On board a naval ship in the 14th century a samurai, Riku (Shogen), lays waste to the army of soldiers on board before the ship is hit by a typhoon, sunk, and he’s washed up ashore on a remote island somewhere in Southeast Asia. Alone and injured, Riku claws himself from near death and explores the island in order to find a suitable place to perform a seppuku ceremony. Seemingly marooned for good and separated from his family, Riku sees no point in going on and prepares for a warrior’s death. Before he can execute the ceremony, he’s knocked unconscious and kidnapped by a tribe from a neighbouring island. Taken to their cave dwelling, the tribe reveal themselves to be cannibals, who torture those they can eat or use in their cult-like rituals. Appalled at the atrocities committed by the tribe, Riku finds new purpose as he vows to wipe out the violent tribe, thus returning to his warrior ways. Escaping back to his island, the tribe take pursuit and Riku sets about destroying them one by one.

Camino director Josh C. Waller returns to the director’s chair to deliver a tale of both horror and action, bringing along with him the Uwais action team. Before the narrative gets to the promised samurai-vs-cannibal action, Waller’s film takes a meditative approach to proceedings as Riku at first comes to terms with his predicament and fate. The first third is more a slow-burn survival tale as Riku adapts to his surroundings and accepts his circumstances. Once kidnapped the film changes into a tale of terror and brutal violence as Riku witnesses the full extremes of the cult-like tribe. Set mostly within the dark confines of a massive cave system, this section is tough and severe compared to the more languid approach seen in the opening section. Waller then switches up proceedings again for the final third when all-out action erupts as Riku takes on the entire marauding tribe.

This means the tone is wayward and may be jarring for some as essentially Waller gives us three pictures in one: a slow-burn survival tale, a horror film, and an action movie. While a little jolting at first, it actually works as we follow the progression of Riku from death’s door to survivor to all-out action hero. Well, it works for the most part. The middle cave-set section perhaps goes on a little too long; the violence, while necessary to show the extreme nature of the tribe, is somewhat laboured, robbing the film of momentum. Inertia sets in, the scenes just dragging rather than propelling the shocking nature of events. The dark cave setting becomes overly oppressive, and things become a bit of a slog.

Fortunately, the final third gets proceedings back on track and Waller delivers some spectacular samurai-on-cannibal cult-tribe action. This is where the Iko Uwais team come in, orchestrating some fantastic, grounded weapons-based action that culminates in a spectacular extended showdown on the beach. Shogen, Uwais team regular Yayan Ruhian (as one of the big bads!), and a host of great screen fighters orchestrate some superb and very violent samurai-styled action. Not overly elaborate or showy but crisply choreographed and shot wide to showcase the skill, it’s thrilling action and a great payoff to what has come before.

While not always successful in its execution, ‘Lone Samurai’ is nevertheless a solid tale of survival set in a long-ago time, saved by the thrilling action it unleashes in its second half.