In line with many a franchise seeking to capitalize on its popularity by stretching its presence as much as possible – thank you, the number-crunching minds behind The Matrix, Harry Potter and Twilight – Rurouni Kenshin‘s producers have elected to break the series’ grand finale into two back-to-back films (each of them clocking in at way over the two-hour mark). Somehow, it’s also another set of modern values – that of the 21st century commercial film industry, that is – which pose problems for Otomo and his screenwriter, Kiyomi Fujii.
#SUBTITLE RUROUNI KENSHIN KYOTO INFERNO SERIES#
Loyal at least to the spirit from its source material – the subtitle of Watuski’s comic-book series translates as “the romantic tales of a Meiji-era swordsman” – the Rurouni Kenshin films are all about their protagonist’s moral dilemmas as he struggles to reconcile his past as a cold-blooded killing machine with new personal and political circumstances, with Japan’s new ruling elite ushering in supposedly modern social values and structures. Then again, the strength of Keishi Otomo‘s adaptations of Nobuhiro Watsuki’s wildly-popular samurai manga – the first of which was released amid fanfare, favorable reviews and ringing tills two years ago – has never been blockbuster-level pyrotechnics. What Rurouni Kenshin: Kyoto Inferno provides as its climax is just villains rolling a three-story-high juggernaut of burning haystacks down a lackluster street of low-rises.
First: those who expect swordsmen fighting to the death as Japan’s old imperial capital goes up in VFX-assisted flames, prepare to be disappointed.
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