Movies that are slightly off.
One man's strength will unite an empire.
One man defeated three assassins who sought to murder the most powerful warlord in pre-unified China.
whooh onomatopoeia ; sound made by swinging swords, arms, legs, and all forms of sticks or poles ( with, or without metal appendages )in martial arts movies. Sometimes associated with arrows. Usually repeated at least 3 times. whooh whooh whooh
whowh onomatopoeia; sound made by magically flying protagonists and or antagonists, often found in the Wuxia sub-genre of martial arts films, as they hurl toward their enemy, often somersaulting during the approach. Often repeated at least twice, corresponding to the number of summersaults. whowh whowh
woah onomatopeoeia; sound made by audience when witnessing spectacular choreography and sumptuous cinematography often associated with the Wuxia sub-genre of martial arts films. Sometimes repeated twice, once for choreography, and then for cinematography. woah…
*Potential spoilers for the broad strokes of the plot. If you haven't seen this yet and are looking for a quick reason to check it out, it has some of the most beautiful photography outside of a Terrence Malick picture. If you like kung-fu movies and don't mind "wire-fu" then you'll probably like Hero.*
"A warrior's ultimate act is to lay down his sword."
Hero is a historical wuxia, or a king-fu period piece, but the battles between warriors stand in for a more important battle happening beneath the surface of the film. The fight scenes are highly choreographed and excessively stylized (a practice commonly referred to as "wire-fu"), and this gives them a mythical quality that indicates they may…
A Rashomonian wuxia made by the person who brought us the bright, crisp melancholy of Raise the Red Lantern, this film more or less could not fail. Though one of its themes, as far as I can follow them, seem to be about sacrifice for greater ideals in unsettling nationalistic terms, the more intriguing idea of a warrior who is unwilling to kill, this paradoxical philosophy of strength through unwielded power, overwhelms the downside. More so, though, the beautiful dance of blade, elements, and environment that this film is dominated by puts everything else to shame.
There are some who might sully this film with the qualifier that it's "cool." Those people are boorish fools. "Cool" is for pop-art and…
A Man with no name approaches the throne of the emperor of the great Qin Dynasty. He comes with nothing but the weapons of the three most powerful assassins and warriors in the realm, all of whom have all vowed to kill him: a spear belonging to Long Sky, and two complementary swords belonging to the two lovers Flying Snow and Broken Sword. Nameless claims to have defeated all three of them, ensuring safety for the Emperor. Under scrutiny, he spins two stories before actually explaining his true intent.
In the first explanation, the story vilifies the three assassins, engulfing each scene with red- red gowns, red walls, red curtains.…
"All Under Heaven"
The imagery has to be seen to be believed,simply jaw dropping...It has spectacular fight sequences(especially the blue lake sequence being my favorite)..Tony Leung and Maggie Cheung(gorgeous as always) carry forward their magical chemistry..The score soars on all fronts..I know Jet Li is talented but he has a single expression the whole film...its a good film but i will prefer Crouching Tiger Hidden Dragon over this for emotional heft.
Film #19 of 30 in my March Around The World | 2016 Challenge
In this beautifully choreographed and fanciful epic tale of ancient China, writer-director Zhang Yimou replicates the artistry of Ang Lee's "Crouching Tiger, Hidden Dragon" (2000), but with a higher profile cast and double the production budget, perhaps to show that the PRC will not be outdone by the ROC when it comes to martial arts blockbusters.
The main character here is a master swordsman and provincial prefect referred to as Nameless, as portrayed by international superstar Jet Li. He's joined on screen by two Hong Kong cinema stalwarts: Tony Chiu Wai Leung as the assassin Broken Sword and Maggie Cheung as his mistress and accomplice…
I saw part of the movie in 7th grade in some class and I have had the basic plot and imagery stuck in my head for years, and it was only recently that I got the idea to google it and watch this again, and boy was that a good idea.
Wow, what an amazing film.
The visuals were absolutely stunning. The cinematography was so easy to understand, and at some times quite bold.
The story could be interesting to follow but still worked I guess.
I feel like the highlight for this whole movie definitely had to be the cinematography and mise en scène. Less lighting but definitely the costume and set design.
Wow. Honestly, so so good.
"Hero" is a jaw-droppingly gorgeous film that is truly worth seeing for its lush production design alone. Director Zhang Yimou brings a visual elegance to the kung-fu genre film, and a magical realist sensibility to the narrative itself, the results of which are a very violent film where the violence seems to have consequences, and the line between hero and villain isn't so much a line as a vast field of shaded grey.
The film is reminiscent of "Rashomon" in its fragmented approach to telling its story; one is never sure whether or not the version he is hearing is the truth. That may be because in the world of "Hero," the truth is very open to interpretation--one man's noble…
"Hero" is a film with a great visual beauty rarely seen, in fact, this could be a silent movie and still would be a pretty good movie. Also the photography is amazing and the sword fights are awesome.
Zhang Yimou's "Hero" is a wuxia movie that is eloquent in both its style and narrative. While the premise is quite traditional, "Hero" stands out with a visual flair that uses both colors and the elements in an almost meditative way. There is a fair amount of fast paced action, but there is also a playfulness to some of the action sequences, some of which play with time to dwell on the elements and the colors, which creates some of the dazzling visual moments. I'm already looking forward to letting this sink in and to delve deeper into the wuxia genre, for then to return to this and fully embrace it.
Less corny dialogue than House of Flying Daggers , but also lacked the feeling that it wasn't so much a movie as a beautifully choreographed dance. Could be used as an advertisement for the Chinese tourist board though, because DAMN is it pretty.
With an interesting storyline and stunning cinematography, this one had the potential to be a great one, but the underlying message is so disturbing that I simply cannot give this one an enthusiastic thumbs-up.
The First Emperor of China is generally known to have been a tyrant: after all he burned books, buried pesky scholars alive, had the absurd idea of building a wall to keep unfriendly neighbors out (sound familiar?), and used brute military strength to conquer neighboring states on his way to becoming the First Emperor of China. Yet, he is portrayed in this film as a tragically misunderstood figure whose use of violence was a necessary means to achieving the greater good, i.e., end of war and…
There are no fight scenes in this, only beautifully choreographed dance routines with swords, because they are filmed with a softness, and a magic to quality to them, that calling them fight scenes doesn't paint what they truly are. Sure the laws of physics don't apply, but who cares, they don't need to.
That's because the story is told from the point of view of Nameless, our main character, and he tells the story 3 times, although from different points of view, he appears to tell the story in 3 different ways to the Emperor, who it appears he has come to kill, or maybe not. Each version of the story, are shot using a different main colour, the first…
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…