Brennan Camacho Mostly, the movie is committed to the value of a good time.

Bumpy Chip It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Joseph Sylvers Izo- My Takashi Miike run ends with Izo, the story of one of Japans most legendary and bloody assassins, at the beginning of the film he is crucified and pierced repeatedly with spears, he spends the rest of the film warping through time and space at random, having ethical and metaphysical discussions with and then killing virtually everyone he crosses, including Buddah and mother earth herself as he searches for a reason for his curse, which renders him unkillable and unable to control his location. This is easily the most violent film I've ever seen, not in grisliness, but sheer body count, but around the endless slashing, is a portrait of modern Japan symbolized by the reoccurring Powers-That-Be characters who represent Society/Reality/Order(often shown meeting around a board room table and discussing how to destroy Izo), and the Buddhist Hells which serve to purify souls through pain thereby readying them for reincarnation. Of all the Takashi miike stuff I've seen this is one of best executed, feeling more like a film than an experiment. Not to mention the great songs by Japanese folk singer Kazuki Tomokawa also known as "The Screaming Philosopher", due to his somewhat gruff vocal stylings. These songs may seem strange but they really do help break up the monotony of the endless waves of violence, and oblique dialog, as well as more often then not mirroring and adding emotional depth to the actions of the at turns stoic and demonic Izo(who was based on an actual samurai Lord, who was known for his violence). This is one of my favorite Takashi Miike films, while it might not be for everyone it is a must see for fans of the auteur, and those who think film can be aesthetic object as opposed to just a linear story. It's SlaughterHouse 5 except Billy Pilgrim's out to destroy the world one image at a time.

The Enigmatic Ronin Only Takashi Miike could make a film like that. This movie is very symbolic, and bizarre. Izo is story about an evil spirit, who once was an assassin, who travel trough time and realms, to avenge his death. Miike have expressed his feelings in a very unnatural way. The question is what is "Izo"?, there are many answers to the question, my personal opinion is that, Izo is the Japanese part of the second world war, and japan in war situation trough the history, and the cruelty of the human nature, he is the dark side of every person. Miike show you clues pretty clear in the movie. When he kills his first victim he ask him, are you so brutal because you are human or human because you are brutal?(cruelty of the human nature). He shows also how religion can be misused, in personal interest and how hypocritical it can be. In the scene where he kills his own mother is also an symbolic example, his mother says "killing me is like killing yourself Izo", when a population corrupts and destroy there country they destroy there own system...they destroy themselves. The whole thing start to make sense if we relate it to the second world war. In the beginning Izo looks like an ordinary person ,cool, but later on he becomes more fierce, he even kills children and innocent people, civilian people are those who suffer the most in a war. With other words the war from the Japanese side didn't look like bad thing, but later on they saw the cruelty of the war. In the end Izo do look like a monster, with a mask, evolution... changes of war how it changes in a negative way, mask is an accessory, just like the army used armored weapon in later wars.Izo is brilliant movie, I'm not saying that everyone going to like it, because entertainment for everyone does not exist. A must for Miike fans ;)

angrymidget19 The film starts out with diagrams of the human penis. Then it moves on to war pictures and film clips, explosions, bombs dropping, and random acts of violence. About 30 seconds into this, is a film clip of some teacup ride at some crappy amusement park, then EXPLOSION! Back to the war clips. After a while, it goes to a samurai (IZO) getting speared to death while being crucified. IZO then comes back to life (though years later in the movie) and starts killing everyone. This is a totally fantastic movie! It's got a really deep plot (if you want that sort of thing), but it's easy to ignore, so if you just want random violence then sit back, ignore the dialog and focus on the 100+ murders that occur in this movie. IZO has everything, including a part where IZO is sucked into a lake, and somehow appears at a wedding, so what does he do? He STABS the groom, then slaughters the bride! He then jumps through a wall, but travels through some kind of portal into a classroom. He awkwardly walks out, and is confronted by dozens of ****heads in the halls. Needless to say, they are promptly murdered. Also, IZO kills some monks, vampires, businessmen, vampire businessmen (I'm not making this up) gangsters, goons, and random people in the middle of a highway (he somehow traveled through time, or to a parallel world or some damn thing.) Long story short, IZO rules. It owns your soul.

Mafisto-1 First off, Izo is a well shot film that seems a bit heavy on the peyote at times. The movie begins as the title character is crucified and executed. This is actually the end to the movie Hitokiri, which stared the late, great author Yukio Mishima.A healthy dose of intensity is in every scene as Izo fights his way through space and time to fulfill a grudge he has against aristocratic leadership and its treatment of the world. Even religion falls into the category of aristocracy for him as he blames the lie of the existence of higher beings for some of the worlds shallowness, weakness, and delusional concepts.There are random flashes of stock footage of World War II, and other times which are viewed as vast injustices. This is easily misinterpreted in such a way that Izo seems to be the embodiment of hate, and rage and therefore these events would invariably have a connection to him. These visions are the reiterated results from the unjust world and leadership he hates so much. All of these human fallacies provide further justification for his ultra violent actions.Another nearly random occurrence is the music of Kazuki Tomakawa. I don't mean that one of his songs keys in during the action, but rather he bursts onto the movie set singing and strumming his guitar with nearly unparalleled intensity. It looks as though he's going to break his guitar, burst into tears, have a stroke, or all of the above at any second. If you don't like the sound that's one thing, but no one will ever accuse the guy of not putting feeling into his music. His presence is ignored in the movie until the end when he gives Izo an order to "punish them" as he points to the ultimate hierarchy which Izo has been hunting. Without looking too deep into this, the musician is a part of Izo much as the random woman he encounters is. While she is Izo's missing duty and regret, he is Izo's passion. The philosophy stated in the final dialog further confirms this. It has to do with painters and artists being madmen, and doctors their audience. The fever and raw feeling within Izo is demanding retribution.Perhaps the most interesting ideas forwarded during the entire film occurred within the schoolhouse scene. The first thing that catches the viewer's attention is that Izo doesn't kill the children. This seems strange at first because he kills nearly everyone he comes in contact with. These obviously weren't normal children as they spoke a collective philosophy which mostly had to do with downplaying the limiting ideas and boundaries which human beings have placed on the world. It was an interesting scene which deserves a few repeat viewings.I only have two complaints about this movie. One is that it is slightly lengthy in several scenes which could have been cut for immediacy and pacing. Even that can be argued against as those scenes have some artistic value. One scene, however, had no artistic value, or any other value for that matter. I refer, of course, to the Bob Sapp scene. Without being too judgmental, that guy is a worthless sack of s#!+ who has the acting skill of a jar of mayonnaise. Not only that, but his scene included an terribly cheesy bit of computer animation. If you haven't seen it, just fast forward that section.This is a pretty weird but solid film otherwise.