Ashes of Time Redux

I don't know if the fight scenes really work for me here. Not sure. But what I do know is that the movie is absolutely beautiful and it is an interesting take on wuxia. I, like others, found it extremely confusing and I don't know if that's due to the writing or just me being stupid. I also enjoy the score and at the end there was a scene that really involved me but most of the time I was unable to truly get into it.

Nice score, and wonderful cinematography. Seems to revolve around love and the past's influence on the present, but the multiple storylines mashed together didn't really involve me, and it's not going anywhere, not communicating anything of worth.

Wong Kar-Wai takes a stab at the wuxia genre, with typically Wong-ish results. Stunningly gorgeous photography (and actors), lots of slo-mo and atmospheric ambience, and plenty of introspective voiceover. The brief fight scenes are the weakest part: messy and confusing. The plot is a bit confusing as well but I never felt too lost. Like a lot of Wong, it has a weightiness it doesn't merit, but is effective at establishing mood and tantalizing the senses. Vaguely unsatisfying, yet entrancing.

Lots of beautiful images, but the narrative is flat and nonsensical.

horse love

A bit of a mixed bag, but overall an enjoyable experience. The plot is somewhat messy, the script wavers between insightful elegance to silly cliche, and the performances range from very average to outstanding. It's much the same with the photography and cinematography; with some wonderful scenic shots, often followed by some really quite drab uninspired camerawork. Overall though the postives outweight any negatives, and the charm of Wongs direction and the characters wins through.

Gorgeous. Insanely confusing. Unimportant to the take at large of Wong Kar Wai as a filmmaker.

Nope, didn't work for me.

Stunning visuals.

A lot more coherent than I expected - which is to say I went into this expecting impenetrable vague wuxia events and got a five-act story almost too packed with circular plot references. Fight scenes looked pretty bad but the cinematography of the rest of the film made up for it (I wonder if the 1994 original had better image quality or my copy of this was just bad).

Another brilliant film from Kair Wai Wong that takes an abstract look into the mindset of a contract killer. Doomed with beauty, there was actually times when I got so caught up in the imagery that I had to rewind so I was able to read the subtitles.. Watching this reminded me of the feeling that one gets during an odd dream which you didn't quite understand until you've woken up. There were some faults with the pacing, and the beginning was quite drab, but the last 30 minutes is pure genius.

Not my cup of tea.....at all!

Viewed July 13, 2021. The burden of memory and the uncertainty of the future, especially as they relate to romantic longing — key WKW themes, to be sure, but here presented in such mythic and physically violent tones (the story of a swordsman going blind, a life of death with solace in the disappearing spring blossoms, every image a hazy combination of gold and blue) that the emotions behind them achieve an immediacy that the narrative itself does ot.

I desperately need another viewing to be able to justly give a score I can stand behind.

Wong Kar Wai meets Kung-fu films. So, the protagonists are master swordsmen slaying whole bands of villains single-handedly, but everything is about being trapped in a net of broken relationships and complicated love. This film abandons detailed fight choreography and fast-paced action for a leisurely sequence of simple and beautifully composed frames.

"Şiir gibi, rüya gibi, tablo gibi film" diyorum kendimi tutamayıp en klişesinden. Hüznün masallara işlemiş, efsanelere karışmış hali gibi bir film.. Çok etkilendim. Ayrıca bir Medea (L. V. Trier's) tadı aldım filmden; gerçeklik algısı kaybedilerek izlenen filmler olmasından, tutkulu anlatımlarından, flu görüntülerinden falan belki, bilmem. Kar Wai çok nitelikli üreten, çok özgün bir yönetmen.

Some great camera work, some great colors, some cool fight scenes and some good acting. Also somewhat messy and not always completely comprehensible.

Bloated for what seems to be a very straightforward origin swordsman story, his past memories, failures, crimes and one long, painful love story. I'm yet to see the original cut, but the Redux seems beautiful to look at -- the dusty, windy, colorful landscapes against saturated close-ups, the blurry collection of action set-pieces by Sammo Hung -- but not as engaging to follow as a whole narrative -- some sections (blind warrior who only sees in daylight) deliver, others feel kinda diffuse.

This is DP Christopher Doyle's best work. Easily. And the last act, featuring some of Leslie Cheung and Maggie Cheung's best acting, is absolutely worth it. So it is really too bad Kar-Wai has to conveniently forget 4 supporting characters and subplots to get to a story of any consequence.

Between the somewhat indecipherable plot, the lack of emotional hook, and the oppressively serious mood, I didn't find much to keep my interest here. Wong's effervescent style is in full effect, but to the end of a narrative and characters that left me cold. DIsappointing.

The languid, dreamlike atmosphere of the film compensates heavily for a plot which is fragmented, episodic and downright confusing. It has elements of a standard wuxia, but is elevated into something more by the meditations on love, loss, regret and long-forgotten ambition. The cinematography is stunning; the shifting sands and roiling clouds of the Chinese wilderness perfectly reflect the emotions being evoked by the main characters.

Vivid and energetic. A truly great movie.

'People say, when you can't have what you want, the best you can do is not to forget.'

Há 25 anos o corte original de Cinzas do Passado estreava no Festival de Veneza. Sem querer acabei fazendo um double feature do Tony Chiu-Wai Leung hoje, num ele era surdo-mudo, noutro ele era cego. A verdade é que quando era jovem eu apreciava a estética do Kar-Wai, mas hoje acho afetada demais, para não dizer enfadonha, o que não quer dizer que o filme seja ruim, só me dá uma preguiça imensa. Plus: Como Tony Ka Fai Leung é gato, por zeus. Versão Redux DVD Imagem Filmes.

First of all I have yet to see original cut. I found the story very complicated and hardly possible to understand without rewatching the film. Good thing is Ch. Doyle delivers beautiful cinematography enchanted with beautiful color palette dominated by strong yellow tones. This, and melancholic mood of the film is captivating enough to keep interest in this film till the end.

Kar-Wai makes the most romantic love stories marked by the absence or frustration by one or both of the lovers, always with a great sense of longing that is shown with great images and very emotive soundtrack that make it a touching experience. The story is some sort a mythological narrative where the magical element doesn't make everything perfect, it just removes part of the cause of pain for those involved. Technically very bold and challenging.

"Wong heightens action tropes the way Sergio Leone found arias in western showdowns, though in his version of the Hong Kong martial-arts netherworld the mandatory melees play second fiddle to the characters' melancholic languor." - Fernando F. Croce

It's a very complex and intricate film structured in a way that is at first intimidating, but at the end rewarding. You have Wong Kar Wei's sensual cinematography ushering a wonderful sensory experience that is quite frankly very rare in what is at its core a martial arts movie. And as usual there's Wong Kar Wei's obsession with bizarre love triangles.

Ashes of Time has such emotional, aesthetic intensity that its title -- one of the greatest in movie history -- is fulfilled.

The cinematography and music were great, just a little lost on who was who (name wise) and wasn't able to follow the story completely because of that. Feels like one of those rewatch films to get a better feel of it.

This movie is the crowning achievement of Hong Kong cinema.

Not worse, but hardly an improvement, leaving me wondering why the project even exists.

"...a brooding, melancholic twist on the wuxia..."

The first thirty minutes are stunning - Tier 10 worthy.