Pulse

The philosophical premise of Kairo is nihilism expressed through loneliness. The superficial "connections" that one sustains with other people are conveyed as brittle, meaningless trivialities that shatter when confronted with the relentless isolation that exists on a much deeper level. Not one person is murdered in this 119 minute film for the very fact that the victims are consumed with a sense of eternal loneliness - many times caused by seeing spirits - and therefore take their own lives. There are no cheap scares in this picture, as it relies on disturbing, long-sustained images highlighted by awkward ghost movements. Classic scenes and imagery abound in this tour de force directed by Kiyoshi Kurosawa.Kiyoshi is a criminally unknown director who is undoubtedly the single best filmmaker in the history of horror cinema. Unfortunately, many people confuse greatness with influence. Hideo Nakata is not a great director, but he did influence the entire film-making industry with Ringu. Kiyoshi Kurosawa, on the other hand, just makes great films - Kairo, Cure, Charisma, Retribution, Séance, Loft, etc. That's the essential difference between excellence and mere market influence. Now, Kiyoshi does get some respect from both moviegoers and critics alike, but there are some common complaints that I would like to address in conjunction with this review of Kairo.The most outrageous criticism of Kiyoshi is that his films lack content. This is a patently false (and downright ridiculous) claim that holds no weight whatsoever. Taking Kairo as an example, there are a number of subtle references to LONELINESS throughout the entirety of the film - the literal isolation of characters, the individual dots expressed within the computer program, the patterns of dissolved ash, the influence of communication and information through both ghostly apparitions as well as red tape, apocalyptic doom, suicide, character mannerisms and interrelationships, etc. In other words, there's a boatload of content in Kairo. Those who say otherwise have no idea what they're talking about.This structure of film-making is one thing that makes Kiyoshi so amazing. He takes a simple concept like loneliness and creates a constellation of phenomena that reference back to the underlying theme of the film. The same is true with Cure (identity), Charisma (false dichotomies, relationship between the individual and society), Retribution (memory), Loft (memory), and others. It's a fascinating method of storytelling that's so much fun to watch despite the glacial pacing from which it's presented. Don't fool yourself: the entertainment value of Japanese horror is frequently about content, and Kairo is a perfect horror movie largely because of its philosophical elements. How many other films can make the same claim? What more do you people want?How the massive quantity of content within Kiyoshi's cinematic portfolio goes unnoticed is beyond me. The only possible explanation is that his stunning talent for creating dense atmosphere leads some viewers to overlook his content. Still, there's no excuse for missing it, especially considering how badly made dramas get all sorts of credit where none is due. For example, there are tons of reviews for Tsai Ming-liang's dreadfully atrocious Viva L'Amour that gloat about that movie's depiction of solitude. I read these reviews with the knowledge that Kairo gets little to no credit for its truly amazing portrayal of loneliness. The whole scenario makes me want to puke.Another criticism of Kiyoshi is that his films are "self-indulgent." What a load of twaddle coming from reviewers who consider Akira Kurosawa to be the best thing since sliced bread. Anyone dim-witted enough to claim that Akira Kurosawa's Dreams is less indulgent than Kairo should immediately check themselves into a mental institution. So Akira gets a free pass at self-masturbatory cinema because some Californian bloodsuckers propped him up on an undeserving pedestal? You people are a joke. From the standpoint of sheer directorial precision and scriptwriting, Akira doesn't even deserve to sniff Kiyoshi's jockstrap.Then we have all sorts of assertions that say Kiyoshi's films are slow and boring, but most of these comments are made by Hollywood fanboys who drool over rat-infested garbage like Friday the 13th, Freddy vs. Jason, and Alien vs. Predator. I would expect this reaction from those with such narrow-minded "tastes" in film. Just leave the intelligent horror cinema to the big boys and go back to worshipping overrated hacks like Wes Craven.But that's not all. We have even more ludicrous complaints coming from Westerners like, "The Japanese take their horror films too seriously." I laugh when hearing stuff like this. God forbid someone actually puts some effort into making a horror film. Has the Hollywood horror industry really crumbled to the point where even their most fervent followers don't expect anything remotely ambitious? That's a pretty pathetic state to be in.The point of this review-turned-rant is to simply point out the obvious: Kiyoshi Kurosawa is the greatest horror filmmaker that ever lived. It might just be my opinion, but considering how any and all criticism seems to be based on illogic or narrow-mindedness, there's really no valid reason for believing otherwise.

We're all, ultimately, adrift in a Sea of Loneliness, if we are to interpret the symbolism of the final birds-eye shot of this film.Pulse is a perfect example of the necessary resourcefulness needed to create a semi-coherent but highly atmospheric film. What it lacks in budget (i.e, special effects, location scouting, a range in audio/visual effects, etc.) it more than makes up for in found ambience, the clever (if somewhat inexplicably random...) use of red duct tape and DIY special effects that mostly involve the strategic placement of stained/charred(?) bodily silhouettes to represent that a suicide has been committed. I am inclined to agree with the reviews that praise the compelling first half of the film while the second half feels a bit meandering. The closing scene involving the speedboat was obviously (and oddly!?!) influenced by Michael Mann's Miami Vice episodes. The sweet nostalgia conjured of the potent emptiness that encapsulated the 80's is worth the price of admission alone! While it's not overtly obvious I could definitely see the influence of the somber and sinister aesthetic of Silent Hill and Spike Lee's Do The Right Thing. A pleasant surprise was the eventual (and much anticipated!) disrobing and full frontal nudity of not one, not two but THREE of the female actresses! Pulse is a hidden treasure trove of sinister existentialism that artfully captures the inherent loneliness and despair we all feel more often than not--especially in regard to the soul-crushing pull of the darker regions of the Internet.But be warned--Pulse packs a lasting punch that may or may not result in your inadvertently checking out and INTO the realm beyond. Or perhaps I should write, The Realm Beyond. View at your own pleasure and/or risk...

It seems like Ring (or Ringu) steals all of the attention when it comes to best known Japanese horror. It is absolutely deserving of the attention it gets, there is a reason it is a classic, but whenever I am reminded of that film I immediately think of Pulse along with it.Its central theme is shared with Ring: the fear of technology. But I have found that while Ring has suffered a bit with age, the cross eyed faces and the frame going negative whenever Sadako makes good on her curse, Pulse remains as effective as it was the first time I watched it.The idea that a person can log onto a computer and go to a certain site and be asked if they want to see a ghost is something so odd a vague it never fails to make my skin crawl. And the population slowly disappearing by sinking into shadow marks on their walls or by suicide and being replaced by ghosts is so strange.It all works on such a unique level. I absolutely love this film and I am impressed with the Arrow release of it. So glad it’s getting the deluxe treatment it deserves.

The storyline was amazing, there was so much meaning behind the movie. Of course it’s based in 2005 so the graphics aren’t to die for, butttt it has some really good transition scenes! One of my favs now!

Vordergründig steht der 2001 enstandene japanische Horrorfilm "Pulse" (Original: Kairo) des Regisseurs Kiyoshi Kurosawa ganz in der Traditon des Klassikers "Ringu". Nur etwas moderner der neuen Zeit angepasst, denn statt VHS-Tape und Glotze kommen die Geister inzwischen per Internet in die Welt der Lebenden. Dabei ist "Pulse" viel ruhiger und gemächlicher inszeniert, es herrscht beinahe ein melancholischer Rhythmus vor.Dabei geht es sogar am Ende um eine regelrechte Invasion der Geister und der Zuschauer dachte lange, dass die Protagonisten fast alleine wären mit der Heimsuchung.Der Film arbeitet mit zwei Erzählsträngen, die sich erst spät miteinander verbinden.Die erste Story ist der jungen Kudo Miche (Kumiko Aso) gewidmet, die in einer Vertriebsgesellschaft arbeitet und dort Pflanzen verkauft.Sehr wichtig sind ihr die Freunde Sasano Junko (Kurume Arisaka), Toshio Jabe (Matatoshi Matsuo) und Taguchi (Kenji Mizuhashi).Doch seit kurzem meldet sich Taguchi nicht mehr, was sehr untypisch ist. Die anderen wissen nur, dass er derzeit ständig vor dem Computer hockt. Daher besucht Kudo Miche ihn und trifft ihn auch in seiner Wohnung an, er wirkt zwar etwas apathisch, aber immerhin scheint alles in Ordnung zu sein. Sie unterhält sich mit ihm, während er im Nebenzimmer mit ihr redet und sich zum ihrem Schrecken nur einige Sekunden später erhängt hat.Die zweite Geschichte befasst sich mit Kawashima Ryosuke (Haruhiko Kato) einem Volkswirtschaftstudenten, der eigentlich eher ein PC-Muffel ist und seine ersten Gehversuche im World Wide Web unternimmt.Während dieser mühsamen Aktion wählt sich der PC selbst ein, und zeigt einen dunklen Raum mit einer versteinerten, schweigenden Silhouetten, die sich per Webcam filmt. Dann zeigt der Computer Willst du einen Geist treffen?" an, was den jungen Mann ziemlich verstört.Er ist aber neugierig und sucht sich Hilfe in einem Computersaal, dort lernt er Harue Karasawa (Koyuki), die ihm gerne weiterhelfen möchte. Gemeinsam versuchen sie die Seite zu analysieren und stoßen wie schon Taguchi auf Geister, die um Hilfe bitten...Wer viel Grusel und Horror erwartet, der sollte seine Erwartungen etwas dämpfen. Kyoshi Kurosawa ist eher daran interessiert einen Ausschnitt Welt zu zeigen, in der Einsamkeit, Leere und Todessehnsucht vorherrscht.Es ist eine Apocalpyse des Schattens und eine Art biblische Entrückung, die hier gezeigt werden. Besonders gut wirkt der Film, wenn er seine Protagonisten in der menschenleeren U-Bahn zeigt oder wenn sie mit dem Auto durch ein Tokio fahren, dass zur Geisterstadt geworden ist.Besonders spannend ist das zwar nicht, aber der Film macht vieles durch eine gute, gelungene Atmosphäre wett. Denn während die Filmfiguren versuchen herauszufinden, was mit der Welt passiert, liegt die Existenz, wie wir sie kennen, schon in den letzten Zügen.

I was so excited to finally watch "Pulse" after receiving it from Amazon, and I have to say I was utterly disappointed. I perhaps think I was too hyped up. I had expectations set by its fans that simply couldn't be met. After loving other Asian horrors, I thought I knew this would find a place in my heart.The story was slow, painfully so. I am a diverse fan of horror. I love the brutal, bloody craziness of "The Devil's Rejects" and I love equally the steady, growing macabre of "A Tale of Two Sisters". "Pulse" offered little from either spectrum, sadly.Along with the sluggishness of the plot, it was also very muddled. I hadn't a clue why characters were doing what they were doing and how what they were doing would help their problem. It seemed as if the director spouted off the plot in a sentence or two and the rest was improf from our actors. Unlike "A Tale of Two Sisters", which also has a rather hard-to-follow plotline, "Pulse" clears up very little at the end and left me feeling frustrated, confused and uninterested in the characters' endeavors. My closing statement about the plot was its inconsistency. At first it seemed as if the story was about the ghost world overflowing and their medium of escaping is the Internet. That's a damn original idea. I like that. But as the plot drones on, plot-holes and unexplained happenings rearing their heads in, it seems the director switched to some apocalyptic tale (as evident by the ending) that just hasn't been clear enough throughout to execute.I realize the dreariness of the shots and the setting was intentional to make the viewer feel bleak and isolated, but the dullness of the movie was only intensified by the grainy, shadowy surroundings. I will admit there was a certain feel of surrealism with the movie, but that may have just been my attention waning in and out.The actions of some of the characters are a little bit ridiculous as well, and perhaps if I was more enthralled by the story I would've been able to suspend more disbelief but as well myself being unmotivated so too were some of the characters. Like I mentioned previously, the logic behind what certain characters did were absent and contributed to the incoherence of the plot. Perhaps it was a result of the plot's incoherence that the characters do questionable things. To be honest I don't really care.The acting was decent. Certainly nothing outstanding but nothing terrible either. No outliers to mention on either side of brilliant or plain awful.Now I'll stop sounding so sour and mention that there were a handful of creepy moments. One towards the end especially that if there were more like it throughout, I would've enjoyed this movie (almost) wholly. I thought whenever the website was shown it was pretty unsettling, as well as some of the ghostly encounters our two main characters face. The things that went on between these ghastly run-ins were just too lackluster, baffling and "WTF" for me to truly appreciate.Now for something pertaining to the DVD itself... Magnolia's release of "Pulse" comes with subtitles, yes, but the subtitles are off. They aren't said at the correct time of the character's speech. It may sound nit-picking but it bothered me a little and it may bother some others. I think this is the only North American release of the film though so you either have to deal or watch dubbing (NEVER WATCH DUBBING!!!)I tried to like the film, I really did. I WANTED this film to live up to the hype... but sadly, it fell flat for me. If you're looking for other creepy Asian cinema I can recommend you "Audition", "Shutter", "A Tale of Two Sisters", "Strange Circus" and "Marebito" -- all of which are more my palette.3/10

Pulse (Kairo) is a deeply layered, utterly terrifying, yet very cold and downbeat (almost `prozac') horror ghost film that is by far the greatest (along with Shutter, Ring, Tale of Two Sisters) of it's genre.It's pacing, as mentioned, is very slow, but this gives it a deep sense of dread. The scary moments are genuinely terrifying, with a fantastic use of sound (usually the norm in Asian horror movies, stuff like Ring, Ju-On), that leaves you quivering in your seat, and your `pulse' racing.This has some very strong, and powerful themes that are now more relevant than ever. Feeling lonely, isolated, difficulty in communicating (especially in the era of the internet, expressed here with terrifying creativity) with the outside wide, wondering who we are and what our purpose is in life. Essentially, we're all the same, yet also different. The only thing in common we share is that we're 'human'. Nothing else really matters.I guess the low scores aren't from people who don't `get it', but were expecting something very different. It has this sense of detachment from the main characters, you only get to know them on the surface, but given the subject matter, this is vital within it's context, and the director handles this incredibly well whilst at the same time, giving us a huge abundance of scares that will leave you wanting to sleep with the lights on.This is serious, intelligent, frightening horror, that makes you wonder that if there were such things as ghosts, how are we any different from them?Many other films have also tackled this theme, so it's hardly original, but very few have been as able to deliver such an idea that really stays under your skin with such emotional detachment in a world slowly falling apart. It's frightening just how much you can relate to the themes if you aren't the 'happy go lucky' type, and can relate to the misery around you, finding it a struggle to 'fit in' as a human being with verbal communication and body language.Just don't expect anything traditional or upbeat. Pulse is far more than the sum of it's parts, and a very important entry in the ghost horror canon. But be warned, this is seriously not for those who have suicidal ideation or suffer from chronic depression.A masterpiece.

Yes, your read my heading right (my opinion, of course)This movie, more than any other (and I've watched MANY horror movies in my lifetime - more than what was probably good for me) has affected me like no other.It's not for everyone and I don't think everybody will like it - it's very slow to get going and generally has a slow pace (like almost all of the director's movies) but it is incredibly disturbing and severely frightening once it grabs hold of you.I think the main character's face-to-face (literally) with the Grim Reaper near the end is one of the most bowel-loosening and terrifying scenes I've seen in a movie.It's quite a philosophical movie, dealing with isolation, depression and the inevitability of death. Cheery stuff, to be sure.We are all alone, this movie posits, and cut off from everyone else and true communication is severely limited. We can never make anyone else understand how we really feel. Language is inadequate - we are all horribly, eternally alone. Ironically, even more so in these Internet-obsessed, technologically advanced age.I could not get this movie out of my head for days afterward and it still haunts me to this day. Yes, it has some Ringu elements (long-haired spectres ahoy!) but it uses these tropes in its own and original way.There are absolutely mind-blowing set-pieces everywhere (the first foray into a red-taped room - brrrrr -, the dancing spectre in the arcade, the seated, hooded figure on the computer screen and of course the têtê-a-têtê with Death himself.)Give this movie a chance and you might love it like I do.Just be sure to take your anti-depressants first. Cheery stuff this is not. Oh, and check out the director's other stuff of you liked this - Cure is especially brilliant and unforgettable too.

Jeder der bei diesem Film die Hoffnung hat einen weiteren Schocker ala Gruder oder Ring zubekommen, kann gleich wieder Alt+links machen (oder einfach nur auf den "Zurückknopf" drücken).Das Problem bei den Rezesionen ist wohl, das der Film keine Hollywood Produktion ist, sonderen ein guter alter Japanmade Film ist.Der Film ist durchaus sehr spannend und durchaus "unheimlich", aber eben nur für Jene die solche Filme mögen.Auch ich habe mir einen "Grude"- "Ring"-like Film erhofft und habe schnell festgestellt das dem nicht so ist.Das ist aber auch nicht weiter schlimm, denn auch dieser Film besticht auf seine Weise.Schnell hat mich die tiefe Story in den Bann gezogen und mich am Ende sogar hoffenlassen, das der Film doch bitte immer weiter gehen würde :)Von der Atmosphäre her ist er gutes altes Japan: Beklemmende Stimmung (meist komplett still) und hin und wieder auch etwas Puls fördernd ;).Aber ein Shocker ist er wirklich nicht.Der Rest des Films ist wohl Japan standardmäßig ruhig bzw. leer, oder für manche einfach langweilig.Wer eine gute durchdachte Geschichte möchte, mit dem Horror-Flair von Japan(klassik), kann hier deffinitiv zugreiffen.Für die tolle Story (ja die muss man erstmal verstehen bevor man nögelt ;)) und die Japan typische Atmosphäre, gibt es 4 Sterne.4 Sterne weil es "kein" fast-perfektes Erlebnis ist :)