The last one-third is a little bit draggingly slow but the film as a whole is a fresh take on such a traditional genre like legal thriller. Of course, as this film is directed by Hirokazu Kore-eda, ones who are already familiar with his works must already be able to figure out that this would not be a conventional "whodunit" and indeed the basic mystery was already laid out bare right at the beginning of the film, whereas it would not be difficult to guess the major twist of this film after its first half due to the pretty limited cast and settings. But "solution" was never the focus of this film, as instead Kore-eda chose to primarily follow the psychological evolution of his characters through their emotions, their lies, and their moments of hesitancy. Similar to many Japanese films, the cast of this film is not entirely strong and thus the performance of some lesser ones (including the lead Masaharu Fukuyama) did slightly undermine the effect of Kore-eda's meticulous portray of modern Japanese minds, but the excellent Suzu Hirose and K?ji Yakusho were still able to make this film a memorable one with their pivotal roles. Some might say that this film lacks a little bit of finesse as Kore-eda rushed to deliver his message of exposing the serious prejudicial issues of the current Japanese legal system. Partially I agree with this sentiment, but it seems that Kore-eda never intended to deliver a "wholesome" experience, he just wanted to share his perspectives of the modern Japanese society with a lot of nuances (nothing totally good, nothing absolutely bad, it is all up to everyone's own judgement), many layers of emotional connections from one to another (despite the ever existence of social barriers like "traditions", "morals", "ethics", preconception - the "prisoner" in this film asks himself and his lawyer again and again about whether or not he should have been born), and many seemingly ordinary lives that still deserve care and attention from the society. In that aspect, Kore-eda has once again delivered an amazing experience for the audience.

Ambiguous and ambitious are the best words you can find to describe the new crime drama from Hirokazu Koreeda. A departute from the director's usual family themes, although not forgetting them completely as they are integral to the story, Koreeda's newest work is his most distinct one in subject but consistent with the rest of his filmography's themes and style. Long shots exposing the characters environments, it's a slow paced and meditative entry to the genre, focused on the big ideas and the process rather than the murder and trial plot. The director asks big questions and is at his best filming his actors, the close ups were never this deliberate and meaningful in Koreeda's work.In the end the movie triumphs through it's performances, masterful from Masaharu Fukuyama and Koji Yakusho, direction and openness, never giving us full ensight into Misumi's motives, chosing instead Shigemori to expose it's ideas and letting them roam organically.9/10

[The Third Murder] will stay with you for days. [Full Review in Spanish]

A judicial drama that, without completely renouncing the thematic influence coming from Ozu, is heading this time to a story that is more connected with Kurosawa and his classic Rashomon.

He may not be a radical filmmaker, but Koreeda makes eloquent images that not only capture what he sees, but make statements. [Full Review in Spanish]

The great edge of this film is that it situates the truth not as irrefutable fact, but as a construction in which our own subjectivity and desires intervene in ways that suit us.... [Full Review in Spanish]

The interesting thing about The Third Murder is not that the pieces all fit, but rather that each new piece adds more to the core of this story. [Full Review in Spanish]

With a tantalizing title, "The Third Murder" is one of the best films of the year.

With The Third Murder, Koreeda confirms that he is an accomplished auteur as well as a passionate one. [Full Review in Spanish]

Amusing details and tiny pleasures surprise at every turn, and the film is gorgeously shot and edited, with an emotive but never pushy score by Ludovico Einaudi.

The Third Murder is a treat - intrigue-laden shots and cinematography, subtleties in the expressions of the starring cast, spots of dotty humour and an oddly ethereal atmosphere that is gripping.

Look closer, and despite the curveball content, the film teases out relationships just as carefully and patiently as the director's earlier, gentler films.

The man's story and motives are constantly in doubt and he seems to shimmer mysteriously in front of us like the doomed anti-hero of a Dostoyevsky novel.

Kore-eda's sense of style remains enticing, but he might just as well have made a pulpy John Grisham-type yarn.

The Third Murder is one of the most complex courtroom dramas in recent memory, and a surprisingly welcome departure in style for Kore-eda, who seems to be questioning his own innate humanism as he delves deeper into the court case.