ShangLuda Admirable film.

Casey Duggan It’s sentimental, ridiculously long and only occasionally funny

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Jenni Devyn Worth seeing just to witness how winsome it is.

polysicsarebest This is one of the best films ever made. An intense fever dream of surrealism, dream logic, and a beautiful painter's touch. I've never seen any other films that could straight-up be called "avantgarde action"; I wish there were more films like this...What really strikes me are the colors, though the story (which is relatively straightforward; ignore the other reviews) is one extremely philosophical, awesomely existential dilemma after another.Brilliant in every way a movie can be. Masterpiece. Hated by the same people who hate Izo and El Topo (aka people who can't wrap their head around true brilliance).Don't understand how ANYONE could hate on this film, even if they didn't "get it" all. The visuals alone are reason enough to see this.

Thorn56789 Without a doubt, the worst movie I have ever seen. Undoubtedly, some "cultured" person will call it brilliant and years ahead of its time. I can only hope I will dead if this type of movie ever becomes the norm. I dare you to watch it without fast forwarding. When I hear the name- "pistol opera", I think maybe there will some cool fight scenes, maybe even people being realistically shot. Obviously, my expectations for this movie were way too high. It makes no sense! People teleport, stab themselves, and die sitting up.Almost worth it for the ending though- random guy #312 yelling "Idiot!" "I'm an IDIOT!", followed by an extreme close up shot of his face while he screams and the film ends.AVOID AT ALL COSTS.

evillights The summation of Suzuki's life's work. Will be perceived by the lazy audience -- such as the attendees of its screening at the 2002 Seattle International Film Festival -- as a series of style-tableaux and disappoint those hoping for a gem of a story, such as in 'Elling,' a piece of work fit to wrap a fish in. Much more than that -- Suzuki is one of the great Japanese auteurs of all time, -- his reputation hasn't grown to the stature of the big three (Kurosawa / Ozu / Mizoguchi) due to the surface inscrutability / surface "style" of his work. The truth of the matter is that there is great depth in the Suzuki canon. His "style" must be no more mistaken for simple "flashy cool" than one would regard Godard's work. 'Koroshi no rakuin' ('Branded to Kill') is a stunning tour-de-force that examines the emasculation of the male, vivisecting cinematically a one-time master-assassin's slide into madness. 'Pistol Opera' -- the "spiritual sequel" of 'Branded to Kill' (working title was 'Koroshi no rakuin 2') examines the theatricality of assassination -- that is, one of the manifestations of an individual's or society's pull -toward- a universal order. Another manifestation of which is a director's mise-en-scene, -- shot compositions are as meticulously constructed in Suzuki as in Kubrick -- the 1.33:1 aspect ratio of 'Pistol Opera' allows Suzuki the greatest control of the frame-"tableau." (cf. also Kubrick's 1.33:1 framing, employed for all films from 'The Shining' on) 'Pistol Opera' is one of the great masterpieces of our modern cinema.

nkw88 Since I saw Suzuki Seijun's 'Branded to Kill', I have been enchanted by his weird and absurdistic filmmaking style. His 'Pistol Opera' does not betray my expectation and I really enjoyed his gorgeous visual style and absurdism.I feel like seeing a painter do an abstract painting. He ignores the typical storytelling and performance, and searches the dark and irrational aspect of human desire and emotion.In this film, 'the stray cat', NO.3 in the professional killer guild was asked to kill No.1 'hundred eye'. If she succeeds, she will be No.1, but if fails, she will be killed by No.1. So her assassination of No.1 is driven both by her will to rise in social hierarchy and by her drive to survive. It is the same as 'Branded to Kill'.He must enjoy filmmaking. Some one tries to complete his artistic goal, others to earn money. Sujuki Seijun shows me the third, and the most important, level of filmmaking.Just enjoy filmmaking itself! He reminds me the mentality Carpe Diem - filmmaking as a play, or ludenic element of filmmaking.