King and the Clown DVD (Pathfinder)
RELEASE DATE: August 30, 2011
From the director of “Radio Star”. Two clowns living in the Chosun Dynasty get arrested for staging a play that satirizes the king. They are dragged to the palace and threatened with execution, but are given a chance to save their lives if they can make the king laugh. Check out the trailer here.
The Recipe DVD (Pathfinder)
RELEASE DATE: September 6, 2011
A man on deathrow wants to taste doenjang jjigae (a spicy Korean bean paste stew) before he dies. Television producer Choi Yu-Jin (Ryoo Seung-Ryong) hears of the inmate and researches his story for an upcoming news report. Choi Yu-Jin then comes across a mysterious woman named Jang Hye-Jin (Lee Yo-Won) who makes doenjang jjigae that brings tears of joy to those who tastes her recipe. As Choi Yu-Jin delves further, he learns of Jang Hye-Jin’s heart breaking relationship with Kim Hyun-Soo (Lee Dong-Wook). Check out the trailer here.
The House By the Cemetery Blu-ray/DVD (Blue Underground)
RELEASE DATE: September 27, 2011
Blue Underground proudly presents the definitive version of Lucio Fulci’s THE HOUSE BY THE CEMETERY: freshly transferred in blood-soaked High Definition from its original uncut and uncensored negative and loaded with exclusive new Extras! Check out the trailer here.
Good sport. Great beer.
Check out this new Coors Light commercial from the UK, featuring Van Damme sporting a mullet hairstyle, reminiscent of his look in 1993’s “Hard Target”.
Update: The 2nd commercial has been released.
Adrift aka Choi Voi DVD (Global Film Initiative)
RELEASE DATE: November 22, 2011
A moody, enigmatic film, Adrift…is a subtle, melancholy exploration of erotic angst and uncomfortable awakening. — New York Times
Starring Do Hai Yen (The Quiet American), Nguyen Duy Koha, Johnny Tri Nguyen (The Rebel), Linh-Dan Pham (Ninja Assassin). Check out the bizarre (and creepy sounding) trailer.
The Center for Asian American Media (CAAM) is thrilled to announce their Call for Entries for the 30th Annual San Francisco International Asian American Film Festival (SFIAAFF)! SFIAAFF accepts films and videos made by or about Asian Americans and Asians of any nationality. All lengths and genres will be considered.
SFIAAFF takes place every March in California’s Bay Area and is the nation’s largest showcase for new Asian American and Asian films. Since 1982, SFIAAFF has been an important launching point and advocate for Asian American independent filmmakers and a vital source for new Asian cinema.
For more information, visit: http://caamedia.org/
Super Blu-ray/DVD (IFC)
RELEASE DATE: August 9, 2011
Super is a 2010 American dark comedy written and directed by James Gunn, starring Rainn Wilson, Ellen Page, Liv Tyler, and Kevin Bacon. Footnote: Jean-Claude Van Damme turned down a role that ultimately went to Kevin Bacon. Check out the cityonfire.com review here. Check out the trailer here.
Assassins Creed: Lineage DVD (New Video Group)
RELEASE DATE: November 15, 2011
The story is a prequel to the video game Assassin’s Creed II. It centres around the father of the game’s main character Ezio Auditore de Firenze. Giovanni is an assassin living during the Renaissance in 15th century Italy. At this dawn of a new era, a conspiracy is being plotted by one corrupt family to overthrow the powerful Medici family and destroy a unified Italy. As an assassin, Giovanni must face this threat and bring justice. The story introduces the situation before Assassin’s Creed II, and the enemies of both characters. Check out the trailer here.
Basket Case Blu-ray (Image)
RELEASE DATE: September 27, 2011
First time on Blu-ray! With memorably gruesome scenes – such as the screaming woman with the scalpels stuck in her face – and some disturbing stop-motion animation, Frank Henenlotter’s Basket Case (1982) is one of the most beloved, cheerfully demented cult classicks of all time. So go ahead and open the basket… if you dare! Check out the trailer.
The Shaft aka Dixia De Tiankong DVD (Global Film Initiative)
RELEASE DATE: November 22, 2011
… the stark melancholia achieves a rare authenticity, perhaps most pointedly manifested in the objective correlative of the mineshaft itself, the dismal bowels of which we only see in two brief and uneventful scenes. The family doesn’t abhor mining because it’s hazardous or arduous, but because it represents their only career option: It’s a Plutonian symbol of universal resignation… The intermittent genius of director Zhang Chi resides in how he juxtaposes this social claustrophobia with scenes of refreshing but elegiac liberation. –Slant Magazine Check out the trailer here.
Mother's Day Blu-ray/DVD (Troma)
RELEASE DATE: September 27, 2011
Mother’s Day is a 1980 horror film, directed by Charles Kaufman. In the UK, the film was rejected by the BBFC in 1980, banning it from sale. A remake of Mother’s Day has been completed and is currently set to release theatrically sometime in 2011. Check out the trailer here.
Dressed to Kill Blu-ray (MGM)
RELEASE DATE: September 6, 2011
First time on Blu-ray! To condemn 1980’s Dressed to Kill as a Hitchcock rip-off is to miss the sheer enjoyment of Brian De Palma’s delirious 1980 thriller. Hitchcockian homages run rampant through most of De Palma’s earlier films, and this one’s chock-full of visual quotes, mostly cribbed from Vertigo and Psycho. Check out the trailer here.
"Addicted" Korean Theatrical Poster
AKA: Jungdok
Director: Park Young-hoon
Writer: Byun Won-mi
Producer: Lee Choon-Yeon
Cast: Lee Byung-hun, Lee Mi-yeon, Lee Ueol, Park Sun-young
Running Time: 114 min.
By JJ Hatfield
Life is good for the two brothers Ho-jin and Dae-jin. They are very close and good friends too. The two live together as they have no other family until Ho-jin marries. Their lives are peaceful and routine and that seems to suit them fine.
Ho-jin, the elder brother (Lee Eol) is an artist craftsman who works with wood and likes to make ordinary things become extraordinary. He is up and coming in his success and starts doing shows. The younger brother Dae-jin (Lee Byung-hun) likes being a carefree guy without responsibilities who loves to race cars. Ho-jin doesn’t like him racing because it is dangerous but he knows how much Dae-jin loves the life and he can’t talk him out of it.
In different locations but virtuality the same time both brothers are involved in serious car accidents. Both are near death with severe injuries. Rushed to the same hospital Ho-jin and Dae-jin are in coma and the prognosis is not good. Eun-soo does her best to care for them and check in on them at the hospital but as time passes so do her hopes of either of them recovering. There are times Eun-soo doesn’t say anything using body language instead to show how much she has suffered and is still suffering. Ho-jin was such a thoughtful husband, always cooking and giving her surprises. He built many things in their home and his garden. He was so much a part of her life, sending her love notes, so many little things he did for her. How could she live without him?
Hard at work one day Eun-soo receives a phone call that leaves her stunned. Dae-jin has awakened from the coma. As would be expected he is physically very weak and terribly confused. It has been nearly a year since the crash. Eun-soo is of course pleased Dae-jin is alive but no doubt some times she looks at him and for a moment she wishes it was Ho-jin. Of course she never would say anything to Dae-jin. He couldn’t help who got better and who didn’t.Somewhere along the way a note of uneasiness has moved into the story unnoticed.
After some time Dae-jin is told he is well enough to return home. Eun-soo does her best to accept the situation. Her husband gone and now she has his ill brother to care for too. Dae-jin’s recovery is rather miraculous but he has begun to take on habits and mannerisms of Ho-jin. Not as he used to be – he has even given up racing. Even more startling is Dae-jin says he is Ho-jin! This new revelation is tearing Eun-soo apart. One night she invites an old female friend and part of Dea-jin’s racing team to dinner. He does not seem to understand why she thinks he is Dae-jin. He cooks them dinner and both women are so stunned they can barely eat.
Eun-soo repeatedly consults doctors and researches people with similar injuries and even follows through with investigating a soul inhabiting the body of someone else. The poor woman has been through so much, and now the doctor says this? Well not exactly. But there are at least documented cases where a person believed they were another person. And as the doctor stated it is not something that can be tested for.
Dae jin moves, talks, walks like Ho- Jin. What he likes, dislikes. Eun-soo does not believe he is Ho-jin. But everything that happens point to just that. That creepy feeling grows even though nothing is happening. But what if something is about to happen? What will Dae-jin do as Ho-jin? It is a complete unknown, this mix of brothers. That unknown is what makes this movie grab and keep your attention. Ye-jin, Dae-jin’s old female buddy doesn’t believe Dae-jin has Ho-jins spirit. She tries to discover the truth by spending more time with him but she ends up uncertain.
In the meantime Dai-jin and Eun-soo spend more time together and Eun-soo finds herself more accepting of Dae-jin as Ho-jin. It isn’t rational. it’s not logical yet there are things he knows or acts he does that only Ho-jin could possibly know about. Little things only a lover would know.
Lee Byung-hun does a terrific job of being mysterious. When was the last time you saw a good movie with a character that pulled off “mysterious”? The viewer is not certain of his character but it’s played as slightly dangerous and the next scene is not a given. This role could not have been an easy one for him but he manages to pull off the transition from Dae-jin to Ho-jin masterfully.
Lee Eol as Ho-Jin puts in a wonderful performance. Though he is not on screen for the vast majority of the film, he uses what time he has to create the complete persona. If his acting was not strong enough there would really be no movie. It was imperative that he establish Ho-jin and all his mannerisms, likes, dislikes, even the way he moves or works with his furniture. His relationship with Eun-soo is all important.
Mi-yeon Lee as Eun-soo gives a truly award winning performance. Her being given the prestigious Grand Bell Awards, for Best Actress only makes it official the fine work she does in “Addicted”. She is believable as a person would be caught up in such a bizarre situation! So many twists and turns and a couple of heart stopping shocks. You feel them too. The film would fall apart with an actress of lesser skill.
This is an excellent film. It has a lot of mystery right to the end and leaves you with plenty to think about. Then later you will find yourself thinking about “Addicted” again, realizing you had to watch it again. It is perhaps too slow in development for some however they are missing part of the important stuff, such as dialog. Yes exposition is required. There are no bloody, gore filled, martial arts, guns, explosives and such. The action is supplied by the terrific performances of Lee Byung-hun and Lee Mi-yeon and Lee Eol.
Highly Recommended.
Grand Bell Awards 2003
Won Grand Bell Award: Best Actress Lee Mi-yeon
“Addicted” is a fine mystery drama.
JJ Hatfield’s Rating: 9/10
“Coweb” Chinese Theatrical Poster
AKA: Zhang Wu Shuang
Director: Hung Yan Yan
Cast: Jiang Lu Xia, Sam Lee, Eddie Cheung Siu Fai, Kane Kosugi, Mike Moeller, Edison Chen
Running Time: 87 min.
By HKFanatic
Going at least as far back as Cheng Pei-pei in 1966′s “Come Drink With Me,” the martial arts genre has a long history of powerful women who can kick just as much ass as their male co-stars. Part of the appeal of these films is watching a diminutive or unassuming-looking gal who is assailed by dozens of opponents, only to overpower them all with a with a flurry of martial arts moves.
However, there’s been something of a void in the action world for a tough-as-nails female star ever since Michelle Yeoh stopped riding motorcycles onto moving trains. That’s partially why the 2008 Thai action flick “Chocolate” and its pint-sized JeeJa Yanin made such a big splash.
Released a year later in 2009, “Coweb” feels very much like Hong Kong’s answer to “Chocolate.” It debuts a new female action star of its own: Jiang Luxia, who is similarly young, petite, and does most of her own stunts. As a national Wushu champ, Luxia is the real deal. She also made a name for herself via YouTube videos, was featured on Jackie Chan’s reality TV show in Hong Kong, and teaches female self-defense classes.
Luxia is cute, she can fight, and she isn’t afraid to be kicked out a window. What more could any action movie fan ask of a starlet? As such, I really wanted to like this movie. Unfortunately, “Coweb” disappoints on almost every critical levels.
There are numerous fight scenes from start to finish, but the choreography and stunts just aren’t hard-hitting compared to what we’ve seen come out of Thailand. An over-reliance on wirework and slow-motion detracts from some of the fights, which most people will probably say go on for too long anyway. It doesn’t help that the best fight might actually be the very first one: a protracted battle that sees Luxia fighting an enraged gweilo through a restaurant kitchen to the point where she’s whacking him with frying pans and tossing chili peppers.
“Coweb” was obviously a low-budget affair. Every scene in this movie that isn’t about fighting simply depicts Luxia sitting somewhere and talking, or walking somewhere and talking, with her co-star Sam Lee (remember him?). A good chunk of the story is revealed through text messages and web surfing, which is not visually interesting at all and another surefire sign that the “Coweb” filmmakers were strapped for cash.
At least the movie builds to a decent conclusion: a lengthy fight between Luxia Jang and Kane Kosugi. Diehard martial arts fans, or people who just like 80’s B-movies, might recognize the name Kane Kosugi from back in the day. When he was just a little kid, he was starring in his dad’s ninja exploitation flicks like “Revenge of the Ninja” and “Pray For Death.” Now he’s all grown up and a talented performer in his own right.
So “Coweb” is not a great movie; to be honest, I’m not sure it was meant to be. At most it’s a demo reel for Luxia to display what she’s capable of as martial artist and stuntwoman. In that regard, the film is a success since I can’t wait to see what she does next.
HKFanatic’s Rating: 6.5/10
“The Sad Cafe” Theatrical Poster
Director: Bennie Woodell
Writer: Bennie Woodell
Cast: Bradley Fowler, Katie Lanigan, John LaFlamboy, Matt Ukena, Walt Sloan, Liz Davis, George Gibson
Running Time: 137 min.
By Mighty Peking Man
A killer-for-hire named Jack (Bradley Fowler) often visits a coffee house called “Cafe Olympic,” which is the only setting he’s able to relax and find peace while reflecting on his violent lifestyle. It’s also the place where he shares a mutual attraction with the cafe’s waitress, Rose (Katie Lanigan). Despite minimal communication between the two, a meaningful relationship slowly develops.
However, Jack realizes that his dark occupation isn’t compatible with his new found love. Matters get worse when his boss (Walt Sloan) sends him on a mission that makes Jack’s life a living hell.
There’s something in “The Sad Cafe” for everyone: Romance, love, drama, gangsters, twists, action (very well staged), gore and a catchy narration. Essentially, this is “Chungking Express” meets “Fallen Angels” meets “The Killer”.
Director/writer Bennie Woodell doesn’t hide the fact that “The Sad Cafe” is heavily influenced by Wong Kar Wai, a Hong Kong director who, himself, was influenced by the French New Wave films of Jean-Luc Godard and Francois Truffaut. In addition, Bennie’s love for Asian action cinema, as well some Martin Scorsese, are also evident.
It’s hard for me to watch “The Sad Cafe” and not think of it as a pretentious flick loaded with every cliche I’ve already seen by the films and filmmakers mentioned above. At the same time, there’s something about “The Sad Cafe” that sucks you in, which has to be a tough job for a low budget filmmaker to fulfill, especially when the typical audience would rather be be watching a studio movie with known talent.
Bennie Woodell may not have talent like Tony Leung Chiu Wai, Faye Wong or Chow Yun-Fat to work with; nor does he have access to a budget that equals a week’s catering bill for Wong Kar Wai’s last movie; what he does have is the ability to entertain you with a project that may not have an ounce of originality, but grabs you and keeps you seated because it’s paced just right. Most major studio titles playing in theaters have a hard time accomplishing this.
The cinematography and use of lighting are beautiful. The soundtrack, mostly reminiscent of the elegant music in “In The Mood For Love,” aids in the story-telling and adds to the atmosphere.
My biggest gripe in “The Sad Cafe”: One minute it’s classy and stylish, the next minute you’re thrown off by its extreme brutality. Don’t get me wrong, I live for violence in films. I don’t mean to come across like some great cinema aficionado, but if I’m watching an art house flick, the last thing I’m expecting is a bloody torture scene full of grunting and yelling. Deep stuff, no doubt, but the tone felt of place.
Also, I don’t need to see guys wearing Yin Yang necklaces while flipping around their balisong knives for more than 2 seconds; if this was an 1980’s action movie starring Michael Dudikoff, then I would understand.
The bottom line: “The Sad Cafe” is an engaging film full of passion and dedication, but noticeably low on originality.
“The Sad Cafe” will soon be hitting DVD and Netflix. When it does, give it a shot, because you might be pleasantly surprised. Until then, check out the trailer.
Mighty Peking Man’s Rating: 7/10
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