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But Ichi can fend for herself, and before long she's saving his life. When Ichi gets drawn into the fray, swords start swinging.
The Sword of Doom is all about a man’s ego, his foolish sense of invincibility, and the thundering strike to his ego that ultimately bursts his bubble.
—Andy Crump. He becomes a chief editor due to his concentration on his work and struggles to be a salesman even though he has a graduate degree in linguistics. To his family?
Together, they fight against Shishio. The fate of the country hangs in the balance as Kenshin Himura takes up the sword that he vowed to never draw again. Starring:
After several incidents, the deal was failed and Kenshin finally made it into Shishio's vessel, followed by Sanosuke Sagara, Yūsuke Iseya, and Hajime Saitou.
If you’re into spending three hours basking in bloody displays of righteous retribution, you can hardly do better than these two movies. It’s a touching end for Mifune’s character as much as it is an optimistic one for Inagaki, his filmmaking honed to its essentials to get to the question living within the marrow of most of samurai cinema over the past century. Rurouni Kenshin: The Legend Ends (2014) is a Japanese action adventure drama film based on the manga series Rurouni Kenshin by Nobuhiro Watsuki.
Akahige is about somehow maintaining one’s patience and compassion in a world that seems determined to test both. On this tropical island, almost all the families have lived here for generations. We want to spend more time with them, disloyal as they may be. When you hear the word “cubist,” your brain probably goes right to Picasso and Braque, but in cinema it ought to head straight to Kurosawa, who in essence gave birth to the movie version of cubism with Rashomon by performing a feat as deceptively simple as filtering a single narrative through multiple character perspectives; the more Kurosawa filters that narrative, the more the narrative changes, until we can no longer determine which to trust and which to write off. The film premiered in Japan in 2 November 2002. As with most franchises, the sequel pales next to the original, but if the second verse isn’t quite as good as the first, it’s still leagues better than most revenge movies made in the decades since its release. Directed by Fumihiko Sori, with Nobuhiro Azuma, Yoshitaka Hori, Yoshio Irie, Sumio Kiga, Hiroyoshi Koiwai, Toshiaki Nakazawa, Yûji Shimamoto, Yasushi Umemura, Takeshi Yamaoka, and Kôji Yoshida as producer. The film premiered in Japan in 1 August 2014. During the dramatic period, with the rise of the Emperor and the fall of the Shogun. 13 Assassins (2010) Director Takashi Miike The American Western falls more or less within the bounds of the 19th Century, yet samurai films offer centuries of warfare, palace intrigue and a drawn-out end of an era for the history and film buff to chew on. Basically, back in the 18th century in Japan, a company of samurai, left leaderless and disgraced when law compelled their lord to commit seppuku, decided to team up and get revenge for his death. The zato, or anma (masseurs, a role traditionally for the blind), of feudal Japan were considered lowly and servile. (It’s worth noting that the first chapter of Inagaki’s trilogy, Samurai I: Musashi Miyamoto, opened in 1954, the same year as Seven Samurai.
(Or maybe that’s a product of Toshiro Mifune’s irrepressible charm.)
For Yoji Yamada and his 2002 masterpiece The Twilight Samurai, that challenge scarcely registers as challenging at all. There is stoicism here, and there is swordplay, but Yamada isn’t interested in “cool.” He’s interested in honesty. 13 Assassins (2010) is a Japanese-British action adventure drama film remake of 13 Assassins, a 1963 black-and-white film by Eiichi Kudo based on story by Shōichirō Ikemiya, depictured the end of Japan's feudal era in which a group of unemployed samurai are enlisted to bring down a sadistic lord and prevent him from ascending to the throne and plunging the country into a wartorn future. On the other, they’re pretty damn close. Starring:
Injustice recurs as a motif throughout the canon of samurai cinema; here, it intersects with concerns about class, specifically the idea that two people from different backgrounds can’t also be friends.
Kawase somehow manages to ask his audience, “Is there a way one can live and die in a good manner?” His answer through this metaphorical film is yes.
Yumiko Shaku, Hideaki Ito, Shiro Sano, Action • Based-on-Comics • Based-on-Manga, Fumihiko Sori
Jazz Nicolas. Yet, not even the loss of his vision in an explosion can stop his vicious swordplay skills. And because this genre is so deeply steeped in the history of its homeland, we’ve also arranged this list in a loose sort of historical chronological order and added some context that might help clarify the settings of some of the movies. Early on, Itto makes his oblivious son choose between a bitter life of vengeance or the sweet, sweet release of death by putting a sword and a ball on the floor and observing which token the infant crawls toward.