I am tempted to say all the yakuza shouting insults at each other is some sinister form of rakugo, and Kitano is begging us to get in on the joke. And that's probably it: Kitano is playing with sound as he once toyed with shock cuts - but here, the results are mixed. The film's highlight is the lanky police second-in-command, whose every glance looks like his boss just blew a gnarly Tijuana-level bean-burrito fart.
The first Outrage reworked the Yakuza subgenre to show the syndicate not being about the typical value of 'honor', but betrayal. It took the climax of The Godfather and stretched it out for nearly the whole movie, thus, it had no story and was very plot heavy. This sequel starts out slower, but is still heavy in plot, and has very little story before it dives into the action. It's simply no different than the first.
Some critics claimed the first "Outrage" was so gruesome, it should have been labeled a horror movie instead of a gangster flick. Whether due to that criticism or simply his own personal preference, director Takeshi Kitano has scaled back the violence for "Outrage Beyond," placing the emphasis on backroom dealings and the various machinations of the plot. The result is a much more 'respectable' but staid followup.
Minore del primo,si salva la consueta messa in scena che ormai Kitano gestisce alla grande.Ma il film si trascina stancamente,sono pochi i momenti cult(tipo le palle da baseball),e soprattutto manca la poetica ed il lirismo che erano tipiche dei lavori maggiori di Takeshi(tipo Hana-Bi o Sonatine).Si lascia guardare,ma non colpisce nel segno.
FNC '12 After the middling first installment I'm happy to report that Kitano is back with his best yakuza offering since 'Hana-Bi". The script is top notch in its intriques and double dealings offering up betrayals of Shakespearean proportions. Violent but more focused on story. Fumiyo Kohinata is aces as the corrupt detective and figures into the finale in such a satisfying way. A total surprise.
Takeshi Kitano will forever be my favorite filmmaker. The aesthetic is subdued, patient and unflinching. Every frame is a painting. Violence is inescapable, inevitable and presented with a deadpan matter-of-fact tone that many have imitated unsuccessfully. The pitch-black humor, achieved almost entirely through editing and visual cues, is overpowering and uncomfortable. The plot is labyrinth, the characters human.