"Tattoo" is an exercise in Expressionist film-making proclaims director Robert Schwentke and you should keep that in mind while watching the movie; otherwise you might be bitterly disappointed. Superficially a thriller, though concepted as a horror film by Schwentke, this dark and brooding tale delves into the sometimes murky world of body art and especially the very disturbing world of its collectors. But the rave scene at the beginning, where slow-motion dance movements are set jarringly to the almost elegic soundtrack, is a clear indicator that this is no realistic take on the story. Brilliantly chosen, unique views of Berlin are the backdrop for the individual, yet interlinking obsessions of the central characters. The images are breathtaking; easily the best cinematography coming out of Germany since the times of the great Expressionists. But ... but in the end it all remains empty. Which quite possibly is the "message" of this film. Though, actually, there is no "message".
"Tattoo" frequently has been compared to "Se7en" and, yes, there are similarities, especially in the stark, dark visual style of both movies. But that's about as far as the similarity goes. While Fincher uses the hellish visions of his film to turn a perfectly straight-forward, suspenseful murder-hunt thriller into a study about the fallibilities of modern life and the ever encroaching darkness surrounding each individual, Schwentke ultimately (and quite literally) loses the plot amidst his amazing visual set-pieces. Characters which start out as quirky, strange and intriguing eventually end up as the usual cliches. The murderer could not be more obvious if he/she had "crazed villain" tattooed on the forehead. Schwentke might claim that all this doesn't matter because the whole murder-hunt scenario is only incidental to the film. But without ever going under the skin of the characters, the film itself never gets under the viewer's skin. The images are disturbing but lack the nightmarish, Jungean quality of the works of German cinema's original Expressionists. If Schwentke had clung less to the Expressionist's theories and had instead tried to understand what actually made their films work, he might have been on to a true masterpiece. As it stands, "Tattoo" is a superb visual treat but definitely no classic.
Picture and sound quality of this DVD release are first-rate. The subtitles are good and truthful to the original dialogue. There are almost no extras but the interview with Robert Schwentke is excellent and probably more informative than any "director's commentary" could be.