The first step to getting off of that road that leads to nowhere is recognizing that you're on it in the first place; then it becomes a matter of being assertive and taking positive steps to overcome the negative influences in your life that may have put you on that road to begin with. Which is exactly what a young Latino girl does in `Girlfight,' written and directed by Karyn Kusama. Diana (Michelle Rodriguez) is an eighteen-year-old High School senior from the projects in Brooklyn, facing expulsion after her fourth fight in the halls since the beginning of the semester. She affects a `whatever' attitude which masks a deep-seated anger that threatens to take her into places she'd rather not go. She lives with her father, Sandro (Paul Calderon), with whom she has a very tentative relationship, and her younger brother, Tiny (Ray Santiago). With her life teetering on the brink of dissolution, she desperately needs an outlet through which to channel the demons that plague her. And one day she finds it, without even looking for it, when she stops by the gym where Tiny trains. Ironically, Tiny wants nothing to do with boxing; he wants to go to art school, but Sandro is determined that his son should be able to take care of himself on the streets, and pays the ten dollars a week it costs for his lessons. When Diana convinces Tiny's trainer, Hector (Jaime Tirelli), to take her on, and approaches her father for the money, under the guise of calling it a weekly allowance (she doesn't want him to know what she wants the money for), Sandro turns her down and tells her to go out and earn her own money. Ultimately, with Tiny's help she finds a way, and the ring soon becomes her second home. It's an environment to which she readily adapts, and it appears that her life is about to take a turn for the better. And the fact that she will have to fight men, not women, in `gender blind' competitions, does not faze her in the least. Diana has found her element.

	First time writer/director Karyn Kusama has done a terrific job of creating a realistic setting for her story, presenting an honest portrait of life in the projects and conveying that desperation so familiar to so many young people who find themselves in dead-end situations and on that road that leads to nowhere. And there's no candy coating on it, either; as Hector tells Diana when she asks him how he came to be where he is, `I was a fighter once. I lost.' Then, looking around the busy gym, `Like most of these guys, they're going to lose, too. But it's all they know--' And it's that honesty of attitude, as well as the way in which the characters are portrayed, that makes this movie as good as it is. It's a bleak world, underscored by the dimly lit, run-down gym-- you can fairly smell the sweat of the boxers-- and that sense of desolation that hangs over it all like a pall, blanketing these people who are grasping and hanging on to the one and only thing they have, all that they know.

	Making her screen debut, Michelle Rodriguez is perfectly cast as Diana, infusing her with a depth and brooding intensity that fairly radiates off of her in waves. She is so real that it makes you wonder how much of it is really Rodriguez; exactly where does the actor leave off and the character begin? Whatever it is, it works. It's a powerful, memorable performance, by an actor from whom we will await another endeavor with great anticipation. She certainly makes Diana a positive role model, one in whom many hopefully will find inspiration and the realization that there are alternative paths available in life, at least to those who would seek them out.

	As positive as this film is, however, it ends on something of an ambiguous note; though Diana obviously has her feet on the ground, there's no indication of where she's headed. Is this a short term fix for her, or is she destined to become the female counterpart of Hector? After all, realistically (and in light of the fact that the realism is one of the strengths of this film), professional boxing isn't exactly a profession that lends itself to, nor opens it's arms to women. And in keeping with the subject matter of the film, and the approach of the filmmaker, an affirmation of the results of Diana's assertiveness would have been appropriate.

	The supporting cast includes Santiago Douglas (Adrian), Elisa Bocanegra (Marisol), Alicia Ashley (Ricki) and Thomas Barbour (Ira). Though it delivers a very real picture of life to which many will be able to identify, there are certain aspects of `Girlfight,' that stretch credibility a bit, regarding some of what happens in the ring. That aside, it's a positive film that for the most part is a satisfying experience. I rate this one 7/10.


"Girlfight" follows a project dwelling New York high school girl from a sense of futility into the world of amateur boxing where she finds self esteem, purpose, and much more. Although the film is not about boxing, boxing is all about the film. So much so you can almost smell the sweat. Technically and artistically a good shoot with an sense of honesty and reality about it, "Girlfight" is no chick flick and no "Rocky". It is, rather, a very human drama which even viewers who don't know boxing will be able to connect with.


Casting unknown Michelle Rodriguez as Diana was a stroke of genius. She's perfect. Her acting inexperience actually works in her favor. We've never seen her before so it really feels like her story. She also brings across genuine toughness. This works against her though, because we never doubt her. You never have to cheer for her to win because she never goes up against any fighter we don't think she can beat. So as a boxing movie, it fails.

Then again, this isn't really a boxing movie. How do you make a movie about a girl who wants to be a boxer that isn't a boxing movie? You don't. But Karyn Kusama has anyway. Like many indie films, "Girlfight" defies classification or genre and stands on its own as folklore that could darn near happen in real life.

Diana is doing poorly in school. She beats up people she doesn't like (all the other girls in her school for example). She doesn't fit in. Her father is forcing her kid brother Tiny to learn to box so he can defend himself when things get tough. He gives Tiny money for his boxing sessions and gives Diana nothing, as if she has no need to defend herself, nor anything worthwhile to make of her life. Tiny wants to go to art school (cliche', yuck), so he gives up his boxing allowance to Diana, who actually wants to box. Things get complicated when Diana falls for another boxer, Adrian (Santiago Douglas), who's looking to turn pro. From there the story winds down toward the inevitable...the two meet in the amateur title fight.

What left me cold was that I never found any of this all that interesting. It's all just a bit too believable. Kids with tough lives growing up in rough urban areas fall back on sports. A lot of professional boxers have risen from these circumstances. The mental and physical toughness this upbringing requires lends itself to a game like boxing, where anger is your friend. So this time it's a girl. Big deal.

Or there's another position to take: finally, a boxing movie about a girl. Women's boxing has been around a long time. The brutality we usually see in boxing films is replaced here by discussions of people's their lives and their feelings. The whole fighting thing is used as a platform from which to paint a larger picture. Respect. Overcoming adversity. Self-discovery.

I recommend "Girlfight" because it has a good spirit and is an example of some great work by a first time director. The dialogue never rises above soap opera quality, but the story itself actually changed my view on some things. Yes, the world now seems like a better place. A film did that.

Grade: B-


I was not expecting the powerful filmmaking experience of "Girlfight". It's an Indie; low-budget, no big-name actors, freshman director. I had heard it was good, but not this good.

Placed in a contemporary, ethnic, working-class Brooklyn, Karyn Kusama has done an extraordinary job of capturing the day-do-day struggles of urban Latinos. Diana, the protagonist, is seething with anger and lashes out at her high school peers, getting in trouble with the school and her friends. She is being raised by her single father, who appears to love her and her brother, but applies a strict, sex-based double standard on his children. The father's double standard is illustrated by the fact that Tiny, the brother, is taking boxing lessons at the local gym, but Diana is denied similar pursuits. On an errand to the gym to meet Tiny, Diana is captivated by boxing. Tiny doesn't like boxing, so he and Diana trade places; he gets the money from Dad then gives it to Diana to take the lessons in his place.

This is actually a feel-good movie, as Diana grows and learns about herself through boxing, meets a guy, and addresses some very serious issues head-on. There's no giggly, 'everything that can go right does go right' resolution a la "Bend It Like Beckham". The reality and attendant personal issues are too big for pat resolutions, but in my opinion, "Girlfight" is a better and more satisfying film for it.


Girlfight is like your grandmother's cooking: same old recipe you've tried a million times before, yet somehow transformed into something fresh and new. Try and explain the story to people who haven't seen it before: a young women from the wrong side of the tracks attempts to improve her situation by taking up boxing whilst dealing with a bitter, obstructive father and her growing attraction to a male rival. Watch them roll their eyes at the string of clichés, and they're right: it *is* clichéd. Yet I was hypnotized by how well this film works, due to the frequently superb acting and dialogue, and sensitive direction that makes it 'new'. I avoided this at the cinema because it looked like complete crap but don't make the same mistake I did. Definiately worth a look.


When "Girlfight" came out, the reviews praised it, but I didn't get around to seeing it. I finally saw it when it got released on video, and understand the glowing reviews.

The movie opens in a high school in the middle of a ghetto. We quickly get introduced to student Diana Guzman (Michelle Rodriguez). She has a bad-ass expression on her face, and any idea about Diana that we might derive from this expression soon gets corroborated when she gets in a fight. As Diana gets in trouble for this, we then meet her father, an aggressive type in his own right; clearly we can't totally blame Diana for her attitude.

But then the movie really picks up, as a new thought germinates in Diana's mind: boxing as a way to escape this grim existence. Her older brother has already gotten into boxing, but her father most likely won't approve. Only Diana herself can decide what to do.

Just the first few minutes alone identified that I was in for a very gritty, non-Hollywood movie, but the brief appearance of John Sayles in a supporting role truly affirmed that. Even before they get to any boxing scenes, you feel like you're getting pounded in the face at seeing the ugly life that Diana lives. And when they finally arrive at the film's main story, there's no turning back.

All in all, I definitely recommend this movie. I will admit that using boxing as a means to show someone trying to make something of himself/herself has been sort of a cliché in cinema for many years ("Rocky", "Million Dollar Baby"), but I still think that they did a great job with it here. In fact, this may have brought the genre to its apex. Really good. Too bad that Michelle Rodriguez wasted herself in Hollywood movies after this one.


Michelle Rodriguez is a well-built high-school senior who discovers that she has a powerful punch and begins amateur training at a Brooklyn gym. Santiago Douglas is a a handsome young man, barely older than she, who also trains there. They meet after class, so to speak, and feel attracted to each other. No sex. Santiago has been instructed to save it for his next bout.

Both are participants in a "gender-blind" athletic program that makes no distinctions between males and females, a misguided attempt to level the athletic playing field.

A conservative radio commentator recently announced -- and I swear I'm not making this up -- "Let's face it; the president is black." I'm here to make an equally perspicacious observation -- "Men and women are different." Now, in 99 cases out of 100, this needn't make any difference in physical performance. But in the top one percent -- trained athletes whose skills have been honed to a fine edge -- men generally have the advantage. With their narrow hips they can run faster. And they have greater muscle mass and upper torso strength. These differences in body build make it possible for women to give birth and raise children and for men to catch and kill food for them. This sexual bifurcation is the result of the perfectly normal process of natural selection. Without it, there might not be any humans at all. And that, boys and girls, is why they have men's events and women's events at the Olympics. I speak to you as your anthropologist. That will be ten cents, PayPal preferred.

That's why I called this gender-blind program misguided. As talented a boxer as Rodrigues is, as she approaches the zenith of the game, she will eventually lose to a male.

That's where the complication arises in this movie. Rodrigues is finally matched against her boy friend, Douglas. Neither wants to loose any anger on the other, not to mention roundhouse rights, but the pride of both is at stake, and the pride is both personal and gender related. Douglas refuses to fight a woman in the ring. And Rodriguez is offended by what she sees as his patronizing attitude. It ends happily.

I wasn't really expecting much from the film. I thought it would be a rip off of Clint Eastwood's "Million Dollar Baby" until I discovered that this was released years earlier. And I'd never heard of the director or of any of the performers. That sort of obscurity generally augers ill -- made-for-television weepers and so forth.

But I was surprised at how neatly this is put together. The total absence of bathos left me open mouthed. So did the minimal use of boxing clichés -- the frayed ropes, the blood, the cutting of the swollen eye, the battered post-bout faces, the fat and sweaty onlooker shouting "Kill him!", the slow motion landing of glove on nose, the spray of sweat from the mauled head, the heroic music signaling the long-awaited apotheosis of the victor. None of that here -- well, almost none. The whole plot could be considered formulaic. Tough kid finds outlet in the ring, etc.

The feeling you're left with is that this is probably pretty much what these amateur contests are like. Different from those we see on TV and in ordinary movies. No bells ring, for instance, Instead a dancing and observant referee yells "Stop!" And "Box!" The contestants wear head gear. The gym is populated not by a crowd of cheering spectators, but only by a handful of people who have some particular interest in the goings on. It's a clean movie, despite the rather grim setting and the unhappy family dynamics.

Michelle Rodriguez can look pretty mean, what with her muscular bulk and her eyes glowing under her lowered brow, but once you get used to the idea that this is a girl who can beat you to a pulp anytime she wants, and once you hear the feminine contours of her supersegmentals, she ain't bad. (A scene in which she battles her father to the floor is overdoing it.) It was a little hard to understand Douglas's restraint when Rodriguez crawls all over him in bed. The director, Karyn Kusama, has chosen her talent carefully.

Shows what you can do with some talent, imagination, and a modicum of money. There ought to be more films like it. Take one of those multi-billion dollar blockbusters full of dinosaurs or space ships and spread the generosity around a little.


I saw this movie after i saw Blue Crush and other of Michelle's movies, i thought she had a bleak future in this business.I was extremely wrong after watching her performance in "Girlfight" i was amazed in the way she captures the emotion of one a fighter, but also a warrior.In this movie the way she confronts her father about the treatment of her and her brother, the way she conveys anger when getting hit.Her characters learning curve in the movie of she cant always put up a wall and hide from love, or that just because she has power she wont win.I believe this role was fit perfectly for Michelle even though she had no prior experience, the director saw talent, I criticize myself for not seeing the talent in her.


Girlfight is a story about a troubled teen named Diana Guzman (Michelle Rodriguez). Diana is burdened by her mothers suicide and a sexist father living in a sexist community. A short temper and plenty of things to spark a fire, shes about to get kicked out of school for fighting. Her brother, Tiny (Ray Santiago), is training with Hector (Jaime Tirelli) in boxing. Diana is told by her dad, Sandro (Paul Calderon), to deliver that weeks payment for Tiny's training. While Diana is walking through the gym, she realizes thats what she wants to do. She wants to box. Diana asks her dad for money to train but he refuses because shes a girl and should do more 'girly' things. All Diana wants is to be treated like any other guy. Not looked down upon because she is a woman. She steals money from her father to begin training.

Great movie. Genius, pure 'effing' genius. Recommend to anybody who needs to see a good clean movie with no 'monkey business'.


Went to Wal-Mart and found this film on DVD and had no idea whether I made a bad purchase or a good one. It is the later outcome to my viewing the entire film from beginning to end. Michelle Rodriquez,(Diana Guzman),"BloodRayne",'05, gave a great performance and her looks are beautiful, sexy, and at the same time a real study in the art of how acting is really performed. Diana did not like her home life and especially her own father for the abuse he gave her mother. She decides to get boxing training in a local Brooklyn Gym and is not really well accepted by the male boxers. In her high school there is plenty of friction between her female classmates and guys. There is lots of action in the ladies bathroom and references as to private parts of guys. If you like boxing, and seeing a hot sexy gal do wonders in the ring and knock the boys on their you Know What, this is the film for you.


Sports movies have never been my thing, but a small handful of them work for me. The best are the those which focus less on the sport and more on the character, such as Raging Bull, the Wrestler and Girlfight. This is a great directorial debut for Karyn Kusama, and an outstanding first performance for Michelle Rodriguez. Girlfight feels is both realistic and involving, that is enough so to make it a memorable film.

The plot is strait forward enough. Diana Guzman, is in her fourth year of high school, but due to her picking fights in the hallway she is close to expulsion. As a possible means of unleashing her anger, she signs up for Boxing lessons at the club where her brother is training (at the wishes of there father).

In the course of ninety minutes, we the viewers see something extraordinary. Diana almost literally changes from a girl to a woman. We see it in her body as well as her behaviour, especially when one of the boys at the club finds himself drawn to her, and she gets into it. There is not a bad scene or a lame/contrived moment in the film. The only error that I would say could be corrected is that one of the subplots ends on what feels like an unfinished note. Aside from that, Girlfight is a great movie.


So I flipped on the digital subscriber channels one night a couple of years ago and thought I'd pass a half hour watching "Girlfight" while waiting for "Hart's War" to start. With a title like that I figured it was some exploitation 'B' flic about inner city girl gangs.

Much to my surprise it wasn't about that at all. Instead it is a well acted, well scripted story about a young woman who almost accidentally gets into female boxing. She is responsible for taking her younger brother to his practice sessions and get interested while observing his bouts. As he doesn't really want to be a boxer (only following through on their father's wishes) she convinces his coach to take her on in his stead.

The story unfolds in an intelligent and believable way as she goes through various trials on her quest. For starters, her brother's coach doesn't want to take on a female boxer. After grudgingly doing so there is the problem of lining up matches for her. Then the confrontation with her father when he finds out what is going on. Yes, a love interest develops but it serves to enhance the plot, coming across more of an interesting inter-human reaction with its own fight related consequences.

All in all this is a great little sleeper movie that few seem to have heard of. Some time later when I saw the much advertised and acclaimed "Million Dollar Baby" I thought "wait a minute, this seems kind of familiar". Needless to say, I didn't watch "Hart's War" that night.


I really enjoyed Girl Fight. It something I could watch over and over again. The acting was Fantastic and i thought Michelle Rodriguez did a good job in the film. Very convincing might I say. The movie is showing how women should stand up for what they want to do in life. She had so much compassion and yet so much hate at the same time. Dealing with a ignorant dad didn't really help her much. Even though he loved her he was really hateful. Her mother died when she was younger and that also put some sadness in the role. The love story was a part that i really enjoyed in the movie also. I felt the passion the y had for one another. Then again drama sets in and then its like she is choosing between her boyfriend and her life long dream. I thought it ended just right. It was the kind of ending where you have to decide what happened in the future for them.For all you people who likes a movie based on a sport with a good plot i 'd suggest that you check this one out


girlfight is using a well-known formula as someone pointed out, however, i have seen plenty of movies that don't do it this well or that are not this credible. i believe it is in the end easier for a woman to empathize the character and that way feel more touched by the movie.

the movie is encouraging both mentally and physically even if your life and environment were completely different and, i think the viewer can still gain a lot by seeing this. although it took me 5 years to start boxing and sports in general, this is the movie that gave me the spark.

so the plot is familiar/common. actors are good. but the thoughts that it can spark are what make it above average in my opinion. it made a big impression on me and i know i'm not the only one.


I Think It's a great movie. because you get to see how Diana's life at home is. she got so much aggression, and she wants to prove that girls can fight too. I think she and Adrian were great actors. Because of this movie I Am Boxing too. It really impressed me. the only negative part I think. Is the end. because It's alright between Diana and Adrian. But you don't get to see how it is at home. And I Didn't really like it that you also don't get to see how her father is doing, and her brother. but i Think it was A great movie and I Think I'm going to watch it a lot more:) I recommend it to anyone, even when you don't like boxing, you get to see a lot more than only boxing. I had a great time watching it.


"Girlfight" is much more of a coming-of-age-story than it is a fight flick. And what a relief to have one in an urban school, with naturalistic, realistic Latinos and believable use of Brooklyn project settings.

It made me realize that virtually all Hollywood high school movies are set in luxurious suburbia or small towns. (Even the somewhat comparable "Love and Basketball" which focused on teen African-Americans was set in suburbia.) While these kids share some of the same peer problems, those issues shrink compared to the other struggles of these kids, where high school graduation could be the major accomplishment of their lives.

The feminist element here is riveting in its originality, as you hold your breath to see if she can have a relationship--and a victory-- on her terms. A lots of audience sympathy goes to the guy who is challenged to rise to a gender-bending-expectations situation.

The movie does drag a bit here and there, but this is no cheap thrills "Rocky" fight movie, as the practices and fights have complex outcomes, and all the relationships--especially with fathers and father-figures-- take more center stage than the center ring.

There were lots of interesting music credits listed at the end, but I hadn't really noticed the songs.

(originally written 10/7/2000)


While the story of a troubled kid turning to boxing for self-respect and anger management is hardly a new thing, the story is given a fresh twist here when the protagonist is a girl instead of a boy.

Diana has trouble at school. She just can't stay away from fighting. At home her father is constantly putting her down. Her brother trains boxing at a gym and one day when she picks him up she decides she also wants to train.

It would be easy to call this movie a "Rocky with girls" i guess. But that is not at all what this is about. The story actually benefits very much from the main character being a girl rather than a boy. That way you can deal with more problems at once. First the problem of her not being accepted because she's not a girlie-girl, and then when she comes to the boxing gym because she's a girl at all. It's also a story about how a purpose can change someones life. How positive things can make you grow. I don't want this to sound pretentious, because the movie doesn't feel pretentious at all, but what i'm saying is true.

Also Michelle Rodriguez is very good in the lead. It's a shame really that she has become stuck in the "tough girl" typecasting now, because that's really not what her part in "Girlfight" is all about. Sure she's a female boxer, but rather it's the more sensitive moments that really makes her shine.

So maybe this is basically your average underdog story with a twist, but it's lifted way above the crowd by Rodriguez' performance. I rate this 7/10.


Michelle Rodriguez is the defining actress who could be the charging force for other actresses to look out for. She has the audacity to place herself in a rarely seen tough-girl role very early in her career (and pull it off), which is a feat that should be recognized. Although her later films pigeonhole her to that same role, this film was made for her ruggedness.

Her character is a romanticized student/fighter/lover, struggling to overcome her disenchanted existence in the projects, which is a little overdone in film...but not by a girl. That aspect of this film isn't very original, but the story goes in depth when the heated relationships that this girl has to deal with come to a boil and her primal rage takes over.

I haven't seen an actress take such an aggressive stance in movie-making yet, and I'm glad that she's getting that original twist out there in Hollywood. This film got a 7 from me because of the average story of ghetto youth, but it has such a great actress portraying a rarely-seen role in a minimal budget movie. Great work.


At first glance I expected this film to be crappy because I thought the plot would be so excessively feminist. But I was wrong. As you maybe have read in earlier published comments, I agree in that the feminist part in this film does not bother. I never had the idea that the main character was exaggerating her position as a woman. It's like Guzman is presented as somebody with a spine, this in contrast to her classmates. So I was surprised by the story, in fact, I thought it was quite good, except for the predictable end. Maybe it would've been a better idea to give the plot a radical twist, so that the viewer is somewhat more surprised.

In addition, I'd like to say that Rodriguez earned her respect by the way she put away her character. I can't really explain why, but especially in the love scenes she convinced me. It just looked real I think.

I gave it a 7 out of 10, merely because of the dull last half hour.


This movie is a real gem. The arc of the the plot is defined in the first 3 minutes, the characters are sympathetic and clearly drawn, their motives completely believable. The dialogue is fresh, and oh so real. The situations are unique to the characters and not at all cliched or hackneyed. Until the climax, that is. Then it's as if the movie went off the rails a bit and it got a bit hokey and unbelievable. But I don't want to discourage people from watching this film. The first 3/4's of it are truly remarkable. I gave it an 8. There are some remarkable performances here. Check out this movie.


Being a person who does not usually enjoy boxing movies, feeling they only focus on the boxing and not the characters themselves, this movie truly moved me. I loved being able to see the main character Diana(Michelle Rodriguez) go through so many things in such a short while, it was amazing to me. Michelle (Rodriguez) did such a wonderful job playing Diana especially since this was her first acting experience, she showed true emotion and portrayed Diana wonderfully. All actors had chemistry on screen and made this movie even more amazing. I highly recommend this movie even to those who do not usually watch boxing movies. 10/10


(spoilers)

I was blown away by this movie. I've been renting on movielink for a bit, and decided to check this movie out. Alot of boxing movies seem to overblow the blood. In this movie, it shows it at the amature level. Though I do wish that perhaps more attention would have been brought to perhaps her improving her grades. The movie points out the problems some families face with gender.

I was a bit concerned with the ending. But the ending wasn't a disappointment either.

I think it was pretty clear by the title that she'd win. What was unexpected was that the two of them got back together sort of at the end.

Loved the score for some of the scenes. Highly recommended.

10/10

Quality: 9/10

Entertainment: 10/10

Replayable: 10/10


I finally sat down and saw this film the whole way through, and I must say, I was very impressed. Michelle Rodriguez is probably one of my new favorite actresses---it's not only the fact that she *can* act, but that she chooses the roles best suited to her that are more meaningful and important than what would first seem. I've read a few comments expressing their relief that this was not some awful feminist thing as they thought beforehand, but I certainly disagree. Diana is a feminist. She follows her dreams and believes in herself contrary to what practically everyone around her thinks (with the exception of her caring brother Tiny and her trainer and manager, Hector, who proves to be more a father figure than her real parent), which is what the word "Feminism" is all about. It's good to see films like this showcasing the true side of feminism--that they're not a bunch of manhating losers--but that they have dreams and can do anything. Diana is true to herself while still falling prey to love, and she and Adrian have a more realistic, complicated relationship rather than just something that magically works out. Girlfight is a true taste of reality and it put some faith back into my perception of people. Thanks, Michelle.

8/10 - A very important movie that's relatable to not just young women, but everyone wanting to go far in their lives.


This movie has made me want to become a director, and Michelle Rodriguez is brilliant. How the hell wasn't she on mtv's top 25 under 25, she beats them all. This film definitely deserved the grand jury prize at sundance, best film i have ever seen.


Michelle Rodrigez was made for this movie, when I first saw her in Fast and the Furious. You could tell that she was a tough woman. With this movie, she has not only proven her acting, but shows no fear and is tough like she should be in this movie. She is more a bad girl and that's what I like about her. This movie is about a troubled girl, living the life as a tom boy and getting in constant trouble with school and family. As she gets interested in her brothers training to be a boxer, she decides to go after her love to fight and asks her brothers trainer to train her. Even though they don't think she has the potential, they get to be shown proven wrong.

 I think this movie was a little slow at the ending, but was well done. It shows, that people can do anything even if they don't think you have the potential. I recommend it to be seen.


Michelle Rodriguez plays Diana, a high school girl with an insolent scowl and 2 x 4 on her shoulder. She's ready to battle anyone, especially her father who is paying for her brother's boxing lessons. Diana decides boxing would be a good way of focusing her anger.

I liked the relationship between Diana and Adrian. Santiago Douglas as Adrian is excellent. Watch how their emotions towards each other are shaped by the squared circle.


Another powerful chick flick. This time, it revolves around Diana Gusman who is always getting into fights at school. Instead of getting expelled, she takes her anger elsewhere, to the boxing ring. She trains to be a boxer and there she meets featherweight Adrian and begins to fall in love with him. This movie has a powerful message of taking your dreams and going with them even if someone doesn't believe in you (in this case, her dad doesn't believe in her). That alone makes the movie worth the price. Enjoy


I never bothered to see this movie in theaters although I remember hearing the name over and over. I finally watched it this week and what a delight. For some reason, I was expecting it to not be very good so I was completely surprised when I sat down and stuck with it and then found myself completely pulled in. I read a lot of the other user comments and it impressed me how much people talk about her fighting in the ring, but what was wonderful about Diana is that she's a true fighter in life. All she needs to do is find her place where she be who she is and the ring helps her to get there. A very intelligent story and I'm amazed that this is the first time up for Michelle Rodriguez - what an excellent job she did. Adrian and her coach were also quite good.

This film is a little rough around the edges, but it doesn't matter in the slightest. The story, the will, and the performances completely outweigh any flaws (that usually come with indie filmmaking anyway). A compelling portrayal of a girl finding herself and triumphing over her circumstances and a K.O. for Michelle Rodriguez!


I just saw this movie the other day when I rented it, and I thought this was going to be just another movie with a girl trying to prove a point, but Diane joined boxing because she wanted to. I thought this movie was good. I gave it a 8/10. That's how good it is. Plus a movie with Michelle Rodriguez is always good. Even is she's been in only six.


I enjoyed this movie,and after watching it,it made me wonder just how many 'Caitlin Rose's' exist in the world.How many other girls have been subjected to this sort of sexual abuse,and torment by classmates and have been too frightened to open their mouth about it? Just how threatening and cruel can teenagers be towards one another,because as this film demonstrates,who's right is not foremost important,its who is popular,and feared which manipulates the minds of youths,and influences them to allow this sort of immorality to happen.Tiffani Amber Thiessen gives a powerful performance as the rape victim,and Brian Austin Green is convincing as the guy torn between the girl he thought he loved,and his best friend.This is the kind of film that doesn't get the exposure it deserves.Remarkable,and brilliant,too good to be just a film made for TV.


When I saw this movie, I was amazed that it was only a TV movie. I think this movie should have been in theaters. I have seen many movies that are about rape, but this one stands out. This movie has a kind of realism that is very rarely found in movies today, let alone TV movies. It tells a story that I'm sure is very realistic to many rape victims in small towns today, and I found it to be very believable(which is something hard to find in other rape centered movies). I also thought that Tiffani Theissen and Brian Austin Green were awesome in the parts that they played. I definitely recommend this movie to anyone who enjoys movies that have a bit of a harsh reality to them. I enjoyed it very much.


I really like this film... when I started to watch it I thought I would get bored pretty soon, but it surprised me... I thought it was a great film and have seen it a few times now. The characters are believable and I have to say that I fell in love with Brian Austin Green all over again (the first time being Beverly Hills 90210). I would recommend this film if you are a fan of his, but I do agree with another comment made earlier, that the ending is sort of disappointing. I would have loved it to turn out a little different! Never mind though, good gripping story.


I first saw this when it premiered more than ten years ago. I saw it again today and it still had a big impact on me. She Fought Alone is about a girl, Caitlin (played by Tiffani Thiessen), who is raped by Jace (played by David Lipper), a classmate who enjoys hurting girls. Caitlin is in a popular high school clique, but when she reveals she is raped the clique turns against her, led by Ethan (played by Brian Austin Green).

This movie chronicles Caitlin's struggle against an entire town, including a high school that essentially lets athletes determine the social environment, allowing them to get away with whatever they wish.

Thiessen and Green are the top performers, and there is real chemistry between the two of the them throughout the entire film. All of the actors in this film, which was inspired by actual events, did a great job. She Fought Alone really captures the essence of what it is like to be in high school (at least in 1995), and having one's self-esteem and reputation at stake. Recommended. 10/10


Excellent story about teenagers, leaders, high school football "stars". How far will you go to protect your friends? Lie, kill? How much can You lose if you stud by an innocent girl? Can love beat the odds? Can you defeat narrow-minded small town people? When your friend scores and you "lose", will you do everything in your power to make her pay for it, or will you be a man about it, and respect her right to chose? Will you rape her and show it as your victory over a "problem" girl? Can you stand by the one who's only sin is to have an opinion of her own, to be able to make her own decisions, to chose for herself? It made me think twice before giving my judgment about who was right and who was wrong, but one is for sure - very disturbing movie and theme in general. Thumb up!


my name is Heather and i am the girl whose story this movie was based on. I want to thank all of you who saw this movie and enjoyed it. as crude and harsh as some of the things that were depicted in this movie were, it didn't really even come close to describing how bad things actually were. not to mention the affect everything had on my mother and little sister. thanks once again for the great comments that everyone had,i truly appreciate them

Hi everyone!

This is Heather's mom. It's hard to believe that so many years have gone by since this movie was made. Harder even to believe that people were still watching it a year ago. For any of you out there who have gone thru the same or similar kind of situation, please know that there are people out here in cyberspace that do understand completely how you feel. Our thoughts and prayers are with each and every one of you.


Most people know Paul Verhoeven as the director of many good (and bad) sci-fi movies in Hollywood. But long before that he was churning out generic thrillers in his native land. The story is a basic femme fatale premise, nothing new or enthralling. Verhoeven thinks he can make it better by adding in a series of dream sequences, which instead of defining our main character and his situation, are just used as a way to drive forward the predictable plot. The screenplay was solid, the dialogue helping to pad the effects of the bland story. What really made the movie at at least good was some terrific acting. Jereone Krabbe was amazing as the "tortured artist", and the supporters were very good as well. Also, Jan De Bont's cinematography adds at least some life to the film, helping to make Verhoeven look at least capable as a director.

6.5/10

* * 1/2 / * * * *


THE FOURTH MAN (Paul Verhoeven - Netherlands 1983).

A film based on a novella by Gerard Reve, that works best as a thriller. That's quite surprising, considering Reve roughly needs a hundred pages for just a minor plot twist and tension is the last thing on my mind when reading his work.

"The Fourth Man" is top-heavy on symbolism. Paul Verhoeven is generally extremely preoccupied with proving something to mostly hostile critics and I'm never sure what it is exactly he is trying to prove. He usually underestimates his audience and tells his story in such an unsubtle way, he quickly diverges from the original idea or storyline, and almost seems to forget what needs to be seen on screen and what needs to be left out. In "The Fourth Man" he is not as explicit on detailing the plot as he is with sex and nudity (of which there's plenty) but, as in most of his films, he seems afraid the audience wouldn't get it and hammers home the story with overt symbolism mixed with some supposedly shocking nudity and graphic sex scenes. There's hardly a scene without sex or full-frontal nudity, most of it so maddeningly gratuitous and in your face, it undermines an otherwise good story.

Nevertheless, when you can cope with Verhoeven's pretty obvious satiric approach, it's quite an entertaining thriller at times with some intriguing plot twists and good performances all round, Thom Hoffman and Jeroen Krabbé in particular.

Camera Obscura --- 7/10


Back in the forties, when movies touched on matters not yet admissible in "polite" society, they resorted to codes which supposedly floated over the heads of most of the audience while alerting those in the know to just what was up. Probably no film of the decade was so freighted with innuendo as the oddly obscure Desert Fury, set in a small gambling oasis called Chuckawalla somewhere in the California desert. Proprietress of the Purple Sage saloon and casino is the astonishing Mary Astor, in slacks and sporting a cigarette holder; into town drives her handful-of-a-daughter, Lizabeth Scott, looking, in Technicolor, like 20-million bucks. But listen to the dialogue between them, which suggests an older Lesbian and her young, restless companion (one can only wonder if A.I. Bezzerides' original script made this relationship explicit). Even more blatant are John Hodiak as a gangster and Wendell Corey as his insanely jealous torpedo. Add Burt Lancaster as the town sheriff, stir, and sit back. Both Lancaster and (surprisingly) Hodiak fall for Scott. It seems, however, that Hodiak not only has a past with Astor, but had a wife who died under suspicious circumstances. The desert sun heats these ingredients up to a hard boil, with face-slappings aplenty and empurpled exchanges. Don't pass up this hothouse melodrama, chock full of creepily exotic blooms, if it comes your way; it's a remarkable movie.


Extremely interesting and intriguing movie. The similarities to David Lynch (who is even quoted literally by the presence of red curtains in the film) and the novels of Franz Kafka (the house keeper in this film is called Mrs. Grubach, as is the one in Der Prozess...) are clearly present but in this case are accompanied by clear references to the colonial past of Belgium in Africa. The exact content of the movie I can not clearly describe: this colonialism is an important part, as is the inability to cope with such a past, but the personal memories of the main character are a central issue as well, and his quest for social contact and love. These are the symbolic themes I deduced from the movie, but in fact they're no more than impressions.

But even if you just try to follow the linear story without these symbolic backgrounds, you still will discover an extremely fascinating movie filled with splendid imagery (beautiful close ups of beatles, larvas and other nasty insects are alternated with great dream sequences and also the dark atmosphere lends the film extra style). Maybe you can say that I didn't quite 'get' the film, but I have been watching like hypnothised for 1.5 hour, deeply impressed by the visual quality and the fascinating mysteriosity.


This film is amazing - it's just like a nightmare. The bizarre story, the dark decors, the swarming insects everywhere, the idea jumps and the surrealistic dreams... Really great! People who love cult movies or very dark thrillers will find this fantastic. It seems a little to the films of David Lynch: the strange story, the bizarre dreams, the red curtains. Nuit Noire contains almost no plot. It's rather a succession of surrealistic happenings, nightmares and meetings. That's a drawback. If the film had a really fascinating plot full of tension with a captivating denouement, I would give it a 10 out of 10. But that's missing, and that's why I gave the movie an 8. Nuit Noire is a film worth watching. Search that DVD and you'll be rewarded!


A great film! Slow: YES.

...but original, deeply atmospheric, dark and horrifying, perfectly SURREAL (feels like a nightmare).

I'd compare it to David Lynch (Eraserhead, Inland Empire, Blue Velvet) style maybe with mixed with a little bit of Barton Fink and Naked Lunch (Insects!). Also a bit of Jodorowsky (Fando y Lis)....

Add some Night on Earth, Angel Heart and a bit of Begotten, Pi, (would it be wrong to mention Tetsuo?) Jacob's Ladder, Barker's The Forbidden and Salome - that should form together at least the concept of a dark night... NUIT NOIRE.

If you're out for avantegardistic and/or surrealistic cinema (like I am) you're gonna like this one. If you're expecting anything else like a movie full of action with some average plot - try your luck with something else.

Final words: The plot is very, very strange and unusual and that's probably the #1 reason why most people who don't appreciate this film hate it.


I can't believe others took such a serious view of all this. God, it was a lot of fun rooting for Hop-a-long Cassidy. It was a great tribute to the Western serials of years ago. It wasn't meant to be a great cinema experience, except it was. So what if there wasn't a big special effects bonanza. It was a fun, tongue in cheek, look at old Western's. Man, relax and enjoy.


Late one night on a desolate road, in an empty saloon Martin Sheen spins a yarn for Robert Carradine of Hopalong Cassidy and friends tracking a group of murderous cattle rustlers, who've killed a few men and kidnapped Cassidy's girl.

Writer/director Christopher Coppola May have incurred the wrath of William Boyd purists by daring to make a modern low budget film featuring their beloved Hoppy, but I'm glad he did it! No character should be so tied to an an actor that no one else ever be allowed to play him or her again!

I thought it was good fun and an interesting updating of the classic programmers of the thirties and forties. Though guilty of some bad acting, this is earnest enough and unpretentious, making it hard for me to dislike.

The whole production is a bit odd though, but I really enjoyed the scenes between Sheen and Carridine. The fact that we're watching a story within a story makes the oddness and exaggerations more palatable.


This an free adaptation of the novels of Clarence Mulford; fans of the Willaim Boyd films will probably feel a little at sea here (and the reviews here so far reflect that). But I knew of Hopalong from the novels first, and never cared much for the Boyd films once I got around to them.

Christopher Coppola has made a wise choice - he has not made a nostalgic "Western"; instead, he has approached the Cassidy story as a slice of what we used to call 'Americana'; or what older critics once called 'homespun'. As the film unraveled, I found myself more and more reminded of the great "Hallmark Theater" version of Mark Twain's "Roughing It", with James Garner narrating.

Both these films remind us that, although films about the 'old west' are probably always to be mythic for Americans, they need not be 'westerns'; they can very well be just films about what it meant to be American in that time, in that place.

I never feel pandered to, watching this film; there's no effort to shove the Boyd-Cassidy legacy down our throats, no irony, no camp. Consequently, I get a sense of these characters as having walked - or ridden horseback - across some real western America I too could have walked a hundred years ago.

Given that, the plainness of the film - it positively avoids anything we have come to call "style" - is all to its favor; and the plain acting of the performers fits neatly in with this; gosh, it really does feel like some story told around a campfire on a cattle drive - no visual dressing, just the quirks and good humor - and sudden violence - that we expect from the good narration of an adventure yarn. I was very pleasantly surprised by this film, and if the viewer sets aside encultured expectations, he or she will find considerable pleasure in it.

I would have given this film 9-stars, but I'll give it a ten just because most reviewers here have missed the point completely; and I urge them to set their memories of Boyd aside and give this film another chance.

Note 1: A reviewer complained that Hopalong shoots people dead in this film, rather than shooting the guns out of their hands (ala Boyd's Cassidy); first, Cassidy DOES shoot people dead in the novels; second, if Cassidy were a real cowboy he would have shot people dead - the problem with shooting guns out of people's hands is that they can always get another gun - which happens to be part of the subtext of this very film.

Note 2: I admit that I am jealous of the Coppola family, that they have the Director of "The Godfather" among them who can get them all opportunities to make movies that I can't; but a good movie is a good movie; and this is a good movie. If it's by somebody by the name "Coppola", well, that's just is as it is. America is the land of opportunity (or was, until Bush got into office) - that's what the great American novels are all about.


The first time my best friend and I sat down to watch this movie, we were watching it for Alex Winter of "Bill & Ted's" fame. We didn't know what to expect other than who and what it was about.

By the time the movie was over, we knew that it was love at first sight. This movie, while not completely historically accurate, was and is the best one of its genre. I have seen other movies depicting the history of this famous summer and in my opinion, none of the others can compare. It fibbed a little at certain details, but those parts did not take away from the sheer elegance and romance of the story. I have seen the other movies about this summer and I find most of them to be good, but none as captivating as this one.

"Haunted Summer" has the qualities of a painting. The colors and settings seem to be something one would find on a canvas, framed and hung in a museum or on the walls of an eccentric's home. The costumes were gorgeous and, despite not being the most comfortable clothes in the world, made me want to find a seamstress to create such garb for myself. The whole movie was set on the picturesque Lake Geneva (where I hope to one day go because of seeing this movie) and the serenity that these historical figures found there.

This movie shows, besides the tranquility found by all the escapees of England's harsh judgements, the strangeness that surrounded this adventure as well. Yes, there were drugs. It was a fairly common practice during that time, a time when drugs were not illegal. And the taking of laudanum (the liquid form of opium) was medicinal as well as recreational. Shelley suffered from consumption. Lord Byron suffered the pains of a clubbed foot. It was not surprising that there would be prescriptions of the strong drugs that were in their possession during that summer. And they were poets during a time when experience was the key. There was no time for prudish caution. Passion and experience were a big part of the Romantic Era. And out of the thoughts and discussions of science, religion and philosophy came the creation of a legend: "Frankenstein."

Yes, in this movie, we see the beautiful and liberated Mary Godwin (not married to Shelley at that time) played by beautiful and talented Alice Krige. She is the control factor to all that goes on until she, too, gives in to experience. But she stands her ground and experiences things on her own terms. As was the strength that she inherited from her mother and father.

The actors and actresses in this were perfect for the parts they played. The music fitting. The direction captured the essence of the summer, as I've read about it. This movie was based on a wonderful book "Haunted Summer" by Anne Edwards. If you like this movie, read the book. The author takes the story from what she was able to put together from the actual journals of Mary Godwin Shelley and the other participants of this story.

If you are a person who loves history (even the little inaccuracies from time to time) and romance and the gothic, then this is a movie for you. It shows the birth of the birth of the monster, which even today teaches us about the morals of "playing God."

A definite must see movie!


In this glorious telling of a weekend shared among literary greats. Mary and Percy Shelly,Lord Byron and others created a entrancing group. Showing their quests for sexual enlightenment. Personal freedoms from political to moral. Liberal drug use for both stimulations and as addiction. Their creative views of life and writing. Describing without boring the viewer how each writer seeks to find their muse. Along with the distractions and affections each share. With breathtaking scenery that does not detract but very much enhances the story. Well created characters from grim to loving then angry to peaceful. With some of the most lovely and scene enhancing costuming to be had.


I would love to comment on this film. Alas , my search has always endeth in vain. If any good citizen could help a desperate inhabitant of this ailing planet and restore his confidence in humanity by offering the whereabouts of either a UK VHS or loan him a DVD copy of the VHS; he would, without reservation, be eternally grateful.....

Blake wrote "The road to excess is the path to wisdom", one hopes my weary road of excess will offer the path to fruition .... If not, I will have to replay the excellent Mr Russel's Gothic in the knowledge that those who have seen Haunted Summer (for better or for worse) have enriched their viewing pleasure of the events of July 1816 whilst I, a fellow member of this melodious plot, rests his lonely case in solitude ...


I have no idea what the other reviewer is talking about- this was a wonderful movie, and created a sense of the era that feels like time travel. The characters are truly young, Mary is a strong match for Byron, Claire is juvenile and a tad annoying, Polidori is a convincing beaten-down sycophant... all are beautiful, curious, and decadent... not the frightening wrecks they are in Gothic.

Gothic works as an independent piece of shock film, and I loved it for different reasons, but this works like a Merchant and Ivory film, and was from my readings the best capture of what the summer must have felt like. Romantic, yes, but completely rekindles my interest in the lives of Shelley and Byron every time I think about the film. One of my all-time favorites.


I love Korean films because they have the ability to really (quiet eerily really) capture real life. I tend to watch Korean movies just for that reason alone. I've seen this directors other movies before. The one that comes closest to the feelings I got from this is Oasis and another awesome film called This Charming Girl.

However, my title summary is supposed to be from a Chrstian perspective so I'll just start doing that instead of just showering it with praise.

For a non Christian perspective Director Chang-dong Lee has captured an unbiased and almost eerily real portrayal of a modern Protestant church (regardless of denomination) warts and all. I've always been waiting for a Christian film that truly portrays the darker recesses of church life. Because Christian films tend to speak in a language that is different to those they want to share their faith to. Many films with religious undertones, though having good motives, tend to just have the resonance of a Disney film or after school special. They need to show life as it is. Real people curse, real people lust, real people fall. And though Christians believe that salvation is available to those that seek it, we are still challenged by the everyday horrors of this life. And Do-yeon Jeon's character is a totally honest and almost brutal portrayal of a woman that found God, but because of life's bitter realities, loses that love for Him she once had. She doesn't deny God exists. It is just that she refuses to accept to live with the idea that He is an all loving and forgiving God.

In her decent to the edges of morality and madness, her character asks questions that are in the mind of every one, religious or not.

"If God is Love, why does He allow such terrible things to happen?" This film doesn't answer that, rightly so. And I believe the last 10 minutes of the film, though open to interpretation, leaves us with a hopeful future for our main character and brings the idea of "secret sunshine" full circle.

I don't believe for a second that this film tried to be religious or had in any way tried and set out to be that. There in lies the reason why it worked even more. It's real, it's honest. And because of that, it is by far the best summation of a real Christian life I have seen on film.


A young woman comes to the home town of his husband after he passed away in an accident. She barely settles down in this small town, but shortly after, loses her little son in a kidnapping and all her hopes... This could lead to all kinds following plots in a normal movie: find a new partner and being happy finally; or depressed enough to struggle and finally kill herself... She does try to kill herself, but not after a series of severe fights, with God. She trusts in God, only to find that God seems to forgive everyone, even the killer. Well, I should be careful here about God, the movie doesn't mean a thing against God. The way the movie deals the issue is quite interesting: not in the woman's point of view or from God's perspective (in this way, there would be lots of grass growing, clouds flying views, I suppose). Rather, it's from a third party's eye, the movie let us to perceive and doesn't explain a thing.

The movie wouldn't be so interesting were there only the woman. There's this man who's everywhere around the woman and obviously in love with her, but in his own way. He's a funny guy, like a clown I should say, who shamelessly hangs around our heroine. The combination of these two, the woman full of tension, crying and throwing up always, and the man, smiling and talking stupidly, ends up in a good balance of emotions: nothing absurdly wrong or too tedious.

Highly recommend.


I did not intend to write this review, but having read the default review that shows up on this movie's URL, I felt compelled to write a rebuttal. The movie in a word is superlative. It does not deserve the slanderous review that the writer has written. I think the writer has totally missed the point of the movie to a large extent. In fact, I too was turned off by the excessive show of Evangelist devotions that occupied the middle of the movie to a large extent. However, I must beg to differ with the reviewer in that, this movie in the end is not a propaganda piece for evangelist action. I think, what the director has shown is that how religion is not enough to find all the answers, how religion is to a large extent incapable of providing answers to basic, simple questions that one may ask and all that religion has to offer is sometimes just banal platitudes of one kind or another. This does not demonstrate a value judgment on religion as we have to remember that religion is transmuted and expressed by ordinary, mostly well meaning, basically good people and they usually have no monopoly on truth and thus religion can not in the end provide the ultimate answers to some questions in life. Ultimately, it is a matter of faith. You have to take it on faith and that's all. And if you are given to faith, then you can appreciate any show of faith. And if you are not given to faith then any show of faith is tiresome. It is thus at the same time, instructive to note the reviewer reaction to the movie. In any case, the director shows us that one can choose not to accept the religious interpretation of events and answers to questions and in spite of that life goes on and there are 'secret sunshine' in this world that awaits all wounded souls, regardless of their religious orientation. And that's just the core message of the film! Please note the last scene of the movie, if you don't get this! In the end, the movie is a great one and very thought provoking and confronts you - the viewer with questions that you have to answer for yourself. Thus it is a work of art that is challenging to you personally. I do agree with the reviewer in that, the Evangelical stuff was a bit too much. However, given the above interpretation of religion as shown in the movie, I think the director was trying to balance the act whereby he might not be called an Evangelist  basher! The actor Kang-ho Song was great as always. He's so balanced and just perfect that he's just amazing. He's my favorite Korean actor no doubt. I know the actress Do-yeon Jeon got the Cannes award for best actress for this movie. However, I did not find any specialty in her acting. It seems that to get awards you just have to act really convincingly in crying and hysterical scenes and all All in all a great movie. If you don't like it  please watch it again and see if you get it! If it leaves you dissatisfied or uncomfortable or asking questions then think, if that was not what the director was actually aiming at through this movie in the first place!


I saw this film in the worst possible circumstance. I'd already missed 15 minutes when I woke up to it on an international flight between Sydney and Seoul. I didn't know what I was watching, I thought maybe it was a movie of the week, but quickly became riveted by the performance of the lead actress playing a young woman who's child had been kidnapped. The premise started taking twist and turns I didn't see coming and by the end credits I was scrambling through the the in-flight guide to figure out what I had just watched. Turns out I was belatedly discovering Do-yeon Jeon who'd won Best Actress at Cannes for the role. I don't know if Secret Sunshine is typical of Korean cinema but I'm off to the DVD store to discover more.


Lee Chang-dong's exceptional "Secret Sunshine" is the single most emotionally ravaging experience of the year. It is an instantly sobering, brutally honest character piece on the reverberations of loss and a graceful memento mori that resonates with a striking density of thought, yet remains as inscrutable as the emotions it observes. Through its layered naturalism and stunningly trenchant view of small-town dynamics, Lee implicitly deconstructs the traditional Korean melodrama by pulling apart the cinematics of excess and ripping to shreds the arcs that shape its characters and grounds the proceedings into a crushing grind of stoic realism.

"Secret Sunshine" remains an immensely compelling, fluid work throughout its 142-minute runtime. Its bravura first hour is filled to the brim with subtextual insinuations, remarkable foreshadowing and adroit reversals of tone brought about by humanistic capriciousness. Adapted from a short story, Lee infuses the film with his sensitivity for the sublime paradoxes of life, last seen in his transgressively comic and irreverent "Oasis". Understanding how personal revolutions are forged when views of our universe are changed, Lee not only sees the emotional cataclysm of a widow's sorrow through an inquiring scope but also feels the tumultuous existential currents that underpin the film when religion becomes a narrative scapegoat in comprehending the heinousness of the human experience.

Do-yeon Jeon's ("You Are My Sunshine") Best Actress accolade at Cannes in 2007 is well deserved. Her performance as the widow Shin-ae remains an unrelenting enigma. As a character pulled apart by forces beyond her control, the sheer magnificence of this performance is central to the film's turbulent nature. With Jeon essaying one cyclonic upheaval after another, there's a tremulous sense of collapse that the film, to its credit, never approaches. Instead it finds a delicate balance that saps the charged theatricality and subsequent banality from ordinary tragedies and its fallouts. She becomes the centre of the film's universe as well as ours. Filmed in glorious hand-held CinemaScope, the film demolishes the cinematicism of frames and compositions by becoming visually acute just as it is quietly harrowing when the camera never relinquishes its gaze from Shin-ae through times of happiness, guilt and remorse.

Lee captures the details of life in the small, suspicious town of Miryang  the awkwardness of communal situations, its uncomfortable silences and its devastations spun out of personal dramas. Shin-ae's interactions with the townsfolk rarely inspires dividends, especially when they are merely done out of obligation to fit in for the sake of her son, Jun (Seon Jung-yeop). The one recurring acquaintance is Jong-chan (Song Kang-ho), a bachelor mechanic of uncertain intentions who helps her en route to Miryang in the film's enchanting open sequence set to a captivating stream of sunlight. Song has situated himself as a comedic anti-hero in South Korea's biggest films but his nuanced, low-key delivery here purports the director's thought process of never having to reveal more than plainly necessary.

If pain is ephemeral, then grief can never truly dissipate. And Lee finds complexity in subsistence. When Shin-ae attempts to head down the path of reconciliation only to be faced again with unimaginable heartbreak, she unsuccessfully employs the fellowship of evangelical Christianity as a foil to her sorrow. But Lee knows better than that when he understands that religion, in the context of the human canvas of strife and misery, is never a simple solution. But Lee never rebukes the essence of religion as he realises the value of salvation for some through a higher power even if it serves a form of denial in others. The scenes in its latter half which deal with religion doesn't allow itself to become aggressively scornful, which is a feat in itself considering how many filmmakers let the momentum of the material take over from what they need to say to be true to its story and characters.

Lee's first film since his call to office as his country's Minister of Culture and Tourism is an uncompromising dissertation on human suffering. In a film so artless and genuine, it arduously reveals that there's nothing as simple as emotional catharsis, just the suppression and abatement of agony. "Secret Sunshine" leaves us with tender mercies pulled out of evanescence, and points towards a profound understanding of despair and faith.


Secret Sunshine (2007) is famous for its awards at the Festival de Cannes in 2007 and other film festivals. Jeon-Do Yeon, who played the newly widowed Shin-ae, won the best actress trophy at the 60th Cannes festival. Secret Sunshine was also a winner of best feature film and Jeon-Do Yeon received a best actress nod from Asia Pacific Screen Awards. In addition, this movie won the best film awards in virtually all Korean film festivals. Masterfully written and directed, and uniquely photographed, Secret Sunshine expressed the hope and salvation that can be found when life is painful because of continuous tragedy. This film also talked about the forgiveness of God and people. Lee Chang Dong, director and writer of this movie, said in an interview, "In a vast sense, I wanted to express what love is and this movie could be a melodrama in a sense. Without love, we can't talk about hope and salvation." Lee acknowledged that Secret Sunshine had no apparent genre. This movie is not a movie about religion, but it drew attention from many Christians in Korea because there were a lot of Christian elements in the movie.

The turning point in Secret Sunshine comes when Jun, Shin-ae's son, is kidnapped and killed. The kidnapper asks for money because he presumes that since she can buy land, she must be rich. Her lie causes much sorrow.

Shin-ae becomes a church-goer and wants to forgive the murderer. She decides to visit her son's murderer in prison and forgive him. Jong-chan, Shin-ae's guy friend, says, "Just forgive in your heart. Do you have to go to the prison?" Her church fellows cheer for her and say they will pray for her. Her pastor agrees with what she wants to do. That is a sad moment because it is too early for her to do an action. The result of the meeting with the murderer is another turning point in Shin-ae's life. The murderer says with a peaceful smile that he has already been forgiven by God. This sparks anger in her toward God. She says, "How could You forgive the man before I forgive?"

She begins to fight against God. She looks up to the sky and proclaims, "I won't lose to You." She becomes a snare, her heart is a trap, and her hands are chains. It is more bitter than death. She becomes crazier and crazier and is sent to a mental hospital. On the day Shin-ae is discharged from the hospital, she goes to a beauty shop and sees a familiar face. The daughter of her son's murderer works in the shop and cuts her hair. The murderer's daughter has helped kidnapped Shin-ae's son. While she cuts Shin-ae's hair, the protagonist can't understand what's going on and gets out of the shop quickly.

It is difficult not to talk about Jong-chan in the movie. Jong-chan does his best to be by Shin-ae's side. Although Shin-ae doesn't care about him at all, he is beside her all the time. Shin-ae leaves church quickly, but Jong-chan, who started attending church because of Shin-ae, stays there because he feels peace with God. Lee Chang-dong, the director of Secret Sunshine, says that Jong-chan is like Milyang( secret sunshine), the rural city or vice versa. He seems to "be too secular and frivolous, but he is always two steps behind her and takes care of her. Milyang is like him." Mr. Lee adds, "Someone joked that Jong-chan could be an angel. I think that he could be the angel. Who knows? We can't say for sure that there is no angel." If there is a person like Jong-chan who forever accompanies his lover's twists and turns, we can defend ourselves against the overpowered. The life of Shin-ae is full of meaninglessness. Her husband died after he cheated on her, and her only son was killed cruelly by a murderer after she moved to her husband's hometown. And her soul was damaged because she learned Christianity in a wrong wayand that makes her crazy, literally. It is too easy to say that her life is filled with meaninglessness. Does she still have hope in her life? Can she find meaning in her life? The final scene gives us hope. Shin-ae tries to cut her hair by herself: we walk our life's journey by ourselves. She, however, realizes that it is hard to do it by herself, and we know that we can't do everything by ourselves. We see Jong-chan holding the mirror for her while she cuts her hair. That's her hope. She has Jong-chan beside her and he is willing to help her in whatever situation she is. As I mentioned earlier, Jong-chan is like an angel for her. If we feel that an angel is always beside and behind us, we can find joy in life even though we face adversity in our lives.

Secret Sunshine was a hot topic of conversation in Korea. It is like Da Vinci Code. While Da Vinci Code helps us discuss the early church history, Secret Sunshine prompts us to deal with life's messiness and find meaning when life seems unbearable. With a shallow interpretation of the movie, people misunderstand Christianity and its theology. With a deeper interpretation, this movie will help us see beneath the surface. Some people say they quit attending church worship service after they watched Secret Sunshine, and Lee Chang-dong responds by saying, "They were already anti-Christ before they watched this movie. Secret Sunshine is a life story of a woman and we can interpret our life through Shin-ae's life.


This is a story about Shin-ae, who moves to Milyang from Seoul with her young son Jun to start over after the accidental death of her husband. Her husband was born here, and she is opening up a piano school, but also has ambitions to own some land with the insurance money she received from the death. If that is what the film was about, it probably would have been like a Hollywood film, with her falling for some local guy and being happy with her son in their new home. But, this is not Hollywood. Her son gets kidnapped and murdered, ostensibly because it is known she has cash from the settlement. The grief process, attempts at moving on, attempts to clear her conscience of guilt, are all done admirably, and the lead actress is superb. The only caveat, and it has to be stated, is that this is a depressing film. You have to know that going in. You want Shin-ae to go through her grief and find some measure of happiness. Again, this is not Hollywood, it is Korea and in Korean cinema, especially drama, they pull no punches. Life is what happens to you. Great acting, but sometimes a tough film to watch, due to the goings on. If you stay, you'll be rewarded. Do that.


I've waited to see this movie for a long time and at last I could manage to see it in Istanbul Film Festival. Maybe because I expected too much from this film and that's why i was slightly disappointed. I was not the best movie from Korea but still it is really worth watching.

The subject was nice and the film makes you keep watching without getting bored though it is long. But there are gaps in the movie and you jump from one point to another. However, the acting of Jeon Do-Yeon is incredibly beautiful. It was was one of the best performances in the early cinema history and I think this movie wouldn't be that nice if she was not in the leading role.


Secret Sunshine marks the return of director Lee Changdong to the film-making world after a multi-year absence. Having three critically acclaimed films already under his belt, he recruits now veteran thespian Jeon Doyeon and her considerable (Cannes-winning) talents for the primary role of Lee Shinae. What follows is a journey through one woman's tragedy and an exploration of her coping mechanisms.

One of the things that becomes apparent while watching Secret Sunshine is that it doesn't really care to follow any specific genre, but rather picks up genre traits when necessary to convey what it's trying to convey. The story itself follows Lee Shinae as she moves with her son to the city of Milyang (whose Sino-Corean translates to Secret Sunshine). She moves to Milyang in the aftermath of the death of her husband as it was his hometown, so the film is born from tragedy. And you think things might just get better as she opens up a piano shop and encounters a bit of a bumbling nice-guy mechanic Jongchan (played by Song Kangho). But this isn't a romantic comedy.

As we (and Jongchan, doggedly) follow Shinae as she encounters Milyang and the fate that it has in store for her, the cracks in her armor quickly become apparent. She is a troubled woman trying to grasp onto her own strength to overcome tragedy and we watch as she finds that it's not enough. Secret Sunshine still manages to follow a mostly Aristotelian dramatic arc, but pulls back on the catharsis, which might confound some viewers, especially the ending, but the novelistic symbolism present in the name of Milyang, the discussions of sunshine and the imagery used in the film very well left me satisfied, once I started to think over the film some more.

Ms. Jeon is rather impressive throughout, especially considering that if the role were any less well played, it would've quickly turned into a rather painful melodrama, but she captures the nuances of Shinae's attempts to deal with her losses with a layer of subtlety. Mr. Song has a much smaller role in this film than other films, but he performs adequately, appropriately giving stage to Ms. Jeon. Technically, the film is well done in a classical sense. No flashy aesthetics are employed here--the director is clearly trying to let the story tell itself. I think my only real complaint, and one that might not be able to be fixed, is that despite all the time we spend with Shinae, there is a bit of distance between Shinae and the audience (or at least, me). I think some of this stems from the nature of the work, because if total empathy were pushed, then we wouldn't be able to see the problems that Shinae has objectively. On the other hand, I never felt moved along with Shinae's plight, despite her many tears and increasingly erratic behavior.

All the same, the film still stands quite impressive, especially in that it stimulated me to think about it, the further meanings present in it and its ruminations on tragedy, coping, self-deception, isolation and faith stuck with me well after the credits had finished running. Propelled by a strong lead performance, I honestly didn't notice its 2.25 hour runtime. And that says something. Well done. 8/10.


If you've had drama in your life, either your own or by someone close to you, the stages of pain this woman (but, in my opinion, it could easily have been a man too)goes through are very very real. It is a movie about not being able to cope with your pain, about not knowing what to do to help yourself get through it. Obviously it then also is a movie about not knowing how to help someone close to you get through their pain. It is a movie that makes you realize that everyone is alone in their suffering. It is a movie that might push someone over the edge...which hardly sounds like a recommendation. I'm not sure I would recommend someone to go see this film, especially someone close, but for me...it is a movie that puts things into perspective, that shows real pain, and is therefore much relevant to being alive. It makes you realize that hey, you or the person close to you have lived through pain, that hey, all the things you worry about now are of so little importance


"Secret Sunshine" reminded me of "The Rapture" (1991), with Mimi Rogers and David Duchovny, but this Korean production is a better film. It portrays super-religious Korean Christians in a provincial Korean city, and the main character's experiences interacting with them in the wake of a horrible personal tragedy. Shin-ae is a widowed single mother who moves to the city of Milyang ('Secret Sunshine' in Chinese) from Seoul with her young son. She has chosen Milyang because her late husband (killed in an auto accident) was born there, and she feels she needs to make a new start in life in a new place. She does not react well to the overtures of the local Christian zealots, one of whose members tries to convince her to come to their church and prayer meetings. Shin-ae is essentially irreligious and brushes these people off as politely as she can. In fact, she brushes just about everyone in Milyang off to begin with, but some of them are persistent in trying to invade her world, and the consequences are often hilarious. To say more would be to give the film away, but it should be noted that the performance of the woman in the lead role (Jeon Do-yeon) is stupendous. Having read that she won the Best Actress award at Cannes in 2007, I expected her to a decent job. But Ms. Jeon is captivating and it is impossible to take your eyes off her when she is on screen. The movie is a sort of harrowing Evelyn Waugh-esquire piece of work, showing how Fate can feel insane as much as strangely inevitable.


Corean cinema can be quite surprising for an occidental audience, because of the multiplicity of the tones and genres you can find in the same movie. In a Coreen drama such as this "Secret Sunshine", you'll also find some comical parts, thriller scenes and romantic times. "There's not only tragedy in life, there's also tragic-comedy" says at one point of the movie the character interpreted by Song Kang-ho, summing up the mixture of the picture. But don't get me wrong, this heterogeneity of the genres the movie deals with, adds veracity to the experience this rich movie offers to its spectators. That doesn't mean that it lacks unity : on the contrary, it's rare to see such a dense and profound portrait of a woman in pain.

Shin-ae, who's in quest for a quiet life with her son in the native town of her late husband, really gives, by all the different faces of suffering she's going through, unity to this movie. It's realistic part is erased by the psychological descriptions of all the phases the poor mother is going through. Denial, lost, anger, faith, pert of reality : the movie fallows all the steps the character crosses, and looks like a psychological catalog of all the suffering phases a woman can experience.

The only thing is to accept what may look like a conceptual experience (the woman wears the mask of tragedy, the man represents the comical interludes) and to let the artifices of the movie touch you. I must say that some parts of the movie really did move me (especialy in the beginning), particularly those concerning the unability of Chang Joan to truly help the one he loves, but also that the accumulation of suffering emotionally tired me towards the end. Nevertheless, some cinematographic ideas are really breathtaking and surprising (the scene where a body is discovered in a large shot is for instance amazing). This kind of scenes makes "Secret Sunshine" the melo equivalent of "The Host" for horror movies or "Memories of murder" for thrillers. These movies are indeed surprising, most original, aesthetically incredible, and manage to give another dimension to the genres they deal with. The only thing that "Secret Sunshine" forgets, as "The host" forgot to be scary, is to make its audience cry : bad point for a melodrama, but good point for a good film.


The most interesting thing about Miryang (Secret Sunshine) is the actors. Jeon Do-yeon, as Lee Shin-ae, the main character, is a woman with a young son whose husband has died in a tragic accident, and who leaves Seoul to live in Miryang, which was his home town, with her young son. Jeon's face is very changeable. She is girlish, flirtatious, elegant, aged and sad, desperate and joyous, with it and terribly isolated by turns, and it's all in her face. The film also stars Song Kang-ho as Kim, a man who meets her when her car breaks down coming into Miryang, who happens to run a garage in town, and who follows her around all the time thereafter, despite her apparent lack of interest in his attentions. Song is the biggest star in Korea right now, renowned for his work with Park Chan-wook and Bong Joon-ho (Sympathy for Mr. Vengeance; Memories of Murder and The Host). And yet here he plays a throwaway character, almost a forgotten man. But of course he makes him interesting and curiously appealing. He is the essential ballast to keep Jeon's character from floating away.

Lee Shin-ae is a piano teacher. She comes to the new town, which is a neutral place, a kind of poor-man's Seoul, a town "just like anywhere else," as Kim says (just as he is in a way just like anyone else). Her little boy is sprightly, as little boys are, but plainly damaged and withdrawn at times too. His father used to snore, and when he misses him he lies awake, pretending to snore. He goes to school, and Shin-ae meets parents and students and shopkeepers. There is a sense of place in the film, even though the place is in a sense "anywhere." People speak in the local dialect, and everyone knows everything, and Shin-ae's Seoul origin is immediately noticed. Is life really harsher here, away from the big city and its sophistication? Shin-ae seems not to realize the danger she is in.

Something terrible happens. And Shin-ae doesn't necessarily deal with it in the best possible way. But it happens and she must face the consequences. But she can't. She goes to pieces. A perpetrator is caught, but that's no consolation. Eventually she becomes so despairing, she relents and goes to a born-again Christian meeting an acquaintance has been pressing her to attend. She finds peace and release with this. But when she decides not only to forgive the perpetrator but to go to the prison to tell him so, that experience is full of ironies and it destroys her all over again. She becomes embittered and desperate and she no longer finds solace in religion. And it gets worse than that.

Jeon Do-yeon gives her all in this extremely demanding and protean role. Lee Chang-dong may be a very good director. If an actor of the stature of Song Kang-ho expresses enormous admiration for him, that is convincing. According to Scott Foundas of LA Weekly, Lee's first three films, Green Fish (1997), Peppermint Candy (2000) and Oasis (2002) have marked him out as "one of the leading figures of his country's recent cinematic renaissance." But this is not as successful a film as those of other Korean directors whose work I've seen, such as Yong Sang-Soo, Bong Joon-ho, and the prodigiously, almost perversely gifted Park Chan-wook. It may indeed begin as Foundas says as a kind of "Asiatic Alice Doesn't Live Here Anymore" and then "abruptly and without warning" turns into "something of a thriller, and some time after that a nearly Bressonian study in human suffering." But that progression not only seems random and indigestible; the film sags and loses its momentum toward the end and then simply fizzles out, with no sense of an ending. There are also weaknesses in the action. Shin-ae takes foolish chances with her son, and makes bad choices all along. If she is destined for madness like Betty in Jean-Jacques Beineix's Betty Blue, which might explain her peculiar and mistaken choices, that isn't something that is properly developed. This is an interesting film, certainly a disturbing one, but one that leaves one doubtful and dissatisfied, after putting one through an emotional wringer.

An official selection of the New York Film Festival presented at Lincoln Center, 2007an event that has done right by Korean filmmakers in the recent past.


Initially, I would have thought that Secret Sunshine had something critical to say of religion (and here being Christianity), and wondered if it would be something of a rant against the ills of blind faith, or the manipulative power of those who are supposedly holier than thou. Surprisingly, it was none of the sort and was largely non-judgemental, putting in place events as a matter of fact, and allowing the audience to draw their own judgement and conclusion.

And I can't help but to chuckle at the role of Song Kang-ho, a man who's taken a liking for widower Shin-ae (Jeong Do-yeon), and starts going to church when she does. The reasons for church going are many I suppose, either to find inner peace, to seek help, being afraid of eternal damnation in the fires of Hell, to reaffirm faith, or even things like wanting to get married in a church, or to skirt chase (I kid you not). But to each his own reasons for turning up in church every Sunday and participating in prayer groups for fellowship, what is indeed dangerous, is when the underlying ulterior motives, do not get satisfied, and that's when frustration sets in. Or when you discover how hypocritical man can be, portraying one face inside the house of God, and displaying yet another outside.

Shin-ae and her son Jun moves to the town of Miryang, which is the birthplace of her deceased husband. Wanting to start life anew, she opens up a piano shop to give lessons, though in discovering her new found freedom and in a moment's lack of good judgement, has another tragedy befall her. And that takes one hour to get to. Secret Sunshine really took its time to get to this point, where things then begin to get slightly more interesting with Shin-ae now taking to embracing religion to deal with and accept her current state, reveling in the comfort that religion, and fellow believers, can offer.

What began as crying out for sympathy turns into acceptance and belief that religion offers that silver bullet to solve the ills of all mankind, and sometimes you wonder if it's because of your personal myopic view of what the almighty is doing for you, that you begin to adopt a somewhat selfish opinion that everything's good going your way, and in Shin-ae's case, her magnanimous attitude in wanting to forgive others who had trespassed against her, forgetting something very fundamental that it the feeling can cut both ways too.

The last act is probably the most fun of the lot as it says plenty, where most of us can identify with - why me, and why not someone else, as we rage against our faith and start questioning, unfortunately, with no hard and fast answers available. It is then either we fall by the wayside, or continue with destructive deeds so rebelliously. But somehow the plug gets carefully pulled in Secret Sunshine so as not to offend, and what could have been an ugly character mouthpiece, got muted.

If you bite into the hype this movie is generating, then perhaps you'll realize only Jeong Do- yeon's excellent portrayal is worth mentioning, as she totally owns her role as the widow Shin-ae who is probably the most unluckiest person on Earth in having to deal with that many tragedies over a short period of time, and if you look at it carefully, most of which are of her own doing. Watching her transformation, is worth the ticket price, and despite having my personal favourite Korean actor Song Kang-ho in the movie, this is something he just breezed right through.


This is a real eye candy. A world made of floating islands and flying ancient cities. Huge monsters whose preferred method of attack is hurling cathedrals at their opponents... Who can resist that? An ancient prophecy, a bunch of underdog heroes and a cute princess in search of her hero... sounds familiar...? Yes we heard that song before. But You will forget that while looking at the spectacular scenery.

This movie is fun to watch while it lasts. But after leaving the cinema You'll be longing for a little bit more story.

What is behind the 30-years-circle? What drove the knight crazy? Who built all these fabulous monuments, castles and cities... and why are they falling apart? And apart from that one bunch of farmers, where are the people? Really, this picture looks so intriguing, but it's no Lord of the Rings.


For a long time i haven't seen so beautiful animated feature. Having healthy respect for Pixar, i must say that Ratatouille or any other movie made by 'em can not be compared to this. Animators have created an incredibly beautiful world here. The graphics is amazing, the background surroundings are mind-blowing, almost every object in every frame is drawn perfectly. Sometimes i felt tingles down my spine - so much i loved what i've seen.

The plot is absolutely romantic. As romantic as the animated film plot can possibly be. The characters are lovable, especially Hector, the blue rabbit, he owns, pawns, rocks and rules! The other char-s are very nice also. The humor is top-notch.

Generally it seemed that creators didn't invest much effort into this. I mean it looked like it didn't take em too much in difference from people of Pixar&Dreamworks who try hard every time to think on something new. And i'm very glad that a product of European animation studio turned out to be SO great. They've made a magnificent, touching movie, a candy for eye and heart.

The only minus is stupid beginning and that's why it's 9of10 not 10/10


this is my first review on IMDb, i didn't really want to write one but since there are only 2 for this great movie right now, i feel compelled to add my perspective...and no, i'm not associated to the movie makers in any way (yeah yeah how often did you here that before ;-) ) FYI i'm in my late 20s

1st of all i have to admit i really like animated movies, because what you see is only limited by the imagination of the creators and they were pretty imaginative on this one. Not so much in terms of story but in achieving a very unique and imo fresh visual style. The characters look good but far from real and it works well for the movie, after all it's a fairytale-like world. But the backgrounds and the world in general is filled with awesome visuals that my jaw dropped several times while watching this. The blue, bunny-like mini-dragon steels the show and has easily some of the funniest moments of the movie, he is already an instant classic, much as Scrat from Ice Age. The story is not too surprising (a bunch of anti-heroes have to go out and slay the biggest dragon you can imagine) but who cares if the movie looks and sounds THAT good ;-) 1 thing i have to point out, imo the movie is not suited for VERY young children because it has some darker scenes in it and maybe frightening for kids under 6-8 i would say, these are only very few scenes but worth mentioning imo. Anyway i had a great time watching this and can't wait for it to hit the stores in high def to watch it over and over again just for the sheer beauty of it.

8,5 for me


Have you heard the story about the reluctant heroes who were hired by a King to slay a dragon? Oh, you have? Was it set in a world entirely composed of small islands floating above clouds, and did the heroes have to make dangerous leaps from one island to the next on their journey? Did water flow upwards and remnants of great cities levitate on the horizon? I didn't think so.

I stumbled onto this movie by accident and I'm really glad that I did! It's one of the most beautiful movies I've ever seen. Much like the Pixar movies, it's a piece of computer animated art that could only be possible in today's world. The animators have invested thought into almost everything that appears on the screen, and this attention to detail is staggering (the scene where the mushrooms in the foreground belch green smoke whilst the characters walk obliviously in the background is one of my favourites). The monsters are also fully realised and wonderful to watch in action.

Although the plot may not be entirely unique, the movie has enough charm to make sure you keep watching. Our protagonists are likable and interesting, ensuring the audience is behind their almost impossible quest to reach the end of the world and destroy the dragon which might otherwise devour everything in its path. Of course, Hector is the character most will fall in love with. A small blue creature with a crazy grin and a tendency to speak a mixture of nonsense and English, Hector provides comedy relief in a way Jar Jar Binks could only dream of.

In summary, I'd recommend watching The Dragon Hunters if you get the opportunity. Watch it for the incredible animation, the breath-taking battle scenes and for a glimpse into a world that's unlike anything else you've seen on a cinema or television screen. At the very least, it's a fun way to spend an hour and a half - no matter if you're nine or twenty-nine (which, in fact, I am)!


I voted this a 10 out of 10 simply because it is the best animated story I have been able to see in quite some time. The animation is stunning. The artwork behind each and every landscape was beautiful. From the colors to the lighting to the not standard fare of artistry. I was amazed. Moving beyond the beauty on the screen, you are immersed in a storyline that is at once timeless and at the same turn fresh. Character development is brief yet these touchstone moments are exactly what is needed to clue the viewer in to what and why and how the character has come to where they stand. I'm impressed with the entire affair and think this is a must see for the entire family.