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Cure (1997) 1080p YIFY Movie

Cure (1997) 1080p

A frustrated detective deals with the case of several gruesome murders committed by people who have no recollection of what they've done.

IMDB: 7.40 Likes

  • Genre: Crime | Horror
  • Quality: 1080p
  • Size: 1.79G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English
  • Run Time: 111
  • IMDB Rating: 7.4/10 
  • MPR: Normal
  • Peers/Seeds: 17 / 63

The Synopsis for Cure (1997) 1080p

A wave of gruesome murders is sweeping Tokyo. The only connection is a bloody X carved into the neck of each of the victims. In each case, the murderer is found near the victim and remembers nothing of the crime. Detective Takabe and psychologist Sakuma are called in to figure out the connection, but their investigation goes nowhere. An odd young man is arrested near the scene of the latest murder, who has a strange effect on everyone who comes into contact with him. Detective Takabe starts a series of interrogations to determine the man's connection with the killings.

The Director and Players for Cure (1997) 1080p

[Director]Kiyoshi Kurosawa
[Role:]Tsuyoshi Ujiki
[Role:]Masato Hagiwara
[Role:]K?ji Yakusho

The Reviews for Cure (1997) 1080p

Disconcerting...Reviewed bylbongartzVote: 9/10

Kurosawa masterfully plays with the human psyche and its inherent need for explanation....

Although I'm a great fan of the way Japanese filmmakers tell stories , this movie was still quite a brain-teaser! In 'western' story-telling there's always a clear distinction between the good side and the evil side. In Japanese stories,this distinction is often more vague, which makes the story behave more like the real-world. If you seek simple amusement and a puzzle that is gradually but surely solved by the detective, this movie is not for you. The movie begins like a straight-forward serial killer story, but soon changes from a 'whodunit' to a more enigmatic 'HOW-dunit'.

The sometimes apparently random introduction of characters, events and clues to the story, and the way the personae subsequently derange from their expected behavior in the course of events, adds to the shock and never gives you any solid ground to identify and sympathize with the characters or to get a grip on the story. You have the feeling you're constantly put on the wrong track. You're brain is desperately trying to put the puzzle together but it's no good. Sometimes they find a clue that might solve the puzzle, but a moment later you realize they're on the wrong track, leaving you completely clueless again. 'Kyua' leaves you with mixed feelings: amazed, unfulfilled, puzzled, scared, disgusted, and everything in between. All you want to do is to watch it again and make sense of it all, in spite of the fact that you know that it's no good.

LoopReviewed byfrankgaipaVote: 10/10

First time I saw this, thanks to an otherwise fine festival director obsessed with Eastern Europe to the exclusion of most neo-eiga, I'd seen nothing by Kiyoshi Kurosawa and, though I realize now I'd seen him in his 1979 debut for Gosha as well as in "Tampopo" and "Kamikaze Taxi," I was incognizant of Koji Yakusho's range or his stardom. "Shall We Dance," I'm pretty sure, played here after "Cure's" festival debut. The festival buzz on "Cure" was scream flick, not director matures, crowds Tarkovsky.

Early in "Cure" Kenichi (Yakusho) comes home to find the clothes washer spinning, stops it, looks inside, finds nothing. A little later his wife Fumie stops him doing some chore: "Let me do it. I feel good today" She means "I'm sane today," but we don't know this, we haven't quite understood her chat across a table with a bearded man in a previous scene. Those words, this line, "I feel good today," to the exclusion of other or even most days, are uttered in pretty much Fumie's tone, one time or another, by nearly any wife. My mother's spoken them countless times, far back as I can recall. Now she's 85, mobile, sane, with a couple of decades likely still in her. Though "Cure," a film of words as much as images, works linearly, it's really a circular film. Repeated viewings pay. You could start at any point within it and watch full round. It's not a suspense film, though it's full of suspense of the moment, of where the camera will go next, of where a gaze will fall, a hand will go, of where and whether a character will turn or pause or not pause.

Because both actors have Koizumi hair, when we first see, at distance, a trench-coated figure walking a beach, we can't be sure it's not Kenichi. The camera won't zoom in on the incessantly questioning amnesiac until after we've placed his voice as new to us. No-Name, later Mamiya, functions as a semantic, a near totally verbal catalyst. If you must, he's "Ringu's" tape, but I kept thinking of the "What Was It You Wanted?" track on Dylan's "Oh Mercy." It's no accident that No-Name's nothing but voice at first. The beach scene's school teacher later babbles introspectively, analytically, tangled up in words, amazed, "Yes. I killed her for no reason." Mesmer makes an okay MacGuffin, but as I say about rope and knots in my comment at "Undo," don't see hypnotism, spell, or trance. See (hear) just words, just questions. Even Mamiya's lighter needs to be named, spoken. The Aum weren't hypnotized. Suicide bombers aren't. Atta's Al Qaeda crew weren't. Zero pilots, willing and not (because it's an infinite world, there have to have been both as well as every gradient in-between), weren't. Whatever was done to any of these was words, language.

Later, in "Séance," Yakusho plays a sound man. Devoid of music, "Cure"s' ambient sound is sometimes so pumped it backgrounds the images. Try closing your eyes for a few film minutes, and only listen. (If you know no Japanese, all the better.) What's there? Rhythms? Randomness? Oddity? The mundane? Tradition? Modernity? I could go much longer than allowed here, but skip to the very last scene, for not a spoiler but an alert. Yakusho/Kenichi's seated in a cafeteria. You MUST see, small, backgrounded, in an obscure corner of the screen, a glint of metal, traveling. Seeing it completes the loop, thrusts you into the beginning of the film. Your instinctive struggle to leave the loop, to understand the glint or even not to have seen it, is Kurosawa's design. Your struggle, his design. That's why I say crowding Tarkovsky. At best they spiral. They turn back or turn in. Kurosawa's "Kairo" works a similar loop.

Slow, poetic, beautiful and chilling.Reviewed byElMousseVote: 9/10

Just seen this movie at the Fantasia Festival in Montreal. And WOW! Slow, poetic, beautiful horror/detective film. One of the most chilling movies I've seen (with Ring).

The Japanese seem to know how to use sound to terrify and fascinate. A washing machine, waves, voices, almost no music. Add to that superb images great acting and (listen Hollywood) an INTELLIGENT story.

Go see this movie.

patrick massé

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