Matcollis This Movie Can Only Be Described With One Word.

Nonureva Really Surprised!

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Roman Sampson One of the most extraordinary films you will see this year. Take that as you want.

Hombredelfuturo The movie does not work in only one level; so it can be seen as a sampling of art, in this case: "painting"; from different viewpoints or dimensions. Good actors, humor Kitano style, the Japanese twisted style; however it is a mixture of 2 or 3 movies in one; changes radically from one part to another (the movie is not formally divided) and the only connection seems the art itself (that s not bad at all...) The first half has a coherent development of the script, good photography and shows us the protagonist as a school kid then as a young man. He, an almost autistic person that seems unaffected by the (good and bad) things that happen in his life. Perhaps the answer to why he continues to fail in his work. Failure to get emotionally involved in a way o another in such episodes or not take part physically or to be mentally affected by them, makes an artist that will not acquire the necessary skills (after assimilate and process its) to then translate them into his work; normally a way to say things or feelings of what a person (an artist) can not say in another way. We see a person who may have a natural talent for painting, or based on to paint and repetition developed good capabilities but do not know how to let out his own creative streak, which just ends up imitating the great painters or following great schools of painting in an evident level.-in a second part of the movie, changes completely and we see Kitano, fulfilling the lead role and with his rough style and Yakuza pose, this main character loses all silence and dedicating autism demanding constantly to his suffered side kick wife; dragging them in a not so good life. In this part the artist is showed like an "art junkie" There s kind of humor here and the shots are more TV like ones. The movie could be better or could be at least two movies...

paul david I like different films especially from Japan and this fits the category, interesting from beginning to end, a sad film in my opinion but with lots of messages for art lovers if you look that deep into the story, a bit like Rembrandts 'Nightwatching'.Didn't quite get the ending but it didn't seem to matter. Gosh to have a wife like he had, so patient and supportive all his life but sad for the daughter who had to endure so much also all her life.The title is a stunning one. Okay the Tortoise is the pursuit of success but what is the Achilles, the inability over time to achieve that success? Good acting throughout but cant take it as a comedy with a western mind.

Harry T. Yung "Achilles" is the last of the Kitano's trilogy about the joys and woes of a creative artist. I have watched the second, "Glory to the filmmaker" (2007) but not the first, "Takeshis" (2005). "Glory" was a little disappointing, mainly because it was unfocused, seeming to wander and meander without s clear course. "Achilles" is anything but unfocused.While this movie is generally labelled a comedy, the first half comes off like a Dickensian tale of an orphan. Coming from a well-off family, little Machisu finds himself plunged through a series of misfortunes – the family financial disaster, suicide of father, and then mother, an existence of drudgery under an unsympathetic uncle, then the orphanage, and finally making a living at a lowly position. The tale is told, however, with little poignancy. One reason is that the misery our protagonist goes through is nowhere near an average Dickensian orphan's. He has schooling, a kindly aunt and a very reasonable employer, just to name a few blessings. But the most important factor is Machisu himself.The taciturn child has a singular passion for painting to the extent that he at times almost seem autistic, although he is in fact not. But painting is such a consuming passion that nothing else counts. This is portrayed with remarkable consistency by the three actors from early childhood to young manhood, when he marries an insanely (just a manner of speaking) supporting girl who not only understands, but also embraces his addiction for painting. At this point, the comedy takes over, mainly generated by Machisu and his cohorts in their various imaginative attempts at creative painting. Hilarity ensues, but also some lethal consequences, literally. There is black comedy, but comedy nonetheless.In comes Kitano, playing Machisu at middle age (and wife played by Kanako Higuchi, whose heart-wrenching performance in "Memories of tomorrow" I still remember) with a daughter in late teens. Those who are familiar with Kitano's work will appreciate how well this character fits with his best-known screen persona – the expressionless face this is full of expressions, if you know what I mean. By this time his passion has gone completely out of control, and all hell breaks loose. I shall not, of course, disclose the ending. Better than "Glory", this is not Kitano's best. Still, it has all the good old Kitano ingredients such weird humour and underplayed characters. The profusion of colour scheme (often, but not always, through the paintings themselves) reminds me of "Dolls" (2002) which he directed but did not act in. On the title, the paradox of Achilles and the tortoise, often used as an introduction to calculus, is adopted here to depict Machisu's perpetual pursuit of the elusive art of painting.

Onderhond After two introspective films before Achilles to Kame, Kitano is back to complete his trilogy. With Takeshis' he explored himself as an actor, Kantoku: Banzai! revealed Kitano as a troubled filmmaker and Achilles to Kame, third in line, is telling us something about Kitano as a painter. And art. Or non-art, for that matter.The film starts of rather slow. Kitano seems to reach back to the feel-good 50s try-outs he made in Kantoku: Banzai! Soft lightning and swift switches between humor, slices of life and drama of the poor make up most of the first 30 minutes. A few scarce moments remind us we are watching a Kitano film, most of them coming from the interaction between the young kid and the village retard. Scenes that are not unlike the ones between the grandpa and little girl in Ishii's Taste of Tea.While those first thirty minutes are quite pleasant, the humor is warm and comforting and the score is pretty spot on (staying very close to the work of former Kitano regular Hisaishi), as a Kitano flick the film is definitely missing something vital. That something is added when we jump a couple of years forward to the painter's college years. It is obvious that Kitano's style starts to flourish in a more modern Japanese environment.This is also the time when things start to go wrong for our young painter. Up until then he has been following his heart, making the paintings he likes best. But apparently, that is not to the liking of the young art dealer who is asked to sell his work and our young painter is urged to start following art lessons. He begins learning about art, which kick-starts his everlasting journey to grasp to concept of Art (with a capitol A).Visually this second part is much more like the films that made Kitano famous. Static camera views, harsh lighting and many shots of stark facial expressions. The structure too becomes more like his older work, reminding me a lot of Kikujiro. Where the first parts grounds the trip the main characters are about to make, the core of the film lies in the sketchy scenes that follow. Our young painter teams up with his classmates and through several (often very funny) attempts eh tries to capture the core of art, spirit and originality.After this second part the film jumps to the current time, Kitano himself (of course) portraying the painter as someone who has lost touch with reality, still running behind this idealized image of capturing the essence of art. In this third part the film really starts to shine as Kitano himself can fool around to make the best of the scenes he's in. He is visibly enjoying himself as probably a couple of those scenes were largely improvised on set (remembering the docu I once watched on Kikujiro).Kitano will always remain Kitano, no matter what character he plays, but since he's playing himself that's hardly a fault. Apart from that, his mannerisms and posture are gold in the comedy scenes. Still, Kitano's character starts to sink deeper and deeper to the point where the comfortable life around him is shattered to pieces, with Kitano unable to let go of his self-induced passion.The first section of the film is obviously the weakest but important for Kitano's vision on the subject. The moment he goes to school to learn about art he loses his spirit and becomes a parody of what an artist is supposed to be. Kitano pretty much trashes artists, art dealers, self-indulged amateurs and buying customers alike as he questions and undermines the importance of art and its function in our society.It is nice to see a director doing this so openly and directly. Even though the film revolves around Kitano as a painter, it is easy to broaden the perspective and to see this film as a comment on art and art appreciation in general. On how people approach art, want to understand art and want to profit from it. It is also good to see that Kitano can walk away from it in the end with a contented heart and a freed soul.Achilles to Kame is a film that combines the themes and topics of his two latest outings with the style and feel of his earlier work. The comedy is typical for Kitano, the acting (with a neat little cameo for Terajima), directing, structure and pacing are all very much like his earlier films too. Even the music seems to come right out of Hisaishi's office. It's very nice to see all these things come together to create something that feels like the current Kitano, bearing his past baggage and showing multiple sides of his personality as a director, while still remaining very consistent in style and feel.A must for Kitano fans and probably art fans alike (as all paintings were made by Kitano himself and are apparently based on existing paintings). Probably not the best place to start for people not really familiar with Kitano's earlier work as a director, but as a fan of his directorial efforts this is a pretty complete and awesome film to behold. 4.5*/5.0*