Tockinit not horrible nor great

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Marva-nova Amazing worth wacthing. So good. Biased but well made with many good points.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

WILLIAM FLANIGAN Viewed on DVD. Restoration = ten (10) stars. Director Hideo Gosha has conjured up yet another version of a samurai sub-cultural way of life in this 1964 photo play. The interactions between different food-chain classes of sword swingers and different/aberrant samurai honor codes within the same samurai class make for welcomed breaks between typical (more or less) slashing scenes. The plot revolves around three samurai who are torn between the plight of the down trodden (as usual) peasants (here the lowest of the low class from which these samurai seemed to have emerged (and would probably like to--but can not--forget) and the local rulers who pay slasher salaries. (What might make for a far more interesting script would be to explore how peasants managed to become skilled and educated samurai equal to those who have inherited samurai class standing). Acting is for the most part dynamic (and not role-based stereotypical--facial expressions are hard to forget), and directing/editing is first rate. Cinematography (wide-screen, black and white) and scene lighting are excellent. Music is a bit jarring, but otherwise OK. Subtitles seem reasonably close to the actual dialog which is a challenge to always comprehend due to the use of regional slang. Worth watching once. WILLIAM FLANIGAN, PhD.

PimpinAinttEasy Three Outlaw Samurai is a relentlessly thrilling Samurai movie full of twists and betrayals.After a title sequence with a bombastic score, the action begins almost immediately in this film. A wandering Samurai stumbles upon a hostage situation - a few pathetic peasants (not too different from the ones in Seven Samurai) are holding the daughter of an aristocrat hostage in the hope that he would waive taxes. After observing the bumbling peasants and their failed negotiations with the aristocracy for a while, the cynical Samurai decides to join the fight on the peasants side.While watching this film, it struck me that the Samurai attitude towards life is not too different from the cowboys in spaghetti westerns or protagonists in Noir thrillers. They are very cynical and are always watching how the situation unravels. But they often put their neck on the line in the end.The treatment and portrayal of women in this film is quite hilarious and politically incorrect.I liked the way the director balanced the different aspects of the film - the film is a mix of cynical tongue in cheek humor and relentless action while also foregrounding themes like samurai honor and the plight of peasants.The plot, like a Noir film is quite complicated.(7.5/10)

lokko53 A wandering ronin stumbles upon a mill building after finding a woman's hair pin. Inside three peasants have kidnapped the magistrate's daughter in order to seek justice on behalf of all the peasants. The cynical samurai schools the peasants on how to handle a kidnapping. The humorous but portentous beginning sets up the characters and action of the film.It is an entertaining chambara film, but there is lack of depth in terms of character study that set apart the best films. Nevertheless, it is a quality, skilled debut film by Hideo Gosha.During some of the sequences, the camera makes a well timed dutch tilt to present the action in the film. The action and suspense in the film is well choreographed as the upper hand changes during the first act. The action is restrained and purposeful which makes the fights much more compelling.SPOILERSIn this film we see the loyalty of two of the samurai to the peasants as a virtue despite all the hesitations on their part. Are they only defending the peasants because there are no better options for independent samurai? The third samurai works for the ruthless magistrate. He switches allegiances out of necessity when the magistrate places a price on his head.Part of the film looks at class warfare as the magistrate hoards all the goods and the peasants starve. The film does not fall into romantic view of the struggle which is what sets it apart from other films. In the end, the peasants are too afraid to take action and risk their lives in the name of justice. They are unwilling to present their demands to the Lord of the magistrate when he visits. When people cannot take their own fate into their own hands, there is not much that can be done for them. The daughter of the magistrate develops empathy for the plight of the peasants, but also remains deeply loyal to her father in their family bond. The magistrate is the only two dimensional character. He is ruthless and ready to betray anyone in his way. In some regards, the number of betrayals by the magistrate in the film detract from the possibilities of greater character development as his own character.I loved the dust blown by in several sequences that make the locales of combat come across as much more desolate and rugged.Nevertheless, this is a great film for lovers of samurai films who wish to delve deeper than the typical popular films.

shinobirastafari This one is Gosha's first directorial attempt, and what a debut! Though some of the performances are occasionally a bit overwrought, there are also many instances where Gosha reveals his sense of the camera. Of course, there are Gosha's typical studied camera angles and compositions (you see some interesting "moving camera" work, which significantly predates the attempts of "pioneering" US directors). However, "Sanbiki no samurai" also showcases Gosha's ability to tell a story through facial expressions, rather than simply relying upon dialogue.This is all film-school wankery. The bottom line is that "Sanbiki" is a gripping chambara flick, with a solid morality tale disguised as a cynical amorality tale. (Note that a common theme through many Japanese "chambara" is that of cynical ex-samurai who ultimately decides to risk life and limb for some hopeless but noble "little guy" cause.)This theme was repeatedly, um, emulated by the likes of Sergio Leone with his spaghetti westerns. However, my point is that such tales are just plain entertaining. The three actors playing the samurai also turn in great performances. Viewers new to Hideo Gosha may wish to start with "Goyokin" or "Hitokiri" (a/k/a "Tenchu"), but if you've seen those two already (or if they're already checked out), then this is still a definite movie to catch!