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The transformation of the protagonist into a species that is considered deadly to then realize there is another perspective, that they just trying to survive, and humans in fact no less dangerous is not a new premise. But with the right treatment, the thought-provoking story can be presented. Tokyo Ghoul as a manga adaptation of the same title made by Sui Ishida has a similar concept, and director Kentaro Hagiwara also seemed to try hard to her film to the nuances of serious, dark, tend to be contemplative rather than the burdensome weight of action fantasy. Among a stack of live action adaptations of "rah-rah" an absurd, this includes good intentions, though not entirely the right decision.

Ghoul looks like a normal human. But beyond that, they are predators of human predators, terrible form with bright red eyes as well as organs in the back of the body as weapons, called "Kagune". Kagune forms each ghoul differently, from sharptails, wings, to tentacles. Having such a strange creature opens wide options for exploration, it can be dark fantasy, creature horror, or hybrid both. Toh Hagiwara chose the drama of the upheaval of identity, especially in the early half when Ken Kaneki's (Masataka Kubota) dream date ended in an accident, and he had to accept a ghoul organ transplant. Ken is the only half-ghoul / half-human figure, Tokyo Ghoul is quite tiring in about the first 45 minutes. Ken's struggle, even two ghoul attacks Hagiwara packed using a slow tempo leads to drag. The scene that lasts too long to lose momentum or static screen is not necessary before the transition causes. It is legitimate to present the drama of contemplation, but it holds a potential richness in the details of the ghoul's life, and instead of immediately bringing Ken into the circle, Hagiwara is at home in the difficulty of the protagonist holding back the human prey, which is less interesting as it is composed of cliche for Ken's groaning.

Yet so our main character intersects with Anteiku, the group of cafe owners as well as secret protection for a ghoul, the attraction began sticking out thanks to the increasingly complex conflict plus Ken is increasingly likeable. Moreover, Masataka Kubota plays nicely when transformed gently but convincingly from the awkward introvert figure becomes quieter too sturdy. Seen from his ability to interact smoothly with Touka (Fumika Shimizu) or bring a sense of security for Hinami (Hiyori Sakurada) when he and his mother are hunted by CCG (Commission of Counter Ghoul). Two things that Ken would not be able to do before, evidence of sharpness of the text related details of the amplifier characterization.

The script is also quite solid in fishing thinking about the hurry (and kill) humans with a ghoul. Tokyo Ghoul implies a scenario of how when the law of the jungle is applied in the human world, where killing each other is fairness, even necessity, in order to survive. The problem is very complex, dilemma, especially so we are invited to understand the point of view of both sides, though the film ends, it is difficult to dismiss the notion that Tokyo Ghoul is a prologue for the deeper emotional friction also between the ghoul and human, with Ken and Amon (Nobuyuki Suzuki) a member of CCG who harbored the bitterness of the past, as the foremost representative of each party, A row of battles armed with kagune is always fun to be listened to, arousing the joy of childhood seeing the peculiarities of imaginative fantasies of monstrous nuanced trinkets. However, its appeal is more due to design, while the subtle cultivation of Hagiwara fails to support the visual capacity. In making a fantastic movie the director refuses to have fun, insisting on the darkness that is increasingly compelling when reluctant to heed the script comedy cue, allowing the ammunition of humour that can exhale extra energy passes flat. It was awkward to find things intriguing, ready to laugh, just to get her passing by. Hagiwara's adaptation is not dynamic enough as an action/fantasy, less horrible as horror though gore decorated.

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RATING (6/10)

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