Exit No 6 DVD (Vanguard)
RELEASE DATE: May 24, 2011
Directed by Yu-Hsien Lin, Exit No 6 revolves round Exit No. 6 of the Ximen MRT station, on the streets of Taipei in the beginning of the 21st century, 6 mysteries have taken place. Starring Eddie Peng, Ethan Ruan, Ha-na Yoo, Olivia Chen, Han Chang. Check out the trailer.
“Godzilla: Final Wars” Japanese Theatrical Poster
Director: Ryuhei Kitamura
Cast: Masahiro Matsuoka, Rei Kikukawa, Akira Takarada, Kane Kosugi, Kazuki Kitamura, Maki Mizuno, Masami Nagasawa, Chihiro Otsuka, Don Frye
Running Time: 125 min.
By Ningen
Note that the only previous film of Ryuhei Kitamura’s I’ve seen was Versus. I haven’t seen Azumi and didn’t even play that MGS remake for the GC in which he was involved. Anyway, while it was supposed to be a sequel to the last three Godzilla films by Masaki Tezuka (Megaguiras, X MechaGodzilla, and Tokyo S.O.S.), it feels more like a stand-alone. And boy does it stand alone, as a completely atypical Godzilla and even Japanese film.
In this installment, the Japanese government trains WMAC Masters-I mean mutants-to take down future kaiju. The soldiers are not very interesting, personality-wise; nor are they really important to the plot, except for a few climactic moments. Plus, the actors are not very professional-looking fighters. And it shows with the scattered camerawork, which isn’t as erratic as Kill Bill or Romeo Must Die, but, when done in slow-mo, is quite tedious. Kitamura proved he can shoot original fights scenes in Versus, but in Final Wars, he just rips off some of the better moments from Matrix Reloaded. (Although I will admit he put a slightly interesting spin on the freeway chase, but John Woo pretty much had that ground covered in Mission Impossible 2.) And if Reloaded wasn’t enough, they decided to have Godzilla fight the meteor from Armageddon, as well as giant monsters spawned by a space ship straight out of ID4.
The aliens in UFO pretend to come in peace, but we all know they have no intention “to serve man”. (Not that I know if Kitamura even saw that Twilight Zone episode, but considering the montage of scenes from American pop culture already inserted into this flick, I wouldn’t be surprised.) Unfortunately, since most of the earth’s already been trashed, only UFC fighter Don Frye and a group of advisors and ship operators can take the enemy down. Don Frye’s character is like Godzilla’s Captain Ahab. He’ll put everything on the line, if he knows he can beat the lizard. But after capturing him at the beginning of the movie, he ends up freeing him so he can confront the other kaiju. So while Don Frye suddenly turns from Morpheus-they both carry a samurai sword(!)-into Han Solo, Godzilla turns into Goku, pretty much wiping out each monster he encounters with the help of his kamehameha wave (I mean fire-breath) and Mothra.
Now I don’t expect these flicks to have the best in acting, but Frye’s the only “thespian” who shows any emotion and seriousness about his lines. The Japanese actors are usually just running and jumping around in a sad attempt for you to care about them. When you care more about Frye and the dog which shows up occasionally in the film, you know Toho could’ve done a better casting job.
And since I’ve already complained about the hand-to-hand combat, the “claw-to-claw” combat was slightly disappointing as well. At first, I thought they were going to use that cliche in 80’s ninja movies where a guy fights one ninja at a time instead of being jumped by all of them at once, but eventually, Godzilla does fight more monsters than he can handle, and does some cool tricks. It’s just that the effing subplots take more precedence than the fights, which is a big no-no for a Godzilla film. The only sub-plot that’s even remotely enjoyable is when a grandfather and his grandkid are driving Jar Jar-I mean Son of Godzilla(Minilla)-around the countryside.
But all in all, I feel like I’m watching a bigger-budgeted Power Rangers, not a Godzilla film. I just hope if Kitamura gets any Hollywood projects, that, unlike Nakata, he’ll actually have something new to add to them.
Ningen’s Rating: 7.5/10 for being unable to fulfill my expectations. Add a 1.5 if you haven’t seen any Hollywood flicks since Jurassic Park.
“Battle Royale” Japanese Movie Poster
Director: Kinji Fukasaku
Cast: Tatsuya Fujiwara, Aki Maeda, Taro Yamamoto, Masanobu Ando, Takeshi Kitano, Kou Shibasaki, Chiaki Kuriyama, Yuko Miyamura, Yuuki Masuda, Sousuke Takaoka
Running Time: 114 min.
By JJ Hatfield
“Battle Royale” is very interesting – interesting beyond the usual curiosity and opinions about books and films. What is most interesting is that those who have not read the book nor viewed the movies are the same ones who say this is an evil movie about killing children. They don’t have a clue.
The film “Battle Royale” is based on the novel of the same title written by Takami Koshun. If you plan to read the book I definitely recommend reading before watching the film(s). It is extraordinarily difficult to translate words, no matter how well structured or described, into the realm of film. Koshun’s novel is close to masterpiece and in it’s own way so is the film. However the book is so much more deeply provocative, intensely touching and terrifying it enhances the viewers experience.
Reading Koshun’s novel is not necessary prior to watching “Battle Royale”. The viewer will not be confused by characters or lost in the plot at any time. And there are a lot of characters, most are school mates. The director, Kinji Fukasaku manages to somehow keep this all balanced in making this excellent film! The mere idea of young teens intentionally being forced into an environment that is lethal is frightening on the surface. The reality is far more terrifying. It isn’t the bad kid shit they do, directly anyway, that brings them to the “Ultimate Solution” – it is how the officials decide to deal with the problem that is shocking. Some have compared this to “A Clockwork Orange” but I found more of a “Lord Of The Flies” tone.
Those darn kids – what are we going to do with them? Well for forty – two (42) of them they get to visit a lovely isolated island sponsored by government legislation. And they gain celebrity status because this is a new reality TV show. Wow, what would excite a kid more! But there are some very different objectives involved including staying alive, and staying sane.
It isn’t the actual violence that’s the focus, as the novel portrayed so well. It’s the psychological changes that occur that engages the viewer. The rules are simple: the students will remain on the island for a weekend with only a little food and water as well as a crude weapon. Oh, and they have to kill or be killed or everyone will die. Several students try to get by on behaviors that always worked for them before. But when your very life is hanging in the balance values and ethics can be amazingly variable.
Okay these kids are punk ass holes and it would probably be a startling improvement to the genetic group as an entirety if their genes were eradicated. They will never probably never do anything remotely positive in their rebellious criminal lives. Some reviews state this movie is a thinly veiled expose’ symbolic of the period between education and training to the job and career mode of millions of Japanese. While that may encompass the most obvious layer of this complex film there are other disturbing and unsettling issues that deserve some serious thought. Are children in need of government instigated behavior checks? Do most adults ignore real needs of teens and only notice when something is wrong? How much damage is done from the stress of stringent expectations? Most cultures claim children are our most precious resource. If that is true we better start acting like it.
(The Theatrical Version is approximately seven (7) minutes shorter than the Extended Cut.) There is a bit of dialog cut and a few less violent scenes but it really does not change the story line at all.)
JJ Hatfield’s Rating: 9/10
By Numskull
A film which would probably cause street riots in ultra-P.C. America, Battle Royale is the story of a group of 9th graders herded onto an evacuated island and forced to kill each other off. Survivors? As Christopher Lambert said in Highlander, “Dere can be only one.” More than one surviving kid at the end of three days spells doom for them all, since everyone is fitted with an electronic collar which can be detonated by the adults running the game. Furthermore, the battlefield grows smaller all the time, since “danger zones”…sections of the island where collars will immediately go off…are established at regular intervals.
There’s a rather perverse sense of humor at work here, perhaps best exemplified by the soothing, well-known pieces of classical music that comprise much of the soundtrack and the cheerful cutie-pie young woman who explains the rules of the game to the bewildered students on an instructional video shown to them by their 7th grade teacher Kitano (Beat Takeshi), who takes grim satisfaction in watching the body count go up since so many of these brats gave him all sorts of shit when he was stuck with them. Payback’s a bitch, ain’t it, you little turds?
I’d be surprised if a lot of people didn’t fantasize about being part of such a thing when THEY were in high school while watching this movie; wondering who would fare how well, who would win, who would commit suicide rather than participate (feh!), and so forth. Me? Well, on a level playing field, I would have won on sheer hatred alone since the vast majority of my 9th grade classmates were no less despicable than Hitler himself. Ah, but I said a LEVEL playing field. In Battle Royale, each kid is given a survival kit which includes a RANDOM weapon, some of which really aren’t weapons at all…and with my bastard luck, I would have gotten a box of Q-Tips while everyone else got a fucking rocket launcher. “Hey you, hold still while I stick this into your ear and jab your brain. If it doesn’t kill you, or at least cut your I.Q. in half, don’t fake it. I’ll know.”
As intriguing as the premise is, the thing that keeps Battle Royale from being a truly great movie is that some of the kids absolutely refuse to accept the reality of their situation even after seeing classmates get stabbed, shot, decapitated, and so forth (yes folks, it DOES show this stuff). There are too many goody-two-shoes characters to really make us believe that the purpose of the game, as Kitano says, is to eliminate the “bad eggs” who are helping the country along on its merry way to Hell. It’s kind of like one of those painful teen slasher movies sometimes; “NO! DON’T GIVE HER THE STUN GUN, YOU STUPID BITCH!! SHE’S GONNA…THERE! YOU SEE? GAH! I WARNED YOU!!!”
Also, there are too many instances where a dying character makes one last speech before closing their eyes and going to that big detention room in the sky. These tend to get longer and more ridiculous as the movie progresses. Almost NOBODY just falls over and dies like logic dictates they should; there’s always some last bit of dialogue that they just HAVE to spit out before they bite it (or at least there’s a prolonged look of horror on their faces). It won’t take you long to stop giving a crap what these people have to say. It’s also worth noting that Chigusa inexplicably puts on a yellow sweatsuit and goes for a jog without a care in the world right in the middle of the game (her “you scarred my face” scene is pretty cool, though; she’s one of the better actresses) and the transfer student with the messy hair, who is playing just for fun, has a seemingly limitless amount of ammunition for his machine gun. And, there are too many secret crushes. Perhaps this is because a lot of the gals were chosen not for their acting ability but for (surprise) their appearances. I kinda doubt that the average Japanese 9th grade class has as much concentrated cuteness as there is here. The girls in MY 9th grade class were mostly prematurely aged hags with track marks up and down their limbs, lungs as black as the Devil’s asshole, and leftover fat from aborted pregnancies. No wonder the mere thought of sex made me wince in disgust for so long. I will not deny a certain satisfaction in watching several of these girls perforate each other in a John Woo-style shootout (which, all kidding aside, is part of one of the film’s best moments).
Needless to say, not all 42 students get an equal share of the spotlight. From the very beginning, it is quite obvious that the winner will be one of a fairly small pool of characters. Thus, although Battle Royale is shocking in the sense that it shows stuff that an American movie could never get away with, it has very few surprises. There are some rousing moments, however, especially when a trio of boys hiding out in a shed manages to send a great big “fuck you” to Kitano and the other adults, safe and snug (or so they think) in their base of operations.
Anyway…good movie. Didn’t much like the way it ended, but I’m sure they could have come up with something worse. I recommend Battle Royale to all suburban yuppie mommies with political activist bumper stickers on their SUVs. I imagine a few of them would die of shock. There’s another way to fight overpopulation. No special collars required!
Numskull’s Rating: 7/10
“Legendary Weapons of China” Chinese Theatrical Poster
Director: Lau Kar-Leung
Producer: Run Run Shaw
Cast: Liu Chia-Liang, Liu Chia-Yung, Liu Chia-Hui, Hui Ying-Hung, Alexander Fu Sheng, Hsiao Hou
Running Time: 107 min.
By JJ Hatfield
This film is truly a masterpiece and I do not idly toss about such high praise! The story is completely different but it ranks up there with the absolute best in the company of Eight Diagram Pole Fighter and Disciples of the 36th Chamber. Yes it is that good! The film opens to a black background as a man rides a horse bareback into view. Hsiao Ho (Mad Monkey Kung Fu, Disciples of the 36th Chamber) the best martial artist, acrobat, expert with all weapons amazing man proceeds to dazzle the viewer with his prowess! I have never seen so many weapons used so well in such a short period of time.
Lau Kar Leung doesn’t just make up ideas for movies, he uses real events from different periods in China as the basis for most of his films and this is no exception.
Some viewers who may think a premise is silly or stupid would do well to have a bit of general information about China and the basic major facts about the area and the time period. In all of his films, including some you might have not given much thought to he managed to work in some history or way of life in China. This movie focuses on a very turbulent time of serious changes that would have a far reaching effect. There was indeed a group of primarily young people who believed that if they focused and practiced very hard they could withstand any injury or weapon, even bullets. They would be unaffected by the foreigners invading their land with guns.
As difficult as it is to understand there were men who honestly believed they were impervious to bullets. They already held a reputation of being unharmed by swords or spears and other weapons so it wasn’t that much of a leap some thought to expect bullets would not harm them either. The Dowager Empress wanted to use unarmed men to fight the intruders with guns. The Boxers would save an enormous amount of money if they could take on guns with just their bodies. Unfortunately good but deluded men died. The cells kept things very quiet because if the Dowager Empress discovered the truth she would have disbanded the organization and had all members killed.
The movie really depends on the Boxer cells and their believability. It’s imperative that people believe and understand that these men (perhaps women too) did indeed possess extraordinary powers. That is what made the “magic” work. They worked and trained hard and possessed astonishing skills. It was the very “magic” that was real that allowed them to convince others they had super – human abilities.
Chief Li, the go – between for the Boxers and the Dowager Empress informs the cell leaders that Lui Gung, another cell leader has betrayed them. He not only gave up being a Master of the Boxers but disbanded every cell member in different directions to seek peace and harmony despite what they were taught. This seemed to be the only course of action to take to save their very lives. Chief Li makes certain the cell leaders understand the gravity of Lui Gung’s betrayal, and that he must die. Li doesn’t want to send in a large force because it might alert their target. Instead he wants the cells to send in one man each to kill Lui Gung. In addition the man who goes to kill him, successful or not must be killed as well to leave no trace. The Master of the Magic Fighters sends in the best of the best, as the other cells do the same.
This movie should be considered part mystery as there are a lot of people who are not necessarily telling the truth about who they are or why they are there. Some are in disguises, some use their money and others their guile to try and bring out Lui Gung. Hsiao Ho hit gold when he choreographed a fight between Tieh Hau and Fong Shau Ching in a cramped attic. It might not have been a death match but it was amusing and great fighting too! This fight introduced a number of weapons you certainly don’t see in many martial arts films.
Lau Kar Leung was working with probably the best all time cast. With his brother, Hsiao Ho, Gordon Lui, Kara Hui and Alexander Fu Sheng what more could you ask for? To be fair to Fang Shau Ching (Kara Hui) did keep up the extra deception rather well, all things considered, and she also had a legitimate reason for doing so. The viewer is more willing to suspend disbelief if it is somehow believable in the storyline.
As I have said on numerous occasions Lau Kar Leung is a genius. When you have a decent basic plot the action fills in any feeling of incompleteness. Especially given that Lau used real events or incidents to base the films on. Even practicing with weapons is wonderful to watch not to mention the fighting! The choreography is stunning, especially since much of the movie is spent fighting or training to fight. You also get a look at a number of weapons being used in the introduction. But you never get tired of seeing the assortment of weapons! Or people using them! It’s a beautiful sight to behold.
Lau Kar Leung knows what looks great that’s for damned sure!
This film was the absolutely perfect place to fully explore Lau’s family martial arts form. Although a great deal of fighting in other films was using the same form, the action demanded extraordinary things moving quickly. And the remarkable thing is that he did all of that without once sacrificing any other part of the film!
The cinematography was excellent, always keeping the frame full of detail. The fights were tight and had long takes without a cut. It has always been a goal of directors and other members of the cast and crew to find a way to get their own style of martial arts on celluloid. This film was ideal to show once and for all what was so important to Lau Kar Leung and his brother – their family form. It is fascinating to see the dazzling display of cool weapons and what could be done with them by a person with great skill. Most of them are used in the rather extended two part finale. I’m not complaining by any means. I had the impression they had sparred more than a few times growing up and now considered it a labor of love to show so much of their family style. The form is not only about violence and killing but also contains ethical and moral philosophies. But the two sides of kung fu are not easily woven together. Violence – and yet sometimes violence brings about peace. If justified it is not mere pugilism but a note of harmony.
JJ Hatfield’s Rating: 9/10
By Kenneth T
This movie has very, very long dead spots and a really goofy scene in the middle were they’re trying to draw out Le Kung (the Master); But it’s all worth the wait because what happens at the end is one of the best on-screen weapons fight ever made. I also enjoyed the the trickery that was used all throught this movie. Like voodoo, magic, spring loaded weapons, etc.
This movie had about four fights:
First of which was a duel between Hsiao Hou and Liu Chia Yung’s ventrilliquism and voodoo where he controls a man against him (I loved it and the way he was shaking the doll looked exactly like what the guy was doing).
Nevermind make that five fights:
Hsiao Hou have a fight in the attic with Hui-ying Hung which was short but good. 3rd fight was between Hsiao Hou, Liu Chia Liang, and Hui-Ying Hung (by this time they had all become friends) against Liu-Chia Hui. Liu Chia Liang shows Liu-Chia Hui he’s not as good as he thought he was and reveal to Hsiao Hou that he does know how to fight. Very entertainting fight. 4th fight between Hsiao Hou, his master (I think Alexander Fu Sheng) and Liu Chia Liang is great and gets you ready for the last fight. Finally we get to the last fight which is about a 10 min battle to the death using all 18 weapons (I think the skip 1 or 2 but mostly all of them) between Liu Chia Liang and Liu Chia Yung.
Would be the best weapons movie ever made, but there are better ones. Mainly Odd Couple, but this is a Legendary Weapons of Kung Fu’s Review. Anyways, Liu Chia Liang skills are unmatched with weapons aleast. I said it before and I’ll say it again: Liu Chia Liang is one of the best things that happen to HK cinema ever.
Bottom Line: This is just a really cool movie about magic and weapons and anyone will love it.
Kenneth T’s Rating: 8.5/10
"Hero" Theatrical Poster
Director: Corey Yuen
Writer: Jeff Lau, Corey Yuen
Producer: Mona Fong
Cast: Takeshi Kaneshiro, Yuen Biao, Valerie Chow, Yuen Wah, Yuen Tak, Jessica Hester, Corey Yuen
Running Time: 97 min.
By JJ Hatfield
Mainland China in the 1920‘s was a time of social upheaval, staggering poverty and petty rulers who cared more about whispered promises from high ranking individuals than the citizens who were suffering horribly. It was a period of extreme drought and poverty that drives two brothers desperate to find a better life to leave Shangtung. Their destination is Shanghai where it’s rumored many jobs are waiting. The reality sinks in as they discover the only jobs are menial labor that pay indentured slave wages. In a chance encounter the brothers meet a powerful gang leader who will influence their lives forever.
Ma Wing Jing (Takeshi Kaneshiro) and Tai Cheung (Yuen Wah) are brothers who don’t always see things the same way. Tai Cheung is the oldest but he is fairly easily manipulated by Wing Jing. Wing Jing admires the gang leader (Tam See) and takes up his offer to visit one of his night clubs. He and his brother find a way into the club back entrance as they have no money to get in the front door. Wing Jing hears a lovely voice singing at the club and he is entranced.
Suddenly a fight breaks out and Wing Jing gets involved because his brother can’t fight and he must protect him. Ma does a good job of kicking gang member ass. Since Ma helped stop the blood shed and the destruction of the sumptuous surroundings of the club one of Tam See’s gang members wants to pay him for his help, not realizing he was really only trying to help his brother. Wing Jing refuses saying he will make his own name and fortune.
By coincidence Ma overhears a plan to kill Tam See that very night. He manages to come to the rescue in the nick of time and in gratitude Tam See gives Ma the nightclub he and his brother had visited. But in so doing he has earned the wrath of the gang boss Yang Schuang (Yuen Tak), Tam See’s fiercest enemy. Tam See has been with the club manager, Yam Yueng Tien (Valerie Chow) for a long time. She is furious Tam See would just leave her and expect her to accept Ma as the owner, and all the things that included. Before long Ma Wing Jing has developed a thirst for power and Yam Yueng Tien starts to encourage him to take on other gang bosses. Ma starts out as a man of the people but his goals escalate rapidly making him a target for several groups including the police. He is obsessed and will risk everything to be number one.
This is a big budget production from the Shaw Brothers studio, the first in well over a decade! And the viewers are grateful! The film does not disappoint – it is far more than just a gang dispute with a high body count. The sets are large, even huge in some scenes. Buildings and settings that fit the time were included to help complete the belief it is the 1920’s. Valerie Chow’s club is sumptuous, gorgeous, grand on a large scale and quite beautiful. Chow is also quite beautiful in her surroundings. Gorgeous but she is not controlled by anyone. She hides her emotions well as a character and is perfect for the role.
And Yuen Biao? Time doesn’t seem to have limited his martial arts/acrobatic skills. He still looks damn good! Even though Cory Yuen did a good job with the fights you could tell Biao had added a few ideas. Unfortunately Cory used too many wires in the sometimes tradition of the Shaw Brothers. Biao is fantastic on his own. A few less wires would have made one especially large ambush feel more real. Biao is a very suave gang leader, wearing the finest western style suits he enjoys the best of things. He can be quite benevolent, even kind. But just as you see him being almost gentle the next act he makes will be surprisingly coldly violent. He is completely convincing in the role. He tends to have a more Cantonese (modern for the time) lifestyle while his mortal enemy is more of the Mandarin (traditional ways) beliefs.
Takeshi Kaneshiro puts in a good performance. Watching the changes in him is disturbing. His fighting looks top notch, even if not so good in real life. He does credible fighting and is vicious with a sword. Yuen Wah doesn’t do any fighting but does have the opportunity to add some comic relief. His character is 180 degrees from his usual bad guy persona. There are bits of comedy, some that are really funny but they seem out of place as there is really nothing at all funny here.
To the best of my knowledge there are at least four versions or titles and two cuts. The International cut and the China cut. The international cut has been edited to decrease the length of fights, body count and an unusual decapitation. The other cut is longer and even it was already edited some due to the level of violence. There was concern over the treatment of horses in the film. They encounter violence of unimaginable horror just like their owners. But rest assured the ending credits state “No horses were injured or deaded.” They do not make the same claim about the stuntmen. The RT is different primarily due to the opening, PAL transfer, title credits etc.
“Hero” is a great film worthy of great praise. There are a few slow spots but that just gives you time to take a breath before the next savage, take no prisoner fight. The film does wander a bit but the performers are interesting, the fighting is top notch, violent, bloody and fierce. “Hero” is not a cheery film. There are a lot of bad things that happen to people both saint and sinner. Double crosses, triple crosses, betrayal are all accurate but there is an unspoken possibility of redemption. This is a film to have in your library.
JJ Hatfield’s Rating: 8/10
"Kundun" US Theatrical Poster
Director: Martin Scorsese
Writer: Melissa Mathison
Producer: Barbara De Fina
Cast: Henry Yuk, Tenzin Thuthob Tsarong, Gyurme Tethong, Tulku Jamyang Kunga Tenzin, Tenzin Yeshi Paichang
Running Time: 134 min.
By JJ Hatfield
“Kundun” is the fascinating true story of the life and challenges of the ruler of Tibet during times of extreme turmoil. The 14th Kundun is known to most of the world as the Dalai Lama. This excellent film directed by the very talented Martin Scorsese is a true masterpiece!
The film begins as we see a family going about their daily routine. One of the children is a young boy who has always seemed a bit different. Being so young and having never traveled the boy sometimes says things that his concerned parents do not understand. He becomes most adamant about getting what he seems to feel he deserves, such as sitting at the head of the table. His mother treats him very differently than the other children, even as his father tells her she spoils the boy.
The last Dalai Lama said he would be reincarnated and gave clues to his followers how to know him when he comes again. As the word spreads of a search for the new Dalai Lama the simple family’s life will be changed forever. This is not a search for someone to be the next Kundun. This is a search for the Dalai Lama reincarnated. With so much depending upon finding the real Kundun the boy is tested in various ways and is determined without a doubt to be Kundun. The family is honored but very upset about having their son taken to the Tibetan temple to live, especially at such an age. At first it is just an adventure for the boy but as the reality sinks in he realizes he would never live with his family again.
The young Kundun is educated in all areas, not only in what he must do as his duties. He is at times overwhelmed with the great responsibility he bears to lead his people. However as statesman interacting with various world leaders including Chairman Mao the Dalai Lama is amazingly restrained, knowing his words cannot reach those consumed by profit and power. At all times he speaks of peace while trying to save his people from the Chinese military and brutal factions. When he reaches out to other countries for help no one will reliably agree to even consider the matter.
The world political situation, even the so called “Cold War” forms a backdrop for the true story. As anticipated the film did not always receive a warm reception and is still banned from some regions and countries, and it still proves controversial today though it was released in the US in 1997. Martin Scorsese did a fantastic work as the director. He was wise enough to not hammer the audience with terrible scenes of violence but to follow the Dalai Lama’s ordeals as he responds to vicious attacks on his people.
One aspect that made this film so believable was the actors. There is a good reason for that. Scorsese was wise enough to use not only locals in the film but many of the Dalai Lama’s relatives as well. The older boy/young adult is portrayed by the Dalai Lama’s grand nephew. The efforts to make this film as close to reality as possible could not have been done better! The score by Philip Glass is perfect in tone and mood, enhancing the visuals without overwhelming scenes. The cinematography is entrancing.
Kundun was nominated for a number of awards and won in the following categories:
1997 Boston Society of Film Critics Awards
Best Cinematography by Roger Deakins
1998 Las Vegas Film Critics Society Awards
Won Sierra Award for Best Score by Philip Glass
1998 National Society of Film Critics Awards, USA
Won NSFC Award for Best Cinematography Roger Deakins
1997 New York Film Critics Circle Awards
Won NYFCC Award for Best Cinematographer Roger Deakins
Everyone needs to see this film!
JJ Hatfield’s Rating: 10/10
“Eight Diagram Pole Fighter” Hong Kong Theatrical Poster
Director: Liu Chia-Liang
Writer: Liu Chia-Liang
Cast: Gordon Liu Chia Hui, Alexander Fu Sheng, Kara Hui Ying Hung, Lily Li Li Li, Philip Ko Fei, Lin Ke Ming, Johnny Wang Lung Wei, Chu Tiet Wo
Running Time: 99 min.
By JJ Hatfield
Eight Diagram Pole Fighter is truly a magnificent film! The cast and crew performed wonderfully in this most heartbreaking, disturbing, vicious and bloody film Lau Kar Leung and company ever made.
The period piece begins with action encompassing the massive ambush of the Yang family men, father and seven sons. They are savagely attacked, heavily outnumbered, betrayed by Pan Mei using Mongols and even had Manchu troops develop and practice with weapons that seriously hinder the Yang family style of spear fighting. All of this happens in one swift move before and during the opening credits! Pan Mei’s family and combined forces still required careful planning. The slaughter of the Yang family is particularly horrific. The brothers and father are stabbed, eviscerated, hacked, cut, impaled, slashed, skewered and stomped into the ground once they could no longer stand.
Miraculously two of the brothers survive but not without physical and psychological injuries. The fifth brother (Gordon Liu) wanders in the wilderness desperately seeking safety and then revenge, while the other surviving brother, the sixth (Alexander Fu Sheng) manages to find his way back home but has been driven insane by the horrible tragedy.
Lau tried to use real stories about real people in his films, and this is certainly no exception The Yang family was held in high esteem by the Sung Dynasty Emperor and is under orders to keep the peace, especially with the Mongols. However after the betrayal the honored family name was forever destroyed and Pan Mei accuses them of being the real betrayers of the land. His fiendish plan not only ridded him of anyone to stand in his way it was also revenge for the death of his oldest son who was killed by a Yang during a martial arts tournament.
Lily Li-Li is excellent as the matriarch of the family. Even with the terrible loss she is still capable of managing important efforts. To find out all of her sons but one and her husband are dead is a tremendous blow but she tends to 6th brother and tries to help his injured soul. I can’t argue that Fu Sheng is a bit over the top but honestly it works perfectly and does not feel at all silly. He really seemed to be trying hard to be sincere but at the same time out of his mind at the horror he has been through. He goes through different stages. At times he tries to fight with what’s left of his family. Sometimes he just sits with his fists clenched. Other times he is back at the ambush. His mother knows he will never be the same no matter how much love she has for him. He will always need someone to help keep him somewhat balanced and connected to reality.
This movie started shooting in 1981 and during production Fu Sheng was seriously injured (on the set I believe) breaking both legs and incurring a head injury. The film stopped cold. Lau was credited with helping Fu Sheng believe he could recover soon and go on with his career doing fighting and some slapstick comedy which could require a lot of physical demands. When Fu Sheng was well enough they started shooting again. By this time Shaw Brothers were being challenged by Ray Chow and Golden Harvest. Still the Shaws had their golden boy, Fu Sheng and it wasn’t over yet. He was considered not only an actor but learned to fight and do acrobatic stunts which he learned much of in the Shaw Brothers school.
Fu Sheng came from a family that expected him to pursue academics and rebelled by going into movies which seriously displeased his kin. But he loved everything about performing and though he was often hamming it up big time he had a loyal following. He had experience working with both Chang Cheh and Lau Kar Leung.
Everything indicated he had a bright future. But it was not to be. Production had resumed when on July 7, 1983 Fu Sheng was returning to his home after dinner out. He was a passenger in a car driven by his brother. Apparently his brother took one of the winding curves on Clearwater Road too fast and hit a cement barrier. Fu Sheng was rushed to the nearest hospital where he died a few hours later.
Some people believed he inherited Bruce Lee’s bad luck because he bought the house Bruce Lee owned when he died and had been felled by the same curse.
It is said Fu Sheng’s ghost would walk around the Shaw studios. At his makeup booth they set up a shrine, hoping it would please him.
Once again the production was shut down. Lau spent months – some say six, some say years contemplating what the next step should be. His final decision was to use all the finished scenes with Fu Sheng and turn it into a memorial of sorts. To everyone’s credit they used their pain and sorrow in their acting and fighting. It is very effective. It doesn’t feel as if anyone is acting. The anger and misery seems real because everyone truly felt those emotions.
Fu Sheng was originally supposed to be the one to go to Shaolin. Major script re-writes were required that now put Fifth Brother (Gordon Liu) in Fu Sheng’s role.
The 5th brother happens upon a small house. When he doesn’t see anyone there he goes inside the house. He is justifiably paranoid and constantly looks out for the enemy. As so many thoughts and feelings run through him and his adrenaline fueled rage suddenly the door opens (Lau Kar Leung in a cameo) and he attacks! The trapper gets the upper hand and tries to tell 5th brother there is really no way to win a war without killing a part of yourself too.
Suddenly Pan Mei’s soldiers and Mongols arrive and want to search for him but the selfless trapper refuses and takes on the soldiers so fifth brother can escape. Pan Mei needs to destroy any evidence of the betrayal. The trapper ends up sacrificing himself to allow 5th brother to escape. When he realizes the trapper has given his life to defend him he decides the only way to ease his tortured soul is to go to Shaolin and leave the pain of the outside world behind him.
While evading Pan Mei’s forces fifth brother makes it to the Shaolin Temple and wants to become a monk. Of course the news of the ambush and betrayal of the Yang family has reached the temple. 5th brother is told he is much too violent and focused on revenge to become a monk. He begs and pleads, desperate to find some peace, but he is still refused. Desperate and unable to live with such rage and fury he decides he will become a member of Shaolin whether or not they acknowledge him. He insists someone shave his head and when they refuse he does it himself, not caring how painful or bloody it might be. This is a very significant act. He also burns the familiar pattern on his head.
Although no one will officially accept him he does everything they do – he eats and sleeps there and practices the pole style. It being similar to using a fighting spear he advances quickly but the monks do not feel comfortable with his intensity and rage. They believe every life is precious and try to teach him to fight and disarm their opponent instead of killing them outright. He practices hard but cannot completely rid himself of the rage and anguish of his family being in ruin and their name in ruin as well.
One day one of the monks decides to show 5th brother the correct technique using amazing wooden jointed wolves. (I have never seen such a training device!) 5th brother immediately tries to smash it into pieces and destroy it but the monk (Phillip Ko) demonstrates in one of the most original fight scenes in film. This is such an alien concept to 5th brother it is difficult for him to believe. On one hand he wants nothing more than revenge and resurrection of his family’s good name. But on the other he desperately needs peace and an end to the raging burn inside him.
One compassionate monk travels to the Yang home to let them know their son is alive and at Shaolin. He delivers the message but is captured quickly by Pan Mei’s men. He kills himself rather than divulge any information. Once the family know 5th brother is alive 8th sister disguises herself as a man and rides off to find her brother. The trip is long and filled with dangers of all kinds. 5th brother continues to train fanatically. The risk is even greater because Pan Mei will not rest until he destroys the entire family. The same despicable men that set up the Yangs attack and capture 8th sister. As soon as 5th brother learns this he loads up a big cart load of poles and heads off to save his sister.
Despite all of the time he has spent in Shaolin temple his blood comes to a boil very quickly. The betrayal, the memories pushed aside come flooding back. Seeing his brothers and father, their eyes, the screams, the blood, their dead faces. Those memories; the sights, the sound stay with him as he continues on his way to rescue his sister. By the time he arrives with the numerous poles he is just on the edge of rationality. He rescues his sister but they are trapped. The two of them fighting at least thirty people if not more!
Oddly enough though this film was made in several stages months apart it doesn’t feel disjointed. The pace is constant from the bloody slaughter of the Yangs, to the incredible explosive finale! This is not a typical Lau Kar Leung film. There is no humor and family is nearly the only thing that matters. In that context respect, honesty, loyalty, and righteousness are simply part of the that family. The film maintains a quick pace throughout. But it is nearly always dark deeds that drive the film.
The production is quite beautiful in scenery and the sets. The music works well and is not intrusive but an enhancement. It’s obvious great care was taken by all to make this a quality film all the way around. Everyone put in a great effort but I have to say Gordon Liu was the saving grace. The fighting is above extraordinary. This is definitely Lau’s darkest film, full of fury, rage, bloody fights and horrific events. It’s also one of the very best!
JJ Hatfield’s Rating: 9.5/10
By Numskull
Classic shit from Lau Kar Leung and the Shaw brothers, worthy of note beyond the fact that Alexander Fu Sheng died during filming. The straightforward story about two of seven warrior brothers surviving an ambush and coping in very different ways (one invites himself into a Shaolin temple for additional martial arts training, the other goes nuts and attacks anything that moves) delivers unto us some very fine kung fu cinema. The final battle, about eight minutes in length, is one of the most praiseworthy fight scenes you’re likely to see on film; it’s fast, vicious, and bloody, and man oh man is that pole-in-the-mouth shit nasty.
Yeah, this is a short review, but there’s little else that needs to be said. Just watch the damn thing even if you’re only a casual fan of the genre, and be thankful that Celestial, while not possessing a flawless track record, have done this movie good. (From the English dub, I miss the abbott bursting in on the climactic battle and shouting “KILL!” after an hour’s worth of pushing tranquility and pacifism on Gordon Liu’s character, but that’s it; a more than equitable tradeoff.)
Numskull’s Rating: 8/10
Goemon Blu-ray/DVD (Funimation)
RELEASE DATE: April 19, 2011
From the director of Cassher (Kazuaki Kiriya) comes Goemon, a 2009 Japanese historical fantasy film directed and written by Kazuaki Kiriya. It is loosely based on the story of Ishikawa Goemon, a legendary ninja bandit hero who stole valuables from the rich and gave them to the poor. Crafted with over 2500 visual effects, the director of Casshern, Kazuaki Kiriya, weaves action with Japanese history and folklore into a film evocative of the classic Robin Hood tale.
“True Game of Death” US Theatrical Poster
Director: Steve Harries
Co-director: Chen Ten Tai
Cast: Bruce Hsao Lung (aka Lung Tien-Hsiang), Alice Meyer, George Stephens (George Steve), Kim Sing, Michiyama Ichiro, Bruce Lee (stock footage)
Running Time: 90 min.
By Jeff Bona
True Game of Death is a blatant rip-off of Robert Clouse’s 1978 Game of Death. Both movies revolve around martial arts superstars (substitute Tai Chung Kim’s Billy Lo for Shou Lung) who get hassled by international gangsters wanting a piece of their lavish income. Throw in the white girlfriend (substitute Colleen Camp’s Ann Morris for Alice Meyer), the big boss (substitute Dean Jagger’s Dr. Land for Michiyama Ichiro) and his right hand man (substitute Hugh O’Brian’s Steiner for George Stephens). Let’s not forget about the star’s fake death (in this case he’s poisoned, instead of shot), as well as tracksuit-wearing motorcycle gangs.
Since it’s titled The True Game of Death, we get another cheap variation of the multi-level, Pagoda fight extravaganza:
1st floor: Shou Lung vs. Danny Inosanto wannabe. Complete with the black outfit, red headband and matching nunchucks. The wannabe even ends up getting killed the exact same way.
2nd floor: Shou Lung vs. Two Sumo Wrestlers. No explanation needed. Use your imagination.
3rd floor: Shou Lung vs. Black Guy. I would say “Kareem Abdul-Jabbar wannabe,” but that’s not really the case. He’s basically a sweaty-looking boxer who wears stupid looking 1980′s shorts and a cape.
Essentially, True Game of Death is a rip-off of a knock-off. You have to give credit to those other Game of Deaths clones. As lame as New Game of Death and Enter the Game of Death were, at least they did their own thing; With True Game of Death, no effort or thought was put into anything. It boggles my mind that the filmmakers copied 99% of Clouse’s Game of Death, instead of trying (even just a tad) to follow Bruce Lee’s vision (his basic outline, even at the time, was well known).
True Game of Death was supposedly made in 1981, but it’s so low budget and produced so awfully, that it looks and feels a lot older. Don’t get me wrong, I realize that the majority of Bruceploitation films are cheap, but trust me, this one is worse. It drags, the main music sucks (they play it way too much and insert it in the most out-of-place areas) and the fight scenes are dull as hell.
As far as Bruce Lee clones go, Bruce Hsao Lung (aka Lung Tien-Hsiang) didn’t do a bad job. He’s no Bruce Li, but he does lie somewhere between Dragon Lee and Bruce Le (that’s not necessarily a compliment). Let’s put it this way, I’ve seen worse.
Kung fu film aficionados will recognize Bruce Hsao Lung from Shaw Brothers’ classics Five Element Ninjas, Legend of the Fox and Flag of Iron.
The real Bruce Lee does appear, but he appears via stock footage, clips from his movies and actual funeral footage (including his corpse). Bruce’s Kowloon Tong house is even spliced in to make it look like the main characters live there.
As a kid, I remember renting True Game of Death on VHS (Master Arts Video). The DVD version I recently watched (Fortune 5 DVD) has a lot more footage, which includes: Excessive nudity (bush and all), an extended nightclub sequence, and a slightly different opening shot. The VHS version had the same Bruce Lee stock footage, only in different areas.
You know what? Who cares about the different versions. They all suck. True Game of Death is not one of the worst Bruceploitation movies ever made, it IS the worst.
Thanks to Ian Whittle for the tip about Lung Tien-Hsiang.
Jeff Bona‘s Rating: 0/10
“Bruce Lee My Brother” Hong Kong Theatrical Poster
Director: Raymond Yip
Co-director: Manfred Wong
Cast: Aarif Lee, Tony Leung Ka-fai, Christy Chung, Jennifer Tse, Michelle Ye, Jin Au-yeung, Angela Gong Mi, Wilfred Lau, Lawrence Cheng, Candice Yu, Chin Kar-lok, Frankie Ng, Andrew Nelson, Ken Lo, Kristy Yang, Charles Ying
Running Time: 130 min.
By Mighty Peking Man
Directed by Raymond Yip (The Warlords) and Manfred Wong (prolific writer/producer of hundreds of popular titles), Bruce Lee, My Brother is a biographical film about Bruce Lee’s teenage life. It begins in 1940 and ends in 1959, when he’s off to America with a $100 bucks in his pocket.
The film opens with a warm introduction from Bruce Lee’s real siblings: Robert Lee, his younger brother; and Phoebe Lee, his older sister. Robert not only serves as producer, but also provides much of what the movie is based on, hence, the film’s title.
Bruce Lee, My Brother is a decent film. At times, you get the feeling that there wasn’t enough content (made up or not) to warrant an interesting story about Bruce’s teenage life, but for the most part, it glides at a steady pace.
It’s a very lavish looking production. The sets, the clothing, the soundtrack, and the hues applied to the film, bring the 40’s and 50’s alive.
Aarif Lee, who portrays Bruce Lee, plays the part to a T. There’s no doubt in my mind that this is the best Bruce Lee respresentation ever (although, there is a huge drop after this film). The way Aarif walks, smiles, talks, dances, moves – you totally see “Bruce.” It’s worth to watch this movie for Aarif’s epic performance alone.
The film also stars Tony Leung Ka-fai (Bruce’s father) and Christy Chung (Bruce’s mother); as well as many cameo appearances, including ones by Anders Nelson (Way of the Dragon), Kristy Yang (The Stormriders) and even Chin Kar Lok (also action director), who pays a young Shek Kin.
The film ends with interesting closing credits, which compare production photo shoots to actual photos from the Lee Family album. It really shows how much time, effort, and quality was put in to trying to get the images as close to the originals as possible.
I have read that Bruce Lee, My Brother is supposedly the first in a series of movies to be based on Bruce Lee’s life. If this does happen, my guess is that the 2nd one would revolve around his Seattle Years (1959) and end with his with early, ill-fated Hollywood career (“The Green Hornet, etc.” 1966-1969). The 3rd would most likely take place in the early 1970’s, with Bruce returning to Hong Kong to negotiate deals with Shaw Brothers and Golden Harvest, his rise to stardom, and end with his untimely death.
As long as you’re not expecting a whole lot of action, or anything during Bruce’s stardom era, you shouldn’t be disappointed. I respect the entire Bruce Lee, My Brother crew – they kept it as real as they could for this kind of film.
Mighty Peking Man’s Rating: 7/10
“The Man Called Tiger” Hong Kong Theatrical Poster
Director: Lo Wei
Producer: Raymond Chow
Cast: Jimmy Wang Yu, Okada Kawai, Maria Yi, James Tien, Han Ying Chieh, Lee Kwan, Tien Feng, Lo Wei, Lam Ching Ying, Shikamura Yasuyoshi
Running Time: 76 min.
By Jeff Bona
The Man Called Tiger is the story of a no-nonsense tough guy (Jimmy Wang Yu) who infiltrates the local Yakuza to investigate the truth behind his father’s death. Teaming up with a fellow Chinaman (James Tien) and a couple of beauties (Okada Kawai and Maria Yi), he tackles the Japanese evildoers with a foot of fury!
Rumor has it that Bruce Lee was originally cast to play the lead in The Man Called Tiger, but due to his falling out with director Lo Wei (who made Bruce’s first two movies, The Big Boss and Fist of Fury), the two went separate ways. Bruce, who formed his own company, “Concord Productions,” went on to star, write and direct Way of the Dragon.
Meanwhile, Lo Wei continued the production of The Man Called Tiger with Jimmy Wang Yu (One-Armed Swordsman) taking over for Bruce.
It all makes sense: Lo Wei’s The Man Called Tiger starred Han Ying Chieh, Maria Yi, James Tien, Lee Kwan, Tien Feng and Lo Wei himself; on the other hand, Bruce Lee’s Way of the Dragon starred whoever was left of the Bruce Lee/Lo Wei camp: Nora Miao, Paul Wei Ping Ao, Unicorn Chan, Lau Wing and Wong Chung Shun.
The rest is history…
The film opens with Japanese actress Okada Kawai singing a catchy, bittersweet song over the cast and credits. During this classy intro, I was lead to believe that I was about to watch something Lo Wei put his heart and soul into.
Boy, was I wrong.
The Man Called Tiger is rushed filmmaking at its finest. Together with its jumpy camera work, scenes that don’t match up, and a confusing plot, you get the feeling that nobody, not even Lo Wei, gave a shit. You would think they’d put some effort, especially since they flew to Japan to film this one, but that’s not the case.
I’m a Jimmy Wang Yu fan, and I’ve seen a lot of his movies, but this is the first time he comes across looking like an idiot. I’m not going into details, because I really can’t find the words to describe some of the goofy movements this guy makes during some of the action sequences.
The Man Called Tiger is a terrible movie, but it has enough good things going for it that it’s actually worth watching:
Action sequences: It’s basically your standard Wang Yu basher, but the majority of the action is surprisingly well done. I’m not saying the action is great, but for a movie like this, it was decent enough.
The bloody climax: Wearing all white, Wang Yu takes on a gambling hall full of axe-wielding bad guys. In the process, he gets a lot of red paint all over him. Who doesn’t love a bloody battle?
Early 70’s fashion: Wang Yu has never looked sharper. Seriously, the multi-colored suits look gangster. The same can be said about Maria Yi in her yellow outfit. Yummy.
James Tien dies: What’s interesting is he dies the same exact way he did in The Big Boss. Before you accuse me of spoiling it for you, ask yourself, what movie does James Tien’s character actually survive?
Takes place in Japan: In the kung fu movie world, almost everything is filmed within the same city and landscapes, so it’s refreshing to see one filmed in Japan. Many of the supporting cast members are also local Japanese actors and actresses.
Cable car fight: Definitely not as cool as the one done years later in Moonraker (1979), but Wang Yu does one-up Bond by actually jumping off the cable car.
To sum it up, The Man Called Tiger is definitely worth watching if you’re a Jimmy Wang Yu fan, a 70’s-era Golden Harvest completist, or if you want some unintentionally funny entertainment. If you’re looking for an all-round good movie, look elsewhere.
Jeff Bona‘s Rating: 4/10 (8/10 for historical value)
“The Green Hornet” US Theatrical Poster
Director: Michel Gondry
Cast: Seth Rogen, Jay Chou, Christoph Waltz, Cameron Diaz, Edward James Olmos, Tom Wilkinson, Edward Furlong, Jill Remez, Joe O’Connor, Morgan Rusler
Running Time: 110 min.
By Ningen
Britt Reid’s a goof-off son of a media mogul-played by Seth Rogen-whose dad passes away unexpectedly. After becoming newly acquainted with his dad’s ex-servant, Kato-played by Jay Chou-Britt discovers that Kato’s not just good with making coffee, but also tinkering with machines, as well as fighting using martial arts. Together, they decide to use their resources to fight crime-partly by posing as criminals who destroy gangs from the inside, and mostly by tracking down their hang-outs and using their “wonderful toys” to take down thugs. They also vie for the affections of Britt’s secretary Lenore, played by Cameron Diaz.
To be honest, I never really watched the original Hornet show w/ Van Williams and Bruce Lee. And I’m obviously too young to have heard the radio version. I saw clips of the tv series here and there, including the cross-over episode where they try to fight against the Adam West/Burt Ward Batman and Robin, but it ends in a “Mexican stand-off”. [Allegedly, the reason it went that route was that the Hornet fans didn’t believe that Bruce could lose to West and/or Ward in a fight, while Batman and Robin fans didn’t like the idea of seeing their heroes lose any fight. And for those wondering, Bruce makes a “cameo” in this new version, too, btw.] And I haven’t seen Jay Chou’s non-Initial D stuff, other than a rap video for Fearless. So all I really cared about was whether the concept would have some fun to it as a movie version, not whether it was entirely faithful to the original material. For example, Zhang Ziyi as Kato and Kevin Smith as a director would’ve at least been interesting, maybe even exciting. And Stephen Chow as director and co-star would’ve at least been memorable.
But, no, the studio had to kick out Chow and pick the guy whose last mainstream movie was about re-enacting scenes from movies off destroyed videotapes. And the other guy whose only real hits are from forgettable sex comedies got picked as the lead and co-writer. Now I don’t hate Seth Rogen. He seems like a fun guy, even if he does basically play a party animal in every film he headlines. But pairing him with a director whose only hit movie I did hate, because of how pretentious and lazy it came off, gave me some serious warning signs that this adaptation was going to be a mess. Jay Chou’s alright, but he doesn’t really stand out enough in his roles. He did alright as Takumi in Initial D, because the main character there is supposed to be somewhat apathetic. In Hornet, though, his back-story comes off more like an after-thought, even though he goes beyond being just a wing-man.
And while Green Hornet is not a disaster, it’s a misfire. It wants to be the next TDK, but it morphs into a PG-13 Kick-Ass. Not that I liked K-A much, either, but at least the writers and directors on it did not drag out the story with unnecessary sub-plots. For example, this movie should be about how Reid and Kato become heroes, and learn how to get used to any slip-ups on the job. But instead, this movie is about Reid’s father and his shaky political relationships, and how they relate to the increased crime in the area. And the supposed culprit behind this criminal activity, Chudnofsky, played by Christoph Waltz, is not even the ring-leader. He runs the operations, but he’s working with someone else behind the scenes. Plus, anyone hoping they’ll get more Col. Landa from Basterds will have to wait another time, as all he really does is fire his weapon at random people and get into verbal cat-fights with other gangsters over how he’s dressed.
Furthermore, you rarely even see that much crime-fighting, because the pair are either sparring over a secretary who’s not interested in either of them, at least in that way; or they’re dealing with office work at a newspaper company. Or, they just play with stupid gadgets. In fact, it feels like the movie just appropriated the whole superhero parody sub-plot in Orgazmo and tried to give it an actual budget, but axed the fight scenes, and emphasized talking scenes in their place. You do get car chases and shoot-outs in Green Hornet, but the camera’s too close, and the scenes subsequently morph into a become a boring, convoluted mess, where you don’t know who’s firing, and what. Oh, and don’t bother with the 3-d version of the film, as it consists of the usual floating objects gimmick which is being used as an excuse to charge everyone an extra $5.
So in short, Green Hornet’s an ok rental, but only something hardcore fans really need to see. Otherwise, anyone else expecting this film to be more than just another bad Rogen comedy will be severely disappointed.
Ningen’s Rating: 5.5/10
Sydney Pollack's "The Yakuza"
This season, Japan Society is proud to present the new Globus Film Series, Hardest Men in Town: Yakuza Chronicles of Sin, Sex & Violence. From March 9 to 19, Japan Society will be screening a series of 15 yakuza films, from 1960s productions featuring chivalrous kimono-clad, sword-wielding gangsters to today’s ruthless gun-toting villains dealing in debt, dark trades and deeds. Featuring films by internationally acclaimed directors such as Takeshi Kitano, Seijin Suzuki, and Kenji Fukasaku (among many others), the series includes a large number of premieres and titles never-before shown in the U.S. Also introducing some of these screenings will be a few very special guests, including writer/director Paul Schrader, author Jake Adelstein, and director Takashi Miike.
Featured Films:
The Yakuza – Directed by Sydney Pollack
Onibi: The Fire Within – Rokuro Mochizuki
The Wolves – Hideo Gosha
The Walls of Abashiri Prison (pt. 3): Longing for Home – Teruo Ishii
Brutal Tales of Chivalry – Kiyoshi Saeki
Theater of Life: Hishakaku – Tadashi Sawashima
Blood of Revenge – Tai Kato
Cops Vs. Thugs – Kenji Fukasaku
Battles Without Honor and Humanity A.K.A. The Yakuza Papers (pt. 3): Proxy War – Kenji Fukasaku
Youth of the Beast – Seijin Suzuki
Dead or Alive – Takashi Miike
A Yakuza in Love A.K.A. Villainous Love – Rokuro Mochizuki
Ryuji – Toru Kawashima
Yakuza Wives – Hideo Gosha
Outrage: The Way of the Modern Yakuza – Takeshi Kitano
Source: http://www.japansociety.org/film
“Edge of Fury” US Theatrical Poster
Director: Lee Tso Nam
Writer: Ding Sin Saai
Cast: Bruce Li (Ho Chung Tao), Dana Tsen (Danna), Tommy Lee, Yasuaki Kurata, Michelle Mai Suet, Wai Lit, Kao Yuan, Pak Man Biu, David Cheng Dai Wai
Running Time: 84 min.
By Jeff Bona
A wealthy business man is arrested and sentenced to death for drug smuggling, and it’s up to his trustworthy chauffer, Fang Pao (Bruce Li), to unravel the mystery behind his boss’s downfall. Was he really smuggling drugs? Was he set up? Does his boss’s sleazy girlfriend (Dana Tsen) have something to do with it? The closer Fang Pao gets to the facts, the more dangerous his life becomes.
“Edge of Fury” is a tale of gangsters, drugs, annoying little kids and money-hungry whores. Just like “Iron Dragon Strikes Back” (aka Gold Connection), “Edge of Fury” was made without “Bruce Lee” in mind, meaning Bruce Li is playing an original character, and not imitating Bruce Lee in any way, shape, or form.
I’ve seen the gist of every Bruce Li movie ever made. Some are great (Iron Dragon Strikes Back, Gold Connection), some are good (Bruce Lee: The Man, The Myth), some are average (The Dragon Lives), some are bad (Deadly Strike) and some are so bad, they’re entertaining (Bruce Lee: A Dragon Story). “Edge of Fury” falls somewhere between good and average.
What I do like about “Edge of Fury” is the assortment of goodies it has to offer:
Babes: When you’re watching a Bruce Li movie and you see the name “Dana” pop in the credit sequence, you know you’re in for a slutty treat. Dana slightly resembles porn starlet Nautica Thorn (fellas, don’t act like you don’t know who she is), only much more cuter. Dana also appeared with Bruce Li in “Image of Bruce Lee” and “Bruce Lee in New Guinea.”
As a bonus, we also get the foxy Michelle Mai Suet (aka Michelle Lai), who plays Bruce Li’s girlfriend. Michelle and Dana look so much alike that I didn’t realize they were two different characters until the film’s third act. True story.
Music: Typically, most kung fu films of the 70’s recycle music from popular movies; I’ve heard and recognized it all: James Bond themes, Italian Westerns, disco tunes, etc; As far as I know, “Edge of Fury” has its own unique soundtrack. It’s screechy, rough, and hardcore; Which is very suitable for a movie titled “Edge of Fury.”
Annoying Little Kid: I swear, I’ve seen this little turd before (he looks like the ice cream cone kid in “Way of the Dragon”). You’re going to love to hate him, thanks to his retarded english dubbing. Is it me, or does he and Bruce Li like each other a little too much?
Yasuaki Kurata: You’ve seen this Japanese cat in movies like “The Angry Guest,” “Twinkle, Twinkle Lucky Stars” and “Fist of Legend.” In “Edge of Fury” it’s him vs. Bruce Li, baby.
There’s definitely enough action to go around, which was choreographed by Tommy Lee, who also has a major role as a baddie. I haven’t seen enough of Tommy Lee’s work (as a star or choreographer), but from what I have seen, I don’t see what the big deal is. I remember having a copy of “Chinese Connection II” on VHS, and one of the selling points was “Action Choreographer Tommy Lee,” yet, after viewing it, I was like “and?”.
Carl Jones’ Bruceploitation book “Here Come the Kung Fu Clones,” states the film’s dubbing as “bad, flat and uninteresting…” — I TOTALLY disagree. For a Bruce Li flick, I found the dubbing to be witty, pleasant and sophisticated (minus the little kid’s dubbing of course).
“Edge of Fury” is far from a must see, but for what it is, it’s a passable.
Jeff Bona’s Rating: 6.5/10
“The Longest Nite” Theatrical Poster
AKA: The Longest Night
Director: Patrick Yau Tat-Chi
Cast: Tony Leung Chiu-Wai, Lau Ching-Wan, Maggie Siu Mei-Kei, Lung Fong, Mark Cheng
Running Time: 84 min.
By Joe909
I’ve read several articles and interviews where HK actors who have come to Hollywood say that they look forward to working over here, because they’ll be able to do more complex movies. Each of them have said that HK audiences are sometimes not as intelligent as those in the US, and so in HK, movies must be simple and action-packed, whereas in Hollywood (or so these actors, Michelle Yeoh chief among them, claim), films can be a little more complicated. But in all honesty I have no idea what these people are talking about, because normally HK movies are the most complicated, obfuscated films around. The Longest Nite is no exception.
Two bosses with nearly-identical names are about to end a long war, under the order of an older boss, higher up in the chain. But rumor has it that one of these bosses plans to murder the other, regardless, and Tony Leung, bad cop and employee of one of the bosses, must keep this murder from happening. Sounds simple, but the way in which the film unfolds is anything but. Lau Ching-Wan shows up as a tough-looking bald bastard, but he’s sadly underused throughout the film. Instead we mostly see Tony Leung, driving around while Giorgio Moroder-style synths boom on the soundtrack, beating up and torturing whoever he comes across in order to figure out what’s going on.
So, once you let go of trying to follow the story, you can enjoy the scenes of graphic violence. Such as people getting beheaded, getting their fingernails sliced out, or (best yet) getting run over by cars. Tony Leung is savage in this movie, and throughout its first half you hate him. But then suddenly he discovers that he’s being set up, and as he tries to escape the pit he’s been thrown into, we find that we’re actually on his side now, and want to see him get away. A character arc is one of the most powerful tools in storytelling, and it works nicely in the Longest Nite.
Two things that distract from the movie: one, that the warehouse in which Lau Ching Wan and Tony Leung have their final confrontation just happens to be littered with large mirrors, each of them arranged in rows, a la “Enter the Dragon.” And two, it’s never quite satisfactorily revealed why Tony Leung has been tabbed as the fall guy, other than a limp remark that he always thought the main boss was worthless, or something to that effect.
Overall, a very dark film ? it’s “Hong Kong noir” to the max ? and, mostly, a good film, but not the best thing I’ve seen from Milkway. That would still be “A Hero Never Dies.”
Joe909’s Rating: 7/10
By Alexander
I’m not going to pretend, even for a second, that I understood what was going on in the twisted, excessively violent “Longest Nite”. There MIGHT be something in this film resembling a story sandwiched between gratuitous scenes of torture, vomiting, and beheadings but I’m not about to endure the torment of deciphering yet another convoluted, unnecessarily confusing plot featuring a myriad of characters with similar sounding names. Instead, I ignored (as you should) most of the irrelevant dialogue and meaningless subplots and focused entirely on how cool Lau Ching Wan looks as the silent drifter/killer-type and the unexpected brutality of Tony Leung’s corrupt cop.
Lau Ching Wan is the true star of this film despite speaking only a few minutes worth of dialogue. (But as all HK cinema fans know, dialogue [re: inane banter] is often an annoyance serving only to punctuate, comma-like, scenes of violence and mayhem.) In “Longest Nite”, Lau Ching Wan personifies cool much like his forebears Chow Yun Fat (“The Killer”); Michael Madsen (“Reservoir Dogs”); and Bruce Willis (“Last Man Standing”). All are strong, conflicted silent types with hip, timeless wardrobes. Lau is gangsta bald (MENACING!); retro-garbed from head to toe in denim (CASUAL!); totes around a worn Addidas bag as an accessory (SPORTY!) and has a creepy tattoo crawling up the back of his head (so THUG-like!). All the aforementioned add up to a whole lot of C-O-O-L.
Tony Leung is also brilliant as a sadistic policeman who relishes pounding the hell out of hoodlum’s hands with bottles of ketchup and other condiments. When he’s not smashing fingers with blunt objects he’s using other vicious means (think screwdriver) to extract respect from his victims. Leung effectively alternates between Torturer Cop, Corrupt Cop, Deranged Cop and ultimately Desperate, Greedy, Fleeing Cop. His less than savory role as sadist is a refreshing change of pace from his gentler roles as romantic hero.
Of course, with most HK films, there are a bevy of Things That Cannot Be Explained. For example, a woman projectile vomits on a triad boss and gets punched in the nose repeatedly (and realistically) for no apparent reason. There is also a scene where Tony Leung appears with a shaved head in attempt to emulate Lau Ching Wan just minutes, no SECONDS, after a violent shoot-out and a FULL HEAD OF HAIR!
However, despite the mess of a plot, a near mute Lau Ching Wan, and a host of Things That Cannot Be Explained, “Longest Nite” is highly recommended.
NOTE: Don’t miss the outtakes on the DVD version of “Longest Nite”. There are a couple of humorous bungled takes including Lau Ching Wan repeatedly slamming his face into a windshield; Tony Leung repeatedly missing his cue during the rolling head scene; and the vomiting female…well…repeatedly vomiting which is notable not because of the gallons of faux vomit, but for the priceless looks on her face during each mangled attempt to spew the lumpy matter on her co-stars.
Alexander’s Rating: 8/10
By Numskull
Those who revel in the grit of hard-assed HK cinema, especially the crime/cops & robbers genre, will most likely enjoy this harrowing tale of greed and corruption. Those who don’t will probably dismiss it as worthless, needlessly violent trash. Hey, their loss.
Tony Leung stars as Sam, one of the most crooked big screen cops since Harvey Keitel in Bad Lieutenant. He doesn’t wave his penis around, but he does beat up and torture people rather casually, and he seems to be on more than one payroll. The Longest Nite has a convoluted plot by HK standards, and the fact that the three string-pulling masterminds, Mr. K, Mr. Lung, and Mr. Hung (why the hell did they have to have two of the names be so similar?) almost never appear onscreen doesn’t help matters. Mysterious goings-on and pieces of background history are spoken of fleetingly in the dialogue, and then get promptly forgotten or tucked away somewhere, only to come back and haunt us later on. It’s almost as if The Longest Nite is the reedited latter two-thirds of a longer movie.
Lau Ching Wan co-stars as Tony, a shady drifter with a stupid-looking tattoo on the back of his shaven head. Normally, LCW is a considerably skilled actor, but this particular role isn’t a very good showcase for his talents. He doesn’t do much besides repeat himself and walk around with an “I know something you don’t” look on his face. He pulls it off fine (the role, not the face), but I remain to be convinced that any number of other actors couldn’t have done it just as well.
Certain aspects of the film, such as the flinch-inducing “fingernail” scene, really hammer home the fact that the world in which it all takes place is an infernal cesspool and the people you find there easily thrive in such an environment. I would say that that makes this movie admirably realistic, but, alas, there are stupid plot twists and unbelievable coincidences sprinkled throughout its duration that seriously harm its credibility, such as Tony’s bag not getting snatched up off the ground while he’s away, a kitchen fire spreading WAY too quickly, and a car trunk popping neatly open when it gets rammed by another vehicle. There’s one major event even more absurd than any of these near the tail-end of the film, but I shouldn’t give it away. Believe me, you’ll know it when you see it.
Look past its faults, and you’ll find a fairly worthy story here. But don’t use this movie to introduce someone to Hong Kong cinema; there’s just enough wrong with it to turn somebody off to the whole shebang.
Numskull’s Rating: 7/10
By Vic Nguyen
Among the best films of 1998, Patrick Yau’s The Longest Nite is one of the bleakest, and one of the best crime films I’ve seen in a long time. The plot is a rich tapestry of betrayal, mystery, and deceit, all handled to perfection by two of Hong Kong’s most accomplished veterans, Tony Leung Chiu-wai and Lau Ching-wan (who sports a shaved head). These men give rich, multidimensional performances, and generate so much chemistry on screen together that it is an exhilirating experience on it’s own. Although highly convulated, and sometimes illogical, the film keeps you glued during it’s short 85 minute duration. My only real gripe is the obligatory action sequence, which is interesting enough, but brings the film’s realism and intrigue to a screeching halt. Yet despite this, I wholeheartedly recommend The Longest Nite, a refreshing new masterpiece that is another winner for the Milky Way Image company. (Note- all VHS and VCD copies sport small, nearly unreadable subtitles that is especially evident during Tony Leung and Lau Ching-wan’s tense prison scene (which is filled with bright, glistening lights, making the subs disappear). If you really want to enjoy this great film, I’d suggest you view the DVD, which have large, remastered subs, while retaining the original widescreen scope.)
Vic Nguyen’s Rating: 9.5/10
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