“Avatar” might be coming out on DVD in a week’s time, but if you are looking for a film with an extra dimension, you could start by getting recently released “Red Cliff.” Martial art epic “Red Cliff,” directed by John Woo, is based on the Chinese records of the Three Kingdoms.”The empire, long divided, must unite; long united, must divide,” are the words used to begin its source material “The Romance of the Three Kingdoms.” On a mission to conquer the southern provinces, Imperial Prime Minister Cao Cao sets out to battle warlords Liu Bei and Sun Quan, whom he considers rebels to the sovereign authority. Cao crushes the flimsy opposition with his massive army before finally settling for a standoff at the Red Cliffs. The ragtag, motley crew, a crumbling alliance numbering in the tens of thousands, will need to withstand the superior firepower and massive forces of Cao’s army.Woo initially released the film in two parts totaling almost five hours, but it was chopped down to about half that time in an American cut to satisfy domestic distributors. But if there is an instance when one should request a “Super Size me,” then the five-hour original version is the way to go.Part I is full of extended fight sequences, suffused with memorable scenes. One has a general fending off an army while carrying Liu’s infant boy on his back. Another general mows all comers with his battle axe before whipping their reinforcements into submission with a spear. Interspersed within these moments of frenetic activity are several pauses of stillness, moments of reflection within the ensuing carnage. In the melee, Bei’s military adviser Zhuge Liang kneels and puts his ear to the ground to predict his opponent’s strategy. In part II, Cao suspends an offensive to reflect on the proper way of making tea.The capsule above describes a film akin to “300,” but it could not be further from the truth. While “300” relied on bombast and cheerleading more at home in East Lansing than Thermopylae, “Red Cliff” embodies the art of war in its breadth and attention to detail. Not merely historical veracity, but rather the effect of the tedium of war on its participants. The closest companion to “Red Cliff” in this regard is to be found in literature, in Homer’s account of the Achaean escapade at Troy. War is no football game with clear winners and losers or fixed times for offense and defense — neither is it governed by clear-cut rules. “War is hell,” a certain gentleman said. And not only because of the suffering and pain caused by the conflict, but because — like hell — it appears everlasting. No one within the conflict can be sure when it will end.The film fleshes out several characters that should be as legendary as Achilles, Hector and Odysseus: Cao, Zhuge and Zhou Yu. These are unique individuals with shades of complexity and motivation, their callousness leavened with sensitivity, their valor with pragmatism. The film trumps up its appeal to fraternal solidarity. Like the brothers in David’s “Oath of the Horatii,” the armies of Bei and Sun must set aside differences and concentrate on thwarting Cao’s imperial ambitions.The film abounds with the ballet movement and slow-motion shots we could recognize in some of Woo’s previous films, like “Hard Boiled” and “Face/Off.” Woo also makes extensive use of wire stunt work, making certain actions appear unrealistic. Be that as it may, it is still a preferable technical alternative to lifeless CGI (Exhibit A: The abominable remake of “Clash of the Titans.”)Some familiarity with Chinese history and culture will probably elevate enjoyment of the film, but it isn’t a necessity. “Red Cliff,” needs no translation — it can be appreciated on its own terms. Freke Ette is a political theory graduate student from Uyo, Nigeria. Follow him on Twitter@TDR_fette.—–Contact Freke Ette at [email protected]