My Favorite Movies

That's perfect Drama.
Taiyou No Uta or Midnight Sun, features YUI the Japanese Singer and Takashi Tsukamoto from Battle Royale. YUI plays Kaoru Amane, a girl who can plays the guitar, like YUI herself. Kaoru Amane suffers from the rare skin condition xeroderma pigmentosum (XP), a disease that makes the ultraviolet radiation of sunlight potentially lethal to her. In the movie, YUI plays three of her songs. They are. It's Happy Line, Skyline and Good-bye Days. Takashi Tsukamoto acts as Koji Fujishiro, a guy who is trying to learn how to surf. YUI who can't expose herself to the sunlight rays, always looks at Koji, who usually waits by a bus stop for his friends before they go surfing each morning. She develops a crush on the boy, even though she doesn't even know him. As XP begins to work its effect on Kaoru, she soon loses strength in her hand and is unable to play guitar. She assures Koji that this will not change anything, that she still has her voice, that she will sing. This movie is about the girl who plays the guitar under the moon at midnight, and the boy who likes to surf under the sun. When both of them met, their paths intercrossed and their lifes were changed. She returned to the sun soon after that.

Turkce aciklama:
Kaoru gunese cikamama hastaligi yuzunden sadece geceleri disari cikabilir. Tutkusu olan sarki söyleme isini sokaklarda geceleri yapar. Kaoru uzaktan uzakaga Fujishiro Kouji'den hoslanmaktadir. Bir yandanda hastaligi ilerlemektedir. Bir gün Fujishiro Kouji ile tanisirlar beraber vakit gecirmeye baslarlar bundan sonra bir cok sey onlar için degisir... Uzun suresine gore cok az replik var o kisimlarinda bir bolumu filmde söylenen sarkilarin cevirileri. Konusmanin fazla olmamasinin yaninda sade bir anlatima sahip bu da filme bir arti katmis. Kaoru karekteri ayni zamanda Japonya'nin unlu pop sanatcilarindan Yui'dir. Sarkilari cok icten soyluyor gitari ise cok iyi caliyor. Filmin muzikleri ayrica indirilip dinlenilmeyi hak ediyor. Eglendiren ve huzunlendiren bir yapisi var. Butunu ile sevdigim guzel bir film.

"Pearl Harbor" exploded onto the big screen with an impressive publicity campaign that had fans, websites, and other media outlets, counting down the days until its Memorial Day Weekend release. "Pearl Harbor's" approved budget of $145 million made it the biggest movie budget ever to get greenlit. The approved $145 million had to be knocked down to $135 after Joe Roth left Disney to run Revolution Studios. Bay and Bruckheimer waived their front-end salaries to squeeze in under the new budget, and Ben Affleck agreed to work for the low upfront salary of $250,000, and a share of the profits - if there ends up being any. Moviegoers will ultimately determine whether the $135+ million budget was spent wisely, and whether the film is a rip-off of America's history or a fitting tribute to the men and women who served our country during wartime.
While most of the publicity has centered around the battle scenes and the reenactment of Japan's attack on Pearl Harbor, the movie itself is more of a love story in which there just happens to be a war breaking out. Ben Affleck stars as Rafe, a cocky fighter pilot who lives to fly. Josh Hartnett is his lifelong buddy, Danny, an equally talented flyer, and Rafe's polar opposite in the personality department.

Turkce aciklama:

Ikinci Dunya Savasindan bir yil once, yoksul bir ailenin kiz cocugu bir geysa evinde hizmetci olarak calismaya baslar.
Gizemleri gunumuze kadar korunan, sakli ve bir o kadar da buyulu bir dunyada buyuyen kiz cocugu, rekabetin bitmedigi, hatalarin affedilmedigi bir donemde efsanevi geysa Sayuri'ye donusur.
Donemin en guclu erkeklerini parmaklarinda oynatan Sayuri, rakiplerinin tuzaklarina aldirmaksizin gerçek askin hayalleriyle yasamaktadir.
Rob Marshall'in yonettigi Oscar ödüllü senarist Akiva Goldsman'in Arthur Golden'in ayni adli cok satan romanindan uyarladigi yapit...

That's Mecha movie (for future) later 2000 years. :)

That's good.

'Ong Bak' surfs into town on a wave of hype and anticipation generated by leading man Tony Jaa, who was seemingly born suspended on invisible wires mid-round house kick.
Jaa possesses the martial arts skill of his hero Bruce Lee and the chisel-jawed charisma of Brandon. With no wires or digital leg-ups Jaa soars through the air, somersaulting long after gravity should have claimed him, before crunching down on his opponents with perfectly executed Muay Thai moves. Comparisons with Jet Li and Jackie Chan seem inevitable, but this guy is a living, breathing video game character, so small wonder he got started stunt doubling in 'Mortal Kombat: Annihilation'.
But 'Ong Bak' has more to offer than a real-life superhero. Although the postage stamp plot recalls a million kung fu flicks past, the genius is in the telling. Ting (Jaa), a young country boy, journeys to the city to retrieve the head of Ong Bak, the Buddhist statue stolen from his village, and must confront a psychotic crime boss (wheelchair bound and voice-box reliant to boot) who terrorizes the downtrodden. Director and co-writer Pinkaew invests his characters with a vibrant humanity and slyly injects a vein of national pride; Ting, forced to enter an underground fighting competition, works his way through American, Australian, Japanese and Burmese opponents. The morality on display is clear-cut: the warmly-hued village is a good place, the sickly-green, neon soaked Bangkok isn't and profiting from religion is bad, but subtlety is not 'Ong Bak's agenda, just as Bruce Lee, Jet Li and Jackie Chan films rarely muddy the moral waters.
Pinkaew, assisted by choreographers Jaa and Panna Rittikrai, shoots a fight scene with the precision of a grandmaster, moving his camera to capture the power and kineticism of the martial arts sparring, varying speeds to accentuate the physical prowess of a man who is as comfortable fighting mid-flight as he is on terra firma.
As in Bruce Lee's movies the first act teases the audience with brief glimpses of Jaa's ability, before unleashing him in a sustained set piece. Here it is a chase scene (Ting attempts to avoid violence whenever possible) involving Ting, lovable rogue Humlae (Wongkamlao) and the spunky girl Muay (Yodkamol) that places increasingly outlandish obstacles in Ting's path. Watch in awe as he cartwheel between two panes of glass, launch himself through a barbwire hoop, bound over two cars in succession and stepping-stone an escape on his adversaries' heads.
Besides the acrobatics 'Ong Bak' delivers the martial arts goods in spades. Jaa spent four years perfecting the Muay Thai discipline and demonstrates how elbows and knees are deadlier than any number of nunchucks. Through the numerous bouts Ting is forced into, including a showdown in an mountain temple, eye-popping displays of martial arts mixed with WWE style chair and table smashing exhilarate the senses, even as the shattered bones and head trauma occasionally freeze the smile on the face.
Contender Entertainment and Premier Asia have re-scored this release, but any Miramax comparisons end there; the new soundtrack mixes traditional Thai music with a throbbing techno soundtrack, providing a neat emotional complement to the visuals. A sub-plot involving Muay's drug addicted sister has also been pared down, but again not to any noticeable detriment, and the money spent creating a bass-heavy 5.1 sound mix and tidying up the print demonstrate a genuine respect for the film and the genre.
'Ong Bak' is a flashy calling card to be sure, boasting onscreen invitations to Luc Besson and Spielberg via cheekily placed graffiti, but the invention, daring and sheer elation on display announce white-hot new talents in action cinema. A visceral joyride that leaves you bruised, Bak-slapped and buzzing.

This drama was amazingly touching. Its so sad that Aya passed away but her strength really makes you want to live life to the fullest and treasure it.

It may be fair to say that 'Fearless' was one of the most eagerly anticipated Hong Kong films (well, Hong Kong/Chinese) of recent years. The moment that Jet Li announced this to be his very last foray into the genre that made his name, everyone dare dream of him giving us one glorious send-off. Li also noted that he intended his latest project to be an inspiration for China's many disillusioned youngsters, a way of recreating the life of a Chinese hero to serve as a modern day role model. With such lofty goals, much was expected of Ronny Yu's return to Hong Kong cinema and Jet Li's grand farewell.
Young Huo Yuanjia watches his illustrious father training with his pupils everyday, yet the young boy is forced to be a passive observer as he is forbidden from joining in. Huo secretly watches though and soon becomes an exceptional pugilist. When his father dies, Huo takes on the family mantle and is keen to make their name the most revered in the town, beating all rival fighters to enhance his point. Huo soon discovers the ugly side of fame though and a tragic altercation leaves the normally honourable fighter with a death on his hands. This is only the start of a terrible chain of events that costs the life of Huo's beloved daughter and sends the traumatised fighter into oblivion. After the kindness of strangers saves him from absolute despair, Huo returns home years later to discover that China needs this reluctant hero and he has to recall his former glories to succeed against new enemies.
From the sweeping shots that introduce the story to the plush period detail, 'Fearless' is clearly a production with a budget to match its aspirations. Sparring use of CGI shots shows the historic vistas essential for this engrossing story and in Ronny Yu the film has a director with the vision to achieve the goals. Yet 'Fearless' has an earthy honesty that sets it apart from the recent plethora of arthouse swordplay features; it tries to focus as much on the emotional construction of the characters as it is to paint pretty pictures. To those of us who have grown tired of the austere ice sculptures that have passed for swordplay films in recent years, this development is an enticing one. To the Western critics who can happily lap up soul-less cadavers thinking they represent the very best the genre has to offer, 'Fearless' will seem like an uncomfortable throwback to a less self-conscious age. Nevertheless most will be delighted to see a martial arts film with emotional depth and a Jet Li who has left Hip Hop-fu behind.
It is this Li who harks back to his early-90s heyday that carries the film comfortably on his shoulders and it is his return to playing a three-dimensional character that sets 'Fearless' apart. Li's furrowed brow and matured features add to the gravitas of the story's stronger moments and remind us of the thespian who has been in hibernation for the past decade. The Chinese star clearly relishes material that befits his abilities and Ronny Yu provides his hero with enough grandstand moments to prove the point.
Li also excels in the many superbly orchestrated fights that pepper the film, each giving a gentle nod to his previous portrayals of Wong Fei Hung and Fong Sai Yuk. The action is about as grounded as 21st century fight scenes are likely to get, finally looking like it utilised a choreographer rather than NASA. The use of different styles and different disciplines means that each showdown seems fresh and the finale is therefore suitably resonant. There's still a few cinematic tricks employed, but Jet Li is as physically imposing as he was ten years ago and his progressive victories throughout the film still appears believable.
The Western print reviewed here does suffer from a lack of exposition, a factor that has to be taken into account. U.S. distributors clearly don't think we might want a film to engage our soul and very wisely edit out many of those irksome periods of dialogue. 'Fearless' still shines, but the patronising treatment it receives is difficult to stomach. Nevertheless, this is a Jet Li film we can finally be proud of and a Ronny Yu work that will finally stand the test of time. It wisely plays down the pro-Chinese rhetoric, choosing a slightly more multi-cultural message as its closing statement and is all the better for it. All of these factors mean that this proves to be a classy send-off for one of our favourite stars.

Japan continues its reign over horror cinema with 'Ju-on', a massive hit in its home country that is set to repeat 'Ring's international success; the obligatory Hollywood remake has retained director Shimizu and adds Buffy herself, Sarah Michelle Gellar.
Despite being the first theatrically released 'Ju-on' film, this is actually the third instalment of the series, following on from two straight-to-video predecessors.
But, 'Ju-on' can be taken as a stand-alone movie as writer/director Shimizu is less concerned with plot logic than with capturing the mind-bending nature of true terror. Largely and unashamedly indebted to 'Ring's brand of disquieting dread, 'Ju-on' offers a family of ghouls to challenge the petrifying Sadako's fear factor.
Rika, a volunteer social worker, is sent to look in on an elderly lady living with her son and his wife. Rika finds the house filthy and abandoned except for the old woman, but soon discovers an unnerving young boy hiding in a cupboard and is soon subjected to a series of chilling shocks.
But, Shimizu is not content to retread the "vulnerable young woman sleuthing the supernatural" plots of 'Ring', 'Dark Water' or the Korean 'Phone' to name just three. He ambitiously presents a film with no main characters, and no guarantee who will survive as the closing credits crawl.
Through six chapters, named after six different characters, the mystery of the vengeful spirits and the house's murderous history is slowly pieced together. But, Shimizu refuses to provide definite answers for the ghosts' rage, which will frustrate those looking for pat resolutions. Instead 'Ju-on' ambitiously flashing backwards and forwards in time amongst six different people, including a policeman, a businessman, and a schoolgirl, all connected in some way and who, virus-like, pass on the haunting.
Shimizu, who in the credits name-checks his Tokyo Film School mentors Kiyoshi Kurosawa and Hiroshi Takahashi (respectively the director of the unnerving 'Cure' and the writer of 'Ring'), mounts a series of terrifying moments from the outset, using deceptively naturalistic set-ups that reveal hidden dangers in the corners of the frame or glimpses of the malevolent spirits, complemented by a disturbing, anguished soundtrack. Then, with the ease of a grand master he suddenly moves his demonic apparitions out into clear view, mercilessly disproving the adage that what isn't seen will be scarier than what is.
Following on from 'Ring', Shimizu includes one scary piece of video footage and some ominously prophetic photographs and has his unquiet spirits move with Sadako's jerky shuffles, and references 'The Exorcist's spider-walk during the climax, but this is more than mere copycat chills. Expertly conveying the characters' dread as they stumble into a horrific, chaotic vortex, 'Ju-on' recreates the excited tension of watching a horror movie underage (a feeling heightened in two scenes when characters hide beneath their blankets as the ghosts advance on them).
'Ju-on' also adds two fine fright-figures to Horror's hall of infamy with the infant Toshio and his mother Kayoko, slain in the house years previously. Oseki and especially Fuji, whose crab-like crawl and maddened-eyed stare are going to be homaged to death by lesser talents, vividly bring these pale blue nightmares to life. Elsewhere, the panicked living are well represented by Japanese "name talent" Ito, Okina and Takeshi Kitano regular Tsuda.
If you think Japanese horror cinema is becoming mired in recently coined clich?or you simply love being scared, the troubling, dreadful world of 'Ju-on' is required viewing.

Jet Li's follow up to the lacklustre 'Romeo Must Die' promised us a mixture of Luc Besson's 'Nikita' and Jet's finest hour (and a half) 'Fist of Legend'. I almost laughed when I heard that claim, however, my expectations were still high.
There are many good things to come out of this film, with the amount of action being one. From start to finish there are a number of highly violent, stylish and competently choreographed fight sequences. 'Fist of Legend' they ain't, but they jump over and above anything seen in previous American action films (barring 'Drive' and 1 scene in 'The Matrix'), and they?re streets ahead of RMD and 'Rush Hour'. On the downside, good choreography is not the be all and end all of a good fight scene. Camera positioning, editing and music all combine to create the scene, and this is where Hong Kong movies still reign supreme. For all Yuen Kwai and Jet's efforts, it is the MTV-style editing and close-up camera-work which reduces your viewing pleasure. You end up feeling a little sea-sick, wishing the camera man would stand still and the editor would put his scissors away.
The movie has a nice feel to it, with larger than life characters and great scenery. Jet is more assured in his quiet and moody mode, more reminiscent of his Lethal Weapon 4 role than RMD?s almost schizophrenic bad guy/good guy. Bridget Fonda is nowhere near as annoying as some people have made out, while Burt Kwouk is always entertaining. It also had me laughing out loud at one point when Jet is approached in a Bar with the phrase: "Men?s toilets. Now!"
A lad's with lager film, but one that doesn't fail in it's objective: Jet Li kicks ass?violently?and lots of it. I'm still waiting for another 'Fist of Legend' and fear I always will be.

Tsui Hark's 1983 classic 'Zu Warriors Of The Magic Mountain' remains a film that had an impact few could deny. Even if some critics didn't like the actual end product, they had to admit that Hark had given the East a film that would change Hong Kong cinema forever. The innovative director gave audiences a slice of his awe-inspiring imagination and would continue to do so throughout the 80s and 90s. Now in the year 2001 and with local productions utilising CGI, it was perhaps inevitable that Tsui Hark would return to the cinematic world of Zu. Many of the visual ideas that had once been impossible were now able to be presented on celluloid. The result of this mammoth production, 'Legend Of Zu', is something that, while certainly not perfect, is a quite incredible visual explosion that needs to be seen.
Powerful force Insomnia has one intention: the destruction of the righteous forces that inhabit the Zu mountains. A number of heroic fighters, each with their own very special abilities, join together to battle against this superhuman foe. King Sky (Cheng) is a warrior who controls the Moon Orb he inherited from his dead teacher Dawn (Cheung) who he also held a deep love for. Though she had died 200 years previous, King Sky meets a dead ringer in the shape of Enigma (also Cheung) who is one of the chief warriors at Zu's Omei clan. Along with her brother and the recreation of dead warrior Hollow, Enigma vows to battle Insomnia and protect Omei. However, the memories of a previous life as dawn begin to emerge in Enigma's mind and make her ask questions about her relationship with King Sky. Meanwhile, loyal warrior Red (Koo) is asked to guard the entrance to the Blood Cave and ensure that Insomnia or his minions do not escape. Falling foul of a trick though, Red finds himself drawn to the dark side despite himself. A final battle between the forces of good and evil is created when the opposing forces begin to escape their refuge and launch a full scale attack on the Zu mountains. In the intense showdown, King Sky must face his close friend Red and the Omei allies must draw on all their strength to destroy Insomnia.
'Legend Of Zu' has come in for a barrage of criticism from some reviewers. Some have accused the plot of being uninvolving and uninteresting. Although it is complicated and sometimes difficult to comprehend, there is plenty of scope for audience involvement. No doubt viewers familiar with the convoluted original will not have the mental barriers up in the same way many have had. The real point is that 'Legend Of Zu' is a visual cornucopia and should really be appreciated on these grounds. In light of some Hong Kong films that have been critically lauded and forced many to conform to a positive viewpoint, 'Legend Of Zu' is the chance for this brave reviewer to speak out and say that it's a must see. Anyone can splash CGI liberally throughout a film, but few can do it with the sheer mind-blowing imagination of Tsui Hark. Images and scenes featured here will stay long in the mind of the attentive viewer. Some of the critics' repines do have grounds and this is not a perfect film by any means. Although the effects are quite astonishing, there is an overuse in certain scenes that leaves the viewer unnecessarily numbed. With a little more subtlety here, the overall impact would have been even greater. Zhang Ziyi is also shoe-horned into the narrative with little purpose; her popularity means an increased audience, but she is ineffectual here.
Nonetheless, 'Legend Of Zu' is something very special in terms of cinematic experiences. Characters may be merely functional, but the definition of each through their powers is well realised. The star-studded cast are well-used (apart from the aforementioned Zhang Ziyi) and although pretty much playing to type, are highly watchable. The real treat is the sights and sounds that engulf the viewer and absorb them into Hark's astonishing world. Judge this definite milestone for yourself. It has its faults and no-one could call it the greatest movie ever made. Importantly though, this is a fabulous example of how a combination of technology and innovation can still wow the jaded viewer. It's good to see Hong Kong making so many different types of productions and this deserves credit as a significant epic that demands an audience.

Having conquered the new-wave martial arts film with efforts such as 'Once Upon A Time In China 1,2+3' and 'Fong Sai Yuk 1+2', Jet Li began to make inroads into the modern day action film. Some fans and critics were uneasy with the idea of this, but gradually Li became box-office king in yet another outlet of the action genre. 'My Father Is A Hero' is one of the films that established his current reputation and further enhanced his working relationship with action-director maestro Yuen Kwai.
In one of his most challenging roles, Li plays a Mainland cop who is assigned the dangerous task of infiltrating a criminal organisation. After helping one of the criminals escape from a tough Mainland prison, Lee is accepted by those he hopes to bring down and he must now take the undercover role of a cohort to the organisation's boss (Yu Wing Gong). When a fiery deal with rival criminals ends in a gun battle and the police become involved in the fracas, Li takes a female detective (Mui) hostage in an attempt to help the rest of his team to escape. The detective is intrigued by Li's softer side and his refusal to hurt her, so she begins to investigate his real identity. Travelling out to the Mainland, the detective discovers Li's real identity and meets his wife and son in a distant village. Due to a severe illness though, Li's wife dies, but asks the detective to take their son with her and find the undercover hero. However, with Li struggling to conceal his real identity and find the next major target in his gang's series of robberies, Li must juggle his feelings for his son with his dangerous assignment.
Into a very run-of-the-mill story, director Yuen Kwai adds a few levels of depth to the proceedings. Foremost among these is the unique relationship between Jet Li and Yee Sing as the father and son protagonists of the film. Their bond gives the lead character more depth than is reasonably expected of an action film and also creates a number of tension-filled scenes for the audience. Li's performance in this interesting role is very well handled and allows the action legend to flex his emotional skills alongside his considerable physical presence. Fans hoping to enjoy an action-packed film will not be disappointed though as 'My Father Is A Hero' provides some adrenalin pumping set-pieces, notably a classic scene where Li takes on a dozen of the villain's lackies with a pair of tonfa. Unfortunately there is a lack of restraint at the film's finale with the wirework becoming over-used and even ridiculous at times. Within the modern day action film, where audiences are asked to believe what they see and accept many of the film's elements, the fantastical wirework is horribly jarring and laughable, something that doesn't usually trouble the mythologised new-wave martial arts films like 'Fong Sai Yuk'. The film is still an above-average Jet Li vehicle with enough positive elements to make it recommended viewing. Certainly worth watching, aside from its faults.

From the early days of film and 'Nosferatu', walking corpses and creatures of the night have graced cinema screens worldwide in various forms, from the Hammer Horror productions in Britain to the big budget blockbusters of modern day Hollywood. Nowhere seems to have explored the myth of Vampires and Ghosts in the same way as the Hong Kong industry, and their creative versions of such fables have provided numerous classic movies. The King of them all, it would seem, and the one which has caused the greatest stir, would be 'Mr. Vampire'. Unlike the Christopher Lee incarnations which most of us are familiar with, Hong Kong?s walking dead are not suave or debonair, in fact, they don?t even walk at all. They hop! However, this does not appear to stop them catching any normal person racing away at high speed!
For fans of the Jade Screen, 'Mr Vampire' needs little introduction. Lam Ching Ying's character "Kou" is synonymous with horror comedy, and rightly so. Many sequels and spin-offs have since been created, but none can match the ingenuity, cinematography, and sheer class of this original. Lam is always a joy to watch as he exudes the quiet kind of charisma missing in the HK films today, and here provides a quiet, forceful hero whose only mission in life is to fend off the undead. Aided along the way by a goofy Ricky Hui and the ever-watchable Chin Siu Ho, the result is a masterpiece of Hong Kong filmmaking from an era when their films were unbeatable.
As with any film, gripes are to be found, and this is no exception. Those who grew up on Sammo Hung or Jackie Chan may be disappointed with the lack of real fight action, especially when one knows the abilities of both Ching Ying and Siu Ho. But that would be to miss the point of the film. Action is evident here, but hopping vampires are not wing chun sifus so require a different kind of battling, and this is where the creativity and ingenuity of HK is evident, as sticky rice, calligraphied sheets of paper and the famous sword of coins are the weapons of choice. No garlic or Christian emblems here!
In all, this is the definitive comedy horror, which coupled with Sammo Hung's own 'Encounter Of The Spooky Kind' provide the two greatest examples of the genre, and therefore should not be missed.
A point of interest to note; following the success of this film, a Western remake was in the pipeline to star Yuen Wah alongside Tanya Roberts and Jack Scalia. Unfortunately (or not!) this never happened as Roberts' primadonna attitude and Wah's non-existent English halted production. Bey Logan originally quoted Ching Ying as being brought into the American production but has since said it was actually Yuen Wah. It is not known why Lam himself did not travel West to play the part but thankfully for us he continued to star in what would undoubtedly have proven to be superior productions in the East anyway. For more info on the excellent Lam Ching Ying, check out the articles section of this web-site.

With Naruto's main ally/competitor Sasuke now AWOL, team 7 is temporarily down to two but luckily there are plenty of other trainee ninja in the village of Konoha to help out with all of the important missions. On this particular outing, Naruto is teamed with Shikamaru and Sakura to complete the rather mundane task of locating a missing ferret. Then again, trouble seems to follow Naruto around like a bad smell and the group soon encounter a small army of heavily armoured and seemingly invincible warriors. After duelling with their leader, Naruto is knocked into a cavern where he is nursed back to health by a friendly band of travellers. Unfortunately, his opponent is also taken in by the same travellers and although he now seems passive enough Naruto still has his doubts. When the mysterious warrior decides to leave the group, Naruto follows him and uncovers an apparently innocent plan to rid the world of all wars. Of course nothing is ever what it seems in this world and it would seem that these people have a hidden agenda behind their peaceful plans.
Having been less than enamoured with Naruto's first cinematic outing ('Naruto The Movie'), I approached this sequel with a fair bit of apprehension, anticipating a taste of more of the same. However, I'm pleased to report that 'Naruto The Movie 2' is a marked improvement over it's predecessor and I'd even go so far as to say it manages to recapture an essence of the original series. For one thing, the atmosphere of this film is a lot darker with a legitimate storyline (albeit one separated from the anime) and a solid sense of adventure that was capable of keeping me engrossed throughout. The action on display is also pushed up a notch with particularly notable duels in both the opening and closing of the film that even find time to throw in a few variations on Naruto's somewhat over-familiar signature moves. As an added bonus, side characters like Gaara and Kankuro make an appearance which assists in maintaining a sense of association with the show as well as offering up another chance to see some of their impressive ninjutsu techniques.
Unfortunately, although this film does cater more to fan's of the franchise, it's still impossible to say that this is a perfect adaptation by any stretch of the imagination. My main problem with it, and one that I also felt plagued the first film, is that there is an obvious lack of recognisable character traits which means it always seems to be somewhat superficial in appearance. Admittedly Naruto does still retain his dogged persistence that always keeps him coming back for another dose of punishment but the majority of the other characters seem to do nothing more than fill in a few of the gaps. Sakura, who was a major character in the manga, has very little to do here and her relationship with Naruto is practically non-existent. Meanwhile, the welcome reappearance of Gaara is slighted by the fact that his persona seems to be a mere shadow of his former intimidating self. The new players for this outing are also instantly forgettable and it's disappointing that the writers constantly see the need to add a "troubled" teen into the mix and then bore us with another supposedly emotional back-story that has led them down the path to the dark side.
Although it's still far from the quality we have come to expect from the Naruto manga or anime, 'Naruto The Movie 2' is clearly a much more fitting slice of Ninja pie to entertain fans between episodes. With a third and fourth part already completed, here's hoping that the creators continue on this upward spiral as it's evident that Naruto still has plenty to offer.

For Chan's true fans, this has got to be one of his most eagerly awaited films since 'Drunken Master 2' a decade ago. Much has happened since then, including his disappointing outings in Hollywood, not to mention his clearly deteriorating physical condition (he is over 50 now!). As a result, I have learnt to reign in my expectations a little, as I know we will never see another film to rival the original 'Police Story' or the aforementioned 'Drunken Master 2'. Consequently, I went into this film hoping, but not expecting, something to make up for recent disappointments. Thankfully, this is what I got.
Although this film has Police Story in the title, it is never meant to fit into the original saga's timeline. It truly is a "New" Police Story in that it is a reinvention of the Hong Kong Cop Hero movie and not a remake or sequel. I am quite glad for this, as although I would dearly love to see the character of Chan Ka Kui return to the screen, I know deep down that nothing could live up to the original 2 movies so why set yourself up for a fall?
What we get instead is a modern day Hong Kong movie together with the bright OTT characters, short fight sequences and CGI aided special effects that are synonymous with the industry these days. Added to this is something that has been lacking from some of the bigger budget HK output recently ? namely a bit of emotion.
Chan plays Inspector Wing, a senior officer in the HK Police, and is famous for his success. Unfortunately, a group of bank robbers bring his impressive track record to a spectacular end, culminating in the deaths of many fellow officers. As a result, Wing blames himself and turns to alcohol, pushing away all those close to him. Almost a year after this disaster, a police transferee, Frank (Nicholas Tse), arrives on the scene without warning and forces his way into Wing?s life, pushing him back into action to get those responsible.
It's great to see Chan take on a serious role once again, and at times this movie reminded me of earlier classics 'Crime Story' and 'Police Story 2'. Comedy moments are brief, but one in particular where Wing and Frank try to escape from the police station undetected had me laugh out loud. Otherwise, Chan plays it straight, and some of the scenes are genuinely emotional and raw.
In terms of action, there is not a great deal of hand-to-hand combat. What little on offer is neatly choreographed and expertly executed, as one would expect. There is some use of wires, but this is not a new thing, and contrary to popular belief Chan has used them for years to enhance kicks and impact reactions. Thankfully, there is little noticeable doubling proving that Jackie can indeed still bust a move. The rest of the action sequences are typical gunplay and pyrotechnic sequences, which cannot be avoided if you?re making a modern day actioner. All in all, the action is good, but if that's all you want to watch the film for then you may end up disappointed.
The point of any review is essentially to let the reader know if a film is worth watching and if it would appeal to them. On these counts I would say that the film is undeniably well made and polished. The performances from all parties are excellent, and Jackie has reinstalled a little faith in me that he is still capable of making a good action movie. Therefore, I recommend to it to all of JC's fans as well as those who like a well-made action film. To those who want to see another Police Story to rival the original, then I suggest you stop waiting, be realistic, and just enjoy the films he is making... like this one.

When his family moves home to the Gangnam area of Seoul, shy and introverted Hyun-Soo (Kwon Sang-woo) is forced to transfer to the notorious, militaristic Jungmoon High School, where violent bullying is rife and severe corporal punishment is meted out for even minor misdemeanours. There he makes friends with the charismatic Woo-sik (Lee Jung-jin), the school's most skilled fighter and develops a crush on Eun-ju (Han Ga-in), a girl from a different school who rides on the same bus. Away from school, Hyun-soo spends his time idolising Bruce Lee and practising tae kwon do at his father's gym. As Hyun-soo struggles to develop his relationship with Eun-ju, the violence among students and teachers, at Jungmoon, is escalating and the only way for Hyun-soo and Woo-sik to survive is to take a stand against those responsible.
Since the 1970's, Bruce Lee has been a hero to millions of people. As well as being a gifted martial artist and an icon of cool, in his films he often played characters who stood up to oppressors and bullies. This made him someone the downtrodden and the bullied idolised and were inspired by. Bruce Lee references appear throughout Ha Yu's semi-autobiographical tale of 1970's high school life. At the beginning of the movie we see a young Hyun-soo thrilled as he watches Fist of Fury. Later we see him mimicking Bruce and enacting scenes from his films with his class mates, reading a Jeet Kune Do instructional book and even practising with nunchaku. These are minor details and the real Lee influence appears in the films final fight sequence but I'll come back to that later.
The film is a pretty simple story of a young man's school days. Hyun-soo is a shy and awkward boy who makes friendships, falls in love and does most of the things a teenage boy does while trying to cope with the institutionalised violence from teachers, the army staff (who dispense the more brutal punishments) and violence from fellow students. It's a system where beatings are passed down from the strongest and most powerful to the weakest and seems to show how violence only leads to violence.
As Hyun-soo's relationships grow his character begins to open up and allows the audience to really start to connect with him. Kwon Sang-woo carries the film very well. He's endearing, not overly melodramatic and thoroughly believable as the lonely new boy and later the angry young man who's ready to fight. The romance elements of the film aren't predictable and mostly veer away from melodrama. It's sweet, touching and carries an honesty that runs through the all parts of the film. The performances, from a solid cast, and the writing are believable and will likely strike a chord with anyone who's experienced bullying, unrequited love and fragile, childhood friendships (which will most likely be everyone).
The believability also extends to the action scenes. They aren't slick and neat affairs that you may be used to from Hong Kong films. They're frenetic brawls with occasional moments of well executed tae kwon do kicks and punches. The rawness of the fights make them gripping and very exciting to watch. Hyun-soo is, towards the end of the film, seething with frustration and anger towards the bullies that erupts in blistering style and this is where the Bruce Lee influence is felt the most strongly. It's reminiscent, emotionally rather than stylistically, of Bruce's assault on the Japanese dojo in Fist of Fury. Filled with a Lee-like righteous anger, Hyun-soo makes a stand and takes on the bullies in a heart pounding, brutal and thrilling finale that any action fan will enjoy.
This is a well acted and written coming-of-age drama with some intense fight scenes. An absorbing and thoroughly enjoyable movie.

While the premise of alternate identities is not an original one, it is an idea which has proven popular in Hollywood for decades. Jean Claude Van Damme's 'Double Impact' proving the best known amongst action fans. 'The One' tries to add a fresh dimension to the old adage, and was originally formulated as a starring vehicle for WWF's The Rock before he committed himself to 'The Scorpion King'; a 'Mummy' spin-off.
While not a conventional martial arts actioner in the usual Jet Li style, it is refreshing to see Jet in another different role. He still plays a cop, as in a dozen other films, but this is certainly more ?Hollywood?, and as such, will appeal to a different audience, even if it alienates some of his hardcore fan base. The plot is paper thin, with little characterisation taking place in the short running time. In its place are a number of special effects set pieces and action clich?leading up to the ultimate showdown: Good Jet versus Bad Jet. A mouth-watering prospect!
To be fair, the finale is excellent - a pure adrenaline rush, combining innovative choreography and state of the art special effects. What will please many is the length of the fight scene, which shows how the Americans can just as happily sit through a ten-minute fight as a two-minute one, if it is tackled in a way that suits them. Prior to this, all action sequences seem to be over before they begin, but are suitably impressive, and the camerawork and slow motion actually enhance Jet's moves for a change.
All in all, one for the mainstream family, and I can't help feeling that this version of the film is so much better than it would have been had The Rock been available. As a result, Jet should be applauded, but he still remains an unknown quantity in the Hollywood market, as many producers still don?t know how best to use him. I hope his truly breakthrough role comes sooner rather than later, as he isn't getting any younger, and who knows how long this Western 'Hong Kong' obsession will last.

Worth seeing just to hear Jet say: "I'm no-one's bitch!"

When 'Ong Bak' was released back in 2003, the film was internationally acclaimed for introducing a new action movie messiah in the form of Tony Jaa. This young Thai actor showed a spark that many had thought to be extinct within the action movie hemisphere as he demonstrated an impressive onscreen presence combined with an extraordinary ability in the Martial Arts (not to mention a willingness to suffer a few cuts and bruises for the sake of his art). The huge buzz surrounding Jaa and 'Ong Bak' naturally meant that a follow up film would be on the cards and it wasn't long before 'Tom Yum Goong' came to fruition, but would it live up to all the hype or was 'Ong Bak' a one hit wonder?
Kham (Jaa) and his father live the simple life in the heart of Thailand, raising two beloved elephants who they hope will eventually be offered up as a token of their love for the majesty of Thailand. However, before they are able to fulfil their destiny, the elephants are stolen by an international mafia syndicate who smuggle them out of the country. Kham is furious and decides to follow the gang to their native land of Australia in an effort to bring the missing members of his family home. Once there, Kham finds himself being chased by both sides of the law despite doing nothing wrong and it doesn't help that he has no grasp of the English language. Luckily for him, he manages to beat the information out of members of the gang and it isn't long before he is hot on the trail of his elephants. Now Kham must go head to head with some of the most powerful fighters around in an effort to reunite his family!
As far as the story goes for 'Tom Yum Goong', its highly likely that this outing will suffer slightly more during the translation process than it's predecessor did. This is not to say that it possesses an overly complicated scenario but rather that it relies heavily on the spiritual significance that elephants hold in Thailand, a concept that will undoubtedly be considered outlandish by an often blinkered mainstream Western audience. Unfortunately, this isn't aided by the fact that the plot often fails to go beyond the extremely basic "man searches for elephant" boundaries and is regularly used as nothing more than groundwork for the next fight sequence. That said though, what this film does offer is a lack of typical Western action movie clich?as it maintains its own distinctly Thai roots for points of reference. This gives the film a refreshing approach and style that, although lacking in the slick production values of it's Hollywood counterparts, is attractive in a raw sense and brings back a little of that magic that once dominated Hong Kong cinema in its early stages. What worries me though is that Jaa's films (much like a lot of the kung fu films of the 1970s) have already built up a small following that may never experience the film's distinctively Thai elements as these are the same people that have the tendency to fast forward through all the so-called "boring bits" just to see the action.
Assessing 'Tom Yum Goong' on acting merits is another hefty challenge considering there is very little room for any of it's stars to prove anything beyond their adeptness at on-screen fighting. It is obvious to anyone though that Jaa is a talent who is very capable of holding down a leading role as he employs all the heroic mannerisms where necessary and clearly grasps your attention with ease (although I would say his voice is occasionally weaker than it should be). Alongside him, Wongkamlao pops up once again as the comic relief although quite where his humour lies is often beyond me but it is fair to say that I may be missing out on some superior wordplay thanks to the language barrier. However, he can't really use that excuse too regularly here as he attempts to speak English for the majority of the film (which is sometimes very difficult to understand) and his lines are basic and more often that not unwelcome ones. The western cast however easily win the award for worst performers as their line delivery is truly atrocious, making one wonder whether the casting directors just waited outside the 'Neighbours' studios looking for any possible cast offs that would work for free.
In all honesty though, all of the above can perhaps be considered secondary as a huge majority of people watching this film will approach it with high expectations on the action and little regard for the surrounding cinematic fundamentals. On this basis alone, I'm happy to report that 'Tom Yum Goong' will not fail to entertain and delivers on almost every account. Tony Jaa is once again absolutely outstanding in his displays of physical dexterity and stuntwork, making the fights here invigorating and exhausting to watch. Rittikrai also does him proud by choreographing each sequence with a refreshing originality and inventiveness that has rarely been seen in action cinema throughout recent years. One sequence that perhaps highlights this fact sees Jaa fighting a group of bad guys as he ascends numerous flights of stairs but what makes this standout is that the entire scene is all shot in one single take! This type of action does come at a price though and even though it is amazing to watch, one can't help but feel that a lot of the sequences are centred around showcasing Jaa's obvious talents and often appear transparently staged. In my opinion, viewers need to feel a sense of urgency and danger within these scenes (an element of action cinema that Jackie Chan has down to a fine art) to allow you to become fully immersed in the film and without this, we could just be watching any fighter's showreel.
Let's face it though, no matter what reviewers like myself report on this film it is still going to be a huge success because the action alone makes it standout from the crowd. However, I am happy to say that 'Tom Yum Goong' is definitely a worthy follow up to 'Ong Bak', maintaining it's uniquely Thai flavour and serving up some action that is truly out of this world but just don't expect a storyline to match.

Yet another electric year for Johnnie To and Wai Ka Fai's 'Milkway Productions' saw the release of such diverse features as 'Love For All Seasons', 'Running On Karma' and this splendid production. An adaptation of Jimmy Liao's graphic novel, 'Turn Left, Turn Right' is one of the most delightful and genuinely disarming productions to have come out of Hong Kong in the past few years.
Set in Tai Pei, 'Turn Left, Turn Right' follows the story of aspiring violinist John (Kaneshiro) and shy translator Eve (Leung). The two go about their daily lives blissfully unaware that they live next door and only meet accidentally in the park one day. As their meeting progresses, both of them realise that they have met previously; a long journey on the train saw their two respective schools meeting and John and Eve slowly falling for each other. Unfortunately, neither of them knew the other's name and so they have drifted apart until this fateful day. Determined to stay with their soulmate, John and Eve exchange numbers and resolve to meet again for another date soon. Yet again though, a cruel twist means that both of them lose contact and are frustrated that they have no obvious means of meeting again. Broken-hearted, John and Eve try desperately to find the other in Tai Pai and, ironically, the incidents that occur along the way are almost identical. To add further stress to the situation, John and Eve are then the respective subjects of unwanted affection: John is 'stalked' by a feisty young woman who works at the local fast food outlet while Eve is targeted by an amorous doctor who she went to college with. The search continues despite these obstacles, though things continue to look bleak for the young lovers ever meeting again.
On the surface, 'Turn Left, Turn Right' is a romantic comedy that is too preposterous and reliant on coincidence to succeed. The idea that two people could live next door for so long and be so determined to find each other without ever casually bumping into one another is difficult to swallow. However, to try to examine it with this line of thought is futile as much of the winning charm of the story is reliant on a feint touch of surrealism. The intention is to carve out a simple tale about the frustrations of meeting that someone special and in this area Johnnie To and Wai Ka Fai succeed with laudable aplomb.
The general premise of 'Turn Left, Turn Right' is given life by its sublime set of characters and, of course, the gifted performers behind them. John and Eve are an affectionate and thoroughly winsome couple of lovers, full of subtle inadequacies and quirks, yet always believable. Characters who are slightly nervy and, to some, neurotic are very difficult to write as the audience can often feel slightly bored by any overuse of 'kookiness'. John and Eve manage to avoid any of these difficulties and the results make 'Turn Left, Turn Right' the achievement it is. Beyond our heroes we can also savour two amusing supporting players who add a zestful energy to the storyline. Not only is the actual characterisation superior, but the performances are especially noteworthy. Takeshi Kaneshiro has rarely been as fascinating as he is here; his performance is similar to the one he gave in 'Anna Magdalena', full of nuances that make him a very sympathetic individual. Gigi Leung also shines as Eve, managing to radiate vulnerability with a radiant beauty that she has only briefly succeeded in combining before.
'Turn Left, Turn Right' makes good use of its relatively exotic setting, utilising luscious photography and a pleasing use of its Tai Pei setting. The obvious fact that the narrative takes place away from the usual Hong Kong city landscapes gives everything a fresh feel that undoubtedly adds to the overall energy of Johnnie To/Wai Ka Fai's stellar efforts. There's also some sweeping crane shots to admire; these aesthetic strengths are further indications that this is a production that oozes quality and sophistication. 'Turn Left, Turn Right' excels in most departments and it's always comforting to see such care and attention taken in front of and behind the camera.
In the final analysis, 'Turn Left, Turn Right' is a minor miracle. It's difficult to avoid over-gushing praise, but this is a sweet, enchanting romantic comedy that has enough moments of genuine empathy to fill a dozen lesser films. In an age where 'sweet film' has almost become a derogatory term, 'Turn Left, Turn Right' is a cinematic joy that is touching, amusing and uplifting. Any film that can combine all of these virtues is worthy of praise - it's no surprise then that I have given this gem the highest mark I can bestow.

A lot of bad things have been said about this movie concerning it's lack of originality or over-reliance on special effects and, having never been a fan of Andrew Lau style films or HK imitations like 'The Matrix, you could say my expectations were quite low. However, in the end I was pleasantly surprised by what I saw.
Kim Kyung Soo is a problem child who has been transferred between several schools due to his wreckless behaviour. When he finds himself relocated to Volcano High School it would appear that he has found his greatest challenge to date as within this school lies a secret manuscript that supposedly offers it's bearer the chance to rule the world. Therefore, the stage is set for several martial artists to lay down challenges to become the owner of this important document. As Kim finds himself drawn into this web of rivalry he must make the choice between siding with one of the factions or going after the power for himself.
It's probably fair comment to say that 'Volcano High' doesn't exactly break new ground but to call it dull and unoriginal does not do it justice. Okay, the plot does occasionally create a certain degree of confusion and there aren't any revolutionary advances in film making but as a stand-alone action film it does more than just a few things right. With it's comic book approach that lies somewhere between Japanese anime and the 'Streetfighter' computer game, 'Volcano High' offers humourous, larger-than-life performances combined with exaggerated visuals that give the film an energetic feel which sweeps the viewer through the running time. These factors are also complemented by the dark and brooding locales that showcase almost colourless backgrounds, all of which are expertly shot with bucket loads of style. I ask you, what more could any action fan ask for?
When it comes to the new breed of action, I (along with many other long term HK movie fans) have found myself struggling to get to grips with the special effects induced wire-fu that is filling all the big budget blockbusters but with 'Volcano High' I was strangely accepting and captivated by the action sequences. For me, the major difference between this film and others that have come before it is that it never disguises that it is a supernatural flick with superhero type characters so it doesn't build up any expectations about the action you are about to witness. Instead, you are treated to well choreographed fight sequences that use just the right amount of CGI effects to represent the special powers whilst never allowing the computer effects to dominate the combat. This is coupled with succinct direction that shows all the action properly without an abundance of slow motion or choppy editing techniques. To be honest, if we must accept that the golden days of 80s Hong Kong action are far behind us then this is how I would like the new style to be presented.
Overall, regardless of whatever else has been said about this flick, there are still many reasons to recommend it. Watch it for the humourous leading performers; watch it for the exhilarating action; watch it for the stylish directorial approach but mainly, watch it because it's FUN! It has it's faults but what film doesn't so I mark it down as another very successful entry into the action genre that truly deserves four stars.

In the space of just a few months at the end of 2004, Andy Lau made two films that examined that age-old story of the master thief. 'Yesterday Once More', while a reasonably big success in Hong Kong financially, was a pallid, superficial production that featured characters with so little appeal that the overall film collapsed in the middle. Meanwhile, Feng Xiaogang's attempt at a deeper look at thieves and morality, 'A World Without Thieves', sank without a trace in Hong Kong, but chalked up an impressive gross in its native China. Whether this indicates that the Hong Kong populace have little interest in the earthy, more ambitious productions of their Mainland cousins has been debated, but there's no doubt that the two films tackle their subject in very differing ways.
Wang Bo (Lau) and Wang Li (Liu) are two wily thieves who are partners in crime and in romance. Using their various skills to trick and extort money from a wealthy, but odious Chinese businessman, they head into the Chinese wilderness to plan their next move. During the journey, Li announces that she wants to dissolve the partnership and is feeling particularly guilty about their long life of crime. The indignant Bo leaves her in the wilderness and drives off to further his own dubious career. Coming to her rescue is a guileless young worker nicknamed Dumbo and his sheer wide-eyed innocence leaves an impression on the contemplative Li. Dumbo has saved his earnings as a craftsman to return home, marry and build a house and heads off to catch the train across China, despite his colleagues warnings about the various thieves that infest the land. Li decides to act as his protector and gain some measure of redemption. On boarding the train, Li and Dumbo meet Bo who has followed his old partner throughout her travels and is very eager to get his hands on Dumbo's savings. Also making the long train journey is a band of master thieves lead by enigmatic, idiom-spouting Uncle Li who are also alerted to the possessions of the innocent traveller.
While 'Yesterday Once More' presented its two criminal leads as some kind of opulent superheroes, 'A World Without Thieves' gives a far more realistic and damning account of this 'profession'. Feng Xiaogang doesn't try to turn his characters into people we, the audience, should be in awe of; his approach shows all of the dishonest and duplicitous battles that are constantly fought among them. Though Bo and Li are shown with their ill-gotten gains, the director is careful not to make the mistake that Johnnie To made when he presented two unpleasant lead characters with a kind of lifestyle we were meant to envy. For this more introspective look at the theme, Feng Xiaogang deserves at least some credit.
Saying that 'A World Without Thieves' is a far more capable film than 'Yesterday Once More' is hardly saying much though - it's a bit like saying that a slap in the face is better than being shot by a crossbow. Indeed, this production has flaws of its own which, although not quite as obvious as Johnnie To's lazy production, still hamper whatever hope there is of this being a first-rate success. Initially there is a solid theme to the film, with the message of redemption and the contrast between the purity of Dumbo and the shady individuals that surround him making for an enticing examination. Eventually, 'A World Without Thieves' gets a little too absorbed in its crafty villains and their constant battles to make a deeper impression.
For the first half of the film, the juxtaposition of Dumbo and the thieves has a pleasing tone that actually commends the innocence of the reluctant hero. While his complete trust in everyone around him seems a tad too overplayed, Feng Xioagang does have an admirable respect for his pivotal character. Dumbo's description of the honesty of his home village is a touching contrast to the scurrilous Uncle Li and his cohorts. Though Dumbo is an obvious tool to signify vindication and a means for Wang Bo to show her own change of heart, it works quite adequately for the film-maker's needs.
As the film heads towards the hour mark though, the whole theme it had painstakingly set up is dismantled and the remaining 50 minutes becomes an empty series of repetitive tricks. There's only so many times that Dumbo's stash can be stolen and replaced without a distinct feeling of disinterest creeping up on the viewer. Dumbo, as a character, gradually disappears from the narrative and it is left to Bo and Uncle Li's employees to exchange pointless displays of talent and bravado. Feng Xiaogang also becomes over-absorbed with the kind of flashy, quick edit slow motion that has made fools of countless directors. A well told story with crafted characters will always show a director's credentials far better than these empty tricks.
'A World Without Thieves' also suffers from having to rely on characters who produce little empathy even though they're evidently meant to. Wang Li is primarily shown as a woman whose redemptive actions towards Dumbo would appear to show a genuine change of heart; eventually, though, Li's change owes more to a gnawing self-pity than any genuine care for Dumbo. This is certainly unintentional, but it still resonates fairly powerfully at the end. Meanwhile Wang Bo is shown as a thoroughly selfish individual who is then 'redeemed' by some closing actions; such a change from the threatening, self-interested criminal to the altruist is romanticised, but never sympathetic.
One area where the film excels is the visual power it transmits. Despite some poor-CGI, the cinematography is luscious as is the sumptuous Chinese landscapes. Even in the confines of the train - where most of the story takes place - there is a visual glow that imbues the production with a certain elegance. Wang Liguang's musical score also dovetails nicely with the epic vistas that the drama is played out against. Although there is a lapse into a series of Mandarin ballads that add little potency to the story, the sweeping score that permeates most of the film is a major asset.
'A World Without Thieves' is entertaining, but never fully achieves what it aspires to. Andy Lau and Rene Liu in particular acquit themselves well with their roles, as do the varied supporting players. Nevertheless, this is a lustrous production that flatters to deceive, aiming for the intellect, but eventually preferring to show empty spectacle and supposed depth.

The subject of terminal illness is such a delicate subject to represent on screen that the risk of failure is remarkably high. There's either the possibility of manipulative melodrama or humane sentimentality - the difference between the two can sometimes be a mere hair's breadth apart. Perhaps that is why Western film-makers avoid the premise while choosing even more challenging ideas to convey on screen. Oh Ki-Hwan's remarkable 'Last Present' bulldozes through the potential pit-falls of the storyline and delivers a immensely moving drama that never betrays its Korean core.
Yong-gi is an unknown comic who is desperate to break into the big time, but has to content himself with a warm-up act he shares with his loyal sidekick. Every night he comes home late having toiled away fruitlessly, waiting to be noticed and given a chance on Korean television. His young wife Jung-Yeon constantly belittles him on his return and their lives seem to be heading off in different directions. What Yong-gi doesn't know is that his bad-tempered wife is terminally ill and her aggressive nature is a combination of the pain she's in and her desire for Yong-gi to be a star before she dies. When the comedian discovers the truth through an unlikely source he is naturally devastated, but keeps his discovery quiet until he can fathom out what to do. As the couple hide their respective knowledge, the arguments continue and the tensions increase, though Yong-gi persuades two con-artists he had earlier tangled with to plan a surprise for his beloved. As Jung-Yeon's health deteriorates her husband tries to realise their dream while also enjoying his last days with the woman he loves.
Unlike some Asian films that have included terminal illness as a morbid twist near the end of the film, 'Last Present' introduces the disease early on and then spends the rest of the duration working up to the tragic conclusion. 110 minutes of such powerful material may not sound like comfortable viewing, but it proves to be an exceptional examination of how ordinary people deal with terrible maledictions. It is a very emotive production and yet the inevitable heartache is only one part of the film.
The central narrative does admittedly go of on an unusual, at times uncomfortable, tangent. The idea that Jung-Yeon feels it is better to keep her illness secret and then belittle the man she loves is a strange one; their is a maddening lack of between the lead couple, a feature that is frustrating from a viewing perspective. Nonetheless, 'Last Present' is a film that rewards the patient, adding layer after layer of information throughout and weaving in some poignant flashbacks to flesh out the characterisation. There are areas that require more attention - such as the death of their child - but director Oh Ki-Hwan ensures that there is enough detail in the story to make the leading characters empathetic and their situation sorrowful.
As with all great films, 'Last Present' features a few pivotal scenes whose power linger on long after the closing credits. The moment when Yong-gi breaks the terrible news to his estranged parents and begs for reconciliation is intense as is the subsequent family photograph taken of them all. The film ends with a suitably moving scene where a stage routine by Yong-gi is juxtaposed with the final shots of Jung-Hyeon slow demise. Such a flawlessly executed conclusion underlines the power of this superb Korean drama. The music score is admittedly heavy-handed at times, but the general tone of the production is realistic and avoids falling into the melodrama common to poorer versions of the same theme.
'Last Present' will not be to everyone's tastes, though it's recommended viewing to every lover of Asian cinema. Exceptionally acted, quirky without sacrificing the central poignancy and ultimately very effective, this is Korean cinema at its best. It may tread predictable ground, but the development of the story and the subtle efficacy of key sequences means that this is a production of outstanding quality.

Hong Kong's official entry for the 'Best Foreign Film' category of the Academy Awards is a visually ripe post-modern musical which borrows the 'film-within-a film' concept from the glorious 'Singin' In The Rain' (minus the ebullient spirit of the Gene Kelly film) and takes it off into the direction of angst-ridden drama.
Young film star LinJian-dong (Kaneshiro) arrives in Shanghai to start work on the new production by jaded director Nie (Cheung), but his appearance in the cast reveals an ulterior motive. Lin is more focused on his co-star and ex-love Sun Na (Xun) than the actual task in hand and he finds himself haunted by memories of the love they originally shared. Sun has long forgotten the past, though, and pretends that her years scraping a living together with Lin never happened. Art imitates life as the storyline of the film mirrors this drama perfectly and the two stars confront their past through the characters they play. Director Nie also has feelings for his muse though and is troubled by her seeming indifference to him. Gradually Sun's icy demeanour begins to melt and her hidden emotions begin to resurface, a change in character that recalls the woman she once was.
With a luscious Shanghai setting made to look especially sumptuous by Peter Pao's exquisite cinematography (not to mention Christopher Doyle's work in the Beijing sections), 'Perhaps Love' is a feast for the eyes though offers less nourishment for the soul. That's not to say there isn't much to savour here, but it is an object of wonder rather than a production that engages the audience emotionally. Each character is tortured in that martyred way that seems unique to the worlds of arthouse cinema; much looking into the middle-distance by the players and long, solemn faces attached to the bodies of beautiful film-stars. Peter Chan, though, has tried to dabble in a genre that has only just been rejuvenated in Hollywood let alone really embraced in Asia and for such an adventurous spirit, he deserves acclaim. Chan may not have given us an emotional maelstrom, but 'Perhaps Love' is far from a waste of time.
Brimming over with spectacle and style, this is the kind of Eastern production that always seems to entice the Western critics perhaps due to its reverence to the great Hollywood musicals of the past. 'Perhaps Love' does not share the usual exuberance that celebrated musicals of the past have enjoyed and takes its themes more from classical opera than the traditional musical. Nevertheless it revels in the visual opulence that films like 'Moulin Rouge' and other Hollywood musicals have been keen to exploit while also reserving its energies for the lavish musical numbers. Peter Chan's film is therefore an accurate conversion of a popular genre, but also an attempt to subvert certain conventions and by so doing celebrate its Asia identity.
The litmus test for movies of this ilk is obviously the set-pieces and these do not disappoint. A knowledge of Mandarin is an obvious advantage, but the sheer passion behind the songs means that they transcend the language barrier. It also helps that the two male leads have very distinct vocal talents that add their own individual weight to this heady blend. Peter Chan also calls on an array of worldwide talent to give these dramatic routines the stamp of quality they need and the combination of East and West is a joy for the eyes and ears. These also prove to be the more involving moments of the production as the standard scenes of drama lack resonance while there are too many of the aforementioned self-conscious touches that are obligatory in many 'arthouse' films.
The characterisation may be flawed and the emotional content calculated, but the narrative structure is admirably executed. A post-modern enigma within a puzzle, it toys with our perceptions of reality and what is actually fictional. This succeeds in keeping the viewer alert and offering a gentle challenge that most other genre films rarely provide. While the other short-comings ultimately unbalance the film, the narrative is masterfully manipulated by a director who is not intimidated by the relatively extravagant budget. Chan also plays to the strengths of his cast, letting Takeshi Kaneshiro trade on the pained matinee-idol he often plays and offering Zhou Xun as an exquisite foil for him to play off. Jacky Cheung is good as the troubled director and, despite appearing slightly too young to give the part its full gravitas, gives some indication of what is going on beneath his steely exterior.
'Perhaps Love' triumphs with its production values, flexibility and ability to fully realise the potential of its exotic setting. Though it disappoints with the actual heart of the film, there is nonetheless something quite welcoming about a work that is so different from the usual fare.

In this time period, an unknown country is quarantined off from the rest of the world and finds itself ruled over by a tough dictatorship who employ a sect of assassins known as the Takemikazuchi to keep the peace. Amongst their number is a young girl by the name of Yuki (Shaku), whose family were the founding members of the clan. As her 20th birthday approaches, Yuki is suddenly faced with the awful truth that her mother was murdered by the current leader of the Takemikazuchi clan who calls himself Byakurai (Shimada). Opting to immediately seek revenge, Yuki finds herself outmanoeuvred and out-manned so she is forced to flee for her life. On the run, she comes across a young man by the name of Takeshi who treats her injuries and shows her that life is not all doom and gloom. However, Yuki is now faced with the dilemma of pursuing her new, and decidedly happier, lifestyle or facing her past and exacting the revenge she craves.
With the emergence of 'Versus' as one of the most popular action films in recent years, it was only a matter of time before Japanese filmmakers once again dipped into this genre. As such, 'Princess Blade' is their latest entry that is inspired by a Manga series and comes armed with an added element - the experience of Donnie Yen as action choreographer! So let's answer the question on everybody's lips straight away, is this film as good as 'Versus'? Well, the very simple answer is a straightforward "No". In truth, it's not even in the same league as, despite the best efforts of the cast (Shaku in particular), the over familiar story and poor pacing can, at times, make this film quite dull to watch. The post-apocalyptic vision of the future and marauding teen gangs that frequent this scenario seem to be recurring themes throughout Japanese cinema (see just about any manga series as an example) but no one seems to have told them that this story is wearing very thin. Added to this, Shinsuke Sato seems to have no idea how to pace an action film as even though the film opens and closes with a bang, the entire middle section of the film is devoid of any real revelations and seems to just fill in time before we finally reach the closing confrontation.
As for the action, Donnie Yen's presence does indeed prove to be a bonus here and his expertise is employed wisely. Each battle is well choreographed with some lightening fast swordplay and kung fu that benefit from Yen's trademark slow motion camera techniques and familiar use of split kicks. It's also interesting to note that, for some reason, either Donnie or the director has opted not to overdo the use of undercranking which actually makes the fights more exciting than any of Donnie's solo efforts thus far. The one real letdown though is the poor way that the fight sequences are integrated into the story. With the exception of the intro and the ending, there aren't really many other major bouts of combat to speak of and this really only leaves the viewer feeling somewhat unfulfilled when the final credits roll.
Obvious criticisms aside, 'Princess Blade' does still provide some entertainment thanks to some standout moments of action and a strong leading performance from Yumiko Shaku. Perhaps if a sequel is made (and the disappointing conclusion that leaves an open end would seem to hint at the possibility) then the producers could take more time over the story and combine the elements to create one heck of a film. For the time being though, 'Princess Blade' will just have to take it's place amongst the halls of average action films.

When April's newly discovered (but old, tarnished, and mysterious) golden sword accidentally causes her to switch places with a rebellious samurai, everybody's favorite giant turtles travel through time and space to feudal Japan to rescue their plucky sidekick. It's a race against time and an army of samurai warriors, and it's a job for the ninja turtles!

How do you follow up one of the most successful and most imitated Asian rom-coms in recent years? The two options are to a) try to replicate it's success with a sequel or a carbon-copy of the original and b) attempt to explore pastures new. Kwak Jae-Young, to his credit, made two films before deciding to resort to option 'a'. 'Windstruck' is quirky, comical and tragic in much the same way that 'My Sassy Girl' was, even going as far as recalling Jun Ji-Hyun as another sassy girl.
While doing his duty as an honest citizen and chasing a bag snatcher, physics teacher Myung-woo (Jang Hyuk) is mistakenly arrested by temperamental police woman Kyung-jin (Jun Ji-Hyun) and subjected to a rather aggressive interrogation at the local police station by her. After she is eventually convinced that Myung-woo is innocent, but adamant that she should not say sorry, Kyung-jin decides to apologise by making her feelings known in front of the teacher's all-girl class. What follows is an unusual relationship that gradually develops into a tender romance when Myung-woo begins to discover why his new friend is the ways she is. However, the hot-headed police woman is constantly putting herself in dangerous situations in her bid to prove herself to her superiors, while long-suffering Myung-woo faithfully puts himself in danger to help out. Then, one such situation spawns an incident that proves to be a major turning point in the lives of the young lovers.
If you didn't like 'My Sassy Girl', it's unlikely you'll want to watch 'Windstruck'. Even if you did like the Kwak Jae-Young hit, you may initially feel slightly resentful when it appears that 'Windstruck' is exploring identical themes. Nonetheless, this is the kind of film that rewards the patient viewer, taking the strengths of 'My Sassy Girl' and using them as a catalyst to explore other avenues. This amounts to an even more implosive odyssey through the emotional mangle - the Asian cinematic skill of juggling comedy, romance and tragedy is never as extreme as it is here.
'Windstruck' could initially be seen as 'My Sassy Girl 2', so similar is its set-up and execution. Director Kwak Jae-Young seems to use the old 'if it 'aint broke, don't fix it' edict, refusing to tamper with a winning formula and quite content to let beautiful, yet brooding Jun Ji-Hyun dominate the proceedings once again. However, after thirty episodic, but thoroughly enjoyable minutes, Kwak ups the ante and takes 'Windstruck' to a very different plain. Without resorting to spoilers, 'Windstruck' turns from the gentle trappings of the rom-com sub-genre into full blown drama, a transition that is far more powerful than 'My Sassy Girl' and even more melodramatic.
With the scope for drama increased, 'Windstruck' becomes an appropriate platform for the thespian skills of its leading lady. Kyung-jin begins as a carbon copy of the infamous 'Sassy Girl', but Kwak Jae-Young stretches her as the film progresses, throwing her into gruelling situations in order to achieve his goal. By the time the film reaches its soul-stirring denouement, Kyung-Jin is a rounded character and not just an outlandish cartoon character full of idiosyncrasies. Jun Ji-Hyun is exceptional in this draining role and shows a remarkable range, swinging from ill-tempered to distraught sometimes within the same scene. She sparks up the same rapport with love interest Jang Hyuk (who is equally capable as the quixotic Myung-Woo) that she achieved with Cha Tae-Hyun in 'My Sassy Girl', but 'Windstruck' affords her a greater opportunity to test her acting talents.
As with 'My Sassy Girl', 'Windstruck' is an extravagant two hours in length, a fact that eventually becomes its undoing. The aforementioned acting is first-rate, the characters appealing and the twisting plot engrossing, but Kwak Jae-Young truly needs to utilise the talents of a good editor. While the director crams the narrative with incident, he occasionally repeats earlier sentiments in wasted scenes and therefore lets the pace ebb away. 'Windstruck' copes with an epic running time better than many of its contemporaries would've done - largely thanks to the power it exerts over the viewer throughout - but it still smacks of self-indulgence.
Though 'Windstruck' stumbles in the same areas as 'My Sassy Girl' did, it thankfully succeeds in a similar way. It takes an innocent everyman, someone who viewers can warm to, and lands him in the frenzied world of his erratic 'girlfriend'. Though such an idea is no longer original, the comedy still works well and the subsequent drama is given greater resonance because of it. Kwak Jae-Young also concludes the film with a very playful, highly controversial ending that cements the connections to 'My Sassy Girl' once and for all. While some have commented that this twist degrades 'Windstruck', turning it into a wannabe sequel, this reviewer found it to be a welcome link to past glories and a cheeky way of linking two different cinematic worlds. In the end, the interpretation is left to each individual viewer.
From surreal comedy to heart-wrenching drama, 'Windstruck' is the kind of sprightly amalgamation of themes that would have to be severely diluted to get an expected Hollywood makeover. It's fresh despite its obvious allusions to 'My Sassy Girl' and has that unashamed attempt to stir the viewer that only Asian cinema seems to have mastered. Melodramatic, beautiful, witty, hilarious, tragic, heavy-handed, overlong... 'Windstruck' is an enjoyable enigma that has enough virtues to make even a stoic critic a little more forgiving.

Though Korean cinema is enjoying its moment in the limelight in the West thanks to brutal offerings like 'Sympathy For Mr. Vengeance' and 'Oldboy', few films have enjoyed the popularity and success of 'My Sassy Girl'.

Based on the Marvel character, stunt motorcyclist Johnny Blaze gives up his soul to become a hellblazing vigilante, to fight against power hungry Blackheart, the son of the devil himself.

As they celebrate their high school graduation, four friends are involved in a hit-and-run accident when their car hits--and apparently kills--a pedestrian on an isolated roadway. They dispose of the ...( read more )body and vow to keep the incident a secret, but a year later somebody starts sending them letters bearing the warning "I Know What You Did Last Summer." At that point the panicked foursome becomes the target of an elusive serial killer whose disguise consists of a fisherman's slicker and a lethal ice hook. Part mystery and part slasher flick, this thriller was heavily hyped as a follow-up to Scream by screenwriter Kevin Williamson (who later created the TV series Dawson's Creek), and like Scream it's a showcase for a teenage cast including Jennifer Love Hewitt and Sarah Michelle Gellar. And while this shocker isn't as inspired as Scream, it's guaranteed to give its target audience a few good thrills as it dives toward a routine climax of mayhem and murder. Based (rather loosely) on the popular novel by Lois Duncan.

A nicely written tale about 3 friends. Brooklyn Rules comes down to the choices faced by three young men when the right path is not always the easiest to follow, and when being a loyal friend can mean making the ultimate sacrifice.

Made in TURKEY. Based on a true story set in 1948, customs officer Mehti is faced with the duty of formally setting up the border between Turkey and Syria, dividing his hometown.

"The Thin Red Line." What was true for his first two films holds true here. This film collected 7 Oscar nominations, great critical praise, but it didn't win any.

super!!!

good!

A brilliant young CIA trainee is asked by his mentor to help find a mole in the Agency.

well!

was not horror, was comic movie :)

scary

wonderful movie...