In the beginning of episode 8 of Informa, there is a 2 minute non stop cut of the camera going around a kyabakura before it stops at the mastermind after he makes his entrace. It caught my reaction immediately because long cuts with camera movement are very rare in jdoramas. It takes a lot more time and money to film long cuts and I was wondering if it was filmed that way for a reason.
The reason appeared towards the end of episode 8 with an almost 10 minute long action scene in an abandoned building. (of course) Keiji 7-nin usually tries to do one decent action scene every season but this is Japan's attempt at something like Ong Bak stairs scene or Oldboy's corridor fight. Of course Informa's action scene does not match the two iconic movies but they did a pretty stellar good job. I eas enjoying the scene thinking if anyone stuffed up anywhere they would have to restart again and I wonder how many takes did they do?
Despite the great fight scene of episode 8, there are two disappointing things about Informa besides original Ponkura's back story in episode 6. Firstly, the final revelation gave me a wtf stupid reaction. The reason for the stupid old man's master plan was what? I could not believe it his master plan was just about getting two childhood orphans to kill each other.
The second disappointment is that Informa has been building Morita Go as the ultimate badass but we never really see him in action. He just stood around whole series not needing to act while everyone acted scared around him. His underlings like the big guy had good action scenes but Morita Go didn't have any so I was wondering for the 10 episodes what would Morita Go's action scenes be like.
In the end we get this sloppy, can't see anything muddy fight scene between Morita Go and Kiritani Kenta. After the epic episode 8 fight, we get the ultimate letdown.
I really wanted to like Informa. I like the cast and yakuza action jdoramas with violence are rare and the cinematography is pretty good but it doesn't come together quite well. Meh for me.
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