50
Takashi Miike lets his familiar tastelessness get the better of him, relishing the grisly seppuku-by-bamboo in unnecessary detail.
What are people saying?
What are critics saying?
80
The New York Times by A.O. Scott
More moving than shocking, it proceeds slowly and gracefully, and the few scenes of bloodshed are emotionally intense rather than showily sensational.
80
New York Daily News by Elizabeth Weitzman
Deftly weaving double plotlines, gorgeous camera work, and deep compassion, Miike contrasts ritualistic "honor" with the truly honorable, as poor but noble squires face off against powerful lords cushioned by tradition and pride.
75
With its lethargic pace, Hara Kiri may disappoint more often than it delights, but the payoff is extreme in more ways than one.
80
What most distinguishes the redo is the often remarkable use of 3-D: Miike turns the format's inherent limitations, especially the tendency toward visual murkiness, to his advantage, fully immersing us in a world suffused with moral and ethical rot.
100
Village Voice by Michael Atkinson
Hara-Kiri: Death of a Samurai is more than just another bid for respectability, like "13 Assassins" -it may well be Miike's best film, a patient, ominous piece of epic storytelling that conscientiously rips the scabs off the honorable samurai mythology.
60
The 3D is completely redundant and the action sporadic but unexpected gearshifts provide plenty of narrative meat.
80
The Guardian by Peter Bradshaw
The endlessly prolific Takashi Miike returns with this superbly acted revenger's tragedy.
83
Arriving on the heels of "13 Assassins," Miike's gloriously irreverent take on the samurai action genre, Hara-Kiri seems conventional by his standards, especially in a long middle section that occasionally dips into sentimentality.