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Redbelt is an expression of heart, courage, and tribute—if not nearly one of pure craft.

The Film – Writer-director David Mamet, who most recently confused audiences with his 2004 thriller Spartan, takes on modern martial arts (MMA fighters Randy Couture and Enson Inoue help the cause) in his latest, an L.A.-based drama which faintly implies the inspiration of the work of Kurosawa whilst continuing many of Mamet’s trademark conventions (most notably his edgy dialogue, which often consists of characters interrupting one another and/or finishing each other’s sentences, etc.).

In its progression, Redbelt converges contemporary art with classic mythology, in respective sequence and initially in steady manner, though not so precisely. But in its totality, and at its most poignant, it exudes Biblical themes and grandeur through its devout messiah, who pays a great deal—personally, socially, professionally, and financially—for his moral code and obstinate compassion (remind you of anyone?). However, Mamet owes much of that to star player Chiwetel Ejiofor and his portrait of good-hearted self-defense teacher and jiu-jitsu master Mike Terry, an unflinching spirit and a fascinating character to watch and grow with. Frankly, without Ejiofor, the movie doesn’t stand—and much of the problem is in its technical conception (barring the cinematography by Robert Elswit, fresh off his Oscar-winning job on last year’s There Will be Blood) and indecisiveness.

Its few action sequences are engaging, but frustrating—the stunt work, which should have been a highlight, is undercut by frantic editing (and not in the way the latest Bourne was “frantic”), especially in its pre-climactic fight. Additionally, Mamet’s script, while often compelling, is sloppily sporadic in the middle, and underwhelming in the end. While the film sets itself up perfectly for what could’ve become a classic resolution to a tragic, gorgeously realized predicament of inverted principle and broken honor (by which time its mixture of eccentricity and deliberateness had taken a turn toward mainstream anyway), it questionably reverts back to what it left behind half-way through, choosing principle—that of its main character and of the initial portion of the movie—over continuity, formulating a dry, impractical, less-than-anticipated conclusion. Ultimately, Mike’s nobility was too great for Mamet to pull apart, even in the name of radiant filmmaking. Nevertheless, Redbelt is an expression of heart, courage, and tribute—if not nearly one of pure craft. 3 ½ stars

The Extras – The DVD is stocked with seven selectable special feature options (excluding the film’s theatrical trailer and previews), each thorough and interesting, and with a passionate spotlight on the world of mixed martial arts and, specifically, Brazilian jiu-jitsu. Feature commentary with maker David Mamet and co-star and renowned mixed martial artist Randy Couture is available, as are a Q&A session with Mamet and an interview with Dana White, President of the Ultimate Fighting Championship (UFC).

Each are noteworthy enough, but where the supplementary stuff really shines is in its unveiling of the sport itself, and how Mamet, a jiu-jitsu purple belt, included it in his film, in Inside Mixed Martial Arts, a 20-min. featurette wherein Mamet, his real-life trainer and the movie’s stunt choreographer Renato Magno, and various other stars of the film who represent the sport and lifestyle (including Jose Pablo Cantillo, Dan Inosanto, Jean Machado, and Ray Mancini), talk about their journey through MMA and their experience on the set of Redbelt. 4 stars

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