Kung-fu hara kiri

More of the same in this sequel to Sword of Justice and it's just hard to believe it's not the same director. Much of the cast is the same, Hanzo is certainly the same and much of the torture, both the bloody sort and the sexual sort are the same and it still all works. We get a lady suffering the blocks this time and a reprise of the lady in the net lowering onto the big man's big.....

There is enough that's different to hold the attention and if anything there is more blood and flesh on display in this one. Helped once more by super cinematography, direction and editing, this is another fine mix of activities, plus even more disregard for the Japanese tendency to put up with almost anything for the sake of order and tradition.

I mean, it's better than the first, because it might have been a tiny bit less gross and there was definitely more action, which I appreciated. All those traps and weapons he revealed in his house in the first are actually utilised here, which was cool.

Unfortunately, there's still a lot of gross and unpleasant stuff, and it doesn't really seem to serve a purpose or say anything truly insightful through such confronting material. Hanzo himself is still ridiculously unlikable, even if you can tell Katsu is giving it his all, and as such it's just hard to care when he's so gross in his behaviour and actions.

It drags in places, and even if it wasn't unpleasant it still wouldn't be great, but at least some of it works as a sort of "turn your brain off and enjoy" bloody action movie. If you want that kind of sleazy samurai film done well, though, which doesn't cross the line into being too uncomfortable, I'd recommend the Lone Wolf and Cub film series made around this time.

I am a huge Shintaro Katsu fan. He is mostly famous for portraying Zatoichi the blind swordsman in literally dozens of films and television episodes. Katsu is probably one of the greatest actors that ever lived and is absolutely the best action flick icon of all time. Hanzo the Razor is a fairly drastic departure from Zatoichi in many respects. Yeah, both both series of films are Samurai flicks and great ones but the characters and feel is very different. Zatoichi is basically a nice guy...sure hes a gambler, killer, bum, and woman chaser but he actually feels badly after he dices up a horde of bad guys. Hanzo is a lawman...a very dedicated lawman who will literally stop at nothing to do his job. He makes Matt Dillon look like Barney Fife. The Hanzo films are extreme to an outrageous degree. The blood flows like Niagara Falls, Hanzo has no problem torturing folks during interrogations, he does his own autopsies using mostly his fingers, and he his pretty much a rude jerk to everyone he encounters. During the course of this film Hanzo allows himself to be buried alive in order to infiltrate the bad guys' compound, he battles ninjas, hordes of thugs, a satanic witch giving abortions, evil nuns, corrupt government officials, macho samurai, and a gang of gnarly mass murdering thieves.

If all else fails....threats, torture, insults, etc. Hanzo rapes any woman who withholds information (including the good ones!!???) It seems that Hanzo's reproductive appendage is so enormous that any female will spill her guts to receive more of Hanzo's "pleasure" torture. Also nicknamed the "razor", our hero is the envy of all the other men in town....not to mention the most feared.

If you like Samurai flicks and you want something bloody, lurid, and featuring Shintaro Katsu you can't go wrong here. Not for the squeamish or easily offended...not hardly!!! I liked it but even I must say there were numerous scenes where I found myself thinking....you got to be kidding me...he didn't just do THAT????

A real can't miss for fans of Shintaro Katsu or Zatoichi the Blind Swordsman. While Hanzo the Razor is not the friendly blind guy it is fascinating just the same.

Proud and well-endowed Edo lawman Hanzo 'The Razor' Itami (Shintarô Katsu) returns for a second adventure, this time directed by Yasuzo Masumura, who makes his movie even more depraved (and therefore even more enjoyable) than Kenji Misumi's reasonably sleazy first instalment, Sword of Justice.

This time around, Hanzo leads an investigation into the death of a young woman, who underwent an abortion procedure shortly before carking it (Hanzo arrives at this conclusion by shoving two fingers up her bloody cooch; Sherlock Holmes, he ain't!!). Suspecting the involvement of a local priestess, Nyokai, who is known to help ladies 'in trouble', Hanzo sneaks into the Kaizan temple, where he discovers the existence of an operation that caters for rich traders willing to pay handsomely to carry out acts of sexual perversion.

At his personal torture chamber, Hanzo ruthlessly interrogates the priestess, but when inflicting pain fails to make her talk, he decides to use another method to loosen her lips (phnarr, phnarr!): he unleashes the beast in his pants. This does the trick, for once a woman has felt the pleasure of Hanzo's massive schlong, it seems that she will do absolutely anything to prolong the experience. Unable to control herself, Nyokai gives Hanzo the name of the man who is profiting from her nefarious activities: Lord Treasurer Okobo.

With his hatred of corruption, and a total disregard for authority, Hanzo is determined to bring the evil official to justice, but must first apprehend Japan's most wicked thief, Shobei Hamajima, who is planning to steal the gold from the Edo mint.

Technically, Masumura's film is superb, with excellent direction, beautiful photography, well choreographed swordplay, an excellent funky soundtrack, and a plot that I found easier to follow than Sword of Justice, despite being just as convoluted. And despite the fact that The Snare recycles many of the elements from the first film, it's more outrageous sex and gore guarantees another thoroughly satisfying experience for those exploitation fans who enjoyed the original: as in Sword of Justice, Hanzo subjects himself to bizarre tests of endurance, rigorously working out his wang by beating his meat and rogering rice bails, but he also places his legs under massive weights, almost breaking his bones; once again, Hanzo offs a horde of attackers with his booby trapped house, only this time there is a lot more blood (there is also some extreme arterial spray during a nasty robbery by Shobei and his gang); and of course, there is plenty of misogyny and violent sex, and the depiction of rape—particularly as a pleasurable experience for the victim—proves to be even more unsettling than before.

The Japanese make the world's most audacious movies -- then they send them to the mainstream. This is a sensationally original epic of swordplay, sexual savagery, bone dry comedy and rousing bloodshed. It is so well made and so damn courageous it brought tears to my eyes.

Hanzo (the legendary Shintaro Katsu) is a Samurai policeman who uses his penis to extract information from beautiful women involved in an illegal abortion racket. He keeps his penis is ship shape by beating it, burying it in coals and exercising it daily. The film's opening title sequence, cut to a magnificent score by Isao Tomita, shows Hanzo hard at work in his country lair preparing his penis for a week of hard work. Yasuzo Masumura's direction of this sequence is exquisite. He lovingly employs a gorgeously lit series of close-ups to convey the pride our hero feels for his preferred weapon of choice. The photography is truly splendid and the cutting way above par.

I adore this series. This installment is my favorite, but 1 and 3 are also brilliant examples of the kind of film-making you won't find evidence of in any other country in the world.