- From Twitter
@firstshowing Beat Kitano’s Outrage was fuckin crazy! Nothing like watching Japanese yakuza yell and kill each other in brutal ways for two hours.
@Iris_SCL Kitano’s Outrage: how do we say butchery in japanese?
@fakerholic good though not brilliant kitano to finish dissapointing weekend.
@totalfilm Takeshi Kitano’s super-violent yakuza drama Outrage is blackly, bleakly funny but fires moral blanks
@jamesrocchi Outrage: Or, Takeshi Kitano’s Endless Series of Indistinguishable People Getting Shot. Blam-Blam-Blah.
@cobblehillis OUTRAGE (Takeshi): That’s the word for it. Ultra-violent *BLAM!* one-joke *BLAM!* yakuza flick *BLAM!* for fanboys, not cinephiles.
@mattnoller Outrage (Kitano C+): 1. Talk about hurting a guy. 2. Hurt that guy. 3. Repeat steps 1 and 2.
@gemko Outrage (Kitano): 49. So I don’t need to see Alan Clarke’s ELEPHANT now, right? Mildly funny for a while, then just monotonous.
@ioncinema Kitano’s Outrage was just okay. Some torture/killing scenes to keep with me as a souvenir. Not looking forward to next dentist visit.
@akstanwyck Takeshi Kitano’s Outrage left me cold. He reminds me of Lars von Trier’s puckish amusement at shocking us with outrageous violence. SO?
@GuyLodge Takeshi Kitano’s “Outrage”: full of handy info on the newest techniques in yakuza slaughter, but a little light on plot.
- The international press
Making no concessions, [the plot] works like a perfectly tuned homicidal machine and all its characters are despicable villains that can’t possibly have any sympathy for them. Impeccably shot and cut, with clever sound design enhancing the violence, the images rush impetuously ahead, stressing the hard lines of a perfectly ordered world, almost antiseptic in its shining brilliance, strangely unmoved and unconcerned with the Yakuzas who race through it.
While erstwhile king of yakuza epics Takeshi Kitano doesn’t try to do much new in “Outrage,” the Japanese multihyphenate’s first such nihilistic bloodbath in the decade since “Brother,” the results are so visually stunning, why quibble? Focusing on the absurdly ultraviolent tit-for-tat tussles among a trio of Tokyo crime families, the film is a beautifully staged marvel that confidently reasserts Kitano’s considerable cinematic gifts.
the film is forceful in its simplicity and clarity of vision — personal interest trumps any ties or pledges in the yakuza creed. Finger cutting occurs at every other scene, but they have lost their worth as rituals of honorable apology whereas the real violence is ignominious and each execution outdoes itself in cruelty. Kitano provokes viewers by designing violence that makes us giggle out of nervousness, like a scene in a dentist’s chair. But the cyclical conflicts gives the narrative a flat tempo with no high point or catharsis.
Unfunny, dark satire of warring yakuza that’s high on violence and low on originality.
A film entirely comfortable with itself, extremely pleased to be delivering Yakuza violence to the big screen in almost every scene. It’s not big on plot, building character, or telling a compelling story, but it is big on chopped off fingers, punched faces, and the occasional involuntary dental work. The film is darkly comical, though it’s hard to determine how much of that is on purpose.
No characterization. Minimal plot. Many murders, nicely stylized. Kitano makes it a point to set everything in a sterile environment. No Japanese tradition here, except for an eating-house. Only steel, aluminum, glass, plastic, and shiny black limos. Black, white, silver, and blood red used as an artist’s signature after every killing.
• LeMonde (France)
A synthesis between the Yakusa films that made his reputation in the West and the recent crazy trilogy about his lack of inspiration. The result is a schoolboy film, where violence depends of the comic effect produced, but it never reaches the grace of the first films of the author.
• Excessif (France)
Violent, dry and harsh, Kitano is back!