I did like seeing Emi Takei as Kaoru get a few decent action sequences of her own, if not as spectacularly so as Takeru Satoh’s scenes. Tekeru Satoh’s performance as Kenshin remains superb, and I shudder to think how hard he had to work for those action sequences.
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The action sequences are at least as well choreographed as the first film, and the cast continue to deliver solid performances. Well, The Legend Ends delivers a suitably epic finale. Between them Kyoto Inferno and The Legend Ends have a tight, well-paced, story that rarely lets up on the action, and delivers a suitably epic finale. Shooting took a total of six months - one month over schedule.In this case the editing worked well. To defeat Shishio, will he finally break his vow and resume his lethal ways? You already know the answer, don’t you? See Part 2.įun fact: The entire process of making the two-part “Rorouni Kenshin” sequel - from planning to completion - took 20 months, with a total production budget of ¥3 billion.
RUROUNI KENSHIN KYOTO INFERNO ED FREE
Kenshin is scarred by his dark past and not entirely free of it. The film, though, is not simply a tale of good versus evil.
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This opponent, we see, will be Kenshin’s toughest yet, in everything from his implacable will to his martial-arts skills. All you need is one good look at Fujiwara, the go-to bad guy of Japanese films, as the bandaged and scarred Shishio, glaring and growling with pure, undistilled malice. In its broad outlines, though, the story is easy enough to understand. If this is beginning to sound confusing, you may be, as I am, a relative newcomer to the Kenshin universe. Among those trying to thwart him is Shinomori Aoshi (Yusuke Iseya), a saturnine former ninja leader in the service of the Shogunate, whose sword technique rivals Kenshin’s. There he finds allies in Kashiwazaki Nenji (Min Tanaka), aka Okina, an elderly former Shogunate spy who is now running an inn Makimachi Misao (Tao Tsuchiya), a frisky young female ninja under Okina’s care, and Saito Hajime (Yosuke Eguchi), a tough chain-smoking police official. Despite the protests of Kaoru and the doubts of Sanosuke, Kenshin decides to make the fateful journey to the former capital, now a hotbed of rebellion. Kenshin hesitates, but an outrage committed by Shishio’s grinning young henchman Seta Sojiro (Ryunosuke Kamiki) and his band of killers changes his mind. Okubo asks Kenshin to go to Kyoto and stop Shishio Makoto (Tatsuya Fujiwara), the above-mentioned ex-assassin, who is plotting a coup d’etat against a government he feels has betrayed him.
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One day Kenshin is called from his labors as a teacher at Kaoru’s dojo by a government official and, together with his sidekick Sanosuke, is ushered into the presence of home minister Toshimichi Okubo (a real-life figure, played by Kazufumi Miyazawa). With the advent of a new, more peaceful era, however, Kenshin resolved to never kill again, and now carries a sword with a reversed blade that he uses to stun his opponents, not draw blood from them. Kenshin, for those late to this particular party, is a smooth-faced, softly spoken master swordsman who, in the chaotic last days of the Shogunate, came to be known as Hitokiri Battosai (roughly, “Sword-drawing Manslayer”) for his deadly skill as an assassin.
RUROUNI KENSHIN KYOTO INFERNO ED MOVIE
The story, about a bitter ex-assassin’s attempt to overthrow the new Meiji Era government in the 19th century, takes a sharp turn to sheer fantasy, a la “Abraham Lincoln: Vampire Hunter.” That is, it’s a movie for those who know their samurai mostly from games and comics, not real history (with which traditional jidaigeki, admittedly, take considerable liberties). Which is not to say that the film is an old-school jidaigeki with more extras (5,000 to be exact).
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They maximize the impact of the many sword-fight scenes with crisp pacing and cool, inventive moves, while keeping a rein on the sort of eye-blink cuts and eye-candy CGI effects that drain so many action films of anything resembling realism. What makes this sequel and its predecessor different from the jidaigeki that have recently sunk without a box-office trace? One thing is how director Keishi Otomo and action choreographer Kenji Tanigaki, a disciple of Hong Kong martial arts star Donnie Yen, handle the on-screen action. Rurouni Kenshin: Kyoto Taika-hen (Rurouni Kenshin: Kyoto Inferno) Rating