The well-crafted 13 Assassins, a remake of a 1960s samurai film, is one of his best; it shows that Takashi could be a great filmmaker if he'd only slow down.
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Right makes might in Takashi Miike's excellent-and exceedingly violent-remake of a 1966 Japanese classic by Eiichi Kudo.
A classically structured rampage that bears serious comparison to the definitive greats of Akira Kurosawa, 13 Assassins will floor connoisseurs of action, mood and the dignity of a pissed-off scowl.
Few filmmakers juxtapose cruelty and beauty as audaciously as Japan's Takashi Miike. A master director with great style and panache, Miike's latest, 13 Assassins, is a classic samurai movie, right up there among the finest in the genre.
This at first slow-moving and then wildly kinetic actioner possesses a cool classicism that will appeal to offshore audiences as well as those at home.
A stirring, unexpectedly moving story of love and blood.
It's also a deeply moral antiwar film, if one chooses to view it that way.
Perhaps something important was spirited away with the 20 minutes of footage shorn for this U.S. release, but the combatants are scarcely distinguishable here even before disappearing under layers of mud and guts.
13 Assassins is entirely too long and too talky. But the cat-and-mouse game of strategy, figuring out when and where to ambush the evil overlord's entourage, is fascinating.
The picture does, in places, feel like an unspoken homage to Kurosawa, though it's certainly its own distinct creation. But I wonder if it more closely resembles another end-of-an-era picture, Sam Peckinpah's "The Wild Bunch."