Red Cliff

Ran: facelifted version. An decent historical fresco, which until the very end (the white dove again) one would not have guessed that it was made by the master of modern bloody ballet John Woo. The solid choreography and varied range of fights is perhaps surpassed only by the superbly staged battle strategy. It is clear that no expense was spared. An enormous number extras, proper camera panoramas, spectacular mise-en-scène. It’s a shame, though, that in the multitude of characters, not every viewer will be able to relate to some of them. In my case, I wasn’t able to identify with a single one of them, which is a great shame, because otherwise this is a spectacular film. (19.12.2021)

A megalomaniacal celebration of Chinese greatness and John Woo's return to honest filmmaking without compromise. Although the spectacular battle scenes are the main marketing draw, they are really not that amazing. The technically well-designed camera and editing of the fights actually only make us remember films like Troy or Kingdom of Heaven. Paradoxically, the director impressed me with the second third, which very sensitively, with an unmistakable old Chinese poetics, gives us a glimpse into the characters and a way to integrate with them. This also gives the final battle some meaning, unlike the one during the opening, in which I just saw thousands of Chinese men fighting each other in historical uniforms. Plot-wise, the confused first half is barely worth three stars, while the second deserves a better four. 3 ½. (06.07.2009)

I last experienced similar feelings with Bondarchuk's perhaps unsurpassable War and Peace. We’ve been missing a historical spectacle like this for a long time. 5* for the lavish production design, the gigantic battle scenes and especially the elaborate combat choreography, whether it was the individual generals who could dust a pissed off Hulk like nothing, or the overall battle strategy (especially the "turtle" formation and the neutralization of the cavalry units at the end of the film were a feast for the eyes). But it is not only the battles that keep the viewer alive; the individual characters of the protagonists, where intelligence mixes with fierceness, tenderness and discretion, were also engaging, so maximum satisfaction. And of course, John Woo's essential film fetish – the dove – is not missing either :o) (13.04.2009)

I am sincerely terrified about (read: really looking forward to) what Woo wants to demonstrate in the second half. This movie alone is already on the very brink of what the human eye is still capable of registering in terms of units, doves and slow-motion sequences. On the other hand, the slow-motion sequences are so frequent that I don’t doubt that if they were at regular speed, both parts of this story would fit into one movie alone. And, to my satisfaction, the spiteful wisdom of all of the positive characters considerably outweighs the malicious distain of the others. I would have been happier with an adaptation of a historical event rather than the renowned Romance of the Three Kingdoms. Also the absence of Chow Yun-Fat is disappointing, but Woo’s new favorites don’t stand still for a second. For a mere prolog where nothing really happens, this is very impressive (at least for the megalomaniacs among us). John Woo has slipped out of the grips of Hollywood in the most pleasant possible way. Via a high quality movie. And I accept this his apology note with great pleasure. (20.08.2008)