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Good concept, poorly executed.

This story has more twists and turns than a second-rate soap opera.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

I loved the original Clint Eastwood version and this is an excellent retelling. Few people know how much the Japanese frontier of Hokkaido parallels the American west and this story really takes you inside of that. It is a very different story due to cultural and factual differences, but the core tale rings through. I saw this when it first came out and I re-watched it just the other night. If you like action and drama you owe it to yourself to watch this. Every aspect of this movie including story, acting, directing, and editing is near perfect. This is a true hidden gem.

What goes around comes around. Just as a fair number of westerns were remakes of classic Japanese Samurai movies so Sang-il Lee's "Unforgiven" is a fairly literal remake of Clint Eastwood's Oscar winner of the same name. Here we may be dealing with samurai but that doesn't disguise the fact that these guys may as well be cowboys and this could be the American West. It's a reasonably exciting and handsome picture, gorgeously shot in widescreen by Norimichi Kasamatsu, but it is also so close to the original it feels almost negligible. Ken Watanabe plays the Eastwood role but it's something of a one-note performance; he lacks Clint's gravitas. This could have been a classic but as it is it's nothing more than a very good copy.

When a movie is as brilliant as Eastwood's Unforgiven, it's very hard if not impossible to watch its remake with a fresh eye. I tried, but could not succeed. I kept wishing I was watching the original. Not to say it was a bad film, not at all, but there are some major flaws in this movie. First of all, the characters and actors were nowhere as charismatic as in the original. Not that they were bad, but imho they lack the emotional depth and nuance that their predecessors had. While Gene Hackman's role seemed beautifully fleshed out, his Japanese counterpart is merely a psychopath.The film imitates parts from the original at places were they could have strayed off a bit, and vice versa. Sometimes it felt I was watching a western, just with Japanese actors, while I expected it to be a samourai movie. There are scenes from Unforgiven 1 and 2 with matching color palettes, which I think is a shame. Why not go for a totally different approach? Accentuate the differences, not the similarities. But there are scenes in the original that had a lot of punch (eg the final shootout scene), which have been given a different approach and therefore fail.Where it succeeds is the beautiful cinematography, and the conclusion of Japanese Will Munny's character. I also like the symbolic use of the elements like rain and snow.But as said, I'm extremely prejudiced (Eastwood's Unforgiven is one of my favourite movies) and perhaps the viewer who is not familiar with the original will love this one just as well.

Sang-il Lee's Unforgiven is at least as good as Clint Eastwood's 1992 classic. With the same general characters and plot, the remake adds some stunning visuals. The archetypal white horse dead in the snow is as powerful an image of nihilism as we'll ever see. That's rhymed later by the white bottle of horse-manure hooch that the reformed and now relapsed killer Jubei drains and tosses to the snow and his old war-mate (the Morgan Freeman sub) tortured, killed then left in the frost. The Japanese setting — 1880s Hakkaido — makes for some crucial differences. The violence is ratcheted up significantly both because of the gore endemic to Samurai swordplay and from the cataclysmic destruction that the nation's atomic bombings have stamped on the cultural psyche. The film also adds the bitter tribal tension between the privileged Wa and the persecuted Ainu. Jubei has a scene with his Ainu father-in-law who regrets that his grandchildren aren't learning the language. The remake also makes the swaggering young pretend-killer an Ainu. His itch, cockiness and teary admission of humble origins recall the Mifune character in The Seven Samurai. Where Eastwood closed on the possibility that his Will Munny took his children to a merchant's life in San Francisco, here we get no hint of Jubei's future. Instead he sends the Ainu kid and the scarred whore to his farm, with the reward money. The suggestion is that with his reversion to his old killer self he no longer deserves to serve his wife's memory and to father his children. With the reward and the children he gives the young killer and the woman their chance for redemption. She removes herself from the prostitute's shame and hunger for vengeance, he from the wrong-headed attraction to macho killing.This is a harder moral position than the original. Eastwood's film brilliantly questioned his own persona's career of film violence. The Japanese context provides a parallel twist. As it dramatizes the inescapable cycle of violence the film could be read as an argument against Japan's re-militarizing. For more see www.yacowar.blogspot.com.