Confessions (Kokuhaku) Reviews

October 7, 2015
"Confessions" was a bona fide cultural phenomenon that sent shockwaves through Japan's collective conscience before the tragic earthquakes and tsunami drove people further into soul-searching.
February 22, 2011
A difficult film to like, an impossible one not to grudgingly admire.
February 17, 2011
The incredible first act boasts more horror, surprise and intrigue than most fully-formed features, and though the subsequent hour never feels as concise or gathered, this is a potent, almost unbearably visceral slice of confronting cinema.
February 17, 2011
Nakashima's most accomplished film to date.
February 17, 2011
An engaging and undeniably interesting slant on the source of vendetta and the psychology behind violence and cruelty.
February 17, 2011
An audacious exhibition of cinematic ingenuity and control.
February 16, 2011
Impressively directed and beautifully shot, this is a superbly written thriller with strong performances and a terrific soundtrack, though the relentless barrage of twists and turns is ultimately both confusing and overwhelming.
February 16, 2011
'Confessions' may be too grimly cynical to convince fully, but its combination of visual excess, dark wit, random violence, psychological insight and raw emotional intensity is intoxicating.
February 14, 2011
A typically edgy Japanese schoolyard horror, with some serious - and uncomfortable - things to say.
February 14, 2011
While it might turn off awards voters, its strange, icy beauty will win it a fair few fans among the black-nail-polish mob.
January 31, 2011
Despite the intensity of the first-act monologue, Nakashima's hypnotic, slo-mo style keeps tension and humour well short of the bad-taste extremity that Takashi Miike might have delivered.
January 17, 2011
As its title implies, the film is a series of confessions by those involved on both sides of the senseless death ...
November 3, 2010
Offsetting the shrillness of its melodrama with the sedateness of it pace, Confessions is a bombastic, almost operatic affair that masks its Heathers-like satire behind an entirely straight face - until, that is, its final punchline.