ThiefHott Too much of everything

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

samvvell HUMBLE>>>? Canadians are the most intellectual culture since The French Revolution. We're half French, which the Anglophones of Montreal must overcome with Anglo-Arrogance! There's nothing wrong with this film that a lot of egocentricity won't appreciate! Americans MAY buy the humility that says we don't aspire to FAME but Leonard is more famous than Tony the Tiger! His humility matches the Kelloggs' Rooster that says, "People like YOU like Kellogg's Corn Flakes!" Mr Cohen HAS nothing to be humble about. Everyone poses his wit! Who wouldn't?OK. All kidding aside. EVERY negative review forgets the director's timing which has Cohenesque timing and delivery! This is an impeccable first effort in a milieu that demands a mind sharpened on lyrical witticism. I find no fault with this movie. Leonard could not be more proudly represented. Every guy in the theater can sing his OWN mono-bari-tone Cohernmony. That's why WE love Leonard! WE have a voice!

roland-104 A touching, satisfying reflection on the life and work of the fine Canadian poet and lyricist. With obvious care and admiration, the filmmakers have woven together performances of several of Cohen's songs, interspersed with segments from a recent interview with Cohen, who is 72, occasional comments by others, and archival footage and stills that reach back to Cohen's early childhood in Montreal. All but one of the songs – both older and newer numbers - are performed by various artists during a concert in Sydney, Australia, in early 2005. Usually I prefer concert films that are pure, i.e., with the music uninterrupted by talking heads. But in this case, Cohen's reminiscences and reflections are sufficiently intriguing and deeply soulful that the Cohen interview segments nicely complement the songs.Among a dozen performers, those whose numbers stood out most for me were Rufus Wainwright (Everybody Knows, Hallelujah), Nick Cave (I'm Your Man, Suzanne), Anna and Kate McGarrigle (Winter Lady), Beth Orton (Sisters of Mercy), and Julie Christensen and Perla Batalla (Anthem). At the end, Cohen himself sings Tower of Song, backed by U2, in a performance staged at an intimate New York nightclub. Along the way we learn about Cohen's long embrace of Zen (and see old footage of him with his teacher, Roshi), discover how long and hard he works to create the lyrics for a song, and get some notions about how his mind operates. He is not nostalgic or sentimental. He doesn't look backwards, claiming to indulge in neither regrets about past mistakes nor pride about accomplishments.Good as it is, the film could have been better. With a single exception (Rufus Wainwright's delightful account of his first meeting with Cohen), brief interview segments with Bono, The Edge and several other performers contribute little to the flow of things. Better to have added more songs, especially a couple more by Cohen himself. Still, this work does seem to capture the essence of this enigmatic, brilliant, incisive and altogether unique contributor to the world of pop music. The "stench of enlightenment," to borrow a Zen phrase, seems to have dissipated from Cohen. Indeed, he comes across as calm, candid and wryly self deprecating. If his early work seemed to emanate from a being torn by spiritual angst, it does appear that Cohen has faced his demons and moved on. My grade: 7.5/10 (low B+)

jotix100 First of all, this documentary focuses on a concert that was a tribute to Leonard Cohen, an artist and a poet that has been influential to countless others. This Sydney concert gathered a lot of talent that came together to celebrate his music. Lian Lunson, an Australian director, has taken the best tracks of the historical presentation that mixes well with the man it's paying homage to. Let the viewer be clear that for a better picture of who this man is and what he has done in his life, it will not be found in this movie. For that, anyone interested in Cohen's life must go somewhere else because of the limitations this medium had.The life of Leonard Cohen is examined briefly as an on camera interview with him at his Los Angeles home. Several biographical bits of information are revealed during that conversation, but of course, it only covers the highlights of his life in sketchy details. One gets to know, for instance, about his early life in Montreal. The death of the father when Cohen was nine. His New York stay, at the legendary Chelsea Hotel, home of the cool people that influenced a whole generation. Then one learns about Mr. Cohen's introduction to Zen Buddism and his becoming a monk.A curious note arises from the lips of Leonard Cohen's lips about being a notorious ladies' man, something he was always notorious for, and yet, how far from the truth it was. There is also a moment in which the poet reads for our benefit the introduction he prepared for one of his books being translated into Chinese, a culture that always fascinated him.The concert itself is an excellent way to hear Leonard Cohen's songs as others interpret them. Rufus Wainwright sings three numbers to great effect. Antony makes a poignant appearance belting "If It Be Your Will", all tics and mannerisms, yet making the song seem new. Nick Cave has also two good moments interpreting "I'm Your Man", and "Suzanne", two of the songs closely associated with Mr. Cohen. Perla Batalla and Julie Christensen who back up most of the songs, are perfect in "Anthem". Martha Wainwright's take on "The Traitor" has a different edge when she sings it, yet it's one of the highlights of the evening.The best is left for last. Bono, and Edge, who have been praising Mr. Cohen throughout the film come together to back him as he sings his "Tower of Song" in his own inimitable style. It shows a lot of generosity on his part leaving his own material to be reexamined by a younger generation that clearly loves him.Lian Lunson shows she had the right idea in how to bring the concert into a movie that gives relevance to a man that had it all, Leonard Cohen.

noralee "Leonard Cohen: I'm Your Man" is an entertaining and informative tribute to the iconic singer-songwriter/poet. Structuring the film as a mostly chronological autobiographical interview with Cohen, director Lian Lunson intersperses his personal family photographs and home movies with cover performances at a Sydney Opera House concert to illustrate themes in his life. While his experiences in New York City have been well-documented to fans, especially in his own songs, the depth of the influence of his Canadian heritage is a new insight. With only a humorous nod to his reputation as a "ladies man" (he sounds like every rock 'n' roller on VH-1 cheerfully admitting that he became a musician to pick up chicks), his spiritual explorations are well explained, including his Jewish background and a visit with his Zen mentor.Unusual for this adulatory genre, Cohen is articulate about his songwriting as a painstaking craft in general, though only a couple of specific songs that we see intensely performed or the albums they are from are given more context, such as who "Suzanne" was and working with Phil Spector.Throughout, the performers from Canada, the U.S., England, Ireland and Australia, male, female, straight and gay, discuss his songs and the impact they have had on their lives and art. While it is not mentioned until the very last credit, this 2005 concert is based on a packed 2003 concert in Brooklyn also produced by Hal Willner, as part of the Canadian Consulate's annual Canada Day sponsorship in Prospect Park, under the rubric "Came So Far For Beauty: An Evening of Songs by Leonard Cohen Under the Stars," which featured many of the same performers captured on stage here, including Rufus Wainwright, who relates surprising personal anecdotes about his formative connection with the Cohen family, his sister Martha Wainwright, his mother and aunt Kate and Anna McGarrigle, Nick Cave, the Handsome Family (Brett and Rennie Sparks), Teddy Thompson and his mother Linda Thompson, and Perla Batalla and Julie Christensen who have backed Cohen on his last two tours, with an all-star downtown NYC band led by the horns of Steve Bernstein and the master guitar of Mark Ribot.Instead of Laurie Andersen at that magical night, added are Jarvis Cocker and Antony Hegarty (known respectively as the leader of the bands Pulp and Antony and the Johnsons, though that's never mentioned in the film) and Beth Orton. The performers are only identified in the opening and closing credits. While the concert footage nicely mixes close-ups and full band shots, it is more than half-way through the film before we hear any audience reaction, and we only see glimpses of the audience towards the end. Added climactically just to the film is Cohen singing with U2 at a small club.The interviews are all talking heads, with the extensive Cohen conversations focusing on the planes of his face, particularly as the camera gazes at him adoringly during silences, including a lot of freeze frames. There is an annoying repetitive device of blurring with fades in and fades out, and theatrical focus on a back stage scrim of beads, accompanied by odd theremin-like sounds. This reinforces the somewhat cabaret interpretations of several of the performers that would seem more appropriate to a Tom Waits tribute and are very unlike the two tribute albums that have already been produced.Cohen himself is so charismatic and his rumbling voice is so magisterial that he surmounts the visual gimmicks.