Cure (1997) 720p YIFY Movie

Cure (1997)

A frustrated detective deals with the case of several gruesome murders committed by people who have no recollection of what they've done.

IMDB: 7.44 Likes

  • Genre: Crime | Horror
  • Quality: 720p
  • Size: 956.15M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 111
  • IMDB Rating: 7.4/10 
  • MPR: Normal
  • Peers/Seeds: 19 / 109

The Synopsis for Cure (1997) 720p

A wave of gruesome murders is sweeping Tokyo. The only connection is a bloody X carved into the neck of each of the victims. In each case, the murderer is found near the victim and remembers nothing of the crime. Detective Takabe and psychologist Sakuma are called in to figure out the connection, but their investigation goes nowhere. An odd young man is arrested near the scene of the latest murder, who has a strange effect on everyone who comes into contact with him. Detective Takabe starts a series of interrogations to determine the man's connection with the killings.


The Director and Players for Cure (1997) 720p

[Director]Kiyoshi Kurosawa
[Role:]Tsuyoshi Ujiki
[Role:]Masato Hagiwara
[Role:]K?ji Yakusho


The Reviews for Cure (1997) 720p


be prepared for moreReviewed byjinkbltVote: 10/10

Kurosawa has created a masterpiece here. This film is more than a horror thriller. It's a look at our modern society, and plays upon our innate fear that there is a monster hidden inside of us - even worse, we cannot control it.

It begins as a typical detective story, film noirish in its execution, and like typical film noir, the detective finds more to the story than originally anticipated. But this film, just like its storyline, begins to transcend the genre it purports to be a part of midway through.

More and more, we realize that it is telling the story of people today, boxed in, with our darkest desires oppressed. This theme of containment is heavy throughout, if one pays enough attention. For example, the usage of water as a symbol for the subconscious is useful for understanding many key parts of the film.

Everything is superbly framed and shot, with more than a few very long shots (a testament to the high caliber of the cast). Sound and music are used sparingly but effectively.

This film may not be very accessible to those who are only familiar with Hollywood-style film-making due to its slower pace and subtle conveyance.

unsettlingReviewed bysuperfly-13Vote: 7/10

In the wake of the sarin-gas attack mounted by the Aum Shinrikyo cult on the Tokyo subway system in 1995, horror films enjoyed a sudden spurt of popularity in Japan. Many of the films focus on hypnosis or media-induced violence, the fragile normalcy of modern life, and grisly deeds committed by seemingly ordinary citizens. This unnerving 1997 thriller, which seems like a direct response to the Aum Shinrikyo incident, offers a glimpse of how our own national cinema may absorb the blow of the Sept. 11 terrorist attacks. A rash of senseless murders wracks Tokyo; the victims have deep X-shaped gashes across their throats, and the killers (often their loved ones) are found in a daze. The only connection appears to be a mysterious drifter (Masato Hagiwara) who gets into random strangers' heads with a single, oft-repeated question: "Who are you?" What makes this subtle, quiet shocker so unsettling is the idea that everyone has secret resentments that render him or her hypnotically pliable--that everyone harbors some glimmer of murderous rage that can be exploited, whether by a drifter or by religious extremists. The writer-director, Kiyoshi Kurosawa, a prolific Japanese filmmaker who's developing a large cult following here, heightens the unease with buzzing soundtrack noise and eerie long takes that leave us consistently unprepared for the violence to come. And the last sequence will leave people arguing--it requires close attention, culminating in an ending even more disturbing in its implications than the conclusion of SEVEN.

A modern masterpieceReviewed byLawrenceVote: 9/10

The serial killer movie has by now been done to death (so to speak), so it's especially rewarding to see this assured film that takes a truly ingenious approach. Kurosawa's protagonist is a seemingly dazed young man who, in spite of his aimless demeanor, is a master hypnotist. To reveal any more of what happens would be to give a bit too much away.

The subtlety and fluidity of this film is remarkable. The main character can be charming and simultaneously irritating when he speaks. He turns his speaking partner's question back on the speaker; he answers with vague phrases that nevertheless, over the course of the film, gradually bring out the complexity of his psyche. Pitting him against a cop whose wife seems to suffer from something like the hypnotist's 'brand' of mental wanderings underlines the thematic context of the film: what we know is almost certainly only what we think we know. And what we think we know is almost certainly based on someone else's 'knowledge', derived the same as ours.

That knowledge is a collective phenomenon, a shared and critical feature of the 'hive' is not a novel concept in film. But its presentation here is bold and original. To link that idea with a person who destroys life is a master stroke; it says that what we know vanishes in a suddenly extinguished flame, or a tiny stream of water that appears, runs, and then is seen no more.

This is a film that should definitely be added to the great films of the 90s. Since it was not released in the U.S. until 2001, I vote for it being one of the great films of that year here.

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