Action filmmaker Kensuke Sonomura is my guy.
A storied action designer, fight choreographer, and stunt professional who has been nothing if not prolific (almost a hundred IMDb credits under the “stunts” category alone), Sonomura has made the leap to directing, as well, with Hydra, Bad City (itself a Fantastic Fest alum), and now Ghost Killer.
As a die-hard lifelong action cinema fanatic, I have to admit that I’m not always particularly discerning when it comes to styles. By that I mean, I’m not well-versed enough in martial arts to necessarily tell you if someone is doing kung fu or judo, karate or krav maga. I generally just know if I like it or not. And that’s what matters to me. Kensuke Sonomura is one of the first fight choreographers who came along and brought such a distinct look and feel to his work that I could pop in a movie and think “hey, is this Sonomura doing the action here?” and often be correct in my guess. It’s hard to describe the wildly unique grappling and smooth, off kilter movements of his characters’ fights. And that’s what I love about it. I know the entire action community doesn’t feel as strongly about it as I do, but not only have I not tired of his signature style, it’s become somewhat of a cinematic warm blanket for me, and it’s in top form here in Ghost Killer.
I’m somewhat loathe to even reveal the unique, high concept “hook” of Ghost Killer, because much of the fun to be had here is the gradual unfolding of what the dynamic between stars Akari Takaishi (Baby Assassins’ gorgeous goofball) and frequent Sonomura star and collaborator Masanori Mimoto is really all about. Ghost Killer doesn’t appear to be a particularly highly budgeted film, but what it may lack in funding is made up for in its technical prowess and its bizarre high concept. So, consider yourself warned and steer clear of the rest of the review if you’re already sold and can’t wait for your next hit of that sweet Sonomura sauce, because you’ll get it here and I recommend you do.
Fumika (Takaishi) is just a regular college girl: She’s trying her hand at dating, working a rough job in the service industry, and supporting a friend through an abusive relationship. She loves her apartment. By total chance she picks up a shell casing for a bullet that was used to kill the ruthlessly talented hit man Kudo (Mimoto), and his ghost somehow begins to haunt her. J-horror fans may delight at this more humorous and touching approach to a Japanese “grudge” situation. As Fumika and Kudo adjust to their newfound haunting situation (Kudo is new to being dead, after all), they begin to slowly connect relationally and, in the most key dynamic of the film, they realize that with a clasp of hands, Kudo can possess Fumika and imbue her with his “particular set of skills”. And he may need to do this a lot as the only way to break the grudge is to kill whoever killed Kudo. There’s honestly a fair amount of exploration of the concept of consent in the film as Fumika and Kudo work out how each of them feel about entering one another’s bodies. And there’s a whole throughline of some creepy date-rapists that Fumika and Kudo get in some good ass-whupping practice on before they take on the big bads. Like I said, it’s a pretty high concept and Sonomura does everything he can to make it an entertaining one. (The hand clasp component becomes a highly satisfying mechanic that feels totally unique to this film and gloriously portends an imminent merking).
I had a really good time with the premise and the sense of humor and heart clicked more for me here than it does with Akari Takaishi’s famous Baby Assassins films. I do think Ghost Killer sags a bit in the middle and occasionally teeters on the edge of losing control of its high concept. But with a dynamite final fight and a charming dynamic between the leads, Ghost Killer certainly makes Sonomura 3 for 3 in my book.
And I’m Out.
Ghost Killer is having its world premiere at Fantastic Fest 2024
