It defers to a familiar, nondescript urgency to work through its particular depiction of a troubled but no less honorable civil institution.
Its audio-visual overload testifies to a group of filmmakers’ belief that some films are made to be remade.
Ryuhei Kitamura’s latest genre bloodbath is par for the course, in spite of the occasionally flourish of interesting subtext.
If the film’s half-baked salaciousness feels merely risible, its slapdash screenplay and cheapo look make it something that its generic forbearers rarely were: boring.