The director of ‘The Promise’ offers audiences a ‘Sacrifice’

Swords are drawn in "Sacrifice"

Chinese director Chen Kaige is perhaps best known for his award-winning 1993 drama Farewell My Concubine, starring Gong Li and the late Leslie Cheung. However, Kaige made a detour into full-blown fantasy territory with 2005’s The Promise, a pastel-colored wuxia that left some viewers scratching their heads even as they appreciated Kaige’s impressive visuals. Now it looks like Chen Kaige is striking a balance between these two disparate modes of filmmking with the historical epic Sacrifice.

The US trailer for the film is online now, promising plenty of wire-assisted action but with a visual style that is more rooted in reality. Sacrifice was actually released in China back in 2010 but it will be receiving a limited theatrical release in North America this summer courtesy of Samuel Goldwyn Films. You can expect to catch the Sacrifice on July 27th, 2012.

Posted in News |

Return to a Better Tomorrow (1994) Review

"Return to a Better Tomorrow" French Theatrical Poster

“Return to a Better Tomorrow” French Theatrical Poster

Director: Wong Jing
Cast: Lau Ching-Wan, Ekin Cheng, Michael Wong, Chingmy Yau, Ben Lam Kwok Bun, James Wong Jim, Paul Chun Pui, Lee Siu-Kei, Lo Meng, Collin Chou, Ernest Mauser
Running Time: 104 min.

By Joseph Kuby

Underrated Heroic Bloodshed Gem!

Return To A Better Tomorrow is usually looked down upon just because it’s directed by Wong Jing (who receives some fairly biased reviews and is an extremely underrated director – he’s actually one of the best of all time) but it’s actually one of the best films to come from the Heroic Bloodshed genre (a genre kick-started by John Woo but the term, however, was coined by Rick Baker* meaning films which contain violence and heroic pathos).

I’m not sure what the critical reaction was in Hong Kong but the failure of the film cemented the fact that the heroic bloodshed had seen its last day (kind of like what Ratt’s 1990 album, Detonator, did to pop metal**) and it proved to be the final nail in the coffin for this unique genre of film (or really a sub-genre/amalgamation of the action and gangster genres).

Return To A Better Tomorrow was made for two reasons; of course Wong Jing wanted to see how much mileage the heroic bloodshed still had left to cover (both artistically and commercially). Whilst the film flopped at the local box office, it still showed that Wong can direct drama if he wants to….and direct it well may I add. But the film proved to be influential in terms of how seriously the critics took Ekin Cheng as an actor. Also, the film proved to be influential in not only establishing and succeeding at launching Ekin Cheng as a full-fledged action icon (ala Heath Ledger or, better yet, Ryan Reynolds) but it showed audiences that he could play a convincing Triad (Chinese mafia) gang leader (which was vital for the success of Andrew Lau’s Young & Dangerous*** films whose first installment was made two years after RTABT).

I’m assuming Jing’s gangster thriller must have had some cult following afterwards because, really, Ekin was notably seen as pop singer first and actor second so the idea of seeing Ekin play a tough heavy was akin to seeing Justin Timberlake play Tony Montana in a remake of Scarface. Speaking of remakes, this film is sort of like a remake to A Better Tomorrow but because it’s directed by Wong Jing, it’s automatically referred to by hauteur critics as a rip-off (for those, who haven’t caught on – it’s not a sequel).

While the film does bear some similarities to Woo’s seminal masterpiece, Jing’s film is in a league of its own which deserves to be looked at in its own arena (rather than looked down upon) and on its own terms in the same way John Woo’s Bullet In The Head shouldn’t be quickly written off as a Deer Hunter rip-off. Coincidentally, RTABT shares a similar plot-point to BITH in regards to one of the main characters taking heroin after going throw a harrowing experience only to be rescued by two past friends.

Which brings us to the second reason why Wong Jing decided to helm this film: John had referenced God Of Gamblers in a brief tongue-in-cheek homage for his breezy yet bright (as in smart, not just in the perky sense) action caper Once A Thief so Wong wanted to throw a friendly yet feature-length nod to Woo’s legacy. This was done between John Woo and Quentin Tarantino as Quentin had his gangsters in Reservoir Dogs look like the ones in A Better Tomorrow 2 so John had payed back the favour with the ear-cutting scene in Hard Target as a referential florid gesture towards the similar scene in Quentin’s debut film.

This game of exchanging in-jokes can be played even further, as Wong Jing referenced Reservoir Dogs in High Risk (starring Jet Li from Lethal Weapon 4 and Unleashed fame) and referenced Pulp Fiction in his comedy classic Sixty Million Dollar Man (starring Stephen Chow of Shaolin Soccer and Kung Fu Hustle fame) so now it seems that it’s Quentin’s turn to reference Wong Jing.

Return To A Better Tomorrow plays on the familiar themes of the heroic bloodshed genre: loyalty, male bonding, friendship, honour, betrayal, high calibre shootouts, revenge, redemption and sacrifice. Rather than just simply retreading well-worn themes, Wong looks at each facet carefully and tries to decipher new elements of which can be added and ones which can be given a fresh spin. For instance, usually the female character in one of these films is a very passive and sexually repressed person, whereas Chingmy Yau’s character is a very feisty individual with a strong sense of sexuality.

The acting is solid all round with performances that may not be oscar-worthy but certainly not bottom-of-the-barrel either. The villains in particular are rather seedy, scathing, sleazy, scornful yet memorable, you really want them to get some form of comeuppance.

The action sequences here are very well done, the scope and scale of the story doesn’t (and isn’t meant to) allow for the epic action sequences seen in Hard Boiled, as this is a crime thriller than an all-out action film which merely alludes to the ins-and-outs of the crime world and the usual day-to-day business of that sordid kind of employment; therefore it’s best not to expect an all-out action affair though the action set-pieces are smartly handled with skillful precision and care.

If there’s anything which should be immediately apparent about Wong Jing is that he’s certainly one of the world’s best action directors as his ideas, vision and the way he puts it on the screen is simply a marvel to behold. He sure knows how to stage an action sequence. He sets the stage and plays up the mood nicely, especially during the hotel action sequence. Wong even tries to one-up John by having Ekin using dual shotguns instead of dual pistols and there’s one particular sequence involving powerful revolvers and a lorry which really is the cherry on the cake.

Even on the basis of action sequences alone, Wong Jing could never be seen as a bad or terrible director. There’s far more worse directors out there (action or otherwise), not just ones who are plain outright bad but ones who maybe be okay or good but just not as good as Wong Jing (yep, there IS worse).

This film is tragic, heart-felt, horrific and harrowing without being too sappy, schmaltzy or saccharine-saturated. The melodrama isn’t as heavy-handed as John Woo’s original (which is the one thing which gives Jing more of an advantage) and the action has just as much bite. But most importantly, with this being a crime thriller, no feelings are spared, no punches are pulled and there are no compromises – something which reflects the true nature of the world of crime.

Not everyone in life has a happy ending and Wong Jing certainly makes sure of that here. It may not please people who want and expect things to be sanitized, politically correct with a ‘Happy Hollywood’ ending and an overall glamourized feel (thematically, not just stylistically) but then it would be a cop-out to the realistic nature of the subject matter. The truth is it pays to be a criminal, simply put there is no way out no matter which side you are on thus it’s pretty much like war.

Very few filmmakers would have the courage to show the death of a child on screen, whilst it’s not done as graphically as John Carpenter in the original Assault On Precinct 13, the subtlety of the way Wong Jing handles it shows an interestingly artistic and poignant side to him, but at the same time revealing that he’s someone with quite a lot of nerve, verve and audacity (a very derring-do/daredevil mentality which is very common throughout Jing’s repertoire albeit with much detriment to the critics).

The violence in this film is very off-putting, maybe not as gut-wrenchingly realistic as something you may see elsewhere (like Full Contact) but certainly unsettling and uncomfortable (Hard Boiled it isn’t).

The film, astonishingly, was cut in Hong Kong because of the X rated material (probably either due to language, nudity and violence) so the fact that the film still manages to shock is saying something about the original version’s extremely explosive content. In this version, people are pulverized and though it’s not exactly as grotesque as something seen in Raging Bull or Rocky, the results are disturbingly close. So who knows what the original was like. Though Wong Jing has shown far more sinister acts of violences such as the torture scene in The Big Score and the fetus removal scene (though we don’t see it actually happening) in God Of Gamblers 4: The Return.

It’s alluded to that Chingmy’s character goes through abuse by men in this film and with this being a Wong Jing film, it wouldn’t be a surprise if it was sexual violence of a highly explicit nature. In some ways, it’s easy to see where the cuts were made. Also, if you look at the trailer, some dialogue scenes were trimmed as well – taking away some of the film’s depth and emotional punch.

Just for the sake of delivering some trivia, these are some (of the many others?) dialogue scenes removed from the film…

1 A conversation between Michael Wong and Ekin Cheng.

2 An argument between Parkman Wong and his superior.

3 Scenes from Cheng’s childhood (i.e. his first
killing as a child).

In one of the film’s death scenes, Wong Jing utilizes a technique that was used by Chang Cheh (John Woo’s mentor and main source of influence) but not by John Woo himself, which proves that Wong Jing is as driven with initiative as he is with influence. This technique, of Chang Cheh’s, is one that was used to good effect in The Men From The Monastery – basically when one of the heroes dies, the colour of the screen changes into a single colour or monochrome.

Wong Jing even borrows a technique much used by Ringo Lam and Wong Kar Wai in their movies in which the camera is very shaky (think blur-o-vision) during an action sequence (admittedly something which even some of Tsui Hark’s directorial status had done this as well {when he made The Blade}, not that it’s a bad thing it just depends on the way it’s done and if credit is given, something Wong was never adamant to mention).

In fact, the reason why I’ve given this a 9 than a 10 is a bad acting turn by Michael Wong and slightly misguided directing on Wong Jing’s behalf when Mike’s character goes berserk over the death of one of the main characters before dissolving into a cheesy fight sequence with a typical action movie score which derails the film in a way which the car chase sequence in Bullet In The Head had almost derailed that particular film.

Wong Jing may be considered a hack by most, but people who carefully analyze his filmography with anal-retentive precision and go through an extreme multitude of others will come to realize he is anything but. Wong Jing is someone who’s capable at the very best at making classic films, even
masterpieces, which can mix genres and obtain both artistic & commercial success. The fact that his most highest-grossing film (God Of Gamblers 4: The Return a.k.a. The Return Of The God Of Gamblers) was one that was said to be critically acclaimed (according to the authors of The Essential Jackie Chan Sourcebook) is a testament to this. Besides, all filmmakers go through bad patches (in terms of quality and quantity) it’s just it’s obvious with some directors than it is with most.

If I had to find a non-Chinese directorial comparison with Wong Jing, it wouldn’t be Roger Corman and certainly not John Waters. I feel Wong is the Chinese equivalent to John Carpenter – both have proven to be very daring, even ground-breaking, directors who have done practically almost every sub-genre in their genres of choice (horror for Carpenter and action for Wong). Just like John, Jing has gone through a bit of a rough patch recently – churning out films that are average and no real indicator of his true talent.

But take my word for it, Wong Jing is one of the most creative filmmakers around and surely, without a doubt, one of the best filmmakers of all time! He may not be as brilliant as Orson Welles, Steven Spielberg, George Lucas, Martin Scorsese and Tsui Hark; but Wong, at his best (when given the right push, money and time), is a great director!

* U.K. based film fan/Hong Kong movie club owner.

** This is an applicable comparison because the one thing Ratt’s album and Wong Jing’s film have in common is that both are classics of the genre but timing meant that commercial success fell short of expectations. Had both been released earlier on, they would have received their dues commercially and critically.

*** Coincidentally produced by Wong Jing.

Joseph Kuby’s Rating: 9/10


By Ben Poppel

This movie was a very interesting to say the least. It had the ‘Better Tomorrow’ title slapped on it to sell more tickets. While there were some surprisingly good shootouts in the film, I still don’t think it quite lived up to the name. And what is up with all the slow mo’ in the film. I just don’t understand why directors think they have to slow the movie down during dramatic fight scenes. It rarely ever works to any advantage. While the cover art for the film was good, it was kind of false advertising because it showed Michael Wong on the front, and he didn’t show up till almost an hour into the film. That is alright, he didn’t need to be in the film anymore than that anyways…

Ok enough about bashing the film – despite some minor flaws, this was actually a pretty good movie for the most part. The two main characters: Ekin Cheng and the almost always flawless, Lau Ching Wan, were superb in their kind of “reversal of power” roles they established throughout the film. I was really surprised by Ekin’s acting – it was pretty good, almost better than his Young and Dangerous roles. Chingmay Yau’s part in the film was also fairly good, but kind of left us wanting her to go away towards the latter half of the movie, as she turned into a drug addict. The cute little girl ,who was the daughter, had some very memorable and shocking scenes in the movie.

What got me was how everything molded together : story, characters, setting, action and “triad themes”, to make for an above average HK production. This movie won’t be on many top ten lists or become a movie to watch over and over but it is a pretty fun ride the first time through. If you want to watch this movie, ignore the title and don’t’ expect much then you may find it entertaining – otherwise, you may just think of it as a bunch of Wong Jing crap! Good but not great.

Ben Poppel’s Rating: 7/10

Posted in Chinese, Golden Harvest, News, Reviews | Tagged , , , , , , , , |

Freeze Me (2000) Review

"Freeze Me" Japanese Theatrical Poster

"Freeze Me" Japanese Theatrical Poster

AKA: Freezer
Director: Takashi Ishii
Producer: Takashi Ishii, Nobuaki Nagae, Taketo Niitsu
Cast: Shingo Tsurumi, Shunsuke Matsuoka, Harumi Inoue, Kazuki Kitamura, Naoto Takenaka
Running Time: 102 min.

By Jesse

Freeze Me tells the story of a woman who was gang raped by three thugs as a teenager and later starts a new life with a good job and a loving fiance. A few years later, one of the rapists shows up at her door and rapes her again, threatening to give her neighbors pictures of the tape that he and his scumbag friends made of the whole thing. The main character is trapped and sees no way out, so she kills the thug and puts him in her freezer. After her fiance finds out about the rape, he leaves and she is left all alone. The other two rapists show up at her place and she kills them in brutal ways, also putting their bodies in freezers.

This movie may sound like a simple exploitation film, but it is much deeper than that. The heroine of the story has been intimidated by just about every man in her life and the fear of her own sexuality. She feels trapped by members of the opposite sex and the only way that she can feel like a human being is to take revenge on the cruel animals that committed those acts against her. This movie is very harsh and startled me a few times. It’s also pretty disturbing and is well acted by all involved. The English dubbing was a bit out of whack though, and made the movie seem unintentionally humorous a few times.

The story is in the same vein of Audition and Roman Polanski’s Repulsion. Nothing really new, but the way the director Takashi Ishii (Gonin) takes command of everything makes this concept feel fresh and invigorating. There are also scenes of beauty to contrast with the harshness of the violence, such as when Chihiro (Harumi Inoue) sees gently falling snow that stops her from ending her life after the rape. The music played at the beginning and finale of the film is also superb and will hit you where it counts.

Overall, a great movie that I highly recommend.

Jesse’s Rating: 8.5/10

Posted in Japanese, News, Reviews | Tagged |

New Taiwanese action movie ‘Black and White’ features talent behind ‘Inception’ and ‘B13’

"Black and White: Part 1" Chinese Theatrical Poster

The filmmakers behind the new Taiwanese action film Black and White held a press conference yesterday to announce that the film will be released in Mainland China this summer. A 110-second preview of the movie was screened and included car chases, explosions, shoot-outs, and a plane crash. Directed by Tsai Yueh-Hsun, Black and White stars Mark Chao and Huang Bo (Design of Death).

At the conference, director Tsai Yueh-Hsun revealed that the film had a budget of around $1.1 million US dollars and that some of the crew involved in the Hollywood blockbuster Inception helped build the stage where the plane crash was filmed. In addition, French action star Cyril Raffaelli of District B13 and Live Free and Die Hard fame flew to Taiwan to serve as action choreographer on the film. Sounds like Black and White is something to look forward to; the movie should arrive in Chinese theaters this June.

Update: Chinese Films has a brand new poster and some stills for the film. The movie is now titled Black and White: Part 1 and will hit Mainland Chinese theaters on June 21. I’m glad I went looking for the trailer because somehow I missed it. You can watch it now on YouTube with (tiny) English subtitles! Looks like this movie is a massively big-budget affair with tons of stunts and action sequences.

Chinese Films has some new action-packed stills and a brand new poster. We’d swap the new poster in but we prefer the old one that’s up.

BREAKING NEWS: The final trailer for the film is online now.

Posted in News |

‘Two Moons’ is a bad omen in this new Korean horror flick

"Two Moons" Korean Theatrical Poster

As long as people in Asian horror movies have dark secrets and repressed memories, there will always be a long-haired ghost waiting in the wings to hunt them down. At least that seems to be the case, and the upcoming Korean film Two Moons doesn’t look like it will mess with the formula too much, judging by the trailer and three posters now available.

Direcotr Kim Dong-Bin helmed the 2004 chiller Red Eye, which is not to be confused with the Wes Craven movie of the same name as both are available to rent on Netflix. Clearly, Kim Dong-Bin is no stranger to the Asian horror genre. In Two Moons, a horror novelist and two young women are trapped in an isolated area and must uncover the buried trauma of their past…before it kills them. Expect Two Moons in Korean theaters this July.

Update: Twitch Film debuted the new poster for the film.

Posted in News |

Takashi Miike is back to the samurai genre with ‘Hara-Kiri’

"Hara-Kiri" North American Theatrical Poster

Takashi Miike, the visionary director of 2010’s 13 Assassins, returns with a remake of the 1963 Masaki Kobayashi film Harakiri. In this harrowing samurai drama, a poverty-stricken young warrior seeks an honorable death through ritual suicide. Back in 2011 this was the first 3D film to be screened at Cannes.

Updates: A clip from Hara-Kiri: Death of a Samurai can be seen here. A non-subbed trailer can be seen here.

BREAKING NEWS: A new trailer, courtesy of Apple Quicktime. The film will be On Demand this July 17th and in limited theatrical release on July 20th.

Posted in News |

Not just ‘Another’ J-horror movie – two new posters

"Another" Japanese Theatrical Poster

Over at 24 Frames Per Second, they’ve got the scoop on a new Japanese horror movie called Another. The film is based off an anime which was in turn inspired by a bestselling novel by author Yukito Ayatsuji. The story follows a 15 year-old protagonist who transfers to a new school and is assigned to Class 3-3.

It doesn’t take long for him to realize that Class 3-3 is haunted or, at the very least, bad things tend to happen to its students, like the poor girl who is impaled by her umbrella handle. The characters race to figure out why Class 3-3 is cursed, which may be tied to a fateful night back in 1972.

The big screen adaptation of Another arrives from Ghost Train director Takeshi Furusawa and should be in theaters in Japan this August.

Check out the teaser trailer and a more detailed plot synopsis here. Here’s brand new trailer for the film, courtesy of Beyond Hollywood.

Update: Two cool new posters at Beyond Hollywood.

Posted in News |

Blu-ray and DVD Releases for 6/19/12

The Hidden Blade Blu-ray (Palisades Tartan)

The Hidden Blade Blu-ray (Palisades Tartan)

It’s a dire week for Asian cinema lovers. We’ll keep on trucking, cause that’s the Chicago way, and maybe you’ll find something to enjoy. Here are your Blu-ray and DVD releases for the week of 6/19/12:

ASIAN CINEMA

The Hidden Blade (Blu-ray+DVD) – Palisades Tartan brings Yoji Yamada’s meditative 2004 samurai drama to Blu-ray

Ninja Champion/Weapons Of Death (DVD) – the 36 Chambers of Wu Tang presents 172 minutes of ninja action. Be advised these movies are likely dubbed

FOREIGN CINEMA

My Afternoons With Margueritte (Blu-ray/DVD) – a 2010 drama about an oafish handyman and the 95 year-old woman who teaches him to appreciate literature. Starring Gerard Depardieu

Four Lovers (DVD) – in this 2010 French drama, two couples try to spice up their live lives by swapping partners. Oh, those French

Kino Classics Lina Wertmuller Collection (DVD) – a 3-disc DVD set containing three Italian-language films from director Lina Wetmuller. The set includes “Love & Anarchy,” “The Seduction of Mimi,” and “All Screwed Up”

Attenberg (DVD) – Greece’s official entry to the Academy Awards is this 2012 quirky, coming-of-age story about a 23 year-old woman in a small town who must leave her adolescent ways behind

All Screwed Up: Kino Classics Edition (Blu-ray) – Lina Wertmuller’s 1974 Italian comedy about immigrants trying to make it in Milan

The Seduction of Mimi: Kino Classics Edition (Blu-ray) – Lina Wertmuller directs this 1972 Italian farce, now in hi-def from Kino

Love & Anarchy: Kino Classics Edition (Blu-ray) – a 1973 Italian tragi-comedy from director Lina Wertmuller

MAINSTREAM

Seeking Justice (Blu-ray/DVD) – Nicolas Cage and Guy Pearce headline this 2012 direct-to-video action/thriller

Down for the Count (DVD) – a 2012 martial arts picture about a fighter who travels to Thailand to make it big as a Muay Thai boxer

Cat Run (Blu-ray/DVD) – a 2011 crime comedy starring Paz Vega as a call girl on the run after witnessing a crime

Legend of Hell’s Gate (DVD) – a 2011 Western that explores post-Civil War Texas

The FP (Blu-ray/DVD) – a 2011 comedy set in a far future where gangs wage war using a rhythm dancing game

Snow on tha Bluff (DVD) – this 2011 found footage film claims to offer an “authentic look” at life on the streets

Newsies: 20th Anniversary Edition (Blu-ray) – this 1992 Disney musical isn’t exactly a Cityonfire.com kind of movie, but it does star a young Christian Bale AKA Batman!

CULT

Ilsa, Harem Keeper of the Oil Sheiks (DVD) – this 1976 exploitation movie needs to be seen to be believed, based on the jaw-dropping NSFW trailer

Project X (Blu-ray/DVD) – not to be confused with the current teen movie, William Castle presents this 1968 mind-bending sci-fi thriller

CLASSIC

Flame Over India AKA The North West Frontier (Blu-ray/DVD) – a 1959 picture starring Lauren Bacall about the colonial revolt in India during the early 20th century

The Colossus of New York (Blu-ray) – New York is terrorized by a giant robot monstrosity from space in this 1958 sci-fi chiller

HORROR

Exit Humanity (DVD) – Bloody Disgusting Selects offers this 2011 film that seeks to combine the zombie movie with the Western

The Disco Exorcist (DVD) – with a title like that, how can you resist this 2011 homage to 70’s horror?

Interested in any of these movies? If so, we hope that you’ll consider ordering from our affiliate to help support this site. Thank you!

Posted in News |

For the Love of Money DVD (Lionsgate)

For the Love of Money DVD (Lionsgate)

For the Love of Money DVD (Lionsgate)

RELEASE DATE: September 4, 2012

Lionsgate presents the DVD of For the Love of Money, starring Edward Furlong, James Caan and Paul Sorvino and Steven Bauer. Based on a true story. One man, Isaac, leaves his old, seedy, gangster-filled lifestyle to start over with his family. A Jewish Scarface? A GTA ripoff? You be the judge: Check out the trailer.

Posted in DVD/Blu-ray New Releases, Other Notable Titles |

Running on Karma (2003) Review

"Running on Karma" Japanese Theatrical Poster

“Running on Karma” Japanese Theatrical Poster

Director: Johnnie To
Co-director: Wai Ka Fai
Cast: Andy Lau Tak Wah, Cecilia Cheung, Cheung Siu Fai, Karen Tong Bo Yue, Chun Wong
Running Time: 93 min.

By Equinox21

Johnny To and Wai Ka Fai’s Running on Karma is one of the strangest yet ultimately fulfilling Hong Kong movies I’ve ever seen. It’s a difficult movie to explain as so much happens in a 90 minute package. The direction the movie seems to be going in comes to a conclusion about half way through, with the remaining time dealing with the TRUE story, which is one man’s struggle with who he is and what he’s become.

After his best friend, Jade, was killed by Sun Ko five years ago, Buddhist monk Big (Andy Lau in a muscle suit) flew into a rage, swinging his staff at the leaves on a tree and inadvertently killing a sparrow. He immediately sat down in front of the dead sparrow and meditated for 7 days. When he finally got up, he stripped off his clothes and gave up his life as a monk. He had developed a new gift, that of seeing people’s karma; the way they lived in a previous life, which, in turn, determines how they will die in this life. When the movie picks up, Big is in Hong Kong working as a stripper where he becomes involved with a cop, Yee (Cecilia Cheung). He decides to help her in order to prevent a police officer on her force from dying, because he’s seen the karma and realizes that the person is in danger. From here it progresses through Big and Yee’s relationship, and through Big’s struggle between doing what’s right vs. the inability to change the inevitable.

Running on Karma is, simply put, strange. If you can buy the fact that a muscle bound former monk can see people’s past lives, then you can buy the fact that his martial arts abilities (and those of some of the criminals in the movie) are supernatural; similar to those seen in Crouching Tiger Hidden Dragon, where people are running on air and climbing up walls. All this set against modern Hong Kong makes for very strange bed fellows.

The acting is fine from all the players. Especially noteworthy is Andy during the scene in which he tries to ride Yee’s scooter (quite a funny scene, actually, aided by Andy’s acting completely useless on the bike). Cecilia Cheung wasn’t bad, and was thankfully wearing long sleeves through most of the movie to cover her emaciated look.

The whole of this movie wasn’t as dark and serious as I thought it might be, nor was it as light hearted as it could have been; however, there were scenes that were at both ends of the spectrum (both light hearted/funny and dark/disturbing). I’m almost afraid to give this a rating, because it simply can’t be compared to any other movie I’ve ever seen. It was good, but how do I think of a score when I can’t judge it against other films? Regardless, I recommend this movie. Even though it’s quite strange, it’s a good watch… especially if you like seeing Andy Lau’s bare muscle suited ass constantly on display.

Equinox21’s Rating: 7.5/10 (but I have to watch it again, maybe that will change my score)

Posted in All, Chinese, News, Reviews | Tagged , , , , |

Accident (2009) Review

"Accident" Japanese Theatrical Poster

“Accident” Japanese Theatrical Poster

Director: Soi Cheang Pou Soi
Cast: Louis Koo, Richie Ren, Michelle Yip Suen, Stanley Fung Shui Fan, Lam Suet, Monica Mok Siu Kei, Alexander Chan Mong Wa, Han Yuqin, Lai Cheung Wing
Running Time: 83 min.

By HKFanatic

“Accident” is a slick Hong Kong thriller in the Milkyway Image tradition. If you’ve seen recent thrillers like “Eye in the Sky” and “Punished,” you’ll have some idea of what to expect. This Johnnie To-production presents a modern day Hong Kong where the populace is under constant surveillance, whether from street cameras, stalkers, or tenant neighbors. For those on the wrong side of the law, trust is a commodity – and one slip-up, one simple mistake, could cost you your life.

This is a compelling story but unfortunately Louis Koo has been cast in the lead role. Koo is an actor who has yet to impress me; he seems to garner high profile roles due to his popularity with audiences and not because of any discernible acting talent.

Louis plays a character nicknamed The Brain, due to the fact that he’s in charge of a band of criminals who perform elaborate assassinations for cash. It’s a mostly silent part, the kind of role that calls for an actor who can display a shrewd intelligence without a word of dialogue. Louis Koo is not that sort of actor; he remains as blank as ever, a cipher onscreen. Koo is just not capable of conveying personal anguish or razor-sharp thinking.

What a shame, then, since “Accident” has plenty else to offer. The pace may be meditative at times but there are still thrills to be had, including an impressive bus crash. The production values are decent enough and the supporting cast is great, including Milkyway stalwart Lam Seut and “Lucky Stars” alumni Stanley Fung. Michelle Ye (“Fire of Conscience“) doesn’t get much screentime but she still makes a strong impression thanks to her moody performance and wardrobe reminiscent of Michelle Reis in Wong Kar-Wai’s “Fallen Angels.”

Unfortunately, the whole endeavor collapses due to Louis Koo’s unengaging performance and a plot that’s slow to develop. After Milkyway flicks like “Mad Detective,” it’s almost too easy to predict that the ending is going to have a ‘mind-bending’ plot twist.

“Accident” is still worth a watch for the Milkyway faithful and I imagine many viewers out there will enjoy it. For me, it’s just difficult not to imagine how a talented actor like, say, Andy Lau or Tony Leung (either Tony Leung!) could have transformed the film from your standard pot-boiler into something truly memorable.

HKFanatic’s Rating: 6.5/10

Posted in Chinese, Reviews | Tagged , , , , , , |

Six Bullets DVD (Sony Pictures)

Six Bullets DVD (Sony Pictures)

Six Bullets DVD (Sony Pictures)

RELEASE DATE: September 11, 2012

Sony Pictures presents the DVD for Six Bullets (aka The Butcher), directed by Ernie Barbarash (Assassination Games) and starring Jean-Claude Van Damme. Also starring Joe Flanigan, Bianca Bree, Anna-Louise Plowman and Kristopher Van Varenberg. Check out the Trailer.

Posted in DVD/Blu-ray New Releases, Martial Arts Titles |

The latest on Van Damme’s ‘Six Bullets’ – DVD cover revealed!

"Six Bullets" Promotional Poster

"Six Bullets" Promotional Poster

THE MOVIE: In Six Bullets (aka The Butcher), Van Damme plays a martial artist who has to rescue a daughter of an ex-mercenary. This will be Van Damme’s second film with director Ernie Barbarash (Assassination Games). Also starring Joe Flanigan, Bianca Bree, Anna-Louise Plowman and Kristopher Van Varenberg.

Updates: From Van Damme’s Facebook: “I haven’t forgotten the kicks, but… I have a new move that has not been seen before, I have been practicing. You will see it in The Butcher. Wait until you see the condition I am in for this film you will see a real physical difference from my last film. Actors have to adapt to suit the role and I am ready for this one. Its really good to focus on training and nutrition. The Director Ernie (Barbarash) is the same Director as Assassination Games, he is really on his game.”

Not much news, but a quick message from Van Damme regarding The Butcher. Also, a hilarious new Dash Detergent commercial. If you still haven’t seen Van Damme’s Coors light advertisements, check them out here.

Added the new poster to Six Bullets. According to visitors of Vandammefan.net, this is the official poster, while a visitor of COF believes it’s a promotional Cannes poster. Whatever the case, let’s just hope it’s as good as Assassination Games, but hopefully with more action! Meanwhile, Beyond Hollywood has an alternative “fan” poster and six stills from the movie. Van Damme is looking good!

BREAKING NEWS: Check out Sony’s new DVD cover, which is now available for pre-order. If you haven’t yet, don’t miss the trailer is now available.

Posted in News |

Cyber-punk fans may live to see ‘Snow Crash’ on the big screen after all

"Snow Crash" by Neal Stephenson

AICN hits us with some truly cool news today, as reports indicate Joe Cornish of Attack the Block fame has been given the greenlight from Paramount to write and direct an adaptation of the acclaimed cyber-punk novel Snow Crash.

If you’ve ever been bitten by the cyber-punk bug in your life, chances are you’ve read Neal Stephenson’s 1992 tale of a not-so-distant future in which a sword-slinging pizza delivery guy struggles to save society from a deadly biolinguistic virus dating all the way back to the Tower of Babel.

Fans of Snow Crash have long dreamt of a movie adaptation, though there have been some who claim the novel is un-filmable. It will be interesting to see what concessions, if any, Joe Cornish has to make with the script in order to keep the dense plot accessible to mainstream audiences.

Either way, it’s a positive sign that Paramount is putting their money behind such a potentially challenging and ground-breaking piece of science fiction.

Posted in News |

King of Comedy (1999) Review

"King of Comedy"Japanese Theatrical Poster

“King of Comedy”Japanese Theatrical Poster

Director: Stephen Chow
Cast: Stephen Chow, Cecilia Cheung, Ng Man Tat, Karen Mok, Jackie Chan, Bobby Yip, Bruce Law
Running Time: 99 min.

By Vic Nguyen

Stephen Chow Sing-chi has long been considered the undisputed box office king of Hong Kong Cinema (not discounting Jackie Chan or Chow Yun-fat in their heydays), beginning with the remarkable success of the the Jeff Lau helmed All for the Winners. Ever since then, he has churned out a large number of vehicles that vary in quality, from low brow (Tricky Brains, Love on Delivery, etc.), to well rounded (Forbidden City Cop, A Chinese Odyssey series, King of Beggars), to just plain excruciating (The Lucky Guy, Tricky Master 2000). And yet, despite the lack of effort on a number of these pictures, the box office takes have always remained strong. But with the King of Comedy, Chow is perhaps presented with his most mature work to date, combining his trademark brand of “mo lai to” humor, along with genuine heart and a spirit to entertain that is readily appearant throughout.

Wan Tin-sau is an aspiring actor who operates a local recreation center, teaching acting on the side. At one point, out of sheer luck, he is given a small role in a ‘Killer’ type production, but, because of inadvertantly being a consistent nuisance on the set, he is scrapped off the picture. Again, with luck on his side, he meets Sister Cuckoo, a big name action star who is akin to the kindhearted Wan so much that she casts him as the lead in her latest production. Meanwhile, a nightclub call girl Lau Piu-piu decides to attend Wan’s acting classes (in order to learn to impress her ‘clients’), and, despite her overly indepedent nature and sometimes brash demeanor, they both gradually fall for eachother. And of course, this relationship doesn’t sit well with Sister Cuckoo, who, in additon, also falls for him. Who will Wan choose? What will become of Wan’s fate and career?

The undisputed box office champ in this Chinese New Years movie season (edging out Jackie Chan’s Gorgeous (Chan, in addition, has a small cameo in this pic), the King of Comedy is a well-balanced, fast paced delight of a production. Never before has Chow blended his usual goofy, laugh-out-loud antics with straight laced drama, with the final product working so well. Performance wise, it is not Sing Jai  who comes off the best, but surprisingly newcomer Cecilia Cheung Pak-chi, who trancends the somewhat unpleasantness of her character, and in turn, delivers a charming performance, and molds a character with whom the audience could sympathize with. The future is bright for this young performer, and I will certainly look forward to seeing her in future productions. Other acting nods go to Chow himself, who remains consistently watchable and entertaining throughout, and to Chow’s partner in crime, Ng Man-tat, who plays a not-so-friendly caterer with a certain gusto in which only Uncle Tat can play.

And, as usual, there are plenty of Chow-ish antics which will satisfy even his most jaded fans. Certainly, despite being pretty much a drama, he allows a few goofy antics to slip through the cracks, and I thank him for doing so. Although I won’t elaborate too much,  just watch out for the snot scene, the debt collection scene, and his parodies of such films as John Woo’s The Killer and Bruce Lee’s Fist of Fury. Trust me, they have to be seen to be truly appreciated, as they had me gasping for air, and made me laugh so much that I nearly pissed my pants(well, not really). Also included are some not so subtle references and parodies of various people in the film industry (didn’t that foul mouth, obnoxious gweilo director in the meeting remind you somewhat of Quentin Tarantino?), which adds further seasoning to the stew, and stakes this entertaining production as Chow’s best film to date.

Vic Nguyen’s Rating: 8.5/10


By Raging Gaijin

Ever since 1990’s “All for the Winner”, Stephen Chow has become Hong Kong’s #1 hit-maker, even out-performing Jackie Chan at times. And watching his films, it’s not hard to see why he’s so popular. Although Jackie Chan is arguably the best when it comes to martial arts, Stephen Chow inherently understands how to make a crowd-pleasing movie. He’s able to combine action, comedy, romance, and his own undeniable screen charisma into an entertaining whole.

“King of Comedy” has Chow assuming the role of a loveable loser/underdog, an archetype that he has grown accustomed to recently. He’s great playing these kinds of characters: people who are down on their luck that you can’t help but root for. I’m sure the knee-jerk reaction of a lot of American critics is to label him the ‘Chinese Jim Carrey’ but that’s really not what Chow is about. If anything, his perfect comedic timing and wit is closer to someone like Peter Sellers.

While Stephen Chow is certainly a marvel to watch onscreen, behind the camera he’s something else entirely. “King of Comedy” features what are somehow simultaneously the best and worst aspects of Chow’s filmmaking: his use of unconventional structure and sophomoric humor. Nearly all of his movies utilize these and the former *can* work: in “Kung Fu Hustle”, Chow committed the structural no-no of having the main protagonist off-screen for about twenty minutes during the crucial third act. Somehow he was able to pull this off when most films would have blundered. “King of Comedy” has a free flowing structure where characters enter and exit. The movie seems to move at Chow’s whim, as though scripted on the fly. Sometimes this feels fresh but sometimes you wish the story would get moving.

Chow’s bathroom humor is a little less forgivable. For one thing, there’s a scene involving a naked little kid that’s uncomfortable to sit through. Chalk it up to cultural differences but, come on, it’s still just plain weird. Other gags rely on snot or nose hairs to provoke laughs. And yeah, I’m not going to lie, I laughed. But the frustrating thing is that we know Stephen Chow is capable of so much more than this. He can be funny without being gross. Why go the Wong Jing routine when fans like him a little more sophisticated (like the awesome “Fist of Fury” parody he does elsewhere in the film)? And while a 19 year-old Cecilia Cheung is good in her debut role, she’s still quite young for Chow. Not that I think Chow minded much…

On the action front, Bruce Law’s choreography was a mixed bag. His parodies of John Woo style action were dead-on but during the third act, the film takes a good 15 minute detour into a subplot involving undercover cops (another example of Chow’s nontraditional structure). The shoot-out that follows is presumably meant to be the climax of the film but it’s sorely lacking. Chow is able to hit three different people spaced around the room with his arm seemingly held in the same position each shot. Maybe this is a further parody of the ‘heroic bloodshed’ genre but either way it’s not very exciting.Ý Also, it’s kind of interesting that Chow mocks Quentin Tarantino earlier in the movie and then rips off/pays homage to “Reservoir Dogs” with this scene.

I think that die-hard Stephen Chow fans are going to love this the most. Casual viewers should stick with “Shaolin Soccer” and “Kung Fu Hustle” before they decide to venture further into his filmography. All this said, perhaps I’m being a bit too harsh. The action may be so-so but Chow keeps throwing so many gags your way that you don’t have much time to notice. Some jokes work, some don’t, but Chow keeps trying until he hits your funny bone. I laughed throughout the entirety of “King of Comedy” so if that was Chow’s goal, mission accomplished.

Raging Gaijin’s Rating: 7/10

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