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.

San Francisco Chronicle by G. Allen Johnson

Takashi's film is sumptuous, with rich cinematography, costumes and set design. Half the time it is a game of chess - the battle of wits between Motome and the lord. Half of the time it is a moving melodrama.

Salon by Andrew O'Hehir

With this sober, mournful, gorgeously mounted and marvelously acted drama, Miike connects himself to the greatest traditions of Japanese film and to the period of historical self-examination that followed the debacle of World War II. And he also crafts one hell of a fable of heroism.

The A.V. Club by Scott Tobias

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.

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.

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.

Time Out by Keith Uhlich

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.

The Guardian by Peter Bradshaw

The endlessly prolific Takashi Miike returns with this superbly acted revenger's tragedy.

IndieWire by Eric Kohn

With its lethargic pace, Hara Kiri may disappoint more often than it delights, but the payoff is extreme in more ways than one.

New York Post by V.A. Musetto

A 3-D epic that, despite its title, is more of a soap opera than a swordplay thriller.

Empire

If Miike's re-tune of Masaki Kobayashi's bleak samurai tale is a surprisingly subdued affair, aficionados will still find enough sword-based shenanigans to keep them engrossed.

Total Film by Paul Bradshaw

The 3D is completely redundant and the action sporadic but unexpected gearshifts provide plenty of narrative meat.

Slant Magazine

Takashi Miike lets his familiar tastelessness get the better of him, relishing the grisly seppuku-by-bamboo in unnecessary detail.