High-gloss, well-funded experimentalism from Godfrey Reggio, a compendium of camera and computer tricks, and a companion to his Koyaanisqatsi and Powaqqatsi -- right down to the musical wallpaper by Philip Glass. We find out at the end, in the only verbal text of the movie, that the title is Hopi for (1) a life of killing each other, (2) war as a way of life, (3) civilized violence. Sufficient excuse, that, for a vast range of visual material: urban blight, video games, nuclear tests, athletes and fans, celebrities, wax figures of world leaders, almost anything under the sun. It makes a handsome coffee-table movie in spite of the tone of a soapbox jeremiad; and it has about as much chance as the latter to effect change. (2002) — Duncan Shepherd
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