Takashi Miike is an interesting cookie. He has built up quite the impressive repertoire of films, many of which are veritable must-sees – from now cult classics like Audition, Ichi the Killer, to some of the most bizarre films I have ever seen (and that’s the stuff I like!) such as Izo and Gozu. He puts out more films in a year than some directors do in their career, and many of them are really good.

This year, he introduced Sukiyaki Western Django, an eastern spaghetti western packed with action, style and flair the likes of which will dazzle and astound you.

Too bad he forgot to make a movie.

Now that may sound harsh, but bear with me for a minute. There are a lot of great concepts here, and the execution is no less brilliant. The visuals astound, and the film completely nails the marriage of eastern and western aesthetics; samurai and wild-times gunslingers blended together; saloons and sake for the win.

The cinematography and direction definitely have Takashi Miike’s distinctive flavor about them, and as always are top notch. The colors and costumes are strong and full of personality; characters are unique and interesting; and fights are flashy and fun, with good choreography throughout.

Unfortunately, flash and style are all this film has to offer. There’s humor, but it feels out of place almost every time, and due to the naturally slow pacing of the film (this is Miike we’re talking about, after all), none of the jokes ever hit their mark. Quentin Tarantino practically tears the screen with his mere presence, something he’s been doing pretty much ever since Reservoir Dogs. I’m sure there are a lot of Tarantino fans out there, but what he brings to the screen is starkly his, and it makes for an awkward abomination of tone and humor.

Characters exist for no justifiable purpose and then proceed to take up most of the screen time – the town sheriff and his ‘antics’ come to mind as being particularly intrusive. The film waxes philosophical, but only as a pretense. “Here is a difficult question of life, oh isn’t it so deep?”

Kaori Momoi brings the heat.

Of course, as is always the possibility, maybe Takashi Miike is just too smart for me. Maybe he has me right where he wants me. Maybe he wants me to look at his film and feel like I missed something. Maybe he wants the people who get it to feel extra special. I’m sure it’s all very clever, but it strikes me as being a bit ill-advised – after all, I recommend to my friends to avoid this one.

It’s an interesting ride through a visual feast, but I’ll wait for the sequel.

…Except I already saw it.

…dang.