Yakuza Princess(A Princesa da Yakuza)

The New York Times by Glenn Kenny

The cynical pro forma luridness Yakuza Princess grinds out suggests that sensationalist cinema, or at least its most ostensibly mainstream iteration, is currently depleted of resources.

The Film Stage by Jared Mobarak

The whole is not without flaws and eventually falls prey to the “this was really an origin story” bid for sequels, but it is enjoyable.

The A.V. Club by Katie Rife

At 112 minutes, this film is way too long for the amount of story contained within—which, again, would be a forgivable offense, had Amorim filled the extra time with something entertaining. Instead, all we get is inertia, as we wait with the main character for her fate to reveal itself.

Slant Magazine by Keith Watson

This grimly self-serious tale of violent destiny is consistently drowned out by Vicente Amorim’s overreaching visual style.

Variety by Richard Kuipers

While it generally lacks dramatic oomph and the story is confusing at times, Yakuza Princess delivers plenty of visual excitement.

Austin Chronicle by Richard Whittaker

The further director Vicente Amorim pulls out, the more exciting the film becomes; but he never really takes advantage of the supernatural overtones that swim around the edges, or the unique cultural background of Brazil's massive Japanese diaspora.

Movie Nation by Roger Moore

Sure, you had me at Yakuza Princess. But was there ever a more ponderous gangland saga set in the Japanese mafia than this?

Original-Cin by Thom Ernst

Yakuza Princess is a passable actioner with a few memorable scenes, the highlight of which is a fight in a karaoke bar (yes, MASUMI gets the chance to sing). But it’s unable to get beyond a level of mediocrity, and MASUMI’s performance fails to resonate with the sufficient conviction required of her role.