Rating: 
Summary: A Near-Masterpiece
Review: You have to let this film wash over you for the first few minutes; it might take a quarter hour to fall under its spell. But you will, if only because Forest Whitaker's Ghost Dog is one of the most interesting and sympathetic characters in modern cinema. The drag you might feel at the start returns at times, particularly when director Jim Jarmusch puts his characters behind the wheel. As in his "Night on Earth," Jarmusch seems to believe that the way people drive reveals their character. Perhaps, but not when Jarmusch is behind the camera. Another director might not have had the vision to put this near-masterpiece of intimate cinema together, but Jarmusch's great flaw of somnulescent editing infuses the film. That said, this is a movie about characters living with outdated world views. We befriend Ghost Dog, who is a hired killer, and dislike the Mafia capos for whom he works. Yet both live by codes that have become obsolete, and both hurtle toward tragic ends brought about by strict adherance to their out-of-date ideals. Even so, there is grace and beauty in Ghost Dog's adherance to the samurai code, and his ideals allow him to embrace his inevitable end in a way that those around him cannot. If Kurosawa was a young filmmaker today, this is the sort of movie he would likely make. It would be a better film in his hands. Yet despite Jarmusch's technical failings, he succeeds at creating an absorbing movie that is driven by fascinating characters and the brilliant performances of the actors who play them. The soundtrack, produced by Wu Tang's RZA, manages to bridge the tension between the characters and their very different millieus. "Ghost Dog" is a movie of quality that falls short only because it aims so much higher than its peers.
Rating: 
Summary: Poopin' Great
Review: Man that one part in the movie where Ghost Dog is all, "Hey, I'm a Samuri" is great. The whole movie you're trying to figure out whether he's a ghost or a dog. Or maybe a ghost dog. But then he's all, "Hey, I'm a Samuri." Classic.
Rating:
Summary: Strange and touching story
Review: Occasionally, there comes a movie into movie land that can really touch you and then leave you grasping for the reasons why. Ghost Dog has an unusual premise in a young black kid who somehow becomes a pseudo samurai. How he reached this point is a mystery and remains a mystery throughout. His best friend (portrayed by another excellent actor) speaks only French... blah blah blah. This is an otherworldly movie. If you like it you will love it. If you don't you just won't get it.
Rating: 
Summary: I understand what they are doing, but...
Review: ... this movie is a really terrible way to go about doing it. I mean, it is almost painful to watch. Aside from a few truly excellent lines, it is a total waste. The pacing is slow, detracting from the meaning by numbing the mind. The acting is, Whitaker included, terrible. The French-English thing is overdone and tiresome. Absolutely nothing is realistic. And the swishing sound effect that accompanies Whitaker's movements is REALLY annoying. I would rather watch a marathon of the Look Who's Talking flicks than see this dog again. Woof.
Rating:
Summary: I'm glad I rented it first
Review: I don't quite understand why folks enjoy this awful film? It is riddled to the brim with horrendous acting (except for Forest Whittaker, as always), flawed plot, nasty editing, and some truly pie-faced mafia boys who aren't convincing in the slightest. What is intended to be a serious film about the utilization of the samurai code into urban American society tends to fall flat on its face, and oftentimes, I felt as if it was the fault of the director, inept at bringing the essence of the storyline to the screen. I still don't understand the symbol of "Rashomon", which is a character study about a murderer in 18th century Japan. If you're having friends over, this could also be rented as a great party flick; in the same vein as Ed Wood's "Plan 9 From Outer Space". There's one sequence where a "Godfather"-esque character is upset about a family member's death, tosses up his arms, and the camera literally stays with the group for a minute afterwards as the actors kick dirt around and fidget, apparently anxious for the director to yell "Cut!" In addition to this, the amount of shots with a "first take" feel is uncanny. One reedeming quality of this film would have to be the French-speaking ice-cream man, who played the mediator in some wonderful, philosophical dialouge.
Rating:
Summary: Teaching old dogs some new tricks !
Review: If you think its virtually impossible to create an original film about a hired killer working for the mafia, you have not seen Ghost Dog: Way of the Samurai. It's an imperfect film which will probably require about 20 minutes of patience before it absorbs you into its off-beat charms. Sticking with Ghost Dog will reward you with a quirky, original, and at times very funny, dark comedy. It's a film written and directed by indie film iconoclast Jim Jarmusch, and you'll find he remains very fond of fading out of scenes and creating interesting but not overly complicated visual motifs to play off of. He of course finds some quirky characters and relationships to amuse us with-particularly a french speaking Haitian ice-cream vendor who speaks only a few English words, but is mostly perfectly understood by Forrest Whitakers' Ghost Dog. Jarmusch also over-plays an interesting amusing idea (mobsters are always watching cartoons on t.v.) through repetition. Forest Whitaker plays Ghost Dog, a character who lives by a strict Samurai code and is ready to accept-even embrace death at any moment without fear. Whitaker's sleepy eyes and demeanor always add warmth to any character he plays, but what's surprising is how (like Hong Kong's Sammo Hung) Whitaker despite his size is able to move with a ballet dancer's grace. It's his balance, centeredness and grace that makes the outbreaks of violence somewhat surprising throughout the film. According to the samurai tradition, Ghost Dog has decided to live his life by, when a small time mobster (John Tormey) saves his life, Ghost Dog pledges utter loyalty to the mobster and is used as a contract killer by the mobster. Ghost Dog only communicates with his mobster master through messages sent via the pigeons G.D. cares for. The mobster contracts Ghost Dog to wipe out a made mob guy who's girlfriend is the mobster's boss' daughter. The daughter is present when Ghost Dog kills her boyfriend. The mobster Ghost Dog kills is the uncle of another under-boss (Cliff Gorman) who demands from boss (Henry Silva) that his uncle's killer be eliminated. Cliff Gorman really shines in his role as the under-boss who enjoys rapping to ten year old hip-hop hits by Public Enemy and Flavor Flav. Ghost Dog has been such a loyal, efficient contract killer for Tormey however this creates a dilemma. In one of the films' best scenes, Ghost Dog's master (Tormey) pleads for his servant's (Ghost Dog's) life and must try to explain the odd arrangements involving sending messages via Pigeon he has with the contract killer.. Tormey's mobster is told; "Better Ghost Dog than you, right?" and the simple plot of the film is set. What happens is not always what you expect. For instance, except for a couple of voice-over, Forest Whitaker doesn't speak any dialogue for the film's first forty-five minutes. He is a loner who keeps almost entirely to himself but calls the French-speaking ice-cream vendor (Isaach DeBankole) his best friend and befriends a curious little girl (Camille Winbush) he meets in a local park. At times the film erupts into brutal violence. I was reminded many times throughout the film of one of Jarmusch's idols, Sam Fuller (the great,under-appreciated director who's best films were in the late 50's/early 60's and include Pickup on South Street and Shock Corridor). Fuller would also find fascinating, original and somewhat experimental ways to present rather familiar plot lines to his audience. There's also a reverance and appreciation of the contexts Jarmusch draws upon. He does not do this in the somewhat plagiaristic fashion of a Tarantino (Reservoir Dogs and Pulp Fiction specifically) but in a way that utilizes ideas in very diverse material (like Seijun Suzuki's 1967 film Branded to Kill, books like Ryunosuke Akutagawa's Rashomon and Other Stories, Yamamoto Tsunetomo's Hagakure: The Book of the Samurai, and most surprisingly Mary Shelley's Frankenstein). All of these are combined with GoodFellas set in urban setting with a hip-hop soundtrack by Wu Tang Clan's RZA. Hagakure in fact serves as Ghost Dog's bible and is quoted (in English) with quiet voice-overs and inter-titles 13 times throughout the film. It's a risky thing for a film to include it's own annotated footnotes, but Jarmusch pulls it off. The balancing act only fails when it turns in on itself and concludes in a classic Western showdown. Even so, it's not an unsatisfying compromise, but a willingness of Jarmusch to submit to audience expectations and keep things within a defined conventional narrative. If you're looking for an original, but still entertaining crime thriller, Ghost Dog should more than satisfy. Chris Jarmick Author of The Glass Cocoon with Serena F. Holder - A steamy cyber thriller...
Rating: 
Summary: A superior/similar film is Le Samourai by JP Melville
Review: Jarmusch does some interesting things with Ghost Dog, a solidly artistic film, but a similar film, Le Samourai by Jean-Pierre Melville is an incredible film and a masterpiece in cinema. Jarmusch uses some of the same themes that Melville used; a romantic and unrealistic look at a professional killer; an old-fashioned protagonist who cannot survive in the modern world; existentialist thought. However, Melville managed to create a more subtle approach to his film, creating a different (and in my opinion, superior) approach to all of his themes. Jarmusch has Ghost Dog (the title character) explain to an Italian Gangster what Bushido is, and has Whittaker continuously quote from Hagakure. Jarmusch feels that he has to explain all of the underlying themes, that his audience needs to have everything clarified; this stands in contrast with the Eastern philosophy of restraint and minimalism. Melville however, presents the samurai aspect of Jef Costello (the protagonist) through subtle character development, and the Hare-Kiri at the end of the film. Melville captures the contrasting elements of Jef--a lone schizophrenic--with much more restraint and subtlety than Jarmusch; Jef's dialog is minimal, his face a mask that betrays no emotion (which is very appropriate to the etiquette of a samurai and the tradition of saving face.) Of course these two films are different, both directors do great things; but if you liked Ghost Dog (which I did) or even if you didn't, definitely check out Le Samourai.
Rating:
Summary: Go There
Review: I would go there again. Picked up at a video store on a whim this movie is now on my "I Want That" list. I was amazed at how good it was. I expected Jackie Chan in the ghetto and I got Olivier instead. Mr. Whittaker is a stellar actor whose low-key portrayal captivated me. I particularly liked the segueing of the cartoons to the next action. If you pay attention and stay "awake" in the Buddhist sense, this movie will move you. Too many ironies and subtleties to go into so suffice it to say that if you like art movies like "Widow's Peak", you will enjoy this.
Rating:
Summary: that's entertainment
Review: What a great feel they achieved with this movie. These cool samurai quotes pop up in between scenes with Forest Whitaker narrating, and there are these little things that kinda make you feel good. An ice cream man that speaks no english and is best friends with Forest who speaks no french. Great music throughout, there are even some funny parts with the mobsters. Not cheesy at all, the fighting is good and the story is solid for a movie like this. If you enjoyed RONIN or Leon the Professional you'll definitely dig this flick.
Rating:
Summary: Bizarre and Lyrical
Review: This was my first Jarmusch film. It is just your ordinary hip-hop-samurai-mafioso-cartoon lover-literary film. You have seen movies with elements of Ghost Dog before, but you have never seen anything like this. Cartoon watching, rapping Mafiosos. A hip-hop samurai. Yet, it is not a comedy. This movie is really about codes of honor, respect, and I dare argue some kind of hope. It is strikingly original and the hip-hop score works wonders. Forrest Whitaker, a supremely talented actor, gives a masterful performance. I was intrigued by the newspaper reviews, but I think the standard reviewers were confused. What I love most about this movie are the chances that Jarmusch takes. I would love to see the mainstream studios put out bold pictures like this. The extras on the DVD, particularly the documentary and deleted scenes are not so good. I would have preferred Jarmusch and Whitaker on a commentary track. Still, take the risk and watch it.
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