Just finished watching Seven Swords. I have no idea why people are so against it. Sure, at 2 and a half hours length, it is still missing over an hour, but I had no trouble understanding the story, and to me the characters were pretty fleshed out. For some reason people are dead set against this film, and I wonder if it has to do with Crouching Tiger, Hero and Daggers?

Maybe these people haven't seen The Bride With White Hair, The Blade or films like that. I get the impression that many complaints are leveled by Hollywood trained fans who don't yet understand the context of this film. Whatever the case, this film deserves accolades for it's imagination and for hewing so close to sword fight movie tradition.

The action was fantastic and the fights were creative and very clever. Yes, they did it with wires. That's why we keep coming back. The swords themselves rules, and the cinematography had that Tsui Hark attention to detail. The middle of the film has mostly dramatic elements, building up to a huge finale. I never thought it dragged on, and I found myself rapt until the final credit rolled.

Seven Swords was beautifully shot, the characters embodied the fantasy perfectly and acting was full of heart. Get it.

how many years has tsui hark been plodding along? and still he turns in this solid effort while the film industry in HK are still going down hill at the box offices.

yet he goes out to the XinJiang wilderness and do this 7 swords - an ensemble cast from an Chinese paper pop wuxia column written in the 50s. for what you have to wonder? fame... fortune ..love of the movies? could be .. or maybe more.

this film is meticulous, well told, well styled, with an interesting choice in action director to boot: the old timer, Lau Kar-Leung, who is not a specialist in sword play. why again? meticulous in the constant mix of medium and close-ups -- his style, and washes these with occasional wides. here he adds the constant flash-backs. meticulous in color control, lighting, the heat of the battle, the heart of the story.

His movies are kind of a Chinese comic book; or the Chinese science fiction. it is arguably for the Chinese spirit, documents upon documents of the Chinese mind set, the hopes and dreams in the culture (because of suppressions?), ideals and philosophies and sustainment of what maybe to him -- that are Chinese? and yet universal at the same time? i'm reaching sure. but i'm Chinese after all.

With this film, the Asians seem to have reclaimed the "Seven Samurai" plot line but here the seven are somewhat haphazardly chosen (since the skill lies not with the person itself but the particular sword he or she brandishes, hence the title). However, by concentrating on the romantic complications in which a few of the main characters become embroiled, some of the warriors are kept too much in the background…but the leader of the seven is as unassuming as Takashi Shimura had been in SEVEN SAMURAI (1954), while the chief villain is flamboyantly played in the manner of Eli Wallach from THE MAGNIFICENT SEVEN (1960)! There is no denying the fact that its mainstay are the epic scope of the production itself (highlighting the meticulous period detail) and the elaborate action sequences which, thankfully, are rarely implausible - as most actioners from Asia (even the more critically lauded ones) tended to be of late! Apparently, the film (which runs for more than 2½ hours) was trimmed down from an even longer version; though the IMDb doesn't mention this, a Maltese friend of mine who's a veritable Asian-film nut assured me of it…and, in fact, the narrative did feel kind of choppy to me!