DON'T TELL ME WHAT TO DO WITH MY FACE LIPS.
This is a bonkers trip through a hellish mirror of suburbia, like "Too Many Cooks" turned into a feature. If you think, based on the trailer, that it's your kind of thing ... it is. Watch and enjoy.
This is Miike at the top of his game: utterly nutso, hyperviolent, but with a real affection for his central characters that carries some emotional weight beyond the (many, many) decapitations and other memorable kills.
As others have mentioned, it takes its time setting up a LOT of dominoes in the first half-hour. But when they crash into each other and start tumbling, it's as good a run as I've seen in any Miike. Double points for Shota Sometani, who was fantastic as the heart of Sono's "Tokyo Tribe" and who kills it here as a hapless, movie-addled yakuza enforcer.
I love Soderbergh *and* the taking down, however temporary, of shady elites, but this didn't quite land. Netflix has plenty of series that would be better served as self-contained movies -- this is a movie that could have benefited from the mini-series treatment, or at least a little more focus.
Bonus points for Gary Oldman's committedly weird performance (enhanced by the fact I just watched Rosencrantz & Guildenstern again). Double bonus points for featuring my island in a brief cameo as Nevis.
What a visceral, immersive, assaultive* experience. No backstory, no hand-holding, no assurances that our sympathies are on the side of a righteous cause -- just the immediacy of war and hormones and unforgiving nature. See it big if you can.
(*In the best way possible, and largely thanks to Mica Levi's amazing score.)
James Gray excels at introspective portraits of madly driven people, and this is nothing if not a stellar (ha) example of same. Pitt gives a superb performance, and the world-building is richly detailed (and often really funny, cf. Yoshinoya on the Moon). I'd still pick Lost City of Z as my personal Gray of choice, but this is a contender.
A wildly enjoyable Gallic take on the Guy Ritchie-style crime farce. It has a lot to say about Problems Of Modern Europe, but it does so subtly, and never at the expense of the rogues gallery of characters or the breakneck plot. Vincent Cassel as the budding conspiracy theorist takes the MVP, with Adjani and the Mohameds just behind.