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In Jakarta, Indonesia, Lieutenant Wahyu organizes the invasion of an apartment building that is the safe house of the powerful and cruel drug lord Tama and his gang. The SWAT team breaks in the building but one lookout sees and warns the gangsters and the police force is trapped on the seventh floor. They learn that Lt. Wahyu has not informed his superiors about the operation. Now the police officers have to fight with limited ammunition against the armed and dangerous gangsters.

Increasingly now, foreign filmmakers are making better Hollywood action movies than Hollywood is. In this case an English director who evidently now works in Indonesia seems to have mastered all the action story tenets despite this being only his 3rd feature film. Even more, the number of layers to this story parallels the number of floors in the apartment building that is at the centre of this film. All I could think of is how Hollywood will eventually commandeer this film and make a lifeless by-the-numbers knock-off that will only stain the original. And of course, the budget of the original is about the same as a Hollywood B-list movie actor's salary.

This film is a disciple of the Asian extreme action genre, with over-the-top karate and acrobatics mixed with guns and violence. Betrayal isn't just a plot twist in these films, it's the first act. At least 5 or 6 betrayals are expected in these type of films where thieves betray other thieves, cops betray other cops, and honest guys get betrayed by best friends. What makes this film a standout is the unflinching action and well choreographed fight sequences by leads Yayan Ruhian and Iko Uwais. Early Jackie Chan movies got this kind of notice overseas because of their energy and gifted action instincts. Here, Gareth Evans is a one man powerhouse writer, director, and editor, masterminding this intricate chess match of good guys trapped on the sixth floor, with angry thugs coming up from the fifth floor and determined killers descending from the seventh floor. You feel our heroes feel trapped and vulnerable. Evans finds sources of tension from many places. The apartment building has tenants with unknown loyalties. The man heading the raid has unknown motives. Each character is well established with a minimum amount of screen time, keeping the action going.

I was urged by a movie reviewer to see this film, describing it as one of the best action movies ever made. And you have to agree, this film, after providing a few minutes of backstory, takes off straight into the police raid of the apartment building filled with bad guys and a gang lord. Cinematography takes lessons from "Saving Private Ryan", using hand-held documentary style footage during firefights, and blasting the soundtrack with dozens of loud guns firing at once. The pulsing synthesiser score also hits with the punchy music stabs that propel the momentum as the police troops make their way up to the big bad guy on the top floor.

Action sequences are creative and provide new angles and fight tactics that keep the hand-to-hand combat kinetic. Fans of the Bourne movies are encouraged to seek this out. (Not a coincidence that a Bourne Legacy trailer played before this showing). Many human moments also ground this film. An innocent man caught in the crossfire, gets asked to risk his life. A police squad leader who gets frustrated when the man conducting the raid puts his troops at risk. A child hired as lookout for the gang lord must die in order to prevent him from sounding the alarm.

There is an intensity to this film that resembles scenes from "Black Hawk Down", with very intelligent setups for conflict, and innovative approaches to getting from point A to point B. This fresh drive, propelled by good guy Iko Uwais makes this 1 hour 40 minute film zip along with no time out to catch your breath. The fact this film is subtitled will prevent it from being a widespread hit, although it will no doubt have a long life on DVD. Instead, I expect director Gareth Evans to be directing movies with 150 times the budget of this small gem within a very short time.

He thought it was over. After fighting his way out of a building filled with gangsters and madmen - a fight that left the bodies of police and gangsters alike piled in the halls - rookie Jakarta cop Rama thought it was done and he could resume a normal life. He couldn't have been more wrong. Formidable though they may have been, Rama's opponents in that fateful building were nothing more than small fish swimming in a pond much larger than he ever dreamed possible. And his triumph over the small fry has attracted the attention of the predators farther up the food chain. His family at risk, Rama has only one choice to protect his infant son and wife: He must go undercover to enter the criminal underworld himself and climb through the hierarchy of competing forces until it leads him to the corrupt politicians and police pulling the strings at the top of the heap. And so Rama begins a new odyssey of violence, a journey that will force him to set aside his own life and history and take on ... 

Having watched and enjoyed the first film, also with all its hype i heard, I excitingly went to watch The Raid 2: Berandal this afternoon. In the first 5 minutes, there're some shocks especially for the viewers who've watched the first film. The aftermath of the 1st film was told in brief to give the background plot for Rama the protagonist character. So it's basically recommended for the viewers to watch the first film before watching. 

With quite many characters're being involved, to make it less easier for the viewers to identify the characters, most of them only have short names and unique names (although it got me confused a little at some time till i was finally able to know them all). The most important key throughout this film's its violent top-notch fighting choreography which's jaw dropping and breath-taking. Also the view take (cinematic technique) in this film's simply marvelous, one which i really enjoyed's the car chase scene. It's such a superb performance to take those kinds of angles. I tell you, the story's a bit much equivalent with as if a mixing of "The Departed" + "The Godfather" + Gory Martial Arts, so in my opinion it's unwise to miss watching it. 

Furthermore, this sequel is indeed a confirming proof that Gareth Evans's undoubtedly an experienced and adept action film writer-director whom i think should be eyed and wanted by the Hollywood producers to direct/write decent action movies, with martial arts but perhaps less violent. Iko Uwais, although his total screen-time percentage's less (reduced because of the more complicated story n characters) compared with the first film and the role of his character is, didn't lose his hero persona, he constantly showed off his skills in the martial arts by fighting tons of enemies, got a bit improved in his acting (thanks to the story with its more dialogues).

I urgedly forbid any parent to bring their young little children to watch this movie. Also for the viewers with weak-stomachs (anti-violence) definitely might want to reconsider and avoid watching this film, because it's utterly quite gruesome. After the film ended, you might find yourselves asking about some things which're left unsure and dubious. So gotta keep your eyes out for the continuation in the next last film of the planned trilogy which i reckon must've not come out yet at least not until 2017.

After securing a major victory on the battlefield, Taketoti Washizu and one of his commanders, Yoshiaki Miki, find themselves lost in the maze-like Spider's Web forest. They come across a spirit-like seer who tells them of their future: both have been promoted because of their victory that day; Washizu will someday be the Great Lord of the Spider's Web castle while Miki's son will someday rule as Great Lord as well. When they arrive at the castle, they learn that the first part of the prophecy is correct. Washizu has no desire to become Great Lord but his ambitious wife urges him to reconsider. When the current Great Lord makes a surprise visit to his garrison outpost, Washizu is again promoted to commander of his vanguard but his wife reminds him of the danger that comes with the position. As pressure mounts, Wahizu takes action leading to its inevitable conclusion.

In the Sixteenth Century in Japan, the brave generals Taketori Washizu (Toshirô Mifune) and Yoshiaki Miki (Minoru Chiaki) are invited to visit their lord in his castle after a battle wined by them against a traitor general. In the way to the castle, they meet in the forest an evil spirit that foresees their future from the bottom of their hearts, with Washizu being the lord of an important mansion in the fields of their lord, Miki the commander of the First Fortress and Miki's son the successor of Washizu. When they meet their master, the first part of the prophecy comes true for Washizu and Miki. However, the wife of Washizu poisons his heart with calumnies and malicious feelings against the lord and Miki. Washizu kills them both, becoming the new lord of the Spider's Web Castle, but tormented by his guilty and afraid of his future.

"Kumonosu Jô" is another masterpiece of Akira Kurosawa, indeed a version of Shakespeare's Macbeth play brilliantly transposed to the scenario of the feudalistic Japan of the Sixteenth Century. The shootings and the cinematography are very impressive even in the present days, and the performances are outstanding, highlighting Toshirô Mifune in the role of a strong warrior in the battlefields, but weak in front of his venomous and ambitious wife. The sequence with the arrows in the end of the story is amazingly perfect. My vote is ten.

The lead character, called 'The Bride,' was a member of the Deadly Viper Assassination Squad, led by her lover 'Bill.' Upon realizing she was pregnant with Bill's child, 'The Bride' decided to escape her life as a killer. She fled to Texas, met a young man, who, on the day of their wedding rehearsal was gunned down by an angry and jealous Bill (with the assistance of the Deadly Viper Assassination Squad). Four years later, 'The Bride' wakes from a coma, and discovers her baby is gone. She, then, decides to seek revenge upon the five people who destroyed her life and killed her baby. The saga of Kill Bill Volume I begins. 

Having seen Tarantino's 3 previous films, going into the cinema, my expectations for"Kill Bill" were already over the roof. However, regardless of my high hopes for quality entertainment, I was not prepared for this film. I was dumbfounded. I was blown away. I had quite simply never seen anything even remotely like it. In "Kill Bill", the revenge plot serves only as a larger story arc, thus allowing Tarantino to play with as many different genres as he likes, and boy - what a mix he dishes out! With complete disregard for the conventions of filmmaking, he paints an expressionistic masterpiece in his own unique style, the likes of which the world has never seen before. Cinema rarely gets this exciting. With "Kill Bill", Tarantino proved once and for all that all the hype around his persona is justified: he IS the most daring, original - and entertaining! - filmmaker of his generation.

Johnnie loves his train ("The General") and Annabelle Lee. When the Civil War begins he is turned down for service because he's more valuable as an engineer. Annabelle thinks it's because he's a coward. Union spies capture The General with Annabelle on board. Johnnie must rescue both his loves. 

I've seen one other silent movie in my life, but it was Mel Brooks's The Silent Movie so I don't know if it really counts. I really enjoyed The General overall, more than I thought I would as someone who was born after The Godfather.

The main thing that surprised me was the fact that I couldn't look down to write very many notes; any time I took my eyes off the screen I ran a serious risk of missing something. It seems to me that the film, even though it was long (or seemed so), it was very dense in terms of action. I imagine that since the movie has no dialogue, the filmmakers must make up for it by making it as visually interesting and entertaining as possible. I am accustomed to more modern movies with snappy dialogue and special effects and such-movies in which you can look down at your popcorn or kiss your date and not miss too much because you can hear pretty much what's happening. This was a nice change for me.

Obviously, I've never seen a Buster Keaton film, and I'm not even sure if I'd heard of him before this class. But I can see why he is so appealing in his films. I loved his facial expressions, particularly the stoic-but-crestfallen look in his eyes on the train when something else goes wrong. He also has great control of his body, as we discussed in class, and a fine sense of comic timing.

I found the film surprisingly funny. Many modern films that I think are funny (e.g. Austin Powers, Toy Story, American Beauty) rely largely on witty or outrageous dialogue for their humor. As a silent film, The General must rely mainly on images for its humor-the slapstick images of Johnnie falling over constantly, the unusual image of Johnnie riding up and down on the crossbar between the train wheels, the stereotype exploitation in the scene when the girl sweeps out the locomotive. I'm sure that some of the things that I considered amusing might not have been considered funny by the original audience, such as the record-scratch lightning bolts.

I really liked some of the cinematic techniques and blocking that Keaton used. One of my favorite scenes in the entire film is when Johnnie is chopping wood on the train while the Southern army retreats in the opposite direction in the background. Even though the `real' army is pulling back, the one they didn't want is rushing into enemy territory. It's a nice integration of plot and character commentary. I also liked the way he kept cutting back and forth between the Yankees on their trains and Johnnie on his, at first the pursuer, then the pursuee. By continually showing us what both sides are doing, Keaton builds the tension between them, adds to the comic effect, and keeps the audience interested by always giving them something different to look at. This montage technique is used in nearly all action films and many comedy films today.

I did not realize that the rain and fire sound effects were added in later. I think they are interesting, and I can see why someone put them in, but I think I would prefer that the film be left the way it was originally shown. Or at least they should take out the chirping birds. Some people complained about the repetitiveness of the music, but I found the music quaint and very much in the character of the movie. It was as if each person or group had its own theme music, perhaps to make up for the lack of dialogue. The use of the `Beautiful Dreamer' love theme reminds me of the `Dreamweaver' love theme in Wayne's World that plays when Garth sees the blonde woman.

Although the battle scene was interesting, I agreed with much of the class that the movie could have ended earlier. The movie seemed to change a bit once the entire army got involved and the focus left Johnnie for a time. Perhaps they could have ended the battle scene with the Southern army lying in wait for the enemy, and then cut to a later scene in which Johnnie receives an honorary enlistment so he can get the girl. But hey, then Keaton wouldn't have gotten to play with the bridge fire and the dam; maybe audiences then weren't so different from us, and would prefer an exciting ending for a movie like this over a more subdued one. But I still think it changed the character of the movie and should have been changed somehow.

Overall I give it a 9/10. If you've never seen a silent movie, this is a great one to start with.

A story of greed, a lust for power, and ultimate revenge. The Great Lord Hidetora Ichimonji has decided to step aside to make room for the younger blood of his three sons, Taro, Jiro, and Saburo, the Lord's only wish now being to live out his years as an honored guest in the castle of each of his sons in turn. While the older two sons flatter their father, the youngest son attempts to warn him of the folly of expecting the three sons to remain united; enraged at the younger son's attempt to point out the danger, the father banishes him. True to the younger son's warning, however, the oldest Son soon conspires with the second son to strip The Great Lord of everything, even his title. 

Throughout his career Kurosawa strove to achieve what he called "real cinema", proclaiming that "in all [his] films, there's [only] three or four minutes" of such quality. Many would argue that he was his greatest critic. For if not in "Seven Samurai", then definitely in "Ikiru" and if not in "High and Low", then definitely in "Rashomon" he must have achieved this plateau of greatness. Well, if not in any of his other films, then definitely in "Ran" Kurosawa finally came to the apex of cinematic artistry. With the both lyrical and grandiose tone of its craft, its beautifully spare imagery, its haunting score by Toru Takemitsu, and its lead Tatsuya Nakadai's masterful understated performance, "Ran" is perhaps the most fully realized epic ever made.

The tale, which is an adaptation of Shakespeare's "King Lear", begins as Lord Hidetora Ichimonji and his court are out hunting. During a break in the hunt, Hidetora proclaims his adbication from the hight seat of the Great Lord and bestows his lands unto his three sons, dividing them up equally. He declares his oldest to be his successor in power. When his youngest son and one of his faithful nobles, express their concerns on this idea, Hidetora foolishly banishes them both, mistaking their advice as insolence. With this opening scene, the peaces are aligned and soon 'chaos' as the film is aptly named will break out throughout the land. From here, we see the downfall of Hidetora and all those who surround him. The film retains all the themes of the original play, but also thanks to Kurosawa's own input addresses a slew of even more varied ideas. Like Shakespeare, Kurosawa is greatly interested in the responsibility of the leader and the hypocrisies and ironies of an autocratic system. The most obvious though not the central theme in the whole film is war, and Kurosawa explores this theme to its full extent throughout the film. In perhaps the most grandiose battle scene every filmed, he demonstrates the destructive consequences and the paradoxical beauty of conflict.

Here, Kurosawa implements the camera with masterful skill not once employing the editing/photography tricks and gimmicks so often seen in films (even the good ones) today. This director has an awareness of the past and the history of film, but also the creative spontaneity of a true genius. In "Ran", he focuses on the more methodically simple yet artistically complex montage of Eisenstein, and on the strict compositions of Ozu. He employs the most basic and yet most artistic of techniques. Each shot is planned to precision, and each cut is made for a purpose. The coreagraphy and blocking of each scene is simple and powerful, and Kurosawa allows the actors to play out these scenes without the intrusion of the camera or the editor. Thus, the director prevents the style from eclipsing the already powerful material he has to work with. Simply put, "Ran" is a masterpiece that flows and develops like an opera, from its forebodingly peaceful ouverture to its bloody Shakespearean heart until its final, quietly subdued, and sorrowful denouement.

Hunters and their prey--Neil and his professional criminal crew hunt to score big money targets (banks, vaults, armored cars) and are, in turn, hunted by Lt. Vincent Hanna and his team of cops in the Robbery/Homicide police division. A botched job puts Hanna onto their trail while they regroup and try to put together one last big 'retirement' score. Neil and Vincent are similar in many ways, including their troubled personal lives. At a crucial moment in his life, Neil disobeys the dictum taught to him long ago by his criminal mentor--'Never have anything in your life that you can't walk out on in thirty seconds flat, if you spot the heat coming around the corner'--as he falls in love. Thus the stage is set for the suspenseful ending.... 

For some reason I cannot stop thinking about this film lately.

You know that feeling of having seen it about 3 or 4 times in the last 12 months is not enough? That's what I feel at the moment.

I rate it as Mann's best. It's his most kinetic,vibrant(for a film mostly shot in steely blue),agonising,stirring,brash,violent and brilliance in such a simple story. 

What games did you play as a young kid? Cops and robbers.Good guy.Bad guy.

We all know De Niro and Pacino could have been either main part,but can you imagine it any other way round. Pacino doing ice cool calm? De Niro the manic outbursts,arms flailing? It wouldn't work. We know these men now.We know neither will stop at what they do.And yet there is no way either would stop the other.Unless they had too. Which leads us too the characters. All of them.

This is an extended family where you feel you know all of them without knowing anything at all. The cops are similar to the robbers and vice-versa. Perhaps Mann is telling us were all the same.Except in what we do.Every speaking part holds substance in this movie, and the support cast is astonishing when you actually read the caliber of who appeared in this film.Tom Sizmore, Val Kilmer,Ashley Judd,Ted Levine,Wes Studi,Hank Azaria,William Fitchner,Henry Rollins,Dennis Haysbert,Tom Noonan. And Natalie Portman, for chrissake! Try getting that cast again.

A real 10/10 film. And that Moby song at the end(God moving over the face of waters) gets me every time.

Indiana Jones, famed adventurer and archaeologist acquires a diary that holds clues and a map with no names to find the mysterious Holy Grail- which was sent from his father, Dr. Henry Jones, in Italy. Upon hearing from a private collector, Walter Donavan, that the mission for the Holy Grail went astray with the disappearance of his father, Indiana Jones and museum curator Marcus Brody venture to Italy in search of Indy's father. However, upon retrieving Dr. Henry Jones in Nazi territory, the rescue mission turns into a race to find the Holy Grail before the Nazis do- who plan to use it for complete world domination for their super-race. With the diary as a vital key and the map with no names as a guide, Indiana Jones once again finds himself in another death defying adventure of pure excitement.

An ideal action-comedy/adventure if there ever was one; in this entertaining third installment archaeologist Ford must travel to Italy in 1938 to try and rescue his estranged father. However, the rescue mission soon turns into a historic quest as he seeks out the Holy Grail, once again finds himself battling Hitler's Nazis, and again encounters dangerous perils every step of the way. Follows basically the same formula as Raiders of the Lost Ark, but Connery is an added bonus as Ford's father and the two make a perfect duo. A good blend of elements as the film provides lots of exciting, cliffhanger action scenes/stunts, memorable lines, and genuine humor, but the relationship between the two leads is what really gives it stability. Lots of fun. ***½

Fred C. Dobbs and Bob Curtin, both down on their luck in Tampico, Mexico in 1925, meet up with a grizzled prospector named Howard and decide to join with him in search of gold in the wilds of central Mexico. Through enormous difficulties, they eventually succeed in finding gold, but bandits, the elements, and most especially greed threaten to turn their success into disaster.

Film noir takes a Mexican holiday in this gritty adventure from John Huston. Pessimistic and full of irony, yet with a sense of adventure and a moralist edge to it, this is typical Huston material.

Huston insisted on shooting on location in Mexico, which riled up studio executives no end, but it paid off in the quality of the picture. Treasure of the Sierra Madre would have really suffered in the canned air of a studio. By using the real thing, he perfectly achieves the stark and dusty atmosphere of the poverty riddled Mexican city in the earliest scenes. The sense of scale and grandeur of the mountains in the main part of the film is also very important in achieving the right effect.

Huston's background was in fine art, and it's at this point in his career as a director that it really starts to show. The use of lighting is painterly in a way that is almost impossible to achieve in black and white – particularly in the scene in the peasant village which looks almost biblical. Huston also has this unique style of framing, whereby he uses figures in the foreground and background to give the effect of a close-up and a mid-shot simultaneously. It's a look that is totally at odds with anything else produced in Hollywood at that time.

Actor wise, Treasure of the Sierra Madre turns the clock back to the 1930s, putting the director's father Walter Huston in a starring role, and casting Humphrey Bogart as a seedy villain. The cast is rounded off by the too-little-seen Tim Holt. All three of them are spot on. The spry old prospector is a role Huston senior seems to have been waiting to play all his life. Bogart is also great playing the sort of character he made his name with a decade earlier. Also worth a mention is Mexican actor Alfonso Bedoya who gives what is for this era an incredibly naturalistic performance as the bandit leader.

Huston's forte was in his cinematography, his shot composition and the rhythm of his films, not so much in his handling of action or actors, which is why his pictures tend to be a bit hit and miss. This one is a hit though, thanks to the strength of its story and the quality of the cast, not to mention Huston's persistence for authenticity. Not my absolute favourite of his work, but certainly one of the best.

Mumbai-based middle-classed Jhanvi, who lives with her widowed mother and younger brother, has three suitors. The first is much older and considerably overweight - Sonu Gates. The second is Police Inspector Talpade, who is already married to Nandini, but lusts after Jhanvi so much so that he creates circumstances that will force her to marry him. The third is a male named Radhey - who often comes to her rescue - but breaks her heart when she finds out who is really is - a cold-blooded killer who works for a gangster named Ghanibhai. The later is a ruthless gangster who challenges Police Commissioner Ashraf Taufeeq Khan with impunity, and even abducts his daughter to ensure his personal safety.

This is my first ever movie review on IMDb. I am a huge movie buff but too lazy to post my views about them here. Finally, I am writing for my Superstar, our Superstar, India's Superstar, The Only Superstar - Salman Khan.

I just returned from the night show and boy I was entertained. I have been Salman's fan since his very first flick - Maine Pyar Kiya. I think I am his biggest fan alive. Have seen Andaz Apna Apna over 35 times and still watch it whenever I have the time. But, Salman's recent movies were heartbreakingly disappointing. Like many of his other fans too I was praying and hoping that Wanted would deliver much much and much much more.

I was not disappointed this time and boy am I happy at that. The movie starts off well and holds its pace throughout. All the characters played their parts well. The songs were good, although I was disappointed at Ishq Vishq being cut off. The fight sequences were mind blowing. Ayesha looked cute as ever. Overall I would give Wanted a 10/10 as it has everything that a Bollywood movie buff and hardcore Salman fan would expect.

Some people think that they are too far above the so called "Masses". For them, movies for the masses are not good enough and they feel ashamed to praise such a movie, coz it does not have SRK dancing around a girl in foreign locations. For me, Wanted is a superb film, even if it's for the masses - I am a part of the masses - ain't I. Still these over the moon film critics go to see - "Ayesha Takia's big, big goodies" which for them - "are a treat to watch."

Set in Canton, China in the 1940s, the story revolves in a town ruled by the Axe Gang, Sing who desperately wants to become a member. He stumbles into a slum ruled by eccentric landlords who turns out to be the greatest kung-fu masters in disguise. Sing's actions eventually cause the Axe Gang and the slumlords to engage in an explosive kung-fu battle. Only one side will win and only one hero will emerge as the greatest kung-fu master of all.

I saw this movie yesterday and it is definitely one of the best movies that was made in the history of Hong Kong. The plot itself is simple, and the storyline is all about kung fu. Yet, it is not just a funny comedy about kung fu. It is more than that. Somehow it is similar to Harry Potter (in this case is wizard) or animations by Hayao Miyazaki in which a world of imagination is created. The characters in the film are so funny and classic. Most of them appeared in some of Stephen Chow's movies before but because the context of every movie is different, the overall result is hilarious. This is a movie that make Hong Kong people proud. I hope it will be a box office success in other countries too. I think I'll definitely buy the movie DVD for my personal collection.