I love wuxia movies — unlike fantasy settings in other cinemas, Hollywood for example, it has been a prominent mainstay of Chinese cinema for decades. For the uninitiated, think back to Crouching Tiger or 90s Hong Kong: period Chinese setting, murky political intrigues, heroic figures battling for a higher cause… or perhaps just for supremacy. There’s something about these worlds that draws you in, whether it’s via the lyricism and allegory of King Hu’s films, or the labyrinthine intrigue and … (read more)
With the decline of Hong Kong as an action film epicentre, it’s been exciting to watch other film industries step up to fill the vacuum. Marketing for Jailbreak positions it as Cambodia’s follow up to films like Thailand’s Ong Bak and Indonesia’s The Raid — a comparison begging to be made. While not quite in the same league, Jailbreak nevertheless goes all out to provide an entertainment-stuffed escapade in its own particular style.
The premise for this grind through the … (read more)
No, not that Scorpion King. Erase the horrifying CGI amalgam of The Rock’s head on a scorpion’s body and the still-running franchise that it became from mind. This Scorpion King is way more interesting to watch. First glimpsed by a school kid through a window at night, he’s ever-ready to spring to the defence of his disabled father with his superlative martial skills and distinctive scorpion-style moves. Hero material. Except his father is a lecherous slave trader and the … (read more)
You only have to do a little digging to come to the understanding that the origins and history of the yakuza aren’t necessarily written in stone. Sources conflict about how they began – as ronin or samurai family retainers, or special police formed to fight organised crime – but most sources can agree that regardless of where they started, their main characteristics involved crime, violence, and their own specific set of codes and rules.
Blood of Wolves maintains this essence … (read more)
Imagine, if you will, a movie where nothing much happens. Now, imagine being captivated by it. Now imagine going away feeling like you just witnessed some of the best, most wonderful cinema you’ve seen in a while. A long while. That feeling? That’s the Kore-eda effect.
Okay, fine, it’s not like Hirokazu Kore-eda is the only director who has the deftness and sensitivity to take the mundane and make it watchable without going over the edge into sentimentality and melodrama, … (read more)
You can call Hirokazu Kore-eda a lot of things: pretentious, navel-gazing, somnolent, repetitive, poetical and astute is just a handful. “Genre master” is most definitely not among them. Regardless of this minor hurdle, Kore-eda dips his toes into Lumet territory for his latest, The Third Murder. Even if you can conjure a marriage between Kore-eda’s signature deliberate, piercing, languid aesthetic and the conventional beats demanded of a murder mystery you wouldn’t be able to entirely capture the essence of … (read more)
(Ed: some might consider the following review to have some small spoilers. If you’re worried about that, go and catch it at the Japanese Film Festival and then come back and read our review!)
The mundane routine of actual police work has never been something that takes front and centre stage on our screens. From the days of the gumshoe detective, to the Lethal Weapons, to Miami Vice and NYPDCSINCIS, being a detective and hunting killers is exciting, dangerous, … (read more)