47 Ronin: The Sabre of Vengeance.

A Disappointing Sequel: 47 Ronin: The Sabre of Vengeance.

Some films in the history of cinema are shrouded in mystery. A work that would be visible only in the morning despite the wind and rain. 

The 47 Ronin: The Sabre of Vengeance is one such film, with only one obstacle that it couldn't overcome. However, the idea of a sequel to one of Universal's biggest failures, 47 Ronin, is a form of poetic absurdity.

 Despite the project's straightforward nature, it has consistently hindered any chance of success. The only true bright spot in the project was Keanu Reeves, who was always charming despite a less than stellar performance. Fortunately, The Sabre of Vengeance has the clever idea to start fresh.

The Story:

The story picks up 300 years after the previous film, with no returning characters. It can be enjoyed without having seen the first film. The use of the same name is questionable as the intention is to move away from the original story. Ron Yuan, known for his work on set design in the Chinese portion of Step Up, will be directing the film. 

He has also worked on action films such as Joker, Revenge City, and Bad Country, giving reason for confidence in his ability to deliver an action movie. The end result of the choices made resembles a poorly executed television show with no effort to create a believable setting. 

If the aim was to replicate the artistic direction of the John Wick story, more thought should have been put into adding positive elements rather than relying on the hope that an aesthetic miracle would occur.  Additionally, the film's formal execution is weaker compared to other amateur films.

Regarding casting, it is difficult to identify standout performances, as all the actors seem to be competing for the best AVC on screen. Unfortunately, Anna Akana's character is not well-received, while Mike Moh's portrayal of Bruce Lee, inspired by Tarantino, has been well-received and even won an Oscar for best performance.

The film 47 Ronin: Sabre of Vengeance showcases impressive free-running characters, creative camera angles, and thrilling interlopers. Of particular note are the three dancers featured in a nighttime sequence who appear trapped in a temporal hellhole. Despite its ambition to blend action, horror, and cyberpunk elements, the film ultimately fails to effectively execute any of these genres. 

The cyberpunk elements, in particular, are limited to a few hologram incrustations set to techno music, providing a glimpse of what might have been a more compelling take on the genre. Overall, the film falls short of its goal to be a unique blend of genres and comes across as a poorly executed soap opera.

The combination of action and commercial art does not always result in a better film. While the pool workout sequence may provide some entertainment value, it does not make up for the film's lack of a coherent narrative. Despite the film's attempts to depict violence, it is not any more violent than a typical episode of the children's cartoon Babar.

47 Ronin: The Sabre of Vengeance appears to rely heavily on the "ninjasploitation" trope, which has not evolved since the 1980s. The film's costumes, artistic techniques, and philosophical quotes, while memorable, fail to elevate the film. 

One example is a monologue on the art of eating ramen that is reminiscent of American Ninja, but ultimately falls short. Despite its flaws, it is a nostalgic pleasure to watch the film's actors wander the streets of Budapest while discussing ancient wars between ninjas, savages, and sorcerers.

The film, 47 Ronin: The Sabre of Vengeance, returns to the familiar narrative of a chosen hero fulfilling an apocalyptic prophecy. Despite the filmmaker's attempts to add a meta-humor, the protagonist is one-dimensional, with his only character trait being his grandiose mission. The film's lack of depth and effectiveness ultimately earns it little respects.


In conclusion, 47 Ronin: The Sabre of Vengeance, is a film that fails to live up to its potential. The combination of action and commercial art does not result in a better film, and the pool workout sequence does not make up for the lack of a coherent narrative. 

The film's attempts to depict violence fall short, and it relies heavily on the "ninjasploitation" trope which has not evolved since the 1980s. The film's protagonist is one-dimensional, and despite the filmmaker's attempts to add a meta-humor, the film ultimately lacks depth and effectiveness, earning little respect.