Tag Archives: Takashi Miike



FEATURING: Kenji Sawada, Keiko Matsuzaka, Shinji Takeda, Naomi Nishida,

PLOT: The Katakuri clan retires to a remote mountain area to run a bed and breakfast, but the place seems cursed, as every guest who stays there dies.

Still from The Happiness of the Karakuris (2001)
WHY IT MIGHT MAKE THE LIST: They don’t come any closer to making the List on the first ballot than Katakuris. The only thing that holds it back is a dreadful unevenness, combined with the fact that there are already so many Takashi Miike films either already on the List of the 366 Weirdest Movies Ever Made or still out there in contention.

COMMENTS: The Happiness of the Katakuris begins with a four-minute scene, which has nothing to do with the rest of the movie, in which a claymation imp rises from a woman’s soup, falls in love with her heart-shaped uvula, and flies away with it. Unlike the serious and searing Audition, where the director springs the weirdness on an unsuspecting audience in a blistering last act, Miike does not allow anyone here to complain of stealth weirdness. After this bizarro prologue, the story about clan of hoteliers who break out into song whenever their guests die seems refreshingly sane and conventional.

The movie settles down into a narrative after that introduction as we meet the Katakuris: a patriarch and matriarch still very much in love, a feisty grandpa, a son with anger-management issues, and a desperate-for-romance daughter and her love child (who serves as the film’s narrator). The characters are well-drawn and likable, but ill-starred, as the location of their bed and breakfast proves too remote for foot traffic (and also too near an active volcano). When they finally do get a paying customer, he’s only checked in to commit a gruesome suicide (also the occasion for the film’s first musical number). The songs are definitely Karakuris’ high points; the dancers aren’t professionals, but neither that fact nor the unfamiliarity of the language to non-Japanese speakers impedes Miike’s imaginative stagings, which are decorated with simple special effects and colorful, kaleidoscopic green-screen backgrounds. The most memorable moments are a matrimonial fantasy that sends the bride spinning through space with her dashing half-Japanese sailor groom; a disco-ball love ballad between Masao and Terue with the cheesy production values of a 1980s K-tel records commercial; the final number, a direct parody of The Sound of Music; and any time the corpses peek out of their graves and try to dance along.

It may seem strange to criticize a project this deliberately loose and goofy for its aimlessness, but it really is a weakness in this case. Katakuris has energy, but lacks focus. It never decides whether the semi-serious family drama or mordant black comedy is most important, and the claymation action interludes just knock it farther off its axis. There isn’t much of a conclusion, just a series of incidents that eventually fizzle out. It’s much better in its parts, especially the musical numbers, then it is as a whole. But those parts are strange enough to make it a hard-to-forget oddity.

The Happiness of the Katakuris is actually a remake of a Jee-woon Kim’s (non-musical) Korean black comedy The Quiet Family. Miike made it the same year as Visitor Q, an even blacker comedy which also deals with the theme of a “happy” Japanese family. Arrow Video just released a 2-DVD or 1 Blu-ray special edition of the film, although most of the extra features appeared to be recycled from the 2003 Eastern Star DVD release.


“As weird movie openings go, this one’s in a class of its own. The rest of Miike’s musical extravaganza isn’t exactly your usual collection of song and dance numbers either.”–Mark Stevens, BBC (contemporaneous)

74. VISITOR Q [Bijitâ Q] (2001)

“Some things are truly strange.”–Father from Visitor Q, preparing to commit an unnatural act

DIRECTED BY: Takashi Miike

FEATURING: Shungiku Uchida, Ken’ichi Endô, Kazushi Watanabe, Jun Mutô, Fujiko

PLOT: Father is a television reporter who was publicly humiliated when he was sodomized on camera by a gang of punks, Mother turns tricks to pay for her heroin habit, teenage Daughter is a runaway prostitute, and Son beats his mom with a riding crop when he’s not being bullied by his schoolmates.  One day, a strange man conks Father on the head with a rock and moves in to stay with the family.  Thanks to his influence Mother and Father gain confidence in themselves, and the family is drawn together, as corpses pile up in their home.

Still from Visitor Q (2001)


  • Visitor Q was made as part of the “Love Cinema” project, where six independent Japanese filmmakers made direct-to-video movies to explore the possibilities of the ne digital video format.
  • According to Miike the film was shot for a mere seven million yen (about $70,000) and completed in one week.
  • There are several times in the film where boom mics are visible.
  • Miike’s  plot owes much to Pier Paolo Pasolini’s Teorema (1968), in which a mysterious, nameless visitor serially seduces members of a wealthy Italian family.
  • Besides acting, the multi-talented Shungicu Uchida (“Mother”) is also a manga artist, singer, and writer.
  • Visitor Q was one of two winners of the 2010 “reader’s choice” poll asking 366 Weird Movies’ readership to select one film that had been reviewed but passed over for inclusion on the List of the 366 Best Weird Movies ever made.

INDELIBLE IMAGE: In a movie full of shock after shock, it’s the very last image, a scene of perverse family unity, that turns out to be the most affecting and haunting.

WHAT MAKES IT WEIRD: Visitor Q is a baffling parable of perversity.  What starts out as a
depraved but unhappy family ends up as a homicidal and unified clan, thanks to the intervention of a mysterious, omnipotent stranger who cracks the father on the skull with a rock and teaches the mother to lactate. Along the way, Miike films the family graphically indulging in every act of sexual deviance he can think of, and even makes up some new ones.

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Short clip from Visitor Q

COMMENTSVisitor Q is a confounding, bewildering movie, and not just because of the Continue reading 74. VISITOR Q [Bijitâ Q] (2001)

57. GOZU (2003)

AKA Gokudô kyôfu dai-gekijô: Gozu (full Japanese title)

INDIEWIRE INTERVIEWER: Are there any themes or images you find too upsetting or disturbing to show?

MIIKE: Normal things.”


DIRECTED BY: Takashi Miike

FEATURING: Yûta Sone, Shô Aikawa, Kimika Yoshino

PLOT:  Minami is a journeyman yakuza whose boss Ozaki is going insane, and who has been ordered by higher-ups to see to it that he is killed.  Since Ozaki once saved his life, Minami is conflicted about the assignment; but fortunately, an accident seems to take care of the problem for him.  That is, until the presumptive corpse disappears while he is stopped in a strange town outside of Nagoya, and Minami launches a desperate search for his boss that leads him into a surreal labyrinth of malleable identities.

Still from Gozu (2003)


  • Gozu was one of five movies the prolific Miike made in 2003.
  • “Gozu” means cow’s head, and the full Japanese title translates literally as Grand Theatre of Perversion and Fear: Cow’s Head (sometimes translated as Yakuza Horror Theater).
  • Like many of Miike’s films, Gozu was originally intended as a direct-to-video release.  A successful Cannes screening got the movie noticed, and it was able to get wider theatrical distribution.
  • Harumi Sone, who plays the small role of the Inkeepers Brother, is the father of star Yûta Sone, and the executive producer of the film.  He brought the idea of casting his son in a yakuza film to Miike, though it’s reasonable to suspect he had a more traditional film in mind.

INDELIBLE IMAGE: In a film full of shocking imagery, the obscenely drooling cow-headed man who slowly approaches Minami to lick his face stands out.

WHAT MAKES IT WEIRDGozu may be the culmination of Miike’s “weird and perverted”

English language trailer for Gozu

phase, loaded with his particular fetishes and combining the two genres he works best in: horror and the yakuza (mobster) film.  With its Eraserhead-like aura of personal alienation and fearsome psycho-sexual nightmares, bizarre identity shifts, and a cow-headed man as a mascot, Gozu‘s weirdness is never in doubt.

COMMENTS:  Sexual repression always makes a good base for a weird movie.  Our libidos Continue reading 57. GOZU (2003)


Due to popular demand, Visitor Q has been re-evaluated and certified weird, and the review has been updated to a full entry. This initial review is left here for archival purposes.

DIRECTED BY: Takashi Miike

FEATURING: Ken’ichi Endô, Shungiku Uchida, Kazushi Watanabe, Jun Mutô, Fujiko

PLOT: A bizarrely dysfunctional Japanese family—dad is a TV reporter on haitus after

Still from Visitor Q (2001)

being sodomized by interviewees on camera, mom is a heroin addict and part-time hooker, son is bullied at school and beats his mother at home—becomes even stranger and more antisocial after a mysterious stranger shows up in their home.

WHY IT’S ON THE BORDERLINE: It’s bizarre indeed, but Visitor Q is more interested in grossing out its viewers than it is in weirding them out.  It’s more a shock movie that’s incidentally weird than a weird movie that happens to be shocking.  The film doesn’t lack for surreality, or its own peculiar kind of quality within its type, but it seems to fit more comfortably into the shock genre than the weird genre.

COMMENTS:  Watching Visitor Q, I found myself wishing Miike had the courage to make the hardcore porn fetish movie that he really wanted to make, instead of pulling his punches by wrapping the psychological nudity in gauzily transparent strips of art and satire.  After all, the movie’s prime showpieces are father-daughter for-pay incest, sodomy by microphone, insanely copious lactation, rape, and necrophilia, all shown with as pornographic a level of explicitness as Miike could get away with (there is genital fogging, though unfortunately in a key scene there is no anal fogging).  In a virtually unshockable age, it would have been truly audacious for the bad-boy director to make an out-and-out porn film without artistic pretensions; as it is, by sprinkling his fetish video with a little redeeming surrealism, all Miike risked with the project was being hailed as the Japanese Passolini.

Visitor Q doesn’t lack either for weirdness or technical quality.  Starting with the latter, Continue reading BORDERLINE WEIRD: VISITOR Q [Bijitâ Q] (2001)


DIRECTED BYTakashi Miike


PLOT:  Students begin receiving phone calls from their own cell phones, dated three days in the future; the message is their own voice screaming, and they all end up dead at the appointed time.

Still from One Missed Call [Chakushin Ari] (2003)
WHY IT WON’T MAKE THE LIST:  Weird director Miike adds a few surreal style points at the end, but it’s too little, too late.  For most of the way, this is standard J-horror territory, and a bit dull to boot.

COMMENTSOne Missed Call begins by ripping off a riff from Ringu (1998), with cell phones replacing videocassettes as the technological bogeyman.  Heaping unoriginality on unoriginality, Miike adds recycled ideas from his own Audition (1999), including a slowly revealed child-abuse backstory and multiple false endings. It all eventual ends up as a standard entry in the supernatural Japanese horror (“J-horror”) genre.  The setup is fine, with the students discovering the mysterious, deadly calls from the future, then figuring out that the spirit that makes the calls selects a new target from the last victim’s stored phone numbers, putting them all at risk—even if they’re on the “Do Not Call” registry.  Anytime a ring tone sounds in the movie thereafter, it could be someone’s death sentence.  After the premise is established, however, the movie bogs down into talky exposition. The next target, psychology student Yumi, and man whose sister was one of the first victims try to trace the calls back to their source, where they presume they’ll find the ghost responsible for all this cellular slaughter.  Along the way there is an effective mixture of suspense and satire when a sensationalist television show broadcasts a live exorcism for one of the doomed souls at exactly the time the killer is supposed to strike, as well as a spooky trip through a haunted hospital.  But the needlessly confusing ending, where Miike suddenly decides to burn his personal weird brand onto a generic piece of genre livestock, is unsatisfying and even frustrating.  By the end—despite heaps and heaps of exposition along the way—the supernatural antagonist’s motives, origins, and perhaps even identity are left unclear.

In a time honored tradition of Japanese horror hit adaptations that stretches back all the way to 2003, One Missed Call was remade as a Hollywood flop (with Ed Burns and Shannyn Sossamon) in 2008.  This is a rare J-Horror the Americans could have actually improved with tighter editing and a streamlined storyline, but critical evidence (an amazing 0% rating on Rotten Tomatoes tomatometer!) indicates otherwise.


“…in the final act, when the scene shifts to an abandoned hospital and evil comes out of its closet (or rather oozes out of its vat), we are suddenly in ‘Miike World’… Rationality takes a holiday as Miike sends the film hurling into a surreal universe. For Miike fans, all this will be familiar. For those expecting a generic horror flick, Miike’s imagination may be too out-there for comfort — or understanding.”–Mark Shilling, The Japan Times