I was incredibly impressed by Shinya Tsukamoto's surreal cyberpunk classic 'Tetsuo', one of the most startling, original and disturbing movies of the last twenty years, and also knocked out by 'Tokyo Fist' his hyperkinetic and violent study of macho competition. Now, once again I'm impressed, this time by 'Gemini' his beautiful and haunting story of identity confusion, and sibling rivalry. The movie is said to be based on Edogawa Rampo's short story 'The Twins', but I've read it and it has virtually nothing to do with this film. Whatever, it doesn't matter, Tsukamoto has taken one or two ideas from Rampo's (excellent) story and expanded it into more interesting and inventive territory. Masahiro Motoki is brilliant in a duel role as the uptight bourgeois doctor and his malevolent criminal twin, and Ryo is beautifully enigmatic as his (apparently) amnesiac wife who is harboring a secret or two. 'Gemini' is a brilliant piece of film making, and I highly recommend it.

Stunning cinematography, moments of serene bliss cutting effortlessly to shocking scenes more akin to his earlier Tetsuo imagery. Tour de force and evidence of a rapidly growing range and depth. So so plot though, the beast within, Jekyll and Hyde, Janus, that sort of thing.

After having been impressed by the Tetsuo series, Gemini was all I was hoping for and much more. The cinematography is some of the most beautiful and evocative I've seen, with wonderful use of colour, light and design. Though I'd been told this movie was not "cyberpunk" like testsuo, in a way it had a similar ethic, questioning "what makes a person a person", although in this case it's more about what makes one "good or evil". I saw it the same night as I saw another popular Japanese horror, "The Ring", which curiously also features a well, but I found Gemini much more sinister and frightening.

A film of extremes."Tetsuo" and its sequel were ripping bouts of cinematic mayhem. This film, "Gemini", represents a stunning turnabout for the director who applies a sure, delicate hand to an unnerving mystery.A doctor in 1910 Japan lives a seemingly perfect life; he is handsome, he is married to a beautiful (albeit perplexing and inscrutable) woman and he is a renowned doctor.The deaths of his parents send the doctor down a spiral of madness and violence. His wife grows more distant and enigmatic. He loses his grip on reality but the nightmarish events seem to spring from his own hand...Frequently the imagery is rigorously symmetrical, composed with a great deal of poetry and ethereal beauty. Many of the shots are masterpieces of Japanese design. The effect is like a spiderweb where all the strands are perfectly aligned and no two edges seem to deviate from the basic construction. Even in the most tranquil image, the director creates a sense of palpable menace, as though the air is tinged with the smells of blood and gore even though the shot may be of a perfectly kept garden.On this elegant framework the director lays on stunning moments of violence and revelatory mayhem. Besides the visceral elements, there is a great deal of psychic violence in the film. The audience witnesses the mental descent of the doctor so delicately and precisely that it seems that we can see the hairs rising on the back of his neck.An unsettling and very rewarding film.