Best theme song ever written.

Sweet art direction.

Suzuki's style is awesome; it has the perfect new wave feel to it.

bizarre pop-art-yakuza-movie-musical. love it!

The plot is all over the place and although there are some nice, stylized scenes, this didn't do it for me. Nice bar fight though.

This film started well and was going fine until the bar fight seen where it all went a bit silly.All in all it wasnt a bad film with some great sets and use of colours providing some good visuals.

The plot IS impossible to follow. The style does make up for a bit of it, but I need a lot more character development than this gave me. I just didn't care about anybody very much.

I liked it. It's got a unique and eclectic style with a new wave feel and it's a pretty fun.

I found it almost impossible to follow the plot in the first half hour or so. The story got a bit more comprehensible after that, but even at the end I wasn't sure who was dead or alive and who betrayed who. None of it matters much anyway, 'cause Suzuki is all about the style. Once again the very end is the best part of the film.

Great final sequence.

stylish comic book setpiece after stylish comic book setpiece. i'm not sure i followed the plot, but i'm also not sure it's really a 'plot' kinda movie.

An acid dream !

Extremely raw and wild. It's pretty much all style and no substance, but the end result is a very entertaining and unique film.

All the garishness and excessive style on show cannot compensate for Tokyo Drifter's mindless narrative and utter depthlessness -- traits that call up its great inferiority to films being made by Jean-Luc Godard and Nagisa Oshima during the same decade.

This movie is fun. But dumb. But fun. But really dumb. The plot is pretty much incomprehensible and at times it just feels silly, not cool. It's entertaining, but not much else.

The direction and photography are bizarre, but so bold that you can't help but have a lot of fun. There are times when it seems like a bit too much for its own good, and sometimes I laughed when I don't think I was supposed to, but mostly it's just really cool.

I really liked the photography. The beginning and ending scenes were especially beautiful.

Maybe the best bar brawl on film.

For a film that's only 80 minutes long, it seems to take forever to get through. It looks good, sure, but the plot is incomprehensible and just difficult to follow, considering it's such a simple idea...i think.

This really grew on me. I love a stylish exaggeration on genre conventions.

85.500

Tokyo Drifter's balls-to-the-wall attitude more than make up for its choppy editing and gimmicky cinematography. The bloody climactic battle had me laughing with glee.

Does it make a lick of sense? Nope. Did it stop me from enjoying it a helluva lot? Nope. Not nearly as great as Branded to Kill though.

I might have liked it better if I could make any sense of it.

I thought of Tarantino while watching this (especially the more B-movie expressions+creative filmmaking aspects of the film). My guess is you have to like filmmaking to get into this, so fans of more mainstream crime/action films should probably avoid this.

A japanese jazz-infused stylish noir tale about rival gangs with one man caught in the middle. What's not to like?

I'll have to watch it again to catch the details of the plot, but this one sure was a lot of fun.

Classic 60's yakuza flick about Tetsu, a former gangster who gets drawn back into the criminal life when a rival gang tries to swindle his ex-boss. He spends most of his time brooding or brawling, or hanging out at the club with his lounge singer girlfriend. It's a pretty standard tale of tough guys, double crosses and revenge but it's visually inspired. Suzuki makes use of spare sets with bright colors and creative lighting to give it a unique look, and the theme music is excellent.

In the waning days of Japan's studio system, Suzuki, who never turned down a script, got this little piece of generic B-movie yakuza junk. But instead of making a generic film, he took everything out of the script that didn't make for a cool scene in his head and just left in the bits that had visual potential. Then he just let his art department go crazy, giving the sets bizarre impressionistic colours and layouts and lit them just as strangely, just going for flat-out style. It works.

The beginning is far out but the plot is not as crazy as many have made it out to be. It actually makes quite a bit of sense, but perhaps you've had to of seen a lot of Japanese gangster flix to really understand it. The only real problems this film has is its lack of budget and production time.