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Review: Pom Wonderful Presents: The Greatest Movie Ever Sold
Reviews
The Hidden Blade
It's a good thing to have
By
BRETT MICHEL
|
July 12, 2006
THE HIDDEN BLADE
" alt="photo of 'THE HIDDEN BLADE'">
3.0
Stars
The Hidden Blade
Seventy-four-year-old Yoji Yamada has spent years churning out slapstick comedies (48
Tora-san
films), but he was unknown stateside until two years ago, when his tender drama
The Twilight Samurai
quietly cut through the Hollywood hyperbole of
The Last Samurai
. An adaptation of three stories by Shuhei Fujisawa, Yamada’s first period drama portrayed a poor samurai struggling to maintain his family life amid unavoidable swordplay. This film, an adaptation of two Fujisawa stories, reflects a similar, slightly dulled tale. During the era’s twilight, conflicted samurai Katagiri (
Mystery Train
’s Masatoshi Nagase) grapples with the transition to Western warfare and his hidden feelings toward lower-caste maid Kie (Takako Matsu) — plus more unavoidable swordplay. Once more the hero attempts to carve out a simpler way of life. He may get it; it helps to wield a hidden blade.
|
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ARTICLES BY BRETT MICHEL
REVIEW: FOR GREATER GLORY
| May 29, 2012
Bring coffee, because director Dean Wright's dramatization of the 3-year-long Cristero War (1926-9) seems to last longer than the Mexican conflict itself.
REVIEW: GIRL IN PROGRESS
| May 15, 2012
As rites of passage go, Girl in Progress is a step backward for the genre.
REVIEW: FIRST POSITION
| May 10, 2012
While not the most probing look at rising stars, Bess Kargman's documentary focuses on six aspiring contestants preparing for the prestigious Youth America Grand Prix competition (a proven entry point into the world of professional ballet) who demonstrate dazzling talent.
REVIEW: THE BEST EXOTIC MARIGOLD HOTEL
| May 03, 2012
Filled with Indian (and British) clichés, it is nonetheless a pleasant diversion that doesn't involve special effects or 3D glasses.
REVIEW: BLUE LIKE JAZZ
| April 12, 2012
A faith-based film directed by Christian recording artist Steve Taylor, adapted by Taylor and Donald Miller from the latter's 2003 memoir, this micro-budgeted indie tries to appeal to everyone by not offending anyone . . . except those who like movies.
See all articles by:
BRETT MICHEL
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