely laid) story to do acoustic-guitar musical numbers? It does all connect, I suppose, to the sort of random madness and almost Superman-like ability to not get really that harmed, unless around his quasi-kryptonite of the order of the 'Soul-fragment'. A lot of what ends up popping up as sort of the history of Izo, before he was turned into the ultimate grudge with a sword, would be really interesting on its own, but strung together like this with the rest of the picture made it frustrating for me. Perhaps I wasn't ready enough for all of this, but for all of the virtuosity that Miike is going for with his bloody, full-blown surreal odyssey, only some of it works well while the rest falls into 'huh' mode.

But the rest of this picture is what's almost teasingly ironic about Izo. As a swordplay movie, the kind that delivers the goods on action set-pieces and violence galore, doesn't disappoint, and if anything it shows Miike knows this kind of picture, which is why in a sense he's probably trying to lampoon it underneath the very dark and Gothic exterior. Nakayama is a real force to be reckoned with, and he works well in his all-too-limited role. It's always hard to do variations on the same style of killing- slicing a sword in the blink of an eye, and sometimes seeing the (appropriately) blood-soaked and flesh-torn aftermath, or in an immediate cut-away- and Miike pulls out his entire arsenal of tricks, including a set piece with the one American actor- Bob Sapp- who barely puts up a front either despite his huge size. But even with the creativity in many of Izo's murder sequences jarring and excitingly outrageous, the repetition becomes a little tiresome. And it wasn't that the picture was too confusing, though it does contain that side of the El Topo, where it's basically intentional for it to go in circle's around people's heads.

The messages that barrage the viewer though through the content (like in one scene where Izo is at a school and you-guess-what happens and there are cutaways to classrooms where kids are asked to define 'love', 'nation', and other ultra big words taken for granted) are what become fuzzy or just too off-kilter for their own good. For someone who is usually so sharp on the edge with satire, Miike here is trying to scrape up enough with the action to justify it being there, because, of course, Izo's world is in some otherworldly plain of Greek tragedy, Buddhism, and other factions that are also connected to the true depravities and horrors of the world. But it's too much on one plate, and there's definitely the sense of overload. It's the kind of picture where the director does, more often than not, stumble on his face with his own ambitions; that being said, I'd much rather see a movie by Miike that only reaches up so high to its ideals than for a lesser filmmaker to just churn out typical product. Izo is anything but typical product, and it follows no rules (and destroys much like its character), which becomes part of the problem, at least on a first viewing.

Very Symbolic

[TheEnigmaticRonin · 7/10 · 10 December 2006]

Only Takashi Miike could make a film like that. This movie is very symbolic, and bizarre. Izo is story about an evil spirit, who once was an assassin, who travel trough time and realms, to avenge his death. Miike have expressed his feelings in a very unnatural way. The question is what is "Izo"?, there are many answers to the question, my personal opinion is that, Izo is the Japanese part of the second world war, and japan in war situation trough the history, and the cruelty of the human nature, he is the dark side of every person. Miike show you clues pretty clear in the movie. When he kills his first victim he ask him, are you so brutal because you are human or human because you are brutal?(cruelty of the human nature). He shows also how religion can be misused, in personal interest and how hypocritical it can be. In the scene where he kills his own mother is also an symbolic example, his mother says "killing me is like killing yourself Izo", when a population corrupts and destroy there country they destroy there own system...they destroy themselves. The whole thing start to make sense if we relate it to the second world war. In the beginning Izo looks like an ordinary person ,cool, but later on he becomes more fierce, he even kills children and innocent people, civilian people are those who suffer the most in a war. With other words the war from the Japanese side didn't look like bad thing, but later on they saw the cruelty of the war. In the end Izo do look like a monster, with a mask, evolution... changes of war how it changes in a negative way, mask is an accessory, just like the army used armored weapon in later wars.

Izo is brilliant movie, I'm not saying that everyone going to like it, because entertainment for everyone does not exist. A must for Miike fans ;)

God, Family, Sex, Murder, Friend, Foe, War, Nation, Government, Law, Ethics

[genghis_khan · 8/10 · 24 June 2005]

I was expecting a samurai film, I couldn't have been wronger. It is hard to explain "Izo" with just words, even if I could I don't think it would cover all the things this film has to say.

Before explaining the story of this film I think it is essential to talk about the visual aspect of it. "Izo" looks like another experimental film from the director Takashi Miike, lots of unorthodox camera shots and visual story telling. Acting feels very theatrical... in a Japanese way. There is no stopping in this film, it is a fast ride from start to the end and you have to catch up with it.

As for the story, Izo is the main character in this, a samurai from feudal Japan who apparently had a lot of drama in his life. After his death his tortured soul wanders around modern and old Japan, endlessly taking lives. He denies the existence of God, faces old foes, those who hold grudge against him, sleeps with his mom and kills her, he sees women he had been with, kills them, kills lots of women, kills lots of everything actually. And the whole Japan -modern and old- wants to stop this guy, he is seen as a menace to the system, he doesn't belong to the system. And he travels back and forth in time, fighting and killing everyone that gets in his way, slowly turning into a demon.

There is a lot of defiance in "Izo", against everything human civilization stands for. Its purpose apparently is to question that which made us what we are. Where does religion, law, ethics come from? And it has a very nihilist answer to all of it. While watching this I felt a lot of mythology in it, feels like a Greek or a Persian tragedy.

What I've written might sound non-sense if you haven't yet seen this and have no idea what it is like but this is as much as I can do to explain this film. I think that's what makes good art: It speaks for itself...

Noh, Play Station, MTV

[djores · 24 February 2006]

Izo is a vector-movie: it has a point of origin (Izo is put to death in the opening sequence), direction and speed (arbitrary revenge as determined by the edge of Izo's sword), but no destination. It must be stressed that unlike "traditional" narratives, it consciously avoids the end-point/solution/destination. The movie lets the aesthetics of its form shape the meaning of the story. The aesthetics in question being: hyper-loaded symbolism as conjured in Noh theater; PS2 architecture of the action - labyrinthine violence for its own sake leading up to the next level, which is more of the same with a different CGI background; MTV approach to video editing - Izo's bounces between layers of reality with the approximate speed of a cable channel surfer are spliced with archival footage and several "unplugged" Kazuki Tomokawa performances where the ancient Greek chorus would provide emotional emphasis.

The experience is not exactly rewarding but definitely unparalleled.

Apart from some questionable world-conspiracy and misogyny moments, an overall entertaining, extreme, and cryptically new take on film storytelling. Miike in his radical element.

Glorious mayhem with a cold, unengaging heart

[fertilecelluloid · 7/10 · 12 August 2006]

A warrior travels through time and space and thoroughly butchers, in spectacular grand guignol fashion, almost everybody he runs into. Miike's "El Topo-like action-fantasy is a strange, stylish, confused melange of energy and anger, a poem to retribution, the sins of history, self-abasement and bloody ambition. High production values dominate and the action set pieces are quite beautifully filmed and choreographed. The blood spurts in glorious geysers and the theatrical stylings give the entire affair a kabuki feel. Unfortunately, the lengthy running time tests tolerance levels because there is little emotional weight between the sprockets. "Izo" is a cold film, a distancing film, but it has an intensity that is engaging and a sense of anarchy about it that recalls Oliver Stone's "Natural Born Killers". Although my favorite Miike films are "Visitor Q" and "Ichi The Killer", I enjoyed "Izo" in spurts (bloody ones, of course).

Oooh, you slay me, Miike!

[sc8031 · 4/10 · 17 June 2008]

This movie is kinda annoying to sit through. There isn't really a plot, so much as a theme. The title character Izo abstractly walks through time and space and movie sets propelled by his hatred at the unfair and seemingly purposeless hierarchy of the universe. There are funny and interesting moments (and social commentaries) but it's too long and meandering!

I am kinda disappointed here. Izo presents a lot of cool ideas and premises. I'm pretty sure it's based on a Japanese work of fiction and that there is some older Japanese movie about the story of Izo before his crucifixion. But in making this incarnation of the story so abstract, Miike leaves the viewer kinda bored and frustrated. I understand that this is some "Pierrot Le Fou" type of flick, where the viewer is almost "interacting" with the movie, but I've never been a fan of that stuff. I kept feeling like Miike was laughing at me for watching his film.

And indeed, many of the actors are cast as novelties to be ridiculed, including the lead role and MMA fighter Bob Sapp (funny that Kitano Takeshi appears in this, considering his movies all rule the roost!). This is blatantly discussed on the extras DVD, where Miike says a bunch of not-so-profound things about art and music. I think Miike really does get a kick out of manipulating people, is the thing. It's kinda creepy.

The music sucks, since it's mostly this exploited (autistic?) folk singer Miike fawns over. And yet Miike has a real skill for scene composition. The cinematography here is fantastic! And so are the actors who are NOT being exploited. It's a weird interplay, not unlike some of Woody Allen's interesting moments. You know, a really great cast, contrasted against a handful of really pitiful, blatantly exploited bad actors who aren't in on the joke.

By the way, don't watch this expecting a samurai film. The choreography and fighting is purposefully ugly and oafish. This movie is quite blatantly an anti-samurai film, which brings to light Miike's perspective on the subject. The anti-dogmatic stance of this film indicates a non-conservative stance of modern Japanese society.

Beautiful cinematography and interesting ideas don't make up for the purposefully manipulative and abstract portions of the film. I guess I can respect that Miike was trying to do something artistic here, but it's simply not that enjoyable or cathartic to sit through.

THE most bizarre movie I have ever seen

[manicsounds · 8/10 · 23 August 2004]

I've seen my share of Lynch, Cronenberg, Tsukamoto, and other Miike films in the past, and I must say for a fact that IZO beats everything else currently out there for extreme bizarreness.

After watching the film for 2 hours, there was still a lot of head scratching from the audience leaving the theater. What did it mean? What exactly happened? What was the purpose? But do you expect any less from Takashi Miike?

As what I gathered, an assassin named IZO is crucified as punishment, from what we don't know, probably a few hundred years ago. His punishment instead goes beyond multiple spearings through his body, but eternal damnation of life, where time, space, and dimension are not clear.

It seems IZO has the capability of traveling through random times and space, but randomly out of nowhere. He kills whoever may be in his path, as they are trying to kill him. The purpose of his eternal damnation is not truly clear and he seeks on a Reason. A Reason in a place where Reason doesn't exist.

Add to the package a Huge body count (not as bloody as you would expect actually), some sex, samurai and cartoonish violence, random old stock footage, zombies, a randomly appearing folk singer giving metaphoric songs on occasion, snakes, caterpillars, and birth itself, it is one unique picture.

Did I get it? Nope. Did I enjoy it? I think I did. A second viewing is what I must give it eventually. 8/10

You are a demon.

[Meganeguard · 7/10 · 6 January 2006]

The opening of scene of Izo depicts the title character Okada Izo crucified and calmly waiting for his captors to kill him. They soon comply and execute Izo by driving their spears through his body several times. The scene then quickly changes to a chaotic montage in which images of some of the 20th century's most brutal dictators are flashed across the screen, including Stalin, Hitler, Tojo Hideki, and Benito Mussolini. His spirit unable to rest, Izo rises and begins a path of destruction that leaves no one untouched. It matters not if one is old or young, male or female, Izo will kill anyone in his path. The source of his consternation seems to be a group of aristocrats, including Kitano Takeshi and Matsuda Ryuhei who plays the leader, who rule society from the shadows. Fighting the vengeful souls of samurai he killed in the past, a pistol wielding old man with a voice box, a prostitute, a huge black man in the robes of a Buddhist monk, Bob "The Beast" Sapp," makes his way closer to his goal, but as his bad karma accumulates Izo loses his remaining humanity and quickly morphs into a demon.

Yet, who or what is Izo? Supposedly in order for there to be perfection, all the imperfections of the world must be shed of like a second skin and dissipate into nothingness. However, Izo becomes the personification of this nothingness, a being created entirely of bad karma trapped in a Möbius strip in which time and space are both very fragile where he suffers the torment he brought to others.

Some film viewers seem to think that Izo is an overwrought mess with pedantic aspirations that fail miserably. Some think it achieves its goals while many just enjoy the film's high gore factor. I did not know what to think at first. I quickly grew bored at the beginning of the film when it seemed as if it was going to be nothing more than one blood bath after the other, although I did think some of Izo's enemies were quite creative. However, as the film progressed I became a bit more interested in some underlying themes of the film: man made constructions of love, nation, etc. To me one of the most interesting aspects of the film was the "bard," a middle-aged man with a guitar. As those who have read the Tale of Heike know the oral story of how the Heike, Taira fell to the Genji, Minamoto, clan was told by normally blind biwa playing monks in order to appease the souls of the Heike samurai so they would not return as vengeful spirits. While this "bard" might not be serving this same purpose, the songs he sings are quite chilling and the visuals, such as the girls marching while wearing gasmasks, are quite stunning. Is Izo a good film? That is hard to say, but I believe that it offers different conclusions for different viewers. If one is looking for a confusing bloodbath, you'll find it here. If one is looking for deeper philosophical questions in a miasma of blood and guts, you'll find it here as well, or at least it could aid you in finding these questions within your own being.

Good concept stretched to the limits of endurance

[ania_helenka · 5/10 · 31 October 2004]

Wasted potential. Or rather, all the ingredients for a great experimental film were there but sadly the director got carried away and overdid it. Looking past the blood & gore I found the film Jungian really - an exploration of the id and ego, chaos and order - you name it. But this could have been achieved with 50 minutes less footage. As things are the film bogs down and becomes repetitive. Tedious in the end. The shock value wears thin, there's little more to say and the singing - after an hour or so I've come to dread the sound of the guitar - it ceased to be punctuation of the piece and became a right pain inflicted on the audience.

All in all, by all means see it, think about it - but only once the DVD comes out - you want to be able to fast forward through about 30%.

A slice, a groan, a war-cry, and a folk ballad

[musashi_88 · 8/10 · 25 April 2005]

The latest chapter in Takeshi Miike's continuing essay on humanity and brutality, IZO is a two-hour experimental mind-trip.

If this film were in any way concerned with making sense, the storyline might resemble something like this: A man is brutally murdered in ancient Japan, but, bearing his vengeance, he returns to the Earth and wanders uncontrollably through time and space, becoming the embodiment of mankind's self-destructive nature. Throughout his wanderings, he encounters all kinds of strange and metaphoric characters, and he proceeds to kill them all with his samurai sword.

This film is an elaborate thesis on mankind, but the exact nature of the message is a matter of debate, as is whether or not Takeshi Miike himself even has a clue. There will no doubt be differing opinions as to what the characters represent, but you better make up your mind during the first hour of film. After that, most of the scenes that obviously point out a social message - like black-and-white footage of war - disappear, and what the resolution is depends on your interpretation of the characters.

For those of you not familiar with the works of Takeshi Miike, suffice it to say that he is determined to mine the human subconscious in search of new and exciting ways to make people throw up sushi and tempura on the carpeted floors of Tokyo multiplexes. Among Japan's pantheon of ultra-violent directors, he is notable for being always ready to address the issue of his own sadism. Ever film he makes is like an expansion of Hitchcock's shower scene, forcibly accusing us of being sadists at the same time as he delivers great images of cinematic violence. More than the social commentary, which is confusing and likely uncertain, the most interesting philosophical study in IZO is Miike's self-examination of his own lust for violence, as well as the main character's and the audience's. Is Izo so brutal because he is inhuman, or because he is too human?

You may not get anything from straining at this befuddled movie, but it is still enjoyable and provoking, if not gut-wrenching, experimental cinema. Any violent philosophical essay that features long shots of a folk singer playing guitar and screaming ballads is worth a look. IZO has elements of Kafka, Lewis Carrol, Terry Gilliam, and Seijun Suzuki, but it is undeniably Takeshi Miike.

You can call Miike sadistic. You can call him demented or depraved. Just don't forget to call him an artist.

I am the tally of your soul...

[jmbwithcats · 6/10 · 21 September 2005]

I am the tally of your soul... Score: 10/10 Izo quite possibly is the best movie on Buddhism ever made. Of course someone else might say it's not about Buddhism at all. Some say it's bizarre and meaningless, who am I to argue with them? Beauty is in the eye of the beholder. Same is with the interpretation of film.

Izo is genius directed, every shot, every motion deliberate. The imagery concise, intimate and undaunted.

The story is a sort of Buddhist Dante's Divine Comedy with allegory's ranging from Buddhist's eight-fold path, and archetypal myths. The dialog is almost a koan, possibly the most sincere take on Zen I have ever seen on film.

Watching Izo, I felt like it all takes place in a desolate plane between life and death. Izo has died, and instead of letting go into death, he is a vengeful spirit who seeks revenge.

Intriguing but nearly unwatchable

[kinaidos · 2/10 · 31 May 2005]

This film is intriguing, but it's also a mess. After the first hour the random violence ceases to do much of anything but bore. The shell of a plot introduced by the modern characters is so shallow that it doesn't convincingly shape the narrative. There is not a single character in the film that one can connect with. Finally the melange of montage sequences are so random that they merely annoy. This film feels like a very bad attempt to make an overly serious film by a mediocre film student. It was extremely disappointing. The point of the film seems to have been to portray something of the relationship between the social order and violence, but that point is so trite at this point in history that it simply does not warrant over two hours of random violence, arbitrary montage, and a bunch of bogus depth psychology.

Mess

[mevmijaumau · 3 January 2015]

If you've seen Hideo Gosha's Hitokiri (1969), you're probably familiar with Izo Okada, who was an actual historical person and who is the protagonist of both that film and Takashi Miike's infamous 2004 movie Izo. The two films aren't connected in any way (except they both share a similar shot of crucified Izo, with spears crossed in front of him), in fact Miike's film tackles multiple genres and is completely different in style from Gosha's film.

The movie stars Kazuya Nakayama as Izo, who, after his crucifixion, became this sort-of demonic creature between life and death who frequently jumps between time and space in order to murder various people as some kind of a vengeance pointed towards humanity. The more people he kills, the less human he becomes, and starts wearing a demon mask after the movie's first half to highlight this (but don't expect this to be a film based on character motivation). He travels through time on a whim, killing some gangsters, a priest, his mother, a bride and a groom at some wedding (while the camera is upside-down for some reason), vampire-salesmen, businessmen, random by-passers, etc., accompanied by acid folk guitarist Kazuki Tomokawa who pops by here and there to sing a ballad. Takeshi Kitano and Bob Sapp also appear, and get killed by Izo.

Essentially, this is a movie about reincarnation. It begins with a sperm reaching egg, therefore leaving its competitors to die. It ends with Izo dying and getting reincarnated. In one dream (?) sequence, Izo is stuck in an infinity symbol and slashes it in two pieces, expressing his desire to end this eternal cycle of struggle and suffering. In the end, he reaches some kind of a deity with a snake (which may be connected to the Ouroboros, an ancient symbol of a snake biting its tail symbolizing eternity). He tries to kill the god, but doesn't find strength to do it and collapses into death, his next life ready to start.

The other theme of the film is how Izo tries to fight back against the system by opposing all kinds of authority figures, and finally massacring a room full of various academics, generals and officials, including the Emperor. The randomly inserted WW2 newsreel footage implies that history is just a long line of competition and bloodshed, tying in with the sperm reaching the egg at the start and hinting that if you nullify your reincarnation, you'll break the violent system of society. There are also several other Buddhist themes to the film which I won't even try to explain because God knows what went on inside Miike's brain while he was making this. The meaning of some scenes is specific to Japanese culture, like the one where Izo slaughters a crapton of random women in a school corridor, then bows to the schoolteacher passing by, then just leaves as if nothing happened. This of course references the enormous respect towards teachers in Japanese culture.

The movie is very, very repetitive (which is maybe fitting considering the reincarnation storyline) - it's just Izo encountering a new location and killing everyone present, over and over again. It's not particularly well-executed either. The scenes of bloodshed are boring and tedious to the max, which was probably intentional (same way Sonatine treated the shoot-out scenes), but the entire film is just so forgettable, boring, weak and lacking a consistent rhythm that a few bizarre stand-alone scenes are all you'll remember after it. Also, there's some bad CGI as well. So far, I've disliked anything I've seen from Miike and Izo is no exception.

Finally I understand the film

[joan-sanchez · 6/10 · 6 January 2005]

Let me explain: When you leave the room and are incapable to explain anybody what you have seen, two chances appears: a great movie that will transcend space and time or a total mistake.

Finally, two months later I understood the film: Miike tried to do "Apocalipse Now" and was out of money, so he swap Napalm for a guy with a Katana. And also fired the entire Writing team and let cameras in the hands of trained monkeys.(This maybe explains why in some shots the viewpoint is turned over 90º.) Sure they will be happier than original costume and makeup crew, because I think nobody will never appreciate his efforts, this is what it happens when you have no time to see no more than a dancing katana... Here ends the funny part. I will not do more comparisons.

YES, my guess is maybe wrong and finally it really becomes true that I did not understand anything... but does anybody believe that this film was against war? or a political point of view? or with some content at all? To do that, maybe it were better to do "Apocalipse 2: the return of the horror" or "Fahrenheit 666: the temperature where celluloid burns" or ... no, no, no, it has no sense. You better try to do not understand and maybe you can enjoy with this mix of samurai + terminator with Monty Phyton's plot, oh I did it again, please forget and empty your mind before seen this film. Do not be worry about getting sleeped, you sure could not do so, with all that people crying like Nightmare Elm Street, ...oh I did again.

Bizarre, Absurd, Surreal -- Breathlessly Inspiring and Unique

[gavin6942 · 9/10 · 4 November 2007]

In the distant past, a great samurai warrior named Izo was put to death in a most heinous manner. But his spirit does not rest, and he now wanders the earth, traveling through time, killing (almost) every living thing he comes across. While most of this film is just pure slaughter (which many fans will enjoy), watch for the deeper messages and symbolism.

The acting all around was wonderful. As usual, unless you're a big fan of Japanese cinema, you'll probably only recognize Takeshi Kitano. This makes it far easier for me to comment on the acting, not having to make running jokes on an actor's past career. Takeshi is pretty much flawless in his film choices, so you should already know this will be good when you see his name (not to mention it's a Takeshi Miike film, which is great).

My expectations for this film were mixed. As stated, Miike and Kitano are a great pair, but I was told this was something of an action film and less of a horror film. And I suppose that's true, although horror fans are going to get more than their share of blood and questionable perversity (incest, anyone?). I came out liking this film a lot more than I had thought I would, thinking there's no way it could out-do "Visitor Q" or even "Audition". But I think it very well may have.

The blood is what's going to attract most people. Izo kills school children, an old warrior with a voice box, businessmen and everyone else. It sprays a lot, and the swordplay is enjoyable. The variety of things killed makes up for the fact that the plot doesn't really have much to offer (besides countless stabbings, slashings and beheadings).

What hooked me was the philosophy and symbolism. We have Izo, who is consumed with rage, slowly turning into a demon as he kills (what appears to be a Japanese oni, though my grasp of Japanese mythology is limited). We have a troubadour who follows him around singing songs (some of them up to seven minutes in length). Is he the narrator, or Izo's soul crying out? We have the snake creature, the mother of all humanity and a board of directors for some big corporation. And, most interestingly, a teacher teaching students about "democracy" and what a "nation" is in the most abstract of terms. Like what John Searle or Richard Rorty would say. And if Izo is killing everyone, we are left to wonder why there remain a few -- very few -- people he leaves alive.

Come for the blood and stay for the symbols. You'll need to watch this one two or three times to really begin to understand and appreciate it. In all fairness, it may be boring for some people (how many times can you stab someone) but I think it's art in the purest, most animalistic of forms. You like "Audition" or "Ichi the Killer"? Give this one a shot.

The Holy Fountain (of blood)

[ramsri81 · 7/10 · 10 January 2008]

Well everybody knows what we are expecting when we see a Miike film. He is one of the very few surrealist horror director in the world. This movie is everything El Topo,Terminator, Judge Dread, Rambo,Gothic & Roman Epics put into one. The story is supposed to be of a warrior who has returned to earth for revenge. The torture scenes will make you flinch, the various episodes will make you scratch your head and with all those crazy things you will still appreciate Miike's effort. The characters, the crazy ways they kill him, Izo's flawless performance, the music, the editing, the camera angle's everything is special. Its more like Miike has donned the cap of a psychotic philosopher who goes to preach the world with blood. Its really difficult to get a DVD version, but I think if you are a Miike fan you should definitely give this movie a shot. Having seen more weird things in his movies than in my whole life I can safely say you will not be disappointed. I rate this one 7/10

Very, Very Weird and Boring Miike

[Witchfinder-General-666 · 3/10 · 22 April 2008]

Generally speaking, I am a fan of director Takashi Miike. His masterpiece "Audition" of 1999 is one of the very few brilliant Horror films from the 90s, and his repertoire includes quite a bunch of other great films. That being said, my feelings on "Izo" of 2004 are mixed. Miike is not exactly known for his conventional style of film-making, and "Izo" is indeed a film of unspeakable weirdness (which I like). The film, which is, as usual for Miike's films, very gory (even though actually not even quite as brutal as I expected it to be), basically consists of a vast number of gory battle sequences. These scenes of carnage are strung together with intervals of philosophical questions concerning life, politics and sociology. The film, which is more than imaginatively made with impressive and surreal settings, a perfect photography and astonishing effects, is brilliant in some aspects, and it has some moments that are downright ingenious. That being said, it sadly gets incredibly monotonous after a while and, as far as I am concerned, it is at least 30 minutes too long. In spite of its weirdness, "Izo" therefore regrettably evokes mainly one feeling: That of boredom.

In 1865, the assassin Izo (Kazuya Nakayama), who stands in the service of Hanpeida, an Imperial supporter, is captured after having killed many of the Shogun's men. After being executed in a particularly cruel manner, Izo does not vanish, but his rage makes him return as a vengeful (semi-)ghost, traveling through the ages in order to get his revenge...

As mentioned above, the film is very good in several aspects. It is immensely stylishly made, the carnage sequences are exceptional, the often surreal settings are more than impressive. In short: all the stylistic elements are superb, and I also liked the philosophical approaches. The performances are also good, Kazuya Nakayama is weird enough as Izo, and the supporting cast includes the great Takeshi Kitano. Inbetween, however, the film becomes overlong, sometimes almost insufferably boring, making it hard to sit through. Like everything by Miike, the film is a matter of personal taste; unlike many of his other films, this one didn't meet mine. Worth checking out for hardcore Miike-enthusiasts, but boring to sit through for everyone else.

Pretentious? Maybe... So What?

[hokeybutt · 9/10 · 23 August 2005]

IZO (4+ outta 5 stars) Well, this movie gets only 2 kinds of ratings... either really low or really high. There's no way around it... you will have to see it for yourself to figure out which it deserves. I found the movie a bit confounding at first... but it definitely makes more sense after a second and third viewing. There really isn't much of a plot. Izo, a dead warrior, is flung arbitrarily through time. He kills everyone he comes into contact with... good, bad, he makes no distinctions. The movie is director Takashi Miike's attempt at some kind of philosophical dissertation on violence and religion. Pretentious? Well, of course! When you get right down to it, ALL philosophy is pretentious! But, is the movie entertaining? Yes. Does it provoke thought? Yes. (Even if most people's thoughts will be along the lines of "What the f*** is going on???") Imaginatively-staged action sequences are piled on non-stop, one after the other. Occasionally the action stops for some rousing acoustic guitar and wild folk-singing from Kazuki Tomakawa... who will either have you covering your ears or desperately searching for his records online. Extremely violent movie, very powerful at times ... similar in style to Jodorowsky's "El Topo". If you think you will like this movie based on the descriptions you read, you probably will. If you think it sounds like boring twaddle... well, you better go watch something else.

Izo is a angry spirit seeking revenge

[akernain · 7/10 · 23 April 2005]

I normally don't comment on IMDb but the above comment on this film made me want to write my own opinion on the film.

First of all I'm a big fan of Takashi Mîke's work, so my opinion maybe a little biased.

Basically the guy who wrote the above review hasn't got a clue outside his realm of Christian/ western ideology. The film is heavy in Buddhist philosophy and existentialist theory, Izo is basically an anger spirit that refuses to die and his anger is transcends space and time, due to his fury anger at being killed, i think?!

wow a bit deep i know, G-ball3's probably used to watching "safe" Hollywood blockbuster which require little thought by the viewer to understand what is going on and plots are predictable.

So obviously he was way out of his comfort zone when he watched this film! I didn't understand every aspect of this film but if you want to watch something that will challenge you and cause you to think, watch its v.good!

Miike gets really self-indulgent with IZO

[moneenerd · 4/10 · 23 September 2009]

After seeing at least 20 movies in his filmography, this is by far and wide the worst Miike film I've yet to see.

Great premise, but the execution is all wrong.

A samurai is crucified on a cross in feudal Japan, and spends the remainder of his afterlife travelling through space and time at random, hacking and slicing away pretty much everyone in sight. While there are certainly those characters who might represent the ills of modern Japanese society (particularly religion and big business), some of the violence is just downright incomprehensible, including the slaying of innocent children and the rape of mother earth (seriously). I had no idea what Izo was supposed to represent, nor half of the villains he encounters, and, as a reasonably intelligent art-house film fanatic, it absolutely infuriates me that I had to come online to figure all this meaningless and half-assed symbolism out.

I get it Miike; you hate religion, technology, government, law, major corporations (like the ones you make movies for... ahem), and women. You love to get your audience talking, and you certainly love making critics think you are a thematic genius even when everything you do is lazy (given, he does make about 5-6 films a year) and pushing them to find hidden meanings behind things where there are none (example: all the ranting and raving about AUDITION being a feminist film). But by the looks of IMDb and RT ratings of IZO, I think this 2 hour mind-f*ck was the straw that broke the camel's back.

Bad CGI, bad fight choreography, bad dialogue, bad acting. Sure, it's an "art" film, and so those things should be secondary to theme, plot, and message, but when 90% of the film is made up of sword fighting, you could at least try a little harder to wow us.

This should be paired up with Takeshi Kitano's movie TAKESHI'S (ironice, since Kitano is in this movie), for they are both the most over-indulgent films by otherwise incredible talents in Japan cinema. File this under I AM A F*CKING GENIUS AND THE AUDIENCE WILL EAT UP ANYTHING I RELEASE EVEN IF IT'S JUNK.

On a side note: I am still stoked for your 13 ASSASSINS remake!

A philosophical journey or the soul or utter clap trap- talk about mileage varying

[dbborroughs · 9/10 · 2 March 2005]

This review will probably not help anyone and only confuse matters, but its the only way I can explain it.

You will either find this to be a philosophical tour de force or you will find it a load of dingos kidneys. You will either sit in rapt attention of storm off wondering how stupid you were to spend money on it.

Its that sort of a movie and then some.

The film effectively begins as Izo is crucified and speared to death(?) and then for the next two hours he runs around killing people and being or being the subject of "deep" discussions in various times and places. How you react to this film will be your tolerance for blood, gore, pretentious twaddle, real philosophy, deadly seriousness, and knowing silliness.

A cosmic comic blood bath journey of a soul in the afterlife? Who knows? I'm convinced that this is the film that Takashi Miike intended to make and that he is both very serious about what it says and having a laugh at the expense of everyone who sees it. (The problem is he's not giving many clues as to what he's trying to say)

Think of it as Jodorowsky's El Topo combined with his Holy Mountain, then turned into a time traveling samurai flick as filtered through the mind of a genius prankster.

If you love film, especially film that is so off the beaten track as to be in a universe three doors down see this film. If you love the potential for a film of ideas, but with lots of blood thrown in see this film.

If you're looking for a normal linear film with no heavy ideas stay away. (Miles away)

I think its a brilliant, but too long (by half an hour) mind trip. I have no idea what it all means but it was interesting seeing the sites.

See it once, and then again immediately, skip the DVD extras

[wjohanb · 7/10 · 28 November 2005]

analyzing Miike's flicks is somewhat akin to analyzing David Lynch or Stan Brakhage(sic?). He himself seems to feel that something is right, rather then have it all worked out in his mind logically. This can result in junky, rough work, as Izo is at times, and also touch a pure cinematic form of pure feeling, that what was shown could not be done any other way. Izo is this also. Having said this I found Izo to be one of the most clearly defined of Miike's movies that i've seen (admittedly only six or seven). I felt rather clearly spoken to, both in image and dialog. I wont go into this because of the sheer amount of what is there, and I always believe in people seeing movies blind, not looking for any particular preconceived message. I'll just say this felt like the truest movie I've seen of Miike's, the purest in feeling and heart, and also, by far, the most relevant and poignant.

Worst movie in 40 years of movie going!

[steve-thompson25 · 2/10 · 4 November 2004]

What a load of pretentious twaddle. I learned a new word in Japanese today:Izo = b**l**ks! It's taken a long time, but I've finally found a movie that's actually more tedious than "Death in Venice"! From the sadistic and vomit-inducing opening scene through the seemingly never-ending stream of blood and gore with dialogue direct from the darkest recesses of Pseud's Corner, this film is a stinker and should be avoided like the plague. Talk about "Emperor's New Clothes"! The mind that made this load of tosh must be truly sick. The violence just became boring after the first few maimings and killings. Whatever point this celebrated director was trying to make was lost on me. The movie reminded me of Monty Python's Peckinpah skit but, unfortunately, I'm not laughing.