Another Japanese gangster directed by, written by, and starring Takeshi Kitano, Brother is a decent little character study that soars when the focus stays on the two leads at the heart of it, but stumbles when it has to work through the criminal acts and violence affecting their lives.
Kitano plays Yamamoto, a Japanese gangster who escapes to Los Angeles after his boss is killed. He has some connections there, mainly Kato (Susumu Terajima), who accompanied him on his journey from Japan, and his half-brother, Ken (played by Claude Maki). Putting a new "clan" together, largely made up of friends of Ken, Yamamoto eventually proves himself to be a strong and ruthless leader, able to deal easily with most enemies trying to stop him from growing his territory and influence. He also becomes firm friends with Denny (Omar Epps), despite the fact that their first meeting didn't go well. Unfortunately, anyone looking to profit from crime in America eventually comes up against one of the biggest gangs of them all - the Mafia.
Although Kitano is a consistently interesting and enjoyable film-maker, and I wouldn't dismiss Brother as a bad film, this seems much weaker when compared to his directorial efforts before and after. The third act, in particular, feels similar to other, better, features helmed by Kitano, despite the culture clash element putting a slightly different spin on things.
There are some nice individual moments throughout, and some sharp dialogue here and there, but nothing feels fully-formed when it comes to the central narrative strand showing the growth of the gang and the effectiveness of their tactics. The editing doesn't help, nor does the strange tone, often juxtaposing threats and murder with a flippancy or humour that lessens the impact of those acts.
For all his faults in the big chair, Kitano does better in front of the camera. He's as watchable and wonderfully laconic as he has been in many other roles, and any scene involving him and Epps together proves to be a highlight, with his co-star proving to be a perfect counter-balance, and a small window through which to glimpse what could be another road through life. The supporting cast also do well, but they essentially feel like they're surplus to requirements whenever Kitano and Epps deliver the best moments.
Whatever Kitano does is worth your time, but some of his work is more worthy of your time than others. I would still recommend this to people, especially fans of either star. It's just not one I think will be remembered a few weeks down the line. And I certainly wouldn't be rushing to revisit it.
6/10
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