Having grown up thinking that John Hughes films were the best possible outcome for high school, and seeing the current high school experience captured as a Disney musical or stupid, forgettable, comedies, "Crows Zero" gives a new perspective on the "coolest possible" high school experience.

"Crows Zero" is about the new guy in town trying to get to the top of his high school class. But instead of getting good grades or being the quarterback with the cheerleader girlfriend, it's all about who can mobilize the best student army and pound the snot out of everyone else. But, being a Takashi Miike film ("Sukiyaki Western Django", "Ichi", "Izo", "DOA"), it's gonna' be more than a fistfight.

"Crows" is based on a multi-million selling manga. It basically takes all the conflicts and angst that you find in high school and externalizes them. Instead of stupid pranks or getting stuffed in a garbage can or trying to make the best grades or trying to get a varsity letter, it all comes down to how well you can brawl. The "School of Crows" is known for being the toughest school in Japan, and if you can survive--better yet, rise to the top--you can be whatever you want.

It's a cool premise. One that could quickly degenerate into an adolescent orgy of senseless violence or could just come off very cheesy. But Miike brings depth to the characters. Despite everyone dressing in black, they all have their own distinctive styles (and it looks cool as hell). And everyone broods really well. I mean, it's an old-school James Dean, Brando kind of brood. Nowadays our emo generation in the US tries to brood, but it's just pouting and whining. In Miike's hands it's stylistic and effective and makes you want to adopt a perma-scowl next time you leave the house.

Although the main character's run at the top is the primary story, there are a few side-stories involving peripheral characters that keep the movie from being two-dimensional and shallow. You get a sense of the kind of world where this story could take place, and the types of people that inhabit it (hint: it's a pretty cool world).

Character, story, depth, and the action is great. No showy choreography here, everything is a straight-up brawl. Think "Fight Club" turned up to 11, fueled by out-of-control teenage testosterone. Every time a fist connects with a face, you feel it. The sound and camerawork make every punch and kick feel epic. Every hit counts. And everything is captured in the very-stylistic Miike way.

So who's gonna like this movie? The anime and manga crowd should dig it. It definitely keeps its feel as a manga-made-real. Those who were into "Battle Royale" and the contemporary, Japanese, teenage, ultraviolence. I don't think this film is mature enough to appeal to the drama audience, despite having some fantastic characters and story elements. Die-hard martial arts fans should probably pass. If you like that cool Asian style with some hardcore brawling action, all done by a top-notch production team and cast, equalling a movie that oozes nonchalant cool without forgetting to be fun, you'll be a "Crows" fan, guaranteed.

The characters in "Election" 1 and 2 want absolute power. And we learn that it comes with an extraordinarily high price. We also learn that regardless of how noble one's intentions may be, there are serious consequences to chasing such a lofty goal.

"Election 2" is a direct sequel following the same group of characters from the first film and taking place a little less than two years later. Those that have seen the first film will understand the significance of that.

If you loved the first film, there's little doubt you'll enjoy this one as well. What really draws me in to these movies is the way that the characters are expanded upon, especially in the second movie. Triads are usually so generic and cliched that tend to be the same in movie after movie. But in these movies, we see characters that could almost exist in the same reality as ours. They get sick and injured, they make mistakes, they don't always have a plan or a way out. Instead of the caricatures we're used to, here we get real characters with families, flaws, weaknesses, and mortality.

What makes "Election" 1 and 2 so strong is that they are smart films. Instead of seeing who can get a higher body count and strike the meanest pose, both films play out like chess games. You can see the players making move after move, sometimes anticipating several moves in advance. Only here, the wrong move can cost lives. These aren't the types of films that reveal themselves early. They play their cards close to the chest so you're always riding along with the characters instead of being a passive observer just waiting at the finish line for the inevitable end.

There's not much left to say. This film is an excellent finale to the two-part saga. Performances, style, story, emotion--it has it all. Anyone who loves a good gangster drama will love these movies. This film holds up its end of the deal by offering a strong conclusion. And while the end is anything but closed or final, it will have you playing out many different scenarios in your mind as to what will happen after the credits roll--a power to live beyond the screen, one of the hallmarks of a great film and a great filmmaker.

PTU is basically a story that follows a series of characters whose storylines are constantly intertwining. The whole movie takes place in the course of one evening. So while it's not a 'real-time' flick, it is fairly compact. I think part of what makes the film hard to grab onto at first is that there is no true main character. This means that it can be tough trying to latch on to a favorite or settle in.

Also, much of what the characters are planning seem to be kept to themselves. Rarely do we get any foresight as to what's going to happen. This is not a movie where you'll be able to see the end from the beginning. You'll likely not be able to anticipate even what the next scene will be. And that can be disconcerting wherein most films there's a certain amount of predictability. Here, To crafts a story that leaves much in the dark, throughout (often quite literally because it takes place during one night).

That being said, this is a fantastic film. I wouldn't argue that it's amongst his best. But even on his worst day he makes most others look like amateurs. As usual, he gets nothing but first rate performances out of his stoic cast. He keeps dialogue to a minimum, doing what he does best and letting actions and mannerisms do much of the storytelling.

PTU is best described as a crime drama. It is very deliberately paced. There are no major set-pieces like in 'The MIssion' or 'Exiled'. It is more a series of smaller events that grow in consequence as we move forward. To fans and those who are intrigued by crime and cop dramas would most likely enjoy this. Some will find it slow or inconsequential. Some will find it altogether boring. But it really is the kind of movie that will grow on you. I doubt it will be anyone's favorite. But it is another solid entry into the Johnnie To library that I'm sure to revisit.

This is a solid movie. It was recommended to me by a friend whose tastes I respect. And he didn't disappoint. The story can be described simply as two detectives track down a murderer. But, once you see the first main scene (which is quite violent) juxtaposed against the simple, sweet melody of the Bee Gee's "Holiday", you know you're in for something different.

What separates this film from the standard fare is that the characters have heart. They bring you fully into their world, no matter how simple or sad or angry. They have personality and dimension. Welcome doses of humor are found throughout that keep the film from sinking under a heavy weight that seems to hang over our main character.

And while the action is not "The Matrix", it is definitely a thing of its own. The fight sequences could be described as artistic, but not in any poetic way. The director uses camera tricks (frame rates and shutter angles), color, still frames, shadows, and various other tricks to show us action that would seem otherwise familiar. The artistic approach certainly doesn't take away from the sheer brutality of some of the violence. Don't let the pretty appearance fool you into thinking that the film somehow glosses over the bone-crunch factor. The director just shows it to you in a new way. In fact, he does this in many places throughout the film.

In one scene where the characters are staking out a nightclub, the director employs a technique that is genius and fitting, regardless of whether it was done to save on budget or not (which I'm not aware of). But, the same scene shot in a more standard fashion would seem out of place in the film.

Sure, we've all seen this story a million times. But the package it comes in is new and refreshing. Our main detective is the antithesis of the supercop. Lumbering and oafish, and possibly not the brightest bulb in the bunch, he still possesses a charm and street smarts that more than make up for it. The humor plays well. And by the end you really feel like you've got a grasp of who these characters are-and that makes a difference.

For its part, "Bichunmoo" is an excellent movie. It comes to us courtesy of the director of "Shadowless Sword". Personally, I liked SS, but this film is far superior to it. Let's dig into it.

Okay, quick premise. Guy loves girl. Girl forced to marry another. Guy gets his undies in a bunch and goes postal with his sword. Yeah, there's far more nuance to it, but you get the idea. The story really does play out nicely. The dialogue is kept to a minimum and the story is told through reactions and expressions and the sweeping score that really is a nice addition. The acting is solid from a very familiar cast (if you watch enough Korean action). The only thing that threw me is that the film pulls a Beowulf in the middle and jumps ahead a decade or so with very little warning. But once your brain catches up, you'll get it.

That leaves us with the action. First off, this movie isn't short on action. There are plenty of sword and fist fights to please any action junkie. What I found interesting is that the action is shot in a very Hong Kong style. It uses the dynamic handheld technique that Tsui Hark has spent a lifetime perfecting, and it does it well. I would say the action in this film most resembles Hark's "The Blade". Not much is slown down. It comes fast and furious with some wire and acrobatics to accent, but never dominate, the action.

The hand held isn't the "shaky" US style that obscures the action so that we don't see how poor our stunt men here our. It's steady and tends to rock left and right or up and down to catch the movement. It adds a certain intensity and brutality that no steadicam or dolly or jib arm can match. Being a huge Hark fan it's one of my all-time favorite ways to capture a fight scene and it's done here masterfully.

That's all I have to say on that. More than passable story. Capable and solid acting. All topped off with a generous quantity and top-notch quality fight scenes and visual style that are world class. A definite must-see.

Well, I shouldn't say I didn't like it, completely. I enjoyed the movie for most of the way until it took a serious nose-dive.

The concept of the movie plays out well. The directing team of Johnnie To and Wa Ka Fai, who gave us "Mad Detective" and "Full Time Killer", put together a very solid production. Visually, everything flows nicely.

Performances are solid. The tongue-in-cheek nature of the whole film is very well executed. Seeing Andy Lau run around in a full-body muscle suit is great. It just adds to the kitsch factor of the whole film. For over an hour, the film plays out like a quirky romance with a very fresh perspective.

The characters were sweet, in their own, very flawed, ways. The message of the film regarding Karma was well-constructed and intelligent. It didn't feel wandering and aimless like some of the Philosophy 101 that the Wachowskis forced us to sit through. I was thoroughly enjoying my ride through this fun little parallel universe. That was. . .until. . .

. . . the movie took one of the harshest turns I've ever seen a movie take. It was like the film just instantly changed genres in the most incompatible of ways. The change was so jarring that it instantly took me out of the film. During the big finale I was spending more time trying to figure it if what I saw was real or not, or if it could be undone, or if it was symbolic. This is a film that will challenge perceptions; so it's not always apparent that what you're seeing it for real.

To be sure, it wasn't what happened, by itself, that lost me. We've all seen it before in many movies--not a big deal in an of itself. But it was how it was integrated and the effect it had on the overall story and tone that made me shake my head. Imagine if Hannibal Lecter and Buffalo Bill from "Silence of the Lambs" were introduced into a Woody Allen film. They just wouldn't fit so well. You get the idea.

By the time the supposedly sweet and lesson-filled ending came, I simply didn't care that much. I had become so disinvested in the film that it didn't really matter much to me what had happened.

Now, let me say that I understand why they made this choice. To bring home the idea of Karma and how it functions throughout time and space and mankind they needed to make a strong statement. I just think they did it in the wrong way. Since the set-up for the story and the way it plays it is anything but traditional, they could have gone with a more subtle or more obvious ending and achieved a more consistent overall tone and a more emotionally satisfying (and enjoyable) film.

I think that they did such a good job investing me in the stories and the characters that I felt cheated for it to go the way it did. Effective in making their point? Yes. Enjoyable? Not at all.

As a Johnnie To fanboy it took some time for me to realize that I just don't really ever want to watch this movie again.

Definitely for fans of arthouse fare and quirky, dark (very dark) comedies. And if you can find me, you can have my copy.

Would Takeshi Kaneshiro fly through the air in slo-mo while simultaneously firing two crossbows? Would he and Leung bump into each other in the middle of battle, only to turn and put their swords to one another's necks while the camera circles them and they strike the pose until they realize they're both on the same side? Would doves fly?

Would John Woo, in taking on a more serious subject matter and trying to return to his former greatness, play it straight like a "Braveheart" or "Gladiator" and keep the "Hong Kong style" to a minimum? I had no idea. This is, running away, one of the most anticipated films for me this year. And fortunately, it delivered for me on all fronts.

The first thing to note is that this film is massive. We're talking "Lord of the Rings" big. It has got to be the biggest film to ever come out of Asia. It has got everything you could imagine: massive battlefield action, awesome wire-enhanced superhero-type Woo characters that rack up serious body counts all on their own, some comedy, some romance, a nice dose of traditional Chinese culture, a solid story that plays out like the most fascinating chess match ever, interesting characters, and a soccer match. Yeah, that's right, a soccer match. But no worries, you'll recall he shot Nike's ad campaign for the '98 World Cup with all the players on the tarmac and in the airplane terminals. So he makes it cool.

The thing I took most comfort in was that this was, without the slightest bit of doubt, a John Woo film. Now, I know that some of the strict history buffs have poo-pooed Woo's choices of the story and the casting. But it's John Woo, what did they expect? It's like when Michael Bay did "Pearl Harbor". Did anyone really expect that it was going to have the authenticity of a documentary? Not when it costs this much and you're trying to put butts in the seats.

But historical inaccuracies and parallels aside, this is a fantastic movie. Had it been a complete work of fiction, no one would have any issue with it whatsoever, I would imagine. What's great about this film is that Woo found a perfect balance for himself to maneuver inside of history. Sure, the armies fight one another. But the formations they choose tend to be more fantastic and interesting than one would probably witness on the battlefield. The tactics are more reminiscent of fantasy and comic books like "300" than something out of Sun-Tzu. Like was mentioned previously, there are characters that break rank and deal out death by the bucketful all by themselves.

To a Western audience, it may seem out of place in a historic epic. But these men aren't just characters in a film. These are Chinese folk heroes that have become legends. And the Chinese treat their folk heroes much differently than we do. Their most famous (or at least most frequently portrayed) is Wong Fei Hong. What Jet Li did with that character was nothing short of superhuman. He certainly takes it further than Woo does with the characters in this film. So while it may seem out of place to some, what Woo does in this film isn't out of the ordinary in the slightest bit. To me, it makes the film that much more interesting to have these characters that can turn the tide of an entire battle with just a few swings of their respective weapons.

And Tony Leung is in top form, along with the rest of the cast. Even Asia's most famous bedroom eyes, Takeshi Kaneshiro, is bringing his A-game for this one. You can tell that much attention and care was taken to get the performances. John Woo has a reputation for just shooting a lot of coverage from a lot of different angles and then trying to piece it all together in post.

In "Red Cliff" you can feel that the shots were really planned and that the vision was very clear. While this film bears all of his hallmarks and trademarks, it feels like some of his most disciplined, and thus inspired, work. This is possibly the best we've ever seen him handle a camera.

Another thing to note is the CG. We all know that sometimes the CG from the East tends to leave much to be desired. While there are a few things that may register as CG, the overall effect is excellently done. I was impressed many times with just how well the CG shots fit together with the live-action ones. Most of it was quite seamless.

I can't recommend this movie enough. This is John Woo doing what he does, just on a much, much, much bigger scale. It has all his style, and his directorial fingerprints are all over this thing. You're not getting a John Woo that was handcuffed by his story in the slightest. This film really succeeds on so many levels. The only thing I truly didn't enjoy was that it ended just as it was about to ratchet it up a few more notches. But, that was the idea.

For me, the greatest achievement here is seeing a John Woo who is back to where he used to be: uninhibited and unafraid to show what he can do. With "Red Cliff" he reminds us all why we have so much reverence for his body of work and for his abilities. Good to have you back, sir!

The all Japanese cast speaks in almost entirely English throughout the entire film. Once you get used to it you can make out what they're saying. But some will struggle at first. Since most are not native speakers, it sounds as if they learned their lines phonetically, without any knowledge of English. It makes for some odd cadences and pauses. To be honest, I kind of enjoyed it. It seemed like a fun and interesting idea. It just adds to the genre-bending of the whole film.

While the film is a western, it successfully balances the fine line between serious western and stylish action/comedy. Some may feel uneasy because it never settles into one or the other. Some very serious and heavy moments can be immediately followed by one of the over-the-top characters doing some schtick. Personally, I thought it flowed well and maintained the balance. Some reviewers have called it confused. In my opinion, I enjoy movies that refuse to be defined and just be what they should.

As well as being a western on its face, Django also has many elements of the old Kurosawa samurai flicks (one is even referred to in the film). The original film series "Django" is also homaged numerous times.

The action is slick and well paced--very stylish and creative in some areas, comedic in others, and once in a while just downright rough and tumble. Those looking for an all-out Asian action flick may be a little disappointed by the film's pace. It is paced like a spaghetti western: deliberate and dramatic. When the action comes, it is explosive and will not disappoint. But the scenes in-between aren't just vehicles to take us to the next gunfight. There is a narrative, there is character development, there are backstories and conflicts that are born and resolved.

"Django" is a very complete and entertaining film. The spoken language and genre-bending will challenge some viewers while alienating others altogether. But for those interested in the genre who don't mind something a little different, "Django" is a solid pick.

It's true, the movie does lack action in the front-half. But the story is good enough that it's not painful to sit through. It certainly isn't boring. Straightforward, sure. And the characters aren't unique. But it's not bad at all.

The bottom line is that when the action comes, it comes with a vengeance. Donnie Yen has flirted with incorporating the MMA/UFC-style into his movies. And in this one, he brings it strong, alongside his always-flawless kung fu skills. The bad guy in this movie is the guy who played Seraph, the guardian of the Oracle in the 2nd and 3rd "Matrix" films, the only guy with some real kung fu talent. So when he and Donnie get it on, it's as good as you've ever seen it. The gunfights are great, the fist fights are even better.

If you're looking for a top-notch martial arts film or you're trying to find one of those "HK action movies" that you've heard so much about, this is definitely one of the ones to see. No two ways about it.

Yes, Jet Li's character struggles with a Hong Kong overrun with British imperialists and the woman who loves him and all the drama that follows and, honestly, no one really cares. The story is an odd mix. When there aren't action sequences, much of the story plays out like a routine period piece. The story is decent and worth a look, but subsequent viewings will have you simply skipping ahead to the action sequences because...

...these are simply the best collection of HK/kung fu/wire fu fight sequences you will ever find. You have an actor at the top of his kung fu game with choreographers who are given a lot of freedom and creativity to use the actors' talents, all captured by a director at the peak of his powers. These fight sequences are the stuff of legend, the yardstick that all kung fu fights are measured against. Not to take anything away from other flicks of Jet's like "Fist Of Legend" or "Fong Sai Yuk", but these are the best. And to get them all in one package for such a cheap price is nothing short of criminal. I paid a small fortune to get these three films from HK before this version was released.

You'll see some of the most innovative and intense wirework, skill, and choreography you've ever witnessed, stuff that makes "The Matrix" look tame by comparison, despite coming out years before the Wachowskis ever put word one to paper. Every scenario you can imagine is captured, Jet vs. one, Jet vs. some, Jet vs. many, Jet with weapons, Jet with bare hands, Jet with props like an ubrella, Jet vs. flaming arrows, Jet vs. boss characters in the most insane environments you can imagine. I can't stress it enough, this is as good as it gets. Even skipping over the story, the fight scenes will entertain you and your next several generations long after you're gone. Simple as that. If you're into kung fu flicks and somehow have slept on this one, just buy it.

A former prisoner tries to escape from an enchanted forest teeming with zombies and demons, all the while protecting a girl while kicking, punching, shooting, stabbing, and slicing everything that gets in his way.

For those who are looking at the different versions, the Ultimate is the only version to get. The new music is a big improvement over the old stuff. The extended action scenes are fantastic. And the new color correction and visual processing definitely add to the overall film. Plus, all the extras are great. Ironically, this is actually more of a director's cut than the original director's cut. The original DC was just the best the director could do with what he had. Ultimate Versus actually had Kitamura going back out and shooting new scenes and extended fight sequences to cut into the original DC. Now that we've cleared that up...

This is not a film for everyone. In fact, this isn't even a film for most. This is definitely a niche film for those that love movies that are just fun, cheesy, completely unrealistic, and straight-up awesome. To most, this film is just a bunch of people running through a forest for 2 hours with some cheesy acting, lots of senseless violence, and more blood than your local Red Cross has on hand. Yes, they do run through the forest the whole movie, but it's so epic. The characters all have their "cool" turned way up, more than you would in any 'regular' film, but this is not a regular film.

The action is super mind-numbing. The gore is super-violent in a very over-the-top way. The dialogue is oddly paced and sparse and way more dramatic than is necessary. Blood flows freely as zombie limbs fly through the air time and again. But it all works. This is not a movie to critique for film class or to be studied for its deeper subtleties and symbolism. It is, in fact, unapologetically campy and violent. If you're into "gore fests" or "action bonanzas" all done with that Asian cool, then you absolutely must see this film.

For those familiar with Kitamura, this film bears his trademarks. For those who aren't, his films would be most likened to Sam Raimi ("Evil Dead 2", "Army of Darkness", "the Quick and the Dead"), cult/Indie flicks with style and over-the-top gore and violence, all done with a hint of comedy and melodrama (read: what mainstream audiences consider movies for dorks and people that dress up and go to Comic-Con). You still get that "indie" feel to the action and the dialogue, mixed with a very slick and stylish choreography. While most of the action is sword fighting, it is not "Crouching Tiger" or "Her"o. This isn't a Chinese movie with lots of one-on-one battles. Most of the action consists of a few people mowing down many with one clean strike after another. It's fast and furious and fun.

The film is definitely on a bigger budget than "Versus" was. Yes, there's a lot of forest-running again. But now, we're treated to a few sets here and there. The costumes of the main characters are definitely of the "anime-come-to-life" variety. They strike me as what it would be like to see something like Naruto or Inuyasha or Ninja Scroll turned into a live-action film. But despite having a bigger budget and a more talented cast, it is still a true Kitamura film (that, of course, is a good thing). You'll even see your favorite "Versus" characters make appearances throughout.

Like "Versus", if you're averse to somewhat over the top action, acting, and gore, mixed with a fairly simple storyline, this ain't your thing. This movie doesn't take itself too seriously and it never tries to be anything other than what it is: an awesome action movie. There are definitely those that will be thrown by what seems like a group of young kids in cartoony costumes engaging in some serious violence and gore (all done with superior style and grace throughout). Hey, what can I say? I love this stuff

But "Election" turned out to be a fantastic gangster drama. For most of us fans of Asian films, triads tend to be stock bad guys that rogue cops and kung fu vigilantes hunt down to exact their revenge. I enjoyed this because it gave a real perspective and depth to a group of characters we've seen hundreds of times, but never really gotten to know.

Like the "Godfather" saga (1 and 2) it's not just about guns and illegal activities. It's about family, leadership, tradition, personalities, conflicts, and so much more. The story is basically about the bi-annual triad chairman election and the two top candidates and their power-plays to get the top spot. It's the nice, level-headed conservative candidate vs. the rock star.

What I loved about this film is the way it played out like a chess game. You sit back eagerly waiting to see what the player's next move will be. And it's all captured with that fantastic Johnnie To style. Very smooth and dynamic, with an excellent, inconspicuous musical score.

The story is one set of twists and turns after another. Sometimes you see what's coming and sometimes you don't. Fans of movies like "Infernal Affairs" should really enjoy this. But it is not an action flick. If you're looking for kung fu or guns, not here. You'll be doing some heavy reading at times on the subtitles, but it's worth it.

The story feels a little unfinished. . .because it is. Part 2 picks up exactly where you want it to, and it's based around the characters you want it to be. Checking out both is a must.

Bottom line, anyone who's into crime dramas or gangster films should definitely enjoy this one. It's not as over-the-top as "Scarface" or as epic as "The Godfather". But "Election" can certainly hold its own with the best of them.

This is also a movie I'd describe as being big, especially for Korea. There's some very big and very well done CGI in the final act that really is impressive. The narrative isn't bad and the story plays out well. One of the few weaknesses of the film is the characters.

There's actually so much substance given to the antagonist that you almost feel sorry for him and want him to succeed in his plan. Ironically, the protagonist, to me, felt more shallow because they tried to tack on a backstory. I actually felt like he had more depth before they started bringing up his history. Although not an overly verbose fella, his subtleties, facial expressions, reactions to those around him- gave me a very big look at who this guy was.

Where "Typhoon" really shines is in its story. First off, the scheme the antagonist plans to unleash is very unique. It's not the standard bad guy takes something/someone hostage and demands a huge ransom or is trying to steal something very valuable. I really enjoyed seeing his plan come together. "Typhoon" has excellent pacing. You're not given the whole plan up front. Things are revealed slowly, often times you're left lagging behind the main characters. Only when they're done with what they're doing will you understand why they were doing it in the first place.

If you like the international intrigue (think James Bond-lite) with a tight story, good characters, a little soul, and large-scale filmmaking, "Typhoon" is a good pick.

First off, "Arahan" comes to us from the same director/star of "City of Violence". You can expect the same well-choreographed and stylish action, all captured with a slick visual style. Engaging characters are another trademark you'll run across in this film. Only here, the mood is lighter than COV and there are quite a few genuine laugh-out-loud moments. I was really surprised how many times I heard myself cracking up.

Anyways, the story is similar to that of "The Matrix", except for the fact that these people are funny and don't take themselves so seriously as opposed to chewing up the dialogue with psych 101 teachings. Plus, this entire cast has some serious martial arts chops, none of them learned everything in the few months preceding principal photography (a side note: I love "The Matrix", just trying to make distinctions. "Matrix" is a 5-star in my book). Also, the story takes place in modern day Korea, not the Internet. But it's about a boy finding his untapped potential with the help of a hot chick and some "masters" that must fight their own Mr. Smith. You get the point.

The story, although not anything complicated, is fun and quite entertaining. The true gem of this film is the character interaction. The comedy is genuinely funny. The love/hate relationship between the male and female leads is brilliantly done. The interplay between all the characters it really a treat.

And that more than makes up for the fact that the first half is light on action. This director tends to backload his films with action because he wants to draw you in and get you invested in the characters during hour one...and it works. Understand though, once he turns it on, it doesn't stop. The second hour is one great sequence after another. It's mostly all live, with some wire-fu and CGI spots. All three elements are exceptionally well-balanced. He doesn't over-rely on CG or Wire to make up for any deficiencies in skill or creativity. It's fast, graceful, creative...these are phenomenal fight scenes.

Lastly, the contemporary setting adds a nice element. Watching people hop from skyscraper to skyscraper while the regular folk go about their business below is very creative. While the story is normal, the outstanding action and great three-dimensional characters (and their funny and caring interplay), along with some new perspectives on things, really make this a stand-out in the martial arts film genre. Like my business partner always says, "I'm not trying to reinvent the wheel. I'm just trying to put a new rim on it."

Two friends who fight side by side: check. Slo-mo combined with slick choreography: check. Slick moving camera that takes on a life of its own: check. Sense of epic scale and grandeur: check. Doves flying just prior to a major action scene: che...okay, so it doesn't have ALL the Woo trademarks. But most of them.

The story is very solid and takes some turns to keep it from being just standard action fare. If you enjoy kung fu flicks, this one is excellent. While it's not "Crouching Tiger" or "Hero" and isn't loaded with wire-fu, it is definitely the predecessor of these films and is most enjoyable, even by today's standards.

I really thought I would have to lower my expectations a bit since it was an older film that would primarily have the 'rhythmic' kung fu you could set a metronome to. But even that played out well, and more creatively than I would have thought. There's a ton of action, the characters are fun and have some dimension, the story flows well and is creative, and it's just a good movie. Any fan of martial arts flicks should more than easily be able to enjoy this one.

"Rashomon" is one of Kurosawa's best (and that's saying something). The film is not what one thinks of when they conjure images of Kurosawa films. This one isn't about wandering samurai and their adventures. This one is more like Akira Kurosawa does "12 Angry Men" or some type of courtroom drama.

What I found brilliant about the film is how each one of the four descriptions given by the "witnesses" is perfectly incompatible with the other versions being told. It's done so well that you're never able, throughout the telling of the tale, to fully grasp which version is the actual objective truth (if any one version actually is).

This film has all the Kurosawa trademarks of top-notch performances, a creative narrative structure, and creative camerawork that was ahead of its time.

"Rashomon" is the film that launched Kurosawa in the West (Wikipedia told me so). It was such a sophisticated film that it actually had academic studies named after it and ultimately a phenomenon that became known as the "Rashomon Effect" was born. This effect studies how one's biases and perception affect the accuracy of one's memories on specific events.

But not to be confused as a courtroom drama, most of the story is told through flashbacks so there's more than enough going on the keep the moviegoer interested. And whie Kurosawa movies have action in them, it is action as based on a 1950's perspective. These are not John Woo films. I would recommend that lovers of Asian cinema or arthouse foreign cinema would be first on the list to appreciate this. After that, anyone looking for a solid piece of classic filmmaking won't be the slightest bit disappointed. Although I don't think this is the Kurosawa film I'd lead with for the more casual viewer.

For them I'd recommend "Seven Samurai" or the "Yojimbo/Sanjuro" combo. Hard to go wrong with those gems.

Okay, for the three people in the world who have found this film but haven't actually heard the backstory, here's the short version: 2 Japanese directors place a bet with one another about who can make a better film in 7 days, 1 location, 3 actors, and 1 has to die. "Aragami" is one-half of that bet (the other being "2LDK"--IMO, "Aragami" wins).

It's important to have a little context when seeing this as it'll make you appreciate it all that much more. Now that we've dealt with the peripheral nonsense, let's get into the good stuff.

"Aragami" is a movie that gets better and better as it goes along. You really have to watch the whole thing to appreciate it (and please ignore the [other reviewer] on this page who referenced the running time at over 2 hours--the film clocks in at 80 minutes--the last 30 being mostly action--unless he has some super, uncut, "only guy in the known universe to have it" version that we missed out on). This film will deliver, but it takes some patience.

After 50 minutes I started thinking, "Okay, the premise is cool and I like what they're doing here. But this is a Ryuhei Kitamura film, when do I get to start witnessing some broken sternums and whatnot?" The answer, at just about the 50-minute mark. Once it gets going it doesn't look back. You get the trademark Kitamura style. At that point, the film starts hovering around the 4-star level. By the time you see the final scene you'll be grinning ear-to-ear and realizing just how awesome this movie really is. The payoff is well worth it (especially for Kitamura fans, ever more so for "Versus" fans).

I've done you a favor. Knowing when the action kicks in, now you can sit back and enjoy the story unfolding knowing exactly what you're getting (and when). As for the story, read the summary. The acting is very tight. The story is cool. The action is very, very well done. And it all plays out well given the constraints of the bet.

This movie should play well for those Kitamura fans, fans of "cult" style action flicks, those with some artistic sensibilities looking for something a little different. Although I wouldn't recommend this as an entrance into the Kitamura world. Check out "Ultimate Versus" first. If you dig it, then go out and pick this up. And, it gets better with subsequent viewings, too. Enjoy.

Either way, HB is a film that sees John Woo at the peak of his action powers. The action is so loose, so massive, and so intricate that it may never be matched again. What's funny to think about is that this film only has three action sequences. That's it. It just so happens that the first one is about the size of any other major action film's closing action finale. After that, they just get bigger. Once you get to the third one, you can sit back and just watch the genius unfold for over 30 minutes solid.

But there is more to this film than just the action. The story is pretty engaging. I've always thought "The Killer" had a bit of a silly story. The hitman doing one last job so as to pay for eye surgery was always a little cheesy (don't get me wrong, it is probably the movie that would be occupying the "greatest action movie" slot had "Hard Boiled" not been made). But the story of a rogue cop and an undercover cop playing cat and mouse and eventually coming together to set it right plays out brilliantly. Also, one thing I rarely see mentioned is just how excellent Tony Leung's performance is. *mild spoiler* When he has to kill his own guy in front of the boss to keep his cover, and walks toward his boss in slo-mo with the smile on his face and then, as soon as he passes the boss, instantly goes to the verge of tears, that is incredible. That is first-rate, all the way. No amateur or stock action star could pull off that performance. *end spolers*

While I've always thought that the action in "The Killer" had a little more artistry and grace to it than "Hard Boiled", HB's action is pretty much fueled by rage and testosterone. It's possible that there have been modern-era wars that had less shots fired than this film. But the action in this film has what must be the most creative "bullet ballet" sequences ever. It's one thing to just have big and long action spots. But the massive puzzle that John Woo assembles here is like a "how-to for gun-fu". The centerpiece of this all being the several-minute, uncut, hand-held single shot that follows our two protagonists through the hospital, into and elevator, up a floor, and out onto a new floor, all while firing guns, reloading, diving, grabbing more guns, dodging, co-ordinating, etc... It must have taken a week just to set that shot up and rehearse it. That shot should go down in the history books.

There's really nothing more to say than just buy it. Seriously. Do you like action movies that have people shooting at one another? Great. This is the best one ever made. When I dropped this movie on the arthouse dorks in my film school, even they had to admit that it surpassed any and all other action flicks ever committed to celluloid (or digital, nowadays). See, the fact that it's Asian and subtitled means you can slip it past your artsy friends. So it's a win/win for everyone. Oh yeah, and Chow has to work on keeping his girlfriend happy, too. So, it's a romance as well. Now you can watch it with your girlfriend, too. It's such a brilliant movie that everyone wins. See, how can you go wrong?

One last thing I forgot to mention, if you have a "Y" chromosome, it is mandated that you see this film. I heard a rumor that Jewish boys have to watch this after their Bar Mitvah to fully complete the process of becoming a man. Some African tribes send their boys into the wilderness with nothing but a spear and a portable DVD player with this film on it in order to attain the "rights of manhood". It doesn't matter how old you are or what you do for a living. If you haven't seen this, you're not a man, yet. I think you get the point.

What "Hero" represents is martial arts filmmaking as an art form. While watching the movie the thought that kept popping into my head was "visual poetry". The amount of nuance and subtlety that "Hero" contains is hard to even begin to explain. But the more you watch, the more you see the little details that add so much to the film, mostly on a subconcious level.

See the colors change. Notice when all the sound is pulled out in favor of silence, or of just the musical score. The power of a scream where there is no sound is overwhelming. The interplay between regular and slow-motion is used, not just for visual style, but to jar one's senses or to convey an emotion that words cannot evoke. See the focus change as the director leads your eye around the screen. Notice the arrangement of people and objects in the frame. Nothing is an accident. Nothing is left to chance. It is obvious that Yimou has control over even the slightest detail, a gift reserved for a handful of only the most talented like Hitchcock or Scorsese or Wong Kar-Wai.

The fight scenes in "Hero" are amazing because they have a life of their own. They weren't designed to "one-up" every other fight scene ever committed to film. The much touted Jet vs. Donnie fight is extraordinary--not because it is the most technically complicated or the most mind-blowing, but because it is designed for these two legends to be in perfect sync with one another. It is flawless. Even more so, it tells a story.

In the fight we see the essence of these two characters. And the fight scenes just get better from there. The scene over the lake still gives me chills when I watch it. That may well be the most poetic choreography I've ever seen.

What else excited me about this film is that Tan Dun returned from doing his excellent "Crouching Tiger" score to do this one--except this time, he traded in master cellist Yo-Yo Ma for legend violinst Itzhak Perlman. This score is more accessible than the CTHD one was. And the music is like its own character in this film, sometimes being the only thing one hears. It complements the picture and the story brilliantly and lends much to the viewing experience.

I was disheartened to see negative reviews on the Internet where people felt it was a film that was a propaganda piece for China and its rule. I understand that the real Huang Di was not as beneficent as he was portrayed in this film, and that his rule was violent and short. But what I saw wasn't propaganda for a communist/socialist government. What I saw was the beauty of a culture that evolved over hundreds of years of bloodshed and hardship. And regardless of the official party line, I was moved by "All under heaven". At no point was I ready to throw a Che or Chairman Mao poster on my wall.

This film was not meant to be any type of historical record (that's why we have history books and why movies aren't valid sources to cite in research papers). What this movie represents is filmmaking at its greatest height. The film as a true art form, combining on-screen and off-screen talent with visuals and audio that can stand alone, yet when combined, equal more than the sum of their parts. Asian film fans, martial arts fans, the average Joe, and film snobs alike should be able to appreciate this on many, many different levels.

First, from a technical standpoint, this film is brilliant. Tsui redefines handheld camerawork in this film. It's not the typical "shaky" cam. It's like a hyper dolly move. Plus, you have to give mad props to any movie where the camera man jumps out the window and rappels down the side of a building after the actor...and holds the shot!! (If you missed it, check the apartment shootout when Wu Bai runs and jumps out the window and ropes down the side--that ain't no crane or jib arm, folks.) The visual style adds a lot to the overall feeling of the movie.

Second, the movie just drips with cool. But it's not a forced cool. It's just done in such a way that even the simplest actions seem graceful. Effortless.

Third, Anthony Wong and Nicholas Tse are great. Wu Bai brings his brooding rock star thing to the screen quite nicely, as well. But Tsui has never had a problem getting solid performances out of any of the people he's worked with (I don't care what anyone says, I love "Knock Off" and I'll fight to the death to defend it as a great film). The interplay and banter between characters is cool. Nobody gets overly chatty, but it's enough.

Fourth, the action, while not as plentiful as other films in the genre, is solid. Even in his worst films, Tsui knows how to put action to celluloid. He can do it in his sleep. This movie is no exception. People rappelling down the side of an apartment building having a machine gun battle? What? Are you serious? Yeah, he's the man.

I know people take umbrage with the plot. Yeah, the crazy guy and the cockroaches and all the meandering can seem a little weird. But, like me, just watch it 40+ times and it'll all make perfect sense. Seriously, though, watch it a few times and you'll get it. It gets better every time.

Most people wouldn't enjoy this film. In fact, this is really not a mainstream film in any way. Film people can appreciate the technical specs, and then there are just a select few who will always find themselves mesmerized by it for no apparent reason. But those looking for another "Hard Boiled" will be quite disappointed. All I can recommend is to try it. You'll either love it or wish you hadn't seen it. But for those of you that do love it, you'll keep coming back to it, time and time again. It will call to you while you sleep, eat, work, even when you're making the sweet lovings. In fact, I think I'm going to pop it in right now. You've been warned.

Jackie Chan has a pretty broad spectrum to his work. Some films are all about the big stunts, some are about the action sequences, some are funny. This film is all about the fight sequences.

Hands down this is Jackie's best kung fu choreography. It was done by Ming-Sing Wong (aka Sam Wong), who also choreographed Jackie's other fighting masterpiece "Who Am I?". While WAI does boast some impressive fights with some huge stunts, DM2 is pure fighting. The Drunken Boxing style really allows Jackie to show his skill and creativity inside of the kung fu arena. This film really lets you see just how good Jackie is. Here, he shows he can hold his own against his contemporaries like Jet and Donnie (back in the day that is, at least).

The story is a little silly: things get set in motion because of some missing ginseng getting mixed up with a royal seal and some British imperialists. Same kind of thing as "Once Upon a Time in China" (since Jackie and Jet are playing the same character of Wong Fei Hong, it's not surprising). Only here, it's a bit more comedic than the Tsui Hark fare. But it doesn't matter. The interplay between Jackie and the late, great Anita Mui as his mother is priceless. The comedic element to this film really does add some depth, so you're not just sitting by watching the clock until someone starts punching someone else in the face.

You really could spend a semester studying why this movie is simply one of the greatest action films of all time. Even those who don't want to read subtitles and prefer their action with lots of explosions and CG will love this. Look, if you haven't seen it, stop reading and just click the button to add this to your shopping cart, select the fastest shipping you can afford, and just sit back and watch in amazement.

It's important to understand how different Asian movies are affected by which country they actually come from. Since this is a Korean movie, you're going to have a primarily Tae Kwon Do-based flim. Lots of straightforward kicks, spinning kicks, and simple hand techniques. But it's not HK, so you're not going to have kung fu and an overabundance of flying around and gymnast-esque moves. Similiary, not being a Thai flick, you won't get the all out Muay Thai elbows and knees like Tony Jaa.

I only mention this because some people are specifically looking for one type of martial art without realizing it. Most people want kung fu after the rise of "The Matrix" and Jet Li, Jackie Chan, and Donnie Yen in the west. This is not that. It is more straightforward, less acrobatic and showy than kung fu, but also more brutal. There's one fight sequence that's reminiscent of "The Warriors", just a big ole brawl between the main characters and a bunch of "themed" gangs. And the final fight is something to behold. Just a beatdown of the most epic variety in size and brutality. It puzzles me that one reviewer called the final fight "illogical". Isn't that the crux of all martial arts films? That one or two people can take down legions of baddies with just their bare hands?

The story is well-paced and interesting while the action is brutal and well put-together. I very much recommend this movie for anyone looking for a solid action/martial arts title. If that's what you're into, then this is a perfect choice.

I acknowledge that this film was made with a western audience in mind. That means that as a typical wuxia film it is watered-down by comparison. It was also apparent that they tried to do a lot with the script, probably too much, so as to please the arthouse crowd.

Because of those things I can't review it as a traditional HK film. Also, this movie was the final part in a three-part process that was absolutely critical to American cinema.

Part 1: The introduction of Jet, Jackie, Michelle, John, Chow, Tsui and Ringo to American audiences. It got them used to seeing the kung fu, the wires, and stylistic, kinetic bullet ballet.

Part 2: "The Matrix". "The Matrix" took HK choreography, wires and all, and made it mainstream acceptable. Sure, a lot of our directors tried it and failed, but at least the audience was ready for it (and even now anticipating it).

Part 3: "Crouching Tiger". A full Asian film, starring Asian actors, loaded with HK choreography and stylish wirework. A film that 5 years prior would have been an arthouse flick, at best, was now a mainstream, widely accepted, critically acclaimed, award winning film. This film finally made it acceptable to import more and more of HK to our shores.

Look at what has happened since this film came out. Look how many more Asian action films find their way to our theaters...and not just the little theaters. We've been given Dragon Dynasty so we can get great picture quality, no editing to our movies, subtitles that actually mean something, and extras that have translation to them. Asian re-makes are all the rage in the US. And on and on. . .

As an up and coming filmmaker who grew up watching all the great classic asian action films, it is now acceptable for me to incorporate a true HK style into my work. When I tell the studio I want to hang 2 of my actors from wires and have them fly around fighting one another, there's no fights or strange looks. Hellboy 2 was loaded with wire work. And we owe it all to CTHD.

Besides that I do enjoy the film immensely. I got a little choked-up during the first fight between Michelle Yeoh and Zhang Ziyi when people in the theater were cheering, watching something I'd known existed for decades. Better late than never.

Wo Ping is a true artist, and CTHD gave him the talent and the leeway to create- talent and leeway that the Matrix was lacking. The visuals are spectacular. The performances are incredible. I always liken Chow to Morgan Freeman. No matter what role they play, they always bring a certain degree of respect and sophistication, with just a hint of the regal, to it.

It is a fantastic movie. And more than that, it is an important movie. No, it is not pure HK. It is watered-down and it does have its flaws. But I love it and I will always be grateful to it for the doors it opened.

The 'mano a mano' fight sequences are few and far between, and when they do pop up they aren't mind-blowing, wire-fu fests a la "The Matrix". They are actually slowly paced and play out more like something you'd see at a stage play. Most of the action is of the CGI variety, and the final battle is truly epic. But much of the film revolves around the morality tale on the nature of existence and other such philosophical tenets. The main characters struggle to find their place in the world and strive to make their relationships with those around them work.

The story takes place after a great war in a Japan that resembles a kind of neo-fascist, "Final Fantasy"-esque, overly industrialized society. Science is God, but politics stand in the way of progress. As is the tendency with Asian films, plot details aren't spoon-fed to the audience. Character relationships and motivations often-times have to be ascertained by observing, even if it does tend to get a little frustrating at times.

While the story can get a bit stretched at times, it is enjoyable--and ultimately beautiful. The visuals are quite a treat. My biggest complaint is that it feels as if the director may have bitten off more than he could chew. Sometimes it feels like the movie got away from him or that he tried to go a little bigger than budgets or technical constraints would allow.

That aside, this is definitely sci-fi art, not sci-fi action. Those looking for some live-action anime that is more story- and character-driven should enjoy this flick. Same goes for those that like their sci-fi not wrapped in fast-food tie-ins or toy sales. But if it's the next "Matrix" you're looking for (even if some reviewer says it's better than both "Matrix" sequels combined), you'd be better off skipping this one.

While the film does involve crooks (4 pickpockets), it does it with much less darkness than films like "Election" or "PTU". This film is reminiscent of Hitchcock's "To Catch a Thief"--all the suspense and plot twists without ever becoming too heavy for itself or ever losing its playful nature. Simon Yam as Cary Grant. Kelly Lin as Grace Kelly. Perfect.

The cast is chockfull of To regulars. And, as usual, each turns out a fantastic performance. But what makes this film great is its old-school sensibility. The morals, the honor code of thieves, the dialogue, it all harkens back to a time when you didn't have to worry about everyone pulling a gun out. The finale of this film is brilliant and wholly original. I'll give nothing away, but the final "showdown" is unlike anything you've ever seen before. An original concept brilliantly orchestrated by a true maestro.

It's light-hearted, to be sure. But that doesn't mean that it isn't smart. Quite the contrary. Most of the film is spent with the viewer wondering what will happen next. We, the viewers, are usually a few steps behind the action. And that makes the experience all the much more rewarding. What's great is that once you figure it all out, you're able to appreciate the film on other levels. It, like most To films, holds up well under multiple viewings.

If you're into smart films that have an air of fun and simplicity akin to the Hollywood of the 40's and 50's, performed brilliantly and executed deftly, then "Sparrow" is not to be missed. Who knew Johnnie To could do sentimental and playful? It just goes to show that he really is that good. This one will definitely get repeat viewings.

As for the film itself, it's not bad. For those people who feel that "Blade Runner" is the end-all, be-all of human/cyborg love and that no other film should ever be done that deals with that subject: stay away from this film. While it does deal with the same basic premise, it certainly sets itself apart from "Blade Runner". Sure, it has that very cyber-punk futuristic feel, but the story almost would pick up where BR left off. We find our main character in the last few days of his cyborg love's life and what he's doing to try and save her. But we also find the familiar Asian themes of brotherhood and love vs. loyalty/duty, self-interest vs. greater good, whereas in BR the main theme was "what is life?" and that was about it. So NC tends to be a bit more complex (but I still like BR far more).

The visuals are well done and the acting is pretty solid. It does have a very stylized visual approach that will remind some of "The Matrix". The story was just play. It seemed to wander a bit here and there and the main character's actions often seemed to contradict what the whole movie was about (read: he sure has a funny way of showing affection). Maybe there's something deeper, some underlying motivation that I missed, but I thought he just came across like a d-bag to his woman. And that runs counter to the stated purpose of the whole thing.

Basically, it's a decent movie that could have been better. The action feels restrained and the story tends to try and make itself deeper than it actually is. Performances and visuals are overall solid. Sci-fi fans should enjoy this one. Action fans will feel cheated by seeing talented martial artists going to waste. I enjoyed it, and maybe I'll watch it again someday...just not anytime soon.

Without saying too much, let's just say that Lau (playing Det. Bun) is a 'Mad Detective' who has an uncanny ability to read people and deduce crimes (think Sherlock Holmes meets Rainman). He's been called back by the police to help solve the case of a missing police detective. While the concept behind the character is fairly unique, it's been done before in different ways-but rarely as good as this.

What makes this film great is that it starts where most other films end. It gives you the big Shyamalan twist up front and then spends the next hour and a half trying to figure out what to do with it. This movie may set a new bar for richness of character.

Bun and the relationship he has with his wife provides some genuinely heart-wrenching moments. Lau really gets inside the character and you feel it, from beginning to end, emotional/psychological roller coaster and all. But we'd expect nothing less of To and Fai; they usually tend to populate their world with rich characters. Every actor turns in a stellar performance. Plus, we're treated to appearances by a fair number of To and Fai regulars.

'Mad Detective' really is a fresh take on the Crime/Murder/Mystery genre. But while fresh is good, it's not everything. This film succeeds in being smart and entertaining at the same time. Seeing such a great concept put together by such a talented team on both sides of the camera is truly great. Repeat viewings will reveal more and more subtle and intricate layers to an already brilliant film. There's really not much more to say, just watch it, already!

This is a great role for the man. Finally he gets to play against type and do a cocky, fun-loving, anti-hero. His character kinda' makes me feel like this is what it would be like to hang with the guy in real life.

Tsui Hark brings a new visual dynamic to a VD movie that wasn't there in previous VD films. Hark is so good that he makes me cool with Rob Schneider, whom I have never been able to stand with the exception of some SNL skits. That right there makes it solid.

Hark also pushed Van Damme to expand into some more physical action, not just punching and kicking. You really only see him do this in "Hard Target" and "Double Team" (of course, a Woo film and another Hark film). HK directors know how to make the stars get physical outside the realm of just taking swings at other guys.

VD is cool and confident in this role. He pushes his action in a much more physical and stylized direction. The story is a fun little journey with a few twists and turns to keep it interesting. It's a good movie.

If you think VD is just cheesy and you've never liked him, this probably won't change your mind. If you're on the fence or are a fan, this is one of his best (my personal favorite). But it's VD with a HK sensibility and style here. My guess is that this will appeal more to VD fans than to HK action buffs. Some HK fanboys will call this film sacrilege. It really is the kind of movie that only a small handful of people will really enjoy. Despite being filmed in Asia and having an all-Asian crew, VD keeps it from being a true HK film. He is still an American actor with a Tae Kwon Do background. So not much wire work or gymnastic kung fu. But it's the best you'll see him and that's more than enough for me.

It's got more life and charisma than some of his stale US projects where his characters were more or less the same guy (except "Street Fighter", but we don't talk about that). This is far more unique and fresh. The real question is: are you sophisticated enough to truly appreciate the genius that is this film? That is the true challenge.

SS is from the same director that gave us "Bichunmoo", another fantastic film. It has a great cast from films like "Guns and Talks" and "Arahan". SS is a swordplay epic. For the laymen, it would be in the same vein of a "Crouching Tiger" or a "Hero" or "House of Flying Daggers". Period piece, acrobatic wire-fu, lots of swordplay. And while it may not have the budget, star power, and exposure of the previously mentioned films, it can absolutely hold its own against them.

The acting is spot on. The story, while not anything new, is still very engaging. And the action is certainly well worth the watch. Although not quite as graceful as some of its HK counterparts, the wire work is creative and integrated well into the sequences. The visual approach is stylish without being over-the-top. And it does have a great score, too.

Fans of Asian swordplay movies would be wise to give this one a look. It doesn't have the depth of story and character that those looking for something more in the drama category are looking for. And while the action is great, it's not wild and insane like a Kitamura movie or a Hark film, and certainly not as blood-filled. The action sequences would be considered reserved compared to how those guys work. I personally don't think that this film would be attractive to the hardcore Asian film fans. So if you're looking for a good, solid swordplay epic that is subtle and understated while being quite entertaining and action-oriented, this would be a fine choice.

When I was looking to buy the film and reading official reviews around the net, many reviewers likened the film to Tarantino and Guy Ritchie. Unfortunately, the similarities are only in the concept. Four assassins that are friends and live together struggle with the conflicts of their job and their personal lives and all the shenanigans that ensue. Sure, I could see QT or GR pitching it, but that is where the similarities end.

You don't get the trademark QT dialogue or the hyper-stylized, ultra cool GR universe. It's far more low key than that, and also a bit more straightforward. People have been disappointed because it didn't have ultra-slick camera work and larger-than-life characters like a Woo film. But this film isn't trying to do any of those things. Reviewers just like getting their reviews quoted, so by sticking some popular movie titles or director names in their review, it gives the review a better chance of being used. Okay, enough about that.

The movie is very good. It is funny. There are some memorably funny moments, despite reading the subtitles or listening to the dub. The humor does translate well. There is a lot of subtle humor that you have to be paying attention to catch, it's not just a bunch of sight gags. They do some interesting things with the voice over, as well as using multiple screen panels to show lapsing of time and potential actions. Very creative.

The story itself is interesting and we see the four main characters interact with each other and their jobs, all the while hiding pieces of their personal lives, some mixing business and pleasure, and how their friendships make them stronger. It's also nice to see how the different personalities affect how they perform their assassin duties. They all have their own style.

There are some great scenes. The Hamlet scene is truly magnificent. The music mixed with the imagery and the action is just an absolutely fantastic scene that will stick with you long after the movie is over. It's not so big as to overshadow the entire movie, but it is a standout. This is the movie that "The Big Hit" could have been if "The Big Hit" wasn't so bad.

The Koreans have really been on a tear making some great movies. From "The Host" to the Vengeance Trilogy ("Sympathy for Mr. Vengeance", "Oldboy", "Lady Vengeance") and this film, Korean cinema has really stepped up in the new millennium.

So if you're looking for an action/comedy that really is funny, has some cool action, is a great story, but never takes itself too seriously, this is one of the best.

Trailers for his films, especially "The Mission", "Exiled", and "PTU", will give you the impression that these films are action bonanzas. They are not. In "The Mission", there are three major actions sequences. But, ironically enough, despite being shootouts, most of the people in these scenes don't really move very much. No spinning, flying through the air, 2-gun, hailstorm of lead types of scenes (which I LOVE, by the way, but these aren't that). These action scenes are meant to create tension and develop character. If you watch closely, the way that the characters react to these scenes will give you deep insight into their character. Most people who feel that these characters are shallow were probably looking for them to "dialogue" about themselves more. In fact, there's very little dialogue in this film.

What makes this film great is the way that the characters interact with one another, the way we learn about them through their mannerisms, style of dress, fighting style, etc. Even though the characters didn't say much, I felt like I knew more about them than most other action/thriller characters.

Also, the story is fantastic. It seems straightforward, but with Johnnie, it rarely is. He puts little things here and there than that keep a story from ever being a point a-to-b type of film. It all builds to a payoff that I felt was very much worth it. This film should be viewed more as something like "The Departed" or "The Usual Suspects". Sure, those movies had lots of guns and gangsters, but they didn't have much action. Character and story drove those movies forward. I think people let the 'Hong Kong' moniker taint their expectations.

The bottom line is that if you're looking for a solid crime drama, with storytelling that's more visual and artistic and creative than the standard fare, with interesting characters, great style, and a very solid story, this is a fantastic pick, as well as To's "Exiled" (my personal favorite of his), "Election" 1 and 2, and "PTU".