| Ghost Dog | 2 | |
| Ordell Robbie | 2 | Lost line |
| Xavier Chanoine | 3 |
The editing of Ley Lines is better than the average Miike movie. But it's not enough to make it good enough. It begins by by evoking the racism of Japanese company society towards its immigrants with the subtlety of a bad social movie. Then after this opening the film never develops the theme of a Japan in crisis with its emigrants and begins to drown it in a badly built narration. The film then seems to waste its subject on the way, being limited to a succession of sequences not forming a coherent whole. What is acceptable in a delirious Miike is less is in a Miike with artistic pretentions. As usual, some funny ideas save the movie from being a total failure. And it's shot in a way oscillating between arty visual stereotype and the original for the original. For the first, these long shots whereas length has no thematic echo here. For the second: the light changing its color during a dialogue, the twinkling light in the corridor... Average again.
