K20 – Legend of the Black Mask Review

• 4th Jan 2011

This is not my first foray into big budget Asian superhero movies and usually Asian cinema likes to keep their superhero stories home-grown, especially ones of Manga origin.  This particular title boasts itself as worthy of taking on Hollywood and it’s hit and miss Marvel and DC studios at their own game with a stellar cast and a swollen budget.

This is your classic ‘origins’ tale set in a kind of steampunk like late 1940s Japan. The second world war never happened due to a treaty being signed at the last minute. Changes in society and technology and the consequences of the war not taking place in Japan have resulted in a massive class divide; the poor live on one side of the city while the affluent other side revel in their luxury, caring not for their poverty stricken compatriots. Massive discontentment and resentment among the poor creates an uneasy peace and threatens revolution.

K20 tells the story of a city ravaged by an evil masked villain, named K20, hell bent on stealing the secret of the ‘Tesla’ project which will allow him to govern the world’s electricity supply and therefore, the world itself. A talented but poor circus performer named Hekichi Endo struggles to make a living until approached by a mysterious stranger who promises him freedom from the shackles of poverty in return for him using his agility to get valuable reconnaissance for a great cause. A talented detective, Kogoru Akechi hot on the trail of K20 follows events very closely in order to catch his nemesis and thereby eradicate the fear the city as a whole share. An unfortunate series of events result in Endo being confused as the terrorist known as K20, changing his destiny forever.

K20 retains all of the facets that make superhero movies so fantastical whilst keeping the storyline in a more or less ‘real’ location. Changing certain world events and altering history however, has added a curious dimension to an otherwise familiar landscape, making it able to bend the rules of how things should work. It has also gone against the cliché of creating a fictional city to base its set-pieces in and at the same time, given the film a much more human, believable edge. This master-stroke makes the viewing experience so much more satisfying.

Having created the perfect environment to set a superhero story in, one had better make damn sure that the superhero himself is as good as the backdrop. This is neatly done. Understated, yet satisfying is how I would describe how the story of the making of a superhero unfolds. I cannot say too much without ruining important parts of the story but this is not a dark movie a la Batman Begins. Dark overtones to the environment are apparent, but this is far from a moody production. Whilst obvious references to Batman and the like are apparent, this movie has more of a feel of The Phantom to it, colourful and vibrant, only successfully executed. There are also suitable plot twists and red herrings to keep the viewer’s mind involved as well (which The Phantom did not!) This film does not treat the audience like buffoons (which The Phantom did!) and even though humour is actually very prevalent throughout the movie it does this without making the central characters clowns.

Had this movie used purely Asian humour, it would fall on its arse in the international market. K20 director, Shimako Sato has kept a Japanese cultural hold on the film but it is remarkable how accessible this film will be for western audiences. In fact, I’d go as far as to say that K20 is the most accessible Asian film I have seen to date which makes Sato a real contender if Hollywood ever came beckoning for some new foreign blood. Sato is no big hitter in Japanese cinema it seems, looking at his back catalogue, it’s mostly TV work and screenplays but with K20, Sato has demonstrated that he will be a major player in time to come. Care has been taken with this film and Sato has outdone himself.

One of the things that would turn a western audience away at the first fence of course, would be the effects. K20 boasts some very good CGI, well in contention with Hollywood standards and this movie could punch above its weight with the big titles too. Some Asian big budgeters have lacked finesse with CGI in the past but I’m pleased to say that K20 delivers on all counts and carries the film’s exciting action sequences with aplomb.

The principal cast is big in Japanese terms to say the least. One of the lead roles is played by Takeshi Kaneshiro, star of House of Flying Daggers and the awesomely underrated Returner. Kaneshiro is great as Endo and handles the comedy, drama and action as well as any Christan Bale, Robert Downey Jr, or other US superstar, frankly. Kaneshiro is also well backed up by Takako Matsu who provides suitable substance as the love interest and also from Takeshi Kaga, famed for his amazing performance in the role of Kira’s father in the first two Death Note movies.

Overall there is nothing not to like in K20 – Legend of the Black Mask. It’s enjoyable throughout and will please any superhero fan wanting a taste of something other than the usual Hollywood fare. I really hope the franchise takes off and sequels are produced as this first instalment has set a firm foundation of a saga that has got the legs for more.

Dan Beadle