Rating: 
Summary: fantastic film making, but idealized japanese value!!
Review: The Last Samurai is a great pieace of film making, the battle scenes and actings are superb!!! and even as a chinese, i was touched by the spirit of Samurai, how much "Honour" means to them.I do agree with some of the stuff in the film, "when they wake up in the morning, everything they do, they try the best they can.......there is something special about this place". that is the spirit japanese have, and one of the reason Japan become such a strong nation. However, It's also the spirit turned them to evil! they think they want to be the best, and want the honour....then they have the right to KILL. what Japanese did to China and other asian countries during the second world war is just unforgivable!!! (in China, they once killed 300,000 people in one city, and they felt they were honoured. still, they think what they did was right, and never apologied for the war!) I regard this film as a great entertainment! but i am not so sure the Samurai spirit it portrayed, and the perception it would give to the audience who didnt know about the pieace of history.
Rating: 
Summary: The Last Samurai
Review: Ive never been much of a Tom Cruise fan untill i went to see this film. What can i say but an all action film just brilliant tom should win an oscar.
Rating: 
Summary: An American in Japan
Review: Set in 1870's Japan, "The Last Samurai" is most effective when it sticks to the harsh realities of its blood- soaked battle scenes and avoids the softening effects of its two-bit philosophizing. Tom Cruise is stoic and stolid as Nathan Algren, a former captain of the United States army who is having trouble coming to grips with the part he played in slaughtering a village of innocent American Indians. Now drifting aimlessly through life, Algren disinterestedly agrees to go to Japan to help train its military in the ways of modern warfare so that the nation's leaders can take on and destroy the sole remnants of the samurai forces who are still using swords as weapons. Once he is captured by the "enemy," however, Algren falls under the spell of the Samurai Code of Honor and switches his allegiance in battle, ending up fighting with the samurai (whom he views as the equivalent of "Indian underdogs" in the struggle) against the people he was brought over to train. The film, thus, becomes a study in redemption as this one man attempts to find his place in the scheme of things and to erase the life-crippling guilt of his past actions. Director Edward Zwick, who made one of the best war films of modern times ("Glory"), has had less success here, mainly because he stacks the deck so shamelessly in favor of the samurai that we can't help feeing manipulated all throughout the film. In many ways, "The Last Samurai" is as guilty of one-sidedness as those old time Westerns that used to portray the Indians as faceless savages and the White Man as noble adventurers and heroes. Each perspective seems equally unhistorical and phony. It's hard for us to see much meaning in Algren's redemption when the people he is following spend much of their time garroting themselves and chopping off one another's heads. And all the talk about "honor," "shame," the beauty of cherry blossoms and getting in touch with the inner self through a zen-type lifestyle don't amount to too much when we stand back and realize that the samurai were basically bloody warriors who often terrorized the general populous with their acts of brutality and violence. The makers of the film want us to see a vast moral chasm separating the samurai from both the Japanese military and the evil American colonials who support them, but it is, ultimately, a distinction without a difference. So when we are asked to cheer on Algren and his compatriots in battle or weep over their fate, the movie loses its grip on us in a major way. The film becomes just another case of glorifying and romanticizing a way of life that we somehow suspect was a bit less noble and honorable than we have always been led to believe by the countless movies on the subject. Technically, "The Last Samurai" is a mighty impressive achievement. In addition to the eye-catching vistas of rural Japan and a beautifully recreated 19th Century city, the film's large-scaled battle sequences have been stunningly mounted and executed - though the faint-of-heart should note that the body count on screen is enormous and the blood flows generously throughout. There are, also, some admittedly touching moments scattered throughout the film, though the Hollywood corn is never too far from the surface (particularly in Algren's romantic attachment to the wife of a man he killed). "The Last Samurai" is a joy to look at, but its unsubtle approach to its material and lack of evenhandedness make it far less meaningful and moving than, I'm sure, it both wanted and intended to be.
Rating:
Summary: Grand & Entertaining Epic. Mixture of History & Fiction.
Review: In 1876 Nathan Algren (Tom Cruise) is a Civil War hero who became disillusioned with politics and ideals during the Indian Campaigns, and then he became a drunk. An envoy from Japan offers him a job training the Emperor's first modern army, which will be used to suppress an army of Samurai who are rebelling against the Imperial government's modernizing agenda. Mired in self-hatred and disgusted by the irony that killing is what he does best, Algren declares that he'll kill anyone for $500 a month and sails for Japan. Against his better judgment, Algren leads an ill-prepared regiment of novice soldiers against the Samurai, and he is captured. The leader of the Samurai, Katsumoto (Ken Watanabe), treats Algren well, ostensibly so that he may learn about his enemy. And Algren grows to respect this imposing man and the ancient traditions of the Samurai that Katsumoto is fighting to preserve in the face of a rapidly emerging modern Japan. "The Last Samurai" is a terrific example of what Hollywood does best. It is a epic of legendary proportions. It sets the personal stories of a few heroic individuals against a sweeping and beautifully photographed historical background. It is a great story, but not a realistic one. It's a grandly entertaining myth. The Samurai culture is idealized. The characters speak not as real people would, but in moving and thoughtful monologues. Even when they are speaking to each other, they are actually speaking to the audience. But Hollywood does these larger-than-life tales like no one else, and "The Last Samurai" is epic filmmaking at its best. Tom Cruise is an obvious choice for such a large-scale project that requires that its cast have great screen presence so as not to be lost among the fantastic costumes and sets. Cruise's screen presence is up to the task, but I'm not sure his thespian skills are. Cruise's mannerisms are too modern for a man who grew up in the mid-19th century. But that is a minor flaw since "The Last Samurai" does not pretend to historical accuracy in its ideas, only in its environment. Tom Cruise is adequate here, but Ken Watanabe steals the show as Katsumoto, spiritual and military leader of the Samurai. His presence on screen is more than up to the film's epic proportions. I have rarely seen such charisma on a movie screen. He successfully embodies the concept of the warrior-poet in one character. I look forward to seeing more of Ken Watanabe in Western films, as well as Japanese. There are notable supporting performances from Koyuki as Taka, a woman who takes Algren into her home when he is injured and captured, and from Timothy Spall as a British translator. Much has been made of "The Last Samurai"'s playing fast and loose with history. This is a film that aspires to bring an engrossing and monumental story to its audience before it aspires to accuracy in detail. My knowledge of Japanese history is sketchy at best. But it appears that the larger events of "The Last Samurai" are based in fact, while the details have been invented to serve the story. The rebellion of the Samurai and its great battle with the Imperial Army in the film closely resemble the Satsuma Rebellion of 1877, in which the Satsuma Samurai, led by Saigo Takamori, engaged the Imperial Army. It turns out the way it did in real life, too. The film's Katsumoto is based on the very real Japanese hero Saigo Takamori, who helped usher the Shogunate out of power and restore the Imperial family to power before eventually leading an armed Rebellion against the Emperor on account of the policies of the Meiji Restoration, which instituted sweeping reforms intended to modernize Japan. The Meiji Restoration did make it illegal for the Samurai to wear topknots and swords, as we see depicted in the film. The government's Ministers did have more power than the Emperor Meiji, who served primarily as a symbol of national unity. So I would say that the political climate and the major events depicted in "The Last Samurai" are real, while the story itself is not. Writer John Logan has used this environment to tell a story about the personal journey of an American and the clash between modern realities and traditional cultures. "The Last Samurai" has often been compared to Kevin Costner's 1990 epic "Dances With Wolves". The two films are similar in that they are both about a disillusioned Civil War veteran who finds redemption and a sense of identity in a traditional culture that is on its way to extinction -or at least assimilation. But the Samurai were not harmless or innocent as the American Indians of "Dances With Wolves" may have been. The Samurai were politically influential and militarily powerful. And they were not marginalized after their defeat. Quite the contrary. "The Last Samurai" also departs from "Dances With Wolves" pacifist themes in asserting that the suppression of traditional cultures, by force if necessary, was necessary for Japan's survival in the modern world. I highly recommend "The Last Samurai" as an excellent example of signature epic filmmaking. It's a well-paced story that holds the audience's interest even at nearly 2 1/2 hours in length. Ken Watanable's performance is thoroughly enjoyable. The battle sequence is breath-taking and utterly spectacluar. It will even appeal to the martial arts crowd; there are lots of sword fights. It's a melange of history and fiction, but I see no reason to sweat the details since "The Last Samurai" isn't claiming to be anything more than that.
Rating: 
Summary: Pretentious movie with Hollywood romantizing unfound concept
Review: Samurai as good, honourable soldier who hold onto traditional value is like sharks in Finding Nemo who are vegetarian. It is totally FAKE. Samurai are in essense ultra-loyal soldiers for Japanese Emperior. Chinese and rest of Asia knows very well that these are people who kills civillians, children, women and anyone else if the Emperior ask them too. Modernise or not is just the weapon they take up, not the mentality they have. I am so sorry and angry that Hollywood have continued to romantize the 'Japanese value'. Don't you people knows Japanese soldiers were like NAZI in Asia in World War? Even worse, they never apologize for their wrong during the war. They portrait themselves as survivors of the atomic bombs, victims of the wars when they are the PREDATORS who invade other countries in the first place Why can they get away with this? That's because the West are so impressed by the Samuria code of HONOUR to realize it is exactly this code of unquestionable loyalty that cause so much suffering over Asia.
The Last Samurai may be an epic and Tom Cruise may have made Oscar worthy performance but would you honour a film portraiting how loyal Nazi was to Hitler or how English soldiers bravely killing Native Americans ?
Rating:
Summary: Suprisingly Astounding.
Review: When the previews first came out, I was utterly disgusted by the idea of the last samurai. Let me say, the previews do no justice. Nor does the heart-throb image of Tom Cruise. Yes, Cruise's name sold the movie. However, his acting also carried it. Of all the films I have watched this year (and I have seen most of the Oscar contenders), this was the first time I actually thought to myself "Wow. This guy is good." Tom Cruise is amazing in this film, as are the rest of the cast, most outstandingly Watanabe (Katsumoto) and Koyuki (Taka). To summarize: Cruise plays a post-civil war soldier who is hired by the Japenese Emperor as a battle advisor against the rebellions of the last remaining samurai. However, the American is taken hostage by the Samurai during a battle and soon befriends the Samurai village. The Last Samurai is a story of love, spirit, and, most of all, a sacred honor which guides us all. The battle scenes, while gruesome (if you're squeamish, you might avoid this one), were amazing. The cinematography is wonderful. However, the actors, the themes, and the BREATHTAKING score carry the film to a superb quality deserving of the highest recognition. Deep down, it is a feel good movie. Despite the death, the sadness, the lost hope, one ultimately cannot help but smile for the beauty of mankind. Never judge a book by its cover.
Rating:
Summary: A beautiful requiem for traditional warriors of all kinds
Review: Former Paramount studios chief Robert Evans used to call his holiday pictures "Christmas gifts to the world," and "The Last Samurai" is staged just so: Much of it is handsome, magnificent and morally decent, yet the movie is full of itself, in both solemnity and faraway gaze. Edward Zwick's latest giant is in need of a bit of exuberance to push it over into classic status, and the director never quite gets enough of it, and certainly not from star Tom Cruise, in permanent furrowed brow. Developed from an interesting story by John Logan, "The Last Samurai" concerns Capt. Nathan Algren (Cruise), a drunk, disillusioned cavalry solider in 1870s hired to train a "modernized" Japanese army defeat the legendary mountain samurais, whose "bushido" code of discipline has long defended the nation. The samurai are led by their last great fighter, Katsumoto (Ken Watanabe), fight by sword and bow, and have the fealty of the people. The upwardly mobile Japanese ambassador Omura (Masato Harada) has the ear of the young emperor (Shichinosuke Nakamura). Bushido code is such that Katsumoto would drop his sword if the emperor wished it so; until then, he leads charges against green Japanese troops. In one battle, pitched in the forest by fog light, he wounds Algren, captures him and ushers the captain to a mountain hideout to study his recovering enemy. The samurai village is beautifully realized; Zwick and cinematographer John Toll ("Braveheart") purposely create a utopia at high elevation. With a valley in the distance reminiscent of a fertile green ocean, Algren begins to adjust to the mood and practice of the warriors and prove himself worthy of it while kindling a romance with a samurai's widow (beautiful, expressive Koyuki). While Katsumoto may belong to an ancient order, he speaks English, displays a quick sense of humor and seeks to trade wisdom with Algren rather than merely dispensing it. His philosophy is unbending, but his moods aren't. Watanabe is so good because he plays against the expectation of the stern, authoritarian titan, and, with a smile, steals most of the scenes away from Cruise, who affects the broken man about as well as a naturally expressive actor can. Inevitably, Algren wins a few mock battles and stands beside Katsumoto during a midnight ninja attack, setting the stage for Algren's conflicted return back to his old post in Tokyo, then his subsequent change of heart that leads to fierce final battle between tradition and guns, played out in the valley we've seen from afar the entire movie. Four-act films are rare, but Zwick doesn't fight the built-in structure, uses it, in fact to cover all the political bases, punctuating the end of each with a clash of some sort. The ninja raid has a hint of Kurosawa, while the forest sequences echoes the Vietnam movies of Stone and Coppola. The final battle is a close cousin to "Braveheart" and deserves to be mentioned with it. Cruise and Watanabe worked the swords themselves, and betray no weaknesses. Zwick is a fabulous combat director, and considering the movie's scope, deserves a mention during awards season. "The Last Samurai" never quite reconciles what movie it prefers to be. It forces a romance between Algren and Taka, the widow, when there's no time to develop it. It tacks on a needless, uplifting epilogue to a naturally earth-moving conclusion. The movie errs on the side of being disconsolate, too, in portraying the one-dimensionally evil Omura and Col. Bagley (Tony Goldwyn), one of Algren's former superiors who enjoyed slaughtering innocents in Indian raids. Such stark lines of romance and villainy detract from the movie's underlying elegy of samurais courting death against the machines.
Rating:
Summary: The Samurai might be Last but not Least Entertaining
Review: I went to see the Last Samurai about a week after it came out. I seen trailers and commercials but it just didnt capture my eye. My friend saw the movie and was hypnotized. He said lets see it again. This would be my first time watching it but I assure you not my last. The Last SAmurai is one of the greatest movies I have seen. It is simply astonishing. It takes place in the late 1800's in Japan. Tom Cruise who plays the role of a American captain and war hero. He makes a deal with Japan to train there miltia to battle off the rebellion samurai. Tom Cruise plays an award winning preformance. Eventually Tom Cruise will have a chnage of heart and follow the ways of the samuria. Only at the end of the movie you will find out its revlavance to the title. Throught the movie audiaunce laughed many times. And im sure some cryed , because the movie simply touched my heart. It is an amazing movie and if you have a DVD collection you must add this movie to it. Do yourself a favor and go see the Last Samurai and you will recognize that it ranks empiral among other war movies.
Rating:
Summary: The best movie ever made and should easily win the oscar
Review: This movie was very very good. I did not think tom was a great person for the part, but when i saw it, he did fantastic. This movie is easily one of the best films ever made. One thing is that the movie keeps people interested. The characters are ones in which you fall in love with and the entire story does not get boring, non like master and commander which is so boring that nothing keeps u interested. This movie should win the oscar awars easily becuase it is the best movie made.
Rating:
Summary: Beautiful Film
Review: Sure, Tom Cruise as a hardened ex-American army officer and viciously skilled samurai warrior. That works. Of course, there was a lot of doubt hoisted on Cruises' ability to convey the ferocity and quiet determination of a Japanese warrior, but most people's fears should be allayed upon viewing this excellent film. While Cruise is the main force behind the movies quality and attractive story arch, he is supported by a satisfactory cast and a director who knows how to use the environment to his maximum advantage. Add an intriguing tale of a land and time foreign to many Americans and some truly impressive battle scenes, and you have yourself an enjoyable movie experience. Cruise plays Captain Algren, a veteran but embittered soldier who has fought against Confederates and Indians. He is sliding towards self destruction when he is offered a job to train the army of the Shogunate, the modern Japanese state that is beginning to emerge. Algren takes the job for the money, and soon finds his task an extremely difficult one. The samurai was extremely effective, and Algren is soon ripped from his command and taken prisoner by them. At first confrontational towards their leader, Katsumoto, Algren begins to soften as he better appreciates the quaint solemnity of the samurai way of life. Katsumoto, played with reserved elegance by Ken Watanabe, guides the American along. Predictably, of course, Algren becomes schooled in the art of the samurai himself, and soon sees the inherent evil in the modern power and weaponry of the new Japanese state. So, he seeks to counter them, including his mortal enemy, with his own knowledge of modern tactics. While they realize their cause is certain to fail, Algren and Katsumoto never shirk their duty, and are determined to resist to the end. By far the most striking aspect of the Last Samurai is the scenery and attention to detail. It is one of the most lavished designed environments I have ever seen in a movie, and director Edward Zwick takes full advantage of the natural beauty and splendor of his surroundings. The spectacle of the samurai themselves is really amazing to see, as their battle armor and their weapons are convincingly recreated. The story line lags a bit at points, and I found the ending to be ridiculous and forced. Other parts stretch the limits of credibility, but it is all in good fun, and the story does remain based in understandable themes. While I felt the thinly veiled Western civilization bashing was a bit overdone, I understood the point that movie was trying to make. The battle scenes are really tremendous, especially the final fight, which shows the deadly carnage that modern weapons can wreck on another force. A very good movie, not to be missed.
|
