In 2015, amidst a star-studded cast and the acclaim of a visionary director, “Last Knights – Die Ritter des 7. Ordens” quietly slipped under the radar. But was it deserved? You can find out for yourself.
“Last Knights – Die Ritter des 7. Ordens” boasted an impressive ensemble of international stars. American Academy Award winner Morgan Freeman (“The Shawshank Redemption”) and Oscar-nominated British actor Clive Owen (“Closer”) donned chainmail and steel armor for this historical epic. Joining them were notable talents like New Zealand’s Cliff Curtis (“Whale Rider”), Norway’s Aksel Hennie (“Headhunters”), Israeli-born Ayelet Zurer (“Angels & Demons”), and the remarkable Iranian actress Shohreh Aghdashloo (“The Expanse”).
Despite this stellar lineup, the film failed to resonate with global critics and at the US box office. In some regions, including Germany, it premiered straight to DVD. The primary critique centered on “Last Knights” not offering anything groundbreaking within the historical action genre, merely rehashing familiar motifs and elements—a criticism that, to be fair, holds some truth. Nevertheless, the film, given its relatively modest budget of around $20 million, demonstrated remarkable craftsmanship and visual appeal. Combined with the committed performances of the cast, it remains a compelling watch for fans of the genre, as reflected in the largely positive to enthusiastic reviews from our readers.
So, here’s a recommendation for genre enthusiasts: if you’re wondering what to stream tonight, consider “Last Knights – Die Ritter des 7. Ordens.” You can find it on various Video on Demand platforms, such as Amazon Prime Video.
The Story of “Last Knights”
Raiden (Clive Owen) is an extraordinarily skilled but financially destitute mercenary who holds Lord Bartok (Morgan Freeman), a man he deeply admires, as a father figure. Lord Bartok is one of the few nobleman in the realm willing to defy the oppressive and blood-sucking Emperor (Payman Maadi), who brutalizes the populace.
When Lord Bartok refuses to kneel before Geza Mott (Aksel Hennie), the most powerful minister of the Emperor, he is promptly stripped of his wealth and imprisoned. Furthermore, the sadistic and corrupt official declares Raiden an outlaw with no rights. He forces Raiden to execute his beloved master with his own sword.
The year following this gruesome event, Raiden, still mourning, hatches a plan for revenge. The fallen knight manages to gather a group of warriors (including Cliff Curtis), all of whom have suffered similar indignities, to join him. Together, they vow to end the ruthless reign of the courtier, but to do so, they must first storm his seemingly impregnable fortress.
“Last Knights” and the “47 Ronin” Connection
If this storyline sounds fundamentally familiar, that’s because it is. “Last Knights” is, in fact, a European Middle Ages adaptation of the historical events surrounding the 47 Ronin—a real group of Japanese samurai who sought revenge for the forced suicide of their lord in 1703. A modern adaptation of this myth with Keanu Reeves had also been released in 2013, but it too struggled at the box office. Notably, “Last Knights” was actually filmed in 2012 but faced distribution challenges, leading to its release well after “47 Ronin.”
“Last Knights” was directed by Kazuaki Kiriya, marking his third and most recent film. Prior to this, Kiriya gained attention with the sci-fi/superhero spectacle “Casshern” and the martial arts/fantasy film “The Legend Of Goemon,” both of which utilized an almost entirely digital background technique—something unconventional at the time (in 2004 and 2009, respectively). However, for “Last Knights,” Kiriya embraced practical sets and special effects.
The film impresses with its overwhelmingly dark and brooding atmosphere, fitting for the subject matter. Additionally, Kiriya and his chief cinematographer, Antonio Riestra (“Mama”), manage to make the most out of the blend of live-action and CGI available to them, creating visually stunning scenes.
While the grand, often quite bloody action sequences may not be groundbreaking, they are dynamically choreographed and executed at the right pace. Kiriya seemed to have no trouble guiding and motivating his extensive cast, who, despite occasionally grappling with clichéd dialogue, delivered dedicated and convincing performances.
The film’s screenplay, however, proved to be more challenging to work with. It doesn’t take sufficient time at the outset to delve into the scale, location, or era of the conspicuously multicultural empire in which the story unfolds. The majority of the characters, their backgrounds, and motivations are also introduced in a rather cursory manner. As an audience, we’re thrust into a situation that can feel somewhat nebulous, leaving us to accept it as a given. Those who can do so will find much to enjoy in “Last Knights.”