REVIEW: ‘House of Ninjas’ Pulls Off Action Comedy With A Thrill

I’m not sure what to call it in shorthand. But it’s clear that the specific genre of action comedy when a family is spies and keeping secrets from each other only to be pulled into a larger conspiracy feels like it’s finding new life. With Netflix’s FUBAR and the major successes of WIT and Cloverwork’s Spy x Family, the audience is there. A concept that centers on familial connection first and intrigue second, House of Ninjas (Shinobi no Ie: House of Ninjas) embodies what makes series and films in that lane an absolute blast to watch.

Directed by Dave Boyle, House of Ninjas is a Japanese Netflix Original series—co-produced by TOHO Studios and Netflix. Based on a story by Kento Kaku, Yoshiaki Murao, and Takafumi Imai, the series is written by Dave Boyle, Kanna Kimura, Masahiro Yamaura, and Kota Oura. The series uses a tried and tested format but innovates simultaneously.

Historically, ninjas—shinobi, a distinction the series makes in its closed caption localization—have existed throughout pivotal times in Japanese history. House of Ninjas reimagines what it would be like if these shinobi families were still secretly undertaking missions in modern society. Set in today’s Japan, House of Ninjas is about the Tawara family, the last “shinobi” family directly descended from Hattori Hanzo. However, six years after the tragic loss of the eldest son, Gaku (Kengo Kora), in a deadly battle, the family decided to leave the world of ninjas completely.

Soichi (Yosuke Eguchi) is a father who just wants to be a father and not bury another child, choosing to run a familial sake brewery instead. Yoko (Tae Kimura) is a stay-at-home mom desperate to return to the field, so much so that she steals everything she can from the local grocery store. Nagi (Aya Makita) is a normal college student who seems to be the only one in her family still grieving the loss of her older brother. Their grandmother, Taki (Nobuko Miyamoto), mysteriously moves from place to place and communicates silently to friends who stop by, protecting the family. There is also Riku (Tenka Banya), the youngest child holding it all together, protected from the reality of the Tawara family business.

Then, there is our main lead, Haru, who wants nothing to do with being a ninja. Specifically the killing and, ultimately, his family. Haru (Kento Kaku), the Tawara’s second son, stubbornly refuses to take over the family sake brewery and continues to work part-time restocking vending machines. Isolated from his family because of his work schedule, Haru leads a lonely life without any close friends or lovers.

Haru’s little pleasure is the presence of Karen (Riho Yoshioka). Eating at the same beef bowl restaurant every night after work, Haru learns Karen’s order and starts a relationship that means more than just duty. But as the two grow closer, Karen seems to know more about the shinobi world than Haru intended. As the rise of a dubious new religion called Gentenkai begins to clash with the duo, Tsujioka (Takayuki Yamada), the cult’s founder, mysteriously hangs overheard.

A character in and of itself is the Ninja Management Bureau or BNM. The BNM works to keep track of and act as handlers to the shinobi. They guard their memory by correcting representations in the manga and cleaning up the messes left by dangerous jobs. This group defines the rules that shinobi live by and adds an element of tech to the Tawara’s missions. They’re a vital world-building force that should have been used more. However, the comedy they add through their errors and red tape helps the series feel like a well-rounded whole instead of a one-note action romp.

While some of the pacing in the series early on is inconsistent, and the musical choices seem puzzling, once episode four rolls around, House of Ninjas finds its stride. It embraces the funny and bombastic nature of situational family comedies. Of course, the action-fight sequences help it stand out from anything else on television. It’s a Japanese series that also feels uniquely American. Some choices, like the English songs, despite being in a Japanese language series, can seem out of place. The songs’ tempos don’t always match the cadence of line delivery, either. However, everything falls into place once the soundtrack and score embrace jazz as its central musical medium.

Much cohesion is built as you begin understanding each character’s place in the Tawara family and the tropes they embody. When the series stumbles in pacing, its actors hold it up. They’re charismatic, messy, and always scheming. As much as the series fits into a larger narrative of dueling ninja family trees and large organized cults that double as crime organizations, the relationships make it all work.

As the family grows closer to each other and starts revealing their hidden choices, everything starts to mean something more. House of Ninjas has humor and action, but it also has a substantial amount of heart. The love shared and nurtured by each member of the Tawara family isn’t undercut by their secrets. Instead, the drama around them unsurfaces how much they care for each other. And how deep their grief ran through their family. When dealing with a situation they never thought possible, they each have to choose a path forward. The choice to do it together makes the series’ heart take center stage.

House of Ninjas and its ability to balance its action with its comedy and family drama is why the small issues in CGI and effects work can be overlooked. Sure, some twists are convoluted, and some explosions feel all-too-greenscreen, but it’s the Tawaras that you fall in love with and want to see through to the end of their family mystery.

While the Tawara family as a whole is well executed, the villains on the other hand feel too mustache twirling. From Japanese John Lenin leading a cult to a lady with no eyebrows stalking characters in the shadows, it’s all aesthetically interesting. However, they are shallow once you pull everything back. The villains are ultimately only made interesting only at the inflection points with the Tawaras. Down to the shocking twist at the end.

With a strong ensemble cast, it must be noted that Soichi and Haru are the series standouts. Haru is the uninvolved son. He disregards all shinobi rules. He refuses to kill, even before Gaku’s death. Haru just doesn’t fit into his shinobi family. His kindness is a highlight but also something he struggles with throughout the series. But kindness does not remove his combat competence, which is expertly on display.

Similarly, Soichi, the Tawara patriarch, also doesn’t want to be a shinobi anymore. But his reason is less about personal qualms about killing. For him, it’s all about dealing with the reality that he couldn’t save his son. The danger and anxiety of possibly losing one of his children turns him into a staunch and adorable family man. Instead of wanting to take on a global syndicate, he just really wants a new family photo. Both characters want nothing to do with the shinobi way of life but for reasons that complicate their relationship with each other.

However, action is still present in every episode of the series. The large fight sequences work well, with shinobi training coming out in every episode in small ways. Each character has their own fighting style with different shinobi weaponry. Additionally, the women of the series are given the same time to shine physically as the men are. Their scenes are shot with the same intensity, which serves as a breath of fresh air for anyone familiar with American action series.

As a whole, House of Ninjas is a great watch for action fans. More importantly, its ensemble cast makes this series unique with humor and innovative takes on tropes that pay off in spades. Even with some stumbles throughout the beginning third of the season and an ending that relies on a Season 2 to seal the deal, House of Ninjas still thrills. Hopefully, this is just the beginning of the Tawara family’s story.

House of Ninjas is streaming now exclusively on Netflix in the United States.