An unusual and poignant spectacle of cultural violence and a loving tribute to great Japanese samurai movies, Edward Zwick’s "The Last Samurai" is based on the epic adventure of Capt. Nathan Algren, played by Tom Cruise.

Algren is an American mercenary soldier in 19th-century Japan, fighting alongside one of the last rebellious bands of samurai warriors. The film also further distinguishes itself by adding various elements of American and Japanese history.

The movie is deeply emotional, sometimes even seemingly excessively so. However, that is not the case. It’s Zwick’s homage to a genre of movies he obviously loves: samurai masterpieces like "Seven Samurai. "The Last Samurai" incorporates visual beauty and a thrilling plot.

Cruise plays Capt. Nathan Algren, an embittered survivor of famous General Custer’s cavalry hired by the Japanese government in 1876 to train its ragtag but heavily armed conscripted armies. Their foes are the forces of General Katsumoto (Ken Watanabe), a samurai who refuses to give up ancient traditions and customs.

Algren, a character Cruise initially plays with his usual brisk, fresh-guy haughtiness, starts at odds and on bad terms with fellow mercenaries, pragmatists like arrogant Col. Bagley (Tony Goldwyn) and their Japanese employer, businessman/minister Omura(Masato Harada). After Algren is defeated and captured in his first battle, he is mercifully spared by Katsumoto and his warriors.

Algren finds his heart won over by the group’s strive for perfectionism, and strict philosophical code of bushido, a Japanese code of honor. Soon, he switches to Katsumoto’s side, joining forces with fierce lieutenant Ujio (Hiroyuki Sanada) and even the widow of his most challenging victim, Taka (Koyuki).

The samurai that Algren joins still fight with sword and bow and arrow while the modern army of the new government has rifles, cannons and bayonets. Initially, brilliance and bushido win out over firepower. In the end, however, Algren enters the last battle facing not only vastly superior numerical forces, but deadly new Gatling guns.

Zwick has often celebrated martial bravery and last stands, as in the Civil War epic "Glory" and the Persian Gulf-centered "Courage Under Fire." Here, Zwick presents the conflict as a battle of tradition versus commerce and new politics. The traditions Zwick and co-writers John Logan ("Gladiator") and Marshall Herskovitz ("Dangerous Beauty") celebrate are as of much movie mastery as of ancient Japan.

The last battle, fought with swords against repeating rifles bows against Gattling guns, makes no sense as a matter of tactics. However, the purpose of the scene is to demonstrate the sustaining beauties of tradition and how hard it is to continue tradition with all of the conflicts that modern society presents.

In the midst of all this, Cruise’s acting improves. He starts out giving a somewhat detached and unemotional performance; Algren’s early drunk scenes lack acting flair. Gradually, however, Cruise takes over the screen and rises properly into the movie’s heroic role. He is helped somewhat by the humor and eccentricity of Billy Connolly (a tough, traditional soldier) and Timothy Spall (a photographer), in addition to the majestic presence and force of Zwick’s movie magic.

"The Last Samurai" lacks little but is flawed by the excessive drama of some scenes. However the dramatic flare in those scenes only adds to the emotional effect of the movie. Although "The Last Samurai" may fall short of its great model, "Seven Samurai" (most movies do), it is miles ahead of most of the modern, materialistic adventure epics created these days. By watching the movie, you can see why Zwick and Cruise want to return to the way of the past. The honest last stand they yearn for is that manifested clearly in this film: great movie making.