Kien Navarro Exactly the movie you think it is, but not the movie you want it to be.

Yash Wade Close shines in drama with strong language, adult themes.

Phillida Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Bento de Espinosa Unfortunately there is almost nothing good to say about this film.The camera is so shaky that it's hard to recognize things in the picture. If watched on a big cinema screen, it would have made me vomit.Dialogs are mostly pathetic and acting is very poor, many times over the top. At times it's even difficult to understand what they are saying, because of the strong (bad) accent.Many scenes are tediously long, dark and the "music" is too loud.I really tried to like this film, but I couldn't.I think it's good, when directors try to be daring, but some seem to forget that they are not making a film for themselves, but they want it to be viewed by others. If so, maybe it's not wrong to try to make a film watchable (visually pleasant) as well.

masercot This was not a bad movie. It didn't have the experimental look of the first Tetsuo flick; however, that's been done. This one was kinder and gentler than the first... although still rough and disturbing. It reminded me of a Nine Inch Nails music video (Closer)... only much longer and with a mostly Japanese cast...The movie is about a man who, due to a genetic experiment with his mother, sprouted metal parts and guns when angered. It was kind of like the Incredible Hulk if that movie had been directed by David Lynch. There is more self discovery than in the first Tetsuo... more dialog as well. The acting is mediocre, but the images are definitely powerful.If Francis Bacon made a movie with Rob Zombie, this is what it would look like...

poe426 Perhaps Tsukamoto's simply grown weary of his own patented brand of hyperkinetic cinema verite; or maybe the idea well's simply run dry; whatever the reason, TETSUO: THE BULLET MAN is a far cry from the two films that preceded it in this trilogy. "Destroy all of our lazy peaceful dreams," Tsukamoto himself urges the Bullet Man, and it's his own filmmaking philosophy he's espousing. But, while we once again have the pounding of hammers on anvils, the fingernails screeching down chalkboards, and the man metamorphosizing into a heavy metal monstrosity, there's something definitely LACKING this time around. The TETSUO trilogy has lapsed into Formula. Like PROJECT ARMS or THE GUYVER or any one of a dozen other manga or anime man-into-machine tales, TETSUO has grown stale. Everything, from having a character brand himself with the heated barrel of a handgun to the white-out ending, he's used before. It's time to move on, storywise.

zetes Shinya Tsukamoto's original Tetsuo: The Ironman is most certainly one of my formative cinematic experiences. I remember watching it for the first time one night with a friend in his parents' basement the summer after my freshman year at college. His dad had to get out of bed and yell at us to stop shouting. The film was just blowing us away, and we were very loud about how awesome and freaky it was. Tsukamoto had won a fan for life in me, and, indeed, I have very much liked every single piece of work he's produced that I've had the pleasure to see. The third Tetsuo movie is no exception. It's very much in the same style as the previous two films. Half-Japanese, half-white Eric Bossick plays the title character here. He's a mild-mannered office worker, until, that is, his eight-year old son is viciously run down by a car. When Bossick gets upset, he becomes a metallic, murderous monster. The story is pretty silly (Bossick has "android DNA" because his dad made it with a robot version of his mom), but it's all about the images, the violence, and the Lovecraftian horror. There is one major aspect that will detract from the film's value for some: it's in English. I'm guessing that Tsukamoto felt that this would give the film wider appeal, not only because it could be released in English speaking countries unsubtitled, but in other countries, too, where a good amount of people can understand English. That's a bad plan, though, as most fans of this type of stuff, especially in the United States, where the film still hasn't opened except for perhaps at some film festivals, much prefer the Japanese films they watch to be in Japanese. It's about authenticity. Or perhaps it's about the fact that most of the actors just aren't very good, which makes their dialogue come off rather poorly, or even laughably. And other actors, most notably Shinya Tsukamoto himself, who co-stars as the villain, has a sometimes incomprehensible accent. As for myself, it didn't bother me much at all. It comes off somewhat like the English dialogue in Takashi Miike's Sukiyaki Django Western, kind of weird and almost hypnotic.