Although it has its amusing moments, in eneral the plot does not convince.

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

The film never slows down or bores, plunging from one harrowing sequence to the next.

There is something very special about Leonard Cohen. A great majority of song lyrics are banal and predictable. With Mr. Cohen's lyrics, you are drawn in and become a part of the story. You can relate to what he is saying in his songs and you must respect his art in the presentation. As a poet, his songs reflect a lyricism and love of language which make them a pleasure to hear. This documentary is a good introduction to his life and his work. The performances are excellent and the interviews interesting. This does what all good documentaries do - make you want to learn more about the subject. I would recommend it to anyone who is interested in sophisticated song-writers (i.e. Bob Dylan, Joni Mitchell). There aren't that many writers capable of working at the demanding level of Mr. Cohen and they are to be encouraged. Even if you have never heard of Mr. Cohen, take a chance and watch this movie...you will find it enlightening and enjoyable.

I once succeeded with an attractive older woman because we shared a poetry lovers' delight in Leonard Cohen's Suzanne. A singer/composer who doesn't need U2 for background deserves a tribute by with singers who do. Leonard Cohen: I'm Your Man is an entertaining tribute documentary that took place in January 2006 at the Sydney Opera House. Album genius producer Hal Willner has arranged 13 performances in the "Came So Far for Beauty" concert. Although Nick Cave and the Wainrights among others could hold their own in concert, when they successfully cover Cohen's songs in Leonard Cohen: I'm Your Man, there's a slight disappointment that the basso gravel voice himself is not singing. After all, he composed the poetry and melodies, in a distinctively soulful, weary signature style that says, "I did this. Let me tell you about it." So, you can anticipate both my praise and criticism: Cohen's songs transfer remarkably well to other singers, especially Cave (Even with a Vegas attitude his Suzanne is effective) and Rufus Wainright (His oft-performed rendition of Hallelujah reveals a song that can endure even Rufus's emendations). The singers carry an experience and innocence respectively, as Cohen does. Cohen's conversations with director Lian Lunson are the most interesting parts of the documentary: his being a poet in Montreal, a hipster in New York, and a monk in a Mt. Baldy Zen monastery. All the time, however, he is cool enough to avoid revealing too much about himself, but then, that's the mystery of his songs as well. He just makes you long to know why he left his art and came back to it. He doesn't tell.When Cohen finally sings Tower of Song, I knew why he was being feted, albeit too unctuously by Bono, and why he sings his compositions better than anyone else. Because he sometimes takes up to a year on one, the care and feeling show in his weathered voice and heavily-lidded eyes. His smirk is not smug either: It mirrors a translucent soul that loves humanity in all its weaknesses, as he loves himself in all his. Deservedly.

My husband, two younger friends and I saw the Leonard Cohen movie the other night. We were blown away by the music, the story, and the documentary. My husband and I came of age in the 60's and are thrilled that Leonard Cohen has not given up writing songs. His work withstands the test of time. Also the movie works as a documentary as well, holding interest while moving the soul with the musical interpretations. I hope this will introduce a whole new group to his poetry and music. As a sidebar, watching this movie introduced me to a few performers I'd never heard of such as Antony. His voice is so compelling and soul-stirring.

"Leonard Cohen: I'm Your Man" is an entertaining and informative tribute to the iconic singer-songwriter/poet. Structuring the film as a mostly chronological autobiographical interview with Cohen, director Lian Lunson intersperses his personal family photographs and home movies with cover performances at a Sydney Opera House concert to illustrate themes in his life. While his experiences in New York City have been well-documented to fans, especially in his own songs, the depth of the influence of his Canadian heritage is a new insight. With only a humorous nod to his reputation as a "ladies man" (he sounds like every rock 'n' roller on VH-1 cheerfully admitting that he became a musician to pick up chicks), his spiritual explorations are well explained, including his Jewish background and a visit with his Zen mentor.Unusual for this adulatory genre, Cohen is articulate about his songwriting as a painstaking craft in general, though only a couple of specific songs that we see intensely performed or the albums they are from are given more context, such as who "Suzanne" was and working with Phil Spector.Throughout, the performers from Canada, the U.S., England, Ireland and Australia, male, female, straight and gay, discuss his songs and the impact they have had on their lives and art. While it is not mentioned until the very last credit, this 2005 concert is based on a packed 2003 concert in Brooklyn also produced by Hal Willner, as part of the Canadian Consulate's annual Canada Day sponsorship in Prospect Park, under the rubric "Came So Far For Beauty: An Evening of Songs by Leonard Cohen Under the Stars," which featured many of the same performers captured on stage here, including Rufus Wainwright, who relates surprising personal anecdotes about his formative connection with the Cohen family, his sister Martha Wainwright, his mother and aunt Kate and Anna McGarrigle, Nick Cave, the Handsome Family (Brett and Rennie Sparks), Teddy Thompson and his mother Linda Thompson, and Perla Batalla and Julie Christensen who have backed Cohen on his last two tours, with an all-star downtown NYC band led by the horns of Steve Bernstein and the master guitar of Mark Ribot.Instead of Laurie Andersen at that magical night, added are Jarvis Cocker and Antony Hegarty (known respectively as the leader of the bands Pulp and Antony and the Johnsons, though that's never mentioned in the film) and Beth Orton. The performers are only identified in the opening and closing credits. While the concert footage nicely mixes close-ups and full band shots, it is more than half-way through the film before we hear any audience reaction, and we only see glimpses of the audience towards the end. Added climactically just to the film is Cohen singing with U2 at a small club.The interviews are all talking heads, with the extensive Cohen conversations focusing on the planes of his face, particularly as the camera gazes at him adoringly during silences, including a lot of freeze frames. There is an annoying repetitive device of blurring with fades in and fades out, and theatrical focus on a back stage scrim of beads, accompanied by odd theremin-like sounds. This reinforces the somewhat cabaret interpretations of several of the performers that would seem more appropriate to a Tom Waits tribute and are very unlike the two tribute albums that have already been produced.Cohen himself is so charismatic and his rumbling voice is so magisterial that he surmounts the visual gimmicks.