{"id":68708,"date":"2011-09-26T19:47:30","date_gmt":"2011-09-27T02:47:30","guid":{"rendered":"http:\/\/www.shockya.com\/news\/?p=68708"},"modified":"2011-09-26T19:47:30","modified_gmt":"2011-09-27T02:47:30","slug":"bunraku-movie-review","status":"publish","type":"post","link":"https:\/\/www.shockya.com\/news\/2011\/09\/26\/bunraku-movie-review\/","title":{"rendered":"Bunraku Movie Review"},"content":{"rendered":"

Title: Bunraku<\/p>\n

Directed By: Guy Moshe<\/p>\n

Starring: Josh Hartnett, Gackt, Woody Harrelson, Ron Perlman, Kevin McKidd, Demi Moore, Emily Kaiho<\/B><\/p>\n

Based on Transformers: Dark of the Moon<\/I>‘s performance, there’s clearly a nice chunk of moviegoers who are okay with feature films that are visual spectacles and nothing more. However, not only isn’t Bunraku<\/I> a Michael Bay blockbuster, but it’s highly stylized, instantly narrowing its target audience. Then again, by focusing on the fans of artistic hand-to-hand combat, Bunraku<\/I> is poised to head right into more open arms. But, for the rest of us, while the visuals may be like nothing we’ve ever seen and downright incredible, it’s just not enough to make Bunraku<\/I> a fulfilling watch.<\/p>\n

Josh Hartnett is The Drifter, a man passing through town, looking to settle a score. Then there’s Yoshi (Gackt), a samurai with some business of his own, reclaiming a gold medallion. What do these two have in common? Nicola the Woodcutter (Ron Perlman). Nicola’s the most powerful man east of the Atlantic, with an army of “red suits” behind him as well as nine lethal killers.<\/p>\n

Turns out, not only did Nicola steal Yoshi\u2019s family\u2019s medallion, but he\u2019s also the man The Drifter is after. Both preferring to work alone, it takes a local bartender (Woody Harrelson) to bring the skilled fighters together and pursue their goals side-by-side. However, with the red suits and deadly assassins like Nicola\u2019s right hand man, Killer #2 (Kevin McKidd), in the way, they\u2019re in for an intense uphill battle.<\/p>\n

Bunraku<\/I> is an incredibly noble effort. From the puppet-driven opening credits honoring the connection between the film\u2019s title and that of a 400-year-old Japanese theater piece, to the highly stylized set design and fight choreography, it\u2019s quite clear that almost every element of this production was planned to the tee. The problem is the story. The general concept of two men fighting the same man for different reasons and joining forces in their effort is successful, but individual moments don\u2019t transition well, throwing off the pace and the film\u2019s effort to build suspense.<\/p>\n

Bunraku<\/I> repeats itself incessantly, both in terms of story and character development. While the circumstances might change, both The Drifter and Yoshi don\u2019t really learn very much from beginning to end, save for the fact that they need to work together. As individuals, neither\u2019s campaign is compelling enough to drive the film or make the audience as invested in the effort as they are. Perlman\u2019s Nicola, on the other hand, is an interesting guy. While he\u2019s the primary villain, there are moments that suggest he has some depth and even some heart. He keeps you guessing and in a film that almost plays out like a linear videogame, where the characters have to beat level one, two, three, etc. before battling the big boss man, that\u2019s greatly appreciated.<\/p>\n

However, ultimately, story doesn\u2019t really matter much here, as Bunraku<\/I> succeeds as a visual exhibition more than anything. Even without caring what happens to the characters, there\u2019s something about their adventure that\u2019s mesmerizing and that stems from writer-director Guy Moshe\u2019s stellar attention to tone. Something like this can only succeed if Moshe goes all the way, and he does. Just like the attention paid to connect Bunraku<\/I> to its source material by using those puppets maneuvered by puppeteers in black during the opening credits, every element of the set and costume design, the delivery of dialogue and the physical movement of the characters is in perfect synchronization, making this world something surprisingly tangible and a place you can immerse yourself in.<\/p>\n

Cinematographer Juan Ruiz Anch\u00eda enhances this effort through artfully designed framing and camera movements. There are quite a few spectacular tracking shots through which Anch\u00eda manages to show off expansive environments without ever cutting the camera. Sometimes, this even covers multiple floors of a facility. As for the action, we get a nice variety of coverage styles. A few scenes are heavily edited, using a number of cuts to show the battles from different standpoints. While these showings are successful, one of the best fights is presented with minimal cuts, using 360-degree, circling shots. There\u2019s also a wild combat spectacle that takes place on a trapeze and even manages to throw in a little humor.<\/p>\n

However, as fun as Bunraku<\/I> is to watch, if you\u2019re looking for more than fight after fight, you\u2019re out of luck because the structure of this script is particularly weak. Plot points like Hartnett\u2019s character\u2019s fear of heights are never fleshed out and characters like Demi Moore\u2019s Alexandra, Nicola\u2019s favorite lady, are entirely disposable. It\u2019s really too bad though, because, story-wise, the pieces are there. We\u2019ve got two compelling characters embarking on a journey in a wonderfully intriguing environment; if only the execution of the tale was as gripping as the visuals.<\/p>\n

Technical: A-<\/p>\n

Acting: B<\/p>\n

Story: C-<\/p>\n

Overall: B-<\/B><\/p>\n

By Perri Nemiroff<\/a><\/p>\n

\"Bunraku<\/a>
Bunraku Poster<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Title: Bunraku Directed By: Guy Moshe Starring: Josh Hartnett, Gackt, Woody Harrelson, Ron Perlman, Kevin McKidd, Demi Moore, Emily Kaiho Based on Transformers: Dark of the Moon‘s performance, there’s clearly a nice chunk of moviegoers who are okay with feature films that are visual spectacles and nothing more. 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