The genesis of Universal's 47 Ronin is almost as tragic as the actual history that the movie is culling from. As the story goes, Universal saw the sprigs of talent sprouting from fresh faced director Carl Rinsch, whose previous experience was limited to just a couple of commercials and a nifty short film. The studio decided to ease the new director into feature filmmaking by cutting him what amounts to virtually a blank check, and giving him charge over a multi-national samurai fantasy epic. Almost impossibly, the film isn't a complete disaster. It's just a minor one.
47 Ronin follows the classic story of the titular team of warriors, a group of disgraced samurai who band together to seek revenge against a merciless warlord that betrayed and killed their master. But this isn't your grandfather's version of the story. 47 Ronin is an international affair, and it's covered with a veneer of Japanese mysticism and a thick coating of Hollywood lacquer, but east meets west rather uncomfortably, and it's mostly due to Keanu Reeves. Reeves' character is clearly crowbarred into the story that has no room for him, and it's plainly obvious where the seams of the story were stretched in order to patch him into the narrative. Reeves plays Kai, a half Japanese, half English orphan who is adopted by the samurai clan. His character serves no real purpose beyond being white, slicing things until they die, and playing the male lead of the most superfluous love story of the year. Rinsch simply can't make the inclusion of the character feel organic in any way, and "Kai" ends up feeling like a calculated studio move. It's a shame that the film spends so much time on Reeves when the real star is clearly Hiroyuki Sanada, who plays off the stoic samurai most believably among the rest of the cast.
It's also shame that with all the mysticism pumped into the story, there's no magic in the actual center of the film, the ronin themselves. The only personality trait a samurai is allowed to possess seems to be unerring stoicism, and between all 47 ronin, there are probably only three distinct samurai with any discernible character traits beyond an intense need to brood, and you'll probably only remember those three by the time the credits roll, only to promptly forget about them only a few hours later. Thankfully, Rinko Kikuchi's slinky and treacherous witch adds some much needed camp and personality to the mostly forgettable human characters.
And that's the issue with 47 Ronin. It's largely forgettable. When your film takes on a historical legend like the tale of the 47 ronin, a story that has been told and told again ad nauseum over the years, you really need to justify your own version. There are reels and reels of film dedicated to this story, and 47 Ronin doesn't manage to add anything significant to the canon. It promises to weld myth and history together, but does so clumsily, and while some of the action scenes are exciting, especially a particularly inspired set piece that involves the ronin noiselessly breaking into a heavily guarded fortress, the film is a bore when it's not clanking swords together.
The best player in the World for movie trailers, Hollywood interviews and movie clips.
47 Ronin is a film with many stories. As much as it is a tale about the revenge of four dozen masterless samurai, it's also the tale of an inexperienced filmmaker swallowed up by the enormity of blockbuster filmmaking. Most of all though, It's proof that you shouldn't cram Keanu Reeves into a movie that doesn't really need Keanu Reeves. What you're left with is a dull and bloated samurai epic that has its moments, but feels largely unnecessary.
A guy who usually doesn't have luck with the ladies Matt Saunders (Luke Wilson) has finally found the perfect girl. Egged on by his buddy Vaughn (Rainn Wilson) Matt pursues the mousy and innocent-looking Jenny Johnson (Uma Thurman) after the two meet on a subway. But Jenny has a few secrets--and what Matt doesn't know in this case can hurt him. See Jenny is really G-Girl a superhero and although it's a side most superheroes don't show G-Girl is a bit possessive and essentially has a borderline personality. So when Matt wants to dump her so he can go out with his quiet and cute co-worker Hannah (Anna Faris) Jenny er G-Girl goes ballistic. She unleashes her superpowers on Matt and unsuspecting Hannah doing things like throwing a shark through his window while they're making out tossing his car around immature things like that. What Matt doesn't do is obey the cardinal rule: Never break up with a girl when she's holding a knife--or when she can throw you through a wall by blowing on you. This should be Luke Wilson's moment to shine and he seizes it. He's had little chance to break away from his goofier-looking and more popular brother Owen and has never carried a movie as much as this one. It's perhaps his meatiest role in which he gets to show a restrained comedic side as well as a dramatic angry and perplexed side. Although it's a typical romantic comedy plot the storyline allows for more reach because of the absurd nature of the jealousy by G-Girl’s arch nemesis Professor Bedlam played perfectly by Brit comic Eddie Izzard as well as the persistently bad advice from Matt’s friend Vaughn played by scene-stealer Rainn Wilson (TV's The Office). Rainn is a definitely a talent to watch out for. Unfortunately Thurman is the biggest disappointment. She's exciting only when she rekindles her Kill Bill persona but is mostly outshined by the cute and fun Anna Faris who's so naively brilliant in the Scary Movie spoofs. Expectations would have to be high if you have director Ivan Reitman on board the guy behind such classic comedies as Animal House Ghostbusters and Dave. Perhaps that's why it's so disappointing--and so very familiar. The comic moments are retreads from the past. Sure we've seen the odd moments where mortals make it with super-human characters--Superman II Bewitched I Dream of Jeannie--and every once in a while the character with super powers gets a bit peeved and goes off the deep end. The best contribution Reitman makes is to keep the over-the-top comedic aspects in check. He doesn’t have the actors play it for laughs. But if you look at past history female superhero movies don't seem to do well at the box office (Elektra and Catwoman anyone?) maybe because guys don't like to take dates to see movies about women who will kick their butts. And guys will be cringing in their seats BIG time when Jenny is trying to analyze the real meaning of the color of a rose that she just got. "Red means that you're in love with the girl. Of course I'm not trying to pressure you." Ugh! Just take the flower.