The movie opens with a teaser scene at a seaside Japanese castle and we know we'll return to this scene (bookends) at the end of the film, 2 and 1/2 hours later. This period of time is not unlike swimming underwater from one end of a pool (opening scene) to the other end of the pool (return to same scene). Sure the pool has some heavy orchestra music pumped into it, that by film's end becomes a croaking brass band that you're not sure is a surface foghorn or a submarine's dive warning, but you're never given a break from the plot/action to catch your breath and acquaint yourself with the characters.

The "mysteries" about Leo's wife are not difficult to figure out, but why he is so devoted to this pseudo-serial killer is.

And I'm sorry, but I can't get worked up over Leo's faceless kids.

I found Leo's status as an internationally most-wanted fugitive hard to swallow, as well as Watanabe's omnipotence.

And I can't be the only one that had trouble understanding Watanabe when his face was in the carpeting or when he was talking to the French actor. Strong accents.

I had to come up for air after the 1 hour mark because that level of intensity isn't sustainable and I only occasionally dipped my head beneath the surface for short periods, thereafter.

I will give kudos to Gordon-Levitt for putting up with all of the flying-harness stunt work which served the ooh/aah factor more than the story. And he would be the best choice if a biopic is ever done on John Carradine.

When the credits do finally scroll, you'll have to decide if all of your attention and brain drain was worth it because it's questionable whether the director feels you deserve an ending.