Tokyo Vice (2022)

The series remains one of the most finely rendered urban portraits on TV, a crime drama that resists sensationalism in favor of a more patient and character-forward approach.

“Tokyo Vice” relies on its actors to bring humanity to their characters’ unremitting contradictions as much as it depends on its directors to draw out the series’ rigorous style. Mann, who helmed the pilot, does not return for Season 2 (aside from his executive producer title), but Alan Poul (“Six Feet Under,” “The Eddy”), Josef Kubota Wladyka (“The Terror” Season 2), Takeshi Fukunaga (FX’s upcoming epic “Shōgun”), and others immerse us in an expansive vision of 1999-era Japan.

The series’ scope is expanding, and its formal qualities are tightening. This is a strong batch of episodes that present a narrative confident in where it’s heading. Which is all to say: Halfway through this season, consider us hooked.

Once again led by the charismatic duo of Ansel Elgort and Ken Watanabe as unlikely partners in a war nobody appears capable of winning, it remains one of the most compelling, and underrated, shows on television.

Michael Mann, who directed the sensational pilot episode of this fact-based, eight-part series about an American reporter (a terrific Ansel Elgort) covering the crime beat in Tokyo, shows you how thrilling action can be when a world-class talent is calling the shots.

Thanks to the crisp writing, powerful acting and gorgeously haunting visuals, “Tokyo Vice” always has us feeling as if we’re on a ride-along with Jake through the entire harrowing and sometimes exhilarating adventure.

At its best, Tokyo Vice drags the viewer’s arm through the bars, alleys, offices, and homes of the city’s many classes and communities, providing a rounded picture of a place that leaves room for the thrill of exploration and discovery. That’s what good journalism is supposed to do, right? Bring the world to your front door? Tokyo Vice does that, with a sleek, energizing style that keeps us wanting more.

What’s really amazing about the show is what it does with these complex, layered individuals: It tells one hell of a story.

Don’t let the stranger-in-a-strange-land story (and Elgort’s presence) put you off Tokyo Vice; it’s as moody and atmospheric as any Mann-led tale you’ll see. Equal parts journalistic procedural, fish-out-of-water story, and Beat Takeshi-esque crime thriller, the first five episodes provided to critics for review set us up for a welcome slice of lurid thrills.

After a narratively rocky start held together largely through Michael Mann’s undeniable craftsmanship, the show slowly comes into its own over the next few episodes, becoming richer and more interesting with each one. It’s a program that will demand patience, but that increasingly feels like it will be worth the effort.

美国婊子们以为在哪都得按在他们的游戏规则玩实在是可笑。这部剧里美国人演技被日本人碾压了

笠松将出彩，比男主不要强太多。日本丑男又来蛊惑我！

开头还挺有感觉的，到第五六集开始各种水，剧情变得超级慢，人物性格也变得杂乱了很多。。前期男主一副蜘蛛侠拯救世界的气质让我觉得很烦，后期这种气质又转移到了女主身上。还有把女主写的太渣了，无力吐槽，吸冰那段就感觉非常没必要。后面两集就真的看不下去了。最后，since when电视剧都开始有一季讲不完一个故事的臭毛病了？

伊藤英明：日本金城武😎（没讲完没讲完没讲完，续订了吗请问

笠松将的线是最吸引我的，比主线还好看

属于本剧很尴尬的两个障碍：一个来源于让Ansel Elgort仍然处于争论中的指控（事实上这大概也掩盖他每天练习四个小时，接触外语的努力），会有种“这角色之外的视角、其它人的出场更有趣”的感觉；另个，是看《好莱坞报道者》某篇内幕爆料向的文章，对Jake Adelstein本身的信息源和资料真实性以及他之于这个剧集的角色提出了疑问，这让最终的触及更接近于一种基于各类影视作品的想象，似乎也没完全突出他的研究与文字所拥有的独特价值。当然这之外的建构还是足够有趣的，灯红酒绿之下暗流涌动的地下世界，新手理解新闻与知晓传媒生态；菊地凛子和“Tin Tin”牵起的职场线作为主导的前半部分更为出彩，后面进入到各方交战的帮派故事本身则显得有点疲弱。第一季的整体走势是“高开低走”，但还算是个不错的引子。

【B－】如我所料，迈克尔·曼的名字在后七集里仅仅只是幌子。第一集所定下的惊艳影调却被全面抛弃，短焦手持怼脸的劝退镜头下，隐藏着在叙事中凝聚强劲节奏的非凡能力。魔力影像的开端之后就彻底沦落为“美剧”水准，极尽庸俗的工业化产品，几乎毫无深入的必要。当然，作为剧集仍然以编剧为核心主导，而《东京罪恶》在这方面更是孱弱，暂且不提令人不适的英语霸权，哪怕是最开始抛出的关键线索到后期也只是想到哪哪出拍哪出，于是自然一切交给下一季处理，留有余地，也敷衍至极。同为电影咖主导的电视剧，几乎是《继承之战》的反面（前后割裂的影像基调，以及平庸的故事走向），看看人家是怎么保证视听风格的一致性的（当然也可能是曼的风格太难学了）....

迈克尔·曼指导的第一集非常惊艳，之后略有逊色但仍在水准之上。它最主要的问题是浮光掠影，不过不光是HBO，好莱坞跨文化故事都有这个通病。日本作为东方文化奇观，必然会被标签化和表面化。因为这是一个美剧，目标观众没兴趣深入了解日本文化，他们只需要文化奇观背景。

sinica最新期的嘉宾安利。baby driver配爸爸就对了。

一个美国人莫名其妙非要到日本去做记者还喜欢调查黑帮，东京黑帮成员各个操一口流利英语，无数个对话场景是日本人说英语，美国人说日语，so international。以及男演员全员家暴，剧中全员恶人，男女互相利用，看不下去。

伊藤英明，你竟然有点可爱

你永远可以相信HBO。配乐、气氛、剧本功底拉满，而且几乎没有出现文化挪用的愚蠢错误，难得，年度神剧预订。

摄影加分

警视厅说日本没有谋杀案，但并不意味着你不会被帮派刺倒在繁忙的涉谷全向交叉路口，或遭黑暗侵蚀殆尽的歌舞伎町背街后巷。一部西方深度探究和莫名崇拜日本社会、文化特性之作，亦是一部现代犯罪影视大师迈克尔·曼的真正复出之作。罪案记者碳素粉末飞溅的笔记本和报社的铅印油墨散发着《惊曝内幕》的味道；冷郁雨夜的霓虹东京散发着《迈阿密风云》的味道；警察与有组织犯罪团伙间无刀枪的非美式对峙散发着《盗火线》和《借刀杀人》的味道。曼镜头中的女人总像《东京罪恶》一样，只是爵士乐酒吧里淡雅红裙和淡抹红唇般的点缀，他只关注手工纹身下暴起的道道青筋、防弹衣下血汗混杂的革履西装和正邪交界处的惺惺相惜等工业都市男人们的极致、野性浪漫。Netflix受众是锈带碟片忠粉蓝领，TV+是硅谷新兴左翼小资，HBO是比弗利和上东区老中产。

白人视角能拍出这样的东京已经诚意加满了，整个上演迷幻东京。菊地凛子can i be your dog

网飞有外来者，HBO有东京罪恶，作为极道文化爱好者可以说非常心水了，又加上主角异邦人的身份，这种民族文化的冲击交融，让我着迷。迈克尔曼可是导出过盗火线的男人啊，相信他吧诸君！

所以男主为什么要去日本报社工作？新闻梦想？？利落的镜头和顺耳的日语也在曼导的第一集pilot过后瞬间消失。。西方世界的fetishized Japan已经懂得回避新世纪的日本社会，即便如此令和的今天看到这剧还是满满的时代错误感

首播3集不错，外国人视角中的日本味挺正。送礼物选高档网纹瓜，所有人围坐着每人一片的分享，很懂行了

看点就在车神不远万里去霓虹当刑事记者，文化差异让我这种烦透了日剧打鸡血拼搏的人看到了希望，不用反类型就美国人直男思维就能干翻小日本磨叽。

质量在线。