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Daily Read: Cinema

Vintage Violence: Overstimulating Crime Comedy Overwhelms

Vintage Violence, directed by Eugene Kotlyarenko, launches with a vertical livestream of an urbex influencer exploring a deserted American house, immediately establishing a chaotic aesthetic. The story follows Carter, played by Cole Sprouse, who has just been released from prison after serving time for an accidental death, and he stumbles upon a crate of untouched 19th‑century Levi’s jeans. Izumi, portrayed by Kiko Mizuhara, watches the livestream from Tokyo, buys tokens, and texts Carter an invitation to Japan, promising a lucrative denim resale and a budding romance. Kotlyarenko weaves a fragmented narrative that splits into multiple timelines, introducing yakuza figures like Edoga, a denim‑obsessed nepo‑baby, and Ko, a prosthetic‑armed avenger who sprays enemies with a mix of fentanyl, ketamine, meth, and tirzepatide. The film’s humor relies on language jokes, such as Carter confusing “saiko” with “psycho,” and draws heavily on the visual style of Seijun Suzuki and the brutality of Takashi Miike. Critics note that while the characters lack sympathy, the frenetic camerawork, denim‑lined rooms, and over‑the‑top violence keep the audience engaged. Ultimately, the review finds the film too much, with its overstimulation and performative anti‑foreign sentiment undermining its potential for deeper storytelling.

· IndieWire

The essential points

  1. 01The film opens with a vertical video of an urbex influencer breaking into an abandoned desert house, setting a chaotic tone.
  2. 02Protagonist Carter, played by Cole Sprouse, escapes prison and discovers a crate of priceless 19th‑century Levi’s jeans that sparks a Tokyo heist.
  3. 03Kiko Mizuhara’s character Izumi lures Carter to Japan, promising lucrative denim sales and a romantic subplot amid yakuza intrigue.
  4. 04Director Eugene Kotlyarenko layers frenetic camerawork, denim‑lined rooms, and drug‑mixed misting to create a hyper‑violent, genre‑bending spectacle.
The full brief

Vintage Violence, directed by Eugene Kotlyarenko, launches with a vertical livestream of an urbex influencer exploring a deserted American house, immediately establishing a chaotic aesthetic. The story follows Carter, played by Cole Sprouse, who has just been released from prison after serving time for an accidental death, and he stumbles upon a crate of untouched 19th‑century Levi’s jeans. Izumi, portrayed by Kiko Mizuhara, watches the livestream from Tokyo, buys tokens, and texts Carter an invitation to Japan, promising a lucrative denim resale and a budding romance.

Kotlyarenko weaves a fragmented narrative that splits into multiple timelines, introducing yakuza figures like Edoga, a denim‑obsessed nepo‑baby, and Ko, a prosthetic‑armed avenger who sprays enemies with a mix of fentanyl, ketamine, meth, and tirzepatide. The film’s humor relies on language jokes, such as Carter confusing “saiko” with “psycho,” and draws heavily on the visual style of Seijun Suzuki and the brutality of Takashi Miike. Critics note that while the characters lack sympathy, the frenetic camerawork, denim‑lined rooms, and over‑the‑top violence keep the audience engaged.

Ultimately, the review finds the film too much, with its overstimulation and performative anti‑foreign sentiment undermining its potential for deeper storytelling.