Ah, the straight-to-video (DVD/Blu-ray) release. It's often a phrase reserved for ringing the death knell for bad films.

In this specific case, its title doesn't help. It sounds like the kind of tosh that Vic & Bob might come up with in a poor attempt at comedy (like Eranu and Uvavu), but it's actually Japanese for traditional puppet theatre. If you watch the film, the title makes sense, but as a means of making it jump off the shelf, it does a lousy job.

That's a real shame, as Bunraku could quite possibly be the greatest straight-to-DVD release of all time.

The world is a different place since the global war ended. Despite guns and bullets being banned, certain groups have resorted to more traditional hands-on methods of violence, with the odd knife thrown in.

Entering a mysterious town is an equally mysterious Drifter (Josh Hartnett); he is a gunless cowboy looking for answers. His first port of call is the Horseless Horseman Saloon, where he meets its Bartender (Woody Harrelson). He enquires after a man named Nicola (Ron Perlman) AKA the Woodcutter. Obviously the Bartender has heard of him, he's the biggest crime boss of them all.

At the same time a mysterious swordless Samurai by the name of Yoshi (Gackt) walks into the bar. After a minor disagreement with the Drifter, they discover that they share the same goal, that of catching up with this elusive Woodcutter.

Unfortunately for them both, their goal isn't as easy as knocking on his door and asking to pop in; the Woodcutter has a large gang of henchmen at his disposal, as well as an elite group of nine killers, including Woodcutter's Number Two killer (Kevin McKidd). Undeterred by the odds, the pair decide to take on this perilous journey together, whatever the consequences.

That's what you get for suggesting my career is all washed up!

Visually speaking, Bunraku has to be considered the most visually alluring release of the year. Its director Guy Moshe (who also wrote it) isn't ashamed to roll up all his influences and splatter them on screen all at once. The film Sin City has been described as being an obvious point of influence, but in truth it's merely the tip of a very large iceberg. Other homages include the original Batman TV series as well as its film franchise; the film Dick Tracy; video games in general, and those using cel-shading specifically; comics, or if you want to be really snobby 'graphic novels'; and not forgetting musical theatre.

It sounds like a recipe for disaster, but Moshe creates an abundance of visual creativity from his varied palette. What's more impressive is that he did so for a measly budget of $25 million, which is spare change when you consider that most Hollywood blockbusters cost a minimum of $150 million these days.

But considering that this didn't even get a UK cinematic release, there has to be a fairly substantial 'but' readying itself in the wings. The surprising fact is that there really isn't one. Admittedly the script has more waffle than it needs, and the film is probably a half an hour too long, but these small nags shouldn't in anyway detract anyone who loves cinematic spectacle from catching this curious gem.

You may have to plunder through the bargain bin to get to it (avoiding all those copies of the dreadful Sucker Punch), but you'll soon realise that Bunraku doesn't deserve such lowly treatment.

Hopefully the poor handling of this film won't deter Moshe too much, as the flashes of visual genius on display in Bunraku could be glimpses of a very bright future ahead.