Chameleon (2008) User Reviews

A gripping modest budget thriller

[UberNoodle · 7/10 · 30 October 2009]

I went into this film not expecting much but I ended up pleasantly surprised. The characters were the usual archetypes of wounded 20 somethings, wise elderly and nasty gangsters. However, as a genre film, I don't think that the film suffered for their use. Instead I quite enjoyed the interactions between the protagonists and the warmth in their makeshift family. Also, the unrelenting menace of the antagonists was genuinely gripping.

The main character, Goro, is suitably mysterious, with only the vaguest of outline as to his past. Not being a flaw in any way, it keeps the film from any 'I also cook' kind of clichés and allows his character to fill the shoes of the 'unknown quantity', essentially for these kinds of stories. As above, the other characters range from supporting to integral roles but all have at least something that lets them sparkle throughout the course of the film.

Similarly, the action scenes, of which there are a few, while not taking centre-stage, are well executed but should be noted for their chaotic choreography. Anyone can fight when their lives depend on it and their effectiveness comes down to their training and experience. I quite liked how raw and undisciplined these scenes were. It shows how little need there really is for martial arts precision in action films when the fights are kept real.

It was an enjoyable film with an ending I didn't quite expect. I recommend it to anyone interested in Japanese film of this genre. Just don't go in with your Hollywood hat, and you will have a good time with the subtle course of the film.

Although Lacking the Action of Revenge Themed Hollywood Features, the Interesting Story and Enjoyable Characters Certainly Keep Our Attention

[totalovrdose · 8/10 · 3 July 2015]

Though the film is marketed as an action-thriller, the narrative reflecting this genre, the action scenes in Chameleon are often surrounded by a varying assortment of characterization and conversations, so viewers shouldn't go into the feature expecting a wealth of exciting visual flare. Similarly, this description fits also with the environments, a number of the locations being either run-down, drab, or condemned, often with minimal foot traffic, though these at the same time tend to reflect the lifestyle of the leads, that is neither glamorous or flash.

The characters and their relationships suitably garner our interest with ease, the dilemmas the con-artists face, the fun of pulling off a successful job, and the eventual story of vengeance, keeping audience's intrigued. When there is fighting, it lacks the stylistic approach of other Asiatic features, in which scenes are often beautiful and memorable - reminiscent almost of dancing. In Chameleon, the fights appear more realistic, with characters desperately struggling to survive, frenetically attacking one another, not so much with proficiency, but in a vain attempt to escape, making the environment, storyline and characters more believable.

The soundtrack accompanying some of the fights is as equally immersive, however, much of the film had no reliance on music at all, the sound of only the dialogue and the background ambiance proving to be just as effective. Furthermore, despite their professional background, or lack-thereof, the banter, wit and charm exuded from the characters make them very likable, as though they could even be friends of the viewer.

The beginning of the feature originally seems dark, with the ever-mysterious Goro (Tatsuya Fujiwara), who is as intellectual as he is brave, introducing himself in an initially hostile manner to the beautiful Keiko (Asami Mizukawa), a fortune teller, who appears in desperate need of assistance, her hidden past, compassion and honesty, making her a character that anyone would appreciate the opportunity to help. After successful completion of a job, Goro and his team are unfortunately witnesses to the kidnapping of an important witness in a major case, with direct links to corrupt political figures. Concerned the witnesses may inform local officials about what they saw, the leader of the kidnappers (Kosuke Toyohara), immediately puts into action a plan that will have lethal consequences for our protagonists.

Ms. Mizukawa deserved a larger role in the plot, and though she is introduced at the beginning, a fair amount of time goes by before we witness her reappearance. At the same time, the romantic sub-plot between her character and Goro could have been better accentuated with a deeper focus, though the limited exposure is thorough enough to convince the audience of their feelings. Moreover, by the conclusion of the film, there were at least five questions I had on my mind that were largely unresolved, the lack of answers leaving considerably sized plot holes that, although annoying, didn't get in the way of the movie's ability to entertain.

In conclusion, Chameleon is quite a likable film, that uses simplicity rather than unfathomable excitement and awe to entice the viewer, and though the film lacks the budget of a Hollywood revenge plot, the film proves, through story and enjoyable characters, that massive amounts of money is not a requirement for a movie to be effectively decent.