There now exists a subgenre known as the Samurai Western; they were made for each other, as Kurosawa directly inspired spaghetti westerns, and now it’s come back at us like a kid’s boomerang in a post-apocalyptic wasteland. We’ve had SUKIYAKI WESTERN DJANGO, SIX STRING SAMURAI, SHANGHAI NOON and NIGHTS, and now we get cowboys, carnies and carnage with THE WARRIOR’S WAY. Written and directed by Sngmoo Lee, who’s IMDb resume includes only this film. So I’m calling him Schmoo for the entirety of his review, in case he does not actually exist.
Dong-gun Jang from the excellent Korean war flick TAE GUK GI: THE BROTHERHOOD OF WAR stars as the Yang, Greatest Swordsman of All Time Ever, as we are told in glittering Comic Sans. We see him pose dramatically after slicing apart a dozen warriors in a few seconds, and he finds the treasure they are guarding is a baby girl, the last of the enemy clan. He cannot kill her, so his assassin’s guild- the Sad Flutes- vow he will die. He flees to the mythical American West, and comes upon a ghost town that a group of Carnies have chosen to build a Ferris Wheel in, hoping to lure pioneering tourists to the middle of the desert. It’s like Vegas, built by extras from “Deadwood” and “Carnivale.”
The movie keeps us interested by having an absurdly comic tone, from Yang carrying the baby girl like a shopping bag to how he kills innocuous-seeming bystanders, only to have assassin’s weapons fall out of their hands after they collapse. There are references galore, from Lone Wolf & Cub, to John Woo, and more, but they never feel like cribbing. Yang strolls into town, Walkin’ the Earth like Kane in “Kung Fu,” as lone killers are wont to do. We meet Geoffrey Rush as the Town Drunk, Tony Cox as the midget ringmaster who’s quick to crush someone’s nuts in his hands, and Kate Bosworth as Jesse the Cowgirl from TOY STORY 2, at least at first. She manages to mellow out into less of a caricature, but still has plenty of fun with their role. Rush is very memorable as the drunk, staggering around in his pajamas and getting the best lines.
|The closest you get to boobs in this R rated bloodless film.|
The wild west equivalent of a post-apocalyptic wastelands motorcycle gang rides into town on horses, like they have once before; Kate has a score to settle with their leader, and Yang can’t draw his blade without alerting his Sad Flutes to his whereabouts. But you know he’ll have to, and thank goodness he does. That’s when we get to see six guns versus samurai swords, and it’s a lot of fun to watch how they make it less one-sided than it seems. The town drunk is of course a great gunslinger; they nod toward BLAZING SADDLES
some more with how they use dynamite. It’s not long before blood, explosions and gunplay light up the town, and we get to settle that childhood bet, who kicks more ass? Toshiro Mifune or Clint Eastwood?
The director makes great use of his bizarre set, with merry-go-rounds and circus freaks and clowns fighting against masked marauders with a Gatling gun and ninja swordsmen. It’s a lot of fun to look at when the overuse of CG doesn’t get in the way. I have made peace with CG blood after @AxelleCarolyn on Twitter- better known as the smokin’ hot killer Pict babe from CENTURION– told me how much money it saves independent productions. But I noticed CG cowboys climbing the Ferris Wheel, and CG swordsmen in black leather all over the place. It really stood out and made it look like anime at times, which I know the story owes a lot to, but it was very distracting from a very fun film.
3 out of 5 midgets with specially designed spiked gloves for crushing your nutsack
© 2010 Tommy Salami