A man (Tatsuya Fujiwara) with the power to control other people’s actions comes up against his greatest adversary when he meets someone who is impervious to his abilities. After a traumatic childhood, Fujiwara’s sinister protagonist turns to a life of crime, using his abilities to freeze people in time and manipulate them to his will. He is shocked to discover that a young removal man, Shuichi (Takayuki Yamada) is unaffected by this and sets out to destroy him. Shuichi also seems to have peculiar qualities of his own, recovering exceptionally quickly from accidents that would be fatal to others.
Hideo Nakata (The Ring) directs this film in what is a departure from the straight horror fare he is best known for. “Monzters” is a remake of an earlier Korean film “Haunters” written by Min-suk Kim, with the Japanese script here by Yusuke Watanabe. It is a dark superhero narrative, with a villain and hero fated to do battle, leaning more towards action that suspense. There are a few moments of horror, such as the opening sequences and scenes in which people are forced to snap their own necks, but the tone remains fairly light throughout. The story is hard to take seriously and there are moments that tip over into pure farce, such as the two boxers being controlled to come and beat up Shuichi, or the scene in which he saves a baby by diving over a railing. Part of the problem with the film is a lack of significant characterisation. There are ideas here that are never fully developed Fujiwara and Yamada do a decent job with relatively little to work with. Fujiwara is suitably unlikeable as the villain, evoking a degree of sympathy with a tragic backstory, an outcast who has turned against the world; while Yamada’s Shuichi is a likeable protagonist. The supporting cast include Ochiai Motoki and Nakano Taiga as Shuichi’s friends, and Satomi Ishihara. Kenji Kawai’s score is one of the highlights of the film, lending some much needed emotionality and tension, with a poignant undertone to the drama and sinister clanking industrial soundtrack supporting Nakata’s darker visuals.
While for the most part “Monsterz” is a fairly formulaic superhero action film, there is an interesting concept at work in the Fujiwara character. The question of whether criminals, or ‘monsters’ as he is described in the film, are born or made is one that has been discussed in many works of film and literature. The film unfortunately relies on the trope of disability as an indication of evil, Fujiwara’s limp becoming a symbol of his sinister nature as with Richard III’s hump-back and disfigurement. Similarly, there is little grey area in the portrayal of Fujiwara and Yamada. The villain has certain sympathetic motives, hated and abused by his father, cast out from society, but these points are again brushed over, and we mostly see him only as the ‘monster’ he is seen as by others. A more nuanced take on both him and Shuichi may have benefitted the film, adding a little more nuance to the depictions of good and evil. Overall, a fairly entertaining dark superhero narrative, but it feels as though Nakata was restrained by the material, a crowd-pleasing action film, and unable to deliver something truly thrilling.