Colibel Terrible acting, screenplay and direction.

ChicDragon It's a mild crowd pleaser for people who are exhausted by blockbusters.

Myron Clemons A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Sienna-Rose Mclaughlin The movie really just wants to entertain people.

WILLIAM FLANIGAN Viewed on DVD. Subtitles = eight (8) stars; sets/decoration = eight (8) stars; "score" = six (6) stars; costumes = four (4) stars. Director Youji Yamada's uninspired slice-of-life Shomin Geki (home drama) involving a castle-commuting samurai rendered blind from tasting poisoned food before it is served to the feudal lord (of, presumably, Osaka-Jo castle). The plot line of this tale offers a fascinating possibility which is toyed with, but discarded by the Director (to wit, the emergence of a skilled and renounced swordsman who uses sound rather than vision to vanquish his adversaries). Instead, Yamada provides a well-telegraphed (fully-expected), romantic happy ending (and a circular story). Acting is fine with overly melodramatic tendencies kept in check by Yamada. Costumes are bland, but sets and the decoration thereof are excellent. Film score is intermittent aside from the opening and closing credits; it consists essentially of one beautiful and haunting Leif Motif. Surround sound field is excellent, but sparsely utilized. Cinematography (semi-wide screen (1.85:1 aspect ratio), color), lighting, and editing are very good. Another Shochiku Studio middling programmer. WILLIAM FLANIGAN, PhD.

KineticSeoul So this is suppose to be Yôji Yamada's final movie in this style of samurai trilogy, the previous two films being "The Twilight Samurai" and "The Hidden Blade". And this final installment is absorbing as the previous films to some degree but also lacks the entertainment value like the previous films as well. Although this trilogy is sort of dry in some aspects. This however has slightly more of a modern feel to it compared to the previous 2 films in this trilogy. But it's still a bit slow paced and dry at times, this trilogy isn't for everyone but it does have it's target audiences. The protagonist is played by Kimura Takuya which I was hesitant with, but he played his role pretty well. The progression of the story could have been paced a little quicker, but I can understand why it takes the slower route. But still the slow pacing really makes this movie dry and sort of dull at times. This movie is also very far from being action packed despite it having samurais, but what it does have is drama and emotions. And wanting to know what happens next kept me attached to this story, despite the pacing being so slow at times. If the pacing was slightly quicker the movie would have been better in my opinion and would keep majority of the audiences attention, so the main flaw in my opinion is the pacing. Overall it's a pretty good final in this trilogy although the story has nothing to do with each other besides the fact that it all revolves around samurais, it's worth at least a watch.7.6/10

matchettja Do we need to know everything? Would our lives be better if there were certain things we didn't know? These are matters addressed in this story of a samurai family and life in feudal Japan. It was the duty of certain lower level samurai to taste the food before serving it to the lord of the clan in case it might be poisoned. When Shinnojo Mimura, one of the food tasters, eats some tainted sashimi of an off-season shellfish, he falls ill. After a period of unconsciousness, he awakes to find that he is unable to see. At first, he tries to hide the fact from his deeply loyal wife, Kayo, for fear of worrying her. When she understands that, she protests that she is his wife and it is her duty to worry for her husband. However, when she learns from the doctor, who has withheld the truth from his patient, that this blindness is permanent, she also avoids telling her husband, in order to spare his feelings. There are certain truths that are better for us not to confront. Gossip, however, is another matter. When Mimura's busybody aunt comes with news that Kayo has been seen in the company of another man, he throws the aunt out of the house, but he is left with doubts. Is such a thing true about his loving wife? Mimura decides it is something he must know, regardless of consequences, so he sends his servant to follow her and report back to him. The rest of the film deals with what must be done in order to restore honor. It is a fascinating look at life, duty and honor during the samurai era and well worth watching. Takuya Kimura (Mimura), Rei Dan (Kayo) and Takashi Sasano, the loyal but sometimes confounded servant, all give memorable performances.

Harry T. Yung When YAMADA Yoji set out to make his "samurai trilogy", he was very clear in his mind what he wanted to do. "Twilight samurai" (2002) and "The hidden blade" (2004) both offer an image of samurais unlike what we are used to – proud, cool, fierce. It's not that these qualities are not found in Yamada's samurais, but such qualities are overshadowed by the consciousness of a demeaning class system and a very human concern for daily livelihood, mundane but necessary. "Love and honour" carries on with the same theme, but with a slight variation in key, so to speak.The protagonist in L&H is a young samurai (played by pop and TV superstar KIMURA Yakuya, whose name I'll use here for convenience) of reasonably respected rank. Losing his father when he was quite young, he was fortunate enough to receive a good education. At the beginning of the story, therefore, he is not a victim of the predicaments of poverty or class prejudice we saw in the previous two of the trilogy. While not spectacular, life is stable and comfortable for Kimura and his beautiful wife, served by a loyal old servant that is not unlike "Alfred" ("Batman begins"), but of a comical kind.The "day in the office" for a samurai is dull when there is no war, as is the case during our story, and what excitement there is comes with a special duty for some of the samurais – food testing for their feudal lord, as a security procedure against poison. The story really begins at the occurrence of a rare incident, when Kimura is blinded by poison that has accidentally found its way into the food he is testing.Here's when we are back to the convergence of the common theme. All of a sudden, Kimura feels like he is plunging into a dark abyss (both literally and figuratively), with thoughts that had never ever occurred to him before, such as whether he now has to make his livelihood as a beggar, all these despite the fact that he has a most loving and devoted wife. This becomes quite ironic when the wife, desperate for the mercy of the feudal lord in recognizing Kimura's service and keeping him on the payroll despite the fact that he is now blind, yields to the sexual advancement of the samurai superintend in exchange for the latter's promise to put in a good word for her husband. To cut a long story short, things come to a head with Kimura's discovery of his wife's well intended but ill advised action, culminating in a climactic duel with the villain.This is quite a simple story but the movie excels in its telling. There is the characteristic attention to details in Japanese, and furthermore in Yamads's movies. The reaction of this young (perhaps even a little spoilt) samurai to the devastating calamity is well depicted. But the otherwise gloomy narration is brightened, and lightened, at suitable point by humour (some of which sarcastic), provided chiefly by the faithful old servant and a nosy aunt who pops up from time to time. But the important thing is that the movie does not lose sight of the main theme. It is after learning the generosity of the feudal lord in granting status quo despite his disability that Kimura finds back his sense of humour. He is now able to laugh at himself for banging his head against a pole, quipping "I think he really wants to kill me", with reference to an earlier joke he made with the old servant.Nor are dialogue and facial expression the only elements of excellence in this movie. Check out the comical scene of the nosy aunt's hurried exit with her two kids after Kimura had indicated in no uncertain terms that she had out-stayed her welcome. The body movement of the characters in question is more eloquent than the most hilarious dialogue. Watch also, at the scene when Kimura seeks instruction from his teacher, how, with constantly shifting and balancing movements with his toes and the balls of his feet, he is ready to pounce in a split-second upon the imagined opponent when he senses (remember that he cannot see) an opening. Just two of the ample proofs that every scene in this movie has been afforded the utmost attention by director Yamada.