Edgar Wright’s “The Running Man” may be the survival-based class commentary action thriller released this week in theaters, but on the small screen, look for Netflix’s “Last Samurai Standing,” which features similar elements woven through a story inspired by the end of the samurai era. The series, based on Shogo Imamura’s manga series Ikusagami, continues the streamer’s trend of live-action manga adaptations such as “One Piece,” “Yu Yu Hakusho,” and “Parasyte: The Grey.” “Last Samurai Standing” is a new peak in the subgenre, standing out as one of the best action TV dramas of this year.
Imagine a version of Fukasaku’s “Battle Royale” that is set during the Meiji Restoration, a period in the late 19th century when the feudal caste system was dismantled and rendered obsolete. Much like Fukasaku’s masterpiece, it captivates by striking a distinctive balance between social commentary and grisly, entertaining violence.
The six-episode first season unfolds largely from the viewpoint of Shujiro Saga (a compellingly solemn Junichi Okada), a former highly sought-after assassin for government officials, who earned him the nickname “The Manslayer.” “Kodoku,” the series premiere, begins with the exodus during the Boshin War at the Battle of Toba-Fushimi. Imperial forces and their guns and cannons defeat Shujiro and his fellow samurai there, making them obsolete.
Nearly a decade later, in 1878, a surviving Shujiro struggles with PTSD. His village and his family weather the cholera pandemic. His young daughter passes away from the disease, and his wife (Riho Yoshioka) and son soon become ill, contracting it themselves. As all hope seems lost, Shujiro receives a mysterious invitation to a Tenryū-ji temple in Kyoto for a tournament with a grand prize of 100 billion yen.
There, he finds himself one of 292 warriors, ranging from samurai to archers, many of whom were either surviving war veterans, poverty-stricken, or failed to adapt to the new Meiji world. Host and overseer Enju (Kazunari Ninomiya) reveals that they’re now in a game called “Kodoku.” In the game, contestants must take the Tōkaidō route (from Kyoto to Tokyo) and obtain their fellow players’ tags by killing them. At each pit stop, they must collect up to a specific amount. Only nine players can reach the final destination, and by then, must have 30 tags each.
The game commences. In a matter of seconds, swords fly, blood spills, and body parts are graphically dismembered. Activating a very Pedro Pascal-esque protective father mode, Shujiro defends the young Futaba Katsuki (a soulful Yumia Fujisaki), who is there to save her mother, and she joins him as his comrade. Along the way, the two encounter and ally themselves with Shujiro’s fierce swordsman sister-in-law (Iroha Kinugasa) and Kyojin Tsuge (Mashahiro Higashide), a witty self-proclaimed “strategist.” Together, they attempt to survive, as dangerous warriors such as the barbaric “Savage Slasher” Bukotsu (a terrifying and engrossingly charismatic Hideaki Ito) loom.
“Last Samurai Standing” is an exceptional action spectacle unlike anything I’ve seen in the medium of television and film this year. Series directors Michihito Fujii and Kento Yamaguchi (both co-writers), as well as Toru Yamamoto, brilliantly expand the scope of the Tōkaidō journey to create an epic backdrop that serves as a battleground for exquisitely crafted swordplay or mixed-weapon sequences.
Every episode captivates with its raw, extremely violent sword fights, which are masterfully filmed, choreographed, and edited. Every action scene builds in size and scope, highlighting the vibrant yet dystopian post-feudal world. Each actor, who all perform their own stunts remarkably—with lead Okada serving as the primary action choreographer and producer—delivers a kinetic commitment to the craft through their spirited performances.
Fujii and Yamaguchi effectively deconstruct the era’s sociopolitical elements through a colorful, charming set of samurai warriors and their journey. The emotional heart lies in Shujiro and Futaba’s relationship, specifically in the latter’s empathetic regard for human life. She serves as a beacon of hope in this harsh, grisly world, and her empathy is a source of illumination.
Considering this tournament has 200 fighters, the show’s only flaw is that the writers attempt to feature far too many characters for a short number of episodes. Characters will be introduced in cool flashbacks, only to be dispatched moments later. But many of the “surviving ones” are well-developed. The main characters are all very likable and have great chemistry with each other, which makes you want to root for them to stay alive.
The show admittedly wanders into cartoonish territory, as some aspects of the action become absurd and the personalities, designs, and skill sets of the aggressive fighters are reminiscent of those in “Mortal Kombat” (ironically, the season finale is titled “Mortal Combat”). The writers and energetic cast, however, maintain a well-balanced tone by knowing when to allow the vibrant elements to be spotlighted and when to rein it in to spotlight the human element.
Ultimately, “Last Samurai Standing” is a fully realized, epic action series that seamlessly integrates some of the most intricate action filmmaking to be seen on television in years, with a beating human heart that makes us care.
Whole season screened for review. Now on Netflix.
