Very disappointing...

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Exactly the movie you think it is, but not the movie you want it to be.

The conclusion of this trilogy accomplishes something that filmmakers strive to achieve in an adaptation, creating an ending that is far more impactful, and ultimately improves upon its source. The plot of the three films deviates from the manga, but every change was done sensibly, omitting characters and subplots that ultimately had no real impact on the overall story of Kenshin himself and were appropriate for the two hour format. Ohtomo had already consolidated so much material (deftly, by the way), and there was no realistic way the Juppongatana could have been detailed anymore in a feature length film format without seeming overly contrived or indigestible to an objective audience. Aside from Sojiro, Cho and Anji, the Ten Swords are all just filler characters meant to rival the other protagonists. With that in consideration, the characters were fairly balanced. Obviously it's all subjective, the first act of the final film is a slow burn but these sequences are mesmerizing, and are exactly what cinematic fights should be. They contain the trilogies most imperative lessons for Kenshin, and provide crucial information as to what the viewer has been wanting to understand about him. With Takuro Ishizaka's sweeping cinematography and Kenji Tanigaki's choreography, we as viewers acknowledge the sense of conflict and respect between Kenshin and Hiko, and with each strike of their sword, a suggestion of their pasts and relationship. And what lies at the heart of Rurouni Kenshin are it's lessons. A distinct attribute of Sawatashi's costuming that sets him apart from his competition and makes them look authentically beautiful is the layer of dirt and filth that he permits. Visible in Takashi Miike's 13 Assassins as well, the costumes are torn up, grungy, and feature countless blemishes. This element, though minute to some, really sells the world and grounds it in realism, while starkly contrasting any polished or romanticized western iterations of Japanese/samurai culture in film. This is also prevalent in Akira Kurosawa's filmography, illustrating to the audience that although these warriors may seem godlike, they clearly are only human. They can become exhausted, critically injured, emotionally vulnerable, and layered in filth. This reflects the mortality of it's characters and when the combatants are battered and bloodied during such climaxes like Seven Samurai or The Legend Ends, it instills tension, engrossing the audience on a visceral level and further establishing the film in realism. It has a layer of grit to it that makes its atmosphere appear lived in and genuine. It makes the fight sequences feel real, emotionally and psychologically charged, you can detect the characters motivations and the undoubtedly real exhaustion emitting from the actors further creates tone and characterization. Tanigaki and Satoh were devoted to authentically depicting various techniques featured in the source material. For example, at the pinnacle of The Legend Ends, Kenshin faces the vengeful Aoshi Shinomori for the first time. As the filming continued, Ohtomo's belief in physical actions being an essential component to acting in general was put to the test. In this sequence, a vital, but tremendously challenging technique for Kenshin to achieve was equally challenging to re-imagine on screen. The sword technique is called the Kuzuryusen. In the source material, it's a technique where Kenshin attacks nine different places on an opponent's body at the same time, so there is no evading it. It was initially seemingly impossible to choreograph, but with perfect coordination, Satoh, Tanigaki, and his team managed to depict this technique in a unique and compelling manner that differentiated it from the source material and from the anime, juxtaposing Kenshin's methodical recoiling of his katana with his uncompromising, lightning fast, blink-and-you'll-miss-it nine lashes of his sword. Another example is during the climax of The Legend Ends, where Kenshin executes the final technique of the Hiten Mitsurugi-ryū or "High Heaven Style." The payoff of Kenshin's learning this ultimate sword technique (Amakakeru Ryū no Hirameki) instilled great tension in viewers on its own, knowing that it was being learnt in the first act of the film. Seeing it realized in a live-action format during the final moments of the duel against Shishio was impressively satisfying. With the viewers knowing that it would soon be unveiled, the moment Kenshin executes this sacramental technique put audiences in awe of the hero slow sheathing the Sakabatō and holding his exaggerated, sunk posture is a truly cinematic, nail-biting moment. While, there are certain characters in the ensemble who fall by the wayside, receiving only a short amount of screen time, the film is told with such assuredness of direction that it is easy to forgive those flaws. To say that the film is light in its narrative is to say the franchise of Rurouni Kenshin is light narratively. While that may or may not be true, these adaptations absolutely embrace and own the elements of its source, thus elevating it from feeling as if you're witnessing yet another parable of a hackneyed renegade hero, by uniquely subverting its characters. The Legend Ends is one of the best action films of the last decade, satisfyingly concluding what may possibly be the greatest martial arts trilogy, and contains what is arguably the best sword-based choreography ever committed to film. The finale is far more poetic than the others - philosophical, even - and it's no poorer for it. It doesn't really work as a stand-alone film, though, so it needs to be considered as an extension of its predecessors, and in that context, it's brilliant.

How to end a good trilogy? By making a great and awesome third movie of course! Rurouni Kenshin The Legend Ends is great. Shishio, again, is our villain in this one but it also has a new character Hiko Seijuro which is Kenshin's master. This movie probably has more action than the first two which makes it more awesome! There was this one part in the movie where Kenshin was washed up on the shore then his master picked him up. Right after Kenshin woke up, he asked his master for a training. Kinda like Star Wars Episode V where Yoda trains Luke. The characters of Yoda and Hiko share some similarities. Like they were former fighters and or they both don't intervene with our protagonist's battle. Very interesting if you think about it. Before I conclude, my favorite part of the movie would be the final battle.In conclusion, Rurouni Kenshin The Legend Ends is awesome. A good ending and a good trilogy!

*SPOILERS AHEAD*Firstly, I grew up with the original manga series. It was one of the first tastes of Japanese media I ever had and, 10+ years later, it is still a series I hold very closely to my heart. When I heard a Japanese live action was being released, I had my doubts. Still, I was excited to see a real life Kenshin on the big screen. The first movie I could excuse many of the missing plot pieces, I found it far to reminiscent and enjoyable. The second movie...well, my worst fears for this mini-movie series started to come true. Here we are at the final installation and all I could do was say, "ARG" and compliment it with a deep, highly disappointed, sigh. If you haven't read the original manga, or watched the Rurouni Kenshin TV series, I can see where folks might think this was a pretty fun romp through a period piece world. Who cares that character development and common sense went out the window! There was flashy sword fights and explosions. YEAH! Unfortunately for a die hard fan, the well choreographed sword play and cast just wasn't enough to save it. Here are my gripes and likes for this film:First, what I liked: -Takeru Satoh as Kenshin Himura was, hands down, the PERFECT choice. -Though repetitive and poorly placed at times, the music was fun. -All of the sets and places our characters visit really felt natural and well done. -Let's face it, the flashy sword fighting was superb. Very big thumbs up on the choreography. -The Shishio fight was a tad over dramatic, but it was the one point in this movie that I found kept me on the edge of my seat. Plus, key elements of the original story were where they needed to be. -Seta Sojiro was one of my favorite villains, I'm glad he got the screen time he did. Although, I *really* wish they had done away with the screen time of the other Juppongatana (who barely made any worthwhile appearances, anyways) for more depth to be allowed to his character. -Saito Hajime, in my opinion, finally got the bad ass screen play he needed. I was afraid for his character, after the whole chandelier fiasco... -Hiko Seijuro, well cast and well played. I especially enjoyed the flash backs that added a little more depth to both Kenshin and Seijuro. -Megumi Takani, in my book, to be the next best portrayed character. What I disliked: -Lack of character development in far too many characters. -What did they do to Kaoru's character? These movies made her into the stereotypical weak little girl she fights so hard in the original story to *not* be portrayed as. Kidnapped twice. Comatose. Heck, I was waiting for her to get amnesia or something else totally out there. -Yahiko? Who's that? Oh, he was that little kid that showed up every now and then... -Sanosuke. I realize in the manga he had goofy moments (they all did) but they turned him into an underplayed comic relief. Who uses the same fighting moves over and over and over again each fight. It gets old. His was another character I thoroughly enjoyed getting to know in the comic. -Aoshi, need I say more? His story was flimsy and, quite honestly, unnecessary by the third movie. They either should have left his character's story in tact (could've easily been done), or left him out period. -Poor Seta Sojiro. His entire backstory was whittled down to one nonsensical line read off by the monk Anji. As far as the movie goes, his mental break down (if that's what you could call what happened) made him look ridiculous. I didn't feel anything for this fight. Sure, you could argue his "weak vs. strong" mantra was appropriate, but coming out with no build up or reason left this scene lacking. Terribly. -The Purgatory. Maybe they left the ship in there to act as a better "final stage", I could live with that. But taking it from Kyoto, which held very dark memories for the former assassin Kenshin, and moving it to Tokyo? Why? To what point? The ship never lived to sail out of Kyoto, originally. If anything, it should have stayed in Kyoto. And don't even get me started on the sudden blind eye Shishio turned to the police who were building a defense within visible distance of his ship. That whole relationship with Shishio and the police was ludicrous. -Shishio's fighting style. They didn't really explain why his sword kept bursting into flame. -Kenshin's scar. They explained what happened to give him one side to it (via repetitive scenes that really didn't need to be shown 4-5 times), but never delved into how he came to get the cross shape. Maybe this is a subtle hint of a fourth, and final, film? One could argue the origin of the scar doesn't surface until far later in the original series...Those were my biggest pet peeves. Considering they left plot holes and unfinished story, I'd say they've made room for at least one more film. What I would like to see is a mini-series (TV or otherwise) to tell the origin story of the Hitokiri. For those out there who are curious, you can watch the OVA called "Samurai X". It's only 4 episodes. I recommend either watching the complete "Rurouni Kenshin" TV series or reading the original comic, in addition to Samurai X. These shed a much needed light on characters and succeed at telling a masterful samurai story.

Disappointing! This third movie really gives you an anticlimax storyline. Really it doesn't have the feeling of rurounin kenshin that i've known from manga and anime. Well, i know limitation in time is the biggest problem to be faced in this long epic story, unfortunately this film producer/director/story maker, you named it... really can't get any better solution for that problem.1. There is no point for Kenshin meeting his teacher. Really it's not make any strong bond in here, sadly it's quite long in this part, Did he learn something new technique in here? big NO. Its just talking, talking and talking. it was really boring2. Ultimate technique? i don't see any differences The ultimate? gee.. there is no different from the usual. It's so plain, nothing special in this so called ultimate Why don't you just say "the more confident kenshin" technique At least, please put some effect ! in anime there will be some kanji and light circle effect, why they don't do that3. Not meaning character. Aoshi really not important character in this film, not even feel fit into the storyJyuppon Katana The 10 strongest man of Shisio. Yeah the strongest was beaten with just one hit.. eat that! Kaori she is just sleeping, wake up, running in the beach, then go back to Tokyo. WTFSanasuke He is just a clownSaito his part is so simple.. just smokingI like the first one even more for the second one For the third one, sorry.. far from the expectation My score is 5