Director: Sion Sono.

Starring: Ryohei Suzuki, Young Dais, Nana Seino, Riki Takeuchi.

Running Time: 116 Minutes

Synopsis: In the future, Tokyo is split and each district is run by a rap obsessed gang. One gang in particular wishes to seize control of the whole of Tokyo, but the rest aren’t going down without a fight.

Sion Sono has been infecting the realms of cinema with his unique brand of twisted pop-culture subverting thrillers for the last few decades. ANyone familiar with the likes of SUICIDE CLUB or NORIKO’S DINNER TABLE, will know what to expect from Sono, and that is to not expect anything you’ve ever seen before. Recently his efforts COLDFISH and HIMIZU have remained dark and sinister, but kept things less perculiar. TOKYO TRIBE makes up for any past indiscretions of realism and normality thanks to a rap enthused narrative captured mostly in long takes.

A little bit THE WARRIORS, a tad CITY OF GOD, and dialogue performed mostly in rap verse, this urban gangster semi-musical with added violence, is an incredible experience. We follow a number of gangs trying to lay claim to land in a bright and futuristic Tokyo ripped from the streets of BLADE RUNNER. Each gang has a distinct style and a different mentality. Most notorious are the violent and cruel gang lead by Buppa (Takeuchi). Buppa wears golden suits, rolls his eyes back in his, and motions around like something possessed. His number one is Mera, played by HK: FORBIDDEN HERO’s Ryohei Suzuki. They love scantily clad women, rape, and vioelnce, which is in stark contrast to Kai (Dais) and his group of peace and love preaching stars.

The main talking point concerning TOKYO TRIBE is the fact the majority of the dialogue is performed in rap verse. Like a modern day musical, we get character backstories and plot propulsion events backed with some heavy beats and slamming lyrics. It’s a gimmick that works surprisingly well, offering real pace and punch to every scene. There are issues with lyric translation, as obviously Japanese words that rhyme are translated differently to give the same effect in the English subtitles. It sometimes feels clunky, but the majority of the film manages to survive its transition. The rap skills are also mixed, with some actors feeling uncomfortable with their rhymes, and some rappers not having as much range. A round of applause for the entire cast though, as each of them gives it their all.

The comedy elements will perplex some, being very Japanese in their nature, but it still works and is actually more accessible for those who have already surrendered to the bizarre delivery. It says a lot about Sono’s skills that despite an obvious gimmick, the film stands out on a number of levels. The long takes and lengthy scenes captured in single shots have the camera gliding around well choreographed sequences that sometimes include martial arts and multiple plot strands. The actors all know exactly where to be without feeling forced into shot or awkwardly awaiting the arrival of the camera. It brings the sets and locations to life, and each one feels inhabited and lived in.

TOKYO TRIBE goes from surreal musical into a great action romp, and although the pieces don’t always gel together, this is an addictive film that begs for a cult audience to embrace it in the future. Those looking for a fun and wild cinematic experience unlike any other should certainly give TOKYO TRIBE a chance. It’s a master of cinema taking a gamble that pays off.

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