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To view "Audition" only as a horror film, to continually emphasize the graphic power of its final act at the expense of what precedes it, is to ignore the film’s robust vision. "Audition" is a psychological drama, a detonation of romantic-comedy clichés, as well as a brutal examination of social isolation and malaise, and the gulf that often exists between men and women.

What's worse than the sadistic atrocity you'll see on the screen may be the sound—the cacophonous harmony of wire cutting through flesh and bone—and Asami's playful "kiri kiri kiri" chant as she punctures her victim's body.

10+ years ago, I saw the torture scene as a woman's bloody, uncensored vengeance upon a man who'd had the power to toy with her, and shape her future. Now, Audition no longer feels like a war-of-the-sexes with one victor. Instead, it's a sad commentary on a quagmire that seems more timely than ever, and leaves both sides debilitated. Maybe that's not as sexy and doesn't carry the same cultural cachet, but for me the film has finally moved beyond its iconic image. Deeper, deeper, deeper.

What begins as a slow burn drama about deception quickly turns to all-out horror, as perceptions are not what they seem as surface manners conceal ulterior motives. Toying with the image of the ideal Japanese woman, the film subverts expectations and tackles the objectification of women through a dark plot of violence and revenge.

Words create lies. Pain can be trusted." So ends this mind-bending masterwork from the prolific Japanese director Takashi Miike, which begins as a deceptively sedate family drama, plunges down a rabbit hole of hallucinatory mayhem, and winds up sticking needles in an entire culture of toxic masculinity.

Above everything else, it has something which makes it very different from the vast majority of horror movies – a female evil-demon figure who terrorises the male... A stomach-turning masterpiece.

The abrupt metamorphosis from Ozu homage to Fulci-style gorefest—you'll never view acupuncture needles or piano wire the same way again—made Audition an instant cult sensation, and it's best viewed with zero foreknowledge. Beneath the over-the-top sadism, though, lurks a potent, discomfiting thesis about ostensibly benign forms of sexism. It's the very best kind of horror movie, capable of making you think and hurl at the same time.

The film's most disturbing feature is the director's control over the material. Other films that build to a gorefest, Antichrist for example, have the feel of a cathartic outpouring, a cinematic primal scream therapy session. Miike, rather than the outpouring of an analysand, has the exacting choreography of a bunraku puppeteer, masterminding every gesture and stage-managing each meticulously searing image.

It is too simplistic, however, to label Miike’s film as feminist -- or misogynist. What’s most surprising about “Audition” is the complex depiction of the characters, who are both predators and victims and, even at their worst, largely sympathetic figures... The line between reality and fantasy eventually disappears, and the effect is of a seamless, continuing nightmare, from which there is no escape.

In ''Audition,'' the awful denouement is earned. Mr. Miike's talents include patience. Nothing is rushed here, and he lets horror mount... [his] skill comes in the accretion of emotional details and in his knack for dropping information in at just the right instant.

Here's [a horror] that is not schlock but actually is about something... This movie can be recommended only to dyed-in-the-wool fans of the genre. Anyone who goes into one of Miike's films must be prepared to be put through the wringer.

It’s a mistake to take "Audition"—or any great horror picture—too literally. We’re talking metaphorical splatter.