Exoticalot People are voting emotionally.

Fairaher The film makes a home in your brain and the only cure is to see it again.

StyleSk8r 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.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

herbprof-739-348592 I do not have the language of a movie critic, just that of someone who appreciates the art. I have seen a lot of martial arts movies and I rate this one highly, not that it was real slick, but because of its simplicity and a nice feeling of time and place. I enjoyed the fight scenes because I have not seen many hard style films. So this was a treat to see actors who are Masters keep the fight scenes (with few exceptions), dynamic and strong. This movie captured my mind many times and gave me the immediacy of, "how would I react in similar situations?" And if I was up against a well trained fighter of this style, how would I do? Like many of the reviewers, I was also at first confused by the final words of the master. As the movie progressed my interpretation was to fight with no mind, "mushin no shin," fully aware, not fixed, no plan, no target, no thought, no emotion. With just the body and deep consciousness in-charge, ready to express the art spontaneously as the fight presented itself. If you are truly in the no mind state you are not striking, "it" is doing the striking (I have had that experience but not as much as I would like). I did not see this in the final fight. But I would think that even the best martial artists would have a difficult time with that expression of the art as an actor, far too dangerous.

rdmottern-708-147387 Awesome flick. I have nothing to add to the other reviewers comments, except that with 40 years of studying Goju Ryu Karate (the martial art depicted in the film) - I LOVE IT! No, the ending fight scene isn't the most realistic, but I think we're dealing here with an artistic representation. This I a piece of cinema, not MMA. Kuroobi joined After the Rain as one of my favorite Japanese films, and favorite films, overall. Great spirit in the film and it poses a number of philosophical questions that we, as karateka, daily struggle with as we try to make karate an integral part of our lives. Karate is life, life is karate. This is part of the struggle depicted in the film. While this definitely isn't a kid's night movie (the themes are a bit too mature for that), it does lend itself to peer discussion or use as a teaching tool with adult students.

Mat I'll say right off the bat, that I enjoy martial arts period pieces set in turn of the century China or Japan, so Kuro Obi was in favour from the off.By the same token, the film starts with lots of kata practice and other kihon that is completely as it is practiced in modern dojo, so the sense of connection with my art also won my approval.But things quickly took a turn for the worse with the whole "do not attack first or strike at all" theme. The idea of non-aggression is one thing, but no martial artist of note ever recommended being beaten up and never fighting back. The fact that this theme is so pivotal just indicates that the film was conceptualised by someone who never really understood the art. That this is finally revealed to mean that one is most vulnerable during attack, is another misunderstanding of the nature of combat. One is only vulnerable during attack if one's attack is ineffectual, and one is not aware of the potential for counter-attack, but I prefer the axiom "action is faster than reaction".I really liked the example of one-hit one kill throughout the film, and although it was just window dressing, scenes of the fighters practicing is beautiful locations were both enjoyable and served to establish a little credibility. The acting was very much in the oriental style, which is so over the top as to be almost operatic. Don't criticise the style - it's cultural.Ultimately, what massively let this film down was the ridiculous final fight scene, and the glib, pointless, vomit-inducing ending.The whole idea of the belt and the martial ethics portrayed in the film, simply demonstrated how little the writer truly understood the spirit and value of karate.The great tragedy is that this is one of the most karate-sensitive films ever released, but ultimately it took the easy route, instead of looking at the deeper ethics of balancing martial skill with human needs and weaknesses.If you want to see a better karate film watch "Fighter in the Wind", the semi-fictional biography of Mas Oyama, founder of Kyokushin.

kobushi Not sure what the other guy is talking about, but the movie is awful, and I speak from the perspective of one who has almost 10 years experience in the art presented in this movie.Plot (minor spoiler alert): The chasing of a piece of cloth has so little to do with karate that it's silly to even make a movie where this is one of the central plot items. The two characters, Taikan and Giryu compete for their teacher's black belt, which is one of the silliest things that karate people work for. Karate training, actual hard work, body development, and realistic self-defense take a back seat to the competition for something to keep your uniform closed.Acting: For some reason, people seem to think that posing and sulking is acting. It's not. Yes, I suppose the two main characters' acting is better than, say, that of the Military Police in the film or what you see in previous karate movies like Black Belt Jones, but I wouldn't be proud of it. At the best of times it's wooden, and at the worst formulaic. Granted, the script didn't give them much room for much acting, but it didn't sell me. The military police were absolutely terrible - they might as well have walked on and said nothing but "I'm eeeevil, mwahahaha..." Not even a wooden performance, a melodramatic cartoon that would have been better acted by Muppets. (Actually, that might have made the movie more watchable.) This may be what people are calling the Asian style, but so many other Japanese films over the years manage much greater subtlety of character and motivation, and can convey wrongness of character without resorting to overstatements. It's like saying fried Mars Bars are cultural cuisine - they're not, and there are many better things you can do with the ingredients.Direction: Much more emphasis on poetic scenes of people doing karate in tall grass or meditating in windy areas or looking tense and conflicted. The scenes are beautifully and clearly directed, which is the only reason that this gets two stars rather than one. However, the red balloon scene after the beating of Giryu is unrelated to anything and doesn't actually have anything to do with the plot, showing that the director is just trying to play up the "beautiful poetry of Asian cinema" aspect of the film rather than actually trying to make a good movie. More like "Look! Look! This is pretty! Ooh, this too! Look! Imagery..." Basically worthless to the story, but then, they couldn't make a decent movie, so they might as well make it look nice.Fight scenes: JKA Point Kumite is not a fight scene, and techniques from said kumite do not make for good fight scenes. I've never seen anyone in any real fight ever jump in, punch, and jump out again. Not going to happen. Likewise, the "block only" circular patterns that are supposed to cover the Goju-ryu part of the movie does not make for interesting fighting, or any sort of powerful set of techniques that we can believe. Finally, the lack of grappling, tegumi, locks, and throws show just how bad karate is being misrepresented in the film. It's simply a bad sport karate demonstration with no relation to the real art.Overall, this movie is not worthy of the title of karate movie, and I feel should be struck from the record.