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A young man heeds the call of adventure in Yoshinari Nishikori's Tatara Samurai, leaving his idyllic village to become a soldier. He soon has second thoughts — but violence is coming his way, like it or not, in a movie that sometimes echoes its hero's ambivalence by toying with viewers' expectations of swordslinger cinema. Genre fans should respect the picture if not embrace it wholeheartedly, but history buffs will find something to appreciate as well in this 16th-century tale. Gosuke (Sho Aoyagi) comes from a family of men who make steel. Their village, Tatara, is renowned for the quality of that steel, whose strength is prized for swordmaking; its resistance to rust will make the commodity even more valuable as guns become a central part of warfare. With that transition beginning and clans battling each other nearby, Gosuke realizes that peasants are less bound than usual to their roles in feudal society. "Now is a time when anyone can move up," as one man puts it. And joining the ranks of Lord Oda's army is one path to a samurai's wealth and status. He says goodbye to his fiancee, breaks his father's heart and leaves. Dazed by his first serious encounter with carnage, Gosuke is told that he should return home and "embrace your destiny" as a metalworker. The readiness with which he agrees is a little puzzling given how eager he was to become a samurai, but this is a film that often leaves characters' motivations obscure, at least to a Western viewer's eyes. That can be frustrating on occasion, but it works well in the case of Yohei (Masahiko Tsugawa), an aging merchant who wants to convince Tatara's mayor to sell him steel for gunmaking. Soon after Gosuke's return, Yohei arrives with the news that Lord Oda intends to attack the town and take what he needs. He offers the town guns, mercenaries and training to defend themselves; though villagers argue about taking this sort of help, the die is cast as soon as one of them has his first experience firing a musket. If the film's first half didn't hew to the hero's-journey template we expected, neither does this section turn out to be a Seven Samurai-like tale of outsiders helping peasants defend themselves. Sinister things are afoot, and one happy consequence is that the dramatic burden ceases to fall exclusively on Aoyagi, who performs creditably but has a hard time expressing the character's interior conflicts. One of Gosuke's friends, Shinpei (Naoki Kobayashi), has a spark he lacks, but the film doesn't make the best use of the actor when Shinpei gets involved in third-act intrigue. Akira Sako's photography makes good use of very beautiful landscapes, lending weight to the script's talk of tradition and pride in craftsmanship. Though hardly a heart-thumping action pic, a few scenes of swordplay make the most of that precious Tatara steel.
Yoshitsune Minamoto, disguised with his retinue as monks, must make do with a comical porter as their guide through hostile territory en route to safety.
The Quartzers, calling themselves the Wardens of Time, appear after Sougo Tokiwa has collected all of the Heisei Era Ride Watches. A grand conspiracy behind the birth of the King of Time becomes ever clearer...
Lee Cantrell, a young San Francisco attorney by day, at night becomes a samurai warrior, and battles a crazed multi-millionaire who is planning to destroy the city with an earthquake machine.
In the midst of an industrial revolution, the people of Hinomoto fight hordes of undead creatures, known as Kabane, using powerful armored trains. (Compilation film of the first half of the original TV series.)
In the midst of an industrial revolution, the people of Hinomoto fight hordes of undead creatures, known as Kabane, using powerful armored trains. (Compilation film of the second half of the original TV series.)
A nameless ronin, or samurai with no master, enters a small village in feudal Japan where two rival businessmen are struggling for control of the local gambling trade. Taking the name Sanjuro Kuwabatake, the ronin convinces both silk merchant Tazaemon and sake merchant Tokuemon to hire him as a personal bodyguard, then artfully sets in motion a full-scale gang war between the two ambitious and unscrupulous men.
Down-on-his-luck veteran Tsugumo Hanshirō enters the courtyard of the prosperous House of Iyi. Unemployed, and with no family, he hopes to find a place to commit seppuku—and a worthy second to deliver the coup de grâce in his suicide ritual. The senior counselor for the Iyi clan questions the ronin’s resolve and integrity, suspecting Hanshirō of seeking charity rather than an honorable end. What follows is a pair of interlocking stories which lay bare the difference between honor and respect, and promises to examine the legendary foundations of the Samurai code.
Kanichiro Yoshimura is a Samurai and Family man who can no longer support his wife and children on the the low pay he receives from his small town clan, he is forced by the love for his family to leave for the city in search of higher pay to support them.
Forced on the road by yakuza obligations, a man sets out on a reckless journey to Tsumagoi. Movie posters for local cinemas were often displayed at sento (public baths) too. The handwritten text on the bottom here announces the film will play at Hassen for 3 days.
A nameless gunfighter arrives in a town ripped apart by rival gangs and, though courted by both to join, chooses his own path.
When a powerful new Makamou attacks and defeats Hibiki, Asumu dives into Takeshi’s history and discovers a book that details the ancient Oni and a boy sharing his name. As he reads on, he learns of the tensions between humans and Oni as they struggle to stop the Orochi Makamou, but will he discover the key to defeating the new Orochi in the present?
