★ 7 / 10
Quiet and thoughtful, but substantially stronger and more cogent; a welcome surprise
I_Ailurophile
We try, don't we? We try to be open-minded when we watch a movie, even if we don't have high expectations. Even if, say, it's the sequel to a movie that left a…
We try, don't we? We try to be open-minded when we watch a movie, even if we don't have high expectations. Even if, say, it's the sequel to a movie that left a poor impression to begin with. I thought Tsukamoto Shinya's 'Nightmare detective' of 2006 had some good ideas, but it was rough and unworked both in conception and execution, and in my opinion didn't hold much proverbial water. Would a follow-up two years later have any chance to succeed where its predecessor did not? Actually, awkwardly, in a couple important ways I do think this is better in some measure. The writing is far tighter and more cogent as the filmmaker now works alongside Kuroki Hisakatsu; the direction is more focused and sure-footed. All this furthermore results in performances that are more confident, polished, and impactful, and frankly the same verbiage applies to other facets like the sound, and the music. It's readily apparent that Tsukamoto had a much clearer and more certain vision for 'Nightmare detective 2,' and the result is more convincing, more engaging, more absorbing, and more satisfying - even as this adopts the approach of being a fantastical horror-drama more than a horror-thriller, even as computer-generated imagery has a greater presence and practical stunts and effects a lesser one, and even as the picture is not as stark and violent.That's not to say that it's perfect. Despite being cut from the same cloth (albeit, a portion that was vibrant and intact instead of faded and tattered), the nominal horror element is significantly reduced here, filling a smaller and softer corner. Granted, at select points, it's just as if not even more potent than what the man gave us two years before, though not so bloody. As events ramp up in the latter half Tsukamoto and fellow cinematographer Shida Takayuki show a predilection for handheld camerawork that's shaky and messy, and in turn the fundamental visualization of many scenes is diminished, and less than completely lucid. Perhaps more substantively, I would suggest that there are still issues with the writing. The concept is much more solid this time around: the titular figure, Kagenuma, is struggling with memories and dreams of his mother, and his childhood, and he sees a potential kinship to examine in the dreams that a high school student, Yukie, is having of troubled fellow student Kikugawa. However, the link is less than profound and rewarding, and would be mundane if not for the supernatural abilities involved, and this applies to the whole narrative in turn. Moreover, as Kagenuma works to resolve all threads in the last act, the tone and pacing weaken, and what strength the film had previously found is yet again on uneven ground.And still, even with distinct imperfections and shortcomings, 'Nightmare detective 2' reflects the attentive, mindful care, and the nuance, that its antecedent did not. The dialogue is smarter and more meaningful, and so are the characterizations. Even if the scene writing and narrative are sometimes a tad messy, and maybe slightly imbalanced, both are much heartier, engrossing, and stimulating, if operating on an emotional and intellectual level more than an intended visceral one. The story finds more strength over time, too. Tsukamoto may have made his reputation on outrageous genre fare boasting his own particular style, but here he demonstrates that when he puts his mind to it he is able to pretty much just as capably craft a quieter variety of feature. Provided such firm foundation in the writing and direction, the cast are able to illustrate fine acting skills to further bring the saga to bear with all due range and emotional depth; among others, Matsuda Ryuhei, Miura Yui, and Ichikawa Miwako are all excellent. The audio is more balanced, and though neither any sound effects nor the music stand out, both are terrific as they add to the proceedings. Stunts and effects, and even those post-production additions, look great. And in most every other regard this is well made, but the emphatic improvement in the writing and direction, and consequently in the acting, absolutely takes precedent as we're watching.Overall it's a much more low-key and thoughtful sort of genre piece, but that's exactly why it works so well and has such lasting value as Tsukamoto allows the narrative to develop naturally instead of forcing it into a specific shape. It's not a flawless accomplishment, but it is a success, and it does more than its forebear to prove that the root idea has legs. There's no need to go out of your way for this flick, and one may do well to know the tenor it adopts before watching, but 'Nightmare detective 2' is a pleasant surprise coming from this filmmaker, and it's well worth checking out if you have the opportunity.
★ 6 / 10
Telepath deals with psychological dramas.
suite92
'Damn, who will save me, then?' This is my favorite quote from the film, spoken by the protagonist, Kyoichi, who can enter the dreams of others, and sometimes…
'Damn, who will save me, then?' This is my favorite quote from the film, spoken by the protagonist, Kyoichi, who can enter the dreams of others, and sometimes dispel the the bad ones.
Kyoichi is the nightmare detective. Way too much of this film consists of short segments from his childhood: his mother's many fears including her fear of his telepathy, her suicide, his father's leaving her when Kyoichi was very young, Kyoichi trying in vain to find his mother after her death.
The other thread concerns a group of girls who were nasty to another girl, Kikukawa. They suffer bad dreams for having done this. One of the guilty, Yuki, consults Kyoichi, who tells her to seek out the victim and sincerely apologize to her.
The bullying girls decide, more or less by omission, not to apologize. Then two of them die. Yukie consults Kyoichi again; he gives the same response.
At Kyoichi's request, Yukie meets Kikukawa in a dream. Yuki apologizes to no avail. Kyoichi intercedes, but Kikukawa does not settle into any kind of peace. He starts strangling Kikukawa to resolve the matter. In a parallel dream, Kyoichi's mother strangles him as repentance for bringing him into the world. This breaks the impasse, and all the stranglings cease. Like Kyoichi's mother, Kikukawa is afraid to live in this waking world.
In various dream levels, Kyoichi holds and comforts Yuki, Kikukawa, and his mother all at the same time. Since he has nothing to lose in the waking world, he says he will stay as long as they need.
Unfortunately for Yukie, the curse of telepathy surfaces in her. She and Kyoichi can communicate fluently without speaking.
The resolution at the end seems only partial; is there a sequel in the works?
----Scores-----
Cinematography: 5/10 Dark, grainy, soft focus. Add in the habit of jerky camera movements, and some odd framing choices.
Sound: 7/10 Some of the incidental music is decidedly tinny.
Acting: 7/10 Good. I think.
Screenplay: 7/10 Both simple (not much happens in the real world) and multi-layered (dreams within dreams and the like), the story has a lot to capture the attention. As with many psychological dramas, there is a lot of sound and fury that signifies very little. Kyoichi has not learned to live with his mother's inability to deal with his telepathy. Got it. Yukie has a hard time the fact that her father is absent and her mother is distant and too devoted to work. Got it. Kikukawa has other fear issues. Got it.
6.1/10
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