Sleight of Film

Today’s quick review: Spies in Disguise. Walter Beckett (Tom Holland), a gadget designer for an American spy agency, gets the chance to prove himself when Lance Sterling (Will Smith), the agency’s top spy, is framed as a traitor. But when Walter’s experimental formula turns Lance into a pigeon, the duo must work together to restore Lance to his original body and stop Killian (Ben Mendelsohn), a cyborg villain, from destroying the agency.

Spies in Disguise is an animated family spy comedy that pairs a hyper-competent secret agent with a pacifistic weapons designer. The movie specializes in freewheeling comedy driven by Walter’s nonlethal gadgets, Lance’s spy prowess, and the unfortunate transformation of Lance into a pigeon. Spies in Disguise hits some of the same beats as other animated family adventures, but its world, action, and sense of humor make it a worthwhile watch.

Spies in Disguise shines when it can build up enough momentum. Lance’s lavish introduction sequence, his bickering with Walter, and his improvised tactics as a pigeon are among the movie’s highlights, which show off its cartoonish physics, offbeat gadgets, dynamic choreography, and rapid-fire comedy. Not every scene uses these elements to their fullest, but the ones that do are enough to bring a smile to any viewer who’s on board.

Spies in Disguise is on weaker footing with its themes and its plot. The backbone of the story is typical for the genre: Lance and Walter must learn to work together, while Walter has to prove to the agency that his unconventional methods work. The problem is that there isn’t much else. The movie is missing the softer moments it needs to make its emotional arc work, and Walter does not get the opportunities to grow that Lance does.

The end result is a light, comedic adventure that makes for perfect popcorn entertainment. Spies in Disguise is funny, action-packed, and occasionally clever. Its plot and character work leave something to be desired, especially when compared to the very best the genre has to offer, but the movie succeeds in its primary goal of being entertaining. Give it a shot when you feel like something energetic. Steer clear if you want a masterpiece.

For a live-action spy comedy with similar character dynamics, check out Get Smart. For Will Smith in a comedic spy adventure with a heavier sci-fi emphasis, try the Men in Black series. For an animated family adventure that holds similar appeal, try The Incredibles, Megamind, or Big Hero 6. For a Tom Holland sci-fi adventure with similar plot elements, try Spider-Man: Far from Home.

[6.8 out of 10 on IMDB](https://www.imdb.com/title/tt5814534/). I give it a 7.0 for a fun adventure in a creative world.

“When it’s finally known that the person is gone, what will happen to the shadow?” —Nobukado

Today’s quick review: Kagemusha. In 1573, Lord Shingen (Tatsuya Nakadai) is shot and killed in battle. Obeying his dying wishes, his brother Nobukado (Tsutomu Yamazaki) installs a body double (Tatsuya Nakadai) in Shingen’s place and maintains the ruse that Shingen is alive. In spite of the double’s best efforts, Oda Nobunaga (Daisuke Ryu), the enemy commander, becomes suspicious and sends spies to determine whether Shingen is real or fake.

Kagemusha is a historical Japanese war drama directed by Akira Kurosawa. The story centers around Lord Shingen’s unnamed look-alike, a petty thief who becomes one of the ruler’s most faithful servants after his death. The double and his advisors must navigate a political maze as they fend off the forces of Nobunaga, deal with Shingen’s hotheaded son Katsuyori (Kenishi Hagiwara), and, above all, keep the death of the lord a secret.

The heart of Kagemusha is the double himself. Saved from execution by Nobukado, he starts the film as shallow and self-interested, willing to cut out at the earliest opportunity. But following his master’s death, he is inspired to do more. Over the course of months, he works hard to keep up the ruse, becomes attached to the people of the kingdom, and earns the grudging respect of Nobukado and the lord’s advisors.

Kagemusha takes a different tack than some of Kurosawa’s other work. The story operates at two different levels: the minutiae of the deception and the broader political context. The double concerns himself with the former, trying to imitate Shingen as exactly as possible while covering for the lapses in his performance. However, the double has almost no control over the political maneuvering going on around him, leaving him a passive observer.

The result is a sympathetic protagonist who can never advance his position, only avoid failure. This gives the film an odd sort of appeal. Instead of focusing on tactical victories, clever gambits, and conquest and defeat, Kagemusha focuses on how the double is affected by these things. The film is also stylized in places, opting for surreal imagery to convey several of the battles and the double’s shifting state of mind.

How much you get out of Kagemusha will depend on your taste for its subject matter. Kagemusha is a sweeping look at war and politics during a pivotal period in Japanese history, as seen through the eyes of one of its humblest figures. For the right viewer, this premise will work just right. But a less enthusiastic viewer may find that Kagemusha cuts out the best aspects of the genre without adding as much humanity as Kurosawa’s other work.

For a martial arts drama about a body double who comes to replace the original, try Shadow. For a more personal war drama from Akira Kurosawa, try Seven Samurai. For a Kurosawa drama with similar theatricality, try Throne of Blood.

[8.0 out of 10 on IMDB](https://www.imdb.com/title/tt0080979/). I give it a 7.0 to 7.5 for a broad story missing the intimate touch of Kurosawa’s best; your score will vary dramatically.

“Even bad food tastes good if you chew it well.” —Dr. Kyojo Niide

Today’s quick review: Red Beard. Against his wishes, Naboru Yasumoto (Yuzo Kayama), a young and proud doctor, is assigned to Koshikawa Clinic, a clinic for the poor and needy. There he clashes with Kyojo Niide (Toshiro Mifune), the stern doctor in charge, and tries to get switched to a more prestigious assignment. But as Yasumoto treats his patients and learns of their plights, he comes to see the value in Niide’s work.

Red Beard is a classic Japanese drama directed by Akira Kurosawa. The film follows the lives of two doctors working in a public clinic, one a hotshot with an inflated ego, the other a devoted caretaker who will do anything to help his patients. Red Beard is an examination of the human condition, showing life and struggle in the poorest parts of society. Top-notch acting and potent subject matter make Red Beard an excellent film.

Red Beard draws its conflict from two sources: the gradual development of Naboru Yasumoto, and the heartwrenching struggles of his patients. Yasumoto is a capable and compassionate man, but his pride gets in the way of his work as a doctor. Witnessing the suffering that goes on at the clinic puts Yasumoto on a more selfless path, and he comes to admire Niide for the fierce way he fights for every patient.

Yasumoto’s story serves as the backdrop for a series of shorter tales about individual patients. These tales are not about illnesses per se, but rather the poverty, sorrow, and cruelty that jeopardize the lives of the patients. Each tale is moving in its own way. Although they are clearly written with drama in mind, the tales never feel forced or unnatural. Instead, they are illustrations of how lives can go wrong and how they can be mended.

The heart of Red Beard is its acting. Yuzo Kayama and Toshiro Mifune head a highly capable cast. The script is strong enough on its own, but nearly all of the pivotal moments of the film come down to the actors’ performances. The shock of an unexpected loss, the impact of an act of kindness, and the crumbling stoicism of a doctor moved to tears: Moments like this are what define the film, and the actors are always up to the challenge.

Try Red Beard when you are in the mood for a powerful look at the human condition. Red Beard has a relatively mundane premise, but the depth of its characters, its insightful writing, and the skill of its craftsmanship make it one of Kurosawa’s best works. Anyone with a taste for drama should give it a watch. Steer clear if you are looking for a more direct story with an easier payoff.

For an Italian drama that is similarly moving, try Cinema Paradiso or Macaroni. For an even more tragic Japanese animated drama about true poverty, try Grave of the Fireflies.

[8.4 out of 10 on IMDB](https://www.imdb.com/title/tt0058888/). I give it an 8.0 to 8.5 for humane characters, insightful writing, and powerful emotional moments.

“Hide a stone among stones and a man among men.” —Rokurota Makabe

Today’s quick review: The Hidden Fortress. Tahei (Minoru Chiaki) and Matashichi (Kamatari Fujiwara), a pair of fortune seekers, stumble across a hidden fortress where General Rokurota Makaba (Toshiro Mifune) and Princess Yuki (Misa Uehara), the leaders of the conquered Akizuki clan, are hiding. Unaware of their companions’ identities, Tahei and Matashichi help smuggle Makaba, Yuki, and a fortune in gold out of occupied Akizuki territory.

The Hidden Fortress is a classic Japanese samurai adventure directed by Akira Kurosawa. The film follows the misadventures of two peasants as they get caught up in war and political intrigue. Fleeing danger and chasing the promise of treasure, Tahei and Matashichi become instrumental in Makaba and Yuki’s flight to safety. The Hidden Fortress is a sweeping tale of greed, honor, and friendship backed by solid cinematography and likable characters.

The Hidden Fortress covers a broad emotional spectrum. From the peril and hardship of war to the comical schemes of Tahei and Matashichi to the cunning heroism of General Makaba, the film delivers drama, action, and quite a bit of comedy. Tahei and Matashichi ground the story with their steady banter and streaks of good and bad luck. No matter how dangerous the situation gets, the two peasants muddle their way through.

Meanwhile, Rokurota Makaba holds up the heroic side of the film quite nicely. Faced with the nearly impossible taks of getting his princess out of occupied territory, he uses a series of clever ploys to manipulate the peasants, protect Yuki and the gold, and avoid enemy troops. His prowess in combat gives the film several strong fight scenes, while his interactions with Yuki give the story its share of important events and drama.

The Hidden Fortress is a finely balanced film that handles its harsh setbacks and lighter moments with equal ease. The journey of Tahei, Matashichi, Makaba, and Yuki is an enjoyable one to watch, while everything about the writing, acting, and direction shows the same excellent craftsmanship. Anyone who is in the mood for a sweeping adventure should give it a shot. For a more sober samurai drama from Akira Kurosawa, try Seven Samurai.

[8.1 out of 10 on IMDB](https://www.imdb.com/title/tt0051808/). I give it a 7.5 to 8.0 for an enjoyable story and high quality.

“In this degenerate age, one must kill so as not to be killed.” —Asaji

Today’s quick review: Throne of Blood. For their valor in defeating a rebellion, commanders Taketoki Washizu (Toshiro Mifune) and Yoshiaki Miki (Minoru Chiaki) are honored by the Great Lord (Takamaru Sasaki) of Spider’s Web Castle. But when a spirit (Chieko Naniwa) prophesies that Washizu will one day sit on his lord’s throne, his wife Asaji (Isuzu Yamada) urges Washizu to commit treason and take his rightful place as ruler.

Throne of Blood is a classic Japanese samurai drama directed by Akira Kurosawa. The film is a retelling of Shakespeare’s Macbeth, a tale of treachery, ambition, and ruin. Once a loyal soldier, Washizu betrays his lord and his friend in pursuit of power. Throne of Blood features strong performances from Toshiro Mifune and Isuzu Yamada as well as the sharp direction of Kurosawa. However, its particular style will not appeal to everyone.

Throne of Blood is more stylized than other Kurosawa films. The film clearly shows its roots as a play. The characters have human flaws, but they are larger than life, without the mundane touches seen in films like Seven Samurai. The plot contains everything it needs, although some of the key events happen offscreen. The film also shows traditional Japanese influences in its music, storytelling, and acting.

The final product is a skillfully crafted film that captures the drama of the source material. Fans of Shakespeare or classic tales of power and betrayal would do well to give Throne of Blood a shot. However, fans of the more grounded, personal side of Kurosawa’s work will find that Throne of Blood fits into a somewhat different niche. For a dramatic epic from Kurosawa that’s larger in scope, try Seven Samurai.

[8.1 out of 10 on IMDB](https://www.imdb.com/title/tt0050613/). I give it a 7.5 for fine cinematography and potent conflict; your score will vary according to taste.

“I don’t care if it’s a lie as long as it’s entertaining.” —Commoner

Today’s quick review: Rashomon. Following the murder of a samurai (Masayuki Mori), four witnesses give testimony about the crime: the bandit Tajomaru (Toshiro Mifune), the samurai’s wife (Machiko Kyo), a medium (Noriko Honma) channeling the samurai’s spirit, and the woodcutter (Takashi Shimura) who found the body. However, every witness tells a different story, leaving the true events leading up to the murder in doubt.

Rashomon is a classic Japanese crime drama and mystery directed by Akira Kurosawa. On a rainy, oppressive day, a woodcutter, a priest (Minoru Chiaki), and a commoner (Kichijiro Ueda) try to make sense of a four seemingly irreconcilable accounts of the same brutal crime. Rashomon examines human cruelty and the nature of truth. Each version of the story shows a different kind of wickedness while further muddying the question of who is to blame.

Rashomon showcases the powerful direction Akira Kurosawa is known for. The film has no dead weight, only the framing device and a series of flashbacks depicting what happened when Tajomaru met the samurai and his wife in the woods. Subtle thematic touches support the ideas of the story and contribute to its atmosphere of uncertainty and despair. Yet the story remains very personal: a fateful altercation between three people and what it means.

All of this provides a foundation for what Rashomon truly excels at: asking questions. The film makes a few concrete statements about humanity, but it is largely open-ended. The meaning of each version of the story, what they say about the participants, and whether they point to failings in humanity as a whole are all questions that the audience has to anwer for itself. Viewers who enjoy this kind of analysis will find Rashomon deeply rewarding.

Rashomon takes a relatively simple premise and spins it into something complex and meaningful. How much you get of the film will depend on how much you are willing to put into it. Much of its value comes from interpreting it and testing its hypotheses. But even for a casual viewer, Rashomon is a finely crafted film with plenty to offer. Check it out.

For a martial arts action film that makes heavy use of unreliable narrators, try Hero. For a modern legal drama that cultivates ambiguity about the truth, try Primal Fear. For a cereberal crime thriller that explores similar themes, try Gone Baby Gone, Gone Girl, or The Interview.

[8.2 out of 10 on IMDB](https://www.imdb.com/title/tt0042876/). I give it an 8.0 for skillful storytelling and layered themes.

“I won’t let this rice go to waste.” —Kambei Shimada

Today’s quick review: Seven Samurai. Faced with hardship and starvation, the farmers of a Japanese village set out to find samurai who can help them defend their barley harvest against the bandits who are coming to take it. They recruit Kambei Shimada (Takashi Shimura), a wise ronin, and six other samurai (Toshiro Mifune, Daisuke Kato, Isao Kimura, Minoru Chiaki, Seiji Miyaguchi, and Yoshio Inaba) to organize the defense of the village.

Seven Samurai is a classic Japanese samurai drama directed by Akira Kurosawa. The film follows a motley group of ronin who decide to help defend a poor farming village against the forty bandits planning to attack it. Seven Samurai features a rich and fully realized story, one that touches on human frailties and acts of heroism alike. Its solid plot and masterful cinematography make it well worth a watch for anyone willing to invest in it.

Seven Samurai has a knack for blending high-minded idealism with gritty reality. The premise is romantic: seven down-and-out samurai accept meager pay to help a besieged village. Their specific motives may vary, but they are all dedicated to the cause in their own way. Yet the world of the film is messy and imperfect. The farmers are pitiful in their poverty and their fear, and the combat scenes are full of chaos and misfortune.

All of this works perfectly with Akira Kurosawa’s direction. The film takes no shortcuts and never relies on gimmicks to tell its story. The camera is always exactly where it needs to be, and there are no wasted shots in the entire film. The result is a masterful piece of cinema that wins over the audience one step at a time. Seven Samurai is not as flashy as other movies, but its quiet craftsmanship and compelling story set it apart.

Seven Samurai is an excellent pick for a wide variety of viewers. Fans of finely crafted cinema will find it to be a treat simply on the quality of its execution. Those who prefer action will find plenty of it, along with human characters and moving drama. Its one major downside is the investment it requires, clocking in at over three hours. But for anyone with the patience, Seven Samurai is worth the effort.

Check out The Magnificent Seven for a remake of the film as a Western. For an artistic and dramatically powerful Japanese animated movie about the hardship that follows war, try Grave of the Fireflies. For a classic Western with a similar degree of craftsmanship, try The Good, the Bad and the Ugly.

[8.6 out of 10 on IMDB](https://www.imdb.com/title/tt0047478/). I give it an 8.0 for a robust story and craftsmanship that is impossible to fault.

“If God didn’t want them sheared, He would not have made them sheep.” —Calvera

Today’s quick review: The Magnificent Seven. After years of paying tribute to Calvera (Eli Wallach) and his bandits, the farmers of a rural Mexican village hire Chris Adams (Yul Brynner) and a band of American gunfighters (Steve McQueen, Charles Bronson, Robert Vaughn, Brad Dexter, James Coburn, and Horst Buchholz) to take care of the problem. However, in spite of the Americans’ skill, Calvera proves to be a challenging opponent.

The Magnificent Seven is a classic Western adventure and an adaptation of the film Seven Samurai. Yul Brynner leads an ensemble cast of gunfighters who risk their lives to defend a Mexican farming village. The film hits a sweet spot for the Western genre, blending flashy action with a serious story and efficient character work. The Magnificent Seven has a straightforward conflict but executes it with true skill, earning its place as a classic.

The Magnificent Seven has an excellent cast and knows how to use it. The nature of the story means that few of the characters get much screen time, but every minute of it counts. Even their short introductions and limited lines of dialogue are enough to make the Seven a memorable bunch, thanks to the sense of presence that the actors bring to their scenes. Special mention goes to Yul Brynner and Eli Wallach for leading an already talented cast.

Apart from its cast, The Magnificent Seven delivers an earnest conflict that hits just the right emotional notes. The heart of the film is the question of whether the Seven are fighting for the money, as usual, or to defend the farmers. The film does not delve too deeply into this theme, but it gives the fighting an emotional layer that helps hold everything together. The subplots are similar: short on detail, but rewarding to follow.

The Magnificent Seven will appeal to fans of the bold, confident side of the Western genre. The Seven strike a perfect balance between self-interested guns for hire and classic heroes, and their world feels alive and vibrant. Anyone who enjoys a good shootout will get something out of the film, while the right kind of Western fan will find it thoroughly enjoyable. Give it a shot.

For a somewhat more cynical Western about American mercenaries on a job in Mexico, check out Vera Cruz. For a classic Western about a wandering gunfighter who intervenes in a rural conflict, try Shane. For a less polished Western starring Yul Brynner as a gun for hire, try Invitation to a Gunfighter. For a Western comedy with a loosely similar premise, try Three Amigos.

[7.7 out of 10 on IMDB](https://www.imdb.com/title/tt0054047/). I give it a 7.5 to 8.0 for a great cast and an adventurous story.

Today’s quick review: Unforgiven. William Munny (Clint Eastwood), a widowed farmer trying to live down his past as a violent outlaw, accepts an offer from the Schofield Kid (Jaimz Woolvett) to collect the bounty on two cowboys who mutilated a prostitute. Gathering up Ned Logan (Morgan Freeman), William’s old partner, they head to the town of Big Whiskey, Wyoming, where they receive a cold welcome from Sheriff Little Bill Daggett (Gene Hackman).

Unforgiven is a gritty Western drama directed by Clint Eastwood. The film chronicles the cycle of violence that unfolds when two men attack a woman with a knife. Unable to get justice from Little Bill, the victim’s friends offer a $1,000 reward for anyone who kills the two assailants, drawing a slew of violent killers to Big Whiskey. Unforgiven features a talented cast, a dark story, and rich themes about truth and violence.

The film gets much of its depth from its characters and what they represent. Will Munny is a cold-blooded killer who managed to leave his past behind, until the prospect of a better life for his children lures him out of retirement. Now Will walks a narrow line between finishing the job and reverting to who he was. Meanwhile, the Schofield Kid is his opposite: an inexperienced young outlaw eager for a real taste of blood.

Unforgiven also explores the nature of truth, rumor, and reputation. At the heart of the story is the reputation men like Will Munny and Little Bill hold, whether they are trying to inflate it or live it down. This theme works through the movie in subtle ways, ranging from the Kid’s empty boasts to the brutal way Little Bill keeps control of his town. As such, Unforgiven has an extra layer of meaning to it that many other Westerns lack.

The chief drawback of Unforgiven is its mature content. The film depicts the grimier side of the Old West, complete with brutal murders, swearing, and sex. The mature side of the movie does serve its purpose in framing the conflict, but it is enough to put off sensitive viewers. The film is also morally bleak. William has an unabashedly wicked past behind him, and nearly every character in the story is responsible for some amount of violence.

Unforgiven is a strong pick for anyone who can stomach is subject matter. The film charts a different course than other Westerns, emphasizing the base nature of humanity and the slim possibility of redemption. The result is a tense and unpredictable story that also has plenty of cerebral appeal. Skip it if you are looking for clear-cut heroes and villains, or more straightforward action.

For a cleaner Western about an aging gunslinger who comes out of retirement, try Big Jake or The Shootist. For a more comedic Western about the relationship between an old gunslinger and an eager young fan, try My Name Is Nobody. For a modern action thriller about a father who puts his violent past to work, try Taken. For a more subdued drama from Clint Eastwood, try Gran Torino.

[8.2 out of 10 on IMDB](https://www.imdb.com/title/tt0105695/). I give it a 7.5 to 8.0 for potent drama and layered themes.

Today’s quick review: High Noon. On the day of his wedding, Marshal Will Kane (Gary Cooper), the man who cleaned up a lawless Western town, learns that Frank Miller (Ian MacDonald), the man he sent away for murder, has been pardoned and is coming back for revenge. Leaving his bride Amy (Grace Kelly) behind, he tries to recruit a posse from the citizens of the town, only to find himself abandoned and left to face Frank on his own.

High Noon is a classic Western drama about the last stand of an honest marshal. Will Kane has under two hours to get help before Frank Miller arrives on the noon train and meets up with three of his fellow killers, effectively signing Kane’s death sentence. With the clock ticking, Kane visits every friend, ex-marshal, and able-bodied man in town. But one by one they turn him down, unwilling to go up against Miller and his gang.

High Noon has an excellent sense of anticipation. The noon deadline is as simple as it is effective. Kane’s life is on a timer, and every refusal from the townsfolk wastes precious minutes and diminishes his chance of survival. The film has a knack for knowing when to use dialogue and when to remain silent. Every scene has a sense of impending doom, but High Noon never lays its tension on too thick or allows itself to become monotonous.

The premise allows High Noon to explore one of the darker sides of human nature. Marshal Will Kane is one of the most respected men in town and the sole reason it is safe to walk the streets. But in his hour of need, his friends and allies abandon him, whether due to cowardice, ambition, or old grievances. High Noon flays apart Kane’s accomplishments and shows just how ephemeral they are due when faced with other people’s weakness.

The lynchpin of the story is Kane himself. Gary Cooper delivers a subtle performance as a man too honorable for his own good. Rather than flee town with his wife, he chooses to make a stand. As his support evaporates and his relationships crumble, Kane quietly steels himself for the hour of his death. Kane is not an ostentatious hero. He is a calm and dependable man. But he faces the one thing he cannot fight: indifference.

High Noon is a classic of the genre that is well worth a watch for any of its fan. From a straightforward premise, High Noon spins an insightful tale about the quieter failings of human nature and bravery in the face of death. Its skillful storytelling and rich themes make it an excellent pick for a wide range of audiences, even those who are jaded by the Western formula. Give it a watch.

For another classic Western with themes of civic duty, check out The Man Who Shot Liberty Valance. For a classic Western about a lawman and his few allies facing a superior force, try Rio Bravo or El Dorado. For a classic legal drama that has similar insight into human nature, try 12 Angry Men.

[8.0 out of 10 on IMDB](https://www.imdb.com/title/tt0044706/). I give it a 7.5 to 8.0 for carefully managed tension and conflict that goes deeper than the surface level.