Chawz | aka Chaw (2009) Review

Posted on July 23, 2011 by Z Ravas
"Chawz" Korean Theatrical Poster

“Chawz” Korean Theatrical Poster

Director: Shin Jeong-Won
Cast: Uhm Tae-Woong, Jeong Yu-Mi, Jang Hang-Seon, Yun Je-Mun, Park Hyuk-Kwon, Kim Gi-Cheon, Lee Sang-Hee, Jeong Yun-Min, Mun Jong-Hun
Running Time: 121 min.

By HKFanatic

Now for something totally different. “Chawz” is a South Korean horror/comedy that attempts to do the whole ‘small town terrorized by a big monster’ shtick like “Jaws,” except with dollops of goofy humor. And, you know what, it pretty much works.

This small town is a rural community out in the boondocks where affluent suburbanites get bussed in on the weekends for some novelty farming. Of course, when the monster strikes the mayor is only concerned that all the killings are going to hurt the tourist trade. It’s up to the local police, understaffed but ever-determined, and an ace hunter to stop the rampaging beast.

The beast in question? Not a shark or jungle cat. Not even a giant octopus or sea monster like “The Host.” Nope, it’s a computer-generated, gigantic, man-hungry wild boar. I’ll let that sink in a moment.

Perhaps it’s wise that “Chawz” mostly plays things for laughs. The characters are quirky but likable. The monster attacks are more entertaining than they are scary (people running from a CG boar that’s as big as a SUV has the potential to be pretty funny, you gotta admit). Je-mun Yun of “Mother” and “The Good, The Bad, the Weird” gives a scene-stealing performance as a top hunter trained in Finland, which is apparently the number one country to do that sort of thing in. The special effects are a charmingly low-budget blend of CGI and what I think is a model with fake fur on it. The cinematography is nice and crisp.

Really, the only thing that holds “Chawz” back is its 122 minute runtime, which is just too damn long for a monster movie farce. I was well and ready for the film to reach its conclusion and it still had another twenty minutes to go, featuring a protracted encounter with the boar in an abandoned steel mill.

If the film had been a bit more thrifty in its pacing, I think my rating would be higher. “Chawz” is one of those movies that doesn’t know to cue the credits before it loses the audience’s good will. That said, even the cast roll call that plays with credits is hilarious, with all the actors turning to give the camera a cheesy grin or expression. It’s hard to hate on a flick as silly and fun as “Chawz,” even if there’s not much to make you flat-out love it.

HKFanatic’s Rating: 6.5/10

Posted in Korean, Reviews | Tagged , |

Dark Water (2002) Review

Posted on July 23, 2011 by JJ Bona
"Dark Water" Japanese Theatrical Poster

"Dark Water" Japanese Theatrical Poster

Director: Hideo Nakata
Writer: Koji Suzuki (novel)
Cast: Hitomi Kuroki, Mirei Oguchi, Rio Kanno, Shigemitsu Ogi, Fumiyo Kohinata, Yu Tokui, Isao Yatsu, Asami Mizukawa
Running Time: 102 min.

By Numskull

Director Hideo Nakata and novelist Koji Suzuki follow their success on Ring and Spiral with this collaboration about a mother and daughter living in an apartment building with a dark mystery, a leaky ceiling, a lazy janitor, and a very unresponsive elevator.

Just as Ring tried to make people afraid to use their VCRs, Dark Water attempts to make its viewers think twice about turning on their faucets. Does it succeed? Not quite, but it’s still a solid entry in the atmospheric horror genre that the Japanese film industry is building a strong reputation for. Cuts are few in number, and the music is sparse and unobtrusive. Take notes, alla you Hollywood types. (Actually, it looks like Gore Verbinski already did; his remake of Ring...eh, “borrows” a scene from this film in which someone receives a nasty surprise after thirstily guzzling a glass of water.)

As in Ring, we have a divorced couple with one child, living with the mother, whose name is Yoshimi Matsubara (Hitomi Kuroki). This time, however, the red tape of the divorce is still in progress, and Yoshimi’s suspicions that her ex-husband is hatching twisted plots to gain custody of their daughter Ikuko (Rio Kanno, definitely one of the better child performers that I’ve seen) adds to her already high stress level. She’s just moved in to a somewhat run-down apartment, she’s looking for a job, her brief stay in a mental institution years ago is coming back to haunt her, and Ikuko has developed an alarming tendency to wander off by herself. Oh, and there’s a bothersome leaky spot on the ceiling, but that’s the least of her worries…right?

Through a series of flashbacks, we learn that Yoshimi’s own parents were divorced, and that she has picked up their habit of being tardy when she goes to kindergarten to bring her daughter home. Another similarity with Ring: the protagonist is not the world’s most attentive mom, and the movie underlines the importance of not being a lousy parent.

And then there’s Mitsuko Kawai…who, without giving TOO much away, fills the “mystery girl” slot occupied by Sadako in Ring. It’s not hard to spot the creative duo’s (Nakata’s and Suzuki’s) formula. Fortunately, it’s a formula for success…with the notable exception of the lengthy epilogue which softens the horror factor of the preceding tale and puts more emphasis on the mother/daughter relationship. (I don’t consider the mention of the “lengthy epilogue” a spoiler because, like Ring, Dark Water climaxes a little too soon and in such a way that few would believe that the film is truly ready to conclude.)

I’m not switching to bottled water anytime soon (there’s shit in there just like in tap water; get a purifier instead), but I can instantly recall many of the film’s details; a good sign, and of even more importance than usual where the horror genre is concerned. I’d be happier without the slightly awkward ending, but I still give Dark Water a thumbs up.

Numskull’s Rating: 8/10

Posted in All, Japanese, Reviews | Tagged |

Above the Law | aka Nico (1988) Review

Posted on July 23, 2011 by Z Ravas
"Above the Law" Japanese Theatrical Poster

“Above the Law” Japanese Theatrical Poster

Director: Andrew Davis
Cast: Steven Seagal, Pam Grier, Sharon Stone, Daniel Faraldo, Henry Silva, Ron Dean, Miguel Nino, Nicholas Kusenko, Joe Greco, Chelcie Ross, Gregory Alan Williams, Jack Wallace, Metta Davis, Joseph F. Kosala
Running Time: 99 min.

By HKFanatic

The man, the myth, the mystique that is Steven Seagal begins here, with 1988’s “Above the Law.” Many wonder how a virtual no-name like Seagal was able to secure a three-picture deal with complete creative control right out of the gate. The story goes that Seagal built his reputation doing fight choreography on movies like “Never Say Never Again” (during which he reportedly broke Sean Connery’s wrist), serving as a bodyguard to the stars, and teaching Aikido to legendary Hollywood agent Mike Ovitz. In order to add to his star persona, Seagal claimed that he had a murky past with the C.I.A. It’s not hard to see why people would be impressed by a 6’4″ American Aikido master with a background such as that.

Fiction blurred into fact as soon as “Above the Law” hit the big screen. In the media Seagal tried to spin it that his onscreen character was a reflection of his real life. The opening of the film sets everything up with voice-over narration: Nico Tuscani, Aikido Black Belt, former C.I.A. operative during Vietnam, with family members in the Mafia, now a Chicago vice cop.

In this media-savvy age, the idea that Seagal could fool people into believing he was more or less his character Nico Tuscani is pretty astonishing. That’s sort of like if Jean Claude Van Damme had been interviewed upon “Bloodsport”‘s release and instead of saying, “Yeah, I’ve been trying to break into show business for years, I paid my dues by being an extra in movies like ‘Breakin’ and I got fired from the set of ‘Predator,’ this industry is tough,” he had rather claimed “When I was 25 years-old, I traveled to Hong Kong to partake in an underground full-contact fighting tournament. ‘Bloodsport’ is my story.” Everyone would have been like, “Holy $#*%&! This guy is the real deal!”

So, “Above the Law” is sort of like the “Batman Begins” of Steven Seagal movies. And with a set-up like that it’s hard to go wrong. “Above the Law” is also one of the few Seagal movies with a credible director behind the camera. Andrew Davis had already filmed one of Chuck Norris’ better films, 1985’s “Code of Silence,” which was a fairly serious look at police corruption in Chicago (until a police robot crashes the third act – no joke). Many of the actors who played cops in that film return in “Above the Law.” Davis, a Chicago native, really knows how to film the city.

As a kid, what impressed me about this movie was Seagal’s hard-ass persona and martial arts moves; rewatching it now, what I enjoy most about “Above the Law” is the gritty photography of Chicago. It feels like Davis and his DP captured what the Midwestern metropolis was like back in ’88. Looming skyscrapers, back alley drug deals, swank restaurants, political corruption (hey, maybe not much has changed) – it’s the perfect atmosphere for an 80’s action movie. Andrew Davis would go on to achieve mainstream credibility in the 90’s with “The Fugitive” movie and direct Seagal in his biggest box office hit “Under Siege.”

Two things hold “Above the Law” back. One is that it actually tries to be a ‘buddy cop’ movie of sorts. The script teams Seagal up with a spunky but about-to-retire-from-active-duty partner, played by Pam Grier. Now Grier is a great actress in her own right but anybody who’s seen Seagal in “Glimmer Man,” another ill-advised buddy movie, knows that the man works best alone. Seagal is meant to be the squinty-eyed, no-nonsense, mono-syllabic tough guy (except when he’s delivering political monologues). Watching him try and play cute with Pam Grier is just plain embarrassing.

Another aspect that hampers the film is the score from David Michael Frank. I’m sure it sounded really hip and cool back in the 80’s, but now the music is horribly dated. Casio keyboards, pan flute solos, reverberated drums, jazzy guitar licks, blaring saxophone – it’s all here. This sort of soft rock filler sound just isn’t befitting of a hard-edged action flick. Hell, since both movies prominently feature the Chicago skyline, I’d love to see someone rescore “Above the Law” using the soundtrack from “The Dark Knight.” I guarantee it’d probably fit the movie better and make it feel way more bad-ass.

Still, it’s hard not to enjoy “Above the Law.” The script is front-loaded with Seagal’s own personal politics, a left-leaning stance that flew in the face of every Reagan-baiting movie that Stallone or Arnold ever made. Seagal points the finger at corrupt men in power (this was right around the time of the Iran Contra scandal) and says, “I’m not letting you get away with it.”

The fight scenes aren’t as numerous or as bone-breaking as some of his other movies – stick to “Marked For Death” and “Out For Justice” to fill your brutality quotient – but it’s Seagal’s debut. It presented the man as a larger-than-life icon right from the get go, before he became the bloated cliche he is today (sorry, Steven). For an action star, being able to make your mark with a film like “Above the Law” is something like losing your virginity – you only get to do it once.

HKFanatic’s Rating: 7/10

Posted in Asian Related, Reviews | Tagged , , , , , |

Tron (1982) Review

Posted on July 22, 2011 by Z Ravas
"Tron" Japanese Theatrical Poster

"Tron" Japanese Theatrical Poster

Director: Steven Lisberger
Writer: Steven Lisberger, Bonnie MacBird
Producer: Donald Kushner, Ron Miller
Cast: Jeff Bridges, Bruce Boxleitner, David Warner, Cindy Morgan, Barnard Hughes, Dan Shor
Running Time: 96 min.

By HKFanatic

In the months leading up to “Tron: Legacy’s” December 2010 release, consumers started reporting that the original “Tron” DVD was becoming increasingly difficult to find in stores. All of a sudden it wasn’t available to rent from Netflix. The rumor mill got churning and there were accusations that Disney didn’t want anyone to see the original “Tron” in lieu of their upcoming blockbuster, for fear that its old-school computer effects would make audiences avoid the new film under the assumption that it’d be just as “cheesy.” Of course, this was probably just pure exaggeration on the part of fans – who have admittedly been spurned by the House of Mouse before – since Disney did eventually release the original “Tron” on blu-ray once “Tron: Legacy” had run its course in theaters. It was worth the wait.

When it comes to blu-ray restoration, Disney tends to be among the best. Just check out the work they did on “Snow White and the Seven Dwarfs” or “Sleeping Beauty” – though there’s no doubt that “Tron” presented its own particular challenges, being a mix of live-action and animation. The studio had the unenviable task of cleaning up the 80’s-era computer graphics while preserving the look of the original and yet still give home theater enthusiasts something to crow about. Somehow the scientists at Disney managed to do it as “Tron” is one of the best restoration jobs I’ve seen. The film probably hasn’t looked better since it left its original theatrical run.

But how does “Tron” hold up as a movie? The plot, for those not in the know, follows Jeff Bridges as an ex-employee of shady conglomerate Encom (sort of a proto-Microsoft). Bridges is a hacker and video game designer whose ideas for arcade machines were stolen by his superior at the company. Teaming up with his ex-girlfriend and her new beau, he attempts to bring evidence of Encom’s crimes to light – but in the process, he’s digitized and sucked into Encom’s computer system where he discovers that the programs he wrote have sentient life and the the evil Master Control is plotting a complete takeover.

There are some people who will tell you that this flick is corny and outdated. Frankly, I wonder if these folks even know how to enjoy a movie. Sure, special FX technology has grown leaps and bounds since 1982 – but does that mean we’re throwing out “2001: A Space Odyssey” and “Star Wars” too (forget about those horrible Special Editions for a minute)? Hell no. “Tron” presents a dazzling blend of cutting-edge-for-1982 computer graphics, live action, and yes, even some traditional Disney-style hand-drawn animation. Watching the film on blu-ray, the details were so sharp that I could make out skintones, facial expressions, and the wonderful costume work better than ever before.

It was then that it dawned on me that the visual beauty and grace of “Tron” harkens back to the silent film era. You could remove all the dialogue, keeping only the sound effects and wonderful score by Wendy Carlos (“The Shining,” “A Clockwork Orange”), and the film would work just as well. In its own way, it’s almost like a 1980’s successor to visually ground-breaking silent films like “Metropolis.” This notion was really driven home during the scene where Tron and Yora went to see the Guardian, whose made-up face and gigantic costume recall the Expressionist era of silent cinema. It also helps that inside the world of the computer, the actor’s faces take on the grainy and ghostly look of a black-and-white silent movie.

What would “Tron” be without Jeff Bridges? The actor, so incredibly young here, brings a ton of energy and fun to the role. Because he buys into the world of “Tron,” the audience does too. Bridges never once stops to wink at the camera or act like he’s above the material. This certainly has to be one of the actor’s most entertaining roles and if you’re a fan of his you owe it to yourself to view “Tron.”

This was the era when Disney was stretching out and making more esoteric live-action films like “The Black Hole” and “The Watcher in the Woods.” Even though it backfired for them financially, they were able to create a legacy of great movies. I’m hard-pressed to think of anything in “Tron” that panders to kids or resorts to low-brow humor, unlike children’s films today. Watching this film for the first time in years, I grew slightly melancholy as I realized that the current generation of kids is never going to grow up with movies like “Tron” or “Labyrinth” or “Gremlins” – films that are designed to ignite a child’s imagination without looking down on them. I don’t think you could say the same thing about that movie where The Rock plays the tooth fairy.

The sexual tension in “Tron” is something that’s easy to gloss over as a child but appreciate as an adult. You’ve got Jeff Bridges teaming up with his old flame Lora, who’s new beau (played perfectly by Bruce Boxleitner) is more of a Clark Kent-style geek than a dashing leading man. But inside the computer world, Boxleitner is Tron – the ultimate hero, and somebody Bridges has no choice but to respect and admire. Conversely, Bridges has something Tron will never have: humanity, the spark of life, which is what allows him to steal a passionate kiss from Yori before heading back into the real world. That moment occurs after a deleted scene where Yori seduces Tron in her apartment and it’s implied they have sex. Whew – gotta say that Disney was way more steamy and cutting-edge back in ’82.

Regardless of whether you thought “Tron: Legacy” was a mainstream cash-in on the “Tron” license or a film that managed to pay homage to the original while moving the series into the 21st century (personally I agree with the latter), 1982’s “Tron” isn’t going anywhere and now on blu-ray it looks better than it has in decades. If, like me, it’s been awhile since you revisited the film then now is the perfect time to do so. The costumes, lighting, set design, and computer effects in “Tron” conspire to create a world that has never really been duplicated or equaled on film. The technology here remains so ahead of its time. And more importantly, the story and characters are just as endearing as the digital world around them. “Tron” is a film that defines Disney magic.

HKFanatic’s Rating: 10/10

Posted in Other Movies, Reviews | Tagged , , |

The Sylvian Experiments DVD (Lionsgate)

Posted on July 20, 2011 by JJ Bona
The Sylvian Experiments DVD (Lionsgate)

The Sylvian Experiments DVD (Lionsgate)

RELEASE DATE: October 11, 2011

From the creators of RINGU and THE GRUDGE comes a horrific story of medical experiments gone wrong. A neuron scientist and her husband discover a black-and-white 16mm film in the basement of a dilapidated hospital… Starring Mina Fujii, Yuri Nakamura, Nagisa Katahira and directed by Hiroshi Takahashi.

Sorry, no trailer (we didn’t post a link because cityonfire will not be held responsible if something crazy happens to you after viewing it)

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

The Child’s Eye DVD (Lionsgate)

Posted on July 20, 2011 by JJ Bona
The Child's Eye DVD (Lionsgate)

The Child's Eye DVD (Lionsgate)

RELEASE DATE: October 11, 2011

From award-winning directors The Pang Brothers (Oxide Pang Chun and Danny Pang), who brought you BANGKOK DANGEROUS, THE MESSENGERS and the original THE EYE, comes the fourth installment of the EYE franchise! Starring Shawn Yue, Ka Tung Lam, Lawrence Chou. Check out the trailer here.

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

Shaolin | aka New Shaolin Temple (2011) Review

Posted on July 20, 2011 by Z Ravas
"Shaolin" Chinese Theatrical Poster

“Shaolin” Chinese Theatrical Poster

Director: Benny Chan
Cast: Andy Lau, Nicholas Tse, Fan Bing Bing, Wu Jing, Xing Yu, Yu Shao Qun, Hung Yan Yan
Running Time: 131 min.

By HKFanatic

Andy Lau. Nicholas Tse. Jacky Wu. Jackie Chan. You can’t really ask for a bigger cast from a Hong Kong flick these days. With Benny Chan (“New Police Story”) behind the camera and handling production duties, “Shaolin” seemed prime to be a modern classic. And yet…I felt strangely underwhelmed by this film. I wanted to love it but, in the end, it was just “pretty good.” Pretty good is certainly not bad but you expect more from the talent involved.

“Shaolin” is set during the early 1900’s. China is slowly unifying but warlords engage in bitter conflicts for control of the various territories. Meanwhile, foreigners are seeking to carve up China by taking control of railroads and plundering its buried treasure. In the midst of all this chaos, the people suffer. Starving peasants and refugees have no government to turn to; instead, they seek shelter outside the Shaolin Temple where peaceful but kung-fu trained Buddhist monks do their best to clothe, shelter, and feed the masses.

Andy Lau plays one of the warlords who, along with his underling Nicholas Tse, seems to get a thrill from the violence. In his thirst for conquest he shows no qualms about putting innocent civilians in danger or disgracing the Shaolin Temple. As you can probably guess, his lust for blood eventually catches up with him and he’s forced to have a change of heart before he loses everything he holds dear.

The problem with “Shaolin” is that the screenplay is extremely superficial. The Chinese bad guys are mustache-twirlingly evil, nearly to the point of parody, and they’re not even as over-the-top as the gweilo villains. The movie is supposed to be about Andy Lau’s transformation into a peace-loving monk but his turn practically occurs over night. Too much screentime is eaten up during the first act with Andy as a warlord so that there’s not enough room for his later development. The other monks like Jacky Wu go from treating him with disdain in one scene to embracing him as a brother in the next. Cue the big, explosive finale and then the film is over.

“Shaolin” doesn’t sit still long enough to let the characters develop or the story breathe. Though he seeks to praise the Shaolin philosophy, Benny Chan could display a lot more monk-like patience as a director. The film’s Buddhist beliefs are glossed over and delivered in your typical fortune cookie-style quotes. Don’t expect lengthy training sequences or an in-depth look at what goes on behind the Shaolin Temple gate. “The 36th Chamber of Shaolin,” this is not.

The production values are slick – almost too slick. Benny Chan has so many crane shots in this movie I was nearly getting dizzy. Of course, Andy Lau and Nicholas Tse are not martial artists so expect a blend of wires, doubles, and clever camera angles during their fight scenes. It’s not terribly noticeable but it does make a difference when someone who can really fight shows up onscreen, like Jacky Wu or Xing Yu. You may recognize Xing Yu as the guy Donnie Yen suplexed in “Flashpoint” – he actually spent ten years training in martial arts at a real Shaolin Temple. Unfortunately, these two guys don’t get nearly as much screentime as Nicholas Tse.

Jackie Chan has a supporting role and I genuinely loved him in it. He plays a down to earth cook who’s grown to resent the Temple but feels hesitant to leave its doors since he’s never seen the outside world. He provides a lot of humor and humanity to the story. Yes, Jackie does get one fight scene, which is cool, but in his older age he is definitely leaning more on props and wires to do the fighting for him. Can’t stay I blame the guy, his body has been to hell and back over the last few decades. It’s just great to see him in a Chinese language film again and not some Hollywood drivel like “The Spy Next Door.”

“Shaolin” is a prime example of style over substance. As a protagonist, Andy Lau follows a similar character arc as Jet Li in “Fearless” but unlike that film “Shaolin” never slows down to truly illuminate Lau’s quest for inner peace. Benny Chan engages in a lot of over-the-top symbolism involving a Buddha statue and relies a bit too much on wirework to make his Shaolin monks appear supernatural in strength. The ending features as many explosions as a Hollywood blockbuster but it just doesn’t pack the emotional punch you want it to. Instead you might be checking your watch as events unfold in a predictable manner and the filmmakers get one last swipe at making us gweilos appear as evil as possible.

It’s not the epic masterpiece it could have been, but “Shaolin” is at least entertaining for its entire duration and it does feature an excellent performance from Andy Lau. Even if we’ve seen this kind of character before, Lau is an actor who can communicate a lot without a single line of dialogue. If you’re enticed by the cast then be sure to watch “Shaolin” at some point. Just keep expectations in check.

HKFanatic’s Rating: 7/10

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

Blood and Bone (2009) Review

Posted on July 19, 2011 by Z Ravas
"Blood and Bone" American Theatrical Poster

“Blood and Bone” American Theatrical Poster

Director: Ben Ramsey
Writer: Michael Andrews
Cast: Michael Jai White, Eamonn Walker, Dante Basco, Michelle Belegrin, Julian Sands, Matt Mullins, Ron Yuan, Bob Sapp, Nona Gaye, Dick Anthony Williams, Kimbo Slice, Gina Carano, Ernest “The Cat” Miller, Maurice Smith
Running Time: 93 min.

By HKFanatic

If you’re a fan of direct-to-video action movies, you may have noticed a sea change within the genre over the past few years. The straight-to-DVD shelves used to be the last resort, and ultimately the dwelling place, for stars such as Steven Seagal and Casper Van Dien. Guys like them (and Dean Cain and Gary Daniels and Christian Slater and…you get my point) could pump out a low-budget b-movie or two a year, until your local Blockbuster Video started looking like a “Where Are They Now?” special.

Then something happened. Hollywood stopped having time for the Alpha Male. Let’s face it, guys like Jason Statham and movies like “The Expendables” are a rarity – a throwback to a simpler time when men were men, not prettyboys. Hollywood’s too busy fussing over who’s the hottest, acne-cleansed new star to give us action fans what they want: old-school tough guys who would rather be in a cage fight than fuss over hair care products.

So what’s a bad-ass like Michael Jai White (“Spawn,” “Universal Soldier: The Return”) to do? Head into the direct-to-video game. It all started with 2005’s “Undisputed II: Last Man Standing,” helmed by direct-to-DVD king Isaac Florentine. That movie pitted Michael Jai White against rising star Scott Adkins and proved that you can make a DTV flick that has a decent script, good characters, and, most importantly, fight choreography that puts Hollywood studios to shame. Guys like White and Adkins are the real deal and it shows, largely because they put a hell of a lot of effort into their fight scenes.

Director Isaac Florentine and Scott Adkins would reunite in 2010 for “Undisputed III,” perhaps the finest DTV action flick ever made, but in the meantime Michael Jai White had a busy 2009 with both “Blood and Bone” and “Black Dynamite,” though the latter saw a limited theatrical release. In “Blood and Bone,” Jai White teams up with director Ben Ramsey (writer on “Dragonball: Evolution,” director of “Love and a Bullet”) and fight choreographer Fernando Chien (the ultra-buff Chinese guy in The Rock’s military crew in “Fast Five”), and even features a cameo from UFC fighter Kimbo Slice.

The plot is simple but that works in the film’s favor. Michael Jai White stars as Isaiah Bone, who’s just hit the streets with a promise to keep after being released from prison. This promise sees him fighting his way up the ranks of an underground fight ring in Los Angeles, lorded over by a gang leader played by Eamonn Walker.

White engages in plenty of jaw-dropping street fights during the film’s runtime but one criticism I’ve seen leveled at this flick is that all the fights are incredibly one-sided. That is to say: Bone dominates his opponents. Even when going up against guys who are nearly twice his size, he takes ’em out like they’re amateurs. Granted, it does makes sense considering that Bone is highly trained in martial arts while the people he fights are typically relying solely on their muscles to get them through.

The downside is that all the fight scenes are rather short as a result; there aren’t too many knock-down, drag-out brawls here. Bone is just too good – he levels everybody with a few well-placed kicks. Maybe we’ve been spoiled by all those Thai movies where the last 20 minutes are nothing but nonstop fight scenes. Regardless, the choreography in “Blood and Bone” is some of the best I’ve seen in an American-made martial arts movie. Don’t be fooled by its direct-to-DVD origins, the action in this movie is as hard-hitting as it gets. From the opening scene where Michael Jai White gets jumped in the prison bathroom by about six guys with shanks, you know this flick is gonna be hardcore.

Isaiah Bone is a stoic bad-ass; a man of few words. The role doesn’t leave much room for Michael Jai White to stretch his acting chops. Perhaps it’s not surprising then that the script seems more interested by the villain Eamonn Walker, who does deliver a great performance. He’s a crime kingpin who doesn’t drink, smoke, or use profanity, and he considers Genghis Khan a personal hero. He loves his pitbulls and is loyal to those who work for him, but he’s tired of making money off pimps and ho’s. He wants to enter the big leagues: an international fight ring run by a group of rich folks called The Consortium. Eamonn feels that Bone’s fighting talents are his ticket in; now if only the two could see eye to eye.

The script is pretty tight and focused for the genre, but there is an over-reliance on the F-bomb in place of any meaningful dialogue. The main culprit is the supporting character Pinball, played by Dante Basco. Fellow children of the 90’s will recognize Basco as Rufio from the 1990 Steven Spielberg film “Hook.” Here our boy Rufio is given such colorful dialogue as “Ladies and gentlemen, motherfuckers and motherfuckettes!” It gets a little old after awhile and I’m not sure if the role of “inner city Asian pimp/promoter” comes naturally to Basco as an actor. Hey, he is a Spielberg kid, after all.

The real highlight of “Blood and Bone” for me, and the reason why I’ve watched it more than once now, is the climax of the film which features a fight between Michael Jai White and Matt Mullins. Mullins holds five martial arts titles and starred on the American version of “Kamen Rider: Dragon Knight” (from the creators of the Power Rangers) for several seasons. He is insanely talented when it comes to karate and kickboxing. He’s tall but very lean, so watching him fight against the much larger White is a real treat.

Again, some viewers complain the fight is too short and that the second half of the match is too one-sided on Bone’s favor once again but, damn it if it isn’t one of the best fights I’ve ever seen. Mullins can kick like nobody’s business and the two of them even engage in some submission techniques for you MMA fans. If you look at their battle another way, it’s Spawn versus Kamen Rider, which makes it even cooler. Props to director Ben Ramsey for making sure the audience can actually enjoy the fight scenes – there’s no shakycam bullshit or over-editing here. We’re talking about two of the best martial artists in show business squaring off with wide camera angles to catch every move.

Michael Jai White has been around for awhile but the man seems bigger than ever, in more ways than one – I’m surprised he can find shirts that don’t rip when he moves. If you’re a fan of his, or just of good martial arts flicks in general, then you can’t go wrong with “Blood and Bone.” It’s the perfect vehicle for White as an action star and the fight scene between him and Matt Mullins cements the film’s status as a near classic. Direct-to-video doesn’t get much better than this. And hell, I’d rather pay $10 to see Michael Jai White kick ass on the big-screen over any Michael Bay movie.

HKFanatic’s Rating: 7.5/10

Posted in Asian Related, Reviews | Tagged , , , , , , , , , , , , , , , , , , , |

L.A. Streetfighters | aka Ninja Turf (1985) Review

Posted on July 19, 2011 by Barey Gusey
"L.A. Streetfighters" Theatrical Poster

“L.A. Streetfighters” Theatrical Poster

AKA: China Town
Director: Park Woo-sang
Cast: Jun Chong, Phillip Rhee, James Lew, Rosanna King, Bill Wallace, Ken Nagayama, Frank Marmolejo, Dorin Mukama, Mark Hicks, Loren Avedon
Running Time: 85 min.

By Barey Gusey

As a child of the 80s, I was a victim of the ninja craze. It was all about buying martial arts magazines and flipping to the mail order pages to check out the latest ninja gear. The only thing that stopped me from actually ordering a crate load of ninja sh*t was the fact that I didn’t have a credit card. Heck, I didn’t even have cash. Still, it was fun fantasizing about owning all those throwing stars, hand spikes, blowguns and ninja swords.

At that time, wanting to be a ninja was a natural thing. Since it wasn’t possible, the next best thing was watching a ninja in action. This meant ninja films, A LOT of them. I don’t know about everyone else who lived the ninja-craze, but when I think of ninja films, I think of the trilogy of those corny MGM titles: Enter the Ninja, Revenge of the Ninja, and Ninja III: The Domination. For the time, they were solid entertainment, excessively violent and every kid took them seriously. Sho Kosugi, who starred in all of them, was the man. The big question at the time was “Who would win a fight to the death, Sho Kosugi or Bruce Lee?” Sho was my answer. I was 11.

The popularity of ninja films became so immense that movie companies started re-titling chopsockies to make them sound like they were ninja-related. Titles like Ghost of the Ninja (aka Killer in White), Venus the Ninja (aka Fury of the Silver Fox) and the subject of this review, a Korean/American production called Ninja Turf (aka L.A. Street Fighter). Starring a young Philip Rhee (Best of Best series) and many other now-noticeable faces, Ninja Turf was one of those movies that was bound to piss anyone off who gave it a chance on rental. Not only did it have a misleading title, but it’s the best example of a bad film that’s beyond B-movie quality; or should I say below?

As far as filmmaking goes, it really doesn’t get any worse than Ninja Turf. With the exception of Philip Rhee, every single actor/actress in this film couldn’t act their way out of a Don “The Dragon” Wilson flick, and that’s being nice. Every scene (not including the terrific martial arts sequences) was obviously done in one or two God-awful takes. The film also sports some of the most horrendous camera lighting I’ve ever seen. It’s so bad that I’m actually wondering if they used any lighting to begin with… and it doesn’t help that most of the film takes place at night.

If anything good can be said about Ninja Turf, then I’d mention the martial arts choreography, which is top notch. However, some of these scenes are somewhat ruined when the sound of cheesy 1980s guitar/synthesizer music kicks in; not to mention, that good ol’ camera lighting. Ninja Turf also makes a great “Who’s Who” flick for martial arts enthusiasts since many then-unknowns have small parts, like: James Lew (Big Trouble in Little China, Lethal Weapon 4), Bill ‘Superfoot’ Wallace (Protector), Ken Nagayama (Best of the Best), Mark Hicks (Gen-Y Cops, Terminator 3) and one of my personal understated favorites, Loren Avedon (No Retreat No Surrender II, King of the Kickboxers).

Ninja Turf would also make a great party-film for the sake of laughter. You can call your friends up, get trashed and point out stupid things like:

  • Why the hell does Philip Rhee constantly wear the same preppy sweater throughout the whole film?
  • Why do these guys look like they’re all 30, when they’re supposed to be in high school?
  • Since when do LA gangs use martial arts to fight?
  • Why doesn’t somebody pull a .45, and bang, settle it?
  • Where are the ninjas?

Ninja Turf, it ain’t bad. It’s awful.

Barey Gusey’s Rating: 3/10

Posted in All, Asian Related, Korean, News, Reviews | Tagged , , , , , , , |

Purple Storm (1999) Review

Posted on July 18, 2011 by JJ Hatfield
"Purple Storm" Japanese DVD Cover

“Purple Storm” Japanese DVD CoveDirector: Teddy Chen T

Director: Teddy Chen
Cast: Daniel Wu, Emil Chau, Kam Kwok Leung, Josie Ho, Joan Chen, Moses Chan, Patrick Tam, Eric Mo, Michael Tong, Brian Banowetz, Anthony Carpio, Theresa Lee
Running Time: 114 min.

By JJ Hatfield

“Purple Storm” is an amazing action drama that won numerous awards and critical acclaim all over Asia but never seemed to find it’s way to the U.S. audiences. Fortunately one can now find full versions with excellent subtitles, although they may have been an early press. It’s worth tracking down!

This is a very intense film that serves up an unusual plot with intriguing characters. Although there are clearly people who are doing evil, and people who are clearly doing good the motivations that drive each, and develop throughout the film are not so clear cut.

In the dark of night with only a few lights suddenly a Hong Kong Coastguard ship comes upon an unknown ship with North Korean markings, shining bright lights on it as law enforcement boards her. A sudden barrage of violence explodes and plays out with one criminal unconscious and the other escapes. When the Coastguard takes over the ship they find only dead bodies and one man in coma.

The Hong Kong Anti-Terrorist Force (ATF) becomes involved as the surviving criminal is an international terrorist and is connected to the Khmer Rouge and numerous terrorist attacks. His father is a man named Soong (Gan Kwok-Leung) who is determined to carry out some mission but the only clue they have is the head injured terrorist Todd (Daniel Wu) and a computer disk they can’t break into.

The head of the ATF Ma Li (Emil “Wakin” Chau) plays his role to perfection. By coincidence he happened to do some training in the U.S. and he was assigned to Soong as a case study thereby knowing a great deal about his enemy. This will be the most difficult challenge of his life.

The director Teddy Chan deserves credit for showing the many people that would be involved in such a situation, from the ATF members, terrorists and ancillary support. You definitely have the impression Ma Li and the situation are serious as the screen is full of vehicles and law enforcement, lights flashing. These occasional scenes go a long way to validate this nightmare. Too many movies are too cheap or too broke to have enough props and settings look real. Every time you have a confrontation there are a lot of people involved with law enforcement poised to strike.

It is obvious Soong is no run of the mill criminal. He and the small band of terrorists are highly trained spending most of their lives learning military strategy and dedicated to the party.

Whenever Soong shows up he is followed by destruction and death. The ATF discovers Soong himself kills his way into a local TV station to find out more about Todd and the man holding his son, Ma Li. Soong leaves a bomb to get their attention.

Ma Li decides they should move Todd from the hospital to ATF headquarters. He is concerned the terrorists will make an attack on the hospital to rescue Todd or kill him. After the situation escalates and Todd still has no memory they still don’t know why Soong is in Hong Kong except to kill. Todd has occasional disturbing and even terrifying visions that make no sense to him.

The ATF needs to know what’s locked up inside Todd’s mind. With millions of lives at stake Ma finally agrees to let a controversial psychiatrist named Shirley Kwan (Joan Chen) work with Todd on the subconscious level to get the information they desperately need. For Kwan she sees this as an opportunity to show what can be done through therapeutic psychiatry.

The film is really focused on the inter-play between four people. The honorable, heroic, somewhat conservative ATF leader. The heinous, murdering terrorist who will do or kill on his mission. Todd, physically and mentally traumatized. And Ai Guan, highly trained in warfare and the only one who has ever really cared about Todd.

Kwan most definitely has an enormous influence on the entire situation but it is, as should be when dealing with the mind a more subtle but undeniable effect. Her character may be in the back ground but to her credit it is felt throughout the film.

For those who might not know the Pol Pot regime in Cambodia was part of the much larger “Khmer Rouge” and “Kampuchia.” The massive takeover forced millions out of their homes and towns into scrub country to scratch out a living while providing food and goods for the wealthy. The party translated that as “to each according to the need.”

The idea supposedly was to create a “class-less” society and then everyone gets what they need – it doesn’t work. Not in this world.

Pol Pot and his band of greedy murdering mercenaries and merciless soldiers killed more than four million people. That figure is no doubt even higher.

The music is perfect. Peter Kam’s haunting score is unique and enhances the film. Arthur Wong is excellent at creating stark memories with a slight grain to add to some particularly intense scenes.

An all around excellent film!

JJ Hatfield’s Rating: 8.5/10

By Raging Gaijin

“Purple Storm” seems to be an attempt to combine the gloss and production values of a Hollywood flick with your standard Hong Kong action movie. Surprisingly, it succeeds admirably thanks to a dark story, effective performances, and solid action scenes. It’s actually one of the better HK action movies of the past six years. This could easily be recommended to fans of Benny Chan’s work.

The plot is a somewhat convoluted affair but it’s enough to propel the movie. While the elements of brainwashing and government assassins may seem more science fiction than fact, in the wake of recent events you pretty much have to take the terrorist and chemical weapons aspect seriously. One scene has a bomb going off inside a sky-rise with panicked office workers running down flights of stairs, eerily recalling 9/11. The lead villain of the film is an Osama Bin Laden-like bastard who will seemingly kill anyone for the sake of his “revolution”. All of this is either going to make watching the movie just too uncomfortable for some people, or make it seem more relevant to others. I fall in the latter category but just know that “Purple Storm” is a film that deals heavily with the concept of terrorism.

The performances are solid all around. This was one of Daniel Wu’s first roles so I don’t want to judge him too harshly. He’s gone on to give better performances but he’s still decent in the lead role. Emil Chow is very effective as the leader of the Hong Kong Anti-Terrorist Force. I know his character has taken a lot of criticism for being just as psychopathic as the terrorists he chases but I enjoyed him. The only thing questionable is how many of his team members die during battles; it seemed like there’d be none of them left by the end of the movie. That said, he’s quite good as a no-nonsense, by-the-books conservative cop. Another notable performance was Kam Kwak-Leung as the terrorist leader. He was icy cold and pure evil but still delusional enough to believe in his own insane ideals just what the part called for.

On the action front, “Purple Storm” delivers with plenty of visceral shoot-outs featuring wild choreography. This movie doesn’t hold back on the violence but it knows when to stop and develop the story. Teddy Chan does an excellent job behind the camera. He puts the attention on the characters rather than the movie’s slick look, which is a definite plus. You never get the sense he’s saying, “Hey, look at our big budget!” The focus is on Daniel Wu’s internal struggle of beliefs, and it makes the movie that much better.

I enjoyed this film a lot more than Teddy Chan’s previous film “Downtown Torpedoes”. He’s shown definite improvement in balancing story and action, and creating a film that engages viewers at all times. While not quite as good as “Time and Tide”, “Purple Storm” is a solid Hong Kong action flick in its own right. If a very serious, psychologically dense action movie about terrorism is something you think you could get into, then this is definitely worth watching.

Raging Gaijin’s Rating: 7/10

By Joe909

Purple Storm is the most “Hollywood” Hong Kong movie I’ve seen. Everything from the theme of redemption to the hokey soundtrack seems straight out of a Jerry Bruckheimer joint. Daniel Wu is Todd, a Cambodian terrorist who was apparently raised around the world by his Osama Bin Laden-type father. On his way into Hong Kong to hide a new weapon, Todd is struck by amnesia, and taken captive by the police.

The chief inspector, Li, is probably the most unlikable lead character I’ve ever come across. Through the whole film he has this pinched expression on his face, like he has to take a massive shit, or something. He’s mad all the time, he’s so dedicated to his job that he can think of nothing else, and the producers intend his mindless devotion to maintaining law and order to be seen as just as psychotic as Todd’s fathers’ devotion to his Khmer ideals; but still, I found Li to be a bit overdone.

Li has the sexy police psychiatrist hypnotize Todd into believing he’s an undercover cop, and what follows is an action-filled melodrama, as Todd goes through several grating doubts of sanity, each more annoying than the last, as Daniel Wu has this tendency to groan “urrgh!” throughout each of these bouts, to let us know that his character is in torment; but it sounds more like Bruce Banner about to morph into the Incredible Hulk. Of course, Todd finally comes to grips with himself, just in time for the redemption theme to really rear its head. During the spectacular climax, Todd vindicates himself of past evils, while beating the shit out of a lot of thugs.

Plot-wise, the film is very reminiscent of “Shiri,” but since Purple Storm came before that movie, I guess it’s the other way around. Even Inspector Li looks like the main cop in “Shiri.” But who cares about plot; this is an action movie, right? The action scenes leave little to be desired. Lots of gunplay (featuring a variety of weapons), as well as a healthy dose of martial arts, all of which are choreographed just as well as flicks from HK film’s new wave golden age.

One funny instance in the film is that the name of the biochemical substance used by the terrorists is obviously “Purple Rain,” not “Purple Storm.” This is how the substance is referred to in the dialog, but, of course, the subs and film title are different. I guess the producers were afraid Prince’s lawyers would sue.

Joe909’s Rating: 7/10

By Numskull

Saying that Purple Storm crosses Hong Kong style with the polish of a Hollywood action movie would be incredibly bland, trite, and vague, and make the critic sound like some lazy hack who knows almost nothing about Hong Kong cinema… but, dammit, it’s the truth. Director Teddy Chen (The Accidental Spy) revels in the film’s big budget and universally appealing, yet solid and intelligent screenplay and delivers a strong action film that rivals A Better Tomorrow in terms of being a great introductory selection for people as yet unfamiliar with Hong Kong film. The storyline has just the right level of complexity; Memento it ain’t, but it’s a hell of a lot more well thought out than Collateral Damage or some shit like that. Teddy Chen is a very able director who brings out the best in the entire cast, especially Daniel Wu, superb as Todd, an amnesiac terrorist getting brainwashed into thinking he’s a secret government agent. Despite the inherent uncertainty and vulnerability of his character, he manages to be dignified even while pissing in his pants.

Thankfully, Purple Storm doesn’t go into tiresome diatribes about the questionable morality of filling a person’s head with lies for the greater good while Todd’s fictitious past is being constructed. That matter is left to the audience. The film is about more than cops trying to stop Cambodian radicals from unleashing a deadly substance that kills people and turns them purple (and, by extension, gay… at least according to Jerry Falwell), but generic action movie themes still have a strong enough presence to appeal to Joe Average. The violence isn’t exactly in short supply, but it refrains from going really overboard and thus alienating more wimpy… uh, I mean sensitive viewers.

Very slick, well put-together film. A good one to show to fans of The Rock and so forth, and, perhaps, lead them deeper into the realm of Hong Kong cinema, from which there is no return…

Numskull’s Rating: 8/10

By Reefer

Todd has behavioral amnesia, which means he still knows how to fire a gun or type but cannot remember who he is. Todd is a member of a Khmer Rouge terrorist group and unknowingly possesses the key to a devastating plot to start a revolution. Soong, the leader of the terrorists, will stop at nothing to get him back. Meanwhile, an anti-terrorism chief plans to convince Todd that he actually works for the good guys and he’s undercover.

This is the intriguing premise of Purple Storm, a largely Americanized action picture from Teddy Chen. But unlike a lot of U.S. efforts, this movie has a brain and a soul. Every character is well drawn and real. No cardboard cut outs in this film. Even the cop they convinced to act as Todd’s girlfriend has emotional depth. This is a huge asset to the story. Characters that we as an audience cares about.

Daniel Wu’s performance as Todd is what holds the entire movie together. As the movie unfolds, Todd must piece together his horrible past and ultimately choose sides. The success of this movie depends on the audience believing Todd’s crisis. Emil Chow also scores big points as the anti-terrorism force’s honorable leader. Before this, I considered him to be a fine comedic actor (Gorgeous), but he proves here to charismatic and believable as action star.

Finally, many of the action scenes, though murky at some points, are quite thrilling. Mostly shoot-outs, they move the story along instead of delaying it. Some of the FX look quite expensive (something I attribute to U.S. influence.

Reefer’s Rating: 9/10

By Klotera

This is a pretty standard action/spy/thriller. It’s got pretty high production values and a very solid cast, including decent performances from Daniel Wu and Emil Chow. The interesting thing in this film is the questions it brings up about the morality of “reprogramming” a bad person to be good, which is basically what they do to Wu after his amnesia. Is it okay to make a person become something he wasn’t if he was a bad person? It’ll make you think. Unfortunately, other than that, the story does nothing to really draw viewers in and you never really feel for any of the characters.

As such, it falls back down to more of a standard film in its genre. Action is solid, but nothing amazing. Pretty standard for the film type. If you like this type of film, you could do much worse than “Purple Storm”. It certainly makes you question the issues. It just lacks a certain something to make it truly stand out.

Klotera’s Rating: 7/10

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

REC 2 | aka [REC] 2 (2009) Review

Posted on July 18, 2011 by Z Ravas
"REC 2" Japanese Theatrical Poster

"REC 2" Japanese Theatrical Poster

Director: Jaume Balagueró, Paco Plaza
Writer: Jaume Balagueró, Manu Díez, Paco Plaza
Producer: Julio Fernández
Cast: Jonathan Mellor, Óscar Sánchez Zafra, Ariel Casas, Alejandro Casaseca, Pablo Rosso, Pep Molina, Andrea Ros, Ális Batllori, Pau Poch, Juli Fábregas, Nico Baixas, Javier Botet, Carlos Olalla, Manuela Velasco
Running Time: 85 min.

By HKFanatic

I love the original [REC]. When I first saw the Spanish-language horror film about zombies in a quarantined apartment building, it instantly launched itself into my top ten zombie flicks of all time. It’s one of the few horror films I can think of that have matched the sheer visceral thrill of George A. Romero’s original “Dawn of the Dead.” [REC]’s blend of handheld camera footage a la “The Blair Witch Project” or “Cloverfield” with the rabid, ultra-violent zombies of “28 Days Later” was nothing short of genius, especially the way directors Jaume Balagueró and Paco Plaza  made several sequences appear as one long camera take. [REC] was a technical marvel and the cinematic equivalent of a roller coaster ride.

That’s why [REC] 2 is such a crushing disappointment. Nearly everything the original got right, the sequel gets wrong. [REC] 2 is set up to be something like the “Aliens” to the original [REC]’s “Alien.” We follow a (supposedly) highly-trained and heavily-armed SWAT team as they head into the same contaminated building from the first film. Although it literally begins where the first movie ends, has a great premise, and features the same team behind the camera, the film makes critical misstep after misstep.

Whereas the first [REC] focused on both characterization and set-up, with a solid 20 minutes of getting to know the characters before we even saw a zombie, here we’re thrown into the mire right from the get go. There’s no chance to get to know anybody on the SWAT team; they’re all just panicked, trigger-happy dudes who love to throw the “f” bomb around. It takes you out of the movie when these supposedly tough SWAT guys start acting like a bunch of scared elementary school kids as soon as “shit gets real.”

[REC] 2 thus moves the focus from characterization to exposition. If the first film teased you with morsels of a plot, mere hints as to why a zombie plague was spreading through this apartment building, then the sequel does it best to explain away everything. And if there’s anything horror buffs know about their genre, it’s that the more you explain something the less scary it becomes. I really didn’t need a scientific reason for everything that happens in this movie or constant conversations about blood samples and demonic possession. I just wanted an intense, over-the-top flick about scared that the hell out of me like the first [REC], with maybe a few SWAT guys blasting zombies to bits with automatic weapons.

To make matters worse, halfway through the movie we flash back to a bunch of spoiled teenagers with their own handheld camera and are forced to watch events unfold from their (annoying, whiny) perspective until they catch up the plot. If the film hasn’t lost you by then, it might during the climax when the directors delve into truly otherworldly territory with the script revealing a ‘pocket dimension’ that can’t be seen in normal light. It’s all very “Silent Hill” and perhaps a bit too supernatural for a film series that goes for the ultra realistic, shakycam aesthetic. Then there’s the ending, which actually manages to retroactively ruin the ending of the first movie while also being just plain revolting.

In any film, there are certain inconsistencies or far-fetched moments that force you to suspend your disbelief and just move on if you want to enjoy it. [REC] 2 is what happens when all of those inconsistencies pile on top of each other and cause the film’s internal logic to collapse. Too many moments where you’re left asking yourself, “Why would anyone do that?”

It’s a silly, plot-driven horror flick where the plot just doesn’t make any sense. SWAT guys who are theoretically trained to deal with terrorists and rioters turn into sissies at the sight of a rabid grandma; teenagers decide to break into a quarantined building because it somehow represents their chance at a better life; a scientist demands a blood sample from a monster, never once mentioning that the creature needs to be alive, and then acts like all hope is lost when the blood is literally all over the ground. And despite being possessed by demonic forces, the zombies in [REC] 2 are remarkably easy to restrain by hand, especially compared to the first film. Nobody gets bit, even with these things chomping their teeth within an inch of their face.

For better or worse, the [REC] train seems like it’s going to keep on rolling. Directors Jaume Balagueró and Paco Plaza are splitting duties on [REC] 3 and [REC] 4. Part 3 will supposedly be a prequel set in a church that perhaps explains how all of this came to be. Part 4 promises to deal with the demonic zombie apocalypse. I only hope these guys can learn from their mistakes on part two. Get back to what matters and what the first film did so well: a thrilling premise, no shortage of frightening moments, solid characterization, and an ending that hit like a punch to the gut.

HKFanatic’s Rating: 5.5/10

Posted in Other Movies, Reviews | Tagged , |

Enter the Void (2009) Review

Posted on July 16, 2011 by Z Ravas
"Enter the Void" Japanese Theatrical Poster

"Enter the Void" Japanese Theatrical Poster

AKA: Soudain le Vide
Director: Gaspar Noé
Writer: Gaspar Noé
Cast: Nathaniel Brown, Paz de la Huerta, Cyril Roy, Olly Alexander, Masato Tanno, Ed Spear, Emily Alyn Lind, Jesse Kuhn, Nobu Imai, Sakiko Fukuhara, Janice Béliveau-Sicotte, Sara Stockbridge, Stuart Miller, Emi Takeuchi, Federico Aletta, Simon Chamberland, Edward L. Papazian
Running Time: 161 min.

By HKFanatic

Lately it seems like certain controversial films are premiered at Cannes, creating outrage among French audiences, only to be unceremoniously dumped on DVD a year or two later in the US after all the hubbub has died down. Perhaps this is for the best: by the time I sat down to watch “Enter the Void” on blu-ray, I had heard every opinion you can imagine regarding the film. Some said it was the most offensive trash to come down the pike in ages, others claimed it was visual nirvana; while some said it was just plain boring. In other words, I had no idea what to expect as I popped the movie in.

“Enter the Void” is an experience. And it’s not a passive one, like most movie-watching experiences. If you let the film work its magic, you’ll be taken on a journey for 161 minutes, soaring over the cityscape of Tokyo and ending up in a place beyond life or death. We all want to know what happens after we die. This film actually dares to try and show you. All from a filmmaker who openly admits he’s not religious at all.

Say what you want about Gasper Noe, the French director behind “I Stand Alone,” “Irreversible,” and this film. Call him a genius auteur or a trash provocateur. Either way, I’d argue that it’s important for the future of film as an artform that the man continue to make movies. There is simply no one else in the world creating cinema quite like this.

Okay, I’m going to try and stop talking in hyperbole for a little bit. What is “Enter the Void” about? It’s about a young kid named Oscar, a Canadian expatriate now living in Tokyo. He has a keen interest in drugs, particularly of the hallucinogenic variety such as DMT, and has taken to selling them in order to make a living and raise enough money for his estranged sister’s plane ticket. He’s also fallen in with a fellow English-speaking crowd in Tokyo: artists on the fringe, twitchy suburban kids, and flat-out junkies, who all share an interest in drug culture. One friend, named Alex, is trying to turn Oscar on to the Tibetan Book of the Dead: an 8th century text that seeks to illuminate what happens to our consciousness after death.

Tragedy strikes. I won’t spoil anything here but the unique thing about “Enter the Void” is that Gasper Noe went to great lengths to show the entire film from Oscar’s POV. We either see everything directly from his first-person perspective or the camera remains locked behind Oscar’s head. When soul leaves body, things get even more visually spectacular as Oscar’s spirit becomes the ultimate voyeur, flying over all of Tokyo and dropping in on any conversation he likes.

The camera work, computer effects, and editing required to make us believe we are inhabiting someone’s soul as they travel above a mega-metropolis like Tokyo – I mean, the feat is really astounding when you think about it. And they pulled it off! In my mind, this is the ideal way CG imagery should be used in film. Here the computer trickery actually enhances the storytelling and places you further into the world of movie.

I loved the characters in “Enter the Void.” They felt like real people to me, especially the troubled Victor, who has to deal with some pretty complex emotions over the course of the film. Alex, the aging artist, was great too. I’m a big fan of transgressive writers like Dennis Cooper and the way that this film weaved together the lives of several genuine-feeling characters made it the closest I’ve come to watching an experimental novel adapted to the screen.

Given that most of the cast are non-professionals or first time actors, you do have to deal with some stilted line readings. Many have accused Gasper Noe of paying more attention to the visuals of the film than the performances of his cast. It is certainly a far cry from “Irreversible,” which starred Vincent Cassel, one of the best actors working today. But I’ve always believed these dark, underground films lend themselves to less-than-perfect acting since it comes across as more authentic.

The ambient soundtrack and neon-lit visuals make “Enter the Void” a feast for the senses. Of course, it’s a Gasper Noe film so sex is frequently a topic; and there are several explicit scenes during the film. I’d argue that it’s in keeping with the realism of the film – most of these characters are young kids so of course they’re going to be thinking about and having sex quite a bit – but some people may find all the bumping ‘n grinding, especially during the hallucinatory Love Hotel scene (which I thought was spectacular), to be a bit gratuitous.

There are two cuts of this movie. I rented the blu-ray because it contains the 161 minute version. The version shown on Netflix Instant streaming is in HD but about 20 minutes shorter at 143 minutes. I’m glad I saw the longer cut the first time around but Gasper Noe himself has admitted you don’t miss much without that reel of the movie. So, really, the choice is up to you.

Some people are able to will themselves to have an out-of-body experience through intense meditation. For the rest of us, there’s “Enter the Void.” Much like “2001: A Space Odyssey,” if you give yourself over to this movie and resist the temptation to press fast-forward during the slow parts, you’ll be rewarded with the ultimate cinematic trip. No drugs required.

HKFanatic’s Rating: 10/10

Posted in Asian Related, Other Movies, Reviews | Tagged |

13 Assassins (2010) Review

Posted on July 15, 2011 by Z Ravas
"13 Assassins" American Theatrical Poster

“13 Assassins” American Theatrical Poster

Director: Takashi Miike
Cast: Koji Yakusho, Takayuki Yamada, Yusuke Iseya, Goro Inagaki, Masachika Ichimura, Mikijiro Hira, Tsuyoshi Ihara, Hiroki Matsukata, Kazue Fukiishi
Running Time: 114/126 min.

By HKFanatic

“13 Assassins” is one of those rare films that comes out of nowhere – at this point in his career, was anybody really expecting Takashi Miike to direct a traditional samurai flick with sky-high production values? – and immediately garners a critical and cult following, while actually managing to live up to the hype. Every golden word you’ve heard about “13 Assassins” is true. This movie is epic, entertaining, and just plain bad-ass. Miike has over 70 films to his credit but “13 Assassins” is undoubtedly one of his best.

The cast is perfect. Koji Yukosho is a superstar in Japan (he starred in the original version of “Shall We Dance?”, cementing his fame) but most Westerners know him from Kiyoshi Kurosawa’s creepy thrillers like “Cure” and “Doppleganger.” He gives one of the best performances of his career as the lead samurai. Early on when he realizes how dire his mission is and he gets all teary-eyed knowing that he’s finally going to have a noble death in combat, I just wanted exclaim “Hell yeah!” It got my blood pumping knowing that everything in the first hour of the film was building up to a fateful battle.

Tsuyoshi Ihara (Kiyoshi Kurosawa’s “Retribution”) was a scene-stealer for me. He plays the masterless ronin and comes across as the toughest swordsman in the whole lot. His sequence set in the “graveyard of swords” was astounding. If you come across a larger display of bad-assery this year, please let me know. I liked his apprentice too – the kid looked all of 16 but definitely held his own on the battlefield.

Takayuki Yamada plays Koji Yukosho’s nephew and Miike fans may recognize him from the excellent “Crows: Episode Zero” films. He’s a talented young actor who I’m sure will go places. Yūsuke Iseya was a lot of fun to watch too, playing a forest bandit who may or may not actually be an immortal spirit of the land (a detail that was unfortunately cut from the international release of the film).

Here you have all these samurai, some more trained in combat than others, but they’re all dedicated warriors who are completely directionless in life because they live in an age of peace. The film takes place right at the twilight of the samurai era, before the Japanese military came in with their fancy machine guns from the West and shot everyone to pieces (as seen in the Tom Cruise white man fantasy “The Last Samurai”). “13 Assassins” is all about these guys’ last chance to die like men, with a sword in their hand

I’d say it’d enhance your viewing of the film to have a grasp on Japan’s ages old code of honor and the importance of things like seppuku (ritual suicide). I mean, you could just tune out everything and enjoy “13 Assassins” as an action flick, but to understand why 13 men would even bother to stand up against 200 soldiers, it’d probably help to keep an open mind about Japanese culture.

Strong performances, a stirring soundtrack, and a truly evil villain carry the film during its first two acts, which constitute an hour and 15 minutes of foreplay until the big battle. The finale does not disappoint – it’s nearly 40 minutes of nonstop samurai action. The assassins turn an entire town into a deathtrap that would make Macauley Culkin jealous (lame joke, I know). What follows is nothing short of a “Total Massacre,” as you will see in the film.

Sure, I wished that some of the minor assassins had been given more character development so we actually felt something other than “Who was that guy again?” when we witness their fate. But it’s already a lengthy film and I suppose Miike had to manage who got screentime. Then again, with a movie this good I doubt anybody would mind a longer runtime.

To make it short: if you’re reading this and you haven’t seen “13 Assassins” yet, you’ve got to get your priorities straight. This film is a legitimate modern classic and is guaranteed to go down as one of the best samurai movies of the past 20 years. True, Japan doesn’t make as many as they used but Takashi Miike has earned his place among the best. And here we never even suspected he had it in him.

HKFanatic’s Rating: 9/10

By Mighty Peking Man

Naritsugu (Goro Inagaki) is into kidnapping, sadistic torture, rape and murder. He’s the type of guy that would kill a child just to pass time. If a woman accommodates him with hot tea, he’ll most likely end up sexually assaulting her, if not stabbing her to death. Sometimes his victims are left speechless – literally – because he’s been known to mutilate their physical appearance by not only cutting off all their limbs, but also their tongues…

Here’s the rub: Naritsugu is the Shogun’s younger brother, so whether you love him or hate him, he’s extremely untouchable. Even saying something disrespectful about him can get you into serious trouble. What’s even worse is Naritsugu is about to ascend to a higher political position, which will make him more powerful than ever.

Naritsugu must be stopped.

Shinzaemon (Koji Yakusho) is a decorated samurai who accepts a secret mission to assassinate Lord Naritsugu. To complete his objective, he handpicks 12, exceptionally skilled samurai warriors to accompany him. However, it won’t be easy. Lord Naritsugu will be surrounded by 70+ of his loyal men on the day of the planned ambush. Shinzaemon and his team will have to rely more on luck, than skill, to come out victorious.

The fate of Feudal Japan’s future rests in the hands of these 13 brave men. If they fail, the psychotic Lord Naritsugu could one day become Shogun himself.

Takashi Miike’s “13 Assassins” (which is supposedly based on factual events) is a remake of the Eiichi Kudo’s 1963 film of the same name, which in turn was heavily inspired by Akira Kurosawa’s “Seven Samurai” (1954). I haven’t seen the original, but if it’s anything like Miike’s, definitely count me in. Judging from certain scenes in the trailer, I can tell that Miike’s remake is very on-point with it.

I know I’ve said this many times, but I love it when a film has a simple, linear plot. I’m cool with surprises here and there, but I don’t need all these multiple twists and turns that seem to dominate a lot of movies these days.

“13 Assassins” is a straight forward samurai flick, at least as straight forward as a Takashi Miike film can get; In other words, there’s nothing extremely over the top, so if you’re expecting the outrageousness of “Visitor Q” or “Ichi the Killer,” you might be a tad disappointed. Even then, there should be enough blood, gore and unexpected shock value to keep you happy. I would honestly be surprised if there was a single soul out there who didn’t like this movie no matter what expectations they have (those awaiting Michael Bay’s next “Transformers” movie don’t count).

As far as action goes, it takes a good 40 minutes or so for “13 Assassins” to kick into gear, but that doesn’t mean the rest of the movie is slow. Everything that makes the bloody finale so great is due to the film’s brilliant build up: The introduction of just how sinister Naritsugu is; the background of the main characters; and the training and objectives of our 13 heroes.

Takashi Miike has made over 70 films since his debut in 1991. It’s well documented that there are some pretty spotty movies in his extensive, multi-genre filmography; which makes a lot of sense when you’re pumping out an average of 3 films a year. I’ve never came across a terrible film of his, but then again, I’ve only seen seen a handful of his movies.

Takashi Miike may not have a flawless track record, but with films like “13 Assassins” and “Audition,” he proves that he’s a master of his craft.

Highly recommended.

Mighty Peking Man’s Rating: 9/10

Posted in Japanese, Reviews | Tagged |

Memories of Murder (2003) Review

Posted on July 15, 2011 by JJ Bona
"Memories of Murder" Korean Theatrical Poster

“Memories of Murder” Korean Theatrical Poster

Director: Bong Jun-Ho
Producer: Cha Seung-Jae
Cast: Song Kang-Ho, Kim Sang-Kyung, Kim Roe-Ha, Song Jae-Ho, Byun Hee-Bong, Ko Seo-Hee, Jeon Mi-Sun, Park No-Shik, Park Hae-Il, Seo Yeong-Hwa
Running Time: 127 min.

By Raging Gaijin

“Memories of Murder” was a blockbuster hit in South Korea in 2003 and it’s just now finally seeing a DVD release in the US. The film is the chilling tale of South Korea’s first recorded case of a serial killer. Given the movie’s success and its subject matter, one might expect “Memories of Murder” to be a slick, commercial thriller modeled after “Seven” and “Silence of the Lambs”. Fortunately, nothing could be further from the truth. “Memories of Murder” is an irreverent and unconventional detective film that is original in nearly every way. Simply put, this is one of the best Korean films I’ve ever seen.

Although it tackles a grisly topic, “Memories of Murder” is actually full of quirky humor and laughs. The central characters are a group of colorful and unique cops, each with their own distinct personalities. Their various methods and inadequacies at tracking down the killer provide the “Memories of Murder” with an unexpected charm and humor. Kang-ho Song (JSA, Shiri) shines in the lead role as a simple cop whose life in the countryside has left him totally unprepared for such a cunning serial killer. He and his partner’s idea of interrogation is hanging a suspect upside down and beating him until he gives them the confession they want to hear, regardless of whether or not the prisoner is guilty. Once it’s clear that they’re in over their heads, a streetwise detective from Seoul is set in to help them. Sang-kyung Kim gives an incredible performance in this role and, in my mind, he slowly but surely steals the film as the most interesting character to watch. When he is first introduced to the case, he is calm, methodical, and ready to catch the killer. His world is gradually pulled out from underneath him, however, when he begins to learn that even his university education and big city sleuthing may not be enough to solve the case.

The cinematography is gorgeous: the opening shot immediately grabs your attention and the film doesn’t let go until it’s over. Joon-ho Bong’s direction is fluid, superb storytelling. There’s honestly very little to critique about this film. I’m sure a few minutes could have been trimmed here and there (the movie is over two hours long) but it rarely seems slow or tired. There are several scenes which are hilarious yet they don’t feel out of place, even though it’s a film about a serial killer. Joon-ho Bong effortlessly maintains this tone where anything can happen, whether it’s Kang-ho Song belting it out in a karaoke bar, the cops taking part in a violent bar brawl or stumbling upon a pervert dressed in women’s underwear trying to pull a Pee-Wee Herman, or the killer springing forth from out of nowhere when you least expect him. In “Memories of Murder”, anything can happen and it makes the movie that much more exciting to watch.

I sat down to watch “Memories of Murder” expecting to see a grim and gloomy film about a serial killer terrorizing the citizens of South Korea. What I got was one of the most entertaining and offbeat Korean films I’ve seen in a long time. One thing that always made me laugh was the cops’ way of stopping suspects; whenever they needed to apprehend someone, they would usually leap through the air with both legs straight out to perform a drop-kick. They’d typically jump off a hill or table first as well. It’s hilarious; just another example of this film’s off-the-wall humor.

“Memories of Murder” is based on a true story (it actually takes place during the 80’s as well). I’m not sure how much of it corresponds to reality as sometimes the movie gets rather strange; but, hey, truth is often stranger than fiction. Regardless, “Memories of Murder” is a film I highly recommend to anyone with an interest in Korean cinema. It’s simply a delight to watch, and a movie I won’t be forgetting any time soon.

Raging Gaijin’s Rating: 8/10

By Equinox21

Before I get into this review, I’d like to post a disclaimer· I am NOT a psycho. I have never killed a person, nor do I ever intend to. That said, on with the review·

I LOVE serial killer movies. Not necessarily the “stylized” and “flashy” serial killer movies out of Hollywood (such as Seven [even though I loved it, it wasn’t the type of “serial killer movie” I prefer] and The Cell [which was fairly lame]), but instead the realistic and gritty ones. I love seeing the process the police use to narrow in on the killer, catch him [I say “him” as there’s only been one recorded case of a female serial killer], and see the resolution and an end to the killings. I don’t know WHY I enjoy them so much; maybe it’s because in my impressionable youth I saw the events of the media extravaganza that was the Jeffrey Dahmer case play out in my home town of Milwaukee. But, don’t worry, my interest in them is only in knowing about and even studying them. I even applied for the FBI (and even though, at the time of writing this review, I haven’t heard back from them yet, I am, unfortunately, pretty confident that I won’t be an FBI agent), because I would have liked to have been a part of those types of investigations.

So, when I found out about a Korean movie based on a real-life serial killer in rural Korea in the 80’s, I was excited. I was really anticipating this movie, and was thrilled when it was finally released and I got the chance to take it in, and I certainly wasn’t disappointed. The movie starts out by saying that it was based on “an unresolved criminal investigation”, so you know right off the bat that they never find the killer. However, that’s not enough to make you disinterested, because you’re able to make up your own mind about which of the potential suspects you think is the killer, if it’s even one of them.

Detective Park (Song Kang-ho) is a rural cop, none too experienced in solving crimes such as serial murders. Though as a detective, he has undoubtedly “solved” regular murders (is there such a thing?) in the past. Normally, he and his sidekick just beat confessions out of suspects they feel perpetrated the crimes they’re investigating, guilty or not. However, after the first two bodies are discovered murdered in a similar fashion, Seoul Detective Suh (Kim Sang-kyung) joins them in an effort to help crack the case. The first half of the movie has Park and Suh constantly butting heads over how to proceed with the investigation; with Park set in his small town ways, without many realistic ideas as to how to track down a serial killer, and Suh resented by Park for his big city ideas, and no knowledge of the area or community he finds himself in. Eventually, as they get closer and closer so the murderer, their differences get worked out, and they find themselves on the same page.

This was the best element of the movie, in my opinion. They start out barely talking to each other with Park even laughing and ridiculing the ideas that Suh comes up with (which ultimately tend to be the best ideas). But, eventually their relationship grows to the point that they’re working together like a well-oiled machine and making real progress on the investigation.

The cinematography was pretty amazing as well. There were lots of long shots of green fields (which inevitably became crime scenes), grey skies and, whenever the murderer struck, lots of rain. The inside settings were dank, dark basements and cement buildings, all with very little color. There was very little color in any of the characters’ clothes, as well. There just seemed to be no color anywhere, except in the vivid red clothes that the victims usually were wearing. There were very few bright, sunny scenes. Perhaps this was to convey the dark, depressing and constricting feel of the military dictatorship that South Korea was under at the time. Whatever the reason, it worked wonders for the feel of the film.

I needn’t dwell on the acting, which was as expected· brilliant. At this year’s Grand Bell Awards, Song Kang-ho won Best Actor and Joon Ho-bong won Best Director for their work on this film, which also took home the Best Film Award.

If you like realistic cop/investigation movies, this is definitely one to check out. I really feel like I want to dock it points because of the ending, but as it simply followed real life events it can’t be blamed. So, it’s pretty much a flawless film.

Equinox21’s Rating: 10/10

Posted in Korean, News, Reviews | Tagged , |

Bad Blood | aka King of Triads (2010) Review

Posted on July 15, 2011 by Z Ravas
"Bad Blood" Chinese Theatrical Poster

“Bad Blood” Chinese Theatrical Poster

AKA: Mie Men, Mit Moon
Director: Dennis Law
Cast: Simon Yam, Andy On, Bernice Liu, Hung Yan Yan, Chris Lai Lok Yi, Pinky Cheung Man Chi, Jiang Lu Xia, Ken Lo, Chan Wai Man, Lam Suet, Eddie Cheung, Hau Woon Ling, Hon Chun, Amy Tan En Mei
Running Time: 95 min.

By HKFanatic

Can I recommend a movie based solely on the strength of its fight scenes? If that were the case, I’d tell just about anybody who enjoys Hong Kong action movies to find a way to watch “Bad Blood.” But no – this is not a good movie, at least not one I can recommend with a clear conscience. Despite some astounding fight choreography, “Bad Blood” fails in just about every other way.

I lay the blame on Dennis Law – he wrote, produced, and directed the thing. The story is decent enough: it focuses on the feud that arises among the remaining members of a Triad organization after their leader is killed. Everybody’s backstabbing everybody in order to get their hands on the Triad’s money. The cast includes Simon Yam, who could play this kind of role in his sleep (and he kinda does here).

To put it bluntly, Dennis Law’s direction is lazy and borderline-incompetent. The production values are great but camera-takes linger way longer than necessary, creating awkward silences between cast members. Law films his cast of talented and attractive people doing the most mundane of things like putting on make-up, changing their underwear, or starting their cars. There are a disconcerting number of scenes of Simon Yam sitting at a table, sucking on (yes, sucking on) peanuts. Despite several films to his credit, with “Bad Blood” Dennis Law seems to lack the most basic knowledge of what is compelling to watch onscreen. In a sense, the guy has got to go back to Filmmaking 101.

But the fight scenes are good enough that they nearly redeem the entire production. I suspect they were more or less ghost directed by choreographer Nicky Li, a former member of Jackie Chan’s Stunt Team. I’ve heard that in Hong Kong, the director will often leave the set during fight scenes and lets the action choreographer take over. That would probably explain why the fight sequences in “Bad Blood” are so visceral, kinetic, and well-shot compared to the rest of the movie. And, thankfully, they are numerous.

Andy On (“Black Mask 2,” “White Dragon”) is one of those guys who’s always seemed like a competent martial artist but has never had a movie that really showcased his talents. “Bad Blood” is his movie. His moves are just wicked in this flick; you believe his kicks could really send someone flying across the room, and he’s particularly lethal with a blade. Alongside him, Luxia Jiang of “Coweb” fame continues to cement her status as a female fighting force. Her acting range is limited here by the fact that her character is mute, but the action scenes are where she really shines. Her fight with Andy On is superb and, later on, she has a standout moment where she takes on about 20 thugs armed with aluminum bats.

The choreography is excellent, with a minimal use of wires; there’s only one moment in an actual fight where the wires are obvious, the rest are a few instances of parkour-style leaps. “Bad Blood” attempts to get back to that vintage, no-frills Hong Kong feel – at least when it comes to the action. The movie itself suffers from some really pedestrian filmmaking. Also distracting is the fact that everyone in the movie wears gaudy as hell 80’s fashion, even though it’s set in present times. The music, too, draws negative attention to itself since it’s 90% guitar rock noodling.

I should probably mention Bernice Liu (“The King of Fighters,” Miss Chinese International 2001), who plays the femme fatale character. Despite her numerous fight scenes, I never once bought her as a real martial artist. Her motions appear artificially sped in post production to make her look like The One or something. But, hey, she’s good at playing a bitch.

If great fight scenes are all it takes to make you enjoy a film, or at least not feel embarrassed that you watched it, then “Bad Blood” is not a poor way to spend an evening. Fans of Andy On and Luxia Jiang will definitely go home happy with the way their stars are represented here. More discerning critics may wonder how so many decent actors signed up for a movie with such a shoddy a script or how Hong Kong circa 2010 could produce a movie with worse directing than a student film.

HKFanatic’s Rating: 6.5/10

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