आलोचक समीक्षाएं

The whole is not without flaws and eventually falls prey to the “this was really an origin story” bid for sequels, but it is enjoyable.

While it generally lacks dramatic oomph and the story is confusing at times, Yakuza Princess delivers plenty of visual excitement.

Yakuza Princess is a passable actioner with a few memorable scenes, the highlight of which is a fight in a karaoke bar (yes, MASUMI gets the chance to sing). But it’s unable to get beyond a level of mediocrity, and MASUMI’s performance fails to resonate with the sufficient conviction required of her role.

At 112 minutes, this film is way too long for the amount of story contained within—which, again, would be a forgivable offense, had Amorim filled the extra time with something entertaining. Instead, all we get is inertia, as we wait with the main character for her fate to reveal itself.

The further director Vicente Amorim pulls out, the more exciting the film becomes; but he never really takes advantage of the supernatural overtones that swim around the edges, or the unique cultural background of Brazil's massive Japanese diaspora.

Sure, you had me at Yakuza Princess. But was there ever a more ponderous gangland saga set in the Japanese mafia than this?

The cynical pro forma luridness Yakuza Princess grinds out suggests that sensationalist cinema, or at least its most ostensibly mainstream iteration, is currently depleted of resources.

This grimly self-serious tale of violent destiny is consistently drowned out by Vicente Amorim’s overreaching visual style.

As an intellectually empty piece of genre cinema, “Yakuza Princess” can’t even sit alongside movies that offer similarly obtuse ideas but that gain some favor through impressive spectacle.

There’s a lot of walking and talking, but this thing never really moves fast enough, not even during its action scenes.