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on 25 March 2017
Some people criticise the film because Forest Whitaker isn’t Wesley Snipes, some sword swinging uber fit martial arts type flashing his six pack, hopping Wushu style from building to building leaving a trail of decapitated foot soldier cannon fodder in his wake. Sorry guys that’s the point he’s a lost street punk who has read a book on Bushido and become somewhat fixated on it and uses it to give himself purpose. He isn’t a trained sword master ! His skills with a Katana come from watching movies and reading books, he uses a gun because that IS the area of his expertise. Even then with his own idiosyncratic interpretation of his chosen text he has acquired a sense of self and a degree of dignity that his chosen bunch of ageing and more than a bit dim mafia Oyabuns don’t and probably never had. He gives them his loyalty, they don’t reciprocate and the car crash begins.
I really like this film, it’s one of those that stands multiple viewings, but in my opinion it’s not perfect so 4 stars.
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on 22 November 2017
Forrest Whitaker is outstanding in this moody film. A great visual feast of intelligent film making.
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on 11 December 2017
Over hyped. I just thought it was weak. Won't watch again.
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on 16 September 2017
Very good, interesting film
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on 14 April 2017
It is good product ,but service it is the best ,
Thank you.
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on 18 July 2011
A must for Jarmusch fans. Italian gangland meets Samurai philosophy, this story has some great acting and a wonderful story. One of his best, along with Dead Man.
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on 2 March 2016
good
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on 22 April 2009
I read through the 6 or 7 reviews that gave the film 1 star. All of which had the arrogance to consider themselves knownledgable of Samurai cinema and decided that this film was below them. Funny how all of them quoted Akira Kurosawa, though one of the greatest director of all time, he is also the most obvious and famous. You don't have to try hard to explore his works. If you are truly interested in Samurai cinema you would of looked further, maybe picked up Kill!, Sword of Doom, Shogun's Samurai, The Samurai Trilogy, Taboo, The 47 Ronin. It's quite obvious that this film is only very lightly based on Samurai Boshido and rather basis the Assassin Ghost Dog's lifestyle on their culture. I myself did not expect Seven Samurai or Sanjuro when i picked this up, and i think it quite sensible if you don't either.

People who come on here after seeing Tom Cruise's Last Samurai, Zatoitchi and 1 or 2 of Kurosawa works need to a) see more Kurosawa films, look into his early works and maybe try one of his films that aren't period - for instance, Scandal or Red Beard and b) Actually explore true Samurai cinema, researching both chambara and Jidaigeki films. A good start would be the Rebel Samurai trilogy and then explore deeper for films like Three Outlaw Samurai

Please don't be put off this film just because of the view people that consider themselves cultured and film savvy enough to express this films flaws based on trivial annoyances - who cares that homing pigeons dont fly from two points... who cares that bad guys take less bullets to die than the good guys... This film is an action fantasy and thus you must suspend your beliefs and grip of reality - just like you would with Die Hard etc
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on 25 June 2002
Not that Jim Jarmusch has made a bad film (though 'Night on Earth' & 'Year of the Horse' were so-so)- but this one doesn't sound great on paper: a hitman who lives by a Samurai code and whose best friend is a French ice-cream salesman (naturally he doesn't speak French)- and his conflict with his 'master'- a Mafia hitman and his crew. Oh, and he's a piegeon fancier also!
The film feels like a cross between Melville's 'Le Samurai', Boorman's 'Point Blank' & Kitano's 'Sonatine'. It continues the transcedental mediations on death found in 'Dead Man'- as with that film it has a great score- by Wu-Tang man, RZA (along with the Wu-related work on 'Black & White', it is clear that their best work since Ghostface Killah's 'Ironman' is in soundtracks (exception-'Nigga Please' by ODB)).
There are some great moments of humour- the racist mob guy who digs Flavour Flav (Public Enemy), the reprisal of Gary Farmer as a Native -American and his catchphrase "stupid f***ing white man" (big influence on Michael Moore's book?), the old man being mugged or the bullet relations between Ghost Dog & Louie. And the subtitled mis/understandings are the best this side of 'Annie Hall'. The ice cream salesman (Roger from ER) and the young girl show the charming fraternal side to Ghost Dog's world; while Henry Silva and Victor Argo are among the Mafioso- or Jarmusch's deconstruction of. A canny reference to 'Rashomon' is present throughout the film, it's also a little like 'Leon'- there's also a boat on a roof- which is reminsicent of the ship in the tree in Herzog's 'Aguire,Wrath of God'. The film is wonderfully shot by Robby Muller- the exposed film leaves magical traces and the cityscape is not disimilar to 'Blade Runner' (we also get cuts that remind me of Travis Bickle walking down the street in 'Taxi Driver'-a great use of dissolve). And great to hear the original 'Armigideon Time' on the soundtrack! A modern classic at a bargain price; this one will creep up on you til you realise it's an all time favourite!
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on 3 March 2016
very happy with the service you provide. solid.
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