Rashômon Reviews

June 17, 2010
April 22, 2010
What Akira Kurosawa and his tiny production team wrought is now an accepted maxim of modern life, a creed by which to live in a world where everyone has a blog and an opinion.
March 2, 2010
Not many movies make such an impact that their names enter into the language. Rashomon is such a movie
November 19, 2009
Akira Kurosawa's four-way account of a man's murder has become so associated with its central device %u2014 not to mention its myriad offshoots %u2014 that it requires an effort to see it only for itself.
November 13, 2009
Film buffs should love it. But so should anyone who appreciates a good yarn or two (or three or four).
Top Critic
April 20, 2009
Rashomon is a novel, stimulating moviegoing experience, and a sure sign that U.S. film importers will be looking hard at Japanese pictures from now on.
October 16, 2008
This caused a flurry in critical circles for its brilliance of conception, technique, acting and its theme of passion.
February 21, 2008
Kurosawa is always worth a look but this is a particular classic that has influenced so much to come, it's almost essential.
February 21, 2008
An impressive piece of work, visually and rhythmically masterful.
Top Critic
February 9, 2006
Its virtues are still plentiful: Kurosawa's visual style at its most muscular, rhythmically nuanced editing, and excellent performances.
October 1, 2003
It's not often that a movie title enters the common vernacular, but these days when we describe something as Rashomon-like we are referring to this movie's presentation of multiple versions of the truth.
May 20, 2003
Much of the power of the picture -- and it unquestionably has hypnotic power -- derives from the brilliance with which the camera of director Akira Kurosawa has been used.
December 13, 2002
June 1, 2002
The wonder of Rashomon is that while the shadowplay of truth and memory is going on, we are absorbed by what we trust is an unfolding story.
January 1, 2000
Kurosawa's most brilliant move in Rashomon is never to reveal what really happened. We are left to make our own deductions.
December 26, 1951
What Kurosawa implies in this haunting film is that in the retelling, inevitably every man will make himself out to be the hero or villain of the story.