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It's a strange thing to see a film where some scenes work rather weakly (if only in comparison to other films in its legacy), and others in a 'sub-plot' or supporting story are surprisingly provocative and strong. Sudden Impact is one of those cases, where Clint Eastwood as star/producer/director shows when he can be at his best, or at his lessor of times when dealing with a crime/mystery/detective story in his Dirty Harry fame. We get that 'make my day' line, and un-like in the first film where his 'do I feel lucky' speech was playful and cool the first time and the second time at the end tough as nails, here it's switched around. He gets into another shamble with the department, as usual, when he tries to fight crime 'his' way, in particular with a diner robbery (inspiration for Pulp Fiction?) and with a high speed pursuit with a senior citizen bus. He's told to 'take a vacation', and that's the last thing on his mind. This whole main plot isn't very convincing aside from the expectancy of the story and lines, which just adds to the frustration. But soon his story merges with the sub-plot that Eastwood develops from the start.
Enter Sandra Locke's character, Jennifer Spencer, whom we soon learn after some (appropriately) mysterious scenes that she and her shy sister were victims of a cruel, unjust sexual assault (err, outright rape), and is sleekly, undercover-like, getting revenge. Her scenes and story are the strongest parts of the film, the most intense, and finally when it goes into Callahan's storyline (he's getting facts in the same small town she's in on a murder), the film finally finds a focus between Eastwood's classic form of clearly defined good vs. evil (though sometimes blurred, to be sure). Eastwood films the flashbacks, not to say too much about them, expertly, in a fresh, experimental style; the trademark Lalo Schifrin score is totally atmospheric in these scenes and in others. It almost seems like a couple of times an art-house sensibility has crept into Eastwood's firmly straightforward storytelling style, which helps make the film watchable.
It's a shame, though, that in the end it goes more for the expectable (or maybe not expectable) points, and until the third act Callahan doesn't have much to do except his usual 'it's smith...Wesson...and me' shtick. However, with Locke he gets out of her a very good performance (more subtle and touching than the one in the Gauntlet) and an exciting climax at an amusement park. In a way I do and don't agree with Ebert's remark that it's like a 'music video' in Eastwood's style here. I admit there is comparisons with the simplicity of both, the directness, but the scenes where Eastwood does break form are superior to those of any music video. It's cheesy, it's hard-edged, it's not up to par with the first two 'Harry' pictures, but hey, there could be worse ways to spend a couple hours with the master of the .44.


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Inspector "Dirty" Harry Callahan once again angers his superiors with his maverick approach to police work. Refusing to take a vacation he is given a simple case which takes him outside of San Francisco. However, he soon discovers a link between a recent murder in the city and a murder outside of the city, which leads him to the trail of a revenge killer.
As an entry in the Dirty Harry franchise the film starts with some very promising moments, including the legendary "Go ahead, make my day" line that Eastwood delivers wonderfully through clenched teeth before single handedly foiling a robbery. Very badass and it just what fans can expect from him. However, the film soon shifts gears and focuses on the mysterious revenge killer. The problem is that this killer isn't all that mysterious as she is characterized as much as Harry is. This really detracts from the presence of the main character who ruled all of his previous film appearances with, pardon the pun, Magnum Force.
On the bright side this new storyline does draw several parallels to Harry's own unorthodox methods and gives his character dramatic depth that was not there before, but fans that were looking for another badass Harry outing will more than likely be somewhat disappointed. However, a tense climax ends the film on an exciting note so if you don't mind something a little different, it is a good movie for fans. --- 7/10
Rated R for violence and a rape scene


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Anyone witness to our justice system - or lack thereof will find this film truly satisfying. There weren't too many shades of gray with regard to characters or plot. Virtually every character in this film epitomized what is best and worst about our society. The popularity of this film is probably due to the fact that most of us at one time or another have had to deal with scumbags along with the namby-pamby, lily-livered, melee-mouthed bureaucrats that empower them in the name of "political correctness".
The performances across the board were compelling. I sympathized with the rape victim - while at the same, found it gratifying to see her wipe the smug, vicious arrogance off the faces of her former attackers. In particular, I found the dyke one of the ugliest characters in all of the films I've seen, so it was nice to see her former victim shut her mouth for good. The lead rapist and psychopath was equally ugly, so it was only fitting that Dirty Harry himself offed him in a loud grotesque fashion in the end. This was the only sequel in the dirty Harry saga that equaled the first.


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Director/star Clint Eastwood's "Sudden Impact" is an intriguing addition to the "Dirty Harry" series - a combination of crude film-making and genius. It's mediocre and silly in parts, brilliant and classic in others, with compelling, gripping pacing. There are numerous echoes of the first film here - the shoot 'em up "Make my day" scene recalls the "Do you feel lucky" one, one of the villains is as viscerally repugnant as the first film's Scorpio, an actor who played a minor baddie in the first one returns here as Harry's partner - just to name a few.
Harry Callahan is still at odds with the higher-ups in the department, still mean, still tough, but now he's older and wearier. His constant conflicts with his superiors are a metaphor for his inner conflict - a respect and reverence for the law versus a desire to serve the pure spirit of justice, the two things not always being compatible. This "incompatibility" is the underlying theme of the series. The first film posed a simple question, "What about the victim's rights?" - (do they outweigh those of the criminal? Vice versa? Depends?). That film's answer was controversial, prompting a sequel (the highly enjoyable "Magnum Force") which set out to draw the line between Harry's brand of justice and pure, heartless vigilantism. Dirty Harry, like many of Clint's other roles, is the personification of vengeance, the protector of the the defenseless. This movie however brings it back to the victim, in this case Jennifer (portrayed by Sondra Locke), who decides to avenge the rape of herself and her now-incapacitated sister by ruthlessly hunting down and ritualistically executing the men (and one woman) who committed the crime.
Without going into a play-by-play of the whole movie, I will say this - I mentioned earlier that "Sudden Impact" echoes the first film - it actually also sprinkles in little references and in-jokes from the whole series (the confusion concerning the captain's last name is an example - an intentional prank, I believe). The relationship between Callahan and Jennifer is neat - has our rogue cop hero found a soul-mate in this lady vigilante? And is she a vigilante or a victim justifiably standing up for her and her sister's tarnished rights? The exchange between these two at the very end of the film is a poetic denouement of the series, one which I personally (as a fan) found quite moving. That last scene alone makes Sudden Impact the legitimate climax to the "Dirty Harry" collection, the perfect answer to the conflict posed in the first film. (Not to knock "The Dead Pool" - that excellent movie was a relatively light-hearted suspenseful yet comic thriller featuring Harry Callahan, rather than a character-defining film like this one).
This movie did well in the theaters - audiences in the Reagan Era found Harry and his ilk quite appealing, and the President himself frequently quoted "Go ahead, make my day."


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Having never seen the original Dirty Harry, I judged this movie on a clean slate. And I must say, I quite enjoyed it. Sure, some of the acting by Sondre Locke made me a little squeemish - but hey, it was the 80's. But even if you can't get past her (and I almost couldn't) or her revenge killings (which seemed a little.. overdone ;P), it's worth it just for Dirty Harry. Or at the very least, the bull dog he affectionately names 'MeatHead' :P
7/10.


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Clint Eastwood reprises his role as Dirty Harry who this time is on the case of a vigilante (Sondra Locke)who is killing the people that raped her and her sister at a carnival many years ago. Eastwood makes the role his and the movie is mainly more action then talk, not that I'm complaining. Sudden Impact is indeed enjoyable entertainment.


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I liked nearly all the movies in the Dirty Harry series with the exception of the one I think is titled "Enforcer". "Deadpool" was a bit weak in areas too, but I still enjoyed it. This one is one of my favorites of the series, if nothing else for the great line of "Go ahead, make my day". This one also features an interesting albeit familiar plot of someone killing those that have done her wrong. Just think "Magnum Force" with less mystery about who is behind the killings and you have your plot. Granted there is a bit more than that as this one does feature a very nice final showdown at an amusement park. It also features Dirty Harry getting a bulldog as a gift and it tripping up Sandra Locke in a rather humorous scene. The only question that remains is why Clint Eastwood had to have the rather mediocre actress Sandra Locke in so many of his movies. She brings the score down a point every time even when overall the movie is enjoyable to me. Granted she is not to bad here, but her character could have been so much better by someone else. Another problem with this movie and other Dirty Harry movies, at times they almost seem to be advertisements for guns. I like guns as much as the next person, but do we really need scenes of him explaining all the different strengths of his newest weapon and how many bullets it holds? Still, very nice entry into the Dirty Harry series of movies.


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Sudden Impact is a two pronged story. Harry is targeted by the mob who want to kill him and Harry is very glad to return the favour and show them how it's done. This little war puts Harry on suspension which he doesn't care about but he goes away on a little vacation. Now the second part of the story. Someone is killing some punks and Harry gets dragged into this situation where he meets Jennifer spencer a woman with a secret that the little tourist town wants to keep quiet. The police Chief is not a subtle man and he warns Harry to not get involved or cause any trouble. This is Harry Callahan Trouble follows him. The mob tracks him to this town and hell opens up as Harry goes to war. Meanwhile the vigilante strikes again and the gang having figured it out is ready for her. Jennifer Spencer is caught and Harry comes to her rescue during the film's climax. Sudden Impact is not the greatest Dirty Harry but at the time it gives us a Harry that is very much an anti hero ready to go to war just to pursue Justice. Again not the best not the worst but the one with the most remembered line. Go Ahead Make your day.


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Clint Eastwood returns as Dirty Harry Calahan in the 4th movie of the Dirty Harry series. Clint is older but he's still got it, Harry was told to have a vacation after some trouble that happened because of a robbery (where the memorable "Make My Day" catchphrase comes from!) But the city he took a vacation was worse, a woman turned vigilante after a rape attack in a funfair and starts getting the punks one by one. The last movie to see Sandra Locke in a Clint Eastwood movie! An improvement after The Enforcer which was a bit more of a comedy and less serious. Clint Eastwood's sunglasses were Gargoyles which are best known for the sunglasses that are worn by Arnold Shwartzeneger in The Terminator. Worth a watch if you like Clint Eastwood, the Dirty Harry films or like action crime thrillers.


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Sudden Impact was overall better than The Enforcer in my opinion. It was building up to be a great movie, but then I saw the villain(s) and was disappointed.
Sudden Impact was different than the previous installments. The plot went a different direction in this movie, as Dirty Harry doesn't take as much of a police approach this time around. We also don't see the villain(s) until later, which means less screen time for them, which is better for us all.
Clint Eastwood once again steals the show as Dirty Harry, enough said. Pat Hingle was enjoyable as Chief Jannings, Harry's new assigned boss. Bradford Dillman seemed to change his name to Captain Briggs here, either way, he wasn't any different. Michael Currie is decent as Lt. Donnelly, Harry's annoying superior. I personally enjoyed Kevyn Major Howard as Hawkins, the young punk who has a vendetta against Harry. Albert Popwell was excellent as Horace, Harry's buddy. Audrie J. Neenan was good as Ray Parkins, a famous lesbian around town. Jack Thibeau was well cast as Kruger, a pervert. Now for the really bad part. Sandra Locke, Eastwood's long-time lover was horribly miscast as Jennifer Spencer, Harry's love interest. And Paul Drake was just horrible as Mick.
The movie would have been so much better if not for better writing and acting on some parts.
8/10.


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This was without a doubt the best of the "Dirty Harry" series. From the opening credits, you're swept up in a revenge tale that hits hard and is profoundly engrossing. Sondra Locke is perfect in the role of a traumatized woman out for revenge. Eastwood has many "aside" sequences that have nothing to do with the plot, but show Harry at his bad-assed best. Loaded with unforgettable characters in minor roles, this film rocks and should serve as the standard for detective/action flicks. This is the one Dirty Harry flick that's raw and devoid of any "fluff". I can watch this again and again (okay, not in one sitting) because it's a gratifying "out for revenge" yarn. The pace is quick and several of the scenes are unforgettable. "Go ahead - Make my day...You feel lucky, Punk? ...." classic Eastwood as only Eastwood, with his anguished, rubbery expressions, and whispery, menacing voice can do it.


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Sudden Impact tends to be treated as Eastwood's artistic failure at a point in his career when he had established a good reputation as a director. The reason is actually not the film itself but the attitude it takes towards vigilantism which it seems to support. In some places it actually owes more to Death Wish than the original Dirty Harry film. One might argue if that is so- at the end of the day it's a film about guilt, justice and retribution. For me, at the end of the day it's more empathy than sympathy. However, in view of all these arguments it is easily overlooked that sudden impact is an awfully well made film. Forget the "Go ahead punk, make my day scene", that's iconic but not original. But look at the views of San Fransisco taken from the air, zooming in on the city. The first 15 or 20 minutes are quite spectacular. Or have a look at the brilliantly made scene where Sondra Locke's character visits her mentally ill sister in hospital. Eastwood makes great use of the juxtaposition of faces. So all in all Sudden Impact is a very visual film that really shows how mature Eastwood is as a director. And if I remember correctly it was actually the first time Eastwood put that on screen albeit in an action film of debatable ideology. Also, I think this is the first well paced film Eastwood directed. Although Eastwood has enormous talent as a director, dramaturgy has always been his weak point (see Play Misty for me, Breezy etc.) Thepace of the narrative leads to the visual elements being well integrated into the film and not distracting from the story. The only thing that is really annoying is the farting dog.


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Clint Eastwood has definitely produced better movies than this, but this one does not embarrass him. Dirty Harry catches everyone's attention and unless one wants to watch romance, there is no reason why you won't like him. He is cool because he is dirty, is great because he kills without much thinking, is perfect because he gets the bullet right through your heart and a hero because he doesn't care.
From what I have seen in movies in which Eastwood acts, the character of the lead role always captivates the audience. In White Hunter Black heart, he is the crazy director, in "in the Line of Fire" he is the "Old 'un" while here is the "almost" jobless with his job, that is to say he makes work for himself, doesn't care one damn about his superiors who practically send him out for a vacation.
Based on a rape victim, this movie is promising for all the "no non-sense" movie watchers. The movie has nothing that goes away from he central plot. However, what makes it slightly inferior to the better movies of Eastwood is that though the character of the lead role is captivating the plot is not, as it is far too obvious from the beginning. It is not a movie that is going to make you sit at a place without moving. Also, there are too many people far dirtier than Dirty harry.


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After what was considered to be the official Dirty Harry trilogy with The Enforcer(1976) to be the final chapter in the series. Dirty Harry is back, older, more dirtier and grittier than ever since the original 1971 classic.
Dirty Harry in the past has killed a psychopath killer, vigilante cops, and Vietnam veteran terrorists. But now he's after a new killer, a killer who wants payback, by gunning down her attackers.
Sudden Impact brings a new meaning and more darker tone to Dirty Harry. Callahan is on a new murder case that is circling back to a woman(played by Sondra Locke), who was brutally raped, along with her sister, who is left traumitized. Ten years after, she's out for revenge by gunning down her attackers. At the same though Callahan is on a heat of trouble by his superiors after he provokes a mob boss to a heart attack, of which the mob are hunting him as well. So in order to let the heat die down within the city, Harry is on order to take a vacation on a seaside town, but at the same time the raped victim is in town as well, while hunting her attackers one by one. Harry is on the investigation and finds the killings very similar, as he homes in on the killer's trails.
Sudden Impact in my opinion, has to be one of my top 10 revenge films, as well as being the second best Dirty Harry movie yet, far better than both The Enforcer and The Dead Pool combined. Sudden Impact has what the original Dirty Harry had, a dark tone with entertaining value.
So do you feel lucky, punk?


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Dirty Harry has to track down a rape victim who extracts revenge by shooting her assailants in the goolies before killing them. Probably a more apt punishment would be to let them live after the initial shot and let them suffer forever like she and her sister has...Anyway..... an action-packed story set again in San Francisco and Santa Cruz. The chief rapist, played by Andy Drake is suitably vile and gets his punishment at the end (of course!). Not a classic movie but better than the others except for the original Dirty Harry.


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****Excellent
***Good
**Fair
*Poor
`Go Ahead, make my Day!'
The fourth picture in the series is directed by Eastwood himself (Who was rumored of directing most of Magnum Force) and he brings back the violent society from the first two films. However, the film still lacks impact and believability. This film was released in the early `80s, the time of Regan and the young republicans. The premise of a raped woman taking vengeance on her rapist doesn't appeal to this time frame. This plot would have been better for the Enforcer, which actually would have made it a good movie. What Sudden Impact needed was a plot like in Wall Street but with Dirty Harry in the middle.
RATING: 3 STARS


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I dont know why people think this is such a bad movie. Its got a pretty good plot, some good action, and the change of location for Harry does not hurt either. Sure some of its offensive and gratuitous but this is not the only movie like that. Eastwood is in good form as Dirty Harry, and I liked Pat Hingle in this movie as the small town cop. If you liked DIRTY HARRY, then you should see this one, its a lot better than THE DEAD POOL. 4/5


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Sudden Impact is the best of the five Dirty Harry movies. They don't come any leaner and meaner than this as Harry romps through a series of violent clashes, with the bad guys getting their just desserts. Which is just the way I like it. Great story too and ably directed by Clint himself. Excellent entertainment.


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Despite the other comments listed here, this is probably the best Dirty Harry movie made; a film that reflects -- for better or worse -- the country's socio-political feelings during the Reagan glory years of the early '80's. It's also a kickass action movie.
Opening with a liberal, female judge overturning a murder case due to lack of tangible evidence and then going straight into the coffee shop encounter with several unfortunate hoodlums (the scene which prompts the famous, "Go ahead, make my day" line), "Sudden Impact" is one non-stop roller coaster of an action film. The first time you get to catch your breath is when the troublesome Inspector Callahan is sent away to a nearby city to investigate the background of a murdered hood. It gets only better from there with an over-the-top group of grotesque thugs for Callahan to deal with along with a sherriff with a mysterious past. Superb direction and photography and a at-times hilarious script help make this film one of the best of the '80's.


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This two-parter was excellent - the best since the series returned. Sure bits of the story were pinched from previous films, but what TV shows don't do that these days. What we got here was a cracking good sci-fi story. A great big (really scary) monster imprisoned at the base of a deep pit, some superb aliens in The Ood - the best "new" aliens the revived series has come up with, a set of basically sympathetic and believable human characters (complete with a couple of unnamed "expendable" security people in true Star Trek fashion), some large-scale philosophical themes (love, loyalty, faith, etc.), and some top-drawer special effects.
I loved every minute of this.


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The acting in this movie was superb, but mixed with the truth about the condition of many Africans in South Africa made it heart wrenching. It was good that the writer isolated Boesman and Lena from others run from their homes, so we could share fully in their triumphs and defeats; the conflicts they shared as they grew together and apart. Worth seeing when you put the movie in it's proper context.


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I did not read anything about the film before I watched it, by chance, last Saturday evening. And then, as I was watching it, I felt the misery of Lena and Boesman into my bones. I was so captivated by the acting and the tone and the filming that I listened only partially to the dialogues. My husband fell asleep soon after we went to bed and I was sleepless, under the impact of the film. I wanted to wake him up just to say:"if I would ever vote for an Oscar nomination, it would be for these two actors." I decided to wait until the next day. Then I read more about the film on IMDb, and was sad to learn that Mr. Berry died before the release of the film and that he had probably never seen the last version of his brilliant masterpiece. I still want to tell him that to me his film was a true independent film, in its concept and spirit. The actors are to be praised not only for their brilliant performance but for accepting a part with no shine, no showing off, well to the contrary, displaying the true image of human depression. Sad but poignant.


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] Haven't seen this film? Haven't even heard of this film? It wouldn't surprise me. One of the few truly "independent" films produced in the last ten years, no studio had faith in the picture and it was never picked up for major distribution. The independent company Kino Films, gave BOESMAN AND LENA a very limited run with virtually no promotion, and the majority of major film critics didn't even bother reviewing it. I guess a movie based on a one act, one set play about the apartheid and its affect on two individuals never really had a chance in today's market - and it's the intelligent film-lover's loss.
For the record, both Angela Bassett and Danny Glover deserved Ocsar nominations (as did the cinematographer) but the film received such little fanfare that I can't even blame the academy on that one. This is a film that is challenging, thought-provoking, and heartbreaking, and it actually requires the audience to meet it on it's own terms. Taking that into consideration, it is definitely not a movie for mindless entertainment. Director John Berry wisely does not attempt to dress-up Athol Fugard's play. Sure, we're given a few fractured flashbacks and some breathtaking scenic shots, but the film version of BOESMAN AND LENA remains, on the whole, a story of two people living in inhumane conditions.
Stripped of their basic human rights, Boesman (Glover) and Lena (Bassett) have no one left to attack but each other. A third character joins them for awhile (Willie Jonah, amazing in a largely silent role), but the film's focus never strays from the title characters and what they've become. Bassett and Glover give brave performances as the broken couple, performances that simply could not be improved upon. Vigorously and brutally stimulating, both intellectually and emotionally, BOESMAN AND LENA deserves to be rediscovered of home video. Hands down, the best film of the year 2000.


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It's always nice to see Angela Bassett getting to do a role that she can really sink her teeth into. She is at times intense, funny and even sexy in her role as Lena, a "colored" woman forced to make a home on a desolate mudbank just outside of Cape Town, South Africa. Danny Glover is also good in a not entirely sympathetic role as her partner, Boesman. Willie Jonah gives a finely nuanced performance as the stranger that discovers Boesman and Lena's new living area. It's not often that you get a chance to see an intelligent film dealing with mature themes. Although it is based on a play, the late director John Berry (who also directed Claudine) opens the material up by having the film shot in the widescreen Cinemascope format. He also keeps things visually interesting through the creative blocking of actors and by showing us things only mentioned in the play. Just like Diahann Carroll in Claudine, John Berry may have directed Angela Bassett into an Academy Award nomination. This is definitely a film worth searching for.


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An absorbing (although repetitive and rather didactic) analysis of exploitation and despair in a situation where there is no way forward or up, where the attempts to make yourself feel better by violating and putting down whoever is below you seems to be the only option. But even here, in this desolate wasteland of lost dreams and no future, that does not work, and reaching out to something or someone to comfort and share with, a simple act of charity, gives some reward, even if it just makes the present bearable by reviving memories of the past.
Although there is little actual on screen violence, this is a harsh and brutal film about the small mindedness of oppression (politically and personally) that does not make for easy entertainment. Clearly based on a play, with a small cast, a broader more expansive relation to the general social and political environment would possibly have helped the film to reach a wider audience.


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If this had been done earlier in the Zatoichi series it could have been one of the best. It is good enough, as most of them are, but the plot and the characters seem too complicated for the series at this point. The situation is unusually intriguing: the farmers in the province have two champions, a benevolent boss (for once) and a philosopher-samurai who starts a sort of Grange; both run afoul of the usual local gangsters, who want the crops to fail because it increases their gambling revenues and their chances to snap up some land; their chief or powerful ally is a seeming puritan who is death on drinking and gambling but secretly indulges his own perverse appetites. (He also resembles Dracula, as the villains in the later Zatoichi movies tend increasingly to do.) These characters have enough meaning so that they deserved to be set against Zatoichi as he was drawn originally, but by now he has lost many of his nuances, and the changes in some of the characters, such as the good boss and the angry sister of a man Zatoichi has killed, need more time then the movie has to give, so that the story seems choppy, as if some scenes were missing. Other than that, the movie shows the virtues of most of the others in the series: good acting, sometimes lyrical photography, the creation of a vivid, believable, and uniquely recognizable landscape (the absence of which is obvious in the occasional episode where the director just misses it), and a technical quality that of its nature disguises itself: the imaginatively varied use of limited sets so their limitations seem not to exist. And of course there is the keynote actor, whose presence, as much as his performance, makes it all work. This must be one of the best-sustained series in movie history.


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This is one of the oddest films of the Zatôichi series due to its very unusual pacing and the role that Ichi plays in the film. Interestingly enough, this was the first Zatôichi film made by Shintaro Katsu's new production company. Now, instead of just playing the blind swordsman, Katsu is in charge of making the films. This could easily explain why this film seems so different in style to the previous 15 films. As far as Ichi's role, the film is very different because he isn't in the film as much as usual. He's also easy to fool and actually, for a while, does a lot to harm people instead of helping!
"Zatôichi Rôyaburi" begins with Ichi talking with an old lady who tries to take advantage of his blindness. Oddly, in this scene, Ichi says that he's been blind since a toddler, though in an earlier film he says his blindness set in when he was 8. This is a minor mistake, and only a crazed fan like myself would have noticed.
This film takes place over a period of at least six months and is more likely to have taken a year--so you can see what I said about odd pacing. Most films in the series take place over a few days or weeks. Ichi comes to a town where there is a boss (Asagoro) who tries very hard to be nice to Ichi because he knows of the blind man's reputation. The boss is quite charming and surprisingly Ichi is totally taken in by the evil man. At the same time, he meets another boss (Shushui)--a sort of guru to the poor. Shushui admonishes the people to forsake all violence and even Ichi falls under his teaching--giving up his blade for many months. Shushui's teachings are very similar to Daoist teachings from China--non-violence and acceptance of life as it is (for good or for bad).
Months after leaving this town and thinking all was well, Ichi learns that as soon as he left, Asagoro showed his true colors--enslaving women, oppressing the poor and being an all-around jerk. In a way, Ichi is responsible for this, as he helped Asagoro and counted him as a friend. Now, Asagoro has captured Shushui and several innocent people have killed themselves due to the evil boss' actions.
When Ichi returns, he doesn't accept automatically that Asagoro is good or evil but tests him cleverly. This bit with a scarecrow is inspired and leads to a finale where, what else, Ichi kills the baddies and frees Shushui. This finale was very good and occurred in the rain. Then final scene with Asagoro and the rocks is great, though the beheading is a tad cheesy by today's special effects standards.
Pluses for the film are that although poorly paced, it is different and cannot be mistaken for the previous 15 (which often seem very similar). Additionally, it does end very well. Minuses (aside from pacing) are that some might dislike seeing Ichi so fallible and the scenes with Ichi and the other blind men that are included for comic relief fall flat...very, very, very flat. They are tacky and unfunny...that's the sort of flat that it is.


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Zatoichi The Outlaw was the first film made by its hero's (Shintaro Katsu) own production company, this is perhaps why this is a slightly lesser entry in the series, though it is by no means weak overall. It tells of our hero coming across two towns, rival bosses and a mysterious ronin helping the poor and from this set up spins a tale encompassing tragedy, violence and no little interest, all served up with lashings of the unshowy but inspired swordplay that is one of the series trademarks. It is a fairly predictable plot and it mounts in unsurprising fashion, but it zips along with style and is interesting stuff. The helpful ronin for example is a nobly inscrutable revolutionary character, upsetting the established order without being painted as a truly likable or heroic figure, Zatoichi himself makes one or two mistakes and causes harm by his actions, whilst the ruling system fuels the exploitation of the poor. Its a harsh world, with one or two more visceral than expected moments in the fighting, though things aren't as rousing as they could be. Shintaro Katsu turns in a typical bravura performance as Zatoichi, mixing wisdom, deadly skill and worldliness with a subtly sad sense of vulnerability, while solid work comes also from Rentarô Mikuni and an effectively baleful Kô Nishimura (later to appear as Katsu's superior "Snake" Magobei in the Hanzo trilogy) as the two main bosses in the film. There is also a good emotional turn from Yuko Hamada as a wronged woman. The film loses out through shaky pacing and a not so well constructed sequence of events, there is at least one slightly jarring time jump and the power of the plot becomes a little lost, meaning that when things heat up towards the end the film isn't as exciting as it could be, emotional impact is lost also. The action or scenes of Zatoichi using his ingenious skills are well handled by director Satsuo Yamamoto, though some of the gambling is less interesting and the film builds up in a workmanlike rather than really inspired way, without the lively characters or strong verve of some other installments. Still, I enjoyed this one, it has its flaws and isn't one of the best of the series but it still packs a sweetly satisfying dose of entertainment, a good story and decent doses of Zatoichi's trademark ingenious and quirky cool. Recommended for fans of the series, and a reasonable entry point, classy stuff though not a true great.


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I finally watched these episodes in 2008 and I had to continually go back and verify when they were actually produced. They are absolutely scary in that they made spot on fun of what would be the future. Either Parker and Stone lived in Texas and witnessed the idiocy of Gov Bush or they are those weird, eerie people that pay attention to things. Boo, scary! Bush's frat bros invading the White House dressed as Arabs wielding rifles? Bush 'accidentally' executing someone? (No, wait. He did sort of do that as gov.) This may have seemed a failure as a sitcom at the time, but must now be considered as brilliant, if spooky, prescience.


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That's My Bush is a live action project made by South Park creators Trey Parker and Matt Stone.The show was cancelled after one season, not because of bad reviews(it actually got good reviews), but because it was very expensive.That's my bush is a pretty funny spoof of an average network TV sitcom.It is also a political satire.Now, this is nowhere near as good as South Park, but it is a very funny spoof of a sitcom and also a pretty good political satire.The guy who plays in that's my bush looks a lot like him! If you can find the show, check it out.There are plenty of laughs to be had!
9/10


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Thats My Bush is first of all a very entertaining show by Parker and Stone, I thought. Its often very very funny, and its quite subversive and crazy. South Park fans would surely get something here.
Another surprise is the production value here. A lot of money must have been put into this, and it shows. A lot of expensive little details. Its not a little show. And Comedy Central is not an extremely rich channel, but they put a lot into this show obviously. In a way I understand that was the death of the show as well though, too costy. It surely could have been done cheaper and went on the will was there.
The critics liked it, and it had its little fanbase, but it failed gaining a big audience. As we know, the show stopped after 8 episodes, which I guess is almost 1 season.
As I really liked the show it has its faults. The problem of the show is kind of that it doesn't know what it wants to be really. Its like it tries to be a sitcom AND a parody of a sitcom at the same time. The actors do a good job, and some of them are well casted, but in my opinion they seem to not always get 100% the bizarre humor they're supposed to present.
I personally think that the show needed some characters that were more down to earth for the show to work. In South Park you have Kyle and Stan, that are kind of a realistic touch in the more looney universe. I think thats kind of what makes South Park work. You need some sane characters that you can relate to in a realistic way, and that makes the insane stuff so much more interesting too because that forces you to take them seriously at some level. If everything is archetypes and stereotypes its difficult to get emotionally included in the show, which really is Thats My Bush biggest problem. Kyle and Stan is characters in South Park that makes sense of the insanity in the show. We have nothing like that here, and this show suffers from it.
Another anchorpoint is Parker and Stones flirting with republicans. Its the only thing about them I don't really get what they're trying to do. Not portraying Bush as nothing else than a dumb Homer Simpsons lovable kind of character IS kind of subversive in a world where a lot of people that can't stand him and think he's the worst president since Nixon, and a parallel comedy world of Letterman and so on that only satirizes his every move... but its difficult to understand if Parker and Stone actually means anything by it. Its like the joke is on us, but somehow it doesn't hit the mark. It seems awkward, because it doesn't remind you of the real Bush at all.
Besides that I actually thought the show was very enjoyable. Some of the jokes in here are hilarious. The pro-life supporter who was a surviving aborted fetus is probably one of my favorite jokes by them in any show. And the show is packed with great material, and is sometimes insanely funny if you use your head a little while watching it.


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An extra is called upon to play a general in a movie about the Russian Revolution. However, he is not any ordinary extra. He is Serguis Alexander, former commanding general of the Russia armies who is now being forced to relive the same scene, which he suffered professional and personal tragedy in, to satisfy the director who was once a revolutionist in Russia and was humiliated by Alexander. It can now be the time for this broken man to finally "win" his penultimate battle. This is one powerful movie with meticulous direction by Von Sternberg, providing the greatest irony in Alexander's character in every way he can. Jannings deserved his Oscar for the role with a very moving performance playing the general at his peak and at his deepest valley. Powell lends a sinister support as the revenge minded director and Brent is perfect in her role with her face and movements showing so much expression as Jannings' love. All around brilliance. Rating, 10.


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Josef Von Sternberg directs this magnificent silent film about silent Hollywood and the former Imperial General to the Czar of Russia who has found himself there. Emil Jannings won a well-deserved Oscar, in part, for his role as the general who ironically is cast in a bit part in a silent picture as a Russian general. The movie flashes back to his days in Russia leading up to the country's fall to revolutionaries. William Powell makes his big screen debut as the Hollywood director who casts Jannings in his film. The film serves as an interesting look at the fall of Russia and at an imitation of behind-the-scenes Tinseltown in the early days. Von Sternberg delivers yet another classic, and one that is filled with the great elements of romance, intrigue, and tragedy.


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The Last Command (1928) is a silent film directed by Josef von Sternberg.It shows us Czarist General, Grand Duke Sergius Alexander (Emil Jannings) in his days of glory.In 1917 he had all the power but after the revolution and the collapse of Imperial Russia he has nothing.He also had the love of a woman, Natalie Dabrova (Evelyn Brent).About ten years later he applies for a small part in a film about the revolution.His old enemy Lev Andreyev (William Powell) is the director who gets to choose whether to hire him as a film extra or not.The Last Command is very good silent drama.Emil Jannings does memorable role work in the lead.Evelyn Brent is wonderful playing the woman lead.William Powell is great as always.There are plenty of scenes to remember in this movie.Like many scenes with Jannings and Brent.And then there is the ending with Powell and Jannings.This is a movie that touches in many parts.


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Russian emigrant director in Hollywood in 1928 (William Powell) is casting his epic about the Russian revolution, and hires an old ex-general from the Czarist regime (Emil Jannings) to play the general of the film, and the two relive the drama and the memory of the woman they shared (Evelyn Brent), of 11 years before.
Try as I might, I feel it hard to warm to 'The Last Command' for all its virtues. 'The Docks of New York' was indubitably a great film, and 'Underworld' is a film I have always been craving to see, but 'The Last Command' is rather heavy-going. The premise is fascinating, but the treatment does really make the script come to life, except in the sequences set in Hollywood, depicting the breadline of employable extras and the machinations of a big movie production with state-of-the-art technology.
Emil Jannings is, predictably, a marvelous Russian general, distinguishing wonderfully between the traumatized and decrepit old ex-general, transfixed in his misery, and the vigorous, hearty officer of yore.
The ending is great and worth the wait, but in order to get there you must prepared to be slightly bored at times.


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