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Many martial arts fans have seen Zhang Yimou's masterful epic Hero on import DVDs over the past two years. But that didn't stop moviegoers from giving the film an enthusiastic reception this week as it opened on big screens in America at last. Miramax put the film in more than 2000 theaters and inherited the box office crown, earning more than $18 million for their gamble, almost twice what experts had predicted. That's an incredible feat for a subtitled film.

But Hero's most remarkable achievement may be the way it is scoring with both audiences and with critics, including those from the religious press. Last week, Film Forum featured two reviews, both giving the film top marks. This week, the raves continue.

Carole McDonnell (The Film Forum) raves, "Hero is a martial arts film for those who hate martial arts films. It's a pretty art film for those who hate pretty art films. And if you have not seen it, please see it now." She adds, "In Hero, we have the uniting of a kingdom through love and self-sacrifice. Destiny, devotion, agony, and fellowship are all beautifully depicted. And shouldn't an audience be treated to the beautiful … especially when the true ugly horrors of war are depicted so realistic every day in the media?"

J. Alan Speer (The Phantom Tollbooth) raves, "Hero's ocular delights cannot be overstated. Every page of my notes is littered with 'wow' from top to bottom."

Speer also provides an in-depth look at the genre, and then examines Hero's place it. "It is an unrivaled spectacle that effectively spoils us for anything future iterations the genre may offer," he says. "Hero stands at the apex of the art, as every individual shot could probably be framed and mounted. We've finally got a Kung Fu film that transcends its own genre to become the best of all possible worlds. If there is a more enthralling motion picture to come out in this or most any year, this writer hasn't seen it."

Tom Neven and Bob Smithouser (Plugged In) combine their efforts for this review: "This is a stunningly beautiful movie with jaw-dropping photography and dazzling martial arts choreography. It has the complexity of Akira Kurosawa's Rashomon and the spectacular cinematography of his Ran. Perhaps director Zhang Yimou is taking up the mantle left by the Japanese master when he died in 1998. Zhang has a wonderful eye for color and symbolism. [The film] introduces mature, morally complex themes Western audiences aren't often challenged to consider. We're left to ponder whether the end justifies the means in some cases. It is a complex story where mixed motives run headlong into notions of honor and vengeance."

Josh Hurst (Reveal) gives it an "A": "Underneath the swagger and the thrilling fight scenes, there lies a rich and rewarding exploration of moral and philosophical issues. Simply put, Hero is one of the most delightfully and joyfully stylish films ever made. Hero's bold, bright colors are its masterstroke … the movie's brilliant hues make it mesmerizing and entirely unforgettable."

Steven D. Greydanus (Decent Films) gives it an A-minus: "Watching Hero, I'm acutely aware that this is neither my world or my worldview, and the film is not moving to me in the way that The Passion is. Crouching Tiger, too, was emotionally far more resonant than Hero. Yet my admiration for its cinematic achievement is as great, and I am profoundly grateful for this breathtakingly beautiful glimpse into another world."

J. Robert Parks (The Phantom Tollbooth) voices some misgivings. "Maybe my expectations were too high—the film has been the subject of feverish Internet speculation for months—but Hero doesn't quite deliver on its potential." But he also joins the others in praising Zhang's visual spectacle: "Working with Chris Doyle, one of the finest cinematographers in the world, Zhang achieves a purity of color rarely seen in movies. Doyle also has a way with widescreen compositions that brings out the majesty of space."

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September (Web-only) 2004, Vol. 48