Kenshin Himura (Takeru Satoh) was once a legendary swordsman throughout the civil war that swept across Japan through the 19th Century. After making a name for himself as 'Battosai the Killer', Himura has settled down and taken on the life of a lone wanderer who serves whoever needs his help, although he never kills anymore. But when his successor, Makoto Shishio (Tatsuya Fujiwara), is found to have survived being burnt alive, he begins a bloodthirsty attack on the Japanese government. Himura is called back into service to save Japan, but he must ensure he never kills anyone ever again. But can he fulfil that promise?
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The big screen version of Nobuhiro Watsuki's much-loved manga series has already been a huge hit in it's native Japan
Kenshin Himura is a name known to manga fans from across the globe, and the one-time assassin turned keeper of the peace has at last made the leap to the big screen in Rurouni Kenshin. From director Keishi Ohtomo, who co-wrote the screenplay with Kiyomi Fujii, have started from Kenshin's beginnings to tell the story of the man once known as Battosai the Killer in full, and after finding success back in Japan already, there are hopes it will have a similar success overseas.
Back when he was Battosai the Killer, Kenshin (played by Takeru Satô) was one of the most feared assassins in the land, but whilst still young and at the prime of his game he grows weary of a life of killing, and decides to use his skills for good. Hanging up his sword and becoming a wanderer, helping passers by during his travels, Kenshin tries to find peace within himself. Eventually he stumbles upon a rundown martial arts school led by the temperamental, albeit loveable Kaoru Kamiya (Emi Takei), where he feels at one and makes it his home. At first, discovering what his past was like, Kamiya attacks and tries to shoo Kenshin from the dojo, but upon learning of his newfound identity, the two grow closer and Kaoru helps him find peace and encourages him to continue with his vow against killing. This new life becomes increasingly difficult once the bloodthirsty Kanryuu Takeda takes it upon himself to find the missing Kenshin, leaving a trail of dead bodies in his wake. Takeda will stop at nothing to make the former assassin revoke his vow and return to the profession he was once so revered in, and before long, Kenshin will have to break his vow no matter what.
Continue reading: 'Rurouni Kenshin' Will Arrive In UK Cinemas This Week [Trailer]
Kenshin Himura was once a feared assassin known as Battosai the Killer. But, still only young, he has grown tired of taking lives and hangs up his sword in favour of peace, vowing to protect people as a wanderer and not a murderer. He winds up finding a home at a rundown martial arts school led by the feisty but lovable Kaoru Kamiya, who attacks him on his arrival on discovering who he once was. She soon begins to realise that being a killer is not his true self and grows close to Kenshin, helping him find peace and encouraging him to live the rest of his life without killing. However, this becomes more challenging than expected when another ruthless killer named Kanryuu Takeda leaves a trail of bodies behind him in his search for Kenshin, and will stop at nothing to force Kenshin to break his vow.
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For its easy charm and humor, Michel Gondry's "Interior Design" comes off best. Gondry's story follows a young couple -- Hiroko and Akira (Ayako Fujitani and Ryo Kase) -- who have just moved to Tokyo, struggling to find an apartment, jobs, and generally to start their new lives. Akira's an aspiring filmmaker-artist, hence a bit of a space case, while his girlfriend Hiroko is smart but directionless. While getting started in Tokyo, they bunk up with a friend in her absurdly tiny apartment. Gradually, Hiroko pulls away from Akira and, in a Gondry-esque bit of transmogrification, she suddenly has the ability to shift from human to chair form and back. As a chair, she becomes part of the furnishings in a stranger's home, and feels herself an object of value, something she lacked as a human being. Gondry pokes fun at Tokyo's housing crisis: The living spaces are hilariously cramped, hardly more than glorified closets. With the low-key bantering of its characters, the quotidian details of Tokyo street life, its movie-within-a-movie device, the human-chair magic trick, and the overall theme of life-as-reverie, this is a Gondry project through and through. And, though not illuminating on the subject of its city, it's still a cute, clever take on Tokyo to keep us amused.
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The 2 1/2 hour journey is based on the path of Yuichi (Hayato Ichihara) and takes place over the course of several years. Being average and shy, he is the frequent object of bullying. He lives with his pregnant mother, her boyfriend, and the boyfriend's son. As both adults work to support the family, Yuichi is left to his own devices often, as are most of his peers, which can be dangerous during an age when you are usually trying to get away with as much as possible.
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