red belt movie review

The Belts From Brazil

A martial-arts instructor (Chiwetel Ejiofor, right, with Emily Mortimer) finds himself in a chokehold in Redbelt, directed by David Mamet.

David Mamet’s “Redbelt” assembles all the elements for a great Mamet film, but they’re still spread out on the shop floor. It never really pulls itself together into the convincing, focused drama it promises, yet it kept me involved right up until the final scenes, which piled on developments almost recklessly. So gifted is Mamet as a writer and director that he can fascinate us even when he’s pulling rabbits out of an empty hat.

The movie takes place in that pungent Mamet world of seamy streets on the wrong side of town, and is peopled by rogues and con men, trick artists and thieves, those who believe and those who prey on them. The cast is assembled from his stock company of actors whose very presence helps embody the atmosphere of a Mamet story, and who are almost always not what they seem, and then not even what they seem after that. He is fascinated by the deceptions of one confidence game assembled inside another.

At the center of a story, in a performance evoking intense idealism, is Mike Terry ( Chiwetel Ejiofor ), a martial-arts instructor who runs a storefront studio on a barren city street. His is not one of those glass-and-steel fitness emporiums, but a throwback to an earlier time; the sign on his window promises jiu-jitsu, and he apparently studied this art from those little pamphlets with crude illustrations that used to be advertised in the back pages of comic books. I studied booklets like this as a boy; apparently one embodies the philosophy of The Professor, a Brazilian martial-arts master who is like a god to Mike.

Mike has few customers, is kept afloat by the small garment business of his wife Sondra ( Alice Braga ), is seen instructing a Los Angeles cop named Joe Collins ( Max Martini ). When you seem to be your studio’s only instructor, the impression is fly by night, but there’s a purist quality to Mike’s dedication that has Joe completely convinced, and they both seriously believe in the “honor” of the academy.

Now commences a series of events it would be useless to describe, and which are eventually almost impossible to understand, involving a troubled lawyer ( Emily Mortimer ), a movie star ( Tim Allen ), the star’s shifty manager ( Joe Mantegna ) and the world of a pay-for-TV fight promoter ( Ricky Jay ). All of these characters seem like marked-down versions of the stereotypes they’re based on, and the pay-for-view operation feels more like local access cable than a big bucks franchise.

In a bewildering series of deceptions, these people entrap the idealistic Mike into debt, betrayal, grief, guilt and cynical disappointments, all leading up to a big televised fight sequence at the end which makes no attempt to be plausible and is interesting (if you are a student of such things) for its visual fakery. We’ve seen a lot of crowd scenes in which camera angles attempt to create the illusion of thousands of people who aren’t really there, but “Redbelt” seems to be offering a crowd of hundreds (or dozens) who aren’t really there. At a key point, in a wildly impossible development, the action shifts out of the ring, and the lights and cameras are focused on a man-to-man showdown in a gangway. The conclusion plays like a low-rent parody of a “ Rocky ” victory. The last shot left me underwhelmed.

So now you’re wondering why you might want to see this movie at all. It might be because of the sheer art and craft of Mamet himself. For his dialogue, terse and enigmatic, as if in a secret code. For his series of “reveals” in which nothing is as it seems. For his lost world of fly-by-night operators. For his actors like Ricky Jay, who would be familiar with the term “suede shoe artist.” For his bit parts for unexplained magicians. Especially for a sequence when Mike Terry, as baffled as we are, essentially asks for someone to explain the plot to him.

If you savor that sort of stuff, and I do, you may like “Redbelt” on its own dubious but seductive terms. It seems about to become one kind of movie, a conventional combination of con games and action, and then shadow boxes its way into a different kind of fight, which is about values, not strength. It’s this kind of film: Some of the characters at the end, hauled in to provide a moral payoff, seem to be have been airlifted from Brazil — which, in fact, they were.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

Joe Mantegna as Jerry Weiss
Emily Mortimer as Laura Black
Ricky Jay as Marty Brown
Alice Braga as Sondra Terry
Jose Pablo Cantillo as Snowflake
Tim Allen as Chet Frank
Chiwetel Ejiofor as Mike Terry
David Paymer as Richie
Max Martini as Joe Ryan

Written and directed by

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Movie Review | 'Redbelt'

In a Chokehold, on the Mat and in Life

By Manohla Dargis

May 2, 2008

In “Redbelt,” David Mamet has taken a sturdy B-movie conceit a good man versus the bad world, plus blood tricked it out with his rhythms, his corrosive words and misanthropy, and come up with a satisfying, unexpectedly involving B-movie that owes as much to old Hollywood as to Greek tragedy. That may sound like a perilous combination, but the film’s visual moderation, contained scale and ambition keep it well tethered. It’s a fight film, purely if not simply, which of course also means it’s about the struggle to live.

There is no struggle initially for Mike Terry (the excellent British actor Chiwetel Ejiofor), an almost messianic Los Angeles jujitsu instructor with a grave sense of purpose. With his mouthy wife, Sondra (Alice Braga), Mike runs a small Brazilian jujitsu academy in a nondescript part of town. He has money troubles, but also loyal students like Joe (Max Martini, strikingly effective), a cop with financial worries of his own. One evening, after an aggressive, tense class that ends with Joe locked in a chokehold by Mike’s oddly named assistant, Snowflake (Jose Pablo Cantillo), a stranger (Emily Mortimer as Laura) bursts into the academy. A gun discharges and trouble ensues (as it must), along with assorted and progressively contrived complications.

It’s easy to become distracted by these complicating factors, which include a pampered movie star, Chet Frank (Tim Allen); his wife, Zena (Rebecca Pidgeon, a k a Mrs. Mamet); and a producer, Jerry Weiss (Joe Mantegna, a Mamet regular). These characters collide with Mike’s world shortly after he saves Chet from a beating. (The star had gone slumming at a local dive.) Out of gratitude or perhaps curiosity, Chet invites Mike and Sondra to dinner at his mansion, where smiles and promises are served, along with an intoxicating intimation of friendship. In an exuberant moment, Mike tells the dinner party about one of his teaching methods, which requires one student to assume a handicap say, by having an arm immobilized before squaring off against an opponent.

His teaching method implies or, rather, Mr. Mamet seems to be suggesting that Mike’s arm is (figuratively) tied behind his back. On the surface, at least, he appears handicapped by money: a business check has bounced and one of the academy’s picture windows was shattered when that aforementioned gun went off. Yet Mike’s handicaps don’t register as internal, a function of psychology or a sad historical event; there is no dead kitten in his background, to invoke Mr. Mamet’s amusing metaphor for speeches that explain a character on the way to the denouement. In “Redbelt” a shot is fired, a window is broken, things happen. Action leads to action because, as Mr. Mamet writes in his dead-kitten riff, all that matters is “what happens next.”

That sounds persuasive, particularly if you know that Mr. Mamet is echoing Aristotle’s idea that tragedy is an imitation of action rather than of character. It’s also fascinating, nevermind that Aristotle wasn’t talking about how movies work. Even so, there’s something liberating about Mr. Mamet’s refusal to explain Mike, who registers as a given, much as an object does. Everything about the character exists right on the surface, in his graceful physicality, his sense of honor and his deeds. Mr. Ejiofor, a sympathetic presence with worried eyes, delivers his lines effectively and makes a plausible (at least to this admiring amateur) jujitsu master. He’s a pleasure to watch, even when there’s not much to see, in the character or on the screen.

That there’s not much to see, or not nearly enough, helps explain why “Redbelt” the title refers to a belt denoting the pinnacle of expertise never marshals its estimable parts, its exciting fight sequences and juicy side characters (playfully played by Ricky Jay, among others) into a transcendent whole. Although he exploits visual symbols effectively, that shattered window included, Mr. Mamet has yet to develop a filmmaking style that is anywhere near as expressive and effective as his writing. “You know the escape, you know the escape,” Mike hypnotically repeats to Joe during his tussle with Snowflake. Some time later, when Mike seems to have surrendered his principles, he will scan the room looking for the escape that, in a fundamental respect, will elude Mr. Mamet.

“Redbelt” is rated R (Under 17 requires accompanying parent or adult guardian). Blood and raw words.

Opens on Friday in New York and Los Angeles.

Written and directed by David Mamet; director of photography, Robert Elswit; edited by Barbara Tulliver; music by Stephen Endelman; production designer, David Wasco; produced by Chrisann Verges; released by Sony Pictures Classics. Running time: 1 hour 39 minutes.

WITH: Chiwetel Ejiofor (Mike Terry), Emily Mortimer (Laura Black), Alice Braga (Sondra Terry), Tim Allen (Chet Frank), Jose Pablo Cantillo (Snowflake), Rodrigo Santoro (Bruno Silva), Ricky Jay (Marty Brown), Joe Mantegna (Jerry Weiss), Rebecca Pidgeon (Zena Frank), David Paymer (Richard), Max Martini (Joe Collins) and John Machado (Augusto Silva).

Because of a transcription error, a film review on Friday about “Redbelt” referred incorrectly to the character Sondra, played by Alice Braga. She is mouthy, not mousy.

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Redbelt Reviews

The first third of the film is a confusing mess of character introductions and details that are seemingly trivial and unrelated.

Full Review | Original Score: 4/10 | Nov 28, 2020

What doesn't disappoint is Redbelt's satisfying retro flavor, a sense of pervasive corruption that immediately conjures up classic films noir.

Full Review | Jan 28, 2020

While I won't go to the mat and rave about this film, I will say that despite an often lack of balance and the distracting "holes" in the story, what propels this film is the characters driving it with performances that are worthy of a blackbelt.

Full Review | Nov 13, 2019

It's worth watching for the myriad of intriguing characters' performances, and to witness what happens when cynic Mamet goes Bruce Lee on us.

Full Review | Original Score: 3/5 | Nov 4, 2018

With Ejiofor standing above the rest, the performances are uniformly excellent.

Full Review | Feb 3, 2018

It's about a contest between intelligence strength, leveraged by sleight of hand. The fight is fixed. So is the movie. Deal with it.

Full Review | Dec 15, 2017

It's a bit disappointing that Redbelt doesn't go much beyond a redux of the same-old.

Full Review | Aug 24, 2017

Full Review | Original Score: 2/5 | Nov 17, 2011

It's always fun to watch the Mamet stock company springing a trap on an unwary victim.

Full Review | Aug 15, 2011

What threatened to be David Mamet's most vainglorious misfire since perpetually casting his wife instead turned into samurai noir -an eloquently profane, profanely eloquent eulogy for the purity of martial arts discipline in the face of profit.

Full Review | Original Score: 3.5/4 | Sep 17, 2010

A Kickboxer installment that got too big for its breeches

Full Review | Aug 26, 2009

Redbelt seems like a rush job that relies too much on the quick fix. I'm very willing to suspend my disbelief, but Redbelt becomes outlandish.

Full Review | Original Score: 2.5/5 | Feb 1, 2009

Full Review | Original Score: C | Oct 18, 2008

Full Review | Original Score: 2.5/5 | Oct 18, 2008

Full Review | Original Score: B- | Oct 18, 2008

This Mametian thriller is worth watching for a terrific performance by Chiwetel Ejiofor, but it's hard to engage with the story and it loses its way in the final act.

Full Review | Original Score: 2/5 | Oct 18, 2008

Full Review | Original Score: 2/4 | Oct 18, 2008

The detail and clear devotion he has for the sport may actually have the effect of distancing the rest of audience from his film.

Full Review | Original Score: 2/5 | Oct 1, 2008

Redbelt, his latest, is a curious one, a movie that hints at greatness only to retreat, unpardonably, into genre convention.

Full Review | Original Score: 2/5 | Sep 26, 2008

The Mamet rhythms are pleasingly in place: the repetition-rich dialogue, the head-butting close-ups as men go ego to ego.

Full Review | Sep 26, 2008

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Redbelt (2008) Review

“Redbelt” American Theatrical Poster

Director: David Mamet Cast: Chiwetel Ejiofor, Tim Allen, Alice Braga, Rodrigo Santoro, Jose Pablo Cantillo, Randy Couture, Caroline de Souza Correa, Mike Goldberg, Damon Herriman, Dan Inosanto, Enson Inoue, Ricky Jay, John Machado, Ray Mancini, Joe Mantegna, Max Martini, Emily Mortimer, David Paymer Running Time: 100 min.

By JJ Hatfield

Red Belt is truly an exceptional martial arts movie. It achieves this distinction by focusing on one quiet unassuming man and in doing so beautifully enlightens the viewer to the true art of Jiu-jitsu. However the lesson served up is not so much about mixed martial arts as it is regarding integrity, righteousness and most of all honor. This is not a film packed with bone crunching wall-to-wall brutal blood spattered beatings. If that is your only interest in martial arts then don’t bother watching Red Belt – the meaning will elude you.

Mike Terry (Chiwetel Ejiofor) is the owner of a Jiu-jitsu school on the not wealthy side of Los Angeles. It is here he trains his students not only in the martial arts and self-defense but also imparts the principles of the Samurai code. Mike is a unique individual who embodies the teachings of the art he has dedicated his life to learning and passing on to others. He is also a man who exemplifies virtue and decency.

The movie opens with three marbles being placed into an army issue cup. There are two white and one black. In a fight if you draw the black marble that means you are given a handicap. A black marble means you might be limited to using only one arm, no arms or be blindfolded. That sounds like an unfair advantage with the fighter who picks the black marble most likely to lose. However as Mike is quick to remind the two men who stand before him there is no situation you cannot turn to your advantage. As the fight continues Mike coaches – control your emotions; when you control yourself you control your opponent; a man distracted is a man defeated. It is abundantly clear these are not mere platitudes. Nor do they apply to only a physical battle. These and other teachings of Jiu-jitsu form the cornerstones of Mike Terry’s existence.

The Jiu-jitsu academy reflects the teacher, both are unpretentious. The students are quite loyal to Mike and believe in the Samurai code. However the school isn’t making much money so Mike’s wife Sondra (Alice Braga) is supporting them and the school with her fashion design business. After an encounter between a lawyer, Laura Black (Emily Mortimer) and a cop, Joe Collins (Max Martini) events inexorably become increasingly byzantine. When Mike becomes concerned about Joe he goes to a bar where he was employed. A fight breaks out and Mike comes to the defense of an over the hill action movie star named Chet Frank (Tim Allen). In gratitude Frank invites Mike and Sondra to his home for dinner. While Sondra and Frank’s wife Zena (Rebecca Pidgeon) discuss fashion and a potential business venture Frank queries Mike about Jiu-jitsu and more specifically regarding competitive fighting in the ring. Mike elaborates on the tenets of martial arts in general and in more detail Jiu-jitsu. He tells Frank that competition for money weakens the fighter and that he does not feel it is in harmony with the Samurai code. Before long Frank wants Mike to be co-producer of the war movie he is currently shooting. Life is good however soon complications arise. In order to keep up the good life Mike may have to compromise his principles and way of life by stepping into the fighting ring.

Red Belt is a multifaceted movie. It requires the viewer to pay attention to how the story unfolds. Seemingly simple conversations and actions have crucial significance. Even the way Mike Terry moves and speaks conveys much more than what is in the script. When someone asks Mike what is the best weapon in the world he responds – a flashlight so you can look deep into the other guy’s eyes. Perhaps not the most poetic turn of phrase however it speaks volumes about Mike’s character. He is a gentle spirit but doesn’t hesitate to step in when he sees an injustice. A noble warrior he personifies all that is good and virtuous. His ideals crash hard against the current day prevailing greed that threatens to completely overwhelm the art of mixed martial arts.

The origin of Jiu-jitsu is from the days of the Japanese Samurai. The actual creator of the martial art is unknown. One theory holds that it was designed for an unarmed individual who had to fight an armed opponent. It is highly likely that more than a few teachers added their own techniques and made changes along the way. A form that combined various aspects of Judo, Karate, and other martial arts Jiu-jitsu became popular in the Western world when it became all the rage in Brazil. The writer and director of Red Belt, David Mamet ( The Postman Always Rings Twice, Glengarry Glenn Ross, Hannibal, Wag the Dog – screenplays) is not only highly skilled at writing and directing he is also a devote of Jiu-jitsu having studied it for five years. Mamet sought to bring the heart and soul of Jiu-jitsu to the screen and he triumphed! Red Belt is a success for several distinct reasons. Chiwetel Ejiofor ( Dirty Pretty Things, American Gangster, Salt ) who was nominated for Best Actor by Black Reel for his role as Mike Terry brought absolute perfection to the character. Not for a second was there any doubt that he embodied the physical grace and the spiritual attainment of a Master. Combined with Mamet’s dedication and his spot-on decision to use real fighters a truly special piece of film was achieved. The story builds deceptively slowly so that by the third act the intensity is almost overwhelming.

Red Belt is a fine film that will satisfy both martial artists and those desiring an excellent movie experience. And what of the Red Belt of the title? For the answer to that you must see this film, and you won’t be disappointed.

JJ Hatfield’s Rating: 9.5/10

About JJ Hatfield

8 responses to redbelt (2008) review.

A great movie that explores the core of martial arts! Reminds me of the type of movie Bruce Lee would want to make. I wish more writers/directors like David Mamet would make martial arts movies… he definitely added something fresh to a tired genre. Sweet review, JJ!

Excellent review! You provide great insight into this film. I need to finally sit down and watch it soon. I’ve long thought Chiwetel Ejiofor to be one of the most underrated actors of his generation. He’s the kind of actor who can elevate the material he’s given and he always turns in a dignified performance even in dreck like “2012.”

Whoa, this film is way over-rated. I thought this film to be boring, the lead actor was not that good. The martial arts was not impressive, and I did not care much for the story. I was not impressed, and if this is what MA films are today, I retire from them.

i have a feeling you were expecting wall to wall action, which this movie doesn’t have. most of its action lies in the dialogue and the characters’s noble belief in what he teaches. the lead was amazing!

I just felt dissapointed with it. I guess it was just not my cup of tea, and I’m usually opened minded.

I watched this movie tonight. In all honesty, I enjoyed reading JJ’s review more than I enjoyed watching the movie. Ha! David Mamet has a particular way of writing dialogue and when it works, it works. When it doesn’t work, it completely pulls me out of the movie. I would say “Redbelt,” for me, was a case where Mamet’s particular approach did not work.

If you cut all the times someone repeated the last line they just said or repeated someone else’s last line, you could probably excise half the dialogue in this movie. The scene where Chiwetel is talking to the wife of his cop friend and asking if he’s at the club or if they’re going to the mountains…to me, that is the height of Mamet’s cryptic nonsense.

There were some great performances tucked into the film and I enjoyed the overall story, but the dialogue and some of the plot twists really broke my suspension of disbelief.

Great review JJ! I watched this one a life time ago and found it very compelling. This was a movie of one man’s triumph through his belief in his own ideals and code of honor. This was more of a drama with a martial arts back drop, I’m surprised Chiwetel has not had more high profile action roles on the market.

The are some things are not correct in the review, it is very common to find this kind of confusion, here some facts: 1) Brazilian Jiu-Jitsu(BJJ) is not Jiu-Jitsu (Japanese) the martial art created for samurais to be used in the case they couldn’t use their sword (katana). The one showed in the movie clearly comes from Brazil. Jui-Jitzu is still alive in Japan. 2) In Japan, Jiu-Jitsu evolved to Judo(1882), a martial art and a sport with a guiding principal: Minimum effort with Maximum efficiency. All the techniques that didn’t follow this principal were eliminated. 3) Jigoro Kano the founder of Judo, sent his disciples to different parts of the world to spread Judo. Mitsuyo Maeda went to Brazil and taught the Gracie family, Helio Gracie developed Gracie Jiu-Jitsu as an adaptation from Judo. At that time Judo was best known as Kano’s Jui-Jitzu. Kano created the belt color system. I didn’t like the movie either.

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A terrific lead performance from Chiwetel Ejiofor toils to prop up David Mamet's self-styled "samurai picture", about a cash-strapped jujitsu instructor at large on the mean streets of west Hollywood. Inspired by Mamet's passion for martial arts, Redbelt is an archetypal (read: trite) story of honour, corruption and heroism that doesn't so much explore codes of masculinity as scratch them lovingly on the belly. Mike Terry (Ejiofor) is a good man, a noble man. He tackles the forces of darkness armed only with his goodness, his nobility and his all-round sense of manliness. It is clear that Mamet idolises his hero, and perhaps sees himself in a similar vein - as a pure warrior in an impure world - but his film is hogwash of the highest order. Ejiofor remains a supremely assured, charismatic presence, though he has his work cut out here. He is pitted against a film with a black belt in pomposity and a gold medal in preening self-regard.

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A fateful event leads to a job in the film business for top mixed-martial arts instructor Mike Terry. Though he refuses to participate in prize bouts, circumstances conspire to force him to consider entering such a competition.
Is there room for principle in Los Angeles? Mike Terry teaches jujitsu and barely makes ends meet. His Brazilian wife, whose family promotes fights, wants to see Mike in the ring making money, but to him competition is degrading. A woman sideswipes Mike's car and then, after an odd sequence of events, shoots out the studio's window. Later that evening, Mike rescues an action movie star in a fistfight at a bar. In return, the actor befriends Mike, gives him a gift, offers him work on his newest film, and introduces Mike's wife to his own - the women initiate business dealings. Then, things go sour all at once, Mike's debts mount, and going into the ring may be his only option. — <[email protected]>
The idealistic instructor of jujitsu, Mike Terry, refuses to compete in the ring for principle and is training the promising fighter and police officer Joe Collins. When the stressed lawyer Laura Black stumbles in his academy in a rainy night, she accidentally shots Joe's pistol breaking the front window. Mike and Joe do not report the incident, and Mike's wife Sondra tells him that they do not have money to repair the window. Mike seeks Sondra's brother in a bar to raise a loan, but he does not find his brother-in-law; he befriends the actor Chet Frank after rescuing him in a fight in the bar. Chet invites Terry and Sondra for a dinner party at his home and gives a golden watch as a gift. Mike gives the watch to Joe for pawning, but the watch is stolen and Joe gets in trouble in the police. Meanwhile Mike's idea of fight with handicap is stolen by a group of gamblers and Sondra raises a debt of US$ 30,000.00 for an unsuccessful business with Chet's wife. Without other option, Mike decides to fight in the ring to raise the necessary money to pay his debts. — Claudio Carvalho, Rio de Janeiro, Brazil
The movie opens in a Jiu-Jitsu studio where Mike Terry (Chiwetel Ejiofor) is teaching an advanced class. Mike employs a unique training method. Before a sparring match, each fighter draws one of three marbles, two black and one white. Whoever draws a black marble has to fight with a handicap as determined by the spin of a wheel much like a board game. Joe (Max Martini), a police officer training for a black belt, draws a black marble and must compete with his hands shackled in front of him while his opponent drew the white marble and is unencumbered. Joe puts up an impressive fight but ultimately loses when he is unable to break a choke hold. Mike consoles him by showing Joe that despite the handicap, he could've easily broken the choke hold if he was more focused. Meanwhile, Laura (Emily Mortimer) is driving through a heavy downpour desperately trying to locate a pharmacy before it closes to fill a prescription. Frustrated and distracted while talking on her phone, she sideswipes a parked truck. Seeking the truck's owner, Laura wanders into the Jiu-Jitsu academy while Mike is demonstrating how Joe's police issued shoulder holster is a liability in a fight. Joe sees that Laura is soaked and distressed so he chivalrously tries to take her coat. Startled, she grabs Joe's stray gun which he set down only briefly during Mike's private demonstration. The gun fires and shatters the studio's front window. Laura picks up the ejected shell casing while Joe and Mike are shocked by how easily and dramatically she was frightened. Mike and Joe agree to hide that the shooting ever happened. Technically, the police could charge Laura with attempted murder which wouldn't be fair to a woman who is clearly just disturbed and meant no harm. But claiming the window broke because of strong wind makes it an act of God and not covered by Mike's insurance. This sparks an argument between Mike and his wife over finances. Apparently the academy is bankrupt. The only reason it hasn't closed is because Mike's wife, Sondra (Alice Braga), is supplementing with profits from her fashion business which puts a strain on her income. Sondra advises Mike to ask for a loan from Sondra's brother, Ricardo (John Machado), a mixed martial arts champion. Mike goes to visit Ricardo at his club which is co-owned by Sondra's other brother, Bruno (Rodrigo Santoro). Mike notices that the club has no bouncer. Joe was supposed to be bouncing to earn extra cash for his family's unnamed medical bills. Ricardo is unavailable so Mike meets with Bruno instead. While waiting to see Bruno, Mike is entertained by a cocky magician. The man displays some incredible sleight of hand by turning a die from black to white with uncanny ease. Mike also learns from the bartender that Joe quit bouncing because Bruno never paid him. In the club's office, Bruno and fight promoter Marty Brown (Ricky Jay) are discussing how to promote a championship mixed martial arts fight between Ricardo and a Japanese legend, Morisaki (Enson Inoue). Marty makes some references to fixing the fight and Bruno debates with him about whether or not Ricardo will go for it. Mike finally meets with Bruno and questions him about why he didn't pay Joe. Bruno gives a mysteriously vague explanation claiming that he planned on paying Joe eventually but Joe was impatient. Bruno also tries to encourage Mike to fight on the undercard in the aforementioned upcoming fight which could potentially pay out $50,000. But Mike follows a strict, samurai-like code. He believes competition weakens the fighter because a competition is not a fight, especially when it's only for money. Their conversation is interrupted when Bruno notices on the security monitors that Chet Frank (Tim Allen), an aging Hollywood action star, just entered the club without a bodyguard. Chet offers to buy a woman at the bar a drink, but the woman's boyfriend gets offended and picks a fight with Chet. When the boyfriend attempts to attack Chet with a broken bottle, Mike intervenes to stop the fight. Two more guys attack Mike, but Mike quickly subdues them. The following day, a messenger shows up at Mike's door delivering an expensive watch from Chet Frank and an invitation to dinner. Chet is grateful for Mike's intervention in the bar fight. Mike gives the watch to Joe and advises him to pawn it. Mike feels responsible for hooking Joe up with an employer that stiffed him. Mike goes to the academy the following morning and finds that Laura is paying to fix the window. She apologizes for her odd behavior the previous evening and accepts an enrollment form for Mike's class. That evening during dinner, Chet's wife (Rebecca Pidgeon) admires Sondra's fashion style and arranges an informal business deal to buy a large supply of dresses from Sondra's company. After hearing some of the tenets of Mike's teaching philosophy, Chet invites Mike to the set of his recent film project the next morning. Before parting ways, Sondra encourages Mike to tell Chet's business associate, Jerry Weiss (Joe Mantegna), about the marble drawing training method. Jerry thinks it's an interesting concept and comments on how it could be a clever gimmick to use in competitive fighting to draw a crowd. The next morning, Mike visits the movie set. Chet is running late so Mike wanders the set and discovers a colleague/acquaintance is doing stunt choreography for the movie's hand to hand combat. Having served in Desert Storm, Mike was able to answer some of Chet's technical questions about the military. Impressed with Mike's knowledge, Chet asks Mike to be a co-producer of the film. Jerry invites Mike to dinner that evening to discuss the details. Mike returns home to share the good news with Sondra and begins faxing details of his training methods to Jerry so they can be used in the movie. Mike meets with Laura later that afternoon for a private lesson. Laura reveals that she was raped while the assailant held a knife to her throat thus explaining why she's easily startled. Skeptical of Mike being able to help her, she begins to exit the studio. Mike aggressively grabs her from behind holding a rubber training knife to her throat. After showing her how she could've escaped from such a predicament, Laura cathartically sobs. Later while preparing for the beginner class, Joe shows up to the studio and informs Mike that he was temporarily suspended from duty after trying to pawn a stolen watch. Mike is shocked to learn it was stolen and assures Joe that he will straighten things out. When meeting Jerry for dinner, Mike insists on sorting out the issue of the stolen watch before discussing other business. Jerry is shocked and embarrassed to learn the watch was stolen and excuses himself to go make a phone call to handle the matter. Jerry never returns and Mike leaves the restaurant puzzled. When Mike gets home, Sondra is also confused. The phone numbers that Chet's wife gave her have been disconnected. Sondra is panicky because she already ordered $30,000 worth of fabric based on their oral business arrangement. Sondra borrowed the money for the fabric from a loan shark (David Paymer). Mike meets with the loan shark to plead for more time to pay back the money. During their conversation, Mike notices Marty Brown and Bruno on television promoting the mixed martial arts match of Ricardo versus Morisaki. As a promotional gimmick, they are planning to use Mike's marble drawing technique for the undercard fights. Mike then hires Laura to see if they can sue the fight promoter for stealing Mike's idea. The problem is they can't prove how Marty Brown could've stolen the idea if Mike never told it to him. That question is answered when Jerry Weiss enters Marty's office and refers to Marty as his new partner. This connected Mike's idea to Jerry then to Marty thus allowing Laura to prove theft and conspiracy to defraud. But Marty's lawyer threatens that if they don't drop the lawsuit then he will hand over proof to the police, in the form of an empty shell casing with Laura's fingerprints, that she attempted to kill an off duty cop. He can also prove that Mike was a witness who covered up the attempted murder by bribing the cop with a stolen wrist watch. Upon hearing about this situation, Joe feels entirely responsible and kills himself. Mike visits Joe's wife to console her but finds she is inconsolable. She claims Joe was trying to preserve the honor of the academy and Mike's principles. But mostly she's angry because she's stuck with a stack of bills that she can't pay. Mike feels obligated to help. Desperately in need of money, Mike decides to abandon his principles and compete as an undercard fighter in the upcoming competition. When Mike arrives at the arena before the fight, he learns that the promoters have made the marble drawing look like an elaborate, ancient ritual conducted by an elderly man wearing a ceremonial mask and escorted by tribal drummers. Mike also learns that his mentor, known as The Professor, is present at the fight. As Mike walks through the halls of the arena, he peers through a partially opened dressing room door and sees that the elderly Asian man who draws the colored stones is actually the magician from Bruno's club in disguise. The magician is vainly displaying his sleight of hand skills in the dressing room mirror and secretly switching colored marbles. Mike realizes that the fight is fixed. Unbeknownst to the competitors, the magician assigns the handicap as predetermined by the fight promoters. Disgusted by this revelation, Mike confronts the promoters/conspirators: Marty, Jerry and Bruno. They confirm the accusation and also reveal that Ricardo is intentionally losing the fight to Morisaki so they can make money on the rematch. When Mike accuses them of being responsible for Joe's suicide, Jerry laments that it was unfortunate but blames Mike for being stupid enough to give a gift from someone as important as Chet Frank. Jerry also tells Mike that Sondra is the one who told them about Laura shooting the window. Bruno justifies her betrayal by explaining that his sister is too smart to stay with someone who can't provide for her. As Mike is exiting the arena, he meets with Laura. Their conversation is not audible, but it ends with Laura giving Mike a loud, echoing slap to the face. Mike then re-enters the arena determined to expose that the fights are fixed. One by one, security guards try to stop Mike but they are unsuccessful. Finally, Ricardo engages Mike. As they begin fighting in the arena's corridors, the audience and camera crews take notice. Eventually, Ricardo puts Mike in a difficult choke hold. As he's losing consciousness, Mike is inspired by the sight of The Professor and reverses the hold. Mike wins the fight. He is approached by Morisaki who awards Mike with his ivory-studded belt, previously referred to as a Japanese national treasure. Mike is then approached by The Professor himself who awards Mike with the coveted Redbelt, signifying Mike as his one worthy pupil.

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"I take orders from the Octoboss."

The best thing about the movie is Chewetel Ejiofor. He plays Mike Terry, the instructor at a small, struggling jiu-jitsu academy, and a total fucking badass. He has some ties to bigshots in competitive mixed martial arts (or “karate potpouri” I believe they prefer to call it) but he doesn’t consider competition fights to be honorable, so he won’t do that even when he needs the money badly. It’s best to just let the plot fall into place, it’s not exactly high concept. But I will say that it involves some coincidence, a broken window, some lies, and some sleeper holds.

Give some credit to Mr. Mamet of course. He found a great alternative to the classic Steven Seagal “Just How Badass is He?” speech. As much as I love characters listing the hero’s badass qualifications it’s refreshing how Mamet leaves it at hints. Like when Mike runs into a tough guy friend of his training stuntmen how to knife fight, and they start talking about this movie producer. Mike’s friend asks:

“Did he ask you if you were in the military?” “Yeah.” “Did you tell him what you did?” “He didn’t ask.”

Nothing more on the subject is said, or needs to be said.

There aren’t too many fights and when there are they aren’t take-your-breath-away showstoppers like in the best martial arts movies. They’re more matter of fact and realistic. Two dudes grunting and trying to crush each other’s throats. SPARTAN (which was Mamet’s version of a special ops badass movie) did have a couple perfectly staged action moments, not so in this one. I think that’s the one thing that could’ve made the movie better for me would be if it actually did go for a little more action movie thrills (without abandoning what they already have here). But oh well, I’m not gonna cry about it.

What I have not mentioned at all yet is the most important aspect of REDBELT, and the main reason I loved it. No, not Tim Allen. The most important part is the code of honor. The story comes entirely out of Mike and his students’ code of honor. They make decisions based on their codes even if it’s gonna get themselves in trouble or make their wives mad at them. The most important thing is not bringing shame upon the academy. One scene I love is when Mike and his wife (Alice Braga, the woman from I AM LEGEND) are arguing about something Mike and his student did to help a stranger that loses them some money. She asks if he thinks that’s noble and he says “No, I think it’s correct.”

Man, I’m a sucker for a good code of honor story, and that theme in this movie is about as right-on as they come. Makes me want to stand up and cheer, like KNIGHTRIDERS. The story is about Mike sticking to his code in the face of the corrupt moneymaking behemoths of Hollywood and professional sports. Like most people these days he is surrounded by people who see nothing wrong with selling out ancient traditions and values for profits, who think doing something because it’s “correct” is naive and silly. He sticks to his guns and he takes some losses because of it, but he has some victories too. The story also applies his jiu-jitsu philosophy to the dangers he faces outside of the ring. Listen to what he says in his classes, most of what he’s talking about applies to more than just fighting.

I believe this is a truly great movie, and I know of five acquaintances and a few readers who saw it and so far it’s unanimous admiration for this one. But Mamet’s style is not for everybody, so I won’t make any guarantees. That’s why I believe now REDBELT should actually turn into an action/exploitation series like the KICKBOXER series or AMERICAN NINJA or something. That way we could all share REDBELT and enjoy it equally. Ejiofor should return and this time it’s all about rescuing somebody that gets kidnapped or cleaning up the neighborhood of drugs or going back to Afghanistan to rescue his platoon who were left behind. And my buddy who I refer to in reviews as “Mr. Armageddon” suggests that he should only be referred to as Redbelt. “That’s no amateur you’re dealing with. That’s Redbelt!”

Of course this would never happen but I’m not being sarcastic, I would honestly love if it did. The character is that great, you just want to see him in any adventure you can get. In REDBELT 4: CIRCLE OF JUSTICE I’m sure he would be played by Michael Jai White or Kirk Sticky Jones, but I’d still give it a shot.

Trivia: I swear to God, Jar Jar Binks himself Ahmed Best is listed on the credits as a stuntman. So look carefully, maybe he gets what they call “knocked the fuck out.”

Brazilian Brawl
Ghost Dog: The Way of the Samurai
“The Unit” episodes 2.23 and 3.6 featuring Randy Couture

24 Responses to “Redbelt”

April 27th, 2009 at 1:16 pm

Were you disappointed at all with the ending? To me it didnt make much sense…first of all, the way his relationship with his wife inexplicably hit the skids, and how he conversely becomes close (romantically, even?) with Emily Mortimer, is criminally unexplained. Why was he given the belt at the end of the movie? What was he really trying to accomplish with his asskicking spree? The movie really had me for awhile, but doesn’t give itself any time to uncoil for the ending. Did any of this shit seem strange to you? I loved Spartan, and to me both the story and characters in that movie seemed pretty airtight. What’s the deal with Redbelt? Do you think I’m just missing something?

September 17th, 2009 at 8:07 pm

Random thoughts on Redbelt:

Chewy rocks. But don’t call him Chewy — he hates that. Do you think he and Marky Mark commiserated over this when they worked together? (Of course, Marky brought it on himself. Chewy didn’t, except by not changing his name.)

I’m not smart enough to understand this plot. Or I’m too smart to fall for it.

Mamet bad guys will always tip their hands by hanging around to boast after a con, or by leaving doors open. It’s like talking villains in Bond films.

The wife is a cold bitch. Well, one sign of an auteur is consistency.

I like the part where everything is suddenly going well, and our hero starts to get all Hollywood. You can see his personality changing during those scenes. That was funny. (Fortunately, it changes back.)

I did not know what was going to happen from one moment to the next. Even if I had questions when it was over, I was fully involved as the film played out. Good filmatizing.

Tim Allen was good for a comedy guy playing an action guy. Like Bill Murray, minus Suntory Time.

I just don’t trust that Joe Mantegna. Do you think he thinks that Mamet thinks he looks like a snake? “Hey, Joe, got a role for you.” “Is it another weasel?” “Um, maybe. Wanna do it?” (sighs) “Okay.”

Something got in my eye at the very, very end. I don’t expect this to happen in a Mamet film. Genuine surprise.

If you want to have some fun, look at the reviews on imdb and Amazon. “I’m a big MMA fan, and this movie SUCKED! Whoever this guy is, he can’t write. He repeats everything. And why did they cast this nobody in the lead?” Then they say something about the bald guy with the cauliflower ears, only they know his name and everything, and they lament the fact that a celebrity of his stature is slumming it in this crap. Sometimes I get the inkling that most folks aren’t like us blog-commenting types.

Good recommendation, Vern. Too bad Spartan isn’t viewable instantly on Netlfix. I’ll have to have them physically send me the little round flat thing through the postal service. I bet they will if I ask.

September 18th, 2009 at 12:40 am

I missed the earlier comment by Patrick. The reason he’s given the redbelt is to me the main reason why it’s a great movie. See, he’s a guy who believes in the code of honor and the meaning of martial arts, and thinks that the whole industry of competitive fighting is a perversion. After years of stubbornly refusing to be a part of it even when he needed the money he finally gives in and he’s gonna do this tournament, you think. He doesn’t end up doing it, but instead uses his fighting outside of the ring to try to stand up for the truth and the integrity of his martial art that nobody else there seems to give a shit about.

So when The Old Man (Sticks from OUT FOR JUSTICE) gives him the belt it means he earned it not by winning some matches but by putting himself on the line for true jiujitsu. And it also means that despite being dragged out here the Old Man hasn’t been suckered into the sports entertainment business.

Frank – I guess they must be talking about Randy Couture, whose name I learned later when he was the bad guy in SCORPION KING 2. He plays one of the ring announcers. I bet he’s more proud of REDBELT than SCORPION KING 2. But I’m not sure which one got him the part in THE EXPENDABLES.

I think I’m too scared to look at the IMDb boards but I did get into it with John Campea from the Movie Blog when he said it was one of the worst endings ever. He criticized REDBELT in an article about “box office bombs,” as if he thought it was supposed to open big like an X-Men movie. And ironically being a guy obsessed with what makes money is exactly the reason why he would hate the ending, since it’s basically a huge fuck you to that mentality.

September 21st, 2009 at 7:16 am

I bought this movie because of this review. Just wanted to say Thank you, because there was no way in I was buying some MMA movie otherwise.

September 21st, 2009 at 8:20 am

Brendan – No offense mate, but why would you say that?

If anything, I argue that the MMA/Pro Wrestling movie now potentially what the boxing film used to be: Sports melodramas, with those two working out themes and stories of supposed honor and personality since quite frankly, people don’t give a fuck about boxing anymore.

You had THE WRESTLER and now RED BELT. Who knows, maybe we’ll soon get more classics within those lines?

September 21st, 2009 at 8:49 am

I’m not a big fan of MMA as it’s used in movies. Not saying it isn’t a worthy sport or that the people involved couldn’t kick my ass, because it is and they could. I just don’t think it’s lent its style to cinema very well, at least so far. Vern complained that the fight scenes were all shot with tight close ups of the characters’ faces and whatnot, well to me that seems to be the only way to shoot these kind of fights. When Ejiofior did something besides choke a dude (flip off the wall) Mamet backed up and showed it, so I don’t think you could argue that the guy has no idea how to shoot motion and that’s why the fights are the way they are. Obviously there are probably a hundred ways to prove me wrong, and I hope filmmakers do so. We need more crazy martial artists doing crazy shit for our collective blood-lust so I hope that action directors figure out ways to channel that into solid action movies. What’s weird about your point RRA is that your right about those movies being brilliant and them proving the potential of the field. But I think what makes Redbelt and The Wrestler great, isn’t the sports the characters engage in, but the character’s themselves. It’s Mike Terry’s unwavering dedication to his code of honor that makes him fascinating, and seeing just how far he will be pushed and still stand by the code that makes the movie so amazing. It didn’t necessarily have to revolve around a sport wherin the object is to crush another fully-grown man’s larynx, that was just Mamet conceding to the whims of awesome-ness. This post is way to long, but fuck it, this kind of conversation is what talkbacks were invented for.

September 21st, 2009 at 12:02 pm

But in REDBELT the sport we know as “MMA” is basically the villain. I liked FIGHTING and loved BLOOD AND BONE, but those are in the tradition of LIONHEART and other underground fighting movies and just kind of partially latch onto this “MMA” phenomenon. Other than that are there any good movies about this? I don’t know of any. There are tons of DTVs starring UFC guys, but after I couldn’t make it 15 minutes into a couple of them I stopped trying.

If you know any good ones I’d love to find out about them.

September 25th, 2009 at 4:36 am

Reading Vern’s review on The Wrestler I was pointed at this one. I had not heard or read anything about it before. So when a few days later -like it was supposed to happen- I stumbled upon it in the video store I took it with me.

I have something like a split personality where it comes to movies: half of me likes intellectual challenge and the honour of being allowed to think for myself and the other half likes Jerry Bruckheimer movies (that’s just an indication of course). In some cases both parts of me get something out of a movie (or a novel, or a theatre play), but usually it’s either intelligent or plainly entertaining. When I come home with rented video’s there are usually two distinct piles. (Since Seagology entered my life there are actually three piles.)

Redbelt falls into the category of ‘both’. Just like The Wrestler. I really loved it. And the nice ‘don’t show everything’ like when the character Mike comes in his dojo before we (and he) learn the black belt police officer has killed himself, and the scene after that where we only get to see the evidence of that for about two seconds through an open door.

December 2nd, 2009 at 11:28 am

Man, I loved this film. Keep the good job, amigo.

December 30th, 2009 at 12:16 am

I’m an asshole for not seeing this in the theater.

I apologize to everyone involved.

To whom shall I send my $6.50?

(I’m a matinee man. Sorry.)

January 10th, 2010 at 12:20 pm

SPOILERS (for tons of movies)- Bear with me here – you know how some people say the last scene of Taxi Driver with Cybil Shepard was a dream? Or how the beginning of Before the Devil Knows You’re Dead was really the end and was also a dream for one of the characters? I normally hate that shit but I seriously thought the ending of Redbelt was so ridiculous, so OUT THERE, so different from the rest of the movie that I’m convinced it all took place in Mike Terry’s mind. Kinda like that dream scene in JCVD where he saves the day then high fives the SWAT team dude.

Seriously – how did every minor character throughout the movie, from David Paymer’s lowly loan shark to the movie consultant friend end up w/ ringside seats at the end? Why in the blue hell would those guys give him the Redbelt? (I know WHY they did- upholding the honor, etc.. but how did they know he deserved it?) Why didn’t they simply think he was a dude who flaked out of an undercard match, beat up some cops, then choked out the main eventer in the hallway? If they had the power of the audience and knew the main eventer/promotion was shady, why would they be involved in this shit anyway? Why would no security stop the fight? Why would they lower the mic down for this crazy dude who just ruined the main event in the ring like he was Michael Buffer or Mr. Kennedy or some shit?

After seeing Terry get shat on the entire movie for the entire running time, the last 5 minutes of this movie is way too happy, way too much pure wish-fulfillment to have actually happened. It’d be like if The Wrestler ended with Randy doing the best Ram Jam of all time off the top rope, winning the world title, and his daughter popped up in the audience for a hug. I hate to say it but I think Mike Terry got choked out, never did the wall-flip, and the last 5 minutes was a dream. Which actually makes a depressing movie even more depressing.

*On a side note, I sorta do want Vern’s idea of a Mike Terry series to happen. The way how Rambo II took the drama and pathos of First Blood and turned it into a good popcorn flick – shit, I’ll see Terry: Redbelt Part II any day.

January 10th, 2010 at 12:42 pm

neal2zod- I can’t speak for every aspect of your post, but about how all the characters showed up: every single one of those characters was connected with the fighting scene. Paymer may have been a loan shark, but he was a loan shark who took bets on fights, of course he would be there for a big fight.

And he’s still fucked at the end. He’s still in huge amounts of debt, his wife fucked him over, his prized student killed himself. If the cop’s wife had shown up at the edn to tell Terry she forgave him, maybe I would buy into the whole “It’s a dream” reading.

January 10th, 2010 at 8:06 pm

The reason things turn around at the end is because the whole story is based on the fighting style. He’s locked in a hold but he knows the escape. He improves the position.

On the DVD Mamet addresses the question of security not stopping him by telling a joke. But basically the answer is – a whole bunch of people *did* try to stop him, and they all got beat up. What more is there to explain?

As for the redbelt, it’s “The Old Man” who gives him the belt. The Old Man represents the roots of jujitsu, and that’s why it upsets Mike that “you dragged the old man out here for this bullshit.” He doesn’t want the martial art to be corrupted by all this business and dishonesty, so the fact that the old man gives him the belt is double moving. Not only does he stand up for honor, but he is recognized for it.

February 27th, 2010 at 9:04 am

I finally, finally saw this.

Someone once said that writers can’t be precious with their characters. They have to be willing to bring them to their lowest ebb just to see how they will react. Is MIke Terry’s reaction brave or noble? No, but it is correct.

Powerful film. Loved it.

Caveat: I don’t think anyone would go for the three marble system in real life.

December 31st, 2010 at 5:16 am

So I’m late to the party as always, I actually saw this when it came out but I’m only commenting on it now.

Great review Vern, I think you really got to the heart of the movie.

And that’s kind of the thing, isn’t it? This movie really has heart.

I was blown away by Chiwitel Ejiofor’s performance, he’s been excellent in everything I’ve seen him in, but this was really something. I would also really recommend Dirty Pretty Things, it’s not action at all but it’s a good thriller and he’s pretty incredible in it.

I’d love to see more movies in this vein, but with maybe a little more action and with a more classical approach to filming the action.

Imagine Isaac Florentine directing a movie with a script like this and some of these actors? (The actors he has worked with are great but I’d love to see Ricky Jay or somebody like that show up in one of his movies)

December 31st, 2010 at 3:00 pm

I’m a better person than you because I saw this in the theatre on opening day. I even bought my ticket online ahead of time, because I hate lines and expected a good crowd for “an MMA movie” in the town largely populated by Bragg boys. Other than my teammate & myself, there was one guy in the auditorium. Very sad. But at least I have the right to claim my superior Mamet-fandom.

I like telling others that I’m better than them.

April 13th, 2011 at 8:37 pm

Proof of my superiority, in the bottom right:

http://i55.tinypic.com/2rbz444.jpg

June 16th, 2011 at 2:18 pm

Mr 2Zod’s description of the film makes me want to see it! That sort of ridiculously-happy-ending-that-has-to-be-a-dream thing is one of the reasons why I liked Observe and Report so much.

Question, is the movie good enough to overlook how insane and awful Mamet has become lately? I’d hate to give money to someone like that.

June 16th, 2011 at 3:33 pm

SPOILERS: The much-loved Bad Lieutenant: POCNO has the same kind of ending too. By the time the police chief who’s been yelling at Cage the entire time shows up with a big grin on his face and his suddenly his best bud, I realized something was up. (I guess you could argue Inception had the same ending, how everyone is grinning and Watanabe wakes up with a cell phone ALREADY IN HIS HAND and immediately makes the phone call Dicaprio has been waiting for the whole movie)

And Casey, I went back and re-read my comments and I hope it doesn’t come across like I didn’t like the movie, I liked it alot and I think it’s nowhere near as show-offy and smarmy as Heist and while I think it falls apart, it does so in a more interesting way than the way Spartan falls apart. Besides, the acting is great and I think that one training scene with Chiwetel and Emily Mortimer is fantastic.

December 18th, 2013 at 8:36 am

Just saw this recently and I’m pretty sure its one of the best movies ever.

October 10th, 2015 at 8:13 am

I just caught this film randomly on television, and while I liked it for the most part, I have to agree with Patrick in saying that the ending made absolutely no sense to me.

See, I get that that is clearly what is supposed to be the case, but lets look at it logically from “The Old Man’s” perspective. He’s observing a show of MMA matches. Then some Mike guy who is announced as having bailed on his fight then comes out towards the arena beating the crap out of a fighter. Mike knocks out the guy he’s assaulting, then walks to the ring. That’s it (as far as anyone in the arena knows). Sure, Mike was fighting for honor, but being that he had yet to communicate to anyone in the arena what his deal is, to them he’s just a guy who chickened out on his match, then came back for some street-style brawling, interrupting an MMA event. So how does “The Old Man” know that Mike is worth handing the redbelt to? This one moment killed my love of the film to that point.

October 10th, 2015 at 8:16 am

As for the redbelt, it’s “The Old Man” who gives him the belt. The Old Man represents the roots of jujitsu, and that’s why it upsets Mike that “you dragged the old man out here for this bullshit.” He doesn’t want the martial art to be corrupted by all this business and dishonesty, so the fact that the old man gives him the belt is double moving. Not only does he stand up for honor, but he is recognized for it.

March 12th, 2017 at 7:39 pm

RM – I always assumed that he had studied under ‘The Old Man’, but it’s a good point because I’m not sure if the movie ever explicitly states that. I think I just inferred it due to the familiarity displayed in calling him that.

March 12th, 2017 at 8:30 pm

The next time I watch it, I’m going to focus on the fatal flaw that his code of honor saves him from: the way that he gets dazzled by glamour.

He’s got the hot wife whose ass I think he checks out. And although he doesn’t buy into the Hollywood bullshit quite as literally as she does, he’s not immune to it, giving script notes with little prompting. He exhibits pride when asked about his clever, original* training method. He readily plays the role of hero and stubbornly refuses to relinquish the role of martyr. Even the act of living by a code of honor is, in and of itself, an incredibly romantic thing. And I think he even has a nice jacket? Plus, he is really excited when recounting his day on the film set, though that has as much to do with seeing his old friend as them using his suggestions. Because the motherfucker is all heart. I can’t quite articulate it yet, but I think that’s what all of that stems from, a mad excess of heart.

* Or am I misremembering it? Did he develop it, or was it something that he picked up as a part of his own training? If I were in that situation, it would be so much worse to have something that I didn’t invent stolen from me.

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Directed by David Mamet

There's always a way out. You just have to find it.

Is there room for principle in Los Angeles? Mike Terry teaches jujitsu and barely makes ends meet. His Brazilian wife, whose family promotes fights, wants to see Mike in the ring making money, but to him competition is degrading. A woman sideswipes Mike's car and then, after an odd sequence of events, shoots out the studio's window. Later that evening, Mike rescues an action movie star in a fistfight at a bar. In return, the actor befriends Mike, gives him a gift, offers him work on his newest film, and introduces Mike's wife to his own - the women initiate business dealings. Then, things go sour all at once, Mike's debts mount, and going into the ring may be his only option.

Chiwetel Ejiofor Tim Allen Alice Braga Jose Pablo Cantillo Randy Couture Ricky Jay Joe Mantegna Max Martini Emily Mortimer David Paymer Rebecca Pidgeon Rodrigo Santoro Jennifer Grey Vincent Guastaferro John Machado Matt Malloy Ray Mancini Cathy Cahlin Ryan Caroline de Souza Correa Bob Jennings Steve DeCastro Jake Johnson J.J. Johnston Dennis Keiffer Simon Rhee Troy Gilbert Damon Herriman Dan Inosanto Ed O'Neill Show All… Cyril Takayama Luciana Souza Scott Barry

Director Director

David Mamet

Producer Producer

Chrisann Verges

Writer Writer

Casting casting.

Sharon Bialy Sherry Thomas Judith Sunga

Editor Editor

Barbara Tulliver

Cinematography Cinematography

Robert Elswit

Assistant Directors Asst. Directors

Cara Giallanza Stephen E. Hagen

Lighting Lighting

Benny Alvarado James B. Crawford

Camera Operators Camera Operators

Chris Moseley Peter Rosenfeld

Additional Photography Add. Photography

Luke Allein Kelly Simpson

Production Design Production Design

David Wasco

Art Direction Art Direction

Ray Yamagata

Set Decoration Set Decoration

Sandy Reynolds-Wasco Kai Blomberg Timothy M. Earls Erin Fite David Ladish Steven Ladish

Special Effects Special Effects

Bart Dion Dennis Dion Mike Dion Louie Lantieri Paul Staples

Visual Effects Visual Effects

David Altenau

Title Design Title Design

Andy Goldman

Stunts Stunts

Ahmed Best Eddie Braun Rico Chiapparelli Debbie Evans Jack Gill Dan Inosanto Bevin Kaye Dennis Keiffer Jess King Tony Lazzara John Machado Simon Rhee Anthony G. Schmidt Aaron Toney Jose L. Vasquez Todd Warren Boni Yanagisawa

Composer Composer

Stephen Endelman

Sound Sound

Steve Bissinger Gary C. Bourgeois Anita Cannella Larry Hopkins Amy Kane Michael Kirchberger Mike Marino Roy Waldspurger Tom Brissette Michael Farrow

Costume Design Costume Design

Debra McGuire

Makeup Makeup

Suzanne Diaz Tina Hoffman Nancy Martinez-Morrison Scott Wheeler

Hairstyling Hairstyling

Lori Guidroz Sheila Cyphers-Leake

Sony Pictures Classics

Releases by Date

07 apr 2008, 09 may 2008, 03 sep 2008, 05 sep 2008, 26 sep 2008, 28 jan 2009, releases by country.

Theatrical 16
Digital R18+
Theatrical M/12
Theatrical R

99 mins More at IMDb TMDb Report this page

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Release details.

Release date: Friday 26 September 2008
Duration: 99 mins

Cast and crew

Director: David Mamet
Chiwetel Ejiofor
Alice Braga
Emily Mortimer
Joe Mantegna
David Paymer
Rebecca Pidgeon

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Set against the backdrop of mixed martial arts, which combines jiu-jitsu, wrestling, boxing and kickboxing, this has all the ingredients in place to emerge as one of his more commercial efforts while still remaining true to those distinct David Mamet sensibilities.

By The Associated Press

The Associated Press

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Switching genres yet again, David Mamet tries a fight movie on for size, and it proves to be an effective fit for the filmmaker-playwright’s trademark themes and rhythms.

Set against the backdrop of mixed martial arts, which combines jiu-jitsu, wrestling, boxing and kickboxing, “Redbelt” has all the ingredients in place to emerge as one of his more commercial efforts while still remaining true to those distinct Mamet sensibilities.

The Bottom Line Empty

As the heart and soul of the film, Chiwetel Ejiofor once again impresses as Mike Terry, a committed jiu-jitsu teacher and Gulf War veteran who runs a struggling academy on Los Angeles’ Westside with his Brazilian wife, Sondra (Alice Braga).

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Redbelt Review

26 Sep 2008

Movie fans have long pondered the question: what if David Mamet remade The Karate Kid? Well, Redbelt is as close as the master wordsmith is ever going to get, which is to say that it’s not so much wax on, wax off as it is wax lyrical. For, as one might expect from Mamet, even in a movie about fighting, much of the combat is of the verbal kind.

For a while now, Mamet’s cinematic output has been less about provocation - as his theatrical outings so often are - and more about the art of deception, and about the pleasure to be derived from placing a series of seemingly insurmountable obstacles in front of a dogged and determined character. Redbelt is no exception.

At its centre is that dogged and determined individual, Mike Terry (Ejiofor), a soldier-turned-martial arts instructor for whom honour is everything. Around him swirls an array of shady characters, from Tim Allen’s jaded movie star, whom Mike protects in a bar fight, to Mamet lucky charm Ricky Jay as an unscrupulous fight promoter (is there any other kind?) whose interactions seem entirely random. Yet, as with the likes of Spartan and The Spanish Prisoner, nothing is as it seems and these disparate strands will come together to leave Terry teetering on the brink of a fate worse than death: moral compromise. But as he seems fond of reminding us with Uncle Ben-esque regularity, there is always an escape.

Redbelt - a reference to the highest honour attainable in mixed martial arts - shares thematic ground with the sorely underrated Spartan (in fact, it also shares an ending which relies on a conveniently placed camera crew): both are examinations and celebrations of men out of time, whose codes don’t mesh with the harsh realities of the modern world. This film, though, is a little heavier on the philosophy of the noble fighter, though Mamet’s great skill is in burying this in a slew of subplots and story strands, so that it never seems like pretension or preaching.

Standing out in a cracking cast, Ejiofor is electric as a man being slowly driven to breaking point - and when that point comes, it’s enthralling and moving, proving that, even for David Mamet, actions can speak louder than words.

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I’ve been a huge fan of Mixed Martial Arts ever since I saw UFC #2 many many years ago. I still remember very vividly watching Royce Graice, a skinny little guy absolutely mow through men 2 and 3 times his size and weight. All these flashy fighters with their punches, flying kicks and spinning back fists were all made totally useless as Gracie always got them on the ground (where their flying kicks were meaningless), tied them up like a cobra, and then would either choke them out or make them tap (give up). Suddenly the world knew about Jiu-Jitsu and the real world of MMA was born.

So when you bring along a movie that appears to focus on the art, and it stars Chiwetel Ejiofor (who I’ve been a huge fan of ever since seeing him in Serenity a couple of years back) it instantly gets my attention. And so here comes “Redbelt”.

THE GENERAL IDEA

The synopsis for Redbelt looks like this: “Tim Allen and Chiwetel Ejiofor star in writer/director David Mamet’s martial arts drama concerning a jujitsu master who becomes corrupted by the glitz and glamour of Hollywood. When a respected jujitsu master (Ejiofor) eschews a lucrative prizefighting career in favor of opening a self-defense dojo, it appears that he has chosen a peaceful path in life. The dedicated martial artist’s fate takes an unanticipated turn, however, when he is manipulated into participating in ultimate fighting championships by a group of unscrupulous actors and fight promoters. Later, as the master is being relentlessly beaten in a dirty street fight, he connects with a high-profile action star (Allen) with serious marital problems. Realizing that the only way to regain his honor is to step into the ring, the jujitsu master reluctantly prepares for the fight of his life.”

Surprise surprise, Chiwetel Ejiofor is fantastic in it. Not only did he look convincing performing the martial arts (which is often a big flaw in many of these types of movies) he also just gives a great performance. A troubled warrior who is trying to lead a peaceful existence suddenly confronted with doubt, adversity, betrayal and the weaknesses in his own character as well. Very well played.

One of the worst things about any sort of “fight” movie (karate, boxing, street fighting, whatever) is that they often look good, but have zero levels of believability because every single punch or kick that gets thrown would knock out a normal human being… and these fights inevitably end up having massive haymakers landing with every shot. Redbelt avoids that trapping and just has the fights look like real fights without the flashy glamour of knock out power shots with every punch. It’s not as flashy to look at on screen, but it adds to the authentic feel.

Surprisingly enough Tim Allen wasn’t that bad in the film. I rolled my eyes the moment I heard he was in this, but I’ve got to admit he was pretty good. It was a different sort of character for him and he did it pretty well.

If the combat looked believable in the movie… then that was the only believable part of the whole damn thing. The plot was so full of imagination defying nonsense and unrealistic scenarios that I spent a good part of the movie with my face buried in my hands. It’s hard to go into it too much without crossing into spoiler territory… but it just seemed like EVERYTHING that happened in the movie was not the way it would have happened in real life. It was so bad… gaahhhhh!!! I can’t say way it was bad because it would be a train of spoilers. Let me put it like this: The concept and general idea of the film were quite good… but the actual fleshing out and execution of the story was pathetic.

Aside from Chiwetel, all the characters were paper thin as far as depth goes.

Redbelt is a terrible movie that is ALMOST saved by authentic looking martial arts with a great character and a wonderful performance given to that character. Everything else surrounding that character was an unbelievable insult to human intelligence. So while there are some redeeming qualities to the film, I ended up just hating the flick. Overall I’m giving Redbelt a 3.5 out of 10.

You can watch the video version of our Redbelt review here:

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Redbelt (United States, 2008)

Most directors, upon entering a genre with which they lack familiarity, adhere strictly to "the book." David Mamet, however, throws "the book" out the window. The resulting movie, a mixed martial arts concoction called Redbelt , is different than what fans of Mamet, MMA, or anything else are likely to have seen before. The plot is borderline ridiculous and certainly doesn't stand up to close (or even not-so-close) scrutiny, but there's a level of entertainment to be had watching it unfold in all its strangeness. And, as always with Mamet, there's the question of whether his particular method of directing actors to speak his dialogue (a mannered, staccato delivery) is effective or distracting, or perhaps both.

Mike Terry (Chiwetel Ejiofor) is the owner of a small self-defense studio that teaches karate, jujitsu, and a variety of other techniques. His "prize pupil" is police officer Joe (Max Martini), whom he instructs not only in the arts of physical domination but in the need to maintain respect and honor in all areas of his life. Despite badly needing money, Mike will not enter MMA competitions because he believes they demean the life lessons he is trying to impart. His lovely wife, Sondra (Alice Braga), is losing patience with his code of conduct as she funnels money from her successful business into his unsuccessful one. One evening, a distraught woman (Emily Mortimer) stumbles into the studio searching for help. When Joe tries to assist her, she mistakes his actions for an attack, grabs his gun, and fires it. The only casualty is the store's front plate glass window, but the replacement cost is another nail in Mike's financial coffin. His luck takes a positive turn, however, when he visits a bar owned by his brother-in-law and defends action star Chet Frank (Tim Allen) in a bar fight. Chet is grateful and wants to get to know Mike, but his motives may not be as simple as pure gratitude.

Because nothing is as straightforward as it initially seems, one has to pay attention to Redbelt to avoid becoming lost. Even for those attention does not wander, the density of the plot can be daunting and the situation is made problematical by a lack of coherence and consistency. The more one understands the scam underlying Mike's circumstances, the more it becomes apparent that it simply doesn't work. Even if a viewer was to accept that holes are being plugged by off-screen factors, the plan demands too many coincidences to be credible. Thus, the delicious quality of the double-crosses loses its zest.

Human interaction is also not Redbelt 's strong suit. Several scenes with potentially potent emotional content (a suicide, a betrayal) feel flat because the characters barely react. In fact, in one scene, a widow confronts Mike about her husband's death and there are no tears or grief - just anger that she won't be able to pay the bills. Considering what we know about the marriage, this response rings false. There's a sense that Mamet spent so much time and effort crafting the dialogue that he lost sight of the bigger picture.

The movie is being marketed as a sports film with several big name stars. While the cast is populated by a number of recognizable names, the ones with the most screen time are Chiwetel Ejiofor, Alice Braga, and Emily Mortimer. Tim Allen has a relatively small role as a big-time Hollywood star who doesn't do as well in real-life fights as in movie struggles. (The fact that he walks into a bar without his usual entourage is a clue that something's not on the level.) Allen is generally a cinematic lightweight but this is some of the best work he has on the big screen. Mamet regulars like Ricky Jay, Rebecca Pidgeon (Mamet's wife), and Joe Mantegna make their obligatory appearances.

Redbelt moves inexorably toward the climactic event of any sports movie: the ultimate bout. Mamet does something smart here, changing things up but in a way that won't disappoint those who want their pound of flesh. Once again, it's necessary to throw reality out the window because it doesn't apply but, taken at face value, there's a degree of satisfaction in the way Redbelt concludes. Anyone attending with the expectations that this is going to satisfy a primal desire for wall-to-wall combat will be sadly disappointed. This is a movie of contradictions. It's neither uninteresting nor unentertaining, but the plot is as threadbare as an old carpet and Mamet's narrative contortions will leave many viewers scratching their heads.

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IMAGES

Redbelt movie review & film summary (2008)
Redbelt movie review & film summary (2008)
DVD Review: Redbelt
Redbelt (2008)
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Redbelt Movie Review / First Look: Chiwetel Ejiofor in David Mamet's

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COMMENTS

The Belts From Brazil movie review (2008)
Action. 99 minutes ‧ R ‧ 2008. Roger Ebert. May 8, 2008. 4 min read. A martial-arts instructor (Chiwetel Ejiofor, right, with Emily Mortimer) finds himself in a chokehold in Redbelt, directed by David Mamet. David Mamet's "Redbelt" assembles all the elements for a great Mamet film, but they're still spread out on the shop floor.
Redbelt
Redbelt is a 2008 American martial arts film written and directed by David Mamet and starring Chiwetel Ejiofor, Tim Allen, Alice Braga, Randy Couture, Ricky Jay, Joe Mantegna, Emily Mortimer, David Paymer, Rebecca Pidgeon, and Rodrigo Santoro. The film also features a number of martial arts professionals. It opened in wide release in the United States and Canada on May 9, 2008. The film ...
Redbelt (2008)
Redbelt: Directed by David Mamet. With Max Martini, Matt Cable, Chiwetel Ejiofor, Alice Braga. A fateful event leads to a job in the film business for top mixed-martial arts instructor Mike Terry. Though he refuses to participate in prize bouts, circumstances conspire to force him to consider entering such a competition.
Redbelt
Redbelt, his latest, is a curious one, a movie that hints at greatness only to retreat, unpardonably, into genre convention.
In a Chokehold, on the Mat and in Life
In "Redbelt," David Mamet has taken a sturdy B-movie conceit a good man versus the bad world, plus blood tricked it out with his rhythms, his corrosive words and misanthropy, and come up with ...
Redbelt Review
Written and directed by David Mamet, a filmmaker who understands philosophy at least as well as he understands fisticuffs, Redbelt qualifies as quite possibly the smartest movie ever made about ...
Redbelt
Redbelt, his latest, is a curious one, a movie that hints at greatness only to retreat, unpardonably, into genre convention. Full Review | Original Score: 2/5 | Sep 26, 2008. The Mamet rhythms are ...
Redbelt (2008) Review
Redbelt (2008) Review. By JJ Hatfield. Red Belt is truly an exceptional martial arts movie. It achieves this distinction by focusing on one quiet unassuming man and in doing so beautifully enlightens the viewer to the true art of Jiu-jitsu.
Redbelt (2008)
Is there room for principle in Los Angeles? Mike Terry teaches jujitsu and barely makes ends meet. His Brazilian wife, whose family promotes fights, wants to see Mike in the ring making money, but to him competition is degrading. A woman sideswipes Mike's car and then, after an odd sequence of events, shoots out the studio's window. Later that evening, Mike rescues an action movie star in a ...
Redbelt
Inspired by Mamet's passion for martial arts, Redbelt is an archetypal (read: trite) story of honour, corruption and heroism that doesn't so much explore codes of masculinity as scratch them ...
Redbelt Summary, Trailer, Cast, and More
Redbelt, directed by David Mamet, follows an honorable jiu-jitsu instructor, Mike Terry, who becomes entwined in the competitive world of mixed martial arts. Faced with financial struggles and personal dilemmas, he must navigate complex moral choices to maintain his integrity. The film stars Chiwetel Ejiofor in the lead role, providing a nuanced performance that reflects the principles and ...
Redbelt (2008)
The idealistic instructor of jujitsu, Mike Terry, refuses to compete in the ring for principle and is training the promising fighter and police officer Joe Collins. When the stressed lawyer Laura Black stumbles in his academy in a rainy night, she accidentally shots Joe's pistol breaking the front window.
Redbelt
Redbelt If you've seen anything by David Mamet then you know it's kind of surprising (and awesome) that his new movie is about Brazilian jiu-jitsu. I even heard rumors that it was a straight ahead kickboxing movie like BLOODSPORT, and when the opening credits had Japanese drums like Christopher Lambert's THE HUNTED I was about ready for the rebirth of action cinema. But this is really ...
‎Redbelt (2008) directed by David Mamet • Reviews, film
Is there room for principle in Los Angeles? Mike Terry teaches jujitsu and barely makes ends meet. His Brazilian wife, whose family promotes fights, wants to see Mike in the ring making money, but to him competition is degrading. A woman sideswipes Mike's car and then, after an odd sequence of events, shoots out the studio's window. Later that evening, Mike rescues an action movie star in a ...
Redbelt 2008, directed by David Mamet
A series of bad turns involving a protégé, a jittery lawyer ( Emily Mortimer ), a dodgy movie star ( Tim Allen) and his dodgier factotum ( Joe Mantegna) raises the stakes, however, and before ...
Redbelt
Redbelt. Set against the backdrop of mixed martial arts, which combines jiu-jitsu, wrestling, boxing and kickboxing, this has all the ingredients in place to emerge as one of his more commercial ...
Redbelt
Redbelt - Metacritic. Summary Set on the west side of the Los Angeles fight world, a world inhabited by bouncers, cage fighters, cops, and special forces types, Redbelt is the story of Mike Terry, a jujitsu teacher who has avoided the prize-fighting circuit, choosing instead to pursue an honorable life by operating a self-defense studio with a ...
Redbelt Review
Redbelt Review. Mixed-martial-arts instructor Mike Terry (Ejiofor) has money problems. He could earn $50,000 in a competition, but honour precludes him from fighting for money. Then a series of ...
Redbelt
Set in the west-side of Los Angeles fight world, a world inhabited by bouncers, cage-fighters, cops and special forces types, Redbelt, is the story of Mike T...
Film Review: Redbelt
David Mamet's Redbelt is a film about the pure and spiritual side of the martial arts style of Brazilian Jujitsu. A redbelt is a martial arts' belt "that
Redbelt Review
Redbelt is a terrible movie that is ALMOST saved by authentic looking martial arts with a great character and a wonderful performance given to that character. Everything else surrounding that character was an unbelievable insult to human intelligence.
Redbelt
Once again, it's necessary to throw reality out the window because it doesn't apply but, taken at face value, there's a degree of satisfaction in the way Redbelt concludes. Anyone attending with the expectations that this is going to satisfy a primal desire for wall-to-wall combat will be sadly disappointed. This is a movie of contradictions.