Azumi(あずみ)

L.A. Weekly by

Failing in its attempts at Zhang Yimou–like poetry, Azumi calls to mind a long, blood-splattered director's cut of a Power Rangers episode.

New York Daily News by Elizabeth Weitzman

It's a bad idea to get too fond of any character, no matter how worthy he (or she) may appear.

Film Threat by Eric Campos

A little boring and extremely long for what it is, all that Azumi really has going for it are several eye-popping battle sequences, including the climax which is a totally delicious celebration of graphic violence, and some nice camera work.

The Hollywood Reporter by Frank Scheck

Unfortunately, the film itself -- though it contains some superbly staged and highly lavish action sequences -- lacks the tautness of its heroine.

TV Guide Magazine by Ken Fox

Features more than enough thrilling wirework, slow and agonizing deaths, and blood-spattered faces to please even the most discriminating fans of the genre.

The New York Times by Manohla Dargis

The director, Ryuhei Kitamura, whose earlier films include the cult film "Versus," brings nothing new to the samurai-swordsman game other than some styling shorts for the whelps and a miniskirt for Azumi.

Village Voice by Michael Atkinson

If you're considering the scenario via Japan's ubiquitous pedo-porn tendencies, you're too educated for this exhaustive, manga-based bloodbath, which trails after these angsty teenyboppers on a scorched-fake-earth path through hundreds of growling baddies of every genre size and type.

Variety by Ronnie Scheib

Inevitable comparisons to Quentin Tarentino's femme-centered carnage extravaganza "Kill Bill" are not unwarranted insofar as both films featurefeature an abstract, self-conscious, and decidedly post-modern approach to a moribund genre.

New York Post by V.A. Musetto

The story is superficial at best. And the movie is too long.