VividSimon Simply Perfect

Console best movie i've ever seen.

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Merolliv I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

jabalngamau-93216 I first watched Hero when I was 15 years old. Back then, I was only interested in it because I expected fancy martial arts like all other teenage kids. So obviously, I slept through most parts of the movie and didn't even get the story. Fast forward 15 years later, and I can't believe this movie was made in 2002. The plot, the effects, the actors, amazing. Now I re-watch it after every 2 months or so. Hero is a masterpiece that just gets better as you grow older.

ilikeimdb A cinematic tour-de-force of the highest order. One ups Crouching Tiger in the visuals dept. Some think this is just Chinese propaganda, but I'm not here to judge the historical accuracy of what is clearly a martial arts fantasy film. Terrific acting all-around, even from the rather stiff Jet Li. Excellent fight scenes that don't bore in the least bit and can be watched over and over again. The care and attention brought to each of the fight scenes shows a master at work; the visuals used to show the skill levels of the various combatants exhibits equal mastery. I should note: Very little gore anywhere and no cursing. 我们的国家

sharky_55 Hero is concerned not only with physical prowess and ability, but also the battles that occur within the mind. The entire film then takes place solely within the confines of the king of Qin's palace, and they are trading stories, not blows. Like in Rashomon, they are fighting for their own version of the story, attempting to gain an upper hand in the proceedings. And within these stories there are also mental battles; Long Sky and Nameless' initial clash is in their imagination, a vicious one-on-one muted in grey-scale. They are like chess grandmasters, with each blow calculated and bringing infinite possibilities and outcomes, so that the fight is over before it has begun. Their mastery of the art of swordfighting makes this possible. The choreography of Hero is in the wuxia style, which has been codified over time so that Western audiences may also come to appreciate and know its art. Masters of the style float over long distances as if they are suspended by strings, barely needing to touch the ground before they gracefully float away again (affectionately dubbed 'wire-fu'). When they fight their movements are so ferociously fluid that they whip up leaves into tornadoes, which curl around the characters themselves. Zhang Yimou is concerned with form as much as he is with function; Flying Snow does not merely repel, but dances amongst the rain of arrows, and the writers inside are painting with ink as red as blood, also fiercely devoted to their craft. Consider this: Broken Sword derives his mastery of swordplay from the strokes of his calligraphy. Or is it the other way around?The prominent art of Christopher Doyle is also on display. He begins with an initial dreary grey, a drabness to the present day story. This allows for the sharp contrast of the stories the two men tell, which are each punctuated strongly with their own colour code. There are a many number of possibilities and interpretations here. I was shocked by the vividness of the red ink, and its likeness to the blood shed by the diligent students of calligraphy. In the demonstration of the 10 pace killing technique Doyle and Yimou find beauty and tranquility in the cool blues, the apt slow motion, the little dink of the sound design as the cup lands on the sword. The blade is shown to be as ferocious as it is gentle. Robed in white, he reveals a purer technique, a strike of such surgical precision magnified in the shallow focus and slow motion. Yimou uses the latter well, cutting judiciously from serenity to furious motion, assuming the perspective of these masters who move and see at a different speed level. They whip their blades which such strength that they the metal bends and groans to their touch.The king tells his story with such passion and understanding. In his version, Flying Snow and Broken Sword are lovers so desperate to take the fall for each other they must resort to fighting for that honour. It is a tragic love story, more so than the apparent truth. This also points to the king's understanding of the nature of sacrifice; he is able to imagine the sorrow and grief of a sword twisted just enough to wound but not to kill, and that sword being beaten to save the life of another. So he is also able to recognise the greatest sacrifice of them all, and that sometimes the greatest warrior is the one who lays down their sword. So in the end it is indeed tranquility that wins out.

Leofwine_draca I'm the first to admit that I'm not a big fan of wire work. Used very sparingly in the occasional fight scene – so you stand up and think "woah!" – I can live with it. But in the likes of this film and CROUCHING TIGER, HIDDEN DRAGON, the action choreographers always see fit to dispense with the laws of physics and deliver up battles where the opponents soar through the skies, perform impossible manoeuvres in mid-air, and get up to all manner of airborne mischief. I don't mind when there's a reason for the wire work in the film – for instance, SHAOLIN SOCCER used it for laughs and was great; THE MATRIX had a sci-fi premise so I could live with that. But it's my belief that these historical epics would do much better by keeping their actors' feet firmly on the ground. Firstly, it would enhance realism, and secondly, it would enable the participants to get on with the actual fighting, rather than their ballet-style trying-to-look-good antics.HERO's fight scenes are interminable. I'll agree that they are beautifully shot, with the emphasis on lots of bright and vivid colour contrasts, and accompanied by effective 'ringing metal' and screaming sound effects, but at their heart they are hollow, taking place with no rhyme or reason; a lot of the fighters turn out not to be enemies after all, and other fights take place purely in the minds of their opponents. The trouble with this is there's nobody to root for; hell, even in those low budget kung fu flicks of the 1970s, at least the martial arts kid had a reason for fighting the bad guys; they killed a family member, or somesuch nonsense. In HERO, we get silly battles where the characters jump in the tree tops and skim across the surface of a lake. Sure, it's very pretty, but there's no reason for it.The plot is more interesting, in that it's a simple take on the old RASHOMON story of having one tale narrated by multiple characters. Things do get pretty murky and confusing, but they straighten themselves out for the climax, which adds an epic and historical angle to the proceedings that'll make you think "aaah!". The film's strength lies in the depiction of the Chinese army, made up of 18000 extras; the soldiers here are more impressive than those CGI guys in TROY! Their method of firing arrows is also very entertaining and the film's best scene has an attack of thousands of arrows soaring through the sky as Jet Li attempts to beat them off. There's also a cool arrow bit at the end which reminded me of G.I. SAMURAI but I don't want to go there too much.Jet Li famously returned to Hong Kong for this film, but he's unfortunately wasted in the role, which could have been played by anyone. He doesn't get an opportunity to act, just to partake in some wire work tomfoolery, and he's barely in the film. Unfortunately, greater prominence is given to unimportant secondary characters like that played by Tony Leung, who is utterly boring – and it doesn't help that I keep remembering the awful GORGEOUS every time I see his face! The best performance comes from an almost ethereal Maggie Cheung, who I thought had vanished into the woodwork since her Jackie Chan days in the 1980s; how wrong was I! This ageless actress may not be a born fighter but her acting is great and a real strength of the movie. She throws the work of the wooden Ziyi Zhang into sharp relief, revealing the latter actress to be nothing but a one-dimensional impostor.HERO deserves kudos for cinematography and sound effects alone. The unusual method of storytelling keeps it interesting, and it's just a shame that the action is so lacking in… bite. Had the film offered more meaty battles, it might have been one to watch over and over again; as it is, it works more as a passing curiosity than anything else.