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Talk about your tween fantasies: Jumping Ship traps knee-weakeners Joseph, Andrew, and Matthew Lawrence (TV's Brotherly Love) in the Tropics after their charter boat falls prey to a trio of troublemaking Aussie pirates. A Spanish galleon full of bare-chested male bonding ensues; while moneybags Michael (Joseph) gets schooled in humility by loner Jake (Andrew), his kid cousin Tommy comes to terms with the loss of his dad. In between, they tackle coconut cracking, raft assembly, and some sorry attempts at spear fishing. Once high-stakes dangerous-rescue time rolls around, the fellas' foibles are all figured out, something we saw coming a nautical mile away. Though a gee-whiz-nice quality beats beneath Jumping Ship's perfect-pecs surface, if suspense is your thing, skip it--the pinup boys are all that's keeping this featherweight Disney made-for-TV flick afloat. --Tammy La Gorce ... Read more

Reviews (8)

Excellent!
There was so much more to this movie than just three guys shipwrecked! There were lessons on the value of friends and family... and just how valuable material objects are. But it's just like Disney to add a moral to a story... thank goodness! This is the reason I feel comfortable turning on the Disney channel when our family sits down to watch a movie together.

I really liked to see all the Lawrence brothers together, as well. I still can't decide which is my favorite. The movie had action, adventure, and drama all rolled into one. Though the plot seemed unbelievable, it didn't seem completely impossible either... and usually I watch a movie for its entertainment value, not necessarily it's realistic possibilities. Anyways, this is an excellent movie, the whole family will enjoy!

Great light hearted family fun
Although slightly implausible, "Jumping Ship" is a good all round family entertainer - ideal for those lazy summer afternoons, when you need something fun and light to entertain the kids. Certainly worth watching. There are no Oscar winning performances from the young cast, however, its pace is at a comfortable jog and worth sticking though all the clichés. The director left a couple of "bloopers" in the final version that are a nice touch.

Jumping Brothers
When the Sequel to Horse Sence I was steaming mad cause I didn't like it. When I saw it it became a really cool movie to watch. All three Lawrece brothers are in it making it even better. Its a gotta see

Great scenery, ok plot
Joey and Matthew Lawrence are impossibly gorgeous -- you can't look directly at them, or you fall into a catatonic stupor. (Andy needs another few years of bulking up.) Putting them together in a movie set on a tropical island, where they wear as little as possible, is a risky proposition -- who's going to pay attention to the plot?

Ok, I didn't. There's some minor character-building and relationship problems with pat Disney-esque solutions. Joey bonds with Andy. Pirates attack. Andy bonds with Matt. Pirates kidnap Andy. Matt bonds with Joey. Etc. The conclusion is fairly touching, with the trio deciding to stay together even after their rescue -- I think they go into business together, but I'm not sure. I was just coming out of the catatonic stupor.

Better than Expected
Too often, movie critics don't take Disney Channel Movies seriously enough. This is another example of that. This is a really good movie for the age-group it is made for (pre-teens). It's really nice seeing a clean-cut movie out there for all to enjoy (even adults will enjoy this one). I personally love it. ... Read more

Reviews (56)

Fourth Mistress!!
Gong Li is one of the best actors in asian cinema. Her performance in "Raise the red lantern" won her various awards. She also stared in "ju dou" another excellent film by the same director. Ju dou has one of the best endings i ever seen in a film, It's a sad and tragic story, but beautiful.
Raise the red lantern opened me up to asian drama films and i've been in love with them ever since. It also has one of the best endings i've ever seen in a film, probably the best ever. The cinematography is too good to be true. The story is also tragic, but beautiful. I hope they finally release this wonderful film on DVD soon, a special edition or criterion edition.

Strong and willful...and helpless
Well its impossible not to give this film five stars because it is an example of consummate craft both in acting and directing but there is something about this story which I find a bit unsavory. Of course the whole story of a man having four 'wives' who are really not any more than kept women or concubines is unsavory but even so this vision of harem life is especially disturbing as the women in this harem all turn out to be either petty or downright vicious. Perhaps this infighting is inherent in this kind of situation but the infighting in this case becomes deadly and the film leaves you feeling like many films from the new Chinese cinema leave you feeling and thats that old China was bad for women. This is probably true, it is probably also true that old feudal China(and its really not so very ancient history, this picture takes place in the 1920's) was good only for a handful of powerful feudal lords. But there is another message in this film and thats that willful women get punished. That is another unsavory aspect of this film. The Gong Li character was willful and proud before she ever entered the compound as wife number three and yet she came of her own free will. Much is made of the fact that she unlike the other wives was educated and has a brain and will of her own but nonetheless she becomes as petty as the others. The film is very powerful as it is but it just rings false to me that the Gong Li character would not find a way to continue cultivating her mind and become a stronger and stronger presence as she gained age and wisdom. In other words I think a willful woman would not allow herself to be undermined by others so easily. But she does so and she simply becomes another victim that loses her identity in bits and pieces until she is nothing but a walking shadow. It almost seems that Zhang Yimou is just reaffirming all our suspicions about backward old China. Of course to a westerner the most valued thing is individuality so it almost seems Yimou is catering to our own fears in the telling of this story about identity robbery. It is a captivating story and it is impossible not to admire the consummate craftsmanship with which it is put together but there is something inconsistent about the psychology of that main character and though it may be true that women had no official powers in old china it is also certainly true that women did exert their influence in unofficial ways but the Chinese to this day(Zhang Yimou included)do not tell stories about powerful women who are not punished. In Shanghai Triad Gong Li plays another kind of willful woman who also unintentionally brings about destruction and again she meets a similar fate. Its a strange kind of role she plays in both films. She is willful and cruel and selfish and yet somehow we don't blame her for it and she wins our sympathy in the end because she is ultimately rendered helpless.

A domestic drama
This is an exquisite film in every detail. Beauty is in every frame. Were it not so well made, I would describe it as a slow-moving domestic drama: Jane Austen with claws. I couldn't quite accept Gong Li as a Chinese woman of the 1920s. She looked a little too tall, well fed, and healthy: a modern look that showed through the gorgeous costumes and scenery.

Gong Li is the Best Unknown Actress in Movies
If there were any fairness in Hollywood, Gong Li would have won the Academy Award for Best Actress for any one of her many movies. Besides being drop-dead gorgeous, she is an exquisite actress of the first order. The opening scene, a close-up of her face as she resigns herself to her nihilistic future, will convince anyone of this fact. Raise the Red Lantern is a thinking, engrossing movie that dispenses with special effects and overwhelming scores and concentrates on story and acting. Zhang Yimou is famous for delivering biting criticism of the oppressive, delusional aspects of Chinese society. Raise the Red Lantern shows one very strong, independent woman's attempt to overcome thousands of years of historic oppression in early 20th ca China. Women are collectables for rich men, mere objects of possession. The horrific backstabbing and betrayal is among the women themselves as they vie for most-desired-object status. When the human need for dignity and respect surface, the repercussions are catastrophic.

The plot has been well documented, although this is one of those movies where the less you know going in the better. Suffice to say the first thing you'll want to do once the movie is over is to watch it again.

It is disappointing to see a number of very mediocre movies receiving 4 and 5 stars simply because they shun the standard Hollywood formula, as if mainstream automatically equals bad and independent automatically equals good. The mediocrity of these films becomes apparent when compared to indy films of the highest caliber, such as Raise the Red Lantern. Highly, highly recommended.

Another all-time favorite
The plot doesn't develop quickly. Let's get that out of the way. But director Zhang Yimou deftly handles the plot, actors and camera, really tightening the screws on the dramatic tension. It's just a gradual tightening. But once you're involved, the story is hypnotic. Just don't go in expecting Hollywood-style editing, set pieces or storytelling cliches. This is a quiet story with great acting and amazing visuals for such a basic set and basic story. Haunting and unforgettable! You'll love it. ... Read more

Reviews (103)

Masterpiece!
If you somehow missed this one, do yourself a favor and make time available in your schedule for viewing this masterpiece from director Bernardo Bertolucci! Nine academy awards, including Best Picture [1987], only gives partial credit to this magnificently epic and absolutely unforgettable true story. It is the story of Pu Yi, who at the age of 3 comes to the Imperial Dragon Throne to become the Last Emperor of China. His whole life is spanned in this film, from his childhood, to his ultimate fate as an unskilled gardener in the streets of Bejing. Throughout this film we are treated to a cinematic feast for the senses, so rich in detail and imagery, you will be compelled to see it again as soon as possible (I saw it again the very next night!). You will have felt the full range of emotions from having experienced this movie, and few others in recent memory have mesmerized me so totally in an almost 3 hour (164 min) time span. Truly one of the greatest films of all time! Masterpiece!

Bertolucci's Last Epic!
By that I mean with great respect! Bernardo Bertolucci is known for such cinematic extravaganzas as 1973's LAST TANGO IN PARIS and 1977's 1900; and to add to his credits, 1987's Best Picture winner THE LAST EMPEROR!

A film of major diversity. An Italian director (Bertolucci), a predominately Chinese cast including frequent costars John Lone and Joan Chen, British actor and seven-time Oscar nominee Peter O'Toole, an American producer named Jeremy Thomas, and distributed by an American studio, Columbia Pictures!

John Lone is the title character, Chinese emperor "Henry" Pu-Yi, who became the last Emperor of China at the age of 3, and would be the "Lord of Ten Thousand Years!" Nothing would prepare him for the change that would eventually occur when he is forced into abdication, forced into retaking his kingdom, and forcing him to attempt suicide after his arrest and capture by Chinese and Russian communist troops after World War II. Eventually, after serving his time for conspiracy, he released from prison and lives out the rest of his life in 1967 -- as a simple gardner.

Imagine. From Emperor to gardner, totally heartbreaking! Heartbreaking is the fact that it cost him EVERYTHING! His wife "Elizabeth" Wan Jung, played with grace by the gorgeous Joan Chen; his kingdom and his freedom. But, you can't simply hate the guy! He is, of course, a man who was spoiled by his servants and soldiers as a child.

The film has both an epic scope and an excellently-written character story. (Though most historians believed that the film embellished on certain facts, like Pu-Yi's homosexuality.) It is played competently by an Asian cast and a wonderfully witty Peter O'Toole, who should have been nominated for Best Supporting Actor that year, as the Emperor's patient tutor Reginald "R.J." Johnston.

Needless to say, I cried at the very end of this film! I LOVED that scene between the elder Pu-Yi and a little boy who appears to be just like the Emperor as a child. And the symbolic message this film taught with the cricket in the jar, as the little boy opens the jar to reveal the insect (by then, Pu-Yi has magically disappeared). An epic film with a heart (like my PRISONER OF WAR)!

Winner of all 9 of its nominations including: Best Picture - Jeremy Thomas, producer; Best Director - Bernardo Bertolucci; Best Adapted Screenplay - Bertolucci and Mark Peploe; Best Cinematography; Best Art Direction/Set Decoration; Best Costume Design; Best Score; Best Sound; and Best Film Editing.

THIS FILM IS APPROXIMATELY: 2 HOURS AND 40 MINUTES.

But well worth it!

great film, awful dvd
I had the misfortune to buy this BEFORE I read the Amazon reviews and discovered that the DVD looked awful-a particular injustice for a film that won Best Picture. It's only 17 years old; there are films from the 30's that look great on DVD! I see though that in the U.K. they released a 2-disc version with commentary and both the original theatrical cut as well as the director's cut. I assume it's also restored and anamorphic and can only hope that we get an American version soon. The movie gets 5 stars, even at 219 minutes. The DVD gets 1 star, so that averages out to a generous 3.

Breathtakingly Beautiful, Decadent and Misconceived.
I revere every Bertoluccifs work tremendously, and this lavish film is no exception.
I was completely mesmerised by the view of the Forbidden City, beautiful period costumes of the Emperor and the Imperial family with which the director says he really cared about the historical accuracy to recreate as well as other things.
The historical accuracy is, however, not necessarily applied to the part of which Japan was involved. The foundation of Manshu-koku, (Manchukuo is the Chinese word) and the restoration of the Manchu Emperor Pfu Yi, and the alleged atrocities made to the Japanese Imperial Army, namely, gRape of Nankingh, etc. It is so because both Bernaldo Bertolucci and the producer Jeremy Thomas seem to have truly believed in the auto-biography of Pfu Yi, gFrom Emperor to Citizenh that written for propaganda purpose, and the Frank Caprafs U.S. propaganda film; gThe Battle of Chinah at their face values.
First thing is first, Chinese Communistfs gbrainwashingh undeniably exists. In the same year this film first came out, 1987, gFrom Emperor to Citizenh was re-published by Oxford University Press with new comprehensive general introduction and chapter introductions by W.J.F. Jenner, the translator of the original 1964 gdeliberately restricted editionh published by Foreign Language Press, BeiJing.
Jenner explains; gThe special consideration shown Pfu Yi and other high-ranking Manchukuo(sic), Japanese, and Nationalist officials cannot be regarded as typical of Chinese prison conditions. These were all people of potential value in winning over others in future, and political considerations saved them from the harsh justice that many lesser figures received.h And, Jenner continues, Pfu Yifs gsuccessful thought reformh which made him gusefulh and able body to work like other ordinary people, that Bertolucci praises vigorously, was, in fact, gsomething of ritualh. Pfu Yifs fourth wifefs account of his incapableness of looking after himself, even after his release of 1959, reveals some part of the truth.
His fifth and final marriage to a well qualified nurse was garranged by the Chinese Peoplefs Political Consultative Conference and the Communist Partyfs United Front Department. [cccc] He was even protected from the Cultural Revolution by Chou En-laifs intervention, and the local police kept Red Guards away. [cccc] Pfu Yifs presentation to foreigners as a living advertisement for the Peoplefs Government and the Communist Party began in 1956, while he was still in prison; and after his release he was often required to meet foreign visitors to China.h Those facts show that Pfu Yi was not successfully remolded@into an ordinary citizen after all, but made a perfect gmouthpieceh of the Communist Party Propaganda Department.

Bertolucci may never have read this revealing version of the Pfu Yifs gauto-biographyh. (In fact, the book was re-written before it was published in 1964 by Communist Propaganda Department writers based on the gconfessionsh Pfu Yi and Pfu Chieh had made in the prison as outcome of gbrainwashingh.)
But, in any case, the directorfs knowledge on the so-called gRape of Nankingh is awfully wrong.
He believes; gThe Japanese killed 300,000 Chinese people in *2 or 3 days* in Nanking.h (How did he think it was possible as the matter of reality?)
In fact, however, the *200,000* civilian refugee in Nanking were well protected by the Japanese Army and decrease of the number never recorded by the gobjectiveh foreigners of the International Committee of the Nanking Safety Zone, who, by the way, are assumed by many people including scholars as gthe witnesses of the Rape of Nankingh. They, on the contrary, recorded *increase* of the population to 250,000 within a few weeks after the capture of the city. No one saw such barbaric massacre except the Chinese propagandists and, actually, some members of the Committee who were hired by the Chinese Nationalist Party as international propaganda agents. Some ordinary Chinese people (genuine citizens of Nanking) even condemned the Chinese soldiers for the wrong-doing in Nanking.
Apart from gRape of Nankingh, the gnewsreelh in the film Pfu Yi and his co-inmates had watched is full of errors and, I dare to say, pernicious propaganda.
The planes that bombed Shanghai International Settlement and killed thousands of civilian was actually the Chinese. (Page 352 of The China Year Book 1938, edited by H.G.W. Woodhead, North China Daily News) And, the gexecutionh scene of the Chinese civilian is, I am sure, taken from the famous propaganda film by Frank Capra; gThe battle of Chinah that shows, in fact, the executioners are the Chinese Nationalist Party Army. Because of the fact the scene was gtrimmedh to ghideh the true identity of the executioners, I think Bertolucci did know they were using propaganda material.
What I do not know is their purpose. It may have been to get permission to make the film in Beijing under ghawk-eyeh of the Communist Party authorities they might have pretended to be pro-communist. In either way, this filmfs authenticity was sullied and that is very a shame.

Still, to me, this special edition is very interesting as a resource to understand the Cultural Revolution and the nature of brainwashing because it includes first-hand interviews of aging Pfu Chieh and the real life prison governor. Only one thing I would desire is subtitles, for the sake of clarification of the dialogues spoken by non-English speakers.

Good movie.... Awful DVD
Enough comments have been made on the movie so I'll just tell you my opinion on the DVD edition. It is one of the worst DVD transcription I have ever saw. I really had the impression to watch a DivX. Do I need to tell more about the resolution? Only the english soundtrack is available (I wish the movie had been shooted in Chinese or Mandarin but that's not the point) and no subtitles. The DVD presents the director's cut which makes the movie 3 and a half hour instead of 2 and a half. The theatrical version is not available on the DVD... Otherwise there is no additionnal material. ... Read more

Description

Hailed by critics as one of the most masterfully directed and beautifully photographed films of all time, Kenji Mizoguchi's stunning classic is an eerie tale of misguided ambition and forbidden passion.Two 16th-century peasants abandon their families to seek fame and fortune, but in attaining their desires, both men destroy their lives and bring tragedy to their families.A powerful testament to the illusory nature of happiness, Ugetsu firmly established Mizoguchi's reputation in the West, and helped earn him recognition as one of the world's greatest directors of women. ... Read more

Reviews (13)

What are the Important Things in Life?
Despite some disturbing scenes and issues, this is a beautiful movie. It tells the story of how the search for money and glory can destroy true happiness. What makes the story work is a lot of different things. First of all, the acting is very good. Watching in in subtitles (there wasn't any other option) helped with appreciating this facet of the movie. The scenery and costumes were pretty good as well. The directing was what was the most outstanding. I confess that I have a problem with most modern movies in that they show a heavy dependance on modern technology and declining moral standards. This enables modern films to utilize two avenues of showing more and more which leaves less and less to the imagination. The talent on display in "Ugetsu" shows how directing at its' best was a true art form; greater, often, than the acting itself. There are several scenes that come to mind. As soldiers rape and pillage, there comes a scene of a gang rape of a woman. Everything we see on film makes it clear in our minds as to what has taken place. Yet the only clothing we see removed is a pair of sandals. Another scene involves an erotic encounter in which, again we understand clearly yet are not invited to watch. There are other scenes worthy of mention but I don't want to give anything away. The way this movie moves along is another testament to its' director; Kenji Mizoguchi.

On the negative side, this movie is currently only available on VHS. I confess to being frustrated with all of my Beta movies and now all of my VHS movies seeming to head towards obsolescence. However, I have come to appreciate the quality as well as the other features of DVD's. Thus I found myself immediately focussing on the occassional snap, crackle, and pop of the VHS quality. Still, once I was engrossed in the story (and that didn't take long to happen), it either ceased to bother me or the quality improved and the movie progressed.

There is a timeless message in this movie that will reach out to just about all viewers. It has to do with identifying our values and appreciating what we have rather than what we desire. Sounds like a message we've heard before but I'm not sure it's been presented quite so well before or since.

Remarkable Piece Of Work
Genjuro (Masayuki Mori) makes pottery and dreams of the day he and his family will be rich. Tobei (Eitaro Ozawa) wants to become a samurai. At its core "Ugetsu" is a story about greed, betrayal, & loyalty. But, what makes this movie so good is how subtle its approach is. Director Kenji Mizoquchi doesn't shove these themes down our throats. The movie is not motivated by plot formulas but rather by its characters. It's our understanding and the fact that we begin to feel a connection between them and ourselves that leads us to watch the movie. The biggest praise I can give the film is by saying it's one of those movies you don't want to end. We are too involved and feel we need to know more.

Mizoquchi after this film earned the reputation of becoming a great "women's director", and the performances by Kinuyo Tanaka (who plays Genjuro's wife) and Ikio Sawamura (Tobei's wife) are standouts. And at times do steal the scenes, as does a wonderful performance from Machiko Kyo (Lady Wakasa).

"Ugetsu" is considered by some critics and filmgoers as one of the most beautiful films ever made. It was even once listed in "sight & sound"s poll as one of the ten greatest films ever. And such acclaim is rightfully deserved. It is a masterful piece of work. People should make an efort to see it. It has a lasting effect.

Bottom-line: The kind of movie you wish wouldn't end. Contains standout acting from the entire cast and memorable cinematography. One of the all-time best.

Can life be like that?
This is a very beautiful movie. My favorite scene is where the potter and Lady Mikasa are having what looks like a picnic by the sea. I think it is the most beautiful composition I've ever seen in a movie. And he says "I didn't know life could be like this." Well I guess it can't, but its comforting to see beautiful things.

Truly a fabulous film
Set in the 16th century, Ugetsu is the story of two impoverished families from a small village and the tragedy that befalls both as the male heads of the household seek selfish, illusory goals. It is simply an excellent film; well acted, superbly directed, and a story that is timeless and profound.

Great Ghost Story
This is a beautifully shot movie. Mizoguchi is a great director of the plight of women in old Japan. His sister was sold into the life of a geisha, so alot of his movies speak for his sister. Some of his other notable films are; Sisters of the Gion, and Geisha. ... Read more

Reviews (59)

Elegant and Powerful Communist Propaganda
This movie is a visual feast. The Chinese government spared no expense in creating it; all-star director Yimou Zhang apparently had everything at his disposal: a super star (Jet Li), an excellent supporting cast, unlimited costume expenses, and the full array of Hollywood digital imagery. More than just action and elegant Chinese cultural imagery, this film is a bold statement to the world: China is once again its cultural center.

Unfortunately, money does not always buy happiness. Despite the beautiful imagery, the story is brazenly unoriginal, taking its principle technique from Kurasawa's 1950 breakout film Rashomon, and much of its wuxia energy from Ang Lee's Taiwanese sensation of 2000, Crouching Tiger Hidden Dragon. To the simple-minded, I think it fails as an action picture, and to the sophisticated, its moral push is far from certainly digestible. Neither do any of the actors succeed in endearing themselves to us. Its greatest strength is its beautiful imagery.

I recently watched Alexander Nevsky, the famous Soviet propaganda film. Viewed today, its intent is obvious and clumsily applied. I watched Ying Xiong, or "Hero", well into the second hour before I realized that I was watching a modern version of that same old communist template. What are the messages here?
A) Look Out: China is bigger than life and is ready to take its rightful place as the center of the world.
B) All under Heaven: union is not bad, it is in fact noble and unselfish, supporting the common good (Cantonese Hong Kong and Mandarin Taiwan take note).
C) The National Government is working for the common good: "They call me a tyrant", the emperor says scornfully, as he laments the fact they ignore the burdens he must bear for their own good.
The film tries to appeal to the values of common decency in order to support these latter two points: killing is wrong, selfish grudges are wrong, excessive resentment is wrong, etc. It seems to accept and mildly promote individualism, although not allowing it to trump collectivism.

I admit that even as an American, I cannot quickly digest these complex moral questions and make an immediate assessment as to their worthiness. For a Chinese person, I assume this film has been even more powerful. The pride evoked from its bold nationalist statement may further push them towards accord. Hence its value as propaganda has probably been quite strong. I think that ultimately the value of this film as a classic will be decided by the prevalent answer to these moral questions, and my suspicion is that history will not look favorably on the direction in which it pushes viewers to think.

An intimate epic
"Hero" is a very ambitious film, attempting to combine quiet introspective philosophy with visually stunning action and pageantry. It is like an intimate epic. The scope is grand to say the least, with full armies on the march as well as intense and magical personal duels, all of which serves as decoration to the Buddhist philosophy being put forward.

It is very beautiful, and this is probably the first thing to be noticed. The various elements, actors, scenery and colors all combine to create a visual splendor. It is a very painterly movie, a feast for the eyes. Specifically, color is used to create moods and to differentiate the various storylines. If the visuals are painterly, then the Martial Arts are dancerly, along the same line as "Crouching Tiger, Hidden Dragon," to which inevitable comparisons must be drawn. The actors are equally beautiful as well, and "Hero, truly a feast for the eyes, could probably be enjoyed in this manner, without any dialog.

Storywise, it is a variation on the familiar "Rashomon" theme of "what is the truth?" The same story is told and re-told, each time moving closer to the purity of truth, and with truth comes enlightenment. This is an intimate tale, a quiet verbal duel between an Emperor, so fearsome and lonely than no human can approach within one hundred paces of him, and a nameless subject, who might just be a true hero. Between them, a story is told of epic engagements, artists and warriors, and what is actually worth fighting and dying for.

I won't spoil too much of the story, as part of "Hero's" strength and insight lies in discovery. That is not to say that it is full of surprises and twist endings, but rather that, like all Buddhist insight, the answer of the movies riddle lies as much in the viewer as in the actors.

rebuttal to JUSTAREADER & Other Naysayers
Western movie studios like to spoonfeed the story to the audience and have an ending that provides closure. Asian movies tend to be more ambigious & leave the conclusion more open-ended to allow the audience to walk away "thinking" about the consequences of the actions of the movie characters.

The wire kung fu is meant to be an expression of the inner turmoils that play within the character's heart and mind. Suspending your belief in reality would have to take place to accept the incredibly artistic fight scenes in this movie or just about every other action movie ever made like Spiderman or ID4. At least enjoy the beautiful camera work and use of colors in this movie instead of thinking about "too many pretentious but self-indulgent thought-to-be poetically beautified scenes".

The "peking opera styled slow talking dialogue" is used effectively in my opinion. JUSTAREADER may not be a fan of this type of dialog but everybody has their own opinion.

Zhang Yimou used the story of the Qin Emperor only as an outlet much like Passions of the Christ. Many will not agree with the portrayal of the Qin Emperor in Hero or the portrayal of Christ in Passions but it made its point.

I agree that the Qin Emperor is not as "benevolent" as Hero suggests but this is a fictional story meant to convey the conflicts of the characters - the sacrifices made for self and country and the eternal question "does the ends justify the means"?

Boring movies don't move the audience and just passes 2 hours of their lives. It's the reaction I get after attempting to watch Dreamcatcher, Road Trip, or Day After Tommorrow.

Great movies provoke a reaction from the audience. This is a great movie with great visuals and cinematography. It got a reaction out of the "love it" and "hate it" camp! It wasn't a simple "love it" or "hate it" review.

Some of the best movies and music are derivatives of others. Example: Led Zeppelin and Aerosmith just borrowed from the blues and garage rock; Hero borrows from Rashomon; the list can go on and on forever. So to call Hero an unoriginal movie is an oxymoron because every movie copies from earlier movies.

Not all westerners are "simple-minded". People who just want simple Kung Fu movie or action movie with no plot will be bored to death and will find the movie "too complicated for westerners." For those of us who want something more than movies like Garfield or Starsky & Hutch will more than likely enjoy Hero.

Must see
This is a truly beautiful film. I own the import version and this film delivers on all scores. Maggie Cheung and Tony Leung give outstanding performances as the two lovers Flying Snow and Broken Sword. Jet Li is fantastic as Nameless.
If you love Hong Kong cinema this is a must see

too poetically unfocused, too complicated for the westerners
this is a very dark but also very pretentiously directed and performed swordsmanship movie. the chinese philosophy would put off mucho western viewers, 'cause the values in the orient and what we got in the west are totally different, i.e., the ends justify the means, or the means justify the ends. to not to assassin a tyrant and allow him a great opportunity to conquer all the other small feudal warlords and unify the whole china, in a larger vision, might save more peoples' lives than letting all the warlords killing each other and their subjects year after year....so what's the choice of the way-too-deep philosophic assassin in the last second and to face a doomed consequence? the director has tried too hard to express his own montage philosophy, his own interpretation of what should be done and only by himself in such genre to surpass the crappy oscar winning crouching tiger had achieved only one thing: a somehow and somewhat boring staged show instead of an exciting movie, with too many slow motion scenes, too many wired suspension, too many pretentious but self-indulgent thought-to-be poetically beautified scenes, with a too narrow minded and one-sided chinese philosophy delivered in a peking opera styled slow talking dialogue to grandize the butchering tyrant of all time in ancient china who later became the only role model of the modern time chairman mao, conquered all the warlords and took the advantage of generalismo chiang kai-shek's enduring war against the invading japanese of the world war II, and later the pathetic and horrible cultrual revolution in china, the rude-awakening of the chinese holocaust.
this is somewhat a mediocre and even a quite lousy film made and should not be made by the legendary chang yi-mou. ... Read more

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Blessed with timeless humanity, grace, and heartbreaking compassion, Ikiru is one of the most moving dramas in the history of film. Legendary director Akira Kurosawa is best remembered for his samurai epics, but this contemporary masterpiece ranks among his greatest achievements, matched in every respect by the finest performance of Takashi Shimura's celebrated career. Shimura, who nobly led the Seven Samurai two years later, is sublimely perfect as a melancholy civil servant who, upon learning that he has terminal cancer, realizes he has nothing to show for his dreary, unsatisfying life. He seeks solace in nightlife and family, to no avail, until a simple inspiration leads him to a final, enduring act of public generosity. Expressing his own thoughts about death and the universal desire for a meaningful existence, Kurosawa infuses this drama with social conscience and deep, personal conviction, arriving at a conclusion that is emotionally overwhelming and simply unforgettable. --Jeff Shannon ... Read more

Reviews (63)

A powerful meditation on the fragility of human life.
As a big fan of Kurosawa and the Criterion Collection, I couldn't wait to recieve this DVD in the mail.

Human life can be lost before a person dies, Kurosawa's film shows, and it is difficult for anyone to remain truly alive with all of life's challenges and setbacks. Like a thin thread, life's inspiration is easy to lose. But what happens when a man loses that thread for decades and discovers it again only months before dying?

The answer to this question is both heart-warming and heart-breaking. But ultimately this film will burn brightly in the viewer's mind.

Two years after becoming world famous for Rashomon, Kurosawa released this thematic sequal - a meditation on truth and meaning in the modern world. While Rashomon became a cinematic landmark, I think this film blows rashomon away. It, along with Ozu's Tokyo Story, are the most moving films I've ever seen.

What makes Kurosawa so great here? It is the centrality of the movie's meaning. We all die and we all struggle to find truth. Watanabe, a placid and unquestioning bureaucrat, glimpses the truth about his life when he finds that he has only months to live. He immediately sets out to live his life to the fullest - eventually granting the dearest wish of the citizens that the other bureaucrats would just rather ignore.

But like the man who emerges into the sunlight from the cave in Plato's allegory - none of the other cave dwellers understand his actions.In fact, it's worse, the grandstanding officials claim credit Watanabe's inspired actions, despite having stood in his way.

But ultimately the truth saves Watanabe before he dies. This is masterful filmaking - more on par with Kurosawa's heroes Dostoyevsky and Shakespeare than his cinematic peers. It is a must purchase for his fans and, I think, a story that will move the viewer towards greater compassion and consciousness of life passing by.

Perhaps it's no wonder Criterion chose this fim to include two feature documentaries on Kurosawa on a second disc. And the commentary track is done by the always entertaining Stephen Prince. You can't go wrong here.

Excellent movie, but terrible transfer
I should start by saying that I think Ikiru is the best movie I've ever seen, but I'll try to address some of the negatives.

The story of Ikiru is that of a bureaucrat who upon learning he has stomach cancer begins a desperate search for meaning in his life. He tries family, liquor, and women, but eventually finds purpose in a cesspool that troubles a local community, and their attempts to have a playground built on the site.

The story is absolutely compelling, and the intricate subtleties of Kurosawa's direction make this film very powerful, especially in the second half of the film, where Watanabe's (the protagonist) coworkers discuss his final few months at his wake. The acting is superb. Takashi Shimura gives a performance that is stand out.

Ikiru is not a universally liked movie, for several reasons. The movie is black and white and has subtitles. The cuts and scene changes have a very old-fashioned feel to them (quite rightly... it's old. But this gives a lot of people trouble). The pacing of this movie is deliberate, and by that I mean slow. It is not quick or action-packed. It moves subtlely.

While most all the reviews rave about it, I'd caution that this movie will not beat you over the head with its brilliance. It is a gentle story with subtle nuances, and often, the meaning is conveyed more in facial expressions and quiet moments than in anything said or done.

That being said, I thought the transfer of this movie to DVD was terrible. It is my understanding that this was the best that could be done, which is a shame. Many feel this to be Kurosawa's best work, and to know that this terrible transfer is the best it can ever get, that's sad. Specifically, the vertical lines noted in previous reviews are definitely there, and definitely problematic. There is poor contrast, and it is often difficult to see the actors defined well at all.

The bonus material on this DVD is so so. The commentary is certainly interesting, but the documentaries didn't thrill me too much. The main sell of this DVD is the movie itself.

If this movie sounds like something you can sit through, you should watch it. It's a great movie. I really do think it's the best movie I've ever seen. But it's not for everyone. If you've already seen it and want to own it, this DVD set is fine, but it comes with the caveat that the quality of the transfer is not impressive.

Occasionally quite moving but a bit too sentimental
I don't profess to be an expert on the films of acclaimed Japanese director Akira Kurosawa, but I will say that, though I haven't seen a great many of his films, I've definitely admired the ones I have seen. Films like RASHOMON, THE SEVEN SAMURAI, and THRONE OF BLOOD show a director that not only has an acute visual sense---I have never seen equalled the unforgettable images of the moving trees and then Toshiro Mifune with all the arrows launched at him at the end of THRONE OF BLOOD---but also a human sensitivity that may be more flamboyant and theatrical in style than his Japanese counterpart Yasujiro Ozu, but is no less impressive. He is a true film artist, to be sure...but, though IKIRU is often called one of Kurosawa's most human film achievements, I personally would not quite put it in the same level as those aforementioned three.

Not that it's not moving. The first half of the film actually made me shed quite a few tears, watching poor Kanji Watanabe first find out he has stomach cancer, and then try to actually have some fun with his life. His attempts to do so are quite touching, even though it does not always work out---esp. with the girl that eventually gets annoyed with him b/c he insists on hanging out with her so much. Finally, he decides to do something noble for the people he works for, and thus we get to the second half of the film: Mr. Watanabe's wake, in which colleagues reminisce about the noble act he accomplished for a town before he died. His act---he steps over bureaucratic lines and gets built a children's park in an area where there was only a dirty pool of water previously---slowly inspires the others to perhaps break out of their bureaucratic mold...and perhaps will inspire you too, in a different way.

I dunno, though...I was inspired but only sometimes moved by this film. For me, I think Kurosawa's penchant for lack of subtlety and heavy-handed sentimentality sometimes mutes its power. Kurosawa, for example, is not content to simply allow us to visually observe how lifeless our hero truly is at the beginning: no, he must give us a voiceover that drums it into our head that "this man has not truly lived." And then there is the scene in the bar in the middle of the film, in which Watanabe sings, with tears coming out of his eyes, a mushy song that expresses his feelings of hopelessness and despair. If nothing else, though, the second half of the film seems to expose this unfortunate tendency---a very long scene, intercut with flashbacks, set in Watanabe's wake in which his fellow workers first try to deny Watanabe's deep heroism, but then eventually resolve to be as noble as he was in his last months of life. It is certainly intriguing structurally, as we see the effects of his death on fellow workers and the townspeople Watanabe helped so greatly. And yet I think, could this scene not have been just as effective as simply an epilogue rather than the focus of the entire second part of the film? I'm sure Kurosawa could have made his point---he is showing how one man's heroism can deeply affect other people---without becoming as repetitious and even preachy as this portion of the film sometimes seemed.

And yet, if IKIRU is a flawed film, at least its flaws always spring from an honest desire to lift up his audience in a way that SEVEN SAMURAI and THRONE OF BLOOD do not even try to do. It may be sentimental, but it is always honestly felt, and perhaps you might be much less resistant to Kurosawa's sentimental excesses than I occasionally was. As Watanabe, Takashi Shimura gives an unforgettable performance (esp. with that hauntingly raspy voice of his); and Kurosawa does create a final moving image of Watanabe swinging on the swing in the new park, singing that same song he sang at the bar, but in a different, perhaps more joyful manner.

That image just goes to show you that Kurosawa was, above all else, a masterly visual artist in his films. If he had relied more on his sense of powerful imagery to make his point, IKIRU might have been a truly great film, instead of one that perhaps tries too hard to be deeply moving. And yet I would be lying if I said that I wasn't affected by the film. Perhaps some of you might not mind the occasional preachiness in this film and will find this a truly transcendant film experience. For me, it almost got there, but not quite. Still, IKIRU is a good film that deserves to be seen for its powerful message, if nothing else. Maybe it will really change your life. Recommended (with some reservations).

5 stars not enough...
... for rating this one. I can't but than agree it might well be the most compelling film by Kurosawa. As well Criterion have to be hailed for bundling the most interesting 'Extras' I've ever seen on DVDs. But afterwards I couldn't help thinking why, after half a century since it was released, nobody realized that giving stomach cancer to civil servants and politicians might get them doing their work: and if even for a short while, at least tax-payers won't regret the money they're usually conned of. Since the bulk of most civil servants' work is waiting retirement, and almost all politicians think (???) they've been elected so they can be paid while preparing their next campaign, it would be worth giving it a try.

Masterpiece
I'm only 19 so perhaps some may say I can't really comment or fully understand all about living life to the full, because I have barely lived. But one thing this film makes you realise is that a job, is just a job! This film was so heartful and beautiful,it can make any age group realise that life is for living and how correct it was to say that 'only when you know you are going to die do you begin to live'..we should learn to live before that moment comes! I recommend this film for everyone, I love Japanese films and this was by far one of the best films.
It's an eye-opening film and one that should not be disregarded! ... Read more

Amazon.com

This is an initially fascinating but ultimately wearying tale of forbidden love along the Yellow River in turn-of-the-century China. Niu Bao (Wu Gang), a talented but immature artist, is hired by the heir of a fireworks empire to restore paintings in the family's grand factory-compound. Bao obliges the "master," who is actually a young woman named Chunzhi (Jing Ning).The film's inherent, powerful metaphors--a fireworks dynasty literally sitting on a massive powder keg, a violent river that isolates Chunzhi's citadel from the rest of the world--are tremendously compelling. By the middle of the script, however, there isn't much left to say about Bao and Zhi's doomed affair; yet director Ping He keeps saying it over and over again. --Tom Keogh ... Read more

Reviews (9)

A Firecracker of Any Other Color.....
One of my many recent excursions to the Foreign section at the video store found what I hoped would yet further encourage my new love for Chinese film. Not having much experience with them before, I was delighted that there was more to it than Bruce Lee. After saturating myself with Gong Li movies, I took home "Red Firecracker, Green Firecracker", and fell in love with it right up to the end. I felt I had been cheated, that it was a cop-out. Every time he went away, either she ran after him or he ran back to her. Cinematic, sensual, and romantic, this film still disappointed. There was no right answer for this couple's predicament, and there was no compromise... on anyone's part. I want to give this movie two ratings. For the entire movie up to the last four minutes, The movie can have 4 stars. For the ending, the movie can have 1 star.

Confusion reigns..
The best aspect of this movie is the location and the scenery. Beautiful filming but a plot with too many blanks and questions. I won't give away the ending but it was stupid and by that time I didn't care what happened to the hero. I usually love Chinese dramas but this one missed with its plot of unrequited love being dragged out too long, and not making much sense.

Breathtaking love story!
This a beautiful story of unrequited love,passion felt and denied,jealousy,rivalry,and sacrifice.The actress who played"The Master"brings an incredible sensitivity to her role.I felt for Niu Bao as he falls in love with the unattainable. My utter contempt for Mann grew with each passing moment! Well worth seeing again and again!

Red Firecracker, Green Firecracker was a beautiful movie
It told a story of love lost in a way that makes everyone think about how it would be to live in those times and not be able to choose who you want to be with.

The ending will blow you away
This was really an interesting and intense story of illicit love during the turn of the century in China. The camera work and colors were spellbinding. As with most chinese films with english subtitles, you must view it at least 2-3 times to really appreciate it. I guess I really liked this film because not only did it seem historically accurate but also the characters were really believable. The fireworks competition at the end was as suspenseful as a gunfight. And the ending is not your everyday hollywood sugar coated junk. ... Read more

Description

The must-own sequel of the year! Chris Tucker and Jackie Chan team up again in this record-breaking box-office smash hit. ... Read more

Reviews (219)

rush hour 2
Rush Hour 2 is an unbelievably hilarious, action packed, better-than-the first sequel to Rush Hour. I strongly recommend that you rent and watch the first one before you go see Rush Hour 2 because much of the humor and jokes are based on the original one, however, this is not necessary because you will catch on quickly and only miss a couple of the related jokes. Rush Hour 2 begins exactly where the first movie leaves off. If you watch both movies in order it will just seem like one long movie. This is a nice feature because it makes the movie easier to follow and understand.
Rush Hour 2 is about two detectives, Detective Lee (Jackie Chan) and Detective Carter (Chris Tucker). While on their vacation to Hong Kong Lee and Carter are called back to duty to investigate and bust an international counterfeiting ring. This is no easy task, however, as they soon find out. Carter and Lee find themselves locations around the world such as Los Angeles, Las Vegas and even Tokyo.
Jackie Chan and Chris Tucker give a perfect and encore performance doing what they do best. Jackie Chan plays the serious logical and skilled martial artist Detective Lee. Chris Tucker portrays the never serious, ego boosted LAPD officer, Detective Carter. I don't believe that this movie would have had the same punch without these talented actors working together in this fabulous duo.
The action in this movie is spectacular. As always, Jackie Chan performs unbelievable stunts during his fighting rendezvous. At one point in the movie he jumps and dives through a very tight slot, much like one at a cashiers cage. On the other hand
Chris Tucker, let's just say... is not very good at Kung Fu, but nevertheless great comical relief.
The humor in this movie is absolutely bladder busting. Ethnic and personality differences between Carter and Lee create humorous situations. For instance: Carter speaks his own version of Chinese. Obviously, he just says a bunch of random gibberish and makes himself look like a total idiot in front of a rather large group of Chinese people. Carter is quick to the tongue and is always bashing on the Chinese culture. Lee is just simply funny while acting so serious and straight-faced: A perfect contradiction.
I recommend that you go see this movie or rent it when it comes out in January 2002 It will be worth your time and money, and because it stars Jackie Chan, you will get to watch the comical, and quite painful out-takes at the end of the film during the credits. You'll laugh your way through Rush Hour 2 with its wonderful blend of action and comedy.

Feel the Rush...
A sequel that exceeds its predecessor. That in itself is an anomaly these days, but Rush Hour 2 packs enough wallop for both movies. How about some of the best lines in an action comedy in recent years? From one liners to the chemistry that has evolved between Jackie Chan and Chris Tucker, this movie will make you pause the scenes until you finish laughing. Hit play again and you'll be slapped with more humor. Carter runs through downtown Hong Kong, where no one knows what he is saying, yelling, "Get outta the way! L.A.P.D!" There's a moment in Hong Kong where Carter meets up with a chicken vendor and the laughs keep coming. Rush Hour 2 opts for a more sexy approach with the Chinese massage parlor scene, and the 2 main female characters who are sure to boggle the eyes of the male population. As for action, there's plenty of it to support the clever dialogue. The movie is so realistic and unrealistic at the same time, you'll be bringing the first movie back out and panting for Rush Hour 3. I can't leave out the fact that a story goes with this and it's told quite well, and for what this movie is, it doesn't burden the high-jinks, but supports it. Simply put, Inspector Lee has an old vendetta with the man who killed his father and Carter is pulled along from Hong Kong to L.A. A few plates need to be found from a counterfeit ring using them to make a "Superbill," which is identical to a real bill. Not quite an original story, right? Well, it's all in the way you tell it and Rush Hour 2 pulls off a good time and that's what we wanted to see.

Robert Eldridge (...)

Funnier Then The First...
Slick, chaotic, and decently entertaining sequel picks up where the first movie left off. LAPD Detective James Carter (Chris Tucker) is on vacation in Hong Kong with his friend, Detective Inspector Lee (Jackie Chan). Carter just wants to relax, have fun, get some "mu shu", but Lee can't stop doing his job even for a minute. This time, he's hot on the trail of gangster Ricky Tan (John Lone), who may have been behind an Embassy bombing.

More-of-the-same in terms of content AND style, but still pretty engaging, with lots of action and thrills. Chan and Tucker still share the same chemistry, and overall there are some good laughs. (Worth it just to see Tucker perform Michael Jackson's "Don't Stop Til You Get Enough"...) For me, one of the perks of this sequel is watching "Crouching Tiger, Hidden Dragon" beauty Zhang Ziyi as a very fetching and lethal assassin.

Terrific High energy sequel is GREEN!
Not satisfied to just build on the personalities and chemistry created in Rush Hour -RH1, this action movie delivers an inventive script and great action. I would have given 5 stars but I down grade for language.

Chris Tucker delivers another high energy, comedic performance. Since Chris first caught my attention in the Bruce Willis vehicle, Fifth Element. He has proven himself to be a real comedy - action star. This movie might have worked with a different actor playing chans part, but jackie chan is the genious that created these incredible films and may now be our top action star.

Highly recommended, but only partially family friendly.

Better than the first, alot better!
Take peoples word for it when they tell you this is better than the first Rush Hour movie, even Chris Tucker is much funnier in this one. The movie is funny, not amazingly funny but you can expect for laughs than the first one. Though there's alot of stupid things in this movie it wasn't made to be serious, now really two guys fighting off 10 guys at once on several different occasions. The ending was not bad, it was a pretty cliche ending but it wasn't as bad as it could have been. After watching it, I am looking forward to a possibly Rush Hour 3 and I hope they make one, if you're into action/comedies this is a must watch. ... Read more

Reviews (78)

Kama for you.

KAMA SUTRA: A TALE OF LOVE
Indira Varma, Sarita Choudhury, Ramon Tikaram, Naveen Andrews 1996

Synopsis
Set in 16th Century India KAMA SUTRA is the tale of two girls, Maya - a lowly servant, and Tara - a noble princess, both raised together as children. Because of Tara's striking beauty and her skills of seduction learnt through the Kama Sutra, the Indian book of love, that Maya exacts her revenge on Tara by seducing her husband on her wedding day thus beginning a destructive struggle for power where revenge is the goal, but tragedy the outcome.

My Review
This movie really lacks any real substance. Could have been done a lot better. Disappointing.

In the best traditions of "1000 and 1 nights"!
This is, indeed, a Tale, a tale for adults... For in the East, it has always been known that adults NEED and enjoy tales no less than any child would.

This story is about LOVE (of course), true love broken by the society and its "powerful ones". In this case, the powerful one is a Prince, evil yet very sexy Naveen Andrews (Kip in "The English Patient"). The object of his desire is Maya, who is forced to become courtesan, after some unfortunate events. But, Maya was brought up as a princess...

Indeed, Maya grew up with the evil Prince's future wife-to-be, Tara, so it gets very complicated: Prince has beautiful Tara, but he desires beautiful Maya (they are both so beautiful, why not have them both?...Prince manages to do that for quite some time).

There is another amazingly beautiful woman in this film, whom I enjoyed seeing on screen once again: famous Indian actress, Rasa Devi, playing Rekha-- older courtesan and Maya's mentor, and what a wonderful mentor she is!

In short, Kama Sutra: A Tale of Love, is one of the most beautiful and most sensuous films in years. It is entertaining and at the same time philosophical!

It was nice to see "making love"-scenes, as oppose to random and mostly meaningless sex-scenes that seem to dominate today's cinema.

I only regret that there wasn't more dancing in this film. I also regret over-using the word "beautiful" in my review:)....but, in this case, it is more than appropriate.

Entertaining but Not Great
This movie, set in 16th century India, is a tragic love story. The movie actually centers around the character Maya (not played by Sarita Choudhury) who grows up as a servant and playmate of Tara (who is played by Sarita Choudhury). Both are somewhat jealous of the other - Maya because she gets Tara's hand me downs and is indeed treated like the servant she is - and Tara because Maya is more beautiful and accomplished than she is. On the night of Tara's wedding to a Raj, Maya slaps Tara during an argument, who gets revenge by sleeping with Maya's husband to be. Needless to say, Maya is driven from the house in shame. Forced into difficult circumstances she becomes the courtesan of Maya's new husband, and takes every opportunity to rub this fact in Maya's face. However, in the meantime she falls in love with a commoner and tries to re-forge a bond of friendship with Tara who quickly discovers being the wife of a Prince is not quite what she imagined it to be. As the tale unfolds, and the Prince finds out of Tara's betrayal, bad things ensue for all involved.

Overall this movie is a well-told story and the scenery is fantastic. Overall an entertaining if not great movie.

From a woman's point of view
This film's imagery is powerful and sensual...so rich and vivid that it seemed as though I could feel and smell the lush and exotic scenes. Throughout, the film is infused with light-hearted, but nevertheless heated, eroticism informed by female sensibilities. What is most surprising is that it does have a message; one might say that despite being set in 16th century India, it is a modern morality play told more than a little tongue-in-cheek.

Maya, born into a servant caste, and thereby relegated to a powerless situation in a rigid society, manages with daring, intelligence, and humor to live an authentic life. She acts boldly, at times, to shape her destiny; but she also accepts with equanimity the turns of fate that she cannot control. I think I can say without giving away anything that I love the final scene where, on the metaphorical path of life, she walks serenely out of the chaos and madness created by powerful men into the peace of her own future. Oh, that one might do as well in the madness of the 21st century.

Kama Sutra Plus more
This movie was beyond exceptional. It had beautiful people, costumes as well as scenary. I like it For this Movie and more visit us online for lingerire, kama sutra books games and online community. http://karmasutraexpress.com/enter.htm ... Read more

Amazon.com essential video

At his best, director John Woo turns action movies into ballets of blood and bullets grounded in character drama. Face/Off marks Woo's first American film to reach the pitched level of his best Hong Kong work (Hard-Boiled). He takes a patently absurd premise--hero and villain exchange identities by literally swapping faces in science-fiction plastic surgery--and creates a double-barreled revenge film driven by the split psyches of its newly redefined characters. FBI agent Sean Archer (John Travolta) must play the villain to move through the underworld while psychotic terrorist Castor Troy (Nicolas Cage) becomes a perversely paternal family man while using every tool at his disposal to destroy his nemesis. Travolta vamps Cage's tics and flamboyant excess with the grace of a dancer after his transformation from cop to criminal, while Cage plays the sullen, bottled-up agent excruciatingly trapped behind the face of the man who killed his son. His attempts to live up to the terrorist's reputation become cathartic explosions of violence that both thrill and terrify him. This is merely icing on the cake for action fans, the dramatic backbone for some of the most visceral action thrills ever. Woo fills the screen with one show-stopping set piece after another, bringing a poetic grace to the action freakout with sweeping camerawork and sophisticated editing. This marriage of melodrama and mayhem ups the ante from cops-and-robbers clichés to a conflict of near-mythic levels. --Sean Axmaker ... Read more

Reviews (284)

Face Off DVD
The DVD of FACE OFF is one of the best, and a must-buy on the format. John Woo, uber director of The Killer (1989), Hard Boiled (1992) and Broken Arrow (1996) proves that even after the move to Hollywood, he still knows how to create fantastic action and Face Off is no exception. Building on the good but not great BROKEN ARROW, this one is a fantastic action ride. The film stars Nicholas Cage as Castor Troy, a villain, and John Travolta as agent Sean Archer, the only man who can stop Castor from unleashing a nuclear device.
Woo's trademarks are all present here: slow-mo gunfights, explosive action and those perennial doves. And both Nic Cage and Travolta are brilliant, especially Cage, whose eccentric performance is one of his most unrestrained and outstanding. One of the best (If not THE best) action films ever made. Excellent.
The DVD extras are sparse, with only a trailer. One hopes a future re-release will come soon...

Face/Off
Director John Woo's famous big-budget action-packed flick.This is the film that put John Woo on the map in America.Packed with guns, bullets, bombs, explosions and action scenes that are so original there choreographed like a ballet or a dance routine.

FBI agent Sean Archer (John Travolta)has been trying to apprehend terrorist, Castor Troy (Nicolas Cage) ever since he murdered Sean's son six years ago.Sean apprehend's Castor during a violent shoot-out in an airport and as a result of this puts Castor into a deep comma.Sean then undergoes new surgery involving swapping faces with Troy.He does this to try and find out where Castor has planted a deadly bomb hidden somewhere in L.A.Castor awakes from his comma, with Sean's identidy and takes over his life.Sean(really Castor) disarms the bomb which he planted and becomes an instant hero.Meanwhile Castor (really Sean) is a high-tech prison trying to find information about the bomb from Castor's brother, Pollux (Alessandro Nivola).Since Sean(Castor) has destroyed all evidence about the surgical swap, Castor has to try and break out of prison.Not only does he have to fight for himself but for wife Eve (Joan Allen) and daughter Jamie.

This is a superb film with enough plot to become a series.It does sound far-fethced in places but John Woo makes it believable and real.Great performances all around including the two main stars, Joan Allen and the sexy tough female Gina Gershon.

face off
he best movie in the ear 1997 it is perfect action good and adventure good nice acting for john travolta and nice acting for nicolas cage

One of my all-time favorite action films!
Place this modern action classic up there with DIE HARD, SPEED, and THE NEGOTIATOR as one of my personal favorite action films.

Before watching FACE/OFF completely, I had taken a look at one of director John Woo's Hong Kong action epics, THE KILLER. I must say, I prefer FACE/OFF better. Sure, both films have that same over-the-top operatic style, but at least FACE/OFF isn't as shamelessly sentimental as THE KILLER was. In THE KILLER, Woo's main characters both demolished hundreds of extras in graphically bloody style, and towards the end it got a bit too much even for me. In FACE/OFF, the gore isn't quite as graphic, and while the body count is still pretty high, it never got to the point that I was disgusted.

I'm not a knee-jerk admirer of John Woo as some people are. That slow-motion technique of his can become wince-inducingly excessive, especially now that many lesser action directors have started to rip off his style. In this case, though, one is too engrossed in the plot and in awe of the high-energy action staging to notice.

Of course, most people probably already have an idea of what the plot is about: criminal Castor Troy (Nicolas Cage) dies, but he has planted a bomb somewhere in LA, so obsessive detective Sean Archer (John Travolta) literally swaps identities with his arch-nemesis to go undercover at a high-tech prison to find out where that bomb is. Obviously, this situation leads to various complications as Troy wakes up from his coma, takes Archer's face, kills the doctors who performed the operation, and then tries to find Archer. It's the typical body-switch, and I would be remiss to mention that Troy is responsible for the death of Archer's son many years ago, and thus Archer has a vendetta against him that explains his obsessiveness.

It's a potentially laughable premise, but the actors and director make you buy it. Travolta and Cage are both convincing and have a lot of fun playing each others' characters, and the supporting cast is just as believable. The script, by Mike Werb and Michael Colleary, may have its bum dialogue lines here and there, but it's filled with ingenuity, plot-wise, as Troy tries to fit in with Archer's family and Archer tries to function in a prison. And of course the script gives director Woo plenty of leeway to go all-out with action scenes, and Woo does not disappoint, giving us plenty of stylish gunplay and loud explosions for about three action films, and even an audacious soundbite of "Over the Rainbow" as characters blow each other away. Woo sure lets his inventiveness run free here.

So okay, the film may be a little overlong, and that final gun battle at a church is perhaps too reminiscent of a similar battle in THE KILLER, right down to the flying pigeons motif. But all its flaws are forgivable in this case, since the movie is so thrilling matters of logic fall by the wayside. FACE/OFF may not be Woo's best film ever (I haven't seen HARD-BOILED yet), but it's pretty close to it, and in comparison to other modern action films, it stands pretty high there too. It'll ceratinly forever be one of my favorites. Recommended.

Action as Art
While the plot of this movie is relatively interesting, this movie is really about two things:
First, the lead actors get to do the characters they do best as fully as they know how. Cage is his typical, neurotic, repressed, and emotionally conflicted self. Travolta hams it up in the outlandish, larger-than-life way that he often does. Despite what could be seen as overacting by both the leads, the almost absurd disparity between them is one of central things that makes this movie work.

Second, this movie has the most beautiful action sequences of any action movie I have ever seen (excluding epic-type movies, i.e. LOTR, Star Wars, Braveheart, etc.). This is a film that knows it's an action movie and revels in it. The cinematography in the fight scenes simultaneously displays the nature of the characters and the intensity of the battle between them. There are so many moments when you will just delight at the visual art that is every action sequence in this film. Needless to say, this movie has all the gunfights, fistfights, chases, and large explosions that one would expect in a serious action film.
If you like action movies, this is the first one I would recommend. ... Read more

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The plotline may sound familiar: Two mismatched cops are assigned as reluctant partners to solve a crime. Culturally they are complete opposites, and they quickly realize they can't stand each other. One (Jackie Chan) believes in doing things by the book. He is a man with integrity and nerves of steel. The other (Chris Tucker) is an amiable rebel who can't stand authority figures. He's a man who has to do everything on his own, much to the displeasure of his superior officer, who in turn thinks this cop is a loose cannon but tolerates him because he gets the job done. Directed by Brett Ratner, Rush Hour doesn't break any new ground in terms of story, stunts, or direction. It rehashes just about every "buddy" movie ever made--in fact, it makes films such as Tango and Cash seem utterly original and clever by comparison. So, why did this uninspired movie make over $120 million at the box office? Was the whole world suffering from temporary insanity? Hardly. The explanation for the success of Rush Hour is quite simple: chemistry. The casting of veteran action maestro Jackie Chan with the charming and often hilarious Chris Tucker was a serendipitous stroke of genius. Fans of Jackie Chan may be slightly disappointed by the lack of action set pieces that emphasize his kung-fu craft. On the other hand, those who know the history of this seasoned Hong Kong actor will be able to appreciate that Rush Hour was the mainstream breakthrough that Chan had deserved for years. Coupled with the charismatic scene-stealer Tucker, Chan gets to flex his comic muscles to great effect. From their first scenes together to the trademark Chan outtakes during the end credits, their ability to play off of one another is a joy to behold, and this mischievous interaction is what saves the film from slipping into the depths of pitiful mediocrity. --Jeremy Storey ... Read more

Reviews (265)

An excellent DVD.
The Movie:

Chris Tucker is the funniest man in the world, in my opinion. It's too bad that the movies he acts in are always running to try and hopelessly catch up with him. One of the funniest things in cinema and some of the most enjoyable comic moments in the past few years have come from watching Tucker's performances. You can almost see his mind working in overtime trying to think up what to say next; and you never know what he'll say next. He takes the best of what Eddie Murphy used to be and just speeds it up a few hundred....thousand notches. It's just his looks of mock anger that always make me laugh. Never has anger been so funny.

He's joined by action star Jackie Chan in this film, which, although it's very funny at times, never really moves above the level of average, forgetable entertainment. Chan has done better "stunt-orientated" films like "Supercop" and "Rumble In The Bronx". In those films, he really shined with his mix of good humor and quick action. Here he's made to be more in the shape of the plot's need for humor and dialogue over stunts...not to say that there aren't any stunts; there are. It's just that they are a little few and far between.

The story revolves around a Chinese Console member who's daughter is kidnapped. Chan is brought in by the console member. The only problem is that the FBI wants to solve this case itself, and Chan's detective is not welcome. Some of the funniest scenes in the movie are watching Tucker's detective come to the realization that all he's called on to do is babysit Chan's detective. So, we start into the age old buddy cop flick.

Thankfully, this one isn't too bad. A nice script, some very good moments also from Chris Tucker when he's allowed to just improv his performance. Thank god Tucker and Chan liven up the proceedings; Chan has his usual array of incredible stunts, running up and down the sides of everything, kicking, doing it all; Tucker's mouth and Chan's quick feet make a nice balance of opposites. It's unfortunate that the direction is average, the plot is something you've seen all before, but it's through the performances of Tucker and Chan who make "Rush Hour" worth watching. It's nothing new, but when it works, "Rush Hour" is a whole lot of fun.

The DVD: Picture Quality: New Line has done a phenomenal job with the transfer of "Rush Hour". The colors of Los Angeles are incredibly vivid and just pop on this disc. Look at the reds in the Chinatown scenes or the colors of the neon at night. The color saturation is wonderful and there is no bleeding in the colors; the light from a neon sign looks perfectly sharp and clear. Speaking of sharpness, the images themselves are perfectly clear and sharp throughout the disc. There are a few instances where there is a small shimmering problem, but compared to a lot of the other discs I've seen lately, the shimmering in this disc isn't worth mentioning. Again, images are razor sharp throughout, there aren't any other problems at all with this disc. There are a lot more pros to talk about, though. Skin tones are 100% perfect. There is definitely no pixelization in the disc whatsoever, even in the low-light scenes or in the backgrounds. Black level in the picture is fantastic and contrast is wonderful. Shadow level is excellent and overall, this is a nice continuation of the New Line tradition of replicating the theatrical experience at home. There's occasionally a problem with otherwise great discs such as shimmering or what not and it takes you out of the experience. There's nothing on this disc that's problematic enough to take the viewer out of the experience of the movie and that's a sign of the very best DVDs. The 2.35:1 image is excellent. Excellent job, New Line.

Audio Quality: Impressive sound quality on this disc, emphasizing the sounds that added to the tone of fun on this disc and that's Lalo Schifrin's fun, urban and light score melding old R&B hits and current rap along with other wonderful bits and pieces of fun music to make an enjoyable score. The score fills the room and sounds full and clear. Dialogue also has that "same room" impression, recorded with clarity. There's a lot of impressive sound on this disc like the gunfire(director Ratner talks on the commentary about how he wanted to make the gunfire loud and emphasize it to make it "exciting"), which sounds great. The explosions also fill the room with great impact and force.

Extras:Now here's where this disc really shines: Commentary: There's an outstanding commentary with director Brett Ratner(who sounds at times sort of like Quentin Tarantino), who talks in depth wonderfully about the details of the production and working with Chris Tucker and Jackie Chan. It goes into the detail of working with the screenplay and building the stunt scenes. This is a commentary that really is exactly what I want to hear in a commentary: it tells the story of exactly what it took to get the story to screen, not just what's happening on the screen. This is a fascinating commentary and I recommend it as one of the best commentaries out there. There is also an isolated score(and it's a fantastic score) with commentary by the great composer Lalo Schifrin.

Documentary: Again, it's what I want to see in a documentary. The box calls it a "featurette", but "A Piece Of The Action: Behind The Scenes Of Rush Hour" is something I would consider a full documentary. There's a lot of fun going on in the interviews with the cast and crew, and it doesn't seem like a usual studio promotional documentary. A lot of the camera work is hand-held and it just seems like it was all done in fun and the fun that the cast and crew has carries over to the viewer. The documentary runs about 40 minutes and the last chapter is more in the way of the hilarious outtakes that ended the film.

Deleted Scenes: A short reel of deleted scenes that at the most, are about 1 minute. Nothing earth-shaking, but interesting to see. The reel is a few minutes in length.

Short film: Director Brett Ratner's very strange short film from when he was a student at NYU, "What Ever Happened To Mason Reese?". The film starts off with an intro from the director and commentary from the director is also available. The film itself....well, it's just strange, but it's nice to have on the disc.

Trailer: Of course, the trailer.(letterboxed at 2.35:1)

Cast/Crew: Very nice biographies of the cast/crew.

Music Videos: 2 music videos.

DVD-ROM: The screenplay, an interactive game and web links(available only to Windows DVD-ROM computer users)

MENUS: Sharp animated menus that start with a very funny piece of dialogue from Chris Tucker.

Grades: The Movie:A- Picture Quality:A- Sound Quality:A- Extras:A Menus:A Overall:A
This review was originally posted at the website "A Guide To Current Film/DVD".

Lots of laughs in oddball 'buddy' movie
Jackie Chan, the great Chinese action star, plays a Hong Kong detective at the time of China's taking control of the city. A friend of his is dispatched to Los Angeles in a consulate position, and Chan is summoned soon thereafter when his buddy's daughter is kidnapped by gangsters. The FBI, not wanting any interference in the case, arranges to pair him with one of the wildest cops in LA history. As played by Chris Tucker, he is also the loudest. This ploy to get Chan away from the investigation doesn't work, of course. As always, the FBI agents are made to look like they are sharing a brain. You've already guess that the two policemen get along at first like cats and dogs, but by the end of the picture, they are best buddies. Along the way, they solve the case.

As a comedy team, Chan and Tucker work well together. The quiet, low-keyed Chan plays straight man to the brash, outrageous Tucker. There are the usual ongoing jokes about cultural differences, but at least in this case, pairing a Chinese character with an Afro-American does create a lot of opportunity for humor. Opposing tastes in food is a good topic, as is the language barrier. There is also a running joke about our obsession with hand guns. Jackie Chan is hard not to like, while Chris Tucker has much in common with W. C. Fields, Jerry Lewis and Jim Carrey. People either love him or hate him.

As is the rule in action comedy, the plot makes no sense. What carries the movie is the teaming of two actors whose personalities work well together. The special effects don't hurt either. There's an explosion every three minutes.

Lalo Schifin delivers a fine musical score. The set design is appropriately garish. A special thanks goes to Rush Hour's editors, who made sure it was short and to the point.

While Rush Hour is often entertaining, it does not measure up to a couple of similarly themed comedies - 48 Hours and Bev