Hirokin: The Last Samurai

| November 6, 2012

One parts Star Wars and one parts Dune are but a few of the ingredients that created Alejo Mo-Sun’s Hirokin: The Last Samurai, a film that is very much less than the sum of its parts. The film takes place in the far future, on a desert planet, where humans have taken over and enslaved a humanoid race, The Arid, living on it. The tribes amongst the Arid have a begun to hear of a rebellion, led by an Arid man named Moss, who wishes to fight against the human Viceroy. His ace card is a half human/half Arid man named Hirokin (Wes Bentley), that is to lead a force to stop the Viceroy and unite the tribes of the Arid to take back the planet. When the film isn’t hitting you over the head with every cliché in the book, Hirokin: The Last Samurai, keeps managing to underwhelm and shows off its poor script work, throughout the entirety of its running time.

Never once does the film manage to give one the understanding as to why Wes Bentley’s character is a samurai. In the original Star Wars, George Lucas managed to infuse his loves for samurai films, westerns and science fiction, while aways making the universe of Star Wars believable. Hirokin never even attempts this and continues its story, without any inkling of trying to sell Wes’ character as this skilled sword fighter. One of the things that really irked me was the simplistic approach at the films presentation. From Arid to Hirokin, every facet of Mo-Sun’s script just reads as the high school equivalent of a screenplay, that fumbles at every turn. The metallic element of Aridium is introduced, as a means of getting the human’s on the planet, but never plays a major role. Hirokin’s family is killed, but then revealed to be alive, for no other reason than to be a cheap plot twist. Just about every facet of this film just drags on, which makes one feel as though what is the real point to watching Hirokin:The Last Samurai, other than only to see someone rip off great science fiction films that preceded it. If there is one saving grace of the film, it would simply have to be Cameron Duncan’s work on cinematography, that makes full use of the Agua Dulce shooting locations and does an impressive job at trying to tell this story visually. Its a real shame that visuals like this are paired with a horrendous script that make the film completely unwatchable.

Even if you enjoy bad movies, there’s nothing really redeeming about Hirokin at all. I can honestly say that I looked back and forth at the clock, to count down for the DVD to finish, never to return it to my player once again.

About the Author:

is a graduate from Columbia College Chicago with a degree in Audio for Visual Media. He works as a freelance location sound mixer, boom operator, sound designer, and writer in his native Chicago. He's an avid collector of films, comics, and anime.
Filed in: Video and DVD

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