13 Assassins (2010) User Reviews

A Future Classic by Takashi Miike

[claudio_carvalho · 9/10 · 24 October 2012]

In 1844, the peace of the Feudal Japan is threatened by the cruel Lord Naritsugu Matsudaira (Gorô Inagaki) that is politically rising and getting closer to his half-brother, the shogun. After the harakiri of Namiya clan leader, the samurai Shinzaemon Shimada (Kôji Yakusho) is summoned by the shogun's adviser Sir Doi (Mikijiro Hira) of the Akash Clan to listen to the tragedy of Makino Uneme ((Takumi Saitô), whose son and daughter-in-law have been murdered by Naritsugu. Then Sir Doi shows a woman with arms, legs and tongue severed by Naritsugu and she writes with her forearm a request to Shinza to slaughter Naritsugu and his samurais.

Shinza promises to kill Naritsugu and he gathers eleven other samurais and plots a plan to attack Naritsugu in his trip back to the Akash land. But the cunning samurai Hanbei Kitou (Masachika Ichimura) that is responsible for the security of his master foresees Shinza's intent. Shinza decides to go with his samurais through the mountain, where they find the hunter Koyata (Yûsuke Iseya) that guides them off the mountain and joins the group. Now the thirteen men prepare an ambush to Naritsugu and his army of two hundred samurais in a suicide mission to stop evil.

"Jûsan-nin no shikaku", a.k.a, "13 Assassins", is a future classic of the samurai genre by Takashi Miike. It is inevitable to compare this film with Akira Kurosawa's "Seven Samurais" and the epic "The 300 Spartans", but "13 Assassins" is among the best samurais movies I have ever seen, with a solid story in the Edo period of Japan, stunning cinematography, wonderful performances and fantastic choreography in the battle scenes. My vote is nine.

Title (Brazil): "13 Assassinos" ("13 Assassins")

Another brilliant genre masterpiece from Takashi Miike

[cadillac20 · 9/10 · 2 May 2011]

Takashi Miike is arguably one of Japan's hardest working directors who has tackled several different genres, generally with good results. It used to be he would do a dozen or so projects a year, and more in his earlier days. This, of course, has diminished in place of bigger projects, but the man still remains one of Japan's most well known and prolific directors. So, it shouldn't surprise anyone that his undertaking of yet another new genre, the samurai epic, is something of a highly anticipated film. And yes, it succeeds in being another brilliant masterpiece from the man.

13 Assassins, though full of characters, is quite simple actually. A master Shogun samurai is charged with the killing of a cruel and masochistic Shogun lord before he can become more influential in the Japanese Shogunate. With this mission, he gathers together 13 samurai to join him in what appears to be a mostly suicidal mission as they take on a small army of soldiers. For years I have argued that Miike is a master filmmaker that doesn't get nearly the kind of recognition he deserves, as his experience and resume put him up with the likes of other classic filmmakers. This shows in Assassins as he brilliantly puts together this simple, yet purposeful film that calls back to the era of epic samurai films of the likes of Akira Kurosawa. In fact, the influence of Seven Samurai is quite apparent here, even going so far as to model some similar characters. However, do not be mistaken, as this is very much a Miike film, a combination of his abilities to craft a mainstream film and a cult hit.

And the trademarks are certainly there, with the sadistic young Shogun lord bearing the bizarre violent fetishes that have been displayed in Miike's more obscure works, namely Ichi the Killer. As you might suspect, the violence early on is shocking, effective, and often unexpected. This gives way later on to more stylish violence, but none the less, the film is incredibly violent, worthy of a hard R rating by American standards. Miike fans should be very pleased as he both employs his skills as a filmmaker while at the same time adhering to the general guidelines of making a samurai film. Here, he delves greatly into the genre, showing what it means to be a samurai and questioning their purpose through multiple views. Our master samurai, Shinzaemon, sees samurai as being for the people, while Hanbei, his rival, sees them as entirely in servitude to their master without question. Even the young lord, Shinzaemon's target, has a view, thought it is certainly the most negative of any of them.

If I have any complaints, it's two. First, the film does little exposition of the large cast and most of the assassins are simply there to be a fighting force. We learn very little about most of them, and even the samurai we do learn about, including Shinzaemon, get little exposition besides what we already expect, that he's a great samurai of justice. The second would be the clunking over the head about samurai ideals. Miike continues to push messages we've already acquired early in the film and it becomes slightly redundant by the end. However, these are minor complaints that are mostly easily ignored as the film runs at a fast pace with a 45 minute battle that is one of the best samurai battles I've seen on film, comparing to Azumi or Zatoichi's finale, but arguably handled better and with a master's touch.

It's hard to know if this is Miike's pinnacle. He certainly creates a modern samurai masterpiece of an epic here. One particularly powerful scene will remain with you for a long time, and this is the power of Miike's film, one that goes to places many are afraid to tread to leave a lasting impression. Violent, entertaining, and with good examination of the samurai and their duties, fans of Miike's previous films and fans of the samurai epic will not be disappointed.

Thundering Shogun!

[armandcbris · 9/10 · 4 October 2010]

This film was a dark-edged delight from beginning to end when I saw it at the 2010 edition of TIFF. The audience there loved it too, breaking out into spontaneous applause during several scenes.

Solid direction by Miike, great characters, beautifully shot and simply some of the best and most intense action sequences put on film - ever! It does have it's obvious influences, such as Kurosawa's "Seven Samurai", but damn, this one kicks ass mightily! You've never seen Shogun like this! And something else to point out: the sound on this film was thundering, shaking and stellar! THIS is the kind of film that reminds us why we go to a movie theatre to enjoy a film on a big screen, why we turn off our cell phones and immerse ourselves in the experience of cinema-going, as opposed to staying home on our couches.

I'll go see it again on the big screen when it hopefully returns to town - you can bet on that!

The Master Strikes Again

[MyFilmHabit · 10/10 · 29 May 2011]

I'm a huge fan of Takashi Miike, so I was very excited to be able to attend a sneak peek of his latest film. Miike's one of those directors who seems to be trying to make at least one film in every style, and this latest is his foray into the classic "samurai avenging injustices" genre. Only, we all know by now that Miike's style is anything but "classic." He always manages to find a way to infuse his own unique, warped imprint into everything he touches. Especially since he insists on making the most bizarre cameos possible in all the films he directs. They are always really fun to watch for.

So, this film is great. It starts off just as slowly as any of these old period pieces set in feudal era Japan, but it quickly descends into pure mayhem and madness. Shinzaemon is a retired samurai, but he is prompted back into action when he learns that the Shogun's "adopted" (code for bastard) son, Lord Naritsugu, has been terrorizing peasants. He's been killing and mutilating men, women and children all throughout the land, and all with the most cold- hearted, disinterested cruelty. So Shinzaemon decides to assemble a band of other idle samurai to hunt this despot down and assassinate him. Those would be the thirteen assassins that give this film its title. And they really are a very mismatched band of warriors. And these men are caricatures—each outrageous in his own way.

The one thing I really love about Takashi Miike's style is that he's never afraid to just go for it. He's got no shame, and absolutely no restraint. I think this is because he has a deep-rooted sense of humor (albeit a very dark one). It's an ability to identify and appreciate the absurdity in life. Miike's films have a reputation for being pretty violent and bloody (and this one is certainly no exception). But they are also incredibly funny. The gore is certainly meant to shock, but I don't think it's just for the sake of a cheap thrill. I think it's meant to throw us of balance. His work is horrifying where we expect delicacy, and actually quite subtle where viewers typically expect to find vulgarity. Of course, we can always count on Miike for some truly silly stunts too. The result is audiences that are quite delighted and amused, even after witnessing all the horror and disfigurement and devastation. Those moments are upsetting and heartbreaking, for sure. But, Miike really understands how a film should flow, and balances these difficult scenes with the right dose of irreverence. He's a true master, and this film is a roaring success.

413th Review: Excellent Samurai Movie And One Of The Films Of The Year

[intelearts · 10/10 · 10 May 2011]

This is an epic masterpiece and is clearly a cut above most films in direction, acting, and cinematography. But what really sets it apart is that it connects the viewer to Bushido and has those values firmly at its core.

The sadistic tyrant who must be assassinated or Japan will turn once more to feudal warfare is told with verve and elan, but also with real dignity and a great sense of pace. The first hour is simply superb as we watch the recruiting and planning of the assassins. The second hour is a maelstrom of action with katanas flashing and impossible odds. I actually preferred the first half in the main, but absolutely no complaints with the action either.

All in all, this is simply, by far and away, the best action film of 2011 so far, but putting in a genre does not do it justice - for this reviewer, it is the most complete cinematic experience since Winter's Bone and is that rare animal these days - a film that looks, feels, and produces the sensation of film rather than TV.

Probably one of the better films (Japanese or otherwise) I have seen this decade without exaggeration - it actually attempts to embody Bushido and understand the meaning and purpose of the Shogunate and the Samurai - plus Katanas - oh yes - lots and lots of katanas.....

13 assassins, one memorable movie.

[lewiskendell · 7/10 · 29 August 2011]

"Thirteen. The time has come to lay down your lives for the greater cause. Are you ready?"

13 Assassins is all about the payoff. And the payoff comes in the form of 50 minutes of absolute carnage at the end of the movie. The story is about 13 warriors, some of the last truly capable samurai at a time when the era of those legendary soldiers was coming to an end, who band together to kill a despicable, deranged and utterly evil lord who is step-brother and future heir to the ruling shogun. Greatly outnumbered, the men devise a plan to force Lord Naritsugu and his guards to a village that they've prepared as what can only be called as a deathtrap.  

If you liked the "Crazy 88's" fight from Kill Bill Volume 1 or the massive battle at the end of Azumi, then the epic showdown at the end of 13 Assassins automatically makes this a must see. But what about the preceding half of the movie? Most of that time is spent introducing us to the 13 assassins, Sir Hanbei - the noble but loyal to a fault man who is in charge of Lord Naritsugu's safety, and making us hate (and I mean REALLY hate) the lord himself. This portion of the movie was necessary to setup finale, but it was understandably not as exciting or captivating as the lengthy battle it precedes. 

Rest assured though, the storytelling doesn't stop when the action begins. Some action scenes in movies can be so endless that they become monotonous (and boring, as a result), but 13 Assassins neatly avoids that trap by including character development until the very end. 

This is a brutal, visceral movie, from the sadism of Lord Naritsugu to the blood-soaked, frenetic finale. If that sounds like something you'd be interested in, I heartily recommend that you give it a shot.

A samurai film that ascends to modern action standards while still true to its roots

[Movie_Muse_Reviews · 9/10 · 20 December 2011]

Samurai films tend to lean toward either overly talkative and boring or hyper-stylized to the point that credibility comes into question. Striking that middle ground, however, can lead to greatness, or rather — great honor. Takashi Miike's "13 Assassins" might not match the great Akira Kurosawa films, but boy does it come close, and it does so with themes and blades of equal sharpness.

If swords-and-sandals flick "300" had been less concerned about abs and Gerard Butler screaming war hyperbole, it would have looked and felt like this film. Anyone who hails Zack Snyder's 2006 film as a masterpiece should pull up a seat with this film for two-plus hours and see how it's really done.

Both the aforementioned film to which comparison is inescapable and "13 Assassins" tell a story about how the number of men indicated in their titles fought against an army numerous times the size. In this film, the reasons for fighting a battle most certain to result in death are less glossy and brash, as well as guided by some consideration for historical relevance.

The story takes place at nearly the end of feudal era Japan, when samurai have become nothing but show thanks to a lengthy time of peace. Yet one lord seems to undermine this peace with acts of cold-blooded violence: the shogun's half brother, Lord Naritsugu (Gorô Inagaki). It is expected, however, that when he returns from Edo, he will have a place on the shogun's council and have political influence to go with with warmongering ways. After a respected samurai commits harakiri in protest, the elder of the shogun council charges a samurai named Shinzaemon (Kôji Yakusho) with putting together a squad of samurai to kill Naritsugu before there's widespread unrest.

The beginning of the film shows us Naritsugu's cold and horrifying ways with enough brutal imagery to make anyone want to pick up a sword against this guy. The story then continues with the assembling of the 12 assassins (the 13th comes later) and their strategy for accomplishing the task. Yet on the other side is Hanbei Kitou (Masachika Ichimura), the samurai sworn to obey and protect Naritsugu who must develop counter-strategy to foil Shinzaemon, an old classmate of his from the dojo.

The game of strategy boils toward a 45-minute climactic battle in which the 13 assassins use everything from trickery to explosives to straight-up sword hackery against an army of 200 men from Naritsugu's clan. The delivery of these sequences rivals any modern action film, and that includes battle cries, little humorous lines tossed in for fun and especially creativity. One samurai takes out 30-plus guys in a narrow corridor that he prepped ahead of time with several swords carefully stationed throughout.

But most impressively, "13 Assassins" never loses sight of what its whole conflict is about. The plot doesn't exist merely as a formula guaranteed to produce an unforgettable culminating battle. Throughout the entire film, characters are questioning the values passed down to them for hundreds of years of honor and duty. Having essentially stood their whole lives as symbols of a fading age, they take on this quest in search of finally fulfilling that purpose of total commitment and servitude, yet this battle will teach them what it truly means.

Essentially, this is not the same movie if set in another time or another place, which sets it apart as a truly great action film. As replicable as a story of a small band of skilled warriors taking on the impossible is (it possesses a great number of similarities to what's considered the best of its kind, Kurosawa's "Seven Samurai," for one), writers Kaneo Ikegami and Daisuke Tengan give "13 Assassins" its own thumbprint with the context.

Miike then delivers the full impact of all the tones from pure syrupy action to dark, shocking drama. He knows exactly how to take a high-tension scene to a whole other level by creating a full spectrum of what we see versus what is kept from us, especially in terms of violence. As soon as he wants to export those talents to Hollywood, someone better answer. We could use more action films like "13 Assassins."

~Steven C

Visit my site! moviemusereviews.com

Brave Samurais are making the plot truly strong

[priyantha-bandara · 12 July 2011]

Taksshi Mike gives a new face to the 1963 classic '13 Assassins' and he has executed it at grandeur level portraying an event which took place in Japans feudal era.

When an evil and sadistic lord is bringing horror to countrymen, few Samurais who were once loyal to the throne foresee a greater danger. If this Lord Naritsugu Matsudaira plunges himself to the throne in near future the country will be devastated and torn with war. Thus these brave set of men creates a silent and elite secret force in order to assassinate the lord. Gathering only 13 men to their force they fearlessly goes head to head against an army of 200 to fulfill their goal. Brutal and merciless Samurai swords speak for themselves.

This movie is a wonder of its own creation. It brings out ancient lifestyle of Japan in to light with details. And more than that the spirit of the brave Samurais are making the plot truly strong and when they fall and die one by one still they keep the heads high and hearts strong. Courage and determination of a worrier may not seem this strong in any recent movie which I recall.

However be warned that 13 Assassins is not an easy movie to digest. It has blood and gore in great volumes and violence sometimes you might not really expect. Yet they are important in order make the story run to your blood stream. And once the war hits the screen after a long and silent slow momentum, it goes right until the end which is nearly 30-40 mts. So you might actually lose the count of killing.

My reviews at flickshout.tk

Bloody Jidaigeki

[petra_ste · 7/10 · 11 November 2015]

While most modern action movies feel bloated and overlong, with unnecessary subplots sprouting on every scene, 13 Assassins has the opposite problem. An epic Jidaigeki homaging Kurosawa's Seven Samurai, the film follows veteran warrior Shinzaemon Shimada, entrusted with the task of eliminating a bloodthirsty powerful nobleman, untouchable by the law; Shimada assembles a team of fighters for the dangerous mission.

Structure is simple. In the first act, 13 Assassins introduces the major players and displays the nobleman's atrocities (one moment in particular is truly disturbing, cementing the movie's R rating); in the second, Shimada and his men reach an isolated village to prepare the trap, while the nobleman's right-hand man Hanbei attempts to anticipate their moves. The last act is a bloody, pulse-pounding battle which, in spite of its length (over thirty minutes), maintains a great level of tension.

While action is spectacular, characterization is lacking. Kôji Yakusho is excellent as Shimada, but only three or four of his men - including his nephew and a clownish bandit who is a clear homage to Seven Samurai's Kikuchiyo - get any kind of development; the rest are simply guys with swords. With deeper characterization, the last battle would have been even more powerful.

7/10

Mainstream Film-Making at its Very Best

[ethSin · 10/10 · 15 September 2010]

Director Miike Takashi was once a cult film phenomenon in Japan with controversial films such as 'Audition', 'Dead or Alive' series, and 'Koroshiya Ichi'. Recently, however, his works are getting more mainstream-friendly with high-budgeted films such as "Crows ZERO" series, 'Ryuu ga Gotoku', and 'Yatterman'. Sure, there's still plenty of violence, but nowhere near as shocking nor horrifying as his earlier films. Is he a sellout? Perhaps. But how can we blame him? You'll be approached by major studios once you attain certain level of fame, and higher budget means it must appeal to more people in order to get the investment back. '13 Assassins' delivers exactly that despite being a Japanese period piece, which traditionally appealed only to the older generation and film buffs. The movie was screened at the 2010 Toronto International Film Festival under 'Masters' category, "Films made by the most influential directors living today", and Miike Takashi lives up to expectations.

'13 Assassins' is supposedly a remake of 1963 jidaigeki (Japanese period piece) of same title. Let me tell you this, the movie is not a true jidaigeki. Miike Takashi has transformed it into a 126 minutes of pure fun and excitement.

The story is about an assassination attempt of a tyrant lord by 13 'true' samurais who are believers in justice and uprising on behalf of the People in the year 1844. The original film was famous for its 30 minutes of continuous battle sequence, and the remake's may be even longer. Long story short, it's action-packed, and more people got slashed than in the 'Azumi' series in this movie.

As a service to Miike's cult following, the movie is far more violent than typical jidaigeki, with plenty of gut-exploding, head-rolling action and some grotesque scenes involving a woman with separated limbs (who created a plot device that ultimately became one of the most dramatic scenes in the movie). Unlike other Japanese war epics, the movie also has a modern sense of humor with plenty of comedic reliefs, astonishingly beautiful cinematography in the forest, and advanced battle tactics. What's surprising, is that none of it felt unnatural and corny like every other modern jidaigeki films that attempted and failed miserably to modernize period pieces, such as "Tsukigami" and "Sakuran".

The cast is truly star galore with some of the biggest names in Japanese acting, and experienced supporting actors. About half of them are actors with extremely unique or modern faces that I would've never expected to see in a period piece, but none of the characters seemed out of place even though their faces are still very much identifiable. The biggest surprise was the choice of boy band SMAP member, Inagaki Gorou as the twisted villainous lord. Not only did he hold his own among far more talented full-time actors, he was vital in much of the humor that made this film a success. Truly talented directors are capable of drawing the most out of his cast, and Miike had done just that.

'13 Assassins' is a movie destined to become a blockbuster. Time just flies by when you're having fun, and the audience at the TIFF screening were applauding in every cool and dramatic scenes, and eventually turned into a standing ovation as the credits started rolling.

Remakes are all about translating an outdated (or foreign culture) piece into a work that appeals to the modern (or local) audience. '13 Assassins' does both with universal language of comedy and violence which transformed a classic period piece into a thriller for the modern taste that anyone over the age of 12 (or whatever age restrictions this film will get in your country) can enjoy despite being a jidaigeki. I would recommend this movie to just about everyone. In fact, you don't even need to be a Japanese movie buff to appreciate it. Mainstream film-making at its very best.

Fanaticalaboutfilms Review: 13 Assassins

[iReviewFilms · 7/10 · 29 June 2011]

Being the film buff that I like to pretend I am, I am still yet to see Akira Kurosawa's Seven Samurai- a work that has supposedly spawned many films since and is widely regarded as one of the first films to introduce plot structures such as recruiting a group of characters to to accomplish a specific goal and having a main hero undertake a task unrelated to the main plot. 13 Assassins leans on this movie which it has clearly been influenced by.

The story follows the efforts of a group of samurai as they aim to assassinate the evil Lord Naritsugu (Gorô Inagaki) whose malevolence and monstrosities against his people know no bounds. Unable to touch Naritsugu due to his links with the former and current shogun , a senior politician realises that he has to be stopped before he obtains a higher rank and becomes an even more dangerous threat. He secretly enlists the help of a trusted samurai Shinzaemon Shimada (Kôji Yakusho) to gather a group of samurai together with the task of eliminating Naritsugu.

Despite me not being the best judge of the way of the samurai, I was not born in the 1840's in Japan, I felt that 13 Assassins portrayed what it could well have been like during that time. Setting the film in a time of relative peace was a good choice as it meant many of the samurai had no real life combat experience or know-how which gave them more depth- they are trained killing machines and yet for some of them, they have never even killed.

The main draw of this movie is the combat sequences and action shots which are impressive to say the least. The whole movie is basically enacting out one long battle scene with the first half setting up the characters and the last hour being dedicated to the massive battle scene. There is quite a bit of gore to keep an eye out for in both the fighting scenes and others with many limbs being severed and plenty of guts on show. The fighting scenes are well done although if I had to find fault, I would say at points it did feel as it the samurai were fighting wave after wave of enemies leading to it feeling a bit 'samey' and instead of heading straight for Naritsugu the samurai felt compelled to slash their way through the footmen first when they could have gone for him straight away. But that's just me nitpicking.

The number of unfamiliar Japanese names being mentioned along with the fact that the samurai are all wearing similar attire and have the same haircut whilst having to spend time reading subtitles rather than watching can lead to some confusion. This does fall away though while the movie progresses as the characters take on more individual personalities especially within the samurai group.

Credit must go to director Takashi Miike who not only has created a beautiful movie in terms of cinematography and direction but also has brought the honour, tradition and way of life of the samurai and Japanese culture to the viewer in emphatic fashion. Awesome fight scene, solid acting and the ability to not shy away from the gore lead me to wanting to watch this again.

For further reviews feel free to check out: http://www.fanaticalaboutfilms.com

By far Miike's most outstanding film to date

[malbanese · 10/10 · 4 April 2011]

Having been furious at American cinema for releasing some garbage over the past few years, I have purely focused on international cinema and more so Asian cinema. You would be hard pressed finding better films than what South Korea has to offer. Unless you stumble across 13 Assassins. My god, what an experience. And that is exactly what it is, an experience. Exactly what cinema is meant to be. I will not spoil any part of this film other than saying, if you are sick and tired of the same old melodramatic, over hyped, under performed, over budgeted, egotistical, run of the mil ho hum doldrum from modern day cinema, then you must (and I mean must) see 13 Assassins. This film is a solid entry from Takashi Miike. His previous films were everything from outstanding to bizarre, but this film speaks volumes. It is a film reminiscent of 7 Samurai, brilliantly executed. Takashi Miike has certainly matured in his vision, bringing to the screen an instant classic. Tell your people, friends, family, scream it from the rooftops.....13 Assassins is brilliant! Now, how long will it take Hollywood to bastardize this film?

A modern "old school" Chambara movie

[mmushrm · 7/10 · 29 April 2011]

13 Assassins is a throwback to the samurai movies of the 1950s-60s. No fancy CG work or special effects. Just guys in well choreographed sword fights, mêlées and battles.

Miike's version is slightly different from the original in the ending and atrocities committed by the lord. If you were to compare the original and Miike's, Miike's is lacking in some areas. The pace is faster and does not convey the suspense and gravity of certain scenes. Also black and white is better at portraying the nastiness and desperation of battle.

However if you have never watched the original, Miike movie is good. The 1st part is a bit slow but the 2nd half is battle. Best comparison is to 7 samurai. Body count 212. Desperate men fighting desperately to stay alive. Nothing pretty and no gravity defying swordsmanship. Simple hack, slash and stab. Oh and being a Miike movie, you see gushing blood, decapitations and dismemberment,

I hope it starts a trend where movies of this genre move away from all the CG.

13 Assassins (2010)

[SnakesOnAnAfricanPlain · 10/10 · 13 December 2011]

For so long I've waited to be blown away by a film. Every movie I've watched recently just doesn't measure up. As films continued to disappoint me I found solace in comics and TV. Finally, Takashi Miike releases his masterpiece. This film is grand on every scale and is so beautifully composed, it hit every note.

I'll start with the expectations of a Miike film. He is known for his violence and gore, which is simply underestimating the man. Sure, films like Visitor Q and Ichi the Killer flirt with controversy before sodomizing it, but he knows how to create a movie. He manages to reduce and compromise our expectations with the opening scene. A man commits harakiri. Always gruesome, but Miike actually cuts to just the man's face. Is Miike getting soft? Far from it. This just means that the violent showdown is all the more powerful. He releases the violence when the time is right.

Unlike recent Hollywood action films, Sucker Punch and Battle LA, the journey towards the action is what makes it so fascinating. Miike spends a long time exploring his characters and their beliefs, as well as the themes of the movie. This means that the final fight is about something and someone. They aren't just trying to kill a guy, they are showing us what they believe. Like many samurai films, this deals a lot with loyalty, duty and honor. However, it is far more critical of these things than previous films. Inagaki plays such a despicable villain, that it parodies how dedicated his samurai are. Inagaki is such a fun villain to hate. He's egotistical and grotesque, always relying on those around him for protection. The film has a lot of dialogue as it escalates towards the finale, but it never tells us the exact plan.

I was completely unprepared for the last 40 minutes. Miike has built up his characters, has outlined the threats (and then increased them) and everything is set to go. So why is the finale so epic? First of all it starts with the absurd. Despite it's build up Miike throws a curve ball, but does so with such confidence that we are still gripped. He presents his 13 assassins (at first) as being almost invincible. They dive around, take on dozens of samurai etc. but it's all a lot of fun. Next, he starts to injure the protagonists. It comes as a shocking reminder that these guys can be hurt, making us now fully invested in the scene. Miike shoots everything with a simple fluidity. You can see what is going on, who is killing who, even though you are surrounded by blood and explosions. Finally, as the characters have been whittled down, we get a personal confrontation. One that reminds us what all this is for. It takes a lot of skill to make a lengthy action scene enjoyable for its duration. Especially when it goes from fun, to tense, to tragic, before it all comes to an end.

It's a film that really does come together. I was more than satisfied, and I felt that I had been escorted on a complete journey, whilst enjoying the sites.

13 Samurai brought together in a spectacular film....

[joebloggscity · 8/10 · 19 June 2011]

If you've never seen anything by director Miike Takashi then be prepared for a no-holds barred film. I've been a bit of a fan for many years having watched some of his best known films (e.g. Audtion and The Dear or Alive trilogy) and have quite liked his style. It may disturb as much as it amazes, but you will have to acknowledge some great film-making.

The énfant terrible of Asian film-making world (according to one review I read) here he takes a complete sidestep with this take on the traditional samurai tale. A group of samurai are brought together to bring down a sadistic Lord who is expected in time to be elevated to higher levels of authority. As a foil to the group is another senior samurai figure who is hell-bent on protecting the Lord in belief that it is their duty not to take politics in their own hands but to serve.

Some very violent scenes, the story is excellent and builds up to a long battle scene which sees our heavily outnumbered group battle to complete their mission. The fight scenes are incredibly well choreographed and paced excellently, and very violent also as you would expect.

It's not just the action that is the crux of the film, but actually the story is well done and the acting is exceptional. One added member of the group (admittedly not a samurai) adds some comic relief which helps to ease the tension at times, and is a nice touch.

The settings are exceptional and the dialogue is excellent. It can be difficult to follow early on as you try to figure out the political world and the figures that are relevant in this world, but you will capture the gist of what is to be taken from it all.

I thoroughly enjoyed it and if you are into old Samurai tales then this is one for watch. Very engrossing and will likely be one for repeat viewing.

Generic samurai flick by Miike

[tieman64 · 13 May 2011]

A remake of a 1966 Eiichi Kudo film, Takashi Miike's "13 Assassins" finds a small band of elite samurai embarking upon a mission to assassinate the sadistic young Lord Naritsugu.

The film belongs firmly to the "men on a mission" genre ("The Dirty Dozen", "Ocean's Eleven", "Seven Samurai", "300", "The Magnificent Seven" – notice a trend?), in which a leader typically puts together a team of misfits and specialists and then embarks upon a mission against ridiculously superior odds. Here the first half of Miike's film is spent interviewing and gathering men for the assignment, followed by a 45 minute battle in which our 13 assassins square off against hundreds of enemy soldiers. It's a Pekinpah/Spielberg inspired bloodbath, in which our heroes nobly accomplish their mission, before themselves dying.

In terms of flaws, the film's script lacks surprise, and Miike too often ignores strategy in favour for repetitive hack and slashing. Miike's battles themselves lack spatial sense, and are often unrealistic. The film does eventually win us over with its sheer, bloody relentlessness, but a better director would have added a more tactical, and intellectual kick – and thereby more drama – to the wordy, political battles of the film's first half, and bloody physical battles of the second.

Like most samurai films, "13 Assassins" espouses simple, even offensive values – sacrifice, submission, murder, honour, servitude etc – though it eventually pushes past such things and enters somewhat original territory. Here, Miike's ragged band of heroes advocate nothing less than making your own leaders bleed before they get into power. Only with this asserted pressure, this constant threat of force, will they then govern with fairness. It's an interesting idea - reverse dictatorship, where the populace governs its rulers with fear? – but one which the film has no real interest exploring.

7.9/10 – Worth one viewing. See instead: "Twilight Samurai", "Hara-kiri", "The Seven Samurai", Hiroshi Inagaki's "Samurai Trilogy", "The Hidden Blade", "47 Ronin", "Yojimbo", "Sanjuro", "Kiru", "Throne of Blood", "Goyokin" (1969), "Chushingura" (1962), "Lone Wolf and Cub: Sword of Vengeance", "Samurai Assassin" (1965 version), Kurosawa's sublime "Ran", and the great Masaki Kobayashi's "Samurai Rebellion".

A Japanese Spaghetti Western

[bighalsy · 7/10 · 5 April 2011]

If you liked the Seven Samurai this will be right up your alley. In fact, it's little more than an updated version, and stylishly done at that. If you're looking for a more historically accurate version of late fuedal Japan you won't find it here. If you're looking for good Samurai kicking the bad Samurai's asses, this is your ticket. It's your classic good vs. bad action flick, albeit done with a classical panache. No love interests, no grey areas, just the good guys - vastly outnumbered - versus the bad guys. Beautifully shot, with some amazing action, it'll make you wish you were one of the good guys, taking names and kicking ass too! A rollicking good Japanese spaghetti style eastern.

One of the best I've seen..

[robertestx · 10/10 · 5 September 2011]

This movie has an immense amount of depth for a movie of it's genre. There are many things about this movie that motivated me to rank it as I did. Starting with the acting - from the main characters, their roles, words, facial expressions, movements - done with such sincerity. Honest, real emotions. It gives you a glimpse into a world where honor is defined and mutated by the hearts of men. One Samurai, honors and views his position as a guardian of the people, able to see, comprehend, and act upon injustice. And the other Samurai? His heart is not towards the people, but has, as I've said mutated into an honor, that seemingly cloaked in the traditional honor of serving and protecting his lord, is really mutated into a self-serving, blinded existence that could potentially be his downfall. Who knows? Who triumphs in this movie? Be prepared to be surprised on many levels! The swordplay is bar none in my opinion. The landscape genuine, with fantastic cinematography. As many movies in this genre, there are moments of 'over-the-top' exclamatory remarks that often typify a Shogun/Samurai flick, this just keeps reminding you that an American producer with more eye for gore than plot is NOT at the helm of this ship. This movie has it all for me. It has a plot, a story line that will have you remembering the 7 Samurai, The Magnificent 7, and a little of the A-Team, but done so in a remarkable fashion, executed in a classical, raw, well orchestrated fashion. I will watch this again. I will undoubtedly see more to this movie then, than now. And that will be a treat unto itself. If you are a fan of the Samurai/Shogun genre of film. Watch this. pop the popcorn or whatever, but don't drink too much because you will not want to get up, even for a bathroom break on this one!

Elevates Drama, Repurposes Bushido, But Loses Much Of What Set The Original Apart

[trentreid-1 · 7/10 · 22 April 2011]

Like the original, Miike's remake reflects its time of production while elaborating and exceeding the genre tropes. However, it varies the direction of this deviation in interesting ways compared to the original and to such an extent as to stand on its own. Kudo's film had characters, protagonist and antagonist alike, motivated by bushido. And the late Tokugawa setting established these not as typical giri/ninjo conflicts of the genre, but as largely outdated ethics that turn their proponents into victims of historical and social forces outside of their control.

Miike brings in more of a gender component early on, with Goro Inagaki's Lord Naritsugu engaging in not only rape and child murder, but sexual mutilation and slaughter. This allows Miike to draw in contemporary audiences expecting such spectacle from him instead of talky, jidai-geki set-up. But it also explicitly gives the villain dialogue elaborating his view of bushido - that it is the way of samurai to die for their master, as it is for women to die for their men. This slight element of feminism is largely original to this remake, although it is more present in the second film of Kudo's trilogy - The Great Duel.

Through such explicit violence Miike also establishes more clearly delineated good/bad roles than the original film, to a different end. An innkeeper makes an aside to the effect that in these times, katana are only good for cutting daikon, and he has dozens piled up from losing ronin gamblers to prove it. It is the setting in which ethics have to be codified due to their irrelevance to daily life, as bushido has become a rationale for the sadism for the elite.

The original 13 Assassins by Eiichi Kudo was a reaction to genre convention, like Masaki Kobayashi's Seppuku or Hiroshi Inagaki's Chushingura/Loyal 47 Ronin of the year before. It shares the revolutionary spirit and critical sensibility of Hideo Gosha, Kihachi Okamoto and Kenji Misumi. In Miike's iteration, differing concepts of bushido are more explicitly stated as a means to update and simplify the material for contemporary audiences. Our heroes more explicitly shed their identities as the travel towards the final clash, encountering a country bandit played by Yusuke Iseya. He is suspended from a tree as punishment for philandering, and is jokingly referred to as a tanuki. But the character provides meaning through contrast, as Mifune's Kikuchiyo did in 7 Samurai.

Genre convention is played with, but more as a means to provide spectacle, a degree of feminist edge, and an updated film that casts the heroes as on a more current search for identity. Certainly less of a critique and deconstruction of those genre norms so prevalent and still popular at the time of the original film.

The climactic village death trap could also be interestingly contrasted to the finale of Seven Samurai. Director Kudo had Chiezo Kataoka lead the 13 assassins into executing an elaborate series of traps, leading up to his final duel with the villain's equally noble chamberlain played by Ryuhei Uchida. This film has Koji Yakusho doing the same, with the addition of some flaming CGI buffalo.

But whereas in the original, they are not killing one another out of personal malice but necessity, here the lines are clearly drawn and characters are assigned more or less noble deaths according to their virtue. The heroes attack and retreat in guerrilla fashion, but they do not die in quite as desperate and pointless a manner that the ending of the original film drove home. I won't spoil that ending here, I already did that in my spoiler-laden review of that movie.

It is the anti-climactic fashion of key characters' ends that defied cliché genre expectations in the original, and this is largely lost. Although the melee is equally frantic, and arguably even more well choreographed and excitingly shot by modern standards - it serves different and perhaps less pointed ends. By making the killing serve a dramatic point, it loses much of what set the original apart. That sense that hero and villain alike were bought and paid for, a product of their time and made to serve the ends of others.

13 Assassins is guilty pleasure for seekers of violent action who are patient enough to wait for its execution.

[Eternality · 8/10 · 27 June 2011]

13 Assassins, a Golden Lion nominee at Venice, is a sumptuously photographed film that is excellently set-up by the filmmakers, features an action-packed second half whose intensity rivals that of the climatic hospital sequence in John Woo's shoot-'em-up masterpiece Hard Boiled (1992), and ends on a slightly ambiguous note that unfortunately feels a tad too surreal for a film that is anything but. Directed by Takashi Miike, the infamous director of insanely violent films such as Dead or Alive (1999), Audition (2000), and Ichi the Killer (2001), 13 Assassins is surprisingly tame in comparison, though I must say the decision not to make this a gore fest is spot on.

The premise is as simple as it can be: Lord Naritsugu (Goro Inagaki) is the evil younger brother of the current Shogun who enjoys torturing and killing women and children to satisfy his weird desire for violence and lust. A group of samurais, led by Shinzaemon (Koji Yakusho), is hired to assassinate him before he ascends politically to the top and declares war on peaceful clans. The mission is extremely tough because Lord Naritsugu is protected by hundreds of men and a master samurai called Hanbei (Masachika Ichimura), who trained with Shinzaemon when they were apprentices, adding a layer of intrigue.

The villainous nature of Lord Naritsugu is depicted very well. Early scenes show his cruelty, in particular a vile scene that sees him shoot arrows at a family that is tied up, including a small boy. There is also a very disturbing scene featuring a nude woman with all her limbs severed, with a character explaining how she is used as a sexual plaything. The soulless eyes of actor Inagaki and his lack of emotion towards human suffering are very effective in building a strong sense of hatred for his character.

In comparison, there is no one strong protagonist, though Shinzaemon comes close. Like Kurosawa's Seven Samurai (1954), the samurais in Miike's film are collectively portrayed as both battle-hardened tacticians with skills to outwit any foe and overly enthusiastic warriors who know the meaning of sacrifice. But unlike Kurosawa's masterpiece, each samurai's personality in 13 Assassins, with the exception of Shinzaemon, is developed only minimally and enough for the function of plot. Very predictably, there is the requisite sword duel in the climax, which gives us a relatively quiet moment of calm in what is a loud and chaotic second hour that while relentlessly entertaining, may be a trifle too overwhelming for some.

In a nutshell, 13 Assassins is guilty pleasure for seekers of violent action who are patient enough to wait for its execution. This Miike film is well-directed and should provide an interesting alternative to the loud fanfare of Hollywood summer blockbusters.

GRADE: B+ (8/10 or 3.5 stars)

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Both a visual pleasure and an engaging tale of violence, honor, and tactics set in 19th century Japan

[DavuLynchesta · 7/10 · 26 April 2015]

13 Assassins is a film by renowned director Takashi Miike, a man most famous for films like Ichi the Killer, Visitor Q, and Audition. If you're familiar with his previous work then it comes to no surprise that 13 Assassins is a very violent movie, though the violence in this film is never as "disturbing" as in his other films. It is also a remake of the 1963 film of the same name directed by Eiichi Kudô. In short, 13 Assassins is both a visual pleasure and an engaging tale of violence, honor, and tactics set in 19th century Japan. If you want to watch a film with well directed action, then this is a great film to watch.

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13 Assassins is a very drab looking movie, and I use the term "drab" in the most respectful way possible. For most of the film the screen is covered in shades of grey, while other scenes are painted in such striking color that you can immediately tell what Miike was going for, which was to show the obvious wealth gap between the rich and poor. While it's never pointed out specifically, it would be an historically accurate representation of Japanese society in the 19th century. The actors, particularly Tsuyoshi Ihara, all do an exceptional job at giving their characters a sense of realism and a legitimate purpose in their reasons for joining the Assassins. Every character breathes with life in ways that few films manage to do and this might be the strongest aspect of the entire film. We often see characters interacting with each other and making jokes in way that provides some insight into why they're risking their lives for each other.

Despite for a few quick battles, much of the action is reserved for the final act of the film which serves as a very long battle in a small town turned into a death trap. Some might say that the battle alone is reason enough for watching the movie, but I personally found it boring at parts, though I recognize how impressive it all is despite that. The scenes with actor Gorô Inagaki are easily the show stealer for me. His character, Lord Naritsugu Matsudaira, is such a comically evil bad guy that despite his incredibly disgusting actions, I can't help but love him. His cruelty is unmatched in this film and everyone, including his own men, knows it.

I would recommend 13 Assassins very much. It might be Miike's most approachable film and is a great example of blending story and action in a way that doesn't feel forced and trite.

a body count that would make the likes of Tarantino envious

[gregking4 · 8/10 · 9 June 2012]

13 ASSASSINS. The Dirty Baker's Dozen? Prolific Japanese director Takashi Miike (Audition, etc) leaves behind his preferred milieu of gangster thrillers and horror movies to venture confidently into Kurosawa territory with this sword and samurai action film, set in mid-19th century feudal Japan. 13 Assassins is a remake of Eiichi Kudo's 1963 black and white samurai movie of the same name, but infused with Miike's distinctive brand of graphic violence and carnage. A band of thirteen mercenary warriors and samurai set off on a suicide mission to kill the sadistic and bloodthirsty Lord Naritsugu (Gorô Inagaki), whose actions threaten to undo the years of peace that Japan has enjoyed. Cue plenty of swordplay, bloody action, mayhem, decapitations, and a body count that would make the likes of Tarantino envious. The film is slow to start as it spends a bit of time delving into the political machinations of Japan under the rule of the shogun. But once the film gets down to action it is full on as Naritsugu's army is lured into a booby-trapped village of Ochia. The climactic battle sequence is epic in scale, and occupies much of the film's generous running time. Miike directs these exhilarating scenes with gusto, and revels in the carnage. His action scenes make films like 300, with its CGI armies, pale by comparison. Like Peckinpah's classic The Wild Bunch, which echoed the death of the old west, so too does 13 Assassins reflect the death of the samurai code and way of life in Japan. Characterisation is fairly slim, especially given so many characters, and Miike doesn't give us enough detail about many of the characters to allow us the engage fully with them or empathise with their fate. Veteran Japanese actor Koji Yakusho (Babel, Memoirs Of A Geisha, etc), brings a sense of gravitas to his role as Shinzaemon, the veteran and principled samurai leading the gang of mercenaries. 13 Assassins is a formulaic film for sure, but it also succeeds as a wonderful homage to the samurai cinema of yesteryear and classic like The Seven Samurai.

Simple but entertaining

[empty-bin · 6/10 · 28 June 2011]

"A group of assassins come together for a suicide mission to kill an evil lord."

And that's it. The most succinct yet accurate and appropriately detailed plot summary I've read lately on IMDb.

The fight choreography was fantastic.

Review done. There was nothing more to it. No character development, no plot twists, no turns or surprises - nothing.

The cruelty of the evil lord was most memorable and sometimes, I felt, given the film's almost total lack of depth, gratuitous. In fact, the problem with the evil lord was he was SO evil death was too good for him! So that left you holding the bag when it came time to resolve all that you'd seen from him.

The (very) ending was great. It SORT OF made up for the evil lord but not quite.

All-in-all the film was entertaining.

It Stinks

[cloudsponge · 4/10 · 9 May 2011]

The director's stated purpose was to see if "they" could make a classic-style samurai movie. He and "they" utterly failed. Having seen this garbled junk I would proffer the guess that his real purpose was not to make a movie but to get material to write a how-to book, one that could be titled: "How to Make a Samurai Movie by and for Idiots." It's not just the U.S. that is dumbing down, is it? Pity Japan.

Three-fourths of the way into the movie I mentally disassociated from it because the endlessly repetitive overkill became boring. Suddenly I could care less about the movie and began to wonder what it would be like going to a restaurant run by Takashi Miike. It would be, perhaps, somewhere in the foothills of western Tokyo. I would arrive at dusk and be welcomed into an old thatched-roof cottage converted into an elegant restaurant. The darkness of the interior would be softly illuminated in places by the warm glow of paper lanterns. Each dish would arrive one by one like scenes in a movie, one after another. First a lacquered bowl of miso soup would arrive at my table, wisps of wakame, a few green slices of scallions, and tiny cubes of tofu would be floating in it. Yum. Delicious. Then would be brought a side dish of thinly sliced lotus root, green soybeans, and hijiki. So far, so good. Then, about halfway through the repast, industrial fluorescent lights would be clicked on overhead, the purpose of which would be to destroy the deeply rich traditional atmosphere. Then, with about as much finesse as his scenes in the movie of ultimately boring, repetitive, endless crowds of slashing that went on and on and on and on. And on and on. And on and on and on and on and on, Miike would toss down a slab of cooked eel right on the bare wood of the table in front of me, not even bothering to use a plate. He would uncap a jar of powdered Japanese sansho pepper and dump the whole jar all over the cooked eel. Looming over me and wielding the bloodied thigh bone of a wild boar he would force me to eat this concoction with my fingers. Me, all along, thinking, like while watching the movie, that good cooks know that a dish of food can be ruined by using too much strong spice. The movie was made unpalatable by that boring, eye-numbing endless crowd slashing scene. Watching these scenes could be likened to trying to eat sushi that is more wasabi than rice or fish, or that eel above that isn't just tastily seasoned with sansho pepper but thickly submerged in it.

And that stupid ending. The guy doing a terrible impersonation of Toshiro Mifune's Kikuchiyo in "Seven Samurai," walks up to the only other survivor of the "total massacre" showing zero evidence of his having been stabbed through the throat and otherwise slashed by swords deeply. I was thinking perhaps they were both dead until I didn't care. The only meaning that scene had was Miike was messing with the audience. So it's like back at the restaurant, I'm finished; unsatisfied, nauseous, and with an enormous mental bellyache, but ready to pay the bill. Miike says, "Ha ha. You know that eel you thought you were eating? It wasn't really eel. It was just textured vegetable protein. Ha ha. Fooled you, didn't I?" Betrayed to the very end.

I mentioned idiots above. Whenever I see a movie this bad I look at the hundreds of people listed in the end credits and wonder how so many people can be involved in the making of a movie and not one of them with an ounce of intelligence. Today I got to thinking that movies are often not so much group efforts as mob efforts, and, after all, a mob has the intelligence of the least intelligent member, and the emotional stability of the most psychologically-screwed-up person in the mob.

Why was the evil Lord Naritsugu Matsudaira riding a horse when people in his position at that time would be carried in palanquins? Stupid. How did those 13 idiots carry tons of explosives by foot over those mountains they got stupefyingly lost in? They hardly had anything at all they were carrying. Stupid. What was that business with the jerk who had rows and rows of spare swords to swap with the ones he was using? To show him throwing them to amazing effect would be something to see, and an excuse to have a ready supply of them, but, no, he just drops the ones he's using, leaving himself briefly unarmed, just to pick up another sword. Stupid. That huge vat of dark-looking blood spilling from the top of a building that had neither precursory scene nor effect. Stupid. Those 13 jerks who have their quarry trapped like vicious barracuda in a barrel. What do they do? Figuratively get naked and climb into the barrel. Stupid. They didn't have to kill 200 armed warriors, they just had to kill one man. One man who was constantly in the open riding a horse. That they couldn't is just, well, stupid. Takashi Miike and his crew. Stupid. Me for wasting my money on this trash: The most stupid. Downright imbecilic. Thanks for making me feel that way Miike, not.

But is it possible that the film makers became so befuddled that this movie, beginning in a super-realistic way, at some point, in a totally confusing fashion, reverted to being something merely symbolic and representational in a ludicrous way? Exactly. Ludicrous. Way beyond stupid.

Most polished and accomplished work from Takashi yet

[gregsrants · 9/10 · 15 September 2010]

On my list of favorite directors, there is always a place for Takashi Miike. I was introduced to Miike with Audition in 1999 and I have collected his titles like a hunter would deer heads. Go up and down my DVD collection and you will find Ichi the Killer, 3 Extremes, Visitor Q, Gozu, One Missed Call and Imprint. I don't know if any other working director has as many titles represented on my 'owned' list. Naturally, when I saw that Miike was bringing his latest effort, 13 Assassins, to the Toronto International Film Festival, I was sure to secure a ticket for the screening. 13 Assassins is a bit of a departure for the hard working Miike (Miike has 82 director credits to his name on IMDb.com). His films have generally been violent films set in modern times. And many of his films have been banned or misunderstood (Audition, Ichi the Killer). The synopsis for 13 Assassins - A group of assassins come together for a suicide mission to kill an evil lord - doesn't read like a Takashi Miike film, but with the violence and torture evident in the film's first reel, I was quickly assured that 13 Assassins was imprinted with classic Miike moments. 13 Assassins starts by addressing the villain of the film, Lord Naritsugu Matsudaira (Gorô Inagaki) who is one nasty sonofabitch. We watch as Naritsugu shoots arrows into an entire family who are bound and lying on the ground. Even the youngest child isn't saved from the flying arrows. We also witness a peasant girl who has had her arms and legs cut off. Even her tongue was removed by the sadistic Naritsugu after her family was massacred. These atrocities propel Shinzaemon Shimada (Kôji Yakusho) to abandon his Samurai values and he begins to amass a group of warriors that will attempt to ambush Naritsugu and his army of approximately 70 men in a town named Ochlai. His warriors amount to twelve, but when they set out on their mission and inadvertently become lost in the thick jungle, a 13th assassin – a hunter who knows the terrain – joins the band of samurai out to avenge past wrongs and to ensure that Naritsugu doesn't reach the Akashi domain where he is destined to become second in command to The Shogun. The first third of the film deals with Shimada amassing the team and learning of further Naritsugu acts of violence against the people of Japan. But when they samurai set up their ambush in Ochlai, the fun really beings and the final chapters are non-stop action and samurai fighting. 13 Assassins is not only the most accomplished and polished film of Takashi Miike's career, it is also the best film we have watched so far at the Toronto International Film Festival. And judging by the audience's reaction, I was not along in this sediment. The action sequences were relentless and maintained a momentum that The Expendables could only wish for. Every one of the 13 assassins were identifiable and had interesting attributes (the warrior, the loco, the one who uses spears…). The sound that accompanied the action was award worthy. The theatre rocked with explosions and with the sounds of blades cutting flesh and was only drowned out by the consistent audience applause in appreciation. Last year, I picked The Good, The Bad and The Weird to be my favorite film of the year. This year, 13 Assassins stands tall at the top of the list with just a few months to go.