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40 out of 61 people found the following comment useful :-
Very good film that swings from the dramatic to the ridiculous, 13 September 2007

Author: kyussisgod from Canada

If you've seen "High Plains Drifter", "The Good, The Bad and The Ugly" any other Leone films or "spaghetti westerns" you will appreciate this film. (I guess this is an "udon western"? Sorry, I had to throw that in there.) For those who have not, you may not understand why the film goes to such extremes throughout the scene sequences. Everything from the bumbling sheriff to the mindless and spineless random gang characters as well as the leader of the 'reds', offer comedic escapades that are quite hysterical. Then we swing to the very dramatic and tragic scenes of loss, murder, pillaging and revenge. Japanese themes and references are inherent because the director is well...Japanese! The dialogue is all English and purposely so. I'm not sure if this was for comedic reasons or to reach out to a larger audience, but it is effective and an interesting choice on Miike's part. It is subtitled which, depending on how you view it, either detracts or adds to the film. It does help in some cases, but in my opinion, I think it would have been better to leave it out altogether. Overall, its a very fun film but expect to be taken up and down emotionally. Production, cinematography, scenery, costumes, art direction and sound design aren't even worth mentioning because they're all done so well, you don't notice them. Its about as close as you can get to a Western-Samurai Japanese-Western!

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39 out of 61 people found the following comment useful :-
Gunslinger poetry, 18 February 2008

Author: K_Todorov from Bulgaria

If Sergio Leone's Once Upon A Time is considered an ode to the American Western with all it's fundamental elements all packed neatly in an 3 and a half hour package of visual splendor than Takashi Miike's Sukiyaki Western Django is an ode to the Italian Western through and through with all the style, violence and sound that Leone brought to the art of cinema and Sergio Corbucci used to create his most famous work "Django". A visual feast, Miike's tribute to Corbucci's work is the poetic equivalent of Tarantino's own tribute to the Italian Western (and some other cult genres) Kill Bill.

Set around, in a strikingly offbeat way to, the 12th century Heike/Genji clan wars Sukiyaki Western Django is the tale of a mysterious gunman (played by Hideoki Ito) who comes into a nearly deserted once prospering town now controlled by the two rival groups. In a sense this is the Italian West going back to its roots, it's no secret Leone was greatly inspired by the works of Akira Kurosawa with Yojimbo serving as the blueprints for the maestro's own breakthrough with A Fistful of Dollars. Corbucci's own Django used the same basic premise and now Miike follows. After some flashy display of skill, and some attempts from the two clans to persuade him to join one of them the Gunman is persuaded by Ruriko one of the few residents who remain to help the townspeople. A series of flashbacks reveal much of the background and motives behind the two clans arrival. They also open the pathway to a subplot revolving around a tragically destroyed Genji/Heike family which plays a major part in the main plot. For those of you who deem themselves Tarantino fans will have much to be happy about as Tarantino plays a bad-ass, poncho-wearing gunslinger named Ringo who introduces us to the Heike/Genji conflict and plays an important part later on.

Style is of the essence and style is what Sukiyaki has. Though a tribute to Django this is nevertheless pure Miike cinema, expect that same weird humor, surreal kinetic action, with some sexual cues (although much restrained compared to some of his previous endeavors) he's become renowned for. It's a non stop joy ride beautifully shot, the impressive set design and backgrounds, the great costumes and yes a machine gun in coffin scene, pure poetry. This is not about realism, it is not about creating a believable world but about a world that responds to the mood that adapts according to it. The final showdown represents a collision of two worlds, two genres it is the ultimate fusion of samurai and western films, the duel between the gun and the sword. There are some lovely little references only noticeable to the more vigorous Django fans, and a truly awesome ending.

What might be my only gripe with Sukiayki is the choice of language. Having the Japanese cast speak in broken-down English does sort of lessen the experience not by much comparing to some of the horrendous English dubs in some Italian Westerns but still it would have been preferable using a Japanese language track with an optional English one. That's to say the dialogue itself is a pastiche of noticeable one-liner clichés, over the top silly yet listening to entire dialogues stitched together from over used lines has a remarkably refreshing effect on those lines.

Koji Endo composes the soundtrack, it is not his first time working with Miike and hopefully won't be the last. For the film he combined, the typical Morricone-sque western music with that of the Japanese samurai flick in a modern just lightly rock adaptation.

Sukiyaki Western Django pays homage to what is now a dead genre. Dead but not forgotten. Not by Takashi Miike who uses the tools of the Italian Western to bring forth his own vision, his own take on a story well known and loved and it is a true gem.

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25 out of 44 people found the following comment useful :-
Read this before you side with all the negative reviews . . ., 27 September 2008

Author: Jacques98 from United States

I'm not entirely sure I understood the plot of Sukiyaki Western Django, mainly because I couldn't understand the dialogue very well, but I still can say it's unlike anything I have ever seen. In a time when ridiculously unoriginal films are hailed by critics and average viewers alike, it's great to see something truly different come to the screen. Sukiyaki Western Django takes the oldest subgenre in American cinema, the western, and spins it until it is original again—and it works.

I have never been a Takashi Miike fan at all, honestly. I have only seen this and Audition, but Audition was boring and cliché enough for me never to give him a second thought. Sukiyaki Western Django, however, shows his true capability as a director and that he isn't just another run-of-the-mill carbon copy like I originally thought after viewing Audition.

Sukiyaki Western Django is very dialogue heavy, but it still packs a lot of action and a lot more character deaths than is standard for this type of film. People are calling this movie gory, but it isn't. The blood is pretty generic and typical, though maybe a little more than your standard action flick. This didn't really disappoint me as much as it does in other movies, because blood isn't really needed in Sukiyaki Western Django. It carries itself with style and a lot of intense action.

I think the reason this film is getting so many negative reviews is because people don't get it. You really have to be a fan of the genres it imitates to understand it fully, even though the plot is simple. Two rival gangs, and one man, a gunslinger, they both need. The rest is a mix between action and art that simply stunned me. The town itself is so diverse it almost becomes its own character, and in a way it is. The aesthetic of some of the action scenes go so much further than the typical slow-mo Matrix rip-off you're used to and really creates a style all its own. The technical beeps in the background gave off a really cool surreal, modern feel that isn't overdone or annoying.

The acting worked for the genre, even though most of it is terrible and hard to understand. The entire Japanese cast, minus Tarantino, worked because they all spoke English, which just added to the cool-weirdness. I'm sure if your high school English class tried to analyze every figurative detail it would take weeks. Just put it this way: as far as the formula goes, Sukiyaki Western Django is both original and complex to the point of insanity. I simply cannot understand how this is by the same man who wrote/directed Audition.

Overall, I'm going to quote something I heard someone say after they viewed Sukiyaki Western Django: "Well, that was different, but I wouldn't call it entertaining." That is the view a lot of people are going to have, and I can't deny people will think that just because I personally disagree with it. It comes very close to being too top-heavy with aesthetic for its own good, but, for me, it was still very entertaining and awing. I can't say anything else except that you need to see this and make up your own mind. It is original, that's not my opinion, and if you're like me and enjoy more than the typical Hollywood movie you MUST see this. If you can care less about originality and just want another typical western you've seen time and time again, don't bother.

It really matters what your opinion on entertainment is. But I loved it.

8/10

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17 out of 29 people found the following comment useful :-
A fistful of ramen - an interesting but not entirely successful east-meets-west experiment, 19 November 2008

Author: chaos-rampant from Greece

Although it has the deceptive appearance of one and has been championed as such by many reviewers, Sukiyaki is not quite as much a spaghetti western love letter like, say, Alex De La Iglesias' 800 BALAS as it is a typically Miike-ian reinterpretation of the genre that borrows from both chambara and spaghetti western yet subscribes to neither. It's much less a remake or reimagining of Sergio Corbucci's original DJANGO, not a prequel, sequel or in any other way narratively connected to the original or the gazillion unofficial cash-ins small-time Italian producers with dollar signs gleaming in their eyes feverishly churned out in its wake.

What first screams for our attention is the kind of east-meets-west melting pot Miike has prepared for our enjoyment. A signpost on the lone gunman's way reads 'Nevada', the actors speak English with heavy and grating Japanese accents, some of them bear katanas and most others six shooters, the shabby ghost town the movie takes place in is distinctly Japanese in its architecture yet ornamented with dead men hanging from the town gate in typical 'far west' fashion, there's a sheriff, short blurbs about samurais, rumors of hidden treasure and a gold rush explained in a flashback.

However Miike is not attempting what many other directors have tried to in the past, that is to transpose occidental concepts, their mentality or filmic tradition to the oriental or the other way around. This is no RED SUN, EAST MEETS WEST, THE MASTER GUNFIGHTER or A FISTFUL OF DOLLARS to name but a few. What he tries and largely succeeds in creating is this alternative 'far west', a grotesque, exaggerated caricature of the American frontier myth seen through Japanese eyes.

A seamless melding of western and chambara that takes place in a distinctly imagined location. In Miike's vision of the genre west, the (historical naval) battle of Dannoura between the Genji and the Heike takes place close to Quentin Tarantino dressed in a poncho playing a gunfighter called Ringo and is followed a couple hundred years later by a signpost that reads Nevada and the Genji and Heike still split into warring factions. If a country had to be named as the setting for Sukiyaki it would be the United States of Nippon – in Sukiyaki's universe, there never was any Japan or America to begin with. A sort of RETCON or 'Retroactive Continuity' as it is known is taking place here. Fans of comic books will be familiar with the myth-making idea here.

It's a damn shame then that a movie as conceptually and aesthetically ambitious as Sukiyaki is let down by a terrible script, Miike's ill-advised decision to have all his actors mumble their way through their lines in distracting Engrish and the pace-clogging inclusion of at least thirty minutes of dead running time that should have been mercifully left to die at the cutting room floor.

There are scenes that don't work at all (such as the unnecessary dance scene) and there are scenes that outstay their welcome by a good number of minutes. And they're all strung together in a painfully mediocre pastiche of a script carrying with it a confused and incongruous mood that can't decide whether it wants to be taken serious, laughed at or laughed with. Quasi-philosophical blurbs are married with ill-advised slapstick nonsense, fortune cookie nuggets of wisdom with lame flashbacks and cartoon-esquire action. There's something for everyone here and everything pushing in different directions at once. On one hand Miike seems to go for an air of sentimental and meaningful profundity while at the same time indulging his nuttier side.

The good in Sukiyaki come in the form of a commendable visual attention to detail and beautiful lighting, the blistering action and the comic book vibe he goes for that recalls the days of FUDOH and DEAD OR ALIVE. While not without the macabre touches we've come to expect from him, Sukiyaki is a decidedly commercial action picture, one that will ironically appeal more to Tarantino and Rodriguez fans than devoted spaghetti western or chambara afficionados.

Perhaps emphasizing that last part, Tarantino has a short role as gunfighter extraordinaire Ringo. In the opening scene that supposedly takes place concomitant with the Battle of Dannoura he whacks pistolero-style three badly dressed goons and mouths off a couple of one-liners.

The scene is amusing at best but he has the show stole from right under his nose by the beautiful and intriguing set design and painted backdrops that recreate an oddly poetic and intentionally artificial rendition of the old west, perhaps recalling the dream sequence Akira Kurosawa created for Tatsuya Nakadai to stagger his way through in KAGEMUSHA or the similarly evocative painted sunsets of DODESUKADEN. I wish Miike had returned to that technique again later in the movie. Instead he uses a short anime passage that recalls KILL BILL. The final showdown in the snow is among the highlights of the movie and so is the appearance of a certain coffin and its contents that will have DJANGO fans nodding in approval.

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7 out of 10 people found the following comment useful :-
Miike's fusion of cowboy westerns and Samurai drama is a delicious treat..., 17 March 2008

Author: jmaruyama from Honolulu, HI

*** This comment may contain spoilers ***

When one thinks of the cowboy Western names like John Ford, Sam Peckinpah, Howard Hawks and John Huston might come to mind but Japanese new wave and cult director Miike Takashi would probably be the last person you would think of being on that list, that is until now. With his recent "Sukiyaki Western Django" Miike pays loving tribute to the western genre and infuses it with his own unique spin and a decidedly Japanese flair.

Set in what appears to be a dusty post-apocalyptic wasteland, the story deals with a bitter rivalry between two vicious clans - the brutal Heike (whose color emblem is a bloody scarlet red) and the flashy Genji (whose banners are a snow colored white). They have taken over a remote mountain village in a region oddly called "Nevada" (using Japanese Kanji equivalents).

Both factions have learned of a mythic gold depository in the surrounding area and have torn the village apart to find it but to no avail. The local inhabitants have long since fled and those that have stayed behind have been living in terror ever since.

A mysterious gun fighter with no name (Ito Hideaki) rides into town and offers his services to the clan who offers to pay him the most. While both clans make tempting bids, the gun fighter rejects both offers and is instead swayed to hold off joining either faction by the town's salon madam, Ruriko (Momoi Kaori).

Ruriko tells the stranger of how the town was taken over by the clans and how her son, Akira was killed by them. Akira was a former Heike clan member who had fallen in love with the beautiful Shizuka (Yoshino Kimura), a member of the rival clan. They had hoped that their union would help encourage peace between the two clans but instead Akira is murdered by the Heike's ruthless leader Kiyomori (Sato Koichi).

Devasted she returns to her clan with her young child Heihachi, where she is forced to become a harlot to the clan's charismatic and mercurial leader Yoshitsune.

As the conflict comes to an impasse both sides scheme at how to gain the upper-hand. Kiyomori tells his clansmen that it is divine destiny that they will win the conflict and sites Shakespeare's "Henry VI" and the English conflict of the "War of the Roses" (where the red side wins) as his bible. He is so sure of this that he adopts the name "Henry".

On the Genji side, Yoshitsune has found the location of a hidden cache of weapons including a functioning Gatling gun which he hopes will give his clan the advantage. He sends his chief henchman, Benkei (Ishibashi Takaaki) to retrieve the weapon.

The gun fighter learns of this plan from Shizuka and relays the information to the Heike clan.

For her betrayal Shizuka is brutally murdered by the Genji clan and the gun fighter is severely injured. Nursed back to health the gun fighter teams up with Ruriko, who reveals herself to be the legendary gun fighter "B.B." who was a protégé of one of the first western gunmen in Japan, "Bingo" (cameo by Quentin Tarantino) to destroy the clans and bring peace to the town.

Miike and screenwriter NAKA(Masa)MURA borrow liberally from other westerns particularly the landmark "Italiano-Westerns" of Sergio Leone (Fist Full of Dollars, The Good, The Bad & The Ugly") and Sergio Corbucci (Django) as well as the so-called "Acid-Westerns" of Alejandro Jodorowsky (El Topo) but adds in his own unique aspects and New Wave flourishes to create a Japanese version of the classic western albeit with a decidedly Japanese look and feel. The name is both a play on "spaghetti" (Italian) westerns and an anecdote where "sukiyaki" (Japanese nabemono or "stew") combines various elements in a pot.

Much has been said of Miike's decision to script the dialog entirely in English but I think the cast should be commended for actually pulling off what might have turned into a comical disaster. It also helped that Miike had the good fortune of hiring actors who have either lived or studied extensively abroad.

Ito Hideaki (Crossfire, Limit of Love-Umizaru) plays the titular Clint Eastwood role as the "man with no name"/gun fighter. His performance is good but one note as he doesn't really have much range and his lines are minimal. Sato Koichi (Cheerful Gang Turns The Earth, Tennen Kokekko) is pure evil as "Taira No Kiyomori" who fancies himself after Shakespeare's "Henry VI". His performance brings to mind Mifune Toshiro's Kikuchiyo in "Seven Samurai" (manic, bestial, and cocksure of himself).

Fashion model turned actor Iseya Yusuke (Casshern, Memories of Matsuko) turns in another fantastic performance as the vicious yet wickedly handsome "Minamoto No Yoshitsune", a man who fancies himself as the embodiment of the Japanese "Samurai spirit". Iseya is quickly making a name for himself playing quirky roles and whose intensity and presence reminds me a lot of the late Heath Ledger.

London born Yoshino Kimura (Sakuran, The Backdancers) brings much passion, dignity and raw sexuality to her part as the tragic Shizuka. Momoi Kaori (Bounce No Ko Gal, Memoirs of a Geisha), who was also educated in London, is clearly at home with the English dialog and turns in a terrific performance as Ruriko.

Ishibashi Takaaki (one half of 80s comedy duo "Tunnels")steals the spotlight as Yoshitsune's sexually ambiguous henchman as does Kagawa Teruyuki (HERO, Tokyo.Sora) as the cowardly and opportunistic sheriff who seems almost possessed at times.

Following the heals of great modern western-themed movies and remakes of late like "No Country for Old Men" and "3:10 To Yuma", Miike's "Sukiyaki Western Django" is a fun and unique take on the western and as it's name suggests offers a clever take with a Japanese bent. Like trendy Asian "fusion" cuisine, "Sukiyaki" takes the best of both worlds and offers up something new yet oddly familiar. Bon appetite!

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6 out of 9 people found the following comment useful :-
Eastern Western is plenty of odd fun, 29 December 2008

Author: TheatreX from Louisville, KY

"Sukiyaki Western Django" is pretty much what you would expect from a Western by Takashi Miike...it's violent, it's funny, and it's just plain weird at times.

It looks kind of like the old west, except the buildings are distinctly Japanese. It feels kind of like the old west, except some characters are in cowboy garb while others are in what appears to be feudal Japanese American Indian gang war duds. And the dialog? "Don't you know your Shakespeare?" There are two feuding families, the White & the Red, and caught in between is our hero, whoever he is, and an old woman, her daughter, and a little boy. The daughter, having married outside of her clan, and the boy, of mixed background. The story itself is a bit hard to follow, but the action makes up for it.

There's a lot of gun play, a lot of crossbow play, and a lot of fancy shooting from both weapons, along with things like hitting one's target through a hole just blown in one victim. And grandma, well, she's apparently a highly trained martial arts & gunslinger kind of gal, and she learned from the best, Ringo (Quentin Tarrentino) who also taught her how to make sukiyaki that wasn't so sweet.

If you've seen all the old Spaghetti Westerns, this is a new twist on them that's well worth seeing. There's an astounding amount of wild and weird action, and there's also some ridiculous comedic bits, like a bunch of men using the sheriff of the town as a shield, and looking exactly like a conga line.

Great action, interesting humor, and a decidedly different take on the western theme. Plus, the Japanese have a sense of poetry too, and there's even a bit of room in here for that, before the action kicks in again. If you like Miike & you like westerns that are QUITE a bit out of the ordinary, check this out. 8 out of 10.

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6 out of 10 people found the following comment useful :-
the power of the western, 15 September 2008

Author: tmwest from S. Paulo, Brazil

This film makes us realize what a powerful genre is the western. It is so powerful that it left its American roots and became universal. I understand why the actors in this movie speak English, you can't accept any other language. Even the Leones and Corbuccis are dubbed in English. It comes to my mind a famous Brazilian composer who sings about playing cowboys as a child, and his horse would only speak English. There are references in the film about TGTBTU, Django, Fistful, Once Upon a Time in the West,My Darling Clementine(Shakespeare) but the one that touched me the most was about "Duel in the Sun", a film that tends to be neglected nowadays. Apparently making fun of the westerns Sukiyaki has a lot of tragedy as it tells the story of the rival clans, in a time and place where there is not much value in human life. There are great tragic comic scenes like when a man tries to catch a sword that is going through his head, or when an enormous hole is made on a man. Tarantino is very funny with his Japanese fake accent. The shootouts are absolutely great.

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7 out of 12 people found the following comment useful :-
Disappointing on every level...kinda a crapfest, 25 February 2008

Author: Noah w from China

*** This comment may contain spoilers ***

I was really looking forward to this movie for months now. The idea of Japan's most internationally famous directors making an English language western sounds like a must see. Well...

Language was my first problem. You can tell that just about every actor doesn't know how to speak English, and that his/her lines were fed to them. I'd guesstimate that no more than 30 minutes out of the nearly 2 hour long movie were action scenes, so this movie was very full of dialog and story....only I could understand maybe %20 of it. It's really bad, probably as bad when Quentin Tarantino speaks little bits of Japanese in this film to a native Japanese speaker. Except this wasn't a few lines, but the whole movie being broken English. In Sukiyaki Western, the Language gets in the way of the story telling(I had no idea what was happening a lot of the time), and the acting. I'd much rather have had Japanese dialog with English subtitles...or at least English subtitles anyway, which were not available to me.

The language is really a minor issue for me, because the whole movie itself was pretty poor. The script was simple and bland. I think they dumbed down the dialog to make it easier on the actors, because it was something I could have written up in the time it took to watch the film. Also, there were many failed attempts at humor. The jokes failed because the actors could not deliver them naturally.

There was no character development, I didn't care about ANY person in the whole movie. The hero, if you can call him that, is a completely unneeded character. Another thing, and I don't consider this a spoiler....every single character in the whole movie was a blubbering idiot...like a bad guy from a Saturday morning kids show.

The action was minimal, and the finale didn't do anything for me at all.

The costumes. Yeah a couple of the leaders looked cool, aka they looked like members of a J-Rock band. None of the clothing was authentic, and I don't think it was supposed to be, but I thought the red Old Navy neck sweater on one dude was too much. The white gangs' leader dude wouldn't take much work to look like a hot girl.

To it's credit, there was some cool style and cinematography going on, and if the whole movie was like the first 5 minutes, minus Quentin because he's a bad actor, This movie would have been awesome.

It should have been 90 minutes, tops. It should have been awesome stylized action with heads rolling and arterial spray, then the bad acting, script and story could be overlooked. Instead it was 2 hours with tons of bad jokes and a few unsatisfying shootouts.

I wanted to like it, and i know a lot of you people spending $50 on a Japanese import DVD might feel obligated to....but this was just a poorly made movie.

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7 out of 12 people found the following comment useful :-
Cowboy Miike, 13 September 2007

Author: doug-697 from Canada

*** This comment may contain spoilers ***

You can always be guaranteed in a Takashi Miike movie of seeing things that you've never seen before. I just saw Sukiyaki Western Django at the Toronto Film Festival and it continues that tradition.

This is Miike's take on the American Cowboy Western and it was fun to see what he does with it. It appears to take place in the middle of a war, but I could not tell if this was a real historical war and whether it is a Japanese war. But it's fought with guns not swords and dressed as cowboys instead of samurai. He's taken the essence of the western, takes it to extremes and adds his own unique Miike humour.

All the actors were speaking English. Only the female actress spoke perfect English; the others spoke it with an accent, although I could understand what they were all saying. It was also accompanied by sub-titles in English. When it comes out on DVD, I would probably turn off the sub-titles. Also I hope they don't consider dubbing with American actors. It would ruin the movie. I quite enjoyed listening to them speak English in their own voices even with (or maybe because of) the accent.

Quentin Tarantino makes a significant appearance and is quite funny and at times unrecognizable. It mixes in with the rest of movie and doesn't feel like just a "guest appearance".

I quite enjoyed this movie. When will Miike do a Hollywood musical?

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8 out of 14 people found the following comment useful :-
Gempei War meets Yojimbo, 17 September 2007

Author: moond0g from Ashiya, Japan

*** This comment may contain spoilers ***

Spoiler Note: as this movie is a remake, the spoiler here will not be a surprise to anyone who has seen Yojimbo or any of the earlier remakes.

I saw Sukiyaki Western Django (SWD) opening night in Kobe. It wasn't really my cup of ocha, as movies go, but I was impressed by the look of the movie, especially the opening sequence with Tarantino which has a bit of a manga feel, as mentioned in a thread on the board for this movie. I especially liked the sky right at the start. My biggest criticism is for the dialog. I'm not sure it was what they said or just how it was delivered, but it came off very stilted.

It's a very ambitious movie and is interesting in that it's more than just a Japanese remake of the Italian movies "Django" and "A Fistful of Dollars" (AFOD) which were remakes of the Japanese movie "Yojimbo." It's a conflation of Yojimbo/Django/AFOD story and and Gempei War which ended with the battle of Dan no Ura in 1160.

That war was between the Taira (or Heike), whose color was red, and the Minamoto (or Genji), whose color was white and those colors also figure predominately in SWD. Characters in the movie also share names with the leading figures in that War (Yoshitsune, Kiyomori, Benkei, etc.) although not in any logical way that could be discerned in a single viewing other than their association with either the White or Red sides.

The two colors are represented by roses though I cannot say that that comes from the War of the Roses as suggested by an earlier poster. Perhaps they did--I won't dispute it.

The Gempei War ended in a victory for the Whites (uniting all of Japan under one central power for the first time) unlike the movie where it seems to be a draw (or, more precisely, both sides lost).

I wondered if the (mostly) red rose at the end of the movie with the white background of snow was supposed to represent the flag of Japan which is also red and white--colors that have been used to represent Japan ever since the Gempei War.

Is it a 'good' movie? If the dialog were better, I'd say yes. However, as it is, I have to say I cannot recommend it to anyone other than hardcore fans of the spaghetti western & samurai genres or "Kill Bill" fans. Among those groups, I'm sure it will find fans.

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