Ready for some female-centric organized crime? Get ready for Queen of Triads, an action-thriller written and produced by Wong Jing and directed by his protege Kam Kar-wai (who is currently shooting Big Brother with Donnie Yen).
When an innocent girl is raped again and again and betrayed by her loved ones, she decides to take control of her life by becoming a gangster leader.
I tend to approach a new Thai martial arts film with a mix of excitement and trepidation. Because while it’s unfair to generalize an entire film industry’s output, my experience with Thailand’s action cinema often seems to have similar highs and lows across multiple films. The fights are realistic and it’s always amazing that the stunt work didn’t kill anybody, but the films can tend to play as amateurish whenever the hero isn’t breaking bones due to poor writing, acting, and directing. So, having said that, Broken Sword Hero was pretty much exactly what I was expecting it to be.
Broken Sword Hero is a historical martial arts coming of age tale about a young man named Joi. As a child, Joi suffered relentless bullying at the hands of the governor’s son and his gang. Vowing not to live in fear of a beating, Joi self-teaches himself Muay Thai boxing. From there, we see him grow into a young man, fighting in the boxing pits for money while also evading the governor’s son who still holds a grudge (the relationship between Joi and the governor’s son is never fully explored beyond protagonist vs. antagonist. The governor’s kid is just a dick, I guess. He pops back into the story now and then to try to kill Joi because that’s what dicks do, but it’s never much more than that). Joi starts to make a name for himself as an undefeated boxer in the villages, until the day he faces off against a stranger who nearly takes his head off in a match. Joi loses his celebrity status in an instant. After a drunk homeless man convinces Joi that he has raw talent but lacks the basics, Joi leaves his hometown in search of martial arts masters to better hone his skills.
Joi takes on the name Thongdee at this point – Joi committed no crimes but he is still treated like a criminal because the governor’s son is a dick – and learns the basics of Muay Thai boxing from one master before learning speed and conditioning from the next master and then learning swordplay from a third master. During this time, Thongdee/Joi also learns about loyalty, humility, heroism, and friendship and becomes a better man because of the good people he surrounds himself with.
In addition to the governor’s son and the governor’s brother trying to kill Joi/Thongdee, there is an additional governor subplot in the story. It kind of pops up out of nowhere. And when this governor is first mentioned, I naturally thought he was related to the governor plot we’d already seen in the film. But nope, new governor. And this governor is apparently under threat from rebels whose objective we are never made to fully understand. This new governor plot just sort of enters the film and takes over. And then, just when you think it’s leading to something substantial with the governor’s army and large-scale battles… the movie ends.
I can’t believe Broken Sword Hero ends the way it does. So many threads are left unresolved, yes, but that’s not even my main gripe. It appears to be stepping into new territory as Thongdee’s life takes a dramatic change. And then it ends. Fade to black, roll credits. The flow of the final moments is bizarre upon reflection. It’s like we start Chapter 1 of Part 2 of Thongdee’s story and then boom, The End. If Broken Sword Hero is the origin story of Thongdee, that’s fine, but finish this story before starting another one.
Where the film is at its best is in the action and fights. Though director Bin Bunluerit shows an over-reliance on slow-motion to film his action, this does nonetheless allow us to see full contact being made between our fighters. Thongdee/Joi is played by real-life Muay Thai champion Buakaw Banchamek, who has featured in films before but never in a lead role. While the script doesn’t offer him much of a chance to show his dramatic chops, Buakaw Banchamek is likable and totally believable as the young hero of the film. I fully expect him to be called the next Tony Jaa once the movie starts getting around. Because, I mean, of course.
If swordplay is what you’re after, you’re going to find very little of it in Broken Sword Hero. What we get is decent, but Thongdee doesn’t pick up his first sword until we’re well past the half-way point of the film. And our first broken sword doesn’t come until the movie’s almost over. Despite the title, this is a Muay Thai boxing picture, not a swordplay film.
There is a childlike innocence to the movie. And I mean that in a good way. Mostly. Thongdee has a boy meets girl romance with an upper-class young lady. One of the film’s ‘laughs’ involves her stepping in horse crap. Then, in what may be the closest thing to a romantic gesture seen in the movie, Thongdee smiles and scrapes the crap off her shoe before putting it back on her foot. It’s stupid… but it’s sincere.
The action is exciting and thanks to the earnestness of the cast the film can be charming. But the story is frustrating. It lacks a strong narrative flow and/or purpose. I grew restless hopping from one martial arts master to another in search of a plot. Characters of apparent importance come and go as they please. And the movie’s ending is so flat that I actually got angry when the credits began to roll… But yes, there is some entertainment to be had if you’re in the mood for a few elbows to the cranium. Just don’t go in expecting something challenging or original. Broken Sword Hero is about as simple and straightforward as they come.
When it comes to fighting, the ancient martial arts of the East have a certain mystique that captures the imagination.
Although the end goal with any physical confrontation is to render your opponent helpless (or dead), the code by which traditional martial artists live by brings a certain reverence to proceedings. Naturally, this combination of control aggression and power has intrigued filmmakers over the years and led to some impressive cinematic spectacles. In fact, what’s interesting about Asian martial arts movies is that they sit in stark contrast to the battle-based offerings from the West.
Of course, the last few decades have seen the two styles merge, but it’s fair to say that there are two distinct styles when it comes to fighting on screen. Take the ever-popular Game of Thrones as an example. The average battle scene in the HBO show is a brutal, bloody affair that seems a million miles away from the refined, technique-based showdowns in a traditional martial arts flick such as Enter the Dragon. And, it’s not just on screen where this divide is apparent. Take, for example, the Game of Thrones slot.
Developed by Microgaming, this game is based on the show and features a plethora of images and animations fans will be familiar with. Indeed, as this Game of Thrones slot review notes, the “epic opening score” creates an intensity that captures the spirit of a bloody battle. Contrast this with another online casino game, Bruce Lee slots, where the use of chimes and xylophones creates a much more serene atmosphere.
East vs. West: It’s a Matter of Intent
In essence, whether it’s onscreen, in a game or via some other medium, the main difference between East and West when it comes to the depiction of fights is action. In the case of the former, everything is calm and attacks happen in short bursts. Everything around the battle is still and there’s a level of respect between combatants.
In the case of the latter, everything is more intense and chaotic. Fists are flying in every direction, and anything can happen in a given moment. This is something Game of Thrones captured fantastically well in the Battle of the Bastards (see video above) and, moreover, across the entire franchise. Why is the case? Well, it all stems back to the origin of martial arts. Although Asia isn’t the only place where martial arts evolved from, it is considered the spiritual home thanks to its use as a form of defense.
Martial Arts as a Form of Respect
From China’s Emperor Huang Di using martial arts as a way to defend the kingdom back in 2600 BC, this trend quickly spread across Asia. At the heart of the teachings was the idea that fighting was a way of protecting all that you deem to be sacred (i.e. your kingdom and country). As various arts developed, notions of respect and honor evolved to encompass all those that had devoted their lives to the art. From this, the idea of mastery and perfect technique came into play and that’s what typically separates martial arts from general fighting.
Even though the warriors seen in Game of Thrones had to learn certain skills, their battles could and would be won by any means possible. In contrast, a true warrior martial artist would never use dirty tactics to defeat an opponent. This, for us, is why there’s a clear difference between fights in classics such as 10 Brothers of Shaolin and Game of Thrones. So, would Bruce Lee survive in Game on Thrones? Yes, but only if he abandoned his martial arts training and fought like a Westeros warrior.
Director: Sin Dong-yeop Writer: Min Kyeong-geun Cast: Lee Joo-Seung, Oh Ji-Ho, Lee Jung-Jin, in Jung-Keun, Eun-Seo, Joo Suk-Tae, Kang Shin-Chul, Im Chang-Jung, Ahn Sol-Bin, Lee Se-rang, Cherrish Ramirez Running Time: 97 min.
By Paul Bramhall
There can be no denying that the classic kung fu movie trope of a martial arts master challenging fellow martial artists has been around for a long time. In the 70’s there was the black caped Kwan Fung in Five Superfighters, in the 80’s it was Frankie Chan in The Prodigal Son, and in the 90’s we had a masked Darren Shahlavi in Blood Moon. It’s a trope still being employed in the 21st century, from Yayan Ruhian’s Mad Dog character in The Raid, to Wang Bao Qiang’s psychopath in Kung Fu Jungle. Adding to the list of villains who get their kicks from proving their martial arts mastery is Oh Ji-ho, in Korea’s latest entry into the martial arts genre, Showdown.
What could best be defined as ‘pure’ martial arts movies are few and far between in Korea’s modern film industry. Sure, their gangster dramas and revenge thrillers usually have healthy doses of brawling and violence, but it’s rare in the countries post-2010 output to try and sell a move based purely on it being a fight flick. Movies made by the old-school members of the Korean action scene, such as Park Sang-hyeon’s Kwon Bob: Chinatown (which had the added benefit of starring super kicker Won Jin) and Cha Ryon’s The Final Fight, receive little to no attention and even lack a legitimate release.
To some degree Showdown seems to have navigated this issue by having Sin Dong-yeop in the director’s chair. By no means an A-list talent, he has established a reliable reputation as a journeyman director, and has shown a leaning towards action before with such productions as 2010’s Super Monkey Returns (a modern day comedic re-telling of Journey to the West), and 2013’s thriller Days of Wrath. Proving to be dependable with a mid-budget production, Dong-yeop has gathered together a cast which, for the most part, sees TV drama actors and supporting players from bigger budgeted productions take center stage.
The forever baby faced Lee Joo-seung plays an unemployed sibling to his older detective brother, both of whom have a penchant for getting into fights. The brother, played by Lee Jung-jin (the lead from Ki Ki-duk’s Pieta), is on the tail of Oh Ji-ho, a rich game designer who hides psychopathic tendencies. These tendencies manifest themselves in his desire to fight to the death with worthy opponents he finds online, usually in the form of illegal foreign workers. When Jung-jin and Ji-ho finally confront each other, the brother is no match for the others fighting skill, and finds himself beaten into a coma. Joo-seung has an inkling as to who’s behind his brother’s injuries, however his brash approach to seeking revenge quickly finds him arrested and given a community service order, which takes the form of visiting an elderly drunk that lives by himself. Thankfully for him though, the elderly man just happens to be the modern day incarnation of Sam Seed!
Indeed, Showdown could best be described as a completely poker faced modern day retelling of Drunken Master, with elements of Blood Moon thrown in for good measure. Ji-ho’s psychopathic game designer hides behind his suave exterior, however is most in his element when he dons his metallic mask, just like Darren Shahlavi did 20 years earlier. In what’s clearly a nod to the influence of Gareth Evan’s The Raid and its sequel, one of the fights we see Ji-ho involved in takes place in an abandoned empty pool against an illegal Indonesian worker. While the choreography is of course nowhere near the level of the Iko Uwais and co., the long haired fighter will likely remind many of Yayan Ruhian’s appearance in what have become modern classics of the genre.
Showdown is not without its moments of comedy though, and almost all come from Joo-seung’s time spent with the old master, effectively played by a permanently flushed Sin Jeong-geun, who most recently can be seen in supporting roles in the likes of Tunnel and A Hard Day. Jeong-geun pulls off a modern day take on the Sam Seed role perfectly, never seen without a bottle of soju or makkoli close by, and even gets a chance to show off some drunken kung fu against a gang of youths who team up on Joo-seung. In one of the movies funniest scenes, Jeong-geun applies acupuncture to an injured Joo-seung, however can’t remember the correct areas to apply the needles, resulting in him needing to consult a manual that he himself wrote many moons ago.
The old-school training techniques are also successfully transplanted to a modern day setting, from cracking walnuts bare handed, painful looking stances involving the splits, and of course, the obligatory post-Ip Man Wing Chun dummy training. But before Joo-seung can get to any of that, he first of all needs to strengthen his ability to handle drink. In many of the first training scenes that are teased, he’s ordered to down a bottle of whichever is the closest liquor to hand, however whenever Jeong-geun returns to start the training, he finds Joo-seung in an unconscious heap on the floor. These light comedic touches are a welcome addition to Showdown, and reflect Dong-yeop’s playful approach to the story being told. While proceedings never become tongue in cheek, it can also be felt that everyone involved knew that this wasn’t a tale to be taken too seriously.
So how does a master of the drunken arts get the attention of a psychopathic kung fu killer in the modern world of social media and tending videos? The answer comes in the form of Joo-seung strapping a GoPro camera onto his head, and visiting various martial arts school to challenge the masters to a duel. Once the duel is over, upload it onto the net and watch the hits go crazy, which of course is the perfect way to pique the interest of Ji-ho. The use of the GoPro, while definitely a novelty, is a unique update to one of the techniques found in many an old-school kung fu movie, in which the hero or villain strikes at the camera, representing the point of view of their opponent. While the old-school technique restricts the action to the one doing the attacking, with the recipient seemingly taking the blows with no comebacks, the GoPro allows for an interactive POV of the one on the attack, giving the viewer a first person perspective of drunken kung fu in action.
Fittingly, while most of the old-school movies involving drunken kung fu see the hero enter the finale armed with a bottle of Chinese wine, in Showdown Joo-seung eventually confronts Ji-ho in a private bar area of a nightclub he’s drinking in. The fight is a surprisingly successful combination of Korea’s typical leanings toward realistically bloody violence, and the traditional drunken kung fu moves one would expect from such a confrontation. At its most frantic, Ji-ho counters Joo-seung’s attacks by smashing his head through a whole shelf of glass liquor bottles, leaving him a bloodied whisky guzzling mess on the floor. The brutality of Ji-ho’s attacks add a welcome sense of immediacy to the fight, meaning that Joo-seung’s counters don’t just need to be effective, they have to be if he’s going to remain breathing at the end of it.
While purists will likely gripe at the occasional use of choppy editing during the fight scenes, it can easily be forgiven since the effort of everyone involved is so clearly on show. Sure enough while the end credits play, we also get to enjoy plenty of behind the scenes footage of the fight scene rehearsals, and the pain that’s an obligatory part of being involved in a martial arts movie. Transplanting the Drunken Master style setup of master and student to the modern world will no doubt be taken as a parody by many, so the fact that Showdown attempts to pull it off so sincerely is something to be admired. Considering how well it’s done is simply the icing on the cake. While it’s unlikely that either Dong-yeop or any of the cast will remain within the martial arts genre when they next appear onscreen, their commitment to delivering a worthy nod to the old-school classics makes for a refreshing slice of cinema, and for that alone it comes recommended.
Cheap Essay Papers: 4 Ways to Be Sure They Are NOT Going to Fool You
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Students should be careful when choosing writing services for their assignments, and the above tips will help them pick the best website to deal with.
If you’re a Jackie Chan fan who can’t wait to see him in action, his appearance in Han Jie’s upcoming fantasy, Namiya, probably won’t be on your must-watch list.
Based on Keigo Higashino’s novel Miracles of the Namiya General Store, the film follows three orphaned youths who stumble upon a letter slipped under the door as they hide out in a food store. They write a response thus beginning a correspondence with people from 30 years ago (via CD).
The film also stars Dilraba Dilmurat (Mr. Pride vs. Miss Prejudice), Karry Wang (Pound of Flesh) and Hao Lei (Kill Time).
Namiya opens domestically on December 29, 2017, followed by a U.S. release date on January 5, 2018. Watch the film’s Trailer below:
“Ghost Dog: The Way of the Samurai” Japanese Theatrical Poster
A sequel to Jim Jarmusch’s 1999 action film Ghost Dog: The Way of the Samurai is apparently in-the-works, at least according to musician / actor / director, RZA.
The original film starred Forest Whitaker (Bloodsport) as a modern day samurai employed by the mafia as a hit man. The movie is highly influenced by Jean-Pierre Melville’s Le Samouraï, and is known for its references to Seijun Suzuki’s Branded to Kill.
Here’s the scoop from RZA himself, according to BMD (via Telerama): “Jim Jarmusch, my good buddy, and Forest Whitaker, have both signed on with me and another writer named Dallas Jackson, to executive produce another Ghost Dog. And we already have something written. So maybe Ghost Dog will make its way back to the silver screen, or small screen.”
It should be noted that Ghost Dog: The Way of the Samurai was RZA’s first venture into the movie business, as it served both as his acting and composing debut (predating Kill Bill a few years later).
We’ll keep you updated on Ghost Dog II as more news arrives.
Director: Louis Leterrier
Cast: Jet Li, Morgan Freeman, Bob Hoskins, Kerry Condon, Andy Beckwith, Scott Adkins, Silvio Simac, Christian Gazio, Michael Ian Lambert, Kazu Patrick Tang
Running Time: 133 min.
By Z Ravas
Supposedly after shooting the particularly bloody Kiss of the Dragon, Jet Li wanted to reteam with French writer/producer Luc Besson for a film that would actually depict the consequences of violence. If that was the case, then they certainly succeeded with Unleashed: I can’t think of a Jet Li movie with more brutal fight scenes than this. Rather than glorify all the bloodshed – which is admittedly exciting to watch thanks to the efforts of Li and choreographer Yuen Woo-Ping – the film examines the damage incurred on the soul of Li’s character Danny “the Dog,” who is one deeply wounded individual.
Danny’s spent the better part of his life under the control of a small-time gangster/loan shark played by Bob Hoskins, who treats Danny quite literally like a dog. With his metal collar on, Danny is a blank slate – emotionless and mute. But take his collar off and sick him on a foe, and Danny becomes the most vicious fighter you’ve ever seen. Too bad Hoskins’ character is a bastard who keeps Danny locked in a cage and regularly abuses him.
Later in the film, circumstances intervene and Danny flees into real world. Thanks to the kind-hearted efforts of a blind piano tuner, played wonderfully by Morgan Freeman, and his step-daughter, Danny begins to feel human. He discovers a passion for music and starts to piece together the fragmented memories of his past. Of course, Bob Hoskins’ gangster isn’t going to take this lying down – Danny was responsible for bringing him in a lot of money – and everything builds to an inevitable confrontation.
Unleashed is what happens when you actually put a lot of thought and care into your action movie’s screenplay, and hire Academy Award-worthy actors like Morgan Freeman and Bob Hoskins. Sure, the fight scenes are spectacular – how could they not be, with Jet Li and Yuen Woo-Ping involved – but there’s nearly an hour stretch of dramatic material, without any fighting at all, and it’s just as absorbing to watch thanks to the acting talent involved. Jet Li really seemed to push himself as an actor and he conveys a lot with his eyes and animal-like mannerisms. Morgan Freeman brings his character to life with a deep sense of joy and humanity, and you can tell Freeman treats this role just as seriously as his more “prestigious” films.
Even if the story treads similar ground to his previous movies like Leon/The Professional, Luc Besson really did a wonderful job with the screenplay. You come to care for the makeshift family that Jet becomes a part of, such that I felt genuine regret when Bob Hoskins’ character reared his ugly mug again – even if it meant that “more action” was on its way.
Director Louis Leterrier was a Besson protege, working on this film and Transporter 2 before making his way into Hollywood blockbuster territory with Incredible Hulk and Clash of the Titans. Given the dismal success of those latter two films, it probably goes without saying that Leterrier’s forte is for smaller, less special effects-heavy films like this. I doubt anyone would ever accuse Leterrier of being a great director, per se, but Unleashed is by far his best work. He draws excellent performances from his cast and films the fight scenes in such a manner that you can see every move. The editing and camera angles are all top notch, and the infrequent use of wires is not terribly distracting. I’d love for Leterrier to take a break from the Hollywood game and do another film like this or even team back up with Jason Statham.
If you’re worried that Unleashed is all weepy drama and no action, don’t be. The ending fight scene between Jet Li and Michael Lambert is one of the best fights of Jet’s career. There’s a sequence where the two of them are trading blows in a cramped bathroom stall that is nothing short of breathtaking – I honestly don’t even know how Yuen Woo-Ping went about choreographing such a fight because the space they’re fighting in is so cramped. It seems like this close-quarters match must have been a personal challenge for Woo-Ping, perhaps a way to keep things interesting after all these years of choreographing fights. If anything, the man outdid himself; it’s really an exhilarating scene.
It’s worth noting that Jet Li’s opponent in this scene, Michael Lambert, is no slouch himself when it comes to combat; he’s one of the busiest stuntman in Hollywood, having worked on films as diverse as The Bourne Ultimatum, Batman Begins, and Gladiator. He also served as Chris Evans’ stunt double on this year’s Captain America and is assistant swordmaster on next year’s John Carter (I’m really good at using IMDB, guys). Needless to say, the guy’s resume speaks for itself and at 6’1″ he proves to be more than a formidable opponent for Jet Li.
Fearless is still probably my favorite film Jet has made since breaking into Hollywood, but Unleashed has to be his best English language picture. Sure, Kiss of the Dragon had some spectacular action but Unleashed goes the extra mile by adding a story with heart and characters worth caring about. An understated but memorable score from Massive Attack only strengthens the film. Luc Besson and Jet Li have proven to be a most formidable team.
Legend of the Naga Pearls | Blu-ray & DVD (Well Go USA)
RELEASE DATE: January 30, 2018
Ready for a heavy dose of fantasy-infused martial arts action? If so, then Yang Lei’s Legend of the Naga Pearls is right up your alley. And even more – Well Go USA is releasing its Blu-ray & DVD on January 30, 2018.
Legend of the Naga Pearls stars Darren Wang (Railroad Tigers), Crystal Zhang (The Founding of an Army), Sheng Guansen (City Monkey), Simon Yam (The Midnight After) and Xing Yu (Call of Heroes).
After being defeated by humans centuries ago, the Winged Tribe has lost their ability to fly. Seeking vengeance, a royal descendant of the tribe has begun searching for the magical Naga Pearls, which he plans to use to destroy the humans. When the legendary pearls fall into – and out of – the hands of Heiyu, a wily human street punk, he must join a team of unlikely heroes as they race to prevent the destruction of their people in this magical fantasy adventure.
On December 1, 2017, North American distributers, Visual Entertainment, will release the DVD for the complete Longstreet series (including TV movie), a semi-obscure ABC TV show that aired in 1971-72.
Longstreet follows the adventures of Mike Longstreet (James Franciscus), a blind insurance investigator who’s on a mission to capture the people responsible for killing both his wife and his ability to see.
For kung fu cinema fans, Longstreet is perhaps best known for showcasing Bruce Lee (Enter the Dragon) in 4 episodes: “The Way of the Intercepting Fist”, “Spell Legacy Like Death”, “Wednesday’s Child” and “‘I See’, Said the Blind Man” – all of which will be included in the set.
Bruce Lee historians consider his appearance in the Longstreet series the truest representation of not only his personality, but also his philosophy and art. It’s also one of the very few times we get to hear his actual voice speaking an ample amount of English dialogue.
This will be the first time Longstreet will be officially available in any format in the United States. Until Visual Entertainment’s set goes on sale, the series has only been available through VHS-quality bootlegs.
Reuniting the colorful cast of the much-loved Death Note (2006), Kaiji: The Ultimate Gambler (2009) is a manga adaptation which presents the story of a young protagonist rife with debt, doing whatever he can to pay back the money he owes. Kaiji Ito (played by Tatsuya Fujiwara) finds himself in heaps of debt, and then Rinko Endo (Yuko Amami) cons him into boarding a ship to play a game to attempt to dig himself out of the hole he’s in. It doesn’t go so well for Kaiji, and the lead character is held against his will, dragged into a social system where he begins to realize all of the mechanisms that are used by the higher financial powers to keep the working class down. The captured people become the gamblers, coming up against deadly situations in which they risk it all in an attempt to earn their way out and appease the powers that be.
Kaiji: The Ultimate Gambler is the classic tale of an average, working-class person being held down by the upper class, struggling financially, and finding a way to emphatically rise up against it. Also starring Ken’ichi Matsuyama, Taro Yamamoto, Teruyuki Kagawa, and Shogen, this movie represents the obstructions that many people feel trying to break out and move up the social class system through the win-it-all theme that has become so entrenched in popular culture.
Chow Yun-fat in Gold of Gamblers. Source: Welovenugg, via Twitter
The all or nothing nature of pop-culture
Gambling has become a staple of pop culture, with so many films, television shows, books, and even music videos depicting the lavish lifestyle of a casino high roller. Just looking at Asian cinema, there are is a multitude of films centered on casino play. One of the biggest films of this genre came in the form of God of Gamblers (1989), which has birthed six sequels and nine spinoffs since its release. One of the most popular in the series is God of Gamblers Returns (1994), which continues its casino theme and high roller lifestyle. After a boom of films in the genre, it all went quiet for a little while, until Tazza: The High Rollers (2006) was released to regain interest in the gambling theme once more; going on to ignite other great films like Tazza: The Hidden Card (2014).
The common storyline running through media of the gambling genre often culminate in an all or nothing, win big or lose everything situation, with the protagonist usually coming out on top thanks to their superior skill or just pure luck. There’s no wonder why these films, especially in Asian cinema, have become so popular as gambling as a whole is so popular in the region. According to The Economist, Macau’s gambling revenues rocketed by 29% a year, on average, between 2008 and 2012 thanks to their new venues – with their revenues exceeding that of Las Vegas, as well as Singapore beating out Atlantic City. In a piece by Betway, the casino article explains “It isn’t just brand familiarity that draws players in” – it is the brand affinity and familiarity that has helped draw punters in, associating a slot machine for example to an iconic figure to Elvis Presley is important. So this boom in gambling revenue isn’t merely down to films and media having a casino theme as people have always seemed to be at least intrigued by the casino experience. Nevertheless, people love films about gamblers and the tales of rising to the top by staking it all.
The genre on the big screen was in fine form during the 1980s and 1990s, with it coming back to life in the late 2000s. But, with the increased interest in real-life casino play, particularly at land-based venues in Asia, the genre could see another uptick in popularity. Macau gaming saw its revenue grow for the 14th straight month at the start of October 2017, per Bloomberg, with 2017’s Golden Week naturally bringing in huge revenue for the casinos. People from all over, particularly the Chinese, flock to Macau – labeled the gaming capital of the world in 2011 – to indulge in some casino action, which may be partially due to the Asian entertainment media having such a fascination with gambling.
Guardian Movie, via Twitter
Kaiji: The Ultimate Gambler revealing all
There is a lot of hidden and not so hidden meaning within the film Kaiji: The Ultimate Gambler, from the society that Kaiji is thrown into, to the desperate measures required to break out of the unfortunate situation that the protagonist has found themselves in. Starting off with immense debt, Kaiji is firmly placed at the bottom of the class pyramid, with high-risk gambles in the games being the only way to get out. This classic tale of having nothing left bar one last shot with the odds stacked against them is a common theme in entertainment media as it makes for a thrilling watch. With the protagonist often prevailing, there’s no wonder why people – particularly those among the lower or working class of their society – enjoy the thrills of the casino, hoping that their gamble pays off in a big way.
The casino genre has been wildly popular in Asian cinema for decades now. There have been a huge number of fun and exciting movies centered on playing at a casino, or are even more cryptic about the love of gambling that Asian nations possess – as is the case with Kaiji: The Ultimate Gambler. There’s no doubt that due to the success of these films in the past as well as the massively increased popularity of casino play at venues in places like Macau, even more great gambling-centric films are to come. They may not all be directly about gaming at a casino, or even at an online casino as would be a common case in modern times, but the story of gambling to be better off will continue to run in movies to entice the many bettors of the world.
With the recent release of the Charlize Theron starring Atomic Blonde, a disproportionate amount of mainstream press coverage has revolved around how refreshing it is to finally see a Hollywood movie with a female action lead. Understandably, many Asian cinema fans have been quick to point out how Hong Kong has delivered more butt kicking female leads than you can shake a stick at, dating back to the beginnings of cinema itself. The same applies to the U.S. B-movie circuit, with the likes of Cynthia Rothrock, all the way up to present day femme fatales such as Amy Johnson and Zoe Bell, anchoring plenty of DTV action movies.
“Atomic-er” blondes: Cynthia Rothrock, Amy Johnson and Zoe Bell.
However lest we forget, the coverages generalised implication that mainstream Hollywood action movies lack female leads is in itself not entirely true. Sure, there’s no female equivalent of Jason Statham, but then again, would we really want to see a female version of a gruff voiced Londoner with a receding hairline? Chances are no, but with a bit of thought it’s easy to realise that you don’t have to. Over the last 25 years there’s been plenty of mainstream Hollywood action flicks that star a feminine force to be reckoned with, and with a disclaimer that we’ve not put a quality filter on this selection, COF has taken the liberty to highlight 15 of them.
The criteria is simple – it has to be a mainstream Hollywood action movie that got a theatrical release, which features a female lead. We’ll be featuring each actress once only, so if they’ve been the lead in more than one action flick, we’ll mention it in the text. So as not to muddy the waters, and also because there’s 100 other sites out there that focus on this element of the genre, we won’t be including any movies that are based on comic-book or video-game characters. Apologies in advance to the likes of Catwoman, Elektra, and the Resident Evil series. So, listed in the order of the year they were released, for those hankering for a big budget female action fix, check out our list below –
“Everly” Theatrical Poster
Everly (2014) – Salma Hayek
You don’t get much more of a stripped down action movie than Salma Hayek holed up in her apartment, defending herself from an onslaught of yakuza assassins sent by her former mob boss.
While Hayek has done action before, most notably when she starred alongside Penelope Cruz in 2006’s Bandidas, for pure visceral impact it’s Everly that takes the cake.
With action sequences choreographed by Akihiro Noguchi, who previously worked on Black Belt and has an extensive history with Alpha Stunts, Hayek was certainly in good hands to deliver the pain.
“Haywire” Theatrical Poster
Haywire (2011) – Gina Carano
Director Steven Soderbergh was so impressed by MMA fighter Gina Carano, that he decided to create a movie just for her. The result was Haywire, a kind of B-movie espionage thriller which just happens to have an A-list cast, and the undeniable physical presence of Carano herself anchoring everything.
Her mid-movie throwdown with Michael Fassbender, in which a whole hotel room gets completely trashed, is still one of the best fights of the last 10 years. Carano has since gone on to headline the DTV effort In the Blood, and has a memorable supporting role in Deadpool.
“Hanna” Theatrical Poster
Hanna (2011) – Saoirse Ronan
Saoirse Ronan plays the title character of Hanna, a 16 year old girl with the strength, stamina, and skills to rival Jean Claude Van Damme’s Universal Soldier. But she hasn’t been genetically modified, instead being raised in the wilderness of Finland by her father, in order to become the perfect assassin. That she does, and soon puts her skills to the test in one of the more offbeat action movies of recent years.
Most recently Ronan played the titular Galway Girl in Ed Sheeran’s song of the same name, go figure.
“Salt” Theatrical Poster
Salt (2010) – Angelina Jolie
If Haywire most closely represents the kind of choreographed action that Atomic Blonde strives for, then in terms of plot, it’s Salt that most closely resembles David Leitch’s latest effort.
Angelina Jolie has done action plenty of times before, from playing Tomb Raider Lara Croft twice, to prominent roles in the likes of Wanted, but it’s Salt that gives her the opportunity to shine in a gritty espionage thriller as a framed CIA agent.
Much like many billed Atomic Blonde as the female John Wick, so at the time of its release Salt was widely labelled as the female Jason Bourne.
“Blood: The Last Vampire” Theatrical Poster
Blood: The Last Vampire (2009) – Jeon Ji-hyeon
Kiss of the Dragon director Chris Nahon did the unthinkable when he adapted the 2000 anime Blood: The Last Vampire into a live action movie – he cast an Asian for a character who’s supposed to be Asian.
Korean star Jeon Ji-hyeon acquit herself well, debuting in a Hollywood movie as the lead, and displayed a keen talent for action.
Despite not sticking around in the U.S., Ji-hyeon continued as a force to be reckoned with in her native Korea, most recently as a sharp shooter in 2015’s Assassination.
“Doomsday” Theatrical Poster
Doomsday (2008) – Rhona Mitra
Somewhere between being the Lara Croft model, and throwing down with Scott Adkins in Hard Target 2, Rhona Mitra struck an impressive figure as a stoic warrior in Neil Marshall’s homage to post-apocalyptic movies like Mad Max and Escape from New York.
It may be a B-movie disguised as a blockbuster, but there can be no denying that she owns the screen when she’s on it (which is frequently), in a performance which allows for plenty of blood soaked mayhem.
Mitra got her action licks in again the following year, when she played Sonja in Underworld: Rise of the Lycans.
“The Brave One” Theatrical Poster
The Brave One (2007) – Jodie Foster
For those still shaking their head at the recently released trailer for Eli Roth’s Death Wish remake, the remedy could well be argued to come in the form of director Neil Jordan’s The Brave One.
Casting Jodie Foster as a vengeance seeking widow after her husband is killed by thugs (and in a precursor to John Wick, also looking for her missing dog), The Brave One is notable for its protagonist’s unapologetic approach to wiping the bad guys off the face of the planet. Effectively updating the vigilante genre without even knowing it, Foster’s steely performance is a standout.
“Domino” Theatrical Poster
Domino (2005) – Keira Knightley
Hot on the heels of her turns in the first Pirates of the Caribbean movie and Love Actually, Keira Knightley took on a role that was unlike anything she’d done before, or indeed has done since, as the real life model turned bounty hunter Domino Harvey.
Directed by Tony Scott in his trademark frantic and flashy style, Harvey herself was frequently onset to act as a consultant (although she passed away before the movie’s release).
While Domino received largely mixed reviews, Knightley more than holds her own against fellow bounty hunters Mickey Rourke and Edgar Ramirez.
“Aeon Flux” Theatrical Poster
Aeon Flux (2005) – Charlize Theron
Lest we forget that Atomic Blonde is not the first time Charlize Theron has headlined an action movie, when she played the title character in Karyn Kusama’s 2005 adaption of the MTV animated series.
Theron’s Aeon Flux is a skilled assassin set in a future dystopia, and despite the movies flaws, it provides ample opportunity to witness the South African born actress acquaint herself well with her fists and feet. Throw in a healthy dose of gunplay along with some neat sci-fi concepts, and Aeon Flux could well be appreciated more today than it was upon its release over 10 years ago.
“Kill Bill” Theatrical Poster
Kill Bill (2003/4) – Uma Thurman
Undoubtedly Uma Thurman’s most iconic role, the character of Beatrix Kiddo was discussed between her and director Quentin Tarantino as far back as 1994, when they were working together on Pulp Fiction.
Their discussions eventually came to fruition as a 2-part homage to the kung fu, karate, and chanbara movies Tarantino grew up with in the form of Kill Bill, as Thurman plays an assassin that was left for dead by her former boss and team.
Cue plenty of slicing and dicing, complete with Gordon Liu and Sonny Chiba thrown into the mix, and it’s difficult to go wrong.
“Underworld” Theatrical Poster
Underworld (2003) – Kate Beckinsale
When Kate Beckinsale first starred as vampire warrior Selene in 2003’s Underworld, very much a Matrix influenced take on the battle between vampires and werewolves, I’m sure she had no idea that it’d spawn a total of (to date) 4 sequels.
As of 2016’s Blood Wars the Underworld series is still going strong, and Beckinsale has been there to anchor them all, decked out in black leather as if it never went out of fashion.
If anything, the Underworld series proves that a feisty British femme fatale can easily outlast both tax evading vampire hunters and pasty white teenage vampires.
“Charlie’s Angels” Theatrical Poster
Charlie’s Angels (2000) – Cameron Diaz, Drew Barrymore, and Lucy Liu
While both Charlie’s Angels and its 2003 sequel rely just as much on its trio of leading ladies eye candy factor as they do on such things as plot and characterisation, it was one of the first Hollywood movies in the post-Matrix era to bring in a Hong Kong choreographer for the action.
In this case it came in the form of Yuen clan member Yuen Cheung-Yan, and just as his brother Yuen Woo-Ping did for The Matrix, the result is some competently performed and filmed action scenes. Notably made 2 years before The Bourne Identity would make it ok to shake the camera around like a madman.
“G.I. Jane” Theatrical Poster
G.I. Jane (1997) – Demi Moore
Demi Moore’s leading lady status was already on the rocks in 1997, not least thanks to the previous year’s lamentable Striptease, however G.I. Jane goes a long way to proving how committed she could be to a role.
Playing a senator who enrols herself to the U.S. Navy SEAL program, she undertakes a training regime so punishing that it rivals Gordon Liu’s performance in 36th Chamber of Shaolin (yes, I said it, and she gets her head shaved too!)
While it didn’t revive her career, it does make for a strong female led action flick, recommended for those who like more grit and less flair.
“The Long Kiss Goodnight” Theatrical Poster
The Long Kiss Goodnight (1996) – Geena Davis
Long before the ‘skilled killer with memory loss’ plot device became a well-worn trope, with the likes of the Bourne movies (and most recently Headshot), in 1996 Geena Davis showed everyone how it was done.
Made at a time when Renny Harlin still knew how to put a decent action movie together, it’s a joy to watch Davis’s small town schoolteacher leap off the top of buildings while unloading a machine gun, and all manner of implausible action antics, as her memory gradually comes back.
With her dyed blonde hair, it could well be said that this is the original Atomic Blonde.
“Point of No Return” Theatrical Poster
Point of No Return (1993) – Bridget Fonda
Luc Besson’s La Femme Nikita has been remade twice in the U.S. Most recently as the Maggie Q starring TV series, but perhaps most well known as the 1993 movie Point of No Return, which cast Bridget Fonda as the violent drug addict cum government trained assassin originally played by Anne Parillaud.
While critics were split over the remake, one point that all agreed on was that Fonda’s performance was a standout, as she shoots and maims her way through a particularly bloody plot. Plus, there’s training sequences, which make it obligatory viewing for most fans of this type of flick.
I’m sure if we stretched even further back in time there’d be plenty more examples of female-centric action flicks, and with the onslaught of Atomic Blonde-alikes that Hollywood appears to be lining up, they’re not going to be in short supply any time soon. But for every one of them that results in an article declaring “Finally Hollywood gives us a female action lead!”, we should remember the ladies mentioned above did it first, and in most cases, did it in style.
Zhang Xiaobei, the writer of An Inaccurate Memoir and Time to Love, is making his directorial debut with a sci-fi actioner that bears resemblance to popular films such as Alien/Aliens, Mad Max, and even features powered exoskeleton suits, as seen in recent productions like Elysium and Edge of Tomorrow.
So what can be expected of the film’s plot – who cares!? With an aforementioned description like that, you’ve probably already made up your mind whether you wanna see it, right? The film stars Song Yang (The Final Master), Qi Xi (Someone to Talk To) and Qu Jingjing (Birth of the Dragon).
Look out for Pathfinder in 2018. Until then, don’t miss the film’s first Trailer (via AFS):
Today’s Deal on Fire is the Blu-ray for 1971’s The Deadly Duo, directed by Chang Cheh (Five Element Ninjas),
It’s the Sung Dynasty versus the Chin invaders as David Chiang (New One-Armed Swordsman) and Ti Lung (The Pirate) truly hit their stride with this crowd-pleasing kung fu epic. When a handsome prince is taken captive and guarded by a martial arts master, it’s up to two powerful patriots to fight overwhelming odds. From the first fascinating minute to the final desperate battle to the death, culminating in an unforgettably evocative conclusion – this duo is dynamic as well as deadly.
The Criterion’s “wacky C” logo was first spotted attached to various Showa era Godzilla titles on Starz’s streaming service. Because fans had received no prior notice of such a major move – and since the art on each title was rather cheap by Criterion standards (worth noting that Criterion often uses temp art for streaming titles that have not yet received a physical release) – the kaiju fandom mixed their excitement with a bit of caution. But now Criterion, speaking with Godzilla-Movies.com, reveals that indeed they and Janus Films have now obtained the rights to the majority of Toho’s Showa Godzilla films. They also add: “We hope to make them available on other platforms in the future.” They do not specify at this time whether this means Criterion’s streaming service with FilmStruck or future physical media releases.
The titles currently streaming on Starz with a Criterion logo are Godzilla Raids Again, Mothra vs Godzilla, Ghidorah: The Three-Headed Monster, Invasion of Astro Monster, Son of Godzilla, Destroy All Monsters, Godzilla vs. Megalon, Godzilla vs. MechaGodzilla, Terror of MechaGodzilla, and the 1954 original Godzilla as well as the Raymond Burr version titled Godzilla: King of the Monsters (both versions of the 1954 film were released by Criterion on DVD & Blu-ray in 2012). In addition to the Godzilla titles, Criterion also now has rights to two other kaiju classics, Rodan and War of the Gargantuas.
Notable Showa era Godzilla movies apparently not included in the Criterion deal are King Kong vs. Godzilla, Godzilla vs. Hedorah, Godzilla vs. the Sea Monster, and Godzilla vs. Gigan. King Kong vs. Godzilla is owned by Universal, who has released the English cut on Blu-ray. The latter three were released on Blu-ray in the States by Kraken Releasing. Fans had long waited to see if Kraken might release more, but they never did. Whether these titles might eventually join the Criterion label remains to be seen.
What’s interesting is who previously held the rights for the Godzilla titles that Criterion got their hands on. The 1954 Godzilla rights have long been held by Classic Media and Criterion licensed the rights for that film from Classic Media for their Blu-ray release (which far outdid the previous Classic Media Blu-ray, it must be said). Classic Media also held the rights and released DVDs for Godzilla Raids Again, Mothra vs. Godzilla, Ghidorah: The Three-Headed Monster, Invasion of Astro Monster, Terror of MechaGodzilla, Rodan, and War of the Gargantuas. (Those DVDs are full of scholarly information for fans and featured both English and Japanese cuts of the films, but could definitely use an upgrade in picture quality.) Classic Media made it clear they were not interested in Blu-ray releases for those films. And since Criterion had seen much success with the 1954 Godzilla, it always seemed like a possibility that they may return to Classic Media for the other Godzilla titles someday.
But the other Showa era Godzilla movies in this deal were previously held by other companies, which signals a strong push on Criterion’s part to put as much of Godzilla under their label as possible. Son of Godzilla and Godzilla vs. MechaGodzilla were previously released by Sony on DVD (and have long been OOP). Destroy All Monsters and Godzilla vs. Megalon were previously released on DVD & Blu-ray by Media Blasters (if memory serves, these two were apparently released without Toho’s full approval which caused them to then be pulled from shelves, get special features cut, and released again. It was kind of a mess). Who knows whether Criterion’s interest in the once-upon-a-time Sony titles means they might also be interested in other, later Sony Godzilla titles as well (with the exception of The Return of Godzillaand Godzilla vs. Biollante, Sony licenses all the Heisei and Millennium series Godzilla movies). The Media Blasters Godzilla titles also makes one wonder if Criterion might show interest in previous Media Blasters Toho sci-fi like Varan, Dogora, Frankenstein Conquers the World, or The Mysterians (Criterion producer Curtis Tsui once, perhaps jokingly, expressed interest in The Mysterians in a SciFiJapan interview). This is me – a fan – jumping ahead and getting a bit greedy, though.
For now, we wait to hear the details about Criterion’s plans for these newly acquired Godzilla titles. A ‘phantom web page’ on Criterion’s website for filmmaker Motoyoshi Oda would seem to suggest that a DVD/Blu-ray release for Godzilla Raids Again is a distinct possibility in the not-too-distant future (there is also a phantom web page for Megalon and MechaGodzilla director Jun Fukuda, for what it’s worth). But we’ll just have to wait and see. In the meantime, you can enjoy all the city smashing entertainment by streaming the titles from Starz.
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With the recent release of the Charlize Theron starring 
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