It is pretty wild that filmmaker Takashi Miike has a film that just appears on Netflix without any announcement. Nevertheless, this tends to happen to those who have directed the likes of “Audition,” “13 Assassins,” or “Ichi the Killer” and have a ton of films to their name. At this very moment, Miike could very well be on a set as he’s already acquired more than 100 directorial credits and he doesn’t look like he’s stopping any time soon. Although he possesses an abundant amount of experience as a director, Miike is more than a “stat compiler.” He puts in the work and performs as an expert craftsman, improving projects that are already great like “Lumberjack the Monster.” The script by Hiroyoshi Koiwai doesn’t exactly hold a story or logical theme. However, While reading this, you know Miike has probably done a better film at the same time, but he keeps adding Miike touches throughout “Lumberjack” making it still interesting to watch.
The first scene in “Lumberjack” can only be best described using words like brutality, mayhem, and sheer violence. The abhorrent woman or the geyser of blood is simply a few egregious details in the note-worthy scene which is certainly earmarked for further detail. There’s a feeling of exaggerated operatic nature that you would expect more from a Miike movie and honestly, the movie could have capitalized on it more. From the initial scene, it was clear that Miike has been invested in garnering a certain dark theme while looking more playful, given the international recognition he has received. Consistent applause has been delivered to ‘the sensitivity pronounced in the aid of the intricacies and mental strain that craves attention”. The approach might seem simpler, still a lot of Miike’s temperament has yet to be explored. What is rather fascinating is that this particular temperament of Miike acting as a box curtain has only been added post the ‘Lumberjack’ release.
In this case, the narrative potential is clearly evident: The film “Lumberjack” follows the story of a serial killer by the name Akira Ninomiya (played by the overwhelmingly cold Kazuya Kamenashi) who gets assaulted by a character from a children’s cartoon, Lumberjack. The doctor treating him after the assault pulls out a neurochip implanted in Akira’s brain and deduces that all of the character’s victims have had similar chip implants which can be linked to an asylum for children and a crazy lady mentioned earlier. The implantation is somehow related to Akira’s psychopathic tendencies, and to assist Akira in uncovering the circumstances surrounding his sought-after killer, he needs to know the events that led him to his current self.
At its center, “Lumberjack the Monster” is all about the violent intersection between a Killer and a vengeful supernatural force. Both of them seem to be offering an exceptional performance. The rest of the cast has little more than a cameo though Nanao, Kiyohiko Shibukawa, and especially Shido Nakamura have done remarkably well with these brief characters. “Lumberjack the Monster” suffers from having s overly diluted character plot when it explains the motivations behind the title character and Akira in over-delivery. Nevertheless, it returns thanks to Miike’s successful filming as well as from his writing, not just during the larger organist divisions of the flick but over its sweeping.
“Lumberjack the Monster” is not a masterclass in cinema but it does have some entertainment value for fans of Miike Miike and could serve as an entry point to his oeuvre for people who find it on Netflix, who don’t if they go through What kind of Cinematic soundness (and chaos) is in store for them.
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