The positive response this film has received here on IMDb makes me think that most people didn't truly appreciate the originals, and what made them so unique and beautiful.It seems as if Shintaro is barely acting. He has lost most of his mannerisms, and the rich facial expressions have all disappeared. The violence is obscene and the drama is lifeless. The camera work and a lot of the music is just plain awful.I wish I hadn't seen it. I have such a deep love and respect for the originals, and the younger Shintaro's acting ability. Watching this was really painful. Please, take my advice, give this one a miss and re watch one of your old favourites instead.Unless of course, all you watched zatoichi for was the swordplay.

Looked forward to seeing this last version by the original actor. But, aside from the color photography, violent swordsmanship, and invocations of past films, which deserve praise (if you recall the bloodless b&w films of the 60's), I really had trouble with the plot lines and trying to follow along the meandering trail of who was who, what was what, and why they were doing what they were doing.There were a lot of characters featured here, and the connections among them were not very clear. A scar faced villain appears early on, and then shows up toward the end to complete the circle. A woman who seems to have unexplained authority seduces the hero and then drops completely from sight. A minor character shows off his remarkable skill in effecting a kill and then dies rather unexpectedly and without fanfare at the end.The sword fighting in this movie explodes with unexpected suddenness, after long scene setting or mood setting intervals, in various parts of the film. The depiction of violence is pretty good, but some scenes are absurd, such as the one in which a leader who has donned a make shift suit of armor made up of metal coins (ryo pieces)is stabbed repeatedly and spurts blood all over, like that braggadocio knight in the first MONTY PYTHON picture.You have to suspend your disbelief that a blind man can survive against 30 or 40 or 50 to one odds, especially in one case where the bad guys have guns. Is the hero gifted like the Marvel Comics hero Daredevil with extraordinary hearing? And extra sensory perception? Well, that is the only explanation for his survival. Or the absolute incompetence of his enemies in being able to formulate a plan of attack against him.So many plot lines, so many unresolved issues. Zatoichi is like a tornado who comes to a village, gambles a bit, massages a bit, plays with kids, makes friends here and there, and then sweeps away many lives, leaving death and destruction, and then goes his lonely way down a dirt road. Ordinary folks may come out and cheer (as at the end of this film) for the presumed end of some oppression, but you are left wondering where were these people throughout the movie. What happens after he leaves? Finally, there is so much ethnic tradition being depicted here that many people may have a hard time understanding what is happening. So, I can't recommend this film highly -- unless a film goer has a lot of familiarity with the previous films featuring Zatoichi and can tolerate some of the problems I referred to above. Maybe the color photography may make things bright. "Painting the Clouds with Sunshine," as that old song goes. Here, though, it's blood red.

All hail the genius of Shintaro Katsu for creating such a non-stop movie hero. He will always be Zatoichi in my heart, so it is heartening to know that he finished off his legacy as Zatoichi with a 26th film made thirteen years after he "retired" the character in crippling defeat in 1973. He also co-wrote and directed - his only triple threat in the history of the series. But while the movie is certainly fun, and at times very sweet, it has some flaws that don't quite allow it to live up to the excited originality of its predecessors.The character of Zatoichi is older and wiser, but generally remains as we remember him. The fighting scenes certainly have zing and gore, with buckets of blood pouring whenever someone gets so much as a paper cut (including one particularly horrific blood-soaked scene of a villain continually slicing a subordinate in a drunken fit). And even though it was filmed in the late 80s, Zatoichi #26 doesn't lose any of the series' period-piece charm (in fact, the cinematography and is quite good). Shintaro Katsu is at his most doddering and charming as the now-elderly Zatoichi. He is downright tender and sweet when he entertains a group of children, meets a traveling band of fellow blind masseurs, humbly succumbs to prison torture, uncomfortably accepts gifts from an old friend, or tries to understand the color red. He's fiendishly clever showing up a bunch of gamblers who are more than willing to try and cheat a blind man at dice. And he is even kinda sexy as he enjoys a seductive hot bath with a naked young yakuza powerhouse (Rowr!). It's nice that the film is attentive to the character and he certainly seems more reflective, but the story only truly comes to life when Zatoichi gets down to slicing up some arms, noses, and torsos. Those scenes are unfortunately infrequent, and while the gore is certainly excessive in the most wonderful way, the choreography is sloppy and somewhat uninspired. Katsu was approaching 60 at the time of filming, hardly a young pup, so he can't be faulted too much for toning down the acrobatics - or squatting, as the case may be. The biggest flaw, one that doesn't make the film unwatchable but less likely to enjoy repeated viewings, is that it is overlong by half and bogged down in a plot that...well, just doesn't make any darn sense. Instead of a single foe for Zatoichi to focus on, the film features an abundance of ill-defined villains, a weepy samurai, the previously mentioned sexy yakuza leader, a shifty rival gang-leader, an imprisoned rebel, a young mother with a huge brood of kids, and Katsu's own son in the closest to main villain role as a gambling big-wig. They over-fill the story with sub-plots of battling each other for supremacy, expanding gambling empires, trading antique firearems, and ordering the gradual slaughter of each supporting character - most of whom die at each other's hands rather than by the sword-cane of our blind anti-hero. There's so much extraneous plot that there are long stretches where Ichi himself is pointless, and indeed, it feels like another film were made around him. As a lesser sin, there is a lot to be said against the film's use of a cheesy 80s pop ballad - in English, no less. But it certainly adds the right touch of hilarious cheesiness right after a particularly gory Zatoichi bloodbath (sample lyric: "Looking at life through the eyes of a looooner"). Fortunately, it only pops up in one scene, and the rest of the music is appropriately old school. I'd say this entry into the series is one you should see... oh, maybe fifth. Start with the first film, The Tale of Zatoichi, which is low on actual fighting, fitting more in the tone and style of Kurosawa's style of traditional samurai film. Then go to one of the middle period films - take your pick from the 17 titles currently reissued on DVD by Home Vision Entertainment, they are all fun and ridiculous in their own way (I recommend The Fugitive, but just because I had the chance to see it on the big screen). Then don't miss 1970's Zatoichi Meets Yojimo, a must see thanks to the presence of Toshiro Mifue, and probably the funniest in the series. And finally, jump to Takeshi Kitano's 2003 Zatoichi remake. Kitano's tribute is better than this 1989 entry, and covers many of the same themes.Plus, much better music. THEN watch this one. And after that, you've only got 22 more to go as well as the television series and the ridiculous U.S. remake Blind Fury with Rutger Hauer (an abomination if considered as part of the Zatoichi series, but a hilariously bad stand-alone film) before you have completed the Zatoichi cannon.

This is by far the goriest of the Shintarô Katsu series. The image of Zatoichi holding a severed head while slashing attackers is one I may use for my next tattoo. Blood spurts and flows in rivers. The story is well executed, nostalgic, and has the welcomed addition of nudity! It was hard to believe that Zatoichi actually had sex with a gorgeous tattoed naked yakuza girl in a hot spring. It was even more incredible that at age 69 Shintarô Katsu pulled the scene off, and it was quite erotic! That has to be one for the cinematic record books.The only thing I found that didn't work in this film was a very 80's Michael Bolton like theme song sung in English! Luckily it only occurs with the vocals twice. Other than that minor flaw, this is in the top 5 of the Zatoichi catalog, and I've seen them all. Highly Recommended!!!