Solemplex
To me, this movie is perfection.
Maleeha Vincent
It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.
Ella-May O'Brien
Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.
Juana
what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.
Pjtaylor-96-138044
There's not all that much to 'Rashomon (1950)', with the different characters' points of views only offering slightly different takes on a relatively similar series of events, but at the very least it provides a unique way of telling an entertaining tale, one that's expertly shot with a fluidity seldom seen in cinema from the period. It's also filled with fantastic performances throughout. While the premise seems as though it aims to explore the free-flowing nature of 'truth' and how nothing is absolute, instead it looks at the lies we tell in order to project a better version of ourselves and also offers a rather ham-fisted examination of the deceitful nature of human-kind. It's ultimately a hopeful film, though, with the downpour of rain coming to a close with one final act of kindness. It's really its unique take on camera-work and story structure that cements it as a piece of cinematic history. 7/10
Yashua Kimbrough (jimniexperience)
An account of rape told to the High Court from three different perspectives: the raper, the woman, and her prince who failed to protect her
Dalbert Pringle
You know - When it comes to the likes of 1950's Japanese cinema - I, for one, would much sooner watch a hilariously clumsy "Godzilla" picture rather than endure this absurd, dry-as-dust "Art House" nonsense, any day.And, speaking about the phrase "Art House" - That, to me, is just a hoity-toity term that excuses all sorts of annoying inadequacies in a picture which would otherwise not be tolerated (in a non-"Art House" production).This irksome term also suggests to me that if one dislikes a film that fits into this snobbishly elitist category that that automatically reduces them to being nothing but an unsophisticated heathen. It's true.Anyway - With Rashomon now being nearly 70 years old - I really did try to cut it some slack. But - Let me tell ya - Had this film been an American production - You can bet that it wouldn't be receiving all of the praise and reverence that it has garnered for itself over these many, long years. Nope. You can bet your bottom yen on that.
Morten_5
There can be no doubt about the technical skill of legendary director Kurosawa. The structural creativity of the writing is also impressive.The eleventh film directed by Kurosawa (excepting co-directed "Uma" and "Asu o tsukuru hitobito"), Rashômon (1950) is by many critics considered Kurosawa's first masterpiece. While I can see why the theme and structure of the narrative was groundbreaking when the film premiered, I'm sorry to say that, after my first viewing, I was not really caught by the story or the way it was told. What I really appreciate, however, is the great camera-work, the beautiful black-and-white photography (by Kazuo Miyagawa) and the iconic music (composed by Fumio Hayasaka).
