Director Christophe Gans (Crying Freeman, Brotherhood of the Wolf) and producer Victor Hadida (Resident Evil film series) are currently working on Live-action adaptations of two video game franchises: Tecmo’s Fatal Frame and an entirely new version of Konami’s Silent Hill (Gans directed the 2006 film of the same name).
Gans stated that the Fatal Frame film will be set in Japan. He added that he does not “want to root the movie out of its initial atmosphere: the Japanese haunted house.” Gans also said that the new Silent Hill film “will still be set in that ‘small American town’ atmosphere, where puritanism devastated everything.” (Allociné via ANN)
Another project that Gans has under his belt is Corto Maltese, which will reunite the director with his Crying Freeman and Brotherhood of the Wolf star, Mark Dacascos (Drive).
As always, we’ll fill you in on all these projects as we learn more.
It’s pretty difficult to be an Asian movie fan in the last 25 years, and not love at least one Takashi Miike film. An omnipresence in challenging, genre-shifting vital cinema, the director is irrepressible and much-loved. Even a more recent effort such as the manga adaptation Blade of the Immortal, which polarized opinion, I absolutely adore. Mainly due to its constant OTT action (that I have arguments with two friends over, as I prefer it to the Rurouni Kenshin trilogies intricate but non-impactful choreography) and wry, witty tone. Miike is a genre unto himself, and his new film First Love seems to be at first a return to the style of such classics as Dead or Alive; as things progress of course he takes a left turn and proves yet again to be one of the most visionary directors making films today.
Boxer Reo (Masataka Kubota, Tokyo Ghoul) is down on his luck, with serious health problems. By chance he saves a girl Monica (Sakurako Konishi) from being pursued by Yakuza and they go on the run. Gangster Kase (Shota Sometani, Samurai Marathon) hatches an elaborate plot to double cross his gang, involving a corrupt policeman. There are numerous other subplots and many characters, whose fate will be inexorably linked.
The first 45 minutes of First Love, to be honest, didn’t grab me so much. The muted colours, unexciting aesthetic and complicated plot had me wondering why the film has garnered high praise. As soon as the two lovers began their flight, I was absolutely hooked. One can again rely on Miike to turn a film on its head, and be completely unpredictable. The entire mid-section, to closing in on the end of the film, is one of the most insane action set pieces I’ve seen in recent years, and ranks high in Miike’s best cinematic achievements. Miike throws every conceivable Japanese action style together, with adrenalin pumping so hard it’s like you’ve taken a hit of adrenachrome via Fear and Loathing.
As the opening gunfight/carchase kicks in to crazed gear Kase, having rubbed cocaine in to a bullet wound, exclaims: ‘‘this is fucking wild!’ Within the context of almost all Miike movies, this is the understatement of the century, and may seem a little knowingly self-referential. Here, the placement of it and crazed look on Sometani’s face as he spins around in the car means you can’t help but laugh and love the crazy beauty of Miike’s cinematic ride. As the sequence hots up, an unnamed Yakuza is introduced in a ridiculously cool way: blasting a cop with a shotgun in one hand, dressed like Kyle Reese from Terminator, with an arm missing. Oh yes, Miike. Kyle Reese and the One-Armed Swordsman, now that’s a character combination. The showdown between this character and Gondo (Seiyo Uchino, 13 Assassins) is one of the best action match-ups I’ve seen in recent years. Moving from gunplay to swordplay to open hand, it’s a maelstrom that doesn’t let up. In there I noticed shots and moves that look very much like the end gun battle between Lam Ching Ying and Tung Wai in Pom Pom and Hot Hot; one of the greatest of its kind ever conceived, despite the overall film being a lame comedy. If it’s conscious or unconscious from Miike, I love it. Interestingly the way the combat action is shot reflects a very modern approach in style; the camera is at a mid height most of the time, very close in, conveying the chaos of blows. There is no intricacy here, more a heightened sense of realism, in stark contrast to some of Miike’s work in films such as the magnificent 13 Assassins, and to the other styles of action and the tone of First Love.
The two lovebirds have nice character arcs, in actually a pretty standard way, especially for a Miike film. Reo grows from withdrawn and sullen, to finding meaning thanks to his experience and growing affection for Monica. This is encapsulated in his non-celebration after winning the boxing match at the start of the film to exploding with emotion when he wins another at the end. Monica begins the movie dealing with psychosis as she hallucinates seeing her abusive dead father; she learns to face her fear by the end. As Gondo Uchino is like a latter-day Ken Takakura in his old Yakuza flicks, with a stoic machismo that explodes in to violence. Actress Becky as Julie kicks some serious ass in her fights, and brings a welcome Miike-like hysterical insanity to her role.
My three favourite Miike films are Rainy Dog, Audition and 13 Assassins. The difference in style, tone and approach to all three show how fantastic a film-maker he is, one who makes genre shape-shifting an art form. At the vanguard of Japanese cinema for the last 20 plus years, the cinematic landscape would be arguably very different without his output. His efforts prove as a filmmaker he can be as comfortable making extreme, dream-like horror or traditional, aesthetically reverential and informed Samurai cinema. First Love fits firmly in a style we have seen him in before, but here you can sense how much fun Miike has making movies; this energy spills off the screen, and is so infectious you wish to the stars to be on set with him. Miike’s cinematic technique has always drawn attention to itself; it’s like you can hear him whisper: ‘it’s a movie. Let’s have some fun!’
Signature Entertainment is releasing the film in the UK on February 14, 2020. US fans can obtain a copy from Well Go USA on February 11, 2020.
On April 14th, 2020, Cheezy Flicks Entertainment (via MVD) will be releasing the DVD for the 1974 Shaw Brothers co-production, Amazons vs. Supermen (aka Super Stooges vs. the Wonder Women), an exploitation film from director Alfonso Brescia (Beast in Space).
This Chinese/Italian production stars Aldo Canti (The Ten Gladiators), Marc Hannibal (Ironside), Malisa Longo (Way of the Dragon), Aldo Bufi Landi (Four Flies on Grey Velvet), Genie Woods (The Amazons), Yueh Hua (Vengeance is a Golden Blade, 12 Gold Medallions) and Karen Yeh (14 Amazons).
We’re expecting a bare-bones DVD release, but let’s hope Cheezy Flicks Entertainment proves us wrong.
Solid Metal Nightmares – The Films of Tsukamoto | Blu-ray (Arrow Video)
RELEASE DATE: April 28, 2020
On April 28th, 2020, Arrow Video is releasing the Blu-ray collection for Solid Metal Nightmares – The Films of Tsukamoto, a collection of films from Shinya Tsukamoto (Killing, Tokyo Fist), featuring eight feature-length films and two shorts.
Read the official details below:
One of the most distinctive and celebrated names in modern Japanese cinema, there’s no other filmmaker quite like Shinya Tsukamoto. Since his early days as a teenager making Super 8 shorts, he has remained steadfastly independent, garnering widespread acclaim while honing his own unique and instantly recognizable aesthetic on the margins of the industry. Frequently exploring themes of urban alienation, physical transformation and psychosexual obsession, his films cross genre boundaries, defying straightforward classification. This exclusive collection gathers together eight feature-length films and two shorts from Tsukamoto’s diverse filmography, including his most recent offering – his samurai drama Killing, making its home video premiere.
Limited Edition contents include:
High Definition Blu-ray™ (1080p) presentations of all ten films
Optional lossless DTS-HD Master Audio 5.1 on Bullet Ballet
Optional English subtitles for all films
Audio commentaries by Japanese cinema expert Tom Mes on all ten films, including brand new commentaries on Tetsuo, Tetsuo II, Tokyo Fist, A Snake of June, Kotoko, Killing, The Adventure of Denchu-kozo and Haze
Brand new career-spanning interview with Shinya Tsukamoto
An Assault on the Senses, a brand new visual essay on the films and style of Shinya Tsukamoto by Japanese cinema expert Jasper Sharp
Multiple archival interviews with Shinya Tsukamoto, covering every film in the collection
Shooting A Snake of June, an archival behind-the-scenes featurette on the film’s production
Archival The Making of Vital featurette
Archival behind-the-scenes featurette on Vital’s world premiere at the Venice Film Festival
Archival featurette on Vital’s special effects
The Making of Haze, an archival behind-the-scenes featurette on the film’s production
Kaori Fuji at the Locarno Film Festival, an archival featurette focusing on Haze’s lead actress
Archival Background to The Adventure of Denchu-Kozo featurette
Limited edition packaging featuring original and newly commissioned artwork by Gilles Vranckx, Gary Pullin, Ian MacEwan, Chris Malbon, Jacob Phillips, Tommy Pocket, Peter Strain and Tony Stella
Double-sided fold-out poster
Illustrated collector’s booklet featuring new writing on the films by Kat Ellinger, Jasper Sharp and Mark Schilling
Zombie Fight Club, move over! On May 12th, 2020, Dread Central is releasing the Blu-ray for Redcon-1, an action/horror film from director Chee Keong Cheung (Bodyguard: A New Beginning) that’s been described as a mashup of The Raid and 28 Weeks Later (via SBM).
After a deadly viral outbreak, an elite squad of special forces soldiers must infiltrate a quarantine zone to rescue a scientist who holds the only cure to save mankind. In a last attempt to contain the mutated virus, they launch a final strike against the infected, risking all of humanity in the process.
The film stars Oris Erhuero (The Adventures of Sinbad TV series), Carlos Gallardo (Grindhouse), Mark Strange (Avengement, Ip Man 4), Katarina Leigh Waters (The Temptress in Women of Wrestling TV series), Martyn Ford (Fast & Furious 9) and Akira Koieyama (Samurai Marathon 1855).
Van Damme plays a dual role as Alex and Chad, twins separated at the death of their parents. Chad is raised by a family retainer in Paris, Alex becomes a petty crook in Hong Kong. Together, they join forced to find their parent’s killer. This 1991 production most likely gave Jackie Chan the inspiration for Twin Dragons (1992).
Director: Kwak Kyung-Taek Co-director: Kim Tae-Hoon Cast: Kim Myung-Min, Minho, Kim Sung-Cheol, Kim In-Kwon, Kwak Si-Yang, Megan Fox, Jang Ji-Gun, Lee Ho-Jung, Lee Jae-Wook, Dong Bang-Woo, Kim Mi-Hwa Running Time: 104 min.
By Paul Bramhall
With the thawing in relations between North and South Korea in recent years, movies about the Korean War have taken a back seat, and noticeably been replaced by more action-centric productions which partner agents from the North and South for the greater good. However, 2019 saw the relationship between the divided peninsula return to business as usual, with the North throwing plenty of threats in the South’s direction, as well as its American ally. In terms of the South Korean film industry, this roughly translates to the Korean War being back on the cards as a setting for its productions, with the concern of offending its sensitive northern neighbour no longer a priority.
So it is we have The Battle of Jangsari, a co-directed feature (which is rare for Korea) from Kwak Gyeong-taek and Kim Tae-hoon. Gyeong-taek remains the single most frustrating director working in Korea. That perspective may be a personal one, but as the man who made his directorial debut with 2001’s semi-autobiographical Friend, a classic of the Korean Wave, I didn’t think it too unreasonable to expect he had a bright career ahead. 18 years later, he’s repeatedly proved me wrong, so perhaps it’s time to call it a day and admit that Friend was a wonderful fluke. Gyeong-taek has become the master of the bland and uninspired, with his most recent effort, the 2017 Christian production RV: Resurrected Victims, marking a low point in his filmography.
Perhaps that explains why he’s been paired with Tae-hoon, a director whose only previous experience was directing a few episodes of the IRIS TV-drama follow-ups, 2010’s ATHENA and 2013’s IRIS 2. The duo are working from a script written by Lee Man-hee, who’s worth a mention because he also scripted the other Korean War movies, 2009’s 71 – Into the Fire, and 2016’s Operation Chromite. In many ways The Battle of Jangsari can be considered a companion piece to Operation Chromite, as they both take place within the same timeframe. While the latter focused on preparations for General MacArthur’s (memorably played by Liam Neeson) Incheon Landing, which played a pivotal part in turning the war to the South’s favour, The Battle of Jangsari was a smaller conflict that was largely dependent on Operation Chromite being a success.
While director John H. Lee may have secured the talents of Liam Neeson for some Hollywood flair in Operation Chromite, expectedly Gyeong-taek and Tae-hoon haven’t been able to secure a big overseas name for their production. So instead, we get 2 smaller ones. First up is Megan Fox. Yes, as in Megan Fox from The Transformers movies (and of course, who can forget her work on the 2018 mini-series Legends of the Lost with Megan Fox!?). Fox plays the real American journalist Marguerite Higgins, who famously covered the Korean War directly from Korea, as she did also for Vietnam. Unfortunately the character here is treated more like a plot device, there to spout increasingly unsubtle lines about the inhumanity of war and how no solider should be left behind. I’m sure if Higgins ever imagined herself being portrayed onscreen, it wasn’t like this.
Fox’s sparring partner comes in the form of an American General played by George Eads, most recognizable as Nick Stokes from CSI: Crime Scene Investigation, who he played from 2000 – 2015. Eads is there to do what he has to do, relating both to his characters actions and his performance. With the main requirement to maintain a stern face and constantly repeat variations on the “I’m doing all that I can” line, Eads does a decent enough job of reacting to the often eye-roll inducing lines that Fox is lumbered with. Both are of course ultimately supporting players to the main cast, who are led by Kim Myung-min (Deranged) as the Captain of a unit of inexperienced teen soldiers, sent to Jangsari in an attempt to capture a coastal town currently held by the North. Their victory would help to clear a path for the larger Incheon Landing, however many considered it a suicide mission against a more well equipped Northern army.
The opening of The Battle of Jangsari is an indicator of what can be expected from the rest of it. We meet Myung-min as the Captain, already on the ship heading towards Jangsari with his unit, encompassing a handful of the teens who we’ll be spending the next 100 minutes with. There’s the brash and over-confident one, played by Kim Sung-cheol (Too Hot to Die), the cool and collected one that looks like they have the world on their shoulders, played by K-pop boyband member Choi Min-ho (Derailed), and a few other stereotypes. Before long, we’re into Saving Private Ryan territory, as the beach assault begins and we begin to check the boxes – the vomiting from sea sickness (check), the shocking sight of a decapitated soldier (check!), the solider who’s briefly deafened after a grenade goes off next to him (check) – there’s nothing here that hasn’t been done before.
With that said, the scene is still a powerful one, and to Gyeong-taek and Tae-hoon’s credit, they do elaborate on the much used template for depicting war that Speilberg established over 20 years ago. Once they’re up close and personal with the enemy, there’s a handheld shot that moves through the trenches, as soldiers from both sides hack, stab, and bludgeon each other to bloody death with their rifles. It’s a short scene, but the immediacy and uniqueness of it made it stand out more than the bullet riddled beach assault that we’ve now seen many times before. The intensity of this scene was refreshing, but is almost immediately offset by the overly cheerful victory celebration, which in many ways marks the beginning of the tone The Battle of Jangsari takes on for its duration.
Much like 2004’s Taegukgi: Brotherhood of War, soon proceedings become more increasingly melodramatic. Unlike Taegukgi though, Man-hee’s script comes across as contrived. In one scene we’re introduced to the female twin sister of one of the characters, who’s disguised herself as a man to be a part of the unit. She doesn’t appear in any other scene or have any kind of development, but it becomes clear at the end that the only reason she was introduced, is so she can have a melodramatic death scene. First rule of screenwriting – if you want the audience to care about a characters death, they first of all need to know them. In another scene Choi Min-ho stumbles across a village being used by the North Korean army. We’re told early on that Min-ho’s family was originally from the north, and upon being seen by some of the North Korean soldiers, one of them turns out to be his cousin. What are the chances? Let’s go with slim.
The performances offer little assistance to back-up the implausibility of such events. Myung-min is a reliable performer, but as a lead he never leaves much of an impression, and his role here as the conflicted Captain isn’t going to change anyone’s opinion. The K-pop star to actor transition has suited some more than others, and Choi Min-ho falls somewhere in the middle. While his performances in the likes of Derailed and Ilang: The Wolf Brigade were passable, here he’s decidedly one note, conveying his inner-torment for the most part by wearing an expression of boredom. Out of the leads it’s only Kim Sung-cheol who registers as a brash and cocky member of the unit, before even he falls foul of over-emoting when the inevitable scene calls for it. On the bright side, all of this means that Megan Fox doesn’t look so bad.
While the events of The Battle of Jangsari deserve attention and their place in history, adapting them for the screen has resulted in a decidedly cookie-cutter war flick, one that will seem familiar to anyone who’s seen even a couple of war movies. If you’re a diehard fan of the war genre, then you may derive some enjoyment out of its punchy 100 minute runtime, for everyone else, stick with the classics.
2020 is already looking great with Yuen Biao returning in front of the camera for Heroes Return and Sammo Hung sitting back in the director’s chair with The Medal of the Dawn (via Alejandro Torres), an upcoming action film starring Janice Man (The Brink), Ashton Chen Xiaolong (Shaolin Popey), Nick Cheung (The Trough) and Oho Ou (The Captain).
Not much is known of the plot, but if its preliminary poster and press conference is any indication, expect military-type action (and possibly some air combat?). In fact, The Medal of the Dawn marks Hung’s first film of this type since he directed the brilliantly militant Eastern Condors in 1987.
We’ll keep you updated on Medal of the Dawn as we learn more. For now, check out the film’s New Teaser Poster (via AFS).
Why San Diego Is a Paradise for Today’s Gig Worker
Imagine a world where you didn’t have a boss breathing down your neck. A world where toxic coworkers don’t exist. This is the gig economy, and you could be a part of it.
One of the biggest perks about gig careers is that you can work from almost anywhere in the world. Thus, it’s no surprise that picture-perfect San Diego is one of the hottest destinations for gig workers. You could be writing articles on the beach, designing logos on a boardwalk, or driving passengers to beautiful La Jolla.
Discover even more reasons why San Diego is the best location for a gig worker.
An Airbnb Paradise
Do you own property in San Diego? You’re sitting on a gig goldmine. Airbnb hosting is one of the most popular side hustles.
There are more than 150 Airbnb users worldwide, and over 260 people have booked Airbnb stays. This is a fantastic opportunity to cash in on San Diego’s most popular event, Comic-Con! Comic-Con attracts more than 135,000 attendees every year, generating almost $150,000 in revenue for the city.
If you live near the convention area, you could charge up to $200 a night. The average Airbnb during Comic-Con is $164, which will attract interest in no time. Hotels charge up to $700 during Comic-Con!
Beachfront property is another Airbnb goldmine. If you have extra room in Ocean Beach, Mission Beach, or any of San Diego’s gorgeous beaches, you could set up a steady stream of passive income. If you don’t have an Airbnb property yet, research San Diego real estate that would attract the most bookings.
Score Fun Convention Gigs
Comic-Con isn’t just an opportunity for Airbnb hosts. This event is packed with gig opportunities. Comic-Con needs promo models, brand ambassadors, sample servers, sign spinners, pedicab drivers, and more.
San Diego hosts a lot of expos, conventions, and events throughout the year. The best way to find event gigs is to check Craigslist regularly. Bookmark the event’s job page and stay updated on social media.
No Weather Disruptions
San Diego is known worldwide for its ideal weather. Gig workers don’t have to worry about major weather events, like hurricanes, snowstorms, and tornadoes. The city’s rainstorms leave little damage behind.
In San Diego, you don’t have to worry about your power going out during a hurricane or blizzard. The city is hardly impacted by wildfires, unlike its Southern California neighbors. You don’t have to deal with as many disruptions working from home.
Good Vibes
San Diego is known as a friendly place, which is great for gig workers who love to network. A warm and friendly atmosphere makes gig life a lot easier, especially when you’re working for yourself. It’s nice to live in a place where you can strike up a friendly conversation on the street.
Live the Gig Worker Life in San Diego
Who says you can’t be your own boss in one of the most beautiful cities in the country?
Break out of the cubicle and build a career on your terms. Follow these tips to discover the benefits of being a gig worker in sunny San Diego!
Check out the blog for more ideas and inspiration for your city life.
Director: Kim Ki-Duk Cast: Jang Keun-Suk, Ryoo Seung-Bum, Ahn Sung-Ki, Mina Fujii, Lee Sung-Jae, Joe Odagiri, Tae Hang-Ho, Park Se-in, Sung Ki-Yoon, Kim Dong-chan Running Time: 122 min.
By Paul Bramhall
If ever there was an example of a movie destined to seal the fate of its creator, then it could very well be Human, Space, Time and Human, controversial Korean auteur Kim Ki-duk’s latest (and most likely last) movie. Still unreleased in Korea thanks to the accusations of rape and assault made against the embattled director, made when the #metoo movement swept across the Korean entertainment industry in 2017, Ki-duk’s latest does him no favors. Featuring the gang rape of two women, and subsequent repeated individual rape of one of them (by different men), if that isn’t enough to put you off, then bear in mind that at this point we’re not even half an hour in.
Where did it all go wrong for Ki-duk? It’s hard to say, as almost all of his work has been accused of being misognistic in some way, however in his most acclaimed works the cruelty and violence felt like part of a bigger picture that somehow justified it. From his 1996 debut with Crocodile, for the next 10 years Ki-duk was always confronting, but felt like he always had something to say. Movies like The Isle, 3-Iron, and of course his classic Spring, Summer, Fall, Winter…And Spring (of which his latest riffs on the title) belong in any conversation on modern Korean cinema, but that’s not the case for his latest. Human, Space, Time and Human feels like Ki-duk has gone too deep into the abyss, creating a piece of work that feels repulsive and shallow, with little other ambition than to shock the audience watching it.
The plot is equal parts baffling and painfully obvious in its intentions. Proceedings open with a ragtag group of travllers onboard a rusted old warship out at sea. Where it’s bound for, and why they’re on it, is never implicitly stated. Amongst them there’s an up and coming politiican (Lee Sung-jae) and his son (Jang Keun-suk), a newly married couple (Mina Fujii and Joe Odagiri), a group of gangsters (led by Ryoo Sung-beom), and a mysterious old man who goes around collecting dust (Ahn Sung-ki). The irony isn’t lost on me that, despite the unpleasant nature of HSTAH (as I’ll refer to it from here on), Ki-duk has assembled an impressivley all-star cast.
Ryoo Seung-beom (who starred in Ki-duk’s 2016 production The Net) is here reunitied with the legendary Ahn Sung-ki (The Divine Fury) for the first time since appearing together in 2003’s Arahan. Mina Fujii is a Japanese actress fluent in Korean, and is well known on Korean shores thanks to her role in 2015’s My New Sassy Girl (less so for 2014’s Monsterz, the insipid Japanese remake of Haunters). Here she speaks Japanese, and is paired with Joe Odagiri (The World of Kanako), himself no stranger to working with Ki-duk after starring in 2008’s Dream. Much like that movie, here language plays no part in the characters understanding of each other, with Fujii and Odagiri able to speak Japanese to Koreans and vice versa. Although on the surface this seems like a quirk, the more I think about it, the more I’m convinced Ki-duk likely couldn’t find a Korean actress willing to accept a part which involves so much physical assault.
In the lead-up to the multiple rapes, Sung-beom and his cronies align themselves with Sung-jae’s ambitious politician, offering to act as enforcers while he positions himself as the leader of the ship, much to son Keun-suk’s disgruntlement. As night passes, when everyone wakes up they find the ship is no longer on the sea, but instead is floating through the sky, the earth far below. With a limited food supply, the allegiances that began to form when the ship was on a more earthly realm begin to take on more sinister purposes. Sung-jae becomes increasingly greedy, and backed by Sung-beom and his thugs, they start to ration the other passengers food so that they can dine in luxury. Fujii realises she’s preganant, but has no idea who the father is, and is only comforted by the confliced Keun-suk (who wasn’t conflicted enough to not rape her, so the baby could also be his). Oh, and just what is the seeminly mute Sung-ki doing with all that dust?
What may contain an element of mystery on paper, unfolds in a heavy handed and plodding manner onscreen, making controversial scenes from Ki-duk’s earlier work seem nuanced in comparison. The only characters with credited names are that of Keun-suk and Fujii, billed as Adam and Eve respectively, making the intention of HSTAH apparent. Ki-duk has shown an interest in both Buddhism and Christianity throughout his career, with Spring, Summer, Fall, Winter…and Spring being the most obvious example of the former, and more recent efforts like Amen and Pieta focusing on the later. Here the origins of humanity are clumsily transferred to the floating warship, and it’s this element which serves to show just how misguided Ki-duk’s intentions have become.
When asked about the depictions of rape in HSTAH, Ki-duk seemed to believe he’d made a piece advocating pro-life, explaining that Fujii’s character should be seen as the mother of the Earth and saviour of humanity, since so many men impregnated her. It’s a somewhat sad and repungent viewpoint to justify the uncomfortable gang rape, and not only makes it a morally bankrupt experience to watch, but also tarnishes the viewing of his well regarded earlier works. There’s always a question of if an audience should seperate the art from the artist. However with Ki-duk, based on the allegations and his work on HSTAH, as a viewer I found myself questioning if all the naysayers of his previous work may have been right the entire time. Ki-duk’s movies have never been popular in Korea, instead enjoying considerable success overseas (particulrly in Europe), however maybe his native audience always knew what the deal was.
Ironically all of this is wrapped up in the longest running time of any of his movies to date, clocking in at just over 2 hours. It’s a long time to watch something as unsubtle and blatant in its message, and in the latter half the focus shifts to ugly violence. With Sung-jae’s politician consumed by greed, the inevtiable food shortage eventually leads to the passengers having to eat each other. At one point we even get a scene recycled from Pieta, in which Fujii resorts to slicing off a piece of her own flesh in order to feed Keun-suk. Sub-plots are thrown in which add nothing to the plot, such as the capatain and his crew finding a box of grenades, which they intend to use against Sung-jae and Sung-beom. The bickering between a trio of prostitutes proves to be equally meaningless, only adding to the bloated duration.
You may be wondering where exactly Ahn Sung-ki fits into all of this, one of the most respected actors in Korea for over a half a century. The good news is, he’s neither a part of the rape or scenes of violence, instead taking on the role of a mute horticulturist, seemingly focused on growing plants and flowers from what little is available. I admit it was painful to see 2 of my favorite Korean actors, the other being Ryoo Sung-beom, appear in a production such as this. While Sung-beom has worked with Ki-duk before as the lead in 2016’s The Net, that was arguably a very different production to HSTAH. While here he gets to chew up the scenery in his own inimtable way, the nature of his character sucks the fun out of it, only adding to the relentless cruel streak rather than offering a reprieve from it.
In the final scene Ki-duk deviates from his religious allegory, and instead desires to make a point that men and their sexual appetites will ultimately always be forced upon women, regardless of what the relationship is between them. A view of the world that indicates the male population as the hunters, and the female population as the hunted, it’s a stomach churning close to an unpleasant 120 minutes. Much like the rotting flesh of a corpse that one character eats, Human, Space, Time and Human leaves a bad taste, and it doesn’t feel like one that can be washed down easily.
Nemesis: Collector’s Edition | Blu-ray & DVD (MVD Rewind)
Today’s Deal on Fire is the Blu-ray for Albert Pyun’s Nemesis: 2-Disc Collector’s Edition, starring French World Kickboxing Champion Olivier Gruner (Showdown in Manila).
Los Angeles, 2027. Troubled cyborg cop Alex (Gruner) is ordered by police commissioner Farnsworth (Tim Thomerson, Near Dark) to apprehend his former partner and lover Jared (Marjorie Monaghan, Regarding Henry), accused of smuggling data to information terrorists plotting to kill government officials. Systems cowboys, bio enhanced gangsters and cyborg outlaws all play a part in this battle of man vs. machine.
Directed by Albert Pyun (Cyborg, Crazy Six), Nemesis is a “provocative, sleek thriller” (LA Times) that features an all-star supporting cast that includes Brion James (Blade Runner), Thomas Jane (Boogie Nights), Academy Award® Nominee* Jackie Earle Haley (Watchmen), Cary-Hiroyuki Tagawa (Diamond Cartel), Thom Mathews (The Return of the Living Dead), Yuji Okumoto (American Yakuza) and Deborah Shelton (Body Double).
The Knight of Shadows | Blu-ray & DVD (Well Go USA)
Now available on Blu-ray & DVD from Well Go USA is Vash’s The Knight of Shadows Between Yin and Yang, an action-fantasy starring Jackie Chan (The Foreigner,Bleeding Steel).
The film follows a demon hunter (Chan), who is asked to investigate the disappearances of young girls from a small village. When he discovers evil forces are responsible, he sets out to save humanity by way of hidden worlds and colorful dimensions.
Knight of Shadows co-stars Lin Peng (Dragon Blade), Ethan Juan (The Assassin) and Elane Zhong (The Resistance).
The Trigonal: Fight for Justice | Blu-ray & DVD (Gravitas Ventures)
RELEASE DATE: January 24, 2020
On January 24, 2020, Gravitas Ventures is releasing the Blu-ray & DVD for Vincent Soberano’s The Trigonal: Fight for Justice (aka The Trigonal).
Jacob Casa is torn between his love of MMA fighting and his promise to retire. When he starts to considering taking an underground fight, his wife and unborn baby become collateral in a ruthless drug lord’s lunatic ambitions. Jacob finds himself pushed beyond the crossroads into the world of drug-induced underground fighting, where people are the guinea pigs for experimental drugs.
The film stars Ian Ignacio (BuyBust, Showdown in Manila), Rhian Ramos (Empty by Design), Sarah Chang (Blood Hunters: Rise of the Hybrids), Monsour Del Rosario (Techno Warriors) and Gus Liem (Girls vs Gangsters).
Asian students are seen as pretty successful in American, Australian, Canadian, and UK universities. There’s a stereotype going around: if you’re Asian, you’ve gotta be smart. The truth is: you struggle just like any other student. The culture shock is a real thing. You just came to a foreign country, and you got into a completely unfamiliar educational system. It may be more flexible than the education you received back home. Still, it’s different and that’s what makes it challenging.
Coursework is part of the problem. Many Asian students never had to complete 5-paragraph essays before. Now, they have to write stiff, yet interesting papers to earn their grades.
Your teachers will try to use Cody Coursework and other programs to help you handle assignments. For the most part, you’re left on your own.
This can mean only one thing: you need coursework writing tips to get you through the challenge.
10 Coursework Hacks for Asian Students
1. Always Start Early
If this is the type of coursework you’ve never completed before, you’ll need more time to go through the different stages. Start working on the assignment as soon as you get it! Use Google Calendar or a similar tool, so you can track the deadlines.
2. Keep Your Coursework Organized
Don’t delete your assignments once you submit them. Maybe your professor will ask for a revision, so you’ll need to go back to the content. Maybe you’ll get a similar assignment in the future, so you can use this one as a foundation.
Use Google Docs, and organize all coursework into adequate folders.
3. Always Follow the Instructions
Academic projects have to follow a certain format. Follow your teacher’s instructions and you’ll do just fine.
4. Don’t Try to Fit In Too Much
Trying to be like everybody else is a big mistake that Asian students make . Don’t lose your voice! When you have a point of view, show it through the coursework you complete.
5. Collaborate with Other Students
If you offer your collaboration on a project, you’ll achieve two goals at once. Teamwork will help you complete the project more effectively, but you’ll also build connections.
You’ll have something to talk about: the assignment. One thing will lead to another, and you’ll develop friendships through coursework collaboration.
6. Get Help from an Expert
Did you know that you can get reliable coursework help by Writix? If you get stuck and you see no way out, hiring a pro writer is a great solution.
Asian students often require help because they don’t know how to approach these assignments. In addition, not being a native English speaker is a problem. Through collaboration with a writer, you’ll overcome these difficulties.
7. Try Writing Coursework in the Morning
Spending the entire day in class, studying in the afternoon and writing coursework in the evening – that’s the schedule that most students stick to. It’s not the perfect arrangement, though.
Your mind is much more focused early in the morning. You may have to wake up much earlier than usual, but you’ll get used to it.
8. Adopt the Growth Mindset
“I can’t write this. The assignment is too long and it’s too hard. I’ll never make it by the deadline.”
This is the so-called fixed mindset. When you face a challenge you’ve never handled before, you don’t think you can do it.
The growth mindset is the opposite: you’re encouraged by challenges and you’re willing to learn. This is how you should think: “This is hard, but I’ll try. I’ll plan my time and I’ll do my best to complete the assignment well.”
9. Practice Writing
Maybe you won’t complete the perfect assignment from the very first attempt. But you know what? You’ll get better, so don’t give up! Practice writing whenever you get some free time on your hands.
10. Document Your Journey
Have you ever thought about starting your own blog? You can share the challenges and offer tips for other students.
When you share a goal with the entire world, you’ll be more committed to it. This might be the step that makes you a better writer.
You Can Do This!
You’ll be proud of yourself for becoming a better coursework writer.
The assignments may seem ridiculous at first. You’ll get strange topics that aren’t directly related to the career you want to build. However, becoming a better writer is a great goal to achieve, no matter what professional journey you pursue in the future.
If you become a doctor, you’ll have to write reports, recommendations, and research papers. If you become a tech geek, you’ll have to share your ideas through interesting presentations and readable reports. If you become a marketing expert, you’ll need to write emails and social media posts on a daily basis.
Go back to your old work sometimes, and you’ll see what progress you’ve made. It’s like a relevant coursework resume that you’ll keep coming back to. You’ll notice that with each new assignment, you got a bit more confident and attentive in the writing process.
BIO: Nicholas Walker lives a flexible lifestyle that enables him to travel a lot. Through his trips, he connected with different cultures and explored their educational systems. Nicholas writes blog posts that encourage students to become more effective learners.
Today’s Deal on Fire is the Blu-ray for the Mortal Kombat 3-Disc Collection. This set includes 1995’s Mortal Kombat, Mortal Kombat 2: Annihilation and 2011’s Mortal Kombat: Legacy.
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