Shun Oguri and Lily James star in ‘Bad Lieutenant: Tokyo,’ directed by Takashi Miike, with a mixed reception based on early reviews from TIFF.
On September 18, 2026, The Hollywood Reporter published a review of ‘Bad Lieutenant: Tokyo,’ directed by notable Japanese filmmaker Takashi Miike. The film stars Shun Oguri as a corrupt detective navigating the treacherous yakuza underworld, alongside Lily James. This installment is the first in a series of planned international sequels to the original cult films directed by Abel Ferrara and Werner Herzog.
‘Bad Lieutenant: Tokyo’ aims to continue the legacy of its predecessors, depicting the chaotic descent of a troubled cop driven by drug use and criminal entanglements. While the narrative draws from themes established by Ferrara and Herzog, it has faced criticism for lacking the depth and tension present in earlier films. Miike, renowned for his stylish yet graphic cinematic experiences, has delivered a film that reportedly struggles to maintain narrative momentum.
According to the review, audience reactions have been mixed, reflecting a broader trend in Miike’s films that showcase violent and surreal elements. At the Toronto International Film Festival (TIFF), the film was perceived as a slow and disjointed neo-noir experience. Despite its ambitious attempts to engage viewers, the narrative pace and coherence have drawn scrutiny, leading some to deem it the weakest entry in the franchise thus far.
The film follows Yabuki (Oguri), a morally bankrupt detective with a troubling history, primarily focused on indulging his drug habit and gambling debts. The backdrop of the shifting yakuza landscape adds layers to his character; however, his development and internal conflicts lack thorough exploration to effectively engage the audience. James plays an American FBI agent who unwittingly complicates his life, yet her performance has also faced criticism, affecting the film's overall reception based on early reviews.
While Miike's signature aesthetics typically evoke both slickness and rawness, the film's execution in these areas has been identified as inconsistent, impacting audience engagement. The evocative setting of Shinjuku and the eerie luminosity of the Kabukicho district, known for its nightlife, provide a visually striking backdrop that complements the film’s themes; however, they may not be enough to overshadow the narrative shortcomings.
As a new chapter in the Bad Lieutenant franchise, ‘Bad Lieutenant: Tokyo’ has yet to clarify its position and potential influences, with significant anticipation tied to Miike's unique storytelling style. While fans may find redeeming qualities in Oguri’s performance and a few dynamic sequences, the overall lack of narrative cohesion may challenge the film's long-term appeal. The reviews indicate a critical lens towards the film's ambition and could shape how subsequent installments in the franchise are received.
For more information about other films and performances, check out Netflix’s acquisition of ‘All the Rage’ and our recent review of ‘The Life and Deaths of Wilson Shedd’.
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