Tetrady not as good as all the hype

Calum Hutton It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

dylcojiro The conclusion of this trilogy accomplishes something that filmmakers strive to achieve in an adaptation, creating an ending that is far more impactful, and ultimately improves upon its source. The plot of the three films deviates from the manga, but every change was done sensibly, omitting characters and subplots that ultimately had no real impact on the overall story of Kenshin himself and were appropriate for the two hour format. Ohtomo had already consolidated so much material (deftly, by the way), and there was no realistic way the Juppongatana could have been detailed anymore in a feature length film format without seeming overly contrived or indigestible to an objective audience. Aside from Sojiro, Cho and Anji, the Ten Swords are all just filler characters meant to rival the other protagonists. With that in consideration, the characters were fairly balanced. Obviously it's all subjective, the first act of the final film is a slow burn but these sequences are mesmerizing, and are exactly what cinematic fights should be. They contain the trilogies most imperative lessons for Kenshin, and provide crucial information as to what the viewer has been wanting to understand about him. With Takuro Ishizaka's sweeping cinematography and Kenji Tanigaki's choreography, we as viewers acknowledge the sense of conflict and respect between Kenshin and Hiko, and with each strike of their sword, a suggestion of their pasts and relationship. And what lies at the heart of Rurouni Kenshin are it's lessons. A distinct attribute of Sawatashi's costuming that sets him apart from his competition and makes them look authentically beautiful is the layer of dirt and filth that he permits. Visible in Takashi Miike's 13 Assassins as well, the costumes are torn up, grungy, and feature countless blemishes. This element, though minute to some, really sells the world and grounds it in realism, while starkly contrasting any polished or romanticized western iterations of Japanese/samurai culture in film. This is also prevalent in Akira Kurosawa's filmography, illustrating to the audience that although these warriors may seem godlike, they clearly are only human. They can become exhausted, critically injured, emotionally vulnerable, and layered in filth. This reflects the mortality of it's characters and when the combatants are battered and bloodied during such climaxes like Seven Samurai or The Legend Ends, it instills tension, engrossing the audience on a visceral level and further establishing the film in realism. It has a layer of grit to it that makes its atmosphere appear lived in and genuine. It makes the fight sequences feel real, emotionally and psychologically charged, you can detect the characters motivations and the undoubtedly real exhaustion emitting from the actors further creates tone and characterization. Tanigaki and Satoh were devoted to authentically depicting various techniques featured in the source material. For example, at the pinnacle of The Legend Ends, Kenshin faces the vengeful Aoshi Shinomori for the first time. As the filming continued, Ohtomo's belief in physical actions being an essential component to acting in general was put to the test. In this sequence, a vital, but tremendously challenging technique for Kenshin to achieve was equally challenging to re-imagine on screen. The sword technique is called the Kuzuryusen. In the source material, it's a technique where Kenshin attacks nine different places on an opponent's body at the same time, so there is no evading it. It was initially seemingly impossible to choreograph, but with perfect coordination, Satoh, Tanigaki, and his team managed to depict this technique in a unique and compelling manner that differentiated it from the source material and from the anime, juxtaposing Kenshin's methodical recoiling of his katana with his uncompromising, lightning fast, blink-and-you'll-miss-it nine lashes of his sword. Another example is during the climax of The Legend Ends, where Kenshin executes the final technique of the Hiten Mitsurugi-ryū or "High Heaven Style." The payoff of Kenshin's learning this ultimate sword technique (Amakakeru Ryū no Hirameki) instilled great tension in viewers on its own, knowing that it was being learnt in the first act of the film. Seeing it realized in a live-action format during the final moments of the duel against Shishio was impressively satisfying. With the viewers knowing that it would soon be unveiled, the moment Kenshin executes this sacramental technique put audiences in awe of the hero slow sheathing the Sakabatō and holding his exaggerated, sunk posture is a truly cinematic, nail-biting moment. While, there are certain characters in the ensemble who fall by the wayside, receiving only a short amount of screen time, the film is told with such assuredness of direction that it is easy to forgive those flaws. To say that the film is light in its narrative is to say the franchise of Rurouni Kenshin is light narratively. While that may or may not be true, these adaptations absolutely embrace and own the elements of its source, thus elevating it from feeling as if you're witnessing yet another parable of a hackneyed renegade hero, by uniquely subverting its characters. The Legend Ends is one of the best action films of the last decade, satisfyingly concluding what may possibly be the greatest martial arts trilogy, and contains what is arguably the best sword-based choreography ever committed to film. The finale is far more poetic than the others - philosophical, even - and it's no poorer for it. It doesn't really work as a stand-alone film, though, so it needs to be considered as an extension of its predecessors, and in that context, it's brilliant.

Amavise *SPOILERS AHEAD*Firstly, I grew up with the original manga series. It was one of the first tastes of Japanese media I ever had and, 10+ years later, it is still a series I hold very closely to my heart. When I heard a Japanese live action was being released, I had my doubts. Still, I was excited to see a real life Kenshin on the big screen. The first movie I could excuse many of the missing plot pieces, I found it far to reminiscent and enjoyable. The second movie...well, my worst fears for this mini-movie series started to come true. Here we are at the final installation and all I could do was say, "ARG" and compliment it with a deep, highly disappointed, sigh. If you haven't read the original manga, or watched the Rurouni Kenshin TV series, I can see where folks might think this was a pretty fun romp through a period piece world. Who cares that character development and common sense went out the window! There was flashy sword fights and explosions. YEAH! Unfortunately for a die hard fan, the well choreographed sword play and cast just wasn't enough to save it. Here are my gripes and likes for this film:First, what I liked: -Takeru Satoh as Kenshin Himura was, hands down, the PERFECT choice. -Though repetitive and poorly placed at times, the music was fun. -All of the sets and places our characters visit really felt natural and well done. -Let's face it, the flashy sword fighting was superb. Very big thumbs up on the choreography. -The Shishio fight was a tad over dramatic, but it was the one point in this movie that I found kept me on the edge of my seat. Plus, key elements of the original story were where they needed to be. -Seta Sojiro was one of my favorite villains, I'm glad he got the screen time he did. Although, I *really* wish they had done away with the screen time of the other Juppongatana (who barely made any worthwhile appearances, anyways) for more depth to be allowed to his character. -Saito Hajime, in my opinion, finally got the bad ass screen play he needed. I was afraid for his character, after the whole chandelier fiasco... -Hiko Seijuro, well cast and well played. I especially enjoyed the flash backs that added a little more depth to both Kenshin and Seijuro. -Megumi Takani, in my book, to be the next best portrayed character. What I disliked: -Lack of character development in far too many characters. -What did they do to Kaoru's character? These movies made her into the stereotypical weak little girl she fights so hard in the original story to *not* be portrayed as. Kidnapped twice. Comatose. Heck, I was waiting for her to get amnesia or something else totally out there. -Yahiko? Who's that? Oh, he was that little kid that showed up every now and then... -Sanosuke. I realize in the manga he had goofy moments (they all did) but they turned him into an underplayed comic relief. Who uses the same fighting moves over and over and over again each fight. It gets old. His was another character I thoroughly enjoyed getting to know in the comic. -Aoshi, need I say more? His story was flimsy and, quite honestly, unnecessary by the third movie. They either should have left his character's story in tact (could've easily been done), or left him out period. -Poor Seta Sojiro. His entire backstory was whittled down to one nonsensical line read off by the monk Anji. As far as the movie goes, his mental break down (if that's what you could call what happened) made him look ridiculous. I didn't feel anything for this fight. Sure, you could argue his "weak vs. strong" mantra was appropriate, but coming out with no build up or reason left this scene lacking. Terribly. -The Purgatory. Maybe they left the ship in there to act as a better "final stage", I could live with that. But taking it from Kyoto, which held very dark memories for the former assassin Kenshin, and moving it to Tokyo? Why? To what point? The ship never lived to sail out of Kyoto, originally. If anything, it should have stayed in Kyoto. And don't even get me started on the sudden blind eye Shishio turned to the police who were building a defense within visible distance of his ship. That whole relationship with Shishio and the police was ludicrous. -Shishio's fighting style. They didn't really explain why his sword kept bursting into flame. -Kenshin's scar. They explained what happened to give him one side to it (via repetitive scenes that really didn't need to be shown 4-5 times), but never delved into how he came to get the cross shape. Maybe this is a subtle hint of a fourth, and final, film? One could argue the origin of the scar doesn't surface until far later in the original series...Those were my biggest pet peeves. Considering they left plot holes and unfinished story, I'd say they've made room for at least one more film. What I would like to see is a mini-series (TV or otherwise) to tell the origin story of the Hitokiri. For those out there who are curious, you can watch the OVA called "Samurai X". It's only 4 episodes. I recommend either watching the complete "Rurouni Kenshin" TV series or reading the original comic, in addition to Samurai X. These shed a much needed light on characters and succeed at telling a masterful samurai story.

moviexclusive I'll say this first – die-hard fans of the manga series would probably not like the movie very much.Well, book fans rarely go gaga over movie adaptations, deeming it inferior to the original due to the lack of detail most of the time. That said, it is lacking detail, and there is changing the storyline until it feels like a different story but with the same characters and a vague resemblance to the original plot.I might be exaggerating, but for a self-confessed Rurouni Kenshin fan, it sure felt that way for a good part of two hours. Picking up where Rurouni Kenshin: Kyoto Inferno left off, Rurouni Kenshin: The Legend Ends launches itself straight into the plot. With Shishio Makoto (Tatsuya Fujiwara) advancing to Tokyo and threatening to take over the country, the weakened Himura Kenshin (Satou Takeru) must dig deep and find out how to defeat him, and fast. And in a stroke of good luck, who else to find him washed up from the sea but his teacher, Hiko Seijurou (Masaharu Fukuyama).Despite the deviation from the original manga, the plot does retain some part that require the audience to have read the manga to fully enjoy. For example, the self-sacrifice required behind the ultimate technique of the "Flying Heaven Honorable Sword Style", and the backstory behind Sagara Sanosuke and "Ten Swords" member, Anji. This lack of information does not take away anything from the plot, but it does seem lacking in some sort without these intricacies.Like the first and second Rurouni Kenshin movie, what the Legend Ends uses to sell itself to non-readers of the manga is probably the sword fighting sequences in the movie. To get to that, however, the audience must sit through 1.5 hours of dialogue with almost next to nil actual fighting scenes. This could be to make up for the lack of character development in Kyoto Inferno, where it was sacrificed for the action sequences. From the dialogue and non-fighting parts, we learn about Kenshin's past, before he was picked up by his teacher, the callousness of the Meiji government, and in general, a lot more evil laughing from Shishio. That is fine for people who want to learn more about the characters and their motivations. But for action fans, I suppose it would be boring. On the other hand, what was not explained was the backstory behind Sojiro's childhood, and how he became with cold, smiling right hand man of Shishio. That would have taken up more time, but it was the most memorable backstory in the manga, in my opinion.And finally, after the huge buildup to the main fight – Shishio vs. Kenshin – the fight disappoints. Perhaps it is due to the need to rush through things, due to the time taken up by story and character development. Perhaps we were desensitized by the other fighting scenes. Or perhaps it is the four versus one (blasphemy!) to wear Shishio down. But Kenshin's supposed victory over Shishio did not seem conclusive.As a whole, the film accessible to all audiences, fans or non-fans of the manga alike. No prior reading is required, although watching Kyoto Inferno before this movie would be recommended. Also, with the Shishio arc in the manga spanning across multiple volumes, the Rurouni Kenshin movies do a decent job in condensing the story to make it suitable for theatres, so kudos for that.

tinulthin Rurouni Kenshin: The Legend Ends (aka Rurouni Kenshin: Densetsu no Saigo-hen) corrects two mistakes committed in the first half of this two-part conclusion to the Kenshin story: Exposition has been dropped to zilch, and instead of a series of tension-free one-vs-all rumbles, every fight is a one-on-one nail-biter.That said, between all the engaging fights, the film falls into the Dragonball abyss of story stagnation. Makoto Shishio (Tatsuya Fujiwara) has assembled an army—and a massive ironclad battleship bursting with cannons—to overthrow the Meiji government. The only thing standing in his way is a bunch of screenwriters who've realized, "Oops, he's won—better make him arbitrarily change his mind or the movie's over." Enter the Pause Zone, where the formerly brutal assassin decides to hold off his attack until the titular Kenshin (Takeru Sato) is caught and executed by the authorities in Tokyo. Never mind that Kenshin was last sighted off the coast of Kyoto and might well be dead—it's time for everyone to sit around and wait. And wait. And wait.Kaoru Kamiya's (Emi Takei) entire contribution to the film is to be asleep and then wake up. Sanosuke Sagara (Munetaka Aoki) is relegated to watching Kaoru be asleep and then wake up. His only contribution comes in the last act, at which point he essentially rehashes his big semifinal fight from the first Kenshin movie in 2012. It's fun, but it's not much of a payoff when you've seen it before.Kenshin spends much of the film on the Japanese version of Dagobah with his master, Hiko Seijuro (an effective Masaharu Fukuyama), in an effort to up his game after being defeated by Shishio and Sojiro Seta (Ryunosuke Kamiki) in the last film. The extended, artfully choreographed stick-vs-sword pummeling opens up some well-earned character development—as well as a few wounds—and could have formed a strong core to the story if the filmmakers had been able to restrict themselves to a single central character.Sadly, none of the other characters gets to develop so much as a hangnail. Shishio's myrmidons, the Ten Swords (Juppon Gatana), are each given a single line of motivational justification narrated by a fist-fighting monk, and few get to express anything beyond fashion sense. Sojiro suffers most: the breadth and implication of Kenshin's anti-killing philosophy have been so thinly established—and Sojiro's background so hazily sketched—that their final conflict, while a thrillingly tight sword-and-grapple affair, has no emotional stake, and Sojiro's subsequent breakdown lacks context or justification. And woe be to those who question the purpose of any of the action: Aside from Kenshin's meeting with his master, the entire trip from Tokyo to Kyoto is revealed to have been entirely unnecessary, as the finale takes place back in Tokyo anyway, and the entire cast could have just waited at home. Aoshi Shinomori (Yusuke Iseya) could have been written out of the script entirely. His fight with Kenshin is poignant, but only serves as a speed bump on the way to a conclusion that has been sitting static since the opening act.Most unforgivably for a film that has tried to be gritty and political, the setup for the finale is simply preposterous. In the previous film, Shishio had such superior intelligence capabilities that he was not only able to assassinate a government official in transit, but also make it look like the work of another group. In this film, he is somehow completely oblivious to the weeks-long construction of half a dozen cannons on an exposed hilltop within sight of his ship—which inexplicably sits stationary in open sight the entire time. Blackmailed into action, the Meiji government announces a public execution for the captured Kenshin (the capture is delightful, but the sudden appearance of fifty cops is about as believable as Charlie Chaplin). The execution is to be held not in a secure location, but on the beach alongside Shishio's ship. Considering that it's revealed that the government is (spoilers!) planning to betray Shishio—a plan that will surely result in the shelling of the beach—why invite the public to an impending war zone? And if the government's entire purpose in executing Kenshin is to save face, why then allow the public to see that it's clearly Shishio's men, and not the government, who are in control? We're not finished yet: When all hell breaks loose, a longboat full of cops immediately rows right up to the broadside of the battle cruiser—over open water, in broad daylight—without dodging so much as a shot. Much hay is made of the government's pusillanimity in firing on the battleship while the protagonists are still aboard, but the deck doesn't so much as wobble for ten minutes at a time when the heroes have a score to settle. Does the artillery crew just go to lunch? And why doesn't the ship just sail out of range? For that matter, why does Shishio's sword make fire? And where does Sadojima Hoji (Ryosuke Miura) go after taking that punch to the face? Is anyone keeping track? Suspension of disbelief is one thing; you can't just toss the established rules of a movie world out the window and expect the audience to blithely go along for the ride.And then, at the height of all this logic-free lunacy, something incredible happens, and even Aoshi's otherwise pointless existence is excused. The final ten minutes of The Legend Ends represent the most innovative and inclusive four-on-one fight to ever to grace the silver screen. An expanding cast of psychos, heroes and hellraisers piles on not one after another in clichéd action fashion, but in fully choreographed five-directional fury, with every fighter bringing his own style and character to the game. The sequence is simultaneously brutal, gripping and hilarious—exhilarating and mind-blowing. It's almost enough to make us forget all the sins committed on the way.Almost. Just don't ponder how Kenshin got the other half of his scar.