Beat Takeski Kitano fans should revel in the cruel, internecine convolutions of his latest gangster flick, a neon/fluorescent tinted Outrage (in mostly Japanese and fully subtitled), rife with corruption and vendettas with a wicked reversal near its coda. It's a suave, well-stitched affair that could draw interest beyond specialized venues as it pledges to its own rhythm.
His first foray in the 'yakuza' in over a decade serves as genre deconstruction in going an unconventional route (swerving away from introspective minimalism), especially when it comes to confrontations and narrative construction. There is distention in the hierarchy of a major crime syndicate hosting a banquet for nattily attired guests.
Presumed attitudes and notions of a code of honor appears to be replaced with dry ignominious, often extreme displays as the film's main "power struggle" arises Kitano's lower-ranking boss, Otomo, stirring things up with rival clan Murase and its leader (esteemed yakuza veteran played by Renji Ishibashi). Under the Chairman (Kitamura Soichiro), Ikemoto (Jun Kunimura) is more than peeved by another boss, Kato (Tomokazu Miura), for being too chummy with the Murase. Suffice it to say, Ikemoto sets a string of cyclical brutality that unfolds in sprawling fashion linking an African envoy and an unsavoy police officer.
The filmmaking is cogently expressive through Grand Guignol dishonorable terminations (with plenty of finger dismembering) ironically headed to a very heated beach-side barbecue. A raw, visceral unpretentious feel offers up some taut, if occasionally darkly droll instances as the use of a dentist's drill demonstrates necessitating at times a more risible reaction than expected. On the backup side of this shadowy, stock-market connected side of the Tokyo underworld, Ryo Kase, provides some English-speaking mischief as Outrage turns out to be to trumped by violent, impersonal amorality.