Clean-cut, high type young man meets ravishing young lady. Chaos ensues.

Loved this, a real hoot.

I'm on a young Mifune roll. Man, he just smoulders, even though the film is a bit of a yawn.

This went by so fast I'll have to watch it all over again.

A film set in Japan, with Japanese characters, coming from a respectful viewpoint of the culture, yet the Japanese seem also entirely absent. Maybe should be seen in a double bill with Stray Dog, or even better, one of Ozu's colour films. Loved the opening scene with the train.

A salutory warning for any film fan who goes 'in search of ...' Still, the bit with Ozu's cameraman is very moving - Ozu really inspired devotion. Also, I was wondering as I looked at the elderly Chishu Ryu who he reminded me of ... until I realised he reminded me of the younger Ryu.

Some unforgettable moments: 1) sun rising over the inn to that amazing score 2) The woman knight fearlessly approaching the inn and flicking off arrows 3) chief bad guy's face framed by his straw hat

Scene-stealing Marvin - rangy, cheeky, greedy, very likeable.

Intensely conscious of space and texture; a heist in reverse; courage and crippling indecision

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Life, life.

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To be or not to be.

My eyes just aren't big enough to take in all the things going on in every shot of this film. A film for a lifetime.

And I wish he'd been able to make a film which completely realised and did justice to his vision.

I wish, I wish, I wish Bruce Lee had been able to star in a film which was completely worthy of his talents.

A caper movie meets Zen Buddhism; the humble are raised up, the hypocrites cast down.

Wu Xia boiled down its essence. Amazing set pieces, total lack of interest in plot except - funny how this works in this film and is unbearable in clumsily overladen works like Sherlock Holmes. Yes, the ferocious fight at the end is amazing, not least for Sammo Hung in whiteface and imperturbable Pai Ying finally losing his cool. This isn't a still from the film, by the way, tho I like the fan.

Samurai abstraction.

Action, purified.

Matt Damon as assassin made virginal courtesy of amnesia.

Blech

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Saw this after four hours in the company of a boisterous 2 year old - the perfect anti-goat, sorry, antidote

Pair this with The Burmese Harp for a humanist revision of Japanese wartime experience. I admit I was blubbing for the last twenty minutes.

The young hoodlums of Brighter Summer's Day 25 years on, and it's not a pretty sight. Contemporary Taiwan also comes in for a kicking. But for some there is, mercifully, a tiny bit of light at the end of this particular tunnel. I like Yang's work as much for its imperfections as for what he gets so right.

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Sumptuous to look at, but surprisingly ragged and uninvolving, apart from the magnetic 5 minute duel between fighting monks. For me, that alone justifies the whole film, however.

Intoxicatingly beautiful in places (and ravishingly scored), although I found it hard to work out what was going on sometimes, no doubt a result of severe pruning from the director's own cut (an additional hour of running time). Would love to see the DC. In the meantime, Hu remains one of brilliant filmmakers badly served through lack of availability and lack of restoration.

Alas, poor froggie. Modern romance conducted with post-it notes and a reptile. Genuinely funny and charming - who cares which one she ends up with.