Villain (2010) torrent download



Crime / Drama / Romance



A young woman's murder provokes reflection on the ugliness and villainy of modern society.


Lee Sang-il


Eri Fukatsu
as Mitsuyo
Masaki Okada
as Keigo Masuo
Hikari Mitsushima
as Yoshino Ishibashi
Sansei Shiomi
as Keiji Sano
Mansaku Ikeuchi
as Norio Kubo
Ken Mitsuishi
as Norio Yajima

Movie Reviews

Reviewed by jmaruyama 6 /10

Sang-il Lee's "Villain" is a somber look at the human condition...

Sang-il Lee's "Akunin" (Villain) is a sobering look at human relationships and manages to challenge audience perceptions of good and evil. The true "villain" are the ones that we think.

Shimizu Ryuichi (portrayed by the wonderful Tsumabuki Satoshi) is a shy and lonely day laborer looking for love. He aimlessly spends time corresponding with girls via telephone dating services and going on random encounters with girls looking for spending cash.

His world is shattered one day when he is involved in the murder of one of his former encounters, the sweet-faced Ishibashi Yoshino (pretty Mistushima Hikari)who after being jilted by playboy Masuo Keijo (Okada Masuo playing against type)berates and mocks the troubled loner.

Yoshino's family is devastated by the death and Yoshino's father Yoshio (portrayed by the brilliant Eimoto Akira)in particular takes the death particularly hard vowing to find those responsible for her death.

Fleeing his hometown of Nagasaki, Ryuichi encounters a kindred-spirit in fellow loner and plain-jane Magome Mitsuyo (the beautiful Fukatsu Eri) who is works as a sales clerk in the neighboring town of Saga. Falling in love the couple decide to hideout in a local lighthouse but Ryuichi's increasing emotional instability and guilt soon overcomes him and endangers his newfound happiness with Mitsuyo.

From the opening "Psycho-like" sequence to Hisaichi Jo's "Vertigo" like music rifts, it is clear that Lee wanted to make a thriller with Hitchcockian overtones. Lee's deliberate pacing of the film and story plot twists also invoke those of the master the end result is a bit too familiar to other stories about convicts on the run.

While the screenplay based on Yoshida Jyuichi's popular novel is faithful to the source material, the film tries a bit too hard to be social commentary and a mirror to the prejudices and bias of audiences.

The true "villain" of the film is not Ryuichi but rather other sub-plot characters whose are the stereotyped heartless scum we love to despise like Masuo Keijo, a self-absorbed pretty whose vanity is vomit inducing; Tsutsumishita (Masuo Suzuki), a smooth-talking con-man and Yakuza affiliate who specializes in manipulating elderly woman out of their money, Shimizu Yoriko (Yo Kimiko), Ryuichi's negligent mother who leaves Ryuichi in the care of his kind but elderly grandmother (portrayed by the always outstanding Kiki Kirin) and the Japanese Tabloid Media whose relentless coverage of the murder destroys the lives of three families. It's overly familiar territory.

Yet "Akunin" still succeeds on the strength of Lee;s masterful direction and presentation. While "Hula Girls" is definitely the better film, Lee does bring the same type of energy and human drama to this film. Cinematographer Kasamatsu Norimichi's beautifully captures the rough landscape of the South, with wonderful backdrops of Nagasaki, Saga and Fukoka.

With his good looks and powerful presence Tsumabuki Satoshi delivers another energetic performance and portrayal of the emotionally fragile Ryuichi. The chemistry between his character and Fukamatsu Eri's Mitsyo is very convincing and the two make a wonderful odd couple. Kiki Kirin is the other standout as Ryuichi's kindly grandmother who befalls financial tragedy as the victim of a cruel conman. Eimoto Akira is also another highlight of the film. His tearful portrayal of a grieving father is very effective and tugs at the heartstrings. Okada Masuo's Keijo makes a great "villain" although he certainly is not one for subtle performances. His Keijo screams out "douchebag".

Lee's film is a very conventional film and is not overly ambitious or original but it does what it set out to do and make audience think.

Reviewed by CountZero313 8 /10

shades of grey

Villain lost out at the 2011 Japan Academy Awards on the big prizes to Confessions. While Directing, Script and Best Picture went the way of the bleak, hyper-stylised Takako Matsu flick, all four acting awards were scooped by Villain. The reason for that split is abundantly clear.

Villain centres on lonely Yuichi who drives through the night and occasionally meets women through online dating sites. The forum for their meeting suggests each is as flawed as the other. When one assignation goes very badly indeed, something dark in Yuichi is unleashed. He then gets a message from another female via the site, and so two life-changing events take place within seconds of each other.

Villain explores complex questions of moral responsibility, the hypocrisy of social condemnation, and the extent of individual responsibility. The direction is workmanlike, and the framing rarely gets beyond a TV aesthetic. But the script is naturalistic and offers genuine insight, peaking in the father of the victim (Akira Emoto) revealing that hateful people are the way they are because they are too cowardly to risk caring for someone. Emoto and Kirin Kiki excel as the elder generation struggling to come to terms with the ugly turn the world has taken. Krini Kiki, faced with extortion, goes from bewilderment to fear to resignation all by changes of expression and never a word spoken. But it is the two young leads, Eri Fukatsu and Satoshi Tsumabuki, who truly excel here. Fukatsu especially shows a young woman capable of living with the emptiness inside her, until meeting someone who can fill it proves too much to bear. The cathartic peak of the film is her scene of self-awareness. Tsumabaki also gets to test his range at the end, but in a much more chilling and wonderfully ambiguous direction.

There are good guys and bad guys here, as you'd expect given the content, but they are not where you expect to find them. There is a murderer, but we are less convinced of our stance towards him than we are to the press-pack parasites, conman doctor, self-absorbed mother, and shallow and narcissistic university undergrad. A bus driver strangely earns our cheers, and is perhaps the only unambiguous 'good' character in the film. In a time where heinous crimes have become everyday and our ability to relate with one another seems fragmented and brutalised, the causes may not always be where the lazy self-appointed moral guardians in the media and corridors of power suggest they lie.

Villain is a slow build to its message, a slightly meandering survey of its theme, and the pacing can frustrate over the flabby 139 minutes. But it is worth sticking with for the questions it forces you to reflect on at the end, and the consummate acting. One of the best films to come out of Japan this century.

Reviewed by jamesmartin1995 6 /10

Flawed - but worth the watch.

God, I wanted to rave about this film. 'Villain', billed as a gritty thriller from Japan, tells us in its plot synopsis that this is about the murder of a young woman and the search for the killer. I disagree completely. Even the genre in which its advertisers have pigeon holed it is incorrect. This is not a thriller – please don't enter the cinema expecting nerve jangling suspense. What we have here is the potential for a great film – and for the most part, what we are shown is excellent.

So I'll start with the positives, for when 'Villain' is good, it's incredible! 'Villain' does not follow the search for the killer at all – it largely follows the killer himself. There are a lot of characters in this movie, and a myriad of sub plots (which, incidentally, isn't beneficial – but more of that later). It is, as I saw it, a very slow, patient, observant film, which instead of reaching for cheap thrills and jump moments, is actually brave enough to step back and do something which very few films of this kind ever take the time to do: it peers into the misery and loneliness of its central characters, and their disillusionment concerning the immorality of the people around them. There is much cruelty in this film, and sharp prickles of nervousness and fear – but it is not a nasty story.

Undoubtedly the most successful plot line running through the film is, luckily, the one given the most attention: this is the relationship that is formed between Yuichi, our young murderer, and Mitsuyo, a lonely woman who works long hours selling suits and lodges with her sister and her sister's boyfriend. Their first meeting is embarrassing and ends horrifically – Yuichi, still consumed by guilt and anger, makes assumptions about Mitsuyo which he will later regret. Mitsuyo is desperate and understanding, and as the film goes on, we begin to understand just how much these two need each other.

Intercut with this is the storyline following the family of the murdered girl. This also is incredibly successful in the way in which it shows the grief of her parents – how they must come to terms with who their daughter really was, how they fight and turn on each other, and finally come to sad realisations, not only about themselves and their child, but about the people around her and them, and the corrosive cynicism and immorality of a new generation. Fair enough, on paper, that might sound a little pretentious, but unlike the majority of trashy whodunits that Hollywood churn out on an almost weekly basis, this is a film with much to say. It is deeply sad, and in many scenes, you can almost feel the director's sorrow and anger.

Less successful are plots involving Yuichi's grandmother and how she is cruelly scammed by her 'doctor' (this seems like a touch too far on the 'oh look at what a terrible society we live in' front), and the ending, although well meaning, is miscalculated. The way in which the director chooses to bring the relationship between Yuichi and Mitsuyo to a close seems like a strange choice – it might have worked, but nothing we have seen has led us to expect it, and as it comes so out of the blue, it is hard to believe in. It is, quite frankly, a bit of a cheat – a wrong footing that casts a somewhat distorted light on all the searing emotional honesty we have seen previous to that.

The film, however good some of the individual parts that make it up may be, is ultimately flawed. Clocking in at 2 hours and 20 minutes, it's about half an hour too long, and although the cinematography generally is exceptional (there's an inspired shot in which a flashback begins as the camera zooms into the pupil of a fish eye that will take the breath away from any film buff), the editing can sometimes be a little choppy. If only they had stuck with the love story at the movie's centre and the storyline involving the family of the dead girl, keeping the scenes with her father and the immoral young man that his daughter was smitten with, this would undoubtedly be one of the best films of the year. As it stands, 'Villain' is a good film – and despite its flaws, it's definitely worth the watch. I, for one, liked it very much.

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