HERE ARE THE LATEST REVIEW UPDATES OF THE SERIES CALLED HOUSE OF NINJAS SEASON 1
It is said that ninjas are composed of some of the best fighters in Japan SERIES. Their writings seem to be so private that it’s hard to determine whether they are true historical figures or just a wildly inflated work of fiction that has been repeated so frequently that it’s been taken for granted. And the entertainment industry has mainly laughed them off despite their intricate and deep history.
The few notable ninja depictions are, like, Batman Begins (yes, it’s realistic), Ninja Assassin (the ninjas in this movie basically have superpowers), and Teenage Mutant Ninja Turtles (are they really ninjas?). But House of Ninjas will have you think that’s all part of the strategy.
The story of the Tawara family is told in Dave Boyle’s House of Ninjas, which he co-wrote with Masahiro Yamaura, Kota Oura, and Kanna Kimura based on a story by Takafumi Imai, Kento Kaku, and Yoshjaki Murao.
The Tawara family is said to be the last remaining Shinobis (though “ninja” may not be the appropriate term), and their ancestors are Soichi (the father), Yoko (the mother), Nagi (the daughter), Gaku (the oldest son), Haru (the second son), Riku (the youngest son), and Taki (the grandmother).
However, after Gaku’s death, they are trying to lead a “normal life,” until the rise of a new evil called the Gentenkai, led by a mysterious cult leader named Tsujioka.
Due to Karen’s reporting and the BNM’s (Bureau of Ninja Management) prodding, all of the family members start to reenter the realm of shadows, despite Soichi’s insistence on not donning the iconic gear and brandishing a blade. Furthermore, the discoveries made as a result of this undertaking have the power to upend the Tawara family and Japan itself.
The writers’ incredible genius astounds me more and more when I consider the House of Ninjas storyline. The Tawaras are attempting to regain some kind of normalcy in the first three episodes, which are structured like a superhero comedy, but they are drawn to action nonetheless.
The BNM is quite jovial, in part because it includes a section devoted to ninja portrayal in popular culture. Furthermore, it doesn’t appear as though the Gentenkai threat is very real. The next three episodes, however, have the atmosphere of a conspiracy thriller.
While the Gentenkai starts to resemble a storm of anarchy that would upend Japan’s socio-political structure, the Tawaras and the BNM start to represent fascism and oppression. Furthermore, there is a strong sense of how everything is entwined with the characters’ own journeys.
After all of that, the last two episodes get really deep, discussing topics like godmen, whether or not kindness is a sign of weakness, and how easily younger generations can be used as leverage.
The festival House of Ninjas is split-diopter. Every episode, I believe, has more than one, and they are all used quite delectably. My memories are seared in the moments when Haru confronts Tsujioka and admits his role in Gaku’s demise. The show features amazing action scenes that change based on how well you know the characters.
The first set pieces are a little ethereal, as though you are observing them develop from a distance. But everything from the sound design to the choreography becomes more immersive as you get to know the previously mentioned character and the world they live in. The last two combat scenes are very amazing.
The amount of stunt performers, the setting, the editing, and the camera work in those situations are all excellent. The pace is incredible. It is nothing short of genius how certain crucial moments are allowed to breathe through quiet.
The show’s meticulous attention to detail is evident in every set, including the Tawara household, the BNM headquarters, the flats, and the Gentenkai HQ, which all exude such personality. Even while there is room for improvement in some of the low-light situations, overall, the benefits greatly exceed the drawbacks, so I don’t worry too much.
House of Ninjas has the ideal cast. Throughout the entire concert, Kento Kaku gives such a subdued performance to represent the amount of shame, suppression, and weight that Haru is bearing. Because he has witnessed so much violence, his character has a weary sense of the world that is counterbalanced by his desire to maintain his innocence.
Because of this fantastic push-and-pull, Haru is an excellent protagonist. As the stereotypical father figure who is too preoccupied to maintain a facade and believes he knows his family, Yosuke Eguchi is quietly humorous. Having said that, he is amazing when he lets go the beast.
TAE KIMURA HAS A RIDICULOUS SENSE OF HUMOUR.
She appears to have exited a screwball comedy from the 1960s. Having said that, she does make you feel something when she has to demonstrate that this is simply Yoko’s method of coming to terms with the death of her son. Aju Makita does a fantastic job of striking a balance between being a deadly fighter and a cute sister.
Scene-stealer Nobuko Miyamoto is amazing. She brightens the screen each time she appears on it. Even though Tenka Banya is the only child on the show, she is intelligent. His curiosity and sense of humour are contagious.
Regarding the remaining members of the House of Ninjas cast, I’m at a loss for words when it comes to expressing how happy I was to see Takayuki Yamada in action. I grew up watching and rewatching Crows Zero (I believe there is an explicit reference to the movie in the show), and witnessing him as this clairvoyant cult leader, who coincidentally happens to be a god-tier ninja, spewing all kinds of knowledge about life and upending the global order, was amazing.
Tomorowo Taguchi, while initially humorous, develops into a formidable and manipulative figure who, without explicitly switching sides, becomes one of the show’s antagonists before you can realise what has happened.
Everything about him, including his mannerisms and body language, is designed to make the audience laugh. I can appreciate his participation considering how depressing the show can get at times, and I don’t dislike Emoto’s presence either. The audience is represented by Riho Yoshioka, who masterfully captures every emotion a non-shinobi would experience if pushed into the world of shinobis.
Despite having little on screen time, Kyusaku Shimada makes a big impression. The same is true of Bambi Naka, a force of nature whose name may or may not be a reference to Ayame from Naruto. To avoid giving away the plot of his character, I will only say that Kengo Kora is fantastic.
To be honest, I’m still trying to figure out how to reconcile the importance of the show’s depictions of politics and religion with the delicacy of the family and personal drama. Although it’s not exactly novel, I find it fascinating and compelling how it’s incorporated into this specific fictional universe.
Furthermore, it is my pleasure to commend Netflix for presenting two outstanding action series in a matter of two months. They gave us The Brothers Sun in January, which was deeply rooted in Chinese culture, and House of Ninjas in February, which is awash in Japanese mythology, history, and culture.
Additionally, the fight scenes in these two programmes will rival those in the year’s biggest blockbusters. I’m not sure how lucrative shows like this are for streaming services, but if they want me to spend eight or nine hours a day watching binge-worthy shows, then I’m all for it! Go watch House of Ninjas, please, so I can have more of this.
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