Ronin (1998) User Reviews

Car Insurance in France must be expensive ...

[coldwave171 · 8/10 · 23 April 2003]

I picked up this DVD in Asda's a few weeks ago and seeing it had Robert De Niro starring convinced me enough to buy it. Then seeing in the credits it starred Jean Reno, Sean Bean and Jonothan Pryce too made me realise I was watching a winner here.

I wasn't wrong either, this film is brilliant. The beginning is slow and tense; dark, clear colours in the picture sets the mood perfectly. From then on most of it is pretty much action.

Five mysterious men of various backgrounds (ex-CIA, KGB etc) meet in Paris, France for a job headed by a Northern Irish woman. The job is to steal a case from a group and return the case to their as yet unknown employers. Just as things seem to run smoothly, one of them is a double-crosser.

Now for some of the best bits, the car chases. These are shot magnificently as Peugeot's, BMW's and Audi's tear through the streets of Paris. These chases are the most thrilling chases I have ever seen. And when you get chases, you get crashes. Think on-coming traffic chases and you might get the picture.

This is a must see film. 8 out of 10.

Pay attention.

[sdlocalhead · 8/10 · 25 May 2006]

A great movie that you can't just watch with one eye. It starts slow, laying a strong foundation, and if it's on TV, it's easy to get lost by not paying attention at the beginning. However, it's an outstanding film, exploring the characters with a huge action movie in the background.

It's visually interesting and doesn't ever let you know the things you think you need to know, but by the end you've forgotten that you wanted to know them in the first place. Robert DeNiro gives a strong performance and doesn't get lost in some of the showiness he can deliver when he's making up for a weaker story, and the supporting cast is full of familiar faces, many of which blend so well into the characters they play that, again, you can become lost in the story (although this time, it a good way).

An exciting film with tour de force performances by De Niro & Jean Reno

[Nazi_Fighter_David · 8/10 · 23 June 2007]

The movie begins with a bunch of international mercenaries, five to be exact, gathering in a bistro in Paris Working only for money, their job was strictly to take intact a metal suitcase from several men-very well armed- who'll be intent on preventing them No information was given about its contents, value or purpose

An extraordinary cast of actors forms the group:

Robert De Niro, the ex-CIA agent and expert strategist; Jean Reno, the French mercenary; Stellan Skarsgard, the mysterious computer professional; Sean Bean, the ace field man; and Skipp Sudduth, the specialist in driving getaway cars

Dierdre (Natascha McElhone) is the icy Irishwoman who explains the mission, but she is not necessarily the one fully in charge It seems that the 'handler' who pulls the strings is an Irish fugitive called Seamus (Jonathan Pryce).

The film becomes tense and very exciting when one of the five members double-crosses the rest of the team, replacing the suitcase and leaving with the one they got Here appears a mysterious man- apparently in love with Natacha Kirilova played by Katarina Witt, the East German figure skater, 4-time world champion-interested in the suitcase

"Ronin" combines exotic European locations with the most sophisticated movie car chase ever filmed on a superhighway when McElhone takes her black BMW through the wrong lanes followed by De Niro in a blue FWD Peugeot

De Niro is great to watch as the tough Sam, who remains cool regardless of the peril of the operation Equally not susceptible to alarm are Skarsgard and Reno Natascha McElhone brings a chilling, glacial quality to the role of the forceful woman not afraid of anything

Frankenheimer doesn't recapture the intensity he once created in movies like "The Manchurian Candidate," and the "French Connection"

better the second time

[MrsRainbow · 21 March 1999]

For its genre, Ronin is a good film. I don't think it's quite fair to criticize it for what it is not, such as saying that it's a poor film because there are movies out there with better car chases.

I saw it at the theatre and thought it was OK, saw it on video expecting to be more disappointed, and actually liked it better the second time.

I don't think the plot is as difficult to understand as some might claim. I had no trouble following it. Whether or not it's credible, well, how many action films are? It's credible enough for me to watch it and not say is this ever stupid. That's about all that I look for in an action film, sorry to say.

I actually enjoyed the dialogue for the most part. DeNiro and Reno in particular were solid. The film did begin to fade towards the end, especially once everyone was in the skating arena. I appreciated Frankenheimer showing as much of France as he did. That was a bonus.

So, yes, I could point to a number of flaws in Ronin. But, perhaps because of my low esteem for action films overall, I would say it's a worthwhile watch if you're an action fan, or a DeNiro fan, as I am.

The ultimate McGuffin

[smatysia · 7/10 · 14 March 2005]

A pretty decent action outing for Robert De Niro and John Frankenheimer. Good photography of some of the seedier neighborhoods of Paris and other French cities. This film is quintessential De Niro, and he gets all the good lines. There is an interesting revelation at the end, which I will not reveal here. The case everyone is after, is a complete McGuffin, what Hitchcock called that plot device, the thing which everyone wants, and it doesn't really matter exactly what that is. I think that Frankenheimer may have been paying homage to Hitchcock on this, as what is in the case is never revealed. Apparently David Mamet was the script doctor on this film, and it ended up OK. I am of two minds on Mamet, having liked "The Untouchables" a lot, and disliked "Glengarry Glen Ross" and loathed "Oleanna". I also liked Natascha McElhone, who I had never heard of. She is a beautiful and accomplished actress. Some people complained about her brogue. OK, she's not Meryl Streep. But then again, who is? A lot of actors won't even try. I look forward to seeing more of her.

Oh, yeah, and some of the car chases were really, really cool, almost McQueenian.

Brilliance

[CuriosityKilledShawn · 10/10 · 10 February 1999]

John Frankenheimer didn't have a lot of credibility in his last few years. His final film was the rather crap Reindeer Games, with Ben Affleck, and in 1996 he gave us the utterly terrible Island Of Doctor Moreau. However, he did do Ronin in 1998, which makes up for absolutely everything.

It is a detachment from glossy, MTV-directed, Hollywood action movies. If you want trash, like Bad Boys 2, then this isn't for you. Ronin returns to the gritty, rustic and deadly serious actioners of the Seventies, much like Frankenheimer's own French Connection 2.

The title refers to Samurai warriors in ancient Japan who were left with no cause, or purpose, if their master was killed. They'd roam the countryside, pretending to be thieves, beggars, even madmen and hiring their skills out to the highest bidder. Much like the lost, wandering freelancers that make up our cast of characters.

Robert De Niro is Sam, an ex-CIA agent (or is he?), who bands together with a ragtag group of similar ex-spies for a "no questions asked" job with what appears to be the IRA. First we have Vincent (the wonderful Jean Reno), as a French agent who knows where to find just about anything you want. Spence (Sean Bean) is a gung-ho SAS dropout who is waaaaay out of his depth and ends up jeopardising the whole mission. Gregor (Stellan Skarsgard), an ex-KGB spy who knows his gadgets and another American called Larry (who is rather disposable). All of these men are led by Deirdre (Natascha McElhone), a young Irish woman who answers to Seamus O'Rourke (Jonathan Price), an IRA boss who is in a lot of trouble with his superiors.

Still with me? No? Well I'm gonna continue anyway. The group's mission is to steal a metallic briefcase from the Russian Mafia. The contents of this case are a mystery; all we know is that a lot of people are willing to pay mucho plento to get their hands on it.

As if the set-up wasn't tenuous enough, there is immediately too much suspicion within the group to bear. And the already complicated plot is thrown into endless chaos as double-crosses, double-double-crosses, secrets and lies screw things up in a big, big way.

It sounds tough going, but it's not really. I'll admit I didn't really like Ronin when I first saw it (or the second or third for that matter), but it's one of those movies that creeps back on you. Frankenheimer's direction is so flawless and masterful that every frame of every scene flows effortlessly The acting is so well rehearsed and the cast so well chosen that even in every gesture, idiosyncrasy and subtle glance you can read into the characters's hidden motives. It takes a good number of viewings to decipher Ronin, but when the story is this well done, who cares? Since its release there have been few action films that have come close to its intensity. Some, like Bourne Identity/Supremacy try to emulate its bleak tone, but don't match up. Supremacy has a car chase that was desperate to beat Ronin's, but is far too flashy.

That's also the ace up it's sleeve. About 80 minutes into the film, the second car chase is a juggernaut of film-making. Never before and probably never again for a long, long time, has there been a car chase so completely mental. No Michael Bay 1000 cuts a second, no slow-motion, no stunts silhouetted against the sunset, just sheer, relentless adrenaline, as DeNiro and Reno tear up the streets of Paris. It's the centrepiece of the movie and a perfect example of what REAL action film-making is.

Elia Cmiral's score is the other utterly perfect aspect of the movie. Simultaneously lonely, seductive and mysterious, it surely is one of the best themes ever and anyone with sense would go out and buy the soundtrack CD right away.

Ronin is perfection from beginning to end, from Frankenheimer's strong, imposing direction to David Mamet's script, riddled with cryptic dialogue and double-meanings.

No one can deny Ronin's importance as a real action picture. No one can watch crap like xXx, or 6 Fast 6 Furious, and claim Ronin to be a bad movie. It has enough, maybe too much, integrity and intelligence to shame anything that comes even halfway close. If you're sick of action flicks, or films in general, where the audience just sits there passively and is fed information, then Ronin is the cure.

It may sound like a bizarre comparison, but it's on par with Lost Highway, as one of those movies you have to figure out in your own damn time.

A throwback to old-style espionage thrillers, with an unexplained plot but plenty of enjoyable action.

[barnabyrudge · 6/10 · 17 November 2005]

Watching Ronin is like going 25 years back in time. The European locations, the cold and cynical characters, the deliberately ambiguous and serpentine plot, the car chases, the treachery.... all these are the standard ingredients of those twisty spy flicks that were ten-a-penny in the late '60s and early '70s. And who better to direct this retro-thriller than John Frankenheimer, the man behind such genre masterpieces as The Manchurian Candidate and Seven Days In May?

A group of mercenaries gather in a Parisian warehouse. They don't know each other, and they don't particularly know why they've been summoned.... other than the fact that they're about to be offered a job worth a considerable amount of money. Among the group is Sam (Robert De Niro), an American "ronin" (the name once given to masterless Japanese samurai-warriors who used to wander across the land offering themselves as hired swords). Others include Frenchman Vincent (Jean Reno), English weapons expert Spence (Sean Bean), East European electronics specialist Gregor (Stellan Skarsgard) and ace driver Larry (Skip Sudduth). The team has been brought together by Irish revolutionary Deidre (Natascha McElhone), who eventually reveals to them that their task is to get hold of a mysterious silver briefcase. They are not told what is in the briefcase, merely that if they want to get their hands on their money then they must steal the said briefcase from a team of ruthless agents currently guarding it.

Throughout its running time Ronin keeps its plot very secretive (even at the end we never learn WHAT was actually in the briefcase). In some ways, this makes the story intriguing but it also causes a certain degree of dissatisfaction as many of the loose ends are still left untied as the final credits roll. De Niro gives a game performance as the morally complex "hero", and Reno backs him up splendidly in yet another of his charismatic, slightly villainous roles. The big revelation is McElhone, a relative newcomer, who holds her own with all these powerhouse stars without looking at all daunted. The action is excitingly shot, especially the film's regular car chases and shootouts. It's nice to see genuinely hair-raising stunt work being used to achieve the effectiveness of these action sequences, as opposed to the usual '90s dependency on digital trickery. Check out also the amazing scene in which De Niro has to cut a bullet from his own stomach, using a mirror and a sharp knife! While Ronin might be a throwback to the films of yesteryear, with a story every bit as murky and "cloak-and-dagger" as the old films it resembles, it still comes across as an enjoyable and pacy piece of entertainment.

Great action movie, Hollywood should watch and learn from this

[BroadswordCallinDannyBoy · 10/10 · 24 September 2005]

Every once in a rare while comes an action movie that is also a genuinely good film. This is one of those movies. What makes these uncommon movies what they are is simple: plot. No movie can compromise that and in recent years Hollywood has been doing just that to show off it's million dollar special effects and two cent story lines. This film has both pulse pounding breakneck action scenes and developed and interesting story.

The story starts when mercenaries are hired to retrieve a secret silver briefcase with mysterious contents. The mission goes awry with betrayal and we soon find out that everyone has their own motives and goals with the mysterious silver case.

The cast is good and the direction is smooth and keeps the story flowing and it'll keep you guessing right up to the very end about just exactly what is going on and who everyone is. Then, there are the car chases and they are awesome. Truly awesome and even legendary by now. Just like classics like 'Bullitt' and 'The French Connection' and goofy camp films of the seventies (like the original 'Gone in 60 Seconds') this film uses no hyper-crazy CGI in its action scenes and that proves all for the better since it is an action movie, but it cannot lose all it's credibility for the sake of some cars crashing. A thrill needs to be at least partly believable, otherwise it won't be thrilling. In fact the whole film has a more realistic feel to it with the relentlessness of the action being not over the top, but still enjoyable for fans of the genre. Then there are the characters who much more real as they don't snap wise cracks while shooting bad guys square in the head one handed with a pistol at 30 yards.

All in all, this is a very good entry in the action genre and Hollywood should take note. 8/10

Rated R for violence

Above average action/intrigue flick.

[=G= · 7/10 · 7 November 2001]

"Ronin" puts DeNiro at the center as a mercenary who is hired by people unknown to nab a case with contents unknown for reasons unknown. This international intrigue thriller set in France has all the usual Hollywood action excesses (car chases ad nauseam, stunts, pyro, firefights, etc.), and excellent cast, and even a bit of a story which keeps us, the audience, wondering what's in the case, why do they want it, etc. during most of the film. "Ronin" is all business from the get-go and a cut above the average Hollywood formula action flick. Worth a look for those who few who may have missed it.

Stunning car chases!! great movie!

[supertom-3 · 9/10 · 20 February 2002]

This thriller from veteren John Frankenheimer is pure excellence, the script, acting and action are top draw. De Niro and Reno are brilliant in this as of course you would expect from two such excellent actors. The action scenes are pulse pounding and particularly excellent are the car chases, probably the best ever. Not only did the stunt guys risk their lives but the guys shooting the action captured some truly thrilling close up view from the cars as they speed along. The action also carries a certain degree of realism to it, the shootouts are sensible and the car chases and crashes seem very genuine no massive corkscrewing threw the air like most car chases or cars jumping 100 feet in the air like in Gone in 60 seconds, which is all very good but not for this sort of thriller. The pacing of the film was great and there was a constant chilling atmosphere. As I said before Robert De Niro and Jean Reno were exceptional particularly in their scenes together. The support cast are good too with a brief but excellent display from Sean Bean and Natasha Mchelhone and Jonathan Pryce are both good as Irish terrosists with comendable accents. All in all a very god way to spend a few hours.

The Collateral Damage in this film is insane

[filgray84 · 7/10 · 23 August 2021]

One thing that struck me when rewatching this classic was the number of innocent bystanders or drivers that got shot or crashed into during the many epic shootouts or car chases in this film. I can't think of any other film with so much collateral damage caused by the cold and heartless perpetrators. It was messy, exhilarating and just as good this time round as 20-odd years after watching it the first time.

A film that lives up to its high expectations

[mhasheider · 10/10 · 30 March 2000]

"Ronin" is one of those rare action films like "The French Connection" and "To Live and Die in L.A." that will keep a viewer watching from beginning to end. The performances in this movie are nothing short of superb and terrific. All of the key characters deserve a lot of credit, ranging from De Niro, Reno, McElhrone, Pryce, Skarsgard, and especially, Michael Lonsdale, who fills in the missing link with such detail and looks like he made the little samurai action figures with extreme care. The best scene of the film isn't the shootouts or car chases, it's the conservation that Sam (De Niro) and Jean-Pierre (Lonsdale) have over the Ronin myth. I'll have to admit that "Ronin" is the first film that I have seen was made by the crafty veteran director John Frankenheimer ("Grand Prix", "The Manchurian Candidate"). If you haven't seen "Ronin", go to a video store and rent the movie now.

Great actors showing their skills

[SnoopyStyle · 7/10 · 24 April 2014]

Ronin is defined as a Japanese Samurai who has lost his master and must search for work as a sword for hire or reduced to banditry. A group of experts are gathered in Paris by Deirdre (Natascha McElhone) who is looking to steal a mysterious suitcase. The group (Robert DeNiro, Jean Reno, Stellan Skarsgård, Sean Bean, Skipp Sudduth) don't know each other and don't trust each other. The plan is very sketchy, and Deirdre won't tell them what's in the suitcase.

Director John Frankenheimer shows that he still has a bit of juice left in him. The best thing about this movie is the class of acting talents he is able to get. Robert DeNiro is superbly brilliant. Jean Reno is absolutely solid, and Sean Bean puts in a nice turn. The objective is almost unimportant. This is about a bunch of great actors playing around with some mysterious characters. Each of whom may turn out to be something less than reliable.

Spectacular scenery and action sequences just don't make a movie.

[jsack · 5/10 · 27 September 1998]

Frankenheimer has crafted a meticulously put together film with spectacular French scenery and equally spectacular car chases and crashes through the narrow streets of French villages. However, as seems to be common with many films today, ultimately the film is all splash and no substance. De Niro and his co-stars are hired by unknown people (eventually revealed to be the Irish) to steal a case with unknown contents (weaponry of some sort is assumed) from an unknown group who is trying to sell it to the Russians. Considering that all of this group is supposed to be some kind of superspies, they all are found awfully easily when they are supposed to be in hiding. Double crosses occur which add a wrinkle to the film. But in the end, the revelations that are offered do not seem worth the time the viewer has expended in the theatre. Lots of violence seems to be the major appeal of the film.

A Case of Unknowns

[Metrocrash · 10 May 2005]

Ronin (1998) being one of the late John Frankinheimer's final films before his passing is a much improved formulaic film to the disastrous turnout of the Marlon Brando led Island of Dr Moreau. The story contains a "McGuffin" being a plot device that the characters want very much, but the audience cares little or nothing about. The device of Ronin is a boxy Metal Case, with contents unknown. At the same time the film's title draws its name to the similarities of the leads....The Ronin were ancient Japanese Samurii warriors without Masters to serve. Mercenaries. Our film contains a group of former spooks of multiple nationalities turned freelance mercenaries without a master aka a Country to serve. Sam, Vincent, Gregor, and Deidre plus a handful of others whose names are unimportant. For this movie, our hodgepodge of Ronin are hired by parties unknown (accept that they have Irish and/or Russian connections), for reasons unknown to capture a case whose contents remain unknown in possession by French gangster whose reasons for possessing the case remain unknown. The Ronin do their homework and manage to snatch the case after hair-raising car chases and violent gun battles. But then the double cross begins and a new chase (both literally and figuratively) ensues for the now split Ronin the recapture the case and send it on its way to its unknown Desiree.

For all its splendor and suspense, Ronin, still lacks a clear direction to follow. Clearly, Frankenheimer's direction was utilizing a Hitchcock McGuffin (the case) to explore the characters. However, the script lacks a real clear direction for any of the characters, perhaps thats why the title was named Ronin. Despite all their combined acting talents and prestige Robert De Niro and company all come across as dry characters. All are basically amoral and suspicious of their fellows. The audience really has no like or dislike of what constitutes the good guys from the bad ones. None really show passion towards the Case beyond its perceived monetary rewards, which is what they are trying to obtain. Unfortunately, the McGuffin fails in this film because, the audience really cares more about the case than the characters. As if the Case itself had a personality and history. Clearly the Case's contents are of high value given all the trouble and time that the higher-ups are paying to get it. However what the movie lacks inward looking makes up for in high stakes stunts, car chases and gunfights, that makes the viewer more interested in the momentary safety of both the supposed good and bad guys. Well done on that part.

In an otherwise typical Hollywood way of illustrating things for the audience to understand better, occurs about 2/3 of the way in the movie after Sam performs surgery on himself, at the old man's house in the Mountains. This man had a hobby of designing and building diorama-like miniature sets of legendary battle scenes, complete with handcrafted characters in proper attire. On this particular day he was designing scenes of Japanese Feaudal Samuri, and he began a little monologue about how certain warriors who lost their masters were known as Ronin. In a sense he compared these ancient feudal warriors to the freelance spooks of the movie. This is how the filmmaker's tied the film's title to the film, which would otherwise be called something like "Hire, then Betray, then Die"

Possible spoilers below. On a footnote, at the movies conclusion during the little coffee shop scene between Sam and Vincent, a reporter mentions in a sound only byte that some new twist had occurred concerning peace negotiations in Northern Ireland...suggesting that the case's contents contained some sort of instrument of negotiation that the parties involved need to help in the peace negotiations...what that could be I couldn't tell you.

Provided you can look past the desire to learn about whats in that ubiquitous case, Ronin is a film that any action fan will rave about, but mystery fans might find a little lacking. My opinion...I enjoyed it but still left wanting to know more about the case and why all the destruction and death to get it, when the characters themselves had no desire to keep it permanently.

Explore Exotic Cultures, Meet Exciting New People & Kill Them

[tom-darwin · 7/10 · 7 May 2006]

Frankenheimer's back in Paris, where he triumphed more than 30 years earlier with "The Train." This time he has New York Bob DeNiro, some shadowy Irishmen (that's a new one), Russian mobsters & an overlying Japanese motif. Provacateuse Deirdre (McElhone) assembles ex-Cold Warriors who are at loose ends to do a single job: retrieve a case "from several men who will be intent on preventing us." The crew includes French scrounger Vincent (Reno), American driver Larry (Sudduth), English gunman Spence (Bean), Russian computer whiz Gregor (Skarsgard) & American tough guy Sam (DeNiro). This talented crew is as trustworthy as soldiers garrisoned in a Bangkok brothel, but lurking behind them are Irish nationalist fanatic Seamus (Pryce) & Russian kingpin Mikhi (Atkine). Frankenheimer's use of the case as a "McGuffin," as Hitchcock described a material object used to cement the plot, is too ham-fisted to be effective in a full-length film, especially one as long as this. Once again, we see why Hitchcock's old thrillers hold up so well today. But Frankenheimer's combination of action, dialog & character development remains unique & as enjoyable as ever, especially since he gets fine actors & makes them deliver. The streetwise New Yorker Sam should probably not have been believable as a sophisticated but haunted ex-CIA agent, sort of a cross between "Casablanca" Rick & The Equalizer. But DeNiro's mastery of his craft is up to the considerable challenge. Most of the rest of the cast is fantastic and, with a better plot, might have been legendary. Standing out are Reno's wry Frenchman ("Everyone is your brother 'til the rent comes due"), Bean's nervous blowhard & Skarsgard as the slick, steely, ruthless Russian bookworm. McElhone is a one-of-a-kind winner as the handler of the headstrong, tough-guy crew. Deidre is strong & competent but far from cold, dedicated but not naive, mysterious but not vague, at her ease in pearls or behind the wheel of a getaway car. The tale of the 47 Ronin, an old favorite of Asian lit professors, provides the theme of out-of-work Cold Warriors who have no place in society & must remain slaves to their training & experience, no matter how tragic the consequences. The real-life proliferation of wars-on-terror & their self-described "experts" & "security specialists," even before 9/11, renders this theme ironically implausible. Scenes where the characters discuss this depressing state of affairs are almost unbearably boring, dragging down the second half. As with most thrillers of recent years, the plans realized by DeNiro & crew are too complicated & violent to work, relying heavily on advanced weaponry & electronics. They are just excuses to set up spectacular action scenes. But when has Frankenheimer ever let us down in that department? High production values permit TWO fantastic car chases in addition to several other gripping, convincing bustups. Frankenheimer has remained immune to the over-the-top bloodbaths of Tarantino, the cartoon silliness of Lucas & Spielberg & the blowdried stylishness of Michael Mann. His action draws the viewer in without trying to induce sympathy, laughter or vomiting. With a more coherent story & more convincing theme, "Ronin" might have been one of the greatest films ever. As it is, "Ronin" is an exciting, enjoyable thriller if you don't think too much.

Extraordinarily underrated

[Leofwine_draca · 10/10 · 4 November 2016]

John Frankenheimer's 1998 action opus pretty much slipped under the radar on release – I'm lucky to find someone who's heard of it, let alone seen it. That's a real shame because this is definitely in the top five action movies of the last ten – maybe even twenty – years. Packed from beginning to end with twists, double-crosses, triple-crosses, tons of action from shoot-outs to car-chases, effortless cool and a great cast, this is a superb movie. David Mamet's uncredited influence is clear in some of the wicked spy stuff that De Niro indulges in – like the photographing, for instance – and the script crackles with electricity throughout. Sean Bean also turns in an extended cameo and has some brilliant fireworks with De Niro near the start – it's a definite shame that his character shortly disappears, never to be heard of again.

The film is set in France (and what with THE BOURNE IDENTITY, THE TRANSPORTER, and MAXIMUM RISK also being set in those shores, it's a safe bet that France is the place to be for any aspiring action flick) and deals with a band of hired men, required to retrieve a suitcase from unknown villains. Only problem, its heavily guarded and never leaves the wrist of an important businessman. Soon enough the film is chock full of shoot-outs at Roman ruins and two flamboyant, amazingly powerful car chases, full of stunts, incredible driving, and some quite brilliant smashes and pile-ups. The cast is great; De Niro doesn't seem to make an effort yet his charisma shines through, and this is my favourite performance of his even over the likes of TAXI DRIVER. Jean Reno is underused but effective. Add to this the beautiful but icy Natasha McElhone, the sinister-eyebrowed Pryce and a subdued turn from Starsgard as a businessman type, and you have a heck of a film well worth the watch. Extraordinarily underrated, this is one of my favourite action thrillers ever and one of the best films of the 1990s.

Explosive thriller from the late, great John Frankenheimer

[Bogey Man · 7/10 · 12 July 2002]

Ronin is directed by John Frankenheimer, a recently deceased veteran film maker behind many classics and almost classics like Manchurian Candidate and French Connection 2 among many others. Ronin takes place in France stars Robert DeNiro as Sam, who is among couple of others (which include Stellan Skarsgård and Jean Reno) hired by one mysterious female to get one briefcase and bring its content to that female (and her superiors which remain anonymous) without asking too many questions. They make a plan and everything seems to go fine, until betrayal and double crossings take place and quest for life begins, and there aren't many that seem to be trustworthy.

I didn't know anything about the plot when I watched this so I think it is not necessary to tell too much about the story, which is full of surprises. This film is very paranoid and fast moving, if little too long. Frankenheimer was very great film maker since the action scenes and use of camera is totally brilliant in here. The two car chases are so over the top and breath takingly effective, I really wondered how they shot those scenes without killing anyone. Especially the second car chase that lasts approximately 10 minutes is among the most fast paced and outrageous scenes of chases I've ever seen, and yes, it is close to Bullit's and French Connection's similar scenes. This is no less than a proof of this talented film maker's abilities. The scenery at France and Nice is also very beautiful and they are captured incredibly smoothly with camera, especially the scenes that are shot above the city. At the end, the film becomes very exciting as there are no clues how this ends. The film is very exciting and full of twists all the time, but it all thickens at the end. Technically there's nothing bad in this film, and if it just made little more sense, this would get more stars and appreciation from me.

The film takes itself occasionally to seriously, and is too hard to believe at times, as all the characters seem to be able to track down everybody and, in a big country like France, it seems to be easy to find people who are supposed to be hiding. This film should have been little more realistic and less predictable in this department, but that is usually the case with these kinds of films. Also, the ending is little cliche as this kind of finale has been seen also previously. It seems like they had to come up with a happy ending and thus the ending is like in many other films, too.

Still I appreciate this films pretty highly as the photography and editing is so great and the tension lasts throughout the long running film. This is pretty traditional thriller film, but told with brilliant cinematic skill and nothing to blame in its technical side. I give this 7/10 rating.

Superb action thriller in the old style

[Movie_Beta · 9/10 · 23 April 2023]

This is one of my favourite films, though I have to admit, it is starting to look a bit dated (released 1998). This, however, does not detract from it at all, and the quality still shines through from what is an excellent and oft overlooked movie.

De Niro gives one of his better performances as a 'for hire' go-to guy, Jean Reno also plays well as his French equal, and Sean Bean pops up in what amounts to a cameo piece as an incompetent ex-SAS man for which he really hams it up for the cameras.

What sets this movie apart is the excellent car chase scenes, which really go on and on, and not in a bad way! This is real stunts, real set pieces done to very high quality, keeping the viewer gripped throughout (we have to remember that this is pre-Bourne movies, where the style of action film changed significantly). The cloak and dagger espionage and double crossing harks back to classic thrillers in cinema, and given the fact we never find out what everyone is actually chasing after, it is credit to the story telling and character building that this fact never actually matters in the end.

Twenty five years after release this movie is still a superior espionage/crime thriller with superb action set pieces and a strong cast. A highly recommended watch.

9/10.

Ronin is great cryptic entertainment

[jonthonyjohnson · 7/10 · 9 June 2020]

This movie put me in the seat as an investigator trying to figure out where this cryptic movie was going. In my opinion, great entertainment is a movie that keeps the audience wondering where a movie is going as it unfolds. Ronin seemed to be almost in real time, that kept me on the edge following it. I could not take my eyes off the screen. This was another movie displaying espionage at it's finest.

Extremely Exciting 90's Gem

[Dean_Jenkins · 8/10 · 1 February 2009]

An excellent plot line with a few nice twists and some of the greatest car scenes ever put to film make this a must see for all action fans and one of the best movies to come out of the 90's!

With Deniro , Reno and Bean bringing extremely believable characters to life this action - fest is also one for folks who don't necessarily always opt for the high octane stuff! There's some decent acting and a cracking plot to keep those of you who like a little bit more than just a car chase satisfied.

Really this film is simply a little gem waiting to be enjoyed by all!

8/10

Trust nobody

[MarcoParzivalRocha · 7/10 · 12 July 2020]

One of the best action films of the late '90s. A group of mercenaries deals with a job that from the beginning was expected to be difficult. An outstanding cast, with great interpretations by De Niro and Jean Reno. The narrative has the usual plot holes of a spy/conspiracy film, but apart from that, it is a lesson in how to make a good film within the genre, with well-crafted twists and intense and credible dialogues. 'Ronin' continues to have, in my opinion, one of the best car chase scenes ever. If you like the '70s and '80s classics, you will like this one as well.

Short On Thought . Long On Thrills

[Theo Robertson · 8/10 · 13 June 2004]

RONIN is to all intents and purposes a highly intelligent thriller , or so it would seem on the surface . Unfortunately when you start to examine the plot and structure of the movie it starts to fall apart . These " Ronin " characters - Who are they ? Who employed them ? Where was the job advertised ? It`s never really revealed , perhaps just as well since it`d be impossible to explain how such a motley bunch can be taken seriously . Notice one of the characters is a Walter Mitty type but can get the group any type of gun they want , and is this Walter Mitty guy really necessary to the plot ? , he`s written out after 20 minutes and it`s difficult to understand why he was included by the final draft .

Let`s look at the plot . In his book STORY:THE PRINCIPLES OF SCREENWRITING Robert Mckee explained that when he was a script reader for Hollywood studios he`d only be sent two types of script neither of which really worked , one being an understructured real life type drama and an overstructured action thriller involving an object all the great powers want to get their hands on . RONIN certainly sums up the second type of script , the CIA , the Russians , the IRA and quite possibly the winter olympics commitee are after something that will change the world as we know it and it`s up to this group of hired guns to cross , double cross and triple cross one another to get their hands on it

RONIN could have turned out a complete mess and despite the movie never being as clever as it thinks it is neither does it become the complete debacle it could have become . My exceedingly high entertainment thresholds were met and then some more and much of it had to do with the cast . This movie hardly features DeNiro`s greatest performance but considering the complete rubbish he`s appeared in since the early 1990s he`s by no means bad and does manage to bring some moral charm to his character . Jean Reno and Stellan Skarsgard are two of the greatest actors Europe has produced in the last twenty years and it`s very interesting to see these fine actors in a high octane Hollywood thriller and British Equity is very well represented with Sean Bean and Jonathan Pryce

A highly effective and entertaining thriller which at times is over complicated and plot bare at the same time . Can you imagine the mess Jerry Brukheimer and Michael Bay would have made of this ?

Successful, Machine-Processed Action Movie.

[rmax304823 · 6/10 · 12 September 2007]

I'm going to give it a 6 partly because it was shot in Paris, Nice, and Arles. It gives you a tourist's eye view of France in the winter, including a chilly, overcast Riviera and Van Gogh's Yellow House, morphed into what looks like an overpriced café.

Other than that, this is an action movie stripped down to the bare bones. The characters are as rudimentary as the plot. A handful of unemployed professionals are hired by Natascha McIlhone (representing the Irish) to ambush a convoy of cars transporting a curious-looking case, the contents of which have been sold to the Russians. I think I've got that right. If I haven't, it doesn't matter. The conspicuously aluminum case is an operational definition of a MacGuffin. What's in it? Who knows and who cares? The whole movie is built around its action sequences and they are plentiful. There is a meeting between the professionals and the French gangsters who are to supply them with equipment for the heist. It turns into a shoot out. The convoy is intercepted and it turns into a car chase. It ends in a shoot out, during which one of the professionals, Gregor, turns into a cockroach. There's another car chase through tunnels and whatnot that destroys so many vehicles it surely would have cleared even the Parisian streets of traffic. The end involves a couple of murders. Even Katarina Witt gets it, which is a dirty trick.

Novelties? Not too many. Well, I suppose that in the course of these pursuits and battles, it's a novelty to see innocent bystanders get plowed down or shot up or blown up. The zipping cars smash through the usual food stands and push carts but I don't remember their ever doing it on such narrow streets.

There isn't any noticeable development of character. That is, nobody changes in any fundamental way. Michael Lonsdale, as a rich old man, and Stellan Skarsgard, as Gregor the dung beetle, give the best performances. Rober DeNiro, a fine actor, seems out of place in all this European company. Natascha McIlhone has a somber, angular, and sexy face but I wouldn't trust her as far as I could throw her, which isn't very far. I like Jean Reno best of all. Regard that face, that voice! The guy looks like he's coming down from a week-long bout with the bottle. There aren't that many international movie stars at whom I can look without saying to myself, "I wish I were that handsome." Aside from bullets and baggage, what is the movie about? It seems to be about itself. There's nothing much behind what you see. It's like buying "roast beef" at a modern deli. Roast beef, my foot. It's machine-processed beef, scraped right down to the bone, then pureed and solidified and seasoned so that it looks a little -- just a little -- like what it purports to be. There's some phony philosophy from Michael Lonsdale's sage, who tells DeNiro the story of the forty-seven ronin -- who planned and waited for years for an opportunity to avenge their betrayed master -- but it has nothing to do with the movie. Lonsdale's thoughtfully delivered lesson might as well have been the Gilgamesh epic, or Huckleberry Finn, for that matter. It's an attempt to coat the plot with some portentous uber-meaning, but that just makes it the same processed stuff under a thin, negligible shell of pastry, like Beef Wellington.

I've made this sound like a pretty crummy movie but it's not, if you like action movies. The director knows exactly what he's doing. The editing is superb, as it has to be to make this genre piece a success. The shootouts, collisions, and deaths are in real time, not slow motion. It may not be pregnant with meaning but it's diverting, exciting, and not insulting to the viewer who's willing to shrug and say, "For an action movie, this one isn't too bad."

Most confused, pointless film I've seen this year

[al_d · 1/10 · 7 October 1998]

I cannot work out why everyone seems to like this film so much. The excellent cast is wasted on a weak plot that is full of holes, and the technically great stunts are wasted because the way the action scenes occur is so contrived. We also are left with no idea as to why any of this is occurring, except for some vague notion about DeNiro's job of trying to assassinate 'Seamus', (which he was, incidentally, particularly bad at- if he'd had 'Deirdre' tailed to one of her meetings early on, we would have been spared most of the film).

The constant desire to obtain the 'Mysterious Package' became so tiresome. I think it could be that no-one could think of something important enough that could be in the package, so they didn't bother telling us what it was.

The film's attitude to innocent bystanders was very strange- The director seemed to enjoy showing us as many innocent people as possible buying it, for no good reason. None of the characters seemed to care, and I in turn found it hard to care about the main characters. If you don't care about the people you're watching, there's no tension.

And Jean Reno's speach at the end: "... perhaps that is the third lesson..." etc, could the script-writers have found any more cliches to use? I think not, they used them all.

I could go on all day about the other errors, inconsistencies and, but I've got better things to do than waste any more time on this piece of rubbish, I just had to write because I wanted to see some more alternatives to the mostly "YEAH, GREAT LIKE ACTION AN CARS AN SHOOTIN AN STUFF" simple-minded 'reviews'.

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