Rating: 
Summary: FIRST-CLASS DVD FOR A FIRST-CLASS DIRECTOR
Review: Winner of the Golden Lion of the 1997 Venice Film Festival, HANA-BI aka FIREWORKS is the movie that revealed japanese director Takeshi "Beat" Kitano to the international movie audience. Only a few curious movie lovers knew then Takeshi Kitano through SONATINE, A SCENE AT THE SEA or BOILING POINT.Firstly, I would like to point out the superb quality of this DVD presentation of New Yorker Films. Theatrical trailers (american and japanese), filmographies of the main actors, an excellent featurette presenting Kitano at work during FIREWORKS shooting, a gallery of Kitano's paintings and, last but not least, interviews of the director discreetly hidden in the scene access department of the DVD. Thank you for these bonus features that allow us to know a little better this very interesting director. Like in Kitano's precedent movies, FIREWORKS describes the consequences of a crucial decision taken by the main character of the movie. Takeshi "Nishi" Kitano has had a bad year : his wife is slowly dying at the local hospital and his best friend is confined in a wheelchair, shot while Nishi was visiting his wife. Nishi robs a bank and decides to offer to his wife a trip into the japanese countryside before facing the consequences of his act. A good introduction into the imaginary world of this first-class director.
Rating:
Summary: The best movie in the recent 10 yrs
Review: This is the mature one among all Takeshi Kitano works.
I do not agree that somebody sat this is a dark and sad movie.
The leading role relutantly accept the arrangement of destiny.
He try to conquer something in the dark side.
we even can find this attitude in many tiny places. Also, some funny segments expose the humor talent of Takeshi Kitano.
Rating:
Summary: Suprizingly excellent film
Review: This movie is what film generally ought to be like, art. Low on dialoge (very low in fact- for those that do not enjoy reading subtitles), and big on vision. This film is not what is expected. See it for yourself you wont be disappointed. (WARNING: others seeing this film claim it to be dark, and sad. I do not agree with that, but the viewer should be warned.)
Rating: 
Summary: A powerful look into lives touched by tragedy
Review: Kitano wrote, starred, directed, and edited this powerfully touching look into lives touched by tragedy and joy. It's a haunting affair guaranteed to linger with the viewer for weeks after. Beat Takeshi is Detective Nishi, a decorated Japanese police officer whose life is crumbling around him. His wife, Miyuki (Kayoko Kishimoto) is suffering from terminal cancer, their young daughter has died, and his partner, Horibe (Ren Osugi) has been shot and paralyzed (while covering for Nishi). And if all that wasn't bad enough, he owes a fortune to a Yakuza loan shark. So, in order to pay off his loan, and take his wife on one final road trip, he robs a local bank - setting in motion a series of events that will change the lives of all involved forever. Like the rest of Kitano's films, the plot here is really of minimal importance. Kitano's movies are intricately detailed character studies with bits of comedy, action, and drama thrown in. There's a recurring minimalistic sensibility at work in each of these movies, making them the antithesis of bombastic Hollywood films. In true Japanese style, everyone's extremely stoic regardless of the situation, yet there's always a barely perceptible sense of extreme emotional turbulence just beneath the surface of the icy demeanors - a turbulence that can explode either through brutal violence, lighthearted comedy, or a touching gesture. The fact that you're never quite sure which emotion you're going to get only makes the scenes that much more intriguing. There's very little dialogue in Fireworks, as Kitano once again demonstrates that film is a visual medium and that action should be shown through what the character does, not what he says. The film features a ton of static shots of the various characters - shots where they do nothing, and say nothing, at least not until they've decided what their course of action should be. It's a hypnotic style of filmmaking - one that takes a bit to get used to, but once you grow accustomed to it, makes perfect sense. Presented in its original widescreen (1.85:1) format. The print is clean, but there is a subtle flaw, as weird digital blurring sometimes occurs as actors move through scenes. Nice Dolby Digital 5.1 audio track -- however the film's strength is its LACK of sound during intensely violent scenes. In Japanese with English subtitles. The scene selections are divided into five categories, each with an available interview segment with Kitano. Behind-the-scenes featurette stands in stark contrast to the flick's tone -- the cast and crew are laughing and having such a good time. Includes Japanese and American trailers.
Rating:
Summary: Oh wow!
Review: Another masterpiece from Kitano, and not far away from the fantastic "Sonatine", but this is my opinion and there are many people who rate this one higher. Anyway, "Fireworks" (or "Hana-Bi" as it is called in Germany) is a must-see for anybody who likes movies and worth its price!
Rating: 
Summary: One of the 90s best
Review: Hana-bi (Fireworks) feels like an art film. The artwork that appears throughout the film is Takeshi Kitano's (director and main star). In order to look at the film I'll have to use my insight of having seen it. Otherwise it would be too confusing. Kitano's character, Nishi, is a cop whose wife's terminally ill. The general tension of the film is due to Nishi not talking for 98% of the time. It would seem that this because he's so depressed by life that he's shut it out. Perhaps the most shocking aspect of Hana-bi is how the violent scenes are conducted. They're quiet and to the point with no build up to the events. The violence is almost natural. Of course, some scenes are childish, inspired by stuff like Dirty Harry. This is what gives Hana-bi its entertainment. It's cool. So cool I felt like wearing shades whilst watching. Flashbacks are used to explain some of the events. Music also plays and important part. It's usually used in landscape scenes when the music can touch the spectator in a melancholy way. Although Kitano's directing is amazing in its intensity, use of colour and observation, his films are helped by comedy (Kitano was a comedian before he became a director), like, for example, playing games with his wife. Hana-bi (Fireworks) shows me life's emptiness, a dull echo, prevailed only by a sense of humour and acceptance. I recommend it to art-buffs as well as anybody who can take the dramatic tension.
Rating:
Summary: Utter garbage, vastly overrated.
Review: This film is absurd in all the worst ways; it reminded me of Norman Mailer's TOUGH GUYS DON'T DANCE -- almost bad enough to make you wonder if it's supposed to be some sort of sophisticated put-on. It isn't, though, and that makes all the praises being poured upon it all the more confusing. Kitano has a wonderfully expressive face, some talent as an actor, and a reasonably good eye, particularly when directing scenes of violence. His first film as director, VIOLENT COP, made before he also began to also write and edit his output himself, was a pretty good Japanized take on films like DIRTY HARRY and DEATH WISH -- formulaic, but competently done. FIREWORKS features trademarks from that time, such as a strong, silent, glamorous protagonist, played by Takeshi himself,who is more likely to solve a problem by pulling a gun than by saying anything; and violence that comes in short, sharp shocks that become predictable in their unpredictability and sometimes seem amazingly sadistic. But these elements are landed in one of the syrupiest, most insincerely sentimental tales I've ever come across, of the tough guy cop nurturing his dying wife and crippled partner. Time and again we're treated to close-ups of Takeshi in sunglasses, staring off into the distance as strings saw away on the (trite, trite) soundtrack, and invited to empathize with his pain and marvel at his depths and compassion; I just sat stunned by the hugeness of the man's ego and his apparent utter lack of shame or taste. Abunai! Oh, yeah --Kitano's paintings are pretty darn bad, too. It's amazing what people will swallow if you're willing to spoon-feed them, ne?
Rating:
Summary: A Masterpiece in the Art of the Film
Review: How can one express true beauty? The answer to this question is one of the most precious and sought after in the minds of all beings in this world. I, myself, have not the answer to this question. I cannot truly express how this film(not movie) effects me as the work of art that it is, but i will do my best. The Japanese believe that what is not said is just as important, if not more, than what is expressed in words. This concept is the keystone of the work's power. Kitano's acting and directing are astounding. Nishi, the man of few words and both violent and mindful, compassionate action twiches, as the two sides are in eternal conflict. He is most definately a character that can be put into the same category as memorable characters such as Hamlet, Raskolnikov and Camus' Mersault. I am overwhelmed by the paintings created by the crippled detective and the raw power and energy that are manifest in scenes of both complete serenity and extreme violence. If film and art are your passion, please do not miss out on this beautiful work.
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Summary: Film's Violence Secondary to "Beat" Kitano's Performance
Review: Takeshi "Beat" Kitano shares Michael Caine's mastery of understatement, non-verbal clue, and eye contact. If you're looking for a cinema actor of the first rank, Kitano is the man, and "Fireworks" displays him at the top of his form. Usually hyped for its violence, "Fireworks" could just as easily be classed as a study in tenderness. Kitano's self-sacrifice for his crippled partner and dying wife is the true theme of this picture. This 1997 Venice Film Festival Grand Prize Winner is a fine introduction to Kitano's work. I was so struck by this work that I viewed it three times in a row - first for the initial impression, second to study Kitano's direction, and last to revel in his technical mastery of the actor's craft. I advice you to do the same.
Rating:
Summary: The Perfect Kitano Film for Beginners!
Review: In case you have never seen a Takeshi Kitano film, this would be the perfect one to start with. Although it's not his first film (that honor belongs to the equally excellent VIOLENT COP), it contains all of the trademarks that would make him an international star: The quiet scenes which suddenly erupt into shocking violence, his apparent lack of emotions, an abundance of drama, etc. Kitano (who always acts under the name "Beat" Takeshi), stars as the seemingly mild-mannered Detective Nishi. However, the anger inside of him is brought out when his partner on the force is paralyzed from the waste down and is confined to a wheelchair for the rest of his life. As if that's not enough, he then finds out his wife is dying of a disease. His true self comes into light when members of the yakuza track him down, demanding the money he borrowed from them for his wife's operation. This has some of the most surprising scenes of violence I have ever witnessed in a film. In what other film is the main star sitting calmly at a table one minute, and shoving chopsticks in a man's eye the next?
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