It’s hard to make a fair summary of what Izo is. Coming from the brain of Japan’s current “now” director, and a man who is no stranger to controversy with films like Audition and the Dead or Alive series, Izo is a fascinating, graphic, and violent drama-cum-thriller about an individual named Izo.

There’s no explanation given as to who he is or what his intentions are at the start of the film. The only thing we know is that he wears a black mask, and “he’s coming” according to several characters in the film.

The film opens with an animated image of a penis, from which animated semen comes out and then we’re treated to images of sperm, wars, archive footage of kamikaze’s and the like. The film begins proper with one of the most violent executions perhaps put to film. A man is stabbed to death with spears as he is tied to a crucifix.

He’s literally disemboweled and horrifically mutialated during his execution which may not make easy viewing for many people. It’s a hard one to offer as attractive entertainment, as rather than cringe I found myself fascinated as to how far Takashi Miike would push the boundries of taste.

Izo is not a short film and will test even the most stalwart of film buffs. It’s fair to say that Izo has suffered from over criticism and is often a disjointed watch. The film manages to fall between many different genres and similar films such as sci-fi, war, fantasy and more. It never stays in one place, and like the character the film moves at a very fast pace, making it quite difficult to keep up with at times.

Performances vary, but on the whole are quite engaging. The lead as Izo is a fascinating character to watch as we watch a man turn from samurai warrior to the devil incarnate. What’s amazing is how well the transition works, and how we see a visual and aesthetic change in the character. More over, the change in personality and the thirst for blood grows as he becomes caught up in the concept of all out vengeance, the less he says and the more he acts out in violence.

Violence is in abundance from the off, but it doesn’t prepare you for the amount of deaths that take place. In some ways this shouldn’t surprise, as this is a Miike film and body counts are what his films are often about. Takeshi Kitano makes a cameo appearence as one of the opposing characters, but has very little to do in the film. If anything his presence is unimportant as the film encompasses the focus on Izo himself.

What I did appreciate was the amount of humour and comic violence that takes place during the film. Take for example one scene where Izo is confronted by a corridor of women either side of him, in the classroom children are defining democracy as a fallacy, while at the same time Izo is causing a massacre outside the classroom. After the deed is done, the teacher exits and he bows in respect as she walks past the bodies on the floor.

Izo is rife with more than just the usual violence, as there is a barrage of brilliant symbolism and messages about who we are in the world and what defines us. If a film this entertaining can raise questions about the process of mindless violence, by presenting that very same and questioning it, then why can’t Hollywood with it’s billions do the same?

It’s a shocking tragedy that it takes a a director such as Miike to push not only boundries of taste, but to interweave very serious messages wrapped up in comic instances. It’s brilliant, it’s intelligent, and almost genious.

This is probably one of Miike’s least accessible films, requiring patience and focus from the viewer. You will be rewarded with a film that will entertain and make you think, if you give it the chance. Ignore the ignorant criticism levelled at the film, it’s simply misunderstood brilliance and Miike at his best.

Verdict: A stunning and intense achievement from a boundry pushing director. Absolute genius