Takashi Miike’s “Bad Lieutenant: Tokyo,” a loose remake of the “Bad Lieutenant” franchise, is widely viewed by reviewers as failing to fully find its footing. The film draws broad elements from earlier versions—Abel Ferrara’s 1992 neo-noir and the series’ continuing reimaginings—while centering on a Yakuza-related story and a disorderly, stop-start narrative structure.
Across outlets, critics describe the movie as aimless or hard to follow at times, with multiple characters and subplots introduced before earlier threads feel resolved. While some note moments where the film’s violent tone and extremes align effectively, the overall consensus is that the combination of plot sprawl and uneven pacing undermines the film’s impact. Reviewers also highlight Shun Oguri’s performance as a stabilizing presence, even as the film struggles to sustain momentum. Both sources frame it as a disappointment compared with the premise’s potential for a darker, more cohesive reinvention within the franchise.
