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Brother Review


Grim
Violence is bad. Violence is ugly. Violence breeds yet more violence. Kids, don't try this at home. This weighty message isn't the only barrier to enjoying Brother, but it's certainly one of the largest.

Written, directed by, and starring the infamous Takeshi Kitano (Kikujiro, Sonatine) Brother is his first film made outside his familial Japan, bringing the yakuza tradition to Los Angeles. (Yakuza translated for the average American is the Japanese mafia.)

Continue reading: Brother Review

Brother Review


Weak

Japan's king of the artistically extra-violent yakuza flick, Takeshi Kitano (aka "Beat" Takeshi), makes his English language debut in "Brother," a heavy, moody L.A. gangland drama that has all the bloody shootouts the writer-director-actor is known for, but loses its grip as it tries to grab for an emotional hook.

Kitano stars as a hunted Tokyo mob enforcer who escapes to Los Angeles after a turf war that left his clan decimated and his own brother acquiescing to the enemy. He muscles in on the operation of another, younger half-brother (Claude Maki) who is scraping by as a petty thug, and quickly organizes the brother's shabby crew into a merciless force poised to take over the local territories of both street and Mafia gangs.

There's a vicious circle, rise-and-fall element to Kitano's story in "Brother," as he rapidly builds a minor empire with his brother and another fiercely distrusting lieutenant, played by Omar Epps ("In Too Deep," "Love and Basketball") at his side. Just the gang's move from a small room in the back of a warehouse to a swanky office in a converted gymnasium (complete with leather couches, a redwood conference table and an accountant) should be enough to signal impending and violent storm clouds on the horizon in the minds of savvy moviegoers.

Continue reading: Brother Review

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