At this point I've seen several of Sion Sono's films and greatly enjoyed them, but there's no questioning that in one way or another his features bear various peculiarities that surely limit their audience. At least of those titles of his I've seen - and honestly, among any of the many, many movies I've watched - 'Hazard' immediately comes across as being an especially acquired taste. For all the skill Sono has demonstrated otherwise as both writer and director, here the camerawork is largely defined by very loose, unfocused shakiness. It's entirely on purpose, of course, with the frenetic style echoing the dangerous whirlwind misadventures that protagonist Shin has in New York, and arguably intended to convey a sense of realism. But especially in this instance it definitely makes the movie hard to engage with.

That's all the more unfortunate because the story Sono wanted to tell is overflowing with problems already. Above all is this: most of the characters we meet - prominent supporting figures Lee and Takeda most distinctly - adopt mannerisms in their speech and comportment that are pointedly intended as mimicry of inner city gangs and "hoodlums" (circa 1991). This aspect of 'Hazard' is so prevalent as to be one of the feature's most distinguishing traits, but it's difficult to discern whether this affect is sardonic mockery of such overblown, racist tropes, or wholly ignorant adoption of them. It also feels important to note that this sharp indelicacy mirrors instances in the filmmaker's other movies that toe a very fine line teetering on the edge of abject offensiveness. Whatever the case may be, the resulting performances - guided by Sono's hand, in roles he penned - are glaringly annoying on the face of it for the obnoxious pretense, and again for the reflection one way or another of racist stereotypes.

The crudeness is so overbearing that 100 minutes feels impossibly longer than it actually is. I was absolutely aghast to occasionally glance at the digital timer and see that again and again, not even one hour of the runtime had passed.

If one can overlook the dire inelegance on hand - an excruciating obstacle, and a very big "if" - then the scene writing and narrative actually does have a lot going for it. 'Hazard' is relatable in its telling of a disaffected young man, disenchanted with the "sleepy but restless" life he leads in familiar surroundings, who seeks excitement. By a sequence of harsh circumstances, he finds himself falling in with maladjusted, coarse individuals who induct him into the most dubious and criminal of all possible invigoration. In the process we're treated to some vivid, noteworthy moments of jarring blunder and poor decisions, a fair amount of violence - even some mild humor and cleverness, and acutely potent shock at the climax. The core concept of the tale at hand is really quite good, and full of potential. However, the characters and dialogue as they present, Sono's untidy direction, and the dominant idiosyncrasies all combine into a counterbalancing quagmire that substantially dampens what 'Hazard' could have been.

No matter how much one admires Sono and appreciates his body of work, I think it's all but undeniable that the final cut we get of this journey is a very rough ride. On the balance I like it more than I don't, and I want to hold it in still higher regard. There's a lot of value here, hidden behind the graceless tawdriness. Yet given that profound, brazen garishness, I also wonder if I'm not being far too generous. This much is certain: 'Hazard' has very limited appeal for all but the most select of audiences. If you're willing and able to stick with it, and abide the crassness and lack of refinement that's tantamount to vulgarity, then there's no small amount of adept storytelling to admire. But I won't for one moment begrudge anyone who gives this a try and walks away dissatisfied or worse.

I'm not sure who I would really recommend this to - not because it's outright bad, but because it strikes me as a movie that will find favor only on a strictly case by case basis. For my part, I'm glad I watched 'Hazard,' but I still just really don't know exactly how I feel about it. Viewer discretion is advised.

If this movie is supposed to be an accurate depiction of the multicultural cesspit that is New York, the famous and often romanticized "melting pot", filled with degenerates and scum of all shapes and colors (but all of them acting "black") - it's a total success. But that doesn't make it watchable or entertaining. It's garbage. 90 minutes of visual chaos with too much shaky camera and not a single likeable character.

Shion Sono became a well-known entity in the United States with his Asianphobic film called Suicide Circle. Actually, for any Japanese director to have his name heard in the states, all one has to do is to cook up some disturbing stereotypes of Asian customs, and critics of lewd tastes will go for it. The problem with this is that, after a strong gust of oriental wind, there is little to no publicity in its aftermath. Take Takeshii Miike, people were cutting themselves up like Kakihara after Ichi the Killer hit, and then there was Gozu, Visitor Q, and many other deranged works. However, after a while, after we seem to "get it", we stop being interested. Miike is still making many films now, although he was gone away from shock value, and more into the realms of high-energy gangster-art films, which always seems to be ignored by people here for some odd reason.

This is what bothers me about the marketing for Asian cinema and for films like "Hazard", which in my opinion, is probably the coolest, slickest, realist Shion Sono film ever. No, "Suicide Circle" and "Strange Circus" will not hold a candle to this. "Hazard" is an entirely experimental and documentary film of Japan and America. Filmed in New York City, brimming with ridiculous amount of wit, testosterone and high energy, it's definitely miles away from the submissive screaming black-haired girls crawling out of kitchen toilets.

This film, I have to say, is Shion Sono's heart and grit coming out on screen. You get a man who isn't afraid of criticizing Japan, his own country, as he flees his land for new opportunities in America. Jo Odagiri, one of the best actors out there, takes up the role of Shin, an introverted extrovert, who is just fed up with Japan's Nyquil-induced society, feeling more and more like a robot each day, he could not handle the monotony. Instead, he ditches everything he knows, including his girlfriend, and runs to New York in search of "Hazard", as he puts it. Whatever "Hazard" is isn't told to us, only implied. It might be a new direction, a new place, a new way of living. When Shin and his gangster friends walks into a jazz club and performs a stick-up with a rifle, not only was it stark with a sense of brute class, but it holds a message within the bullets in the barrel. This is "Hazard", we live life by the gun, and die by the gun. It has a style that removes stereotypes, and only adds a statement, saying that Japan can do it as well as anyone. We're not afraid to wear the cowboy boots, the leather jackets, and we can do it better than you.

Jai West and Jo Odagiri proves that they are no joke in the film business, and their acting, and screen presence is a marvel to behold. It would only be a shame if you missed out.