|New Yorker Films | Release Date: October 6, 2000||CRITIC SCORE DISTRIBUTION|
Emblematic of the man's (Oshima) career: ironic, ambiguous, sublime.
Ripe with homoeroticism, but also with what the director — who made the film after recovering from a stroke a few years back — calls "the scent of murder."
Impressionistic and open to interpretation, which is a kind way of saying that there's no way to figure out the ending.
It's actually the surprisingly compelling plot and the often hilarious dialogue that keep you watching this tale of passion and murder in a Samurai militia unit - not the beautiful scenery or the elegant color palette.
The intriguing subject, unfortunately, collapses under too many talky scenes of the samurai discussing their feelings and gossiping about who loves whom.
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