What makes it different from others?

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

It was a pleasure to watch this movie. Stoic, yet full of emotion, Takeshi Kitano nails his portrayal or Nishi, the hard-boiled cop with a terminally ill wife.I am a firm believer that a good movie needs 3 ingredients to be worth watching; appropriate music, an interesting story to tell and appropriate filmography. Of course, reservations are to be made for acting prowess, but we live in an era where we are surrounded by capable actors and actresses, so more often than not, I simply overlook this factor and focus more on the 3 I listed above.Suffice it to say that Joe Htisaishi's music in this movie is wonderful. It fit perfectly into the sad tale of Nishi and this was coupled with the beautiful scenery of Japan towards the end of the movie. TLDR; Watch this movie if you want an Asian version of a film noir. Highly recommended.

I saw this on a big screen in 2016, when a "moving picture" means the camera moves. Most of the time the camera sat still and the cast acted in front of it as if on a stage. Boring!Second, the director is the lead actor. "Actor" in quotes: you see everything he has to offer in the first 10 seconds.Third, the paintings are by the director. At times it's as if we're being shown a gallery of his paintings, which, as the actor in the film who "creates" them says, "Colorful, but amateur." Amateur indeed.Fourth, the pacing of the film at times felt like watching paint try--and in some scenes that about what we did--watch the paint dry.Fifth, the music becomes insipid, like something from "Peyton Place" with Lana Turner. Lastly, I don't think this is a spoiler; it's a comment on the lead character, not the plot. The lead character is a violent thug; that's who he is; and, when he has to encounter his own crises, he's an empty and helpless as he is toward others. As a result, I had absolutely no sympathy toward him; I felt detached. I was tempted to walk out after 30 minutes, and again after 60. The night fresh air would be have far more worthwhile.

Nishi is a cop who is very good at his job but whose personal life is impacted with loss – a dead child and now a dying wife. When his partner is put in a wheelchair by a criminal and another officer is shot dead, Nishi finds himself plagued by guilt over his part in it all. Blaming himself Nishi tries to do the right thing by his partner Horibe and the widow of cop, while also trying to salvage some happiness in what remains of his time with his wife.I came back to Takeshi Kitano about the same time as I left the Movies You Should See podcast. I left it because I don't think it is as good as it could be and at times offers no real insight into a film other than describing "bits" however I give them a mention because they reminded me that I had only ever seen one or two of Kitano's films and that it had been some time since I had even seen those. So it was that after watching Brother, my rental site threw me Hana-Bi and I was looking forward to it due to the praise on this site and indeed the podcast itself. The expectation was not unjustified as Hana-Bi is a film of pain and beauty that is well worth seeing even if it is not the image of perfection that some would have you believe.That statement is bound to attract a low vote on IMDb but what can I tell you? That it was slow and quiet is not a problem for me but it is a feeling you get watching the film and it is not helped by some scenes feeling irrelevant within the context of the story. This is not a real killer but I felt that the slow pace needed support and seeing two minor characters argue about a fender bender (for example) saw my interest dip and the slow pace start to be felt. Otherwise though, the silence and pace suits the material and the style of the film. The violence is quite subdued (in regards what you actually see) because it occurs in the edit of the action – so the actual impact is mostly unseen. It doesn't matter though because the main thrust of the film is less the outward violence but the internal suffering of all the characters. The film does wear this aspect a little heavily at times and some will feel that some sequences are right on the edge of being pretentious and there is no point in denying that it does walk this line here and there.However for the majority it is a really well observed and emotionally engaging story built on the silent but emotive presence of Kitano as writer, director and star. As writer he has, it could be argued, left a lot to the actual making process itself since the script must have been a few pages. As director he sets the pace and I like the way his static style works within this story but it is his work as actor that always mystifies and impresses me. How he can convey so much while also appearing to be doing nothing at all I'm not sure but it somehow works and fits his style in other disciplines. He is well supported by Kishimoto, with whom he has genuine chemistry without betraying his character's nature. Osugi is not that great and it is with his character that I found the film close to being pretentious, not the actor's fault of course but I never felt for him as I did for Nishi.Hana-Bi is very slow and quiet and I can totally understand why some viewers will throw it in very early on. However sticking with it reveals a film that manages to be violent, introspective and emotionally engaging at the same time, all wrapped in the style of Kitano, who is creative across the board.

So, it has come to this. In the top-rated comment on this flick, somebody says "Nishi is an honorable man". Really? This is a guy who mainly kills and maims people in the movie. He takes a short break to rob a bank. Honorable? How would you like your kids to go to school with the kids of someone who calls that honorable? Wait, there's more! The person also says "we can tell he's constantly thinking." How can we do that? Well, do you know that joke "How can you tell when a CEO/politician/lawyer is lying?" ... "His/her lips move." Well, Nishi's lips never move, so I guess that means he is thinking.Of course, this is existentialism to warm the hearts of the cult of victimization. Existentalism supposedly stresses that an individual take responsibility for the consequences of one's acts. Not Nishi. Borrow money from the yakuza. What, they want it back? Kill them. The cops find out. Kill yourself and your wife.Really honorable.