Critic Reviews
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100
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San Francisco Chronicle
Takashi's film is sumptuous, with rich cinematography, costumes and set design. Half the time it is a game of chess - the battle of wits between Motome and the lord. Half of the time it is a moving melodrama.
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80
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Time Out New York Keith Uhlich
What most distinguishes the redo is the often remarkable use of 3-D: Miike turns the format's inherent limitations, especially the tendency toward visual murkiness, to his advantage, fully immersing us in a world suffused with moral and ethical rot.
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80
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New York Daily News Elizabeth Weitzman
Deftly weaving double plotlines, gorgeous camera work, and deep compassion, Miike contrasts ritualistic "honor" with the truly honorable, as poor but noble squires face off against powerful lords cushioned by tradition and pride.
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80
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The Guardian Peter Bradshaw
The endlessly prolific Takashi Miike returns with this superbly acted revenger's tragedy.
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75
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New York Post V.A. Musetto
A 3-D epic that, despite its title, is more of a soap opera than a swordplay thriller.
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75
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Boston Globe Mark Feeney
It's superb filmmaking, uncluttered and utterly assured. Miike places us in the household of Li, offering up rich, deep colors, with an almost painterly exploration of fields of depth and volume.
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75
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Miami Herald Rene Rodriguez
Reveals yet another facet of this always-unpredictable filmmaker: a flair for compassionate, humane melodrama.
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70
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NPR Mark Jenkins
Hara-Kiri is formal, deliberate, leisurely almost to a fault. It features the sort of slow-gliding camera movements favored by Kenji Mizoguchi, one of the greatest 20th century Japanese filmmakers - and the one least like Miike.
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60
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Empire
If Miike's re-tune of Masaki Kobayashi's bleak samurai tale is a surprisingly subdued affair, aficionados will still find enough sword-based shenanigans to keep them engrossed.
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50
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Slant Magazine
Takashi Miike lets his familiar tastelessness get the better of him, relishing the grisly seppuku-by-bamboo in unnecessary detail.
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