Ryûzô to 7 nin no kobun tachi

Honestly, it feels like 2/3rd of the other reviews did not even see the movie. Nudity? There was none besides the old men baring their chests. Smoking hot girl? There's barely any women in the film. You got the fat wife of the main characters son for 10 minutes total, a couple hostesses in 2 scenes and another old hostess friend of the main character who gets the undress the male main character, but stays fully dressed herself. Violence towards normal people? They barely even attack anyone, being elderly versions of the old honorable yakuza cliché. The only fights are against cartoonishly evil crooks that steal from the elderly. Its not even an action movie. There's a few action scenes, but they mostly exists to poke fun at the old guys or are flashbacks that serve as references to older yakuza flicks. Its just a fun getting the gang back together film like the Korean film 'Sunny' or the American 'Stand Up Guys' but not bad like Stand Up Guys was. It won't change anyone's world but it was consistently funny and would satisfy any lover of yakuza films. For anyone who cares, there's no real gore, it sticks mostly to comedic violence.

It's a poorly edited film with lots of loose ends and plots that go nowhere. A hit-man character would be better off cut, if not for the scene. There is some more hardcore blackly comedy taste with bit-off limbs and a decapitation where the man's body is inside the box.

It's the popular view to think of the yakuza itself as being cheap looking. I disagree. It's pretty lifelike for an 80's yakuza stuff effect and a lot more enjoyable to me than the video game styled yakuza in 'Sonachine'.

It is too rude!

But I like Yasuda the yakuza more than Takeshi.

It shows lives of gangs who had retired. The theme was serious. It looks hard for conventional gangs to live in the current society because their rule isn't gonna fly anymore. The more clear the society becomes, the more unnecessary the dirty force and the connections are. It reminded me the beginning of 'God father.' If scams try to target seniors of retired gangs, they must be beat up by gangs in return! It showed us funnily that an eye for an eye. But, on the other hand I found the lost things like the duties and humanity. A clean society that there're no gray area created many evil spilits don't have their own philosophies and reasons.

The tattoos always give it away, whether they belong to someone young or old. They are a signifier for a Yakuza member like a Tommy Gun is for a mafioso. Elderly Ryuzo bears the ink and was once a powerful gangster with a vicious crew at his command. Now in his eighties, he is conned by younger criminals who utilize modern methods to dupe him. Gathering together some of his old compatriots, he forms a geriatric gang to take down the hoodlums and take control of the town; restoring his sense of worth and honor to his family name.

Takeshi Kitano's seventeenth movie, 'Ryuzo and the Seven Henchmen' is an entertaining, funny crime comedy (à la Martin Brest's 'Going in Style') that should please anyone familiar with his work. The story goes to some pretty wild places but is consistently and genuinely funny. There is also heart and soul in the film, and the theme of aging- of getting ready to face the dying of the light- is navigated in a mature, steady manner that will resonate with many.

The film features a powerful central performance from Tatsuya Fuji that is reminiscent of Toshiro Mifune's best work. As Ryuzo, Fuji is like a volcano on the verge of eruption, simmering with indignance at the disrespectful world around him. Yet, he is also sympathetic, a man of honor from a time when rascals were gentlemen and thugs had codes of ethics. Fuji, dignified and intense, is perfect for the role and plays it masterfully.

His motley, elderly crew are an unpredictable, strange bunch- the stand outs being Masaomi Kondo and Toru Shinagawa. Masaomi is Ryuzo's right hand man, and his performance echoes Susumu Terajima's in Kitano's 'Brother.' Both give subtle, dedicated and loving performances as men whose only concern in life is the welfare of their Aniki (brother, superior). Shinagawa, as a pistol-toting Steve McQueen fanatic, is hilarious and a real highlight of the film. Both men deserved more screen time (as did Kitano himself, in an all-too brief appearance as a detective from Ryuzo's glory days).

Unfortunately, since Ryuzo is such a terrific, believable creation and his gang so entertaining, the villains and lesser characters come across as very one-dimensional- forgettable even. This is most notable with Masanobu Katsumura, who plays Ryuzo's son. There's nothing wrong with his performance, it's just the character is a bland wet-blanket; there's nothing interesting he can do with the role. The story also loses steam in the latter half, getting a little overly frenetic; but besides that it's a rollicking good time at the cinema.

There seems to be an odd trend among reviewers on this website (most of whom appear to be Japanese, oddly enough) to diss Kitano and dub those who aren't Japanese and enjoy his films pompous and naïve. At least one reviewer claims that his films have no substance, and that this one in particular is a creative travesty. Whether they have actually watched any of Kitano's films or not, I don't know, but I fear they haven't because the accusations just don't hold water.

Is this Kitano's best work? No, of course not. But to suggest it's a bad film- and that those of us outside of Japan who enjoy his films are all pretentious, guileless suckers- is pure nonsense and lazy criticism. This film is funny, sometimes profound and always very entertaining. Fukasaku had his 'Battles Without Honor and Humanity': with 'Ryuzo and the Seven Henchmen', Kitano has brought us a battle of honor and hilarity.

I worked for Tohokushinsya and Office Takeshi for several years. To this day I still do not understand why there are people (most probably "Asianophilic" Caucasians) who try to give meaning to a a Asian film which, for all intents and purposes, just does not have any deep meaningful messages to impart. Because if this was an American or English film, it would have been slated as boring and a waste of time. But just because it is a Japanese Takeshi, there are people who are automatically impressed and seek to find hidden and meaningful truth in something which is actually as empty as the abyss.... Anyway there is nothing that worth thinking. There are only stupidity and violence toward ordinary people...sad......the cinematography is seemed to be almost out of focus in the entire film.

This is the one I hated the most was the lead character. I guess that TKC's stupidity is reached the maximum point in 2015.