The stylization that has not been carried out to the end means that it is still in the narrative stage of the film, Reivew on Samurai Rebellion

Therefore, it is difficult for the film to rise from the entanglement at the narrative level. The entanglement of various phenomena-essences completely interferes with the formation of the cinematic impression. On the one hand, the film oscillates between the restoration of reality and the shaping of imagery, and is always uncertain as to where it should stand. On the other hand, the smooth and stable lens processing seems to take care of all aspects, but in fact it fails to achieve the ultimate in all aspects.
Structurally, it is really top-heavy—similarly, the tightness of the rhythm is artificially stretched out of shape.

When it comes to Kobayashi's films, I can't help but mention Kurosawa - the latter is better at using the creativity in form and putting the content and narrative in the second place. Therefore, he is not as immersed in the meaning as Kobayashi and cannot extricate himself... ...Although Kurosawa's drama is too problematic, in terms of overall effect, it is far more than the former, which focuses on the story (narrative logic) itself and cannot be boldly stylized.

The value of stylization is to create a sense of form, which, like a mathematical model, can encapsulate a certain type of (specifically defined) problem. Thus, a stylized film creates not only a world, but an innumerable group of isotypes.
Therefore, Xiaolin will always be in the circle of a theme, going around.

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