the audience applauded

Self-important, over-dramatic, uninspired.

It's a mild crowd pleaser for people who are exhausted by blockbusters.

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

One of those rare sequels that only improves upon the promises of it's predecessor, a dynamic and sprawling adaptation of the franchises infamous Kyoto arc. THIS, and the previous film should be held in high regard, and be looked to as the gold standard of how to adapt a long running arc to film format. This film seriously trims all of the needless filler character fat from the source. What they changed turned out to be good for it. Incredible action direction once again coordinated by Kenji Tanigaki. The devotion from the actors here, as they all performed their own stunts and mastered their own choreography, is really a feat to behold. All in all, Kyoto Inferno is just as good as the first film, if not better. Despite being the first of a two part sequel, it manages to be a self-sufficient, coherent story. Virtuosic.

The first Rurouni Kenshin movie was great. So is the sequel and its third movie. Again, the action sequences were great. Not only that, we even have a new and awesome villain named Shishio. Shishio unlike Jine Udo (villain from the last movie) had a more developed origin story and a more understandable character. Yet again did they made a good job of making a live action of this one. There are things that bothered me though, especially the title. As you can see, the title is Kyoto Inferno which will make you expect the city of Kyoto is gonna burn down to ash. But the twist is, Shishio's real plan is to burn Tokyo and stating that Tokyo is his real target making the title Kyoto Inferno kinda useless. But anyway it's still awesome. It makes me want to see Attack On Titan which had the same creators as this movie.In conclusion, Rurouni Kenshin Kyoto Inferno was very good! Awesome and satisfying.

Rurouni Kenshin is composed of three films. The first film is complete in itself and others consist one story. The final film has shown since 13 September but I have not watched it yet. I'm very looking forward to it. This film is based on a manga which is popular but I have never read because I don't like historical stories. However, once that I watched the first one on TV, I have been captivated by it. First of all, casts are really good. They are very famous in Japan especially the main actor, Takeru Sato, is popular with young people because he is good at acting. In addition, I love Tatsuya Fujiwara because he is really cool. Unfortunately, his face is mostly covered with a bandage so I'm shocked.Second, I don't feel an old-fashioned atmosphere so much. I think this is because of the young actors and actresses and action scenes. My image of period films is that many people fight and a screen is overcrowded. However, this scene is fewer and one to one fight is focused which is like a hero animation.Finally, I think the structure is not good. The first one is OK but others are too long to watch. When I watched this second one, I was getting tired of it in the middle and I could sometimes expect what happen next so I hope the final film is good structure and good climax.

The first live-action installment of Rurouni Kenshin judiciously cut several arcs from the original manga and anime story to deliver a tight, cohesive narrative that built up to a satisfying conclusion — even if it did reveal a few late-story secrets far, far too early. The first half of a two-part follow-up, Rurouni Kenshin: Kyoto Inferno (a.k.a. Kyoto Taika-hen) suffers by failing to take the same discretion with the source material, choosing instead to mirror the manga's episodic, drawn- out build-up to the decisive confrontation between Himura Kenshin (Takeru Sato, a former Kamen Rider) and Makoto Shishio (Tatsuya Fujiwara of Battle Royal and Deathnote fame). This film could easily have worked as a televised miniseries, with a sense of minor resolution every twenty minutes or so as a greater, unifying threat loomed in the background. But as a singular arc, Rurouni Kenshin: Kyoto Inferno lacks any cohesive build or pay-off as Kenshin wanders from one seemingly arbitrary encounter to the next. A plea for help. An assassinated official. A stolen sword. A village in peril. A search for a swordsmith. A plot to burn Kyoto. A desperate rescue. An open-ended conclusion. And between each burst of choreographed violence, a ream of static exposition that would nearly send George Lucas looking for an editor.The story partly suffers from its need to play clean-up to some first- film decisions. Hajime Saito (Yosuke Eguchi) has already been introduced as an unambiguous ally, and although he's allowed to display more badassery this time around, the film lacks the taut-wire tension between Kenshin and the ex-Shinsen Gumi leader that formed the backbone of the manga's sensational Kyoto arc (Saito's opening face-to-face with Shishio is also a bit silly, largely resembling an outtake from Indiana Jones and the Temple of Doom). The film also struggles to introduce Aoshi Shinomori (Yusuke Iseya, who was interesting in Casshern back in 2004). While wisely excluded from the first film — another semi-villain would have just been too much — cramming all of his development into an expository sub-story this time around fails to do justice to one of the series' most compelling characters. By the time he faces off with Kashiwazaki Nenji (Min Tanaka), the ostensible leader of the Oniwa Banshu ninja group (translated here as The Watchers), we really haven't had time to get to know him or care about his goals.One standout, however, is Tao Tsuchiya, who's delightful to watch as Oniwa Banshu ninja Makimachi Misao. While her attempts at anime-style spunk don't quite work, her full-throttle wire-assisted combat displaces enough bamboo to evoke positive memories of Crouching Tiger, Hidden Dragon. Ryunosuke Kamiki (voice of Bo in Spirited Away and Marukuru in Howl's Moving Castle) similarly sets up an effectively creepy Sojiro Seta, though in a film crammed with so many new characters, we don't quite get to know who he is so much as simply what he does.As for the remainder of the supporting cast from the first film, they are almost entirely cut from the runtime, appearing only during Kenshin's should-I-go-to-Kyoto quandary at the opening and then again at the end. This leaves Kenshin meandering the middle arc as an arbitrary avenger, with only an incidental connection to the travesties Shishio creates around him — and repeated scenes of women and children weeping extravagantly over dead bodies feels more desperate than driving. With Sato's portrayal of Kenshin predominantly set to glower, we don't get a clear sense of the radical shift between his carefree and killer states, and it's unclear which moments truly resonate with the reformed assassin.The action sequences are exceptionally well-choreographed, and generally fun to watch. But with so many featuring hero-vs-the-world stuntman slaughter, tension is quickly lost. While there are fits of incidental action, there are only two big one-on-one fights for the title character, and the second, though Bourne-like in its innovative use of tight spaces, involves an antagonist we barely know and who only serves to mechanically set up the next plot point (He's also done up a little too ridiculously for a live-action villain — another area where deviation from the source material would have been wise). Taken on the whole, the film feels like watching only the first quarter of Kill Bill Volume 1 stretched to 139 minutes. Much sound and fury, signifying little — and even a citywide battle in the penultimate arc seems arbitrary and unearned. Having gone through so many unrelated minor objectives, the stakes are unclear and the emotional investment isn't there. Perhaps this will all be put paid in the second half, promised in September. But until then, this Rurouni Kenshin feels long on tease and short on delivery.(Disclosure: I got to play the first plummeting body in the video for One OK Rock's Mighty Long Fall, the film's closing theme.)