A year after a botched hostage negotiation with a serial killer turned deadly, ex-detective Koichi and his wife move into a new house with a deeply strange new neighbor. His old cop colleagues come calling for his help on a mysterious case, which may be related to the strange goings-on next door.
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In Shyamalan's Split we had a psychological thriller that became a supernatural one. This seems the opposite. Early scenes hint at something paranormal - the rustling wind, the isolation, the old dark house - before crossing back into the reality of the police procedural. Like Split it's also a film preoccupied with the Nietzschean concepts of power & destruction; with broken minds. A bizarre but unforgettable work.
Credit ungrudgingly granted for all of its creeping, crawling camera work, which, along with respect for Kurosawa's earlier, superior efforts kept me watching up to the point of I-may-as-well-finish-the-thing, but this is horror of a particularly lazy sort, in which everyone is, when it counts, too stupid to believe, no matter how sensible they may seem the rest of the time. Though I suppose that's not unheard of.
Solid thriller, like a short story by Du Maurier or Highsmith or somebody, but disappointing when you grade it on a curve with Kurosawa's better films. It's overproduced and seems like it could've been directed by anybody.
Tee hee. Not the first time I have had to watch a Kiyoshi Kurosawa two times in fairly quick succession so it could, you know, register. He is, as ever, weird in a way that precisely nobody else is weird. He visits known genre domains, but he behaves there as a singular force. His sensibility is practically extraterrestrial. He seems to see us all as sleepwalkers, and the machinery of destiny as obscure and twisted.
"Creepy" finds director Kiyoshi Kurosawa trading in several tropes - somnambulant murders, drifting jellyfish - purloined from his earlier films, as if to assure the viewer that they are in familiar territory. But what causes "Creepy" to truly linger in the mind is its sobering notion that evil, even when it is banal and pathetic, is capable of turning our closest and most trusted loved ones against us.
“Creepy” was sharply shot/photographed and its suspenseful undertones are acceptable, however, a more lucid approach was expected from Mr. Kurosawa who, at least, could have tried to camouflage the obvious a little harder. (2.5 stars)