YNOT at the Movies

The Grey

2012-01-27T00:03:00.000-08:00

Could it be worse than you are thrown out of a crashed airplane into the wilderness on top of a snow covered mountain? Sure. That is just the beginning of a disastrous ordeal in director Joe Carnahan's terrifying thriller "The Grey" (USA 2012 | 117 min.). It is an exhausting experience to witness the prolonged struggle of those plane crash survivors who constantly encounter unpredictable danger.

John Ottway (Liam Neeson), a guard (from wolves) in an oil refinery in Alaska, is on the blink of committing suicide, because he is devastated by the recent separation from his wife. When his plane crashes, despite his injury that is hardly shown later in the film, he becomes the instant leader of the few survivors. Without food and water, he not only needs to lead the team out of the area that has nothing but blizzard and snow, he also must fight back against an army of hungry wolves.

Even after one after another perishes, John is not discouraged and is determined to go on with his incredible journey to stay alive.

It is true that when you cannot see predators, you are more frightened by them. The film brilliantly uses that psyche and rarely shows any wolf, but the gruesome aftermath is often on full display. Even the harsh freezing environment becomes less fearful compared to constant roars from wolves in the dark. The effect is absolutely chilling.

Yet, John is miraculously focused and fights back with both his knowledge and bravery. He does not show any sign of despair. That makes you wonder whether this is the same John who is about to kill himself at the beginning of the film. Whatever bestirs him, pharmaceutical companies should conduct research about it and make it into pills for depression. It obviously works its magic in the film, although we are not told what it is.

Despite a few unconvincing moments, the film is a scary ride into the freezing emptiness where is actually a wolf kingdom. You will want to get out of it as soon as the credit starts to roll.

"The Grey," an Open Road Films release, opens on Friday, January 27, 2012 at Bay Area theaters.

Haywire

2012-01-20T00:01:00.000-08:00

Prolific director Steven Soderbergh must be bored. Otherwise, how can you explain his motivation for making an action thriller film "Haywire" (USA 2011 | 93 min.)? This film is filled with mindless awesome fighting and chasing sequences, although hardly anything is new or exhilarating.

Mallory Kane (Channing Tatum) is an amazingly skillful freelance assassin for hire. She walks into a breakfast joint, sits down, and minutes later, she gets into a vicious fight with an ex-colleague, Aaron (Channing Tatum). That is just the beginning of her endless running for her life. The film flashes back episode by episode what she has been doing in Europe, which seems nothing other than fighting, killing, escaping, and occasionally drinking. Then repeat. Eventually, she gets her chance to revenge toward her handlers who double across her.

Despite the attempts to make the plot seem relevant by applying an intriguing rhythm, the story is absurd.

Actually, even you try to engage in the plot development, you will be lost in an artificially twisted puzzle. But not to worry, in the end, you will be given all the answers about the puzzle, just in case you care.

The film's characters are also preposterous, regardless they are played by fine actors like Michael Douglas, Ewan McGregor, Antonio Banderas, and Michael Fassbender. They all serve one purpose only—to give ex-mixed martial arts fighter Channing Tatum an excuse to beat up some hunky guys on her character's behalf. Or, to be beaten. But of course, she is like a superwoman and never gets injured for unknown reasons. And from my observation, Ewan McGregor should be singing instead fighting.

This is a forgettable film that does not expect you to remember anything when you walk out of a theater.

"Haywire," a Relativity Media release, opens on Friday, January 20, 2012 at Bay Area theaters.

Carnage

2012-01-13T00:10:00.000-08:00

After two teenage boys have a fight in a playground, what should their parents do to resolve the aftermath? Suburban middle class parents might report to the school or the police. Gangster parents might drive by and shoot out a round. Chinese parents under one-child-policy might have a shouting match in public.

However, none of that happens in celebrated and controversial director Roman Polanski's new film "Carnage" (France/Germany/Poland 2011 | 79 min.), besides the shouting match part. The parents' diplomatic meeting turns into a carnage about character, marriage, ideology, philosophy, and anything but settling children's dispute.

After Ethan loses two teeth to Zachary during a teenager brawl in a playground, their parents decide to get together to "settle" the issue, politely and civilly.

Zachary's parents are lawyer Nancy (Kate Winslet) and banker Alan (Christoph Waltz). Ethan's parents are writer Penelope (Jodie Foster) and wholesaler Michael (John C. Reilly).

Their pretentiously civilized discussion does not last long before all hell breaks out. Each of them reveals deeply suppressed anger, grudge, discontent, and self-righteousness. It is anything but civilized and eloquent.

The film is based on Yasmina Reza's French play "God of Carnage" and it changes the location to Penelope and Michael's expensive high-rise apartment in New York City—it supposed to be in New York City anyway, although obviously Roman Polanski has not stepped on the US soil since he fled in 1978.

Oddly, even this is no longer a stage production, the entire film is still confined in this cozy apartment, very much like it is recording a stage production. Like these characters, we are unable to escape this confinement. By no means Alan and Nancy enjoy the company of Penelope and Michael. Yet, even after they step out the door, Alan and Nancy are mysteriously dragged back into the apartment for another round of argument and debate, as if there is a magic force inside the apartment.

The truth is that if they had left as people do in a real life situation, none of these four fine actors would have the opportunity to give slightly exaggerated on-stage-style performance as in this film. Nothing would have happened.

Therefore, the four adults are grounded into this apartment in order to develop their high drama and to vent their frustration.

They should have gone outside and breath some fresh air. That way, perhaps they would not be that grumpy and become happier. That would be a different movie instead of the recording of a stage play.

"Carnage," a Sony Pictures Classics release, opens on Friday, January 13, 2012 at Bay Area theaters.

Top Ten Films in 2011

2011-12-29T21:49:00.000-08:00

Once again, it's time for me to compose my top ten best films in 2011.

During the entire calendar year of 2011, I watched 272 feature films, including screenings for the SFIAAFF 2012 that will be added to that list later.

Again, my top ten films are selected from the films I saw in the calendar year of 2011, not based on when they are released in the theaters. This seems to be the best way to define "a film in 2011." We are living in a small world now. If I fly to Beijing or Europe to see a film that has not opened in San Francisco or New York City, does this film belongs to 2011 or 2012? Why should a film's year be based on a US release date?

Enough said.

Therefore, "Mother" (마더) is on my Top Ten Film in 2009, while it appears on many critics' top ten lists for 2010 or 2011. And, I am a little behind on viewing "Winter's Bone."

So, these are the top ten best films I saw in 2011.

Winter's Bone (USA 2010 | 100 min.)
Extremely Loud and Incredibly Close (USA 2011 | 128 min.)
A Separation (جدایی نادر از سیمین | Iran 2011 | in Persian | 123 min.)
The Descendants (USA 2011 | 115 min. | My review)
Incendies (Canada 2010 | in French/Arabic | in French | 130 min. | My review)
Shame (UK 2011 | 101 min.)
The Illusionist (L'Illusionniste | UK/France 2010 | 80 min. | My review)
Bi, Don't Be Afraid! (Bi, đừng sợ! | Vietnam/France/Germany 2010 | in Vietnamese | 90 min. | My review)
The Flowers of War (金陵十三钗 | China 2011 | in Chinese/English/Japanese | 145 min. | My review)
The Fourth Portrait (第四張畫 | Taiwan 2010 | in Chinese | 102 min.)

Until next year...

272 Feature Films in 2011

2011-12-26T20:40:00.000-08:00

This is the list of feature films I saw during 2011. Hopefully, I did not miss any. Each film's score is at the end of the title, out of 10. If my review is available, the score will link to it. (Note: films screened for the SFIAAFF 2012 are not listed here.)

December

Alamar (Mexico 2009 | in Spanish/Italian | 73 min.) 7
The Mist (USA 2007 | 126 min.) 5
Bill Cunningham New York (USA 2011 | 84 min.) 7
Rubber (France/Angola 2010 | 82 min.) 3
The Grey (USA 2012 | 117 min.) 4
Tinker Tailor Soldier Spy (UK 2011 | 127 min.) 4
Extremely Loud and Incredibly Close (USA 2011 | 128 min.) 10
Young Adult (USA 2011 | 94 min.) 3
Ranger (歸‧途 | Taiwan 2010 | 80 min.) 4
A Separation (جدایی نادر از سیمین | Iran 2011 | in Persian | 123 min.) 10
The Iron Lady (UK 2011 | 105 min.) 9
New Year's Eve (USA 2011 | 118 min.) 3
The Flowers of War (金陵十三钗 | China 2011 | in Chinese/English/Japanese | 145 min.) 9
Carnage (France/Germany/Poland 2011 | 79 min.) 5

November
Source Code (USA 2011 | 93 min.) 6
The Conspirator (USA 2010 | 122 min.) 6
The Other Woman (USA 2009 | 119 min.) 4
Beautiful Boy (USA 2010 | 100 min.) 4
Hugo (USA/UK 2011 | 127 min.) 6
How I Ended This Summer (Как я провёл этим летом | Russian 2010 | in Russian | 130 min.) 6
Abandoned (Torzók | Hungary 2001 | in Hungarian | 100 min.) 6
A Dangerous Method (UK/Germany/Canada/Switzerland 2011 | 99 min.) 7
The Descendants (USA 2011 | 115 min.) 10
Shame (UK 2011 | 101 min.) 9
J. Edgar (USA 2011 | 137 min.) 8
A Very Harold & Kumar 3D Christmas (USA 2011 | 90 min.) 3
Holy Rollers (USA 2010 | 89 min.) 4

October
Anonymous (UK/Germany 2011 | 130 min.) 3
Unknown (USA/Germany 2011 | 113 min.) 2
Puss in Boots (USA 2011 | 90 min.) 7
In Time (USA 2011 | 109 min.) 6
The Lincoln Lawyer (USA 2011 | 118 min.) 8
Vanishing on 7th Street (USA 2010 | 92 min.) 2
Dancing Across Borders (USA 2010 | 88 min.) 7
The Conversation (USA 1974 | 113 min.) 7
Harold and Maude (USA 1971 | 91 min.) 8
Hobo with a Shotgun (USA 2011 | 86 min.) 2
The Skin I Live In (La piel que habito | Spain 2011 | in Spanish | 117 min.) 7
Johnny English Reborn (UK/France 2011 | 101 min.) 8
Winter's Bone (USA 2010 | 100 min.) 10
Sunshine Cleaning (USA 2008 | 91 min.) 6
Uniform (制服 | China 2003 | in Chinese | 94 min.) 7
No Strings Attached (USA 2011 | 108 min.) 3
My Week with Marilyn (UK 2011 | 100 min.) 8
1911 (辛亥革命 | China 2011 | in Chinese | 118 min.) 5
Biutiful (Spain 2010 | in Spanish | 148 min.) 4

September
The Art of the Steal (USA 2009 | 101 min.) 7
Take Shelter (USA 2011 | 120 min.) 7
Formosa Mambo (寶島漫波 | Taiwan 2011 | in Chinese | 96 min.) 3
Pina (Germany 2010 | in German/French/English/Spanish/Croatian/Italian/Portuguese/Russian/Korean | 106 min.) 5
The Artist (France 2011 | 100 min.) 6
You Are the Apple of My Eye (那些年，我們一起追的女孩 | Taiwan 2011 | in Chinese | 105 min.) 9
Machine Gun Preacher (USA 2011 | 127 min.) 1
50/50 (USA 2011 | 99 min.) 5
After the Wedding (Efter brylluppet | Denmark/Sweden 2006 | in Danish/Swedish | 120 min.) 2
Wangliang's Ideal (王良的理想/The Butcher's Wife | China 2010 | in Chinese | 119 min.) 6
Restless (USA/UK 2011 | 95 min.) 7
I Don't Know How She Does It (USA 2011 | 89 min.) 2
Blackthorn (Spain/USA/Bolivia/France 2010 | in English/Spanish | 98 min.) 7
Jeff Who Lives at Home (USA 2011 | 84 min.) 4
Waiting for "Superman" (USA 2010 | 111 min.) 6
Read My Lips (Sur mes lèvres | France 2001 | in French | 115 min.) 4
Confusion of Genders (La confusion des genres | France 2000 | in French | 94 min.) 2
3 (Germany 2010 | in German | 119 min.) 8

August
Killer Elite (USA 2011 | 105 min.) 6
The Importance of Being Earnest (UK/USA 2002 | 97 min.) 7
Skin (UK/South Africa 2008 | 107 min.) 5
Jolene (USA 2008 | 116 min.) 7
Rivers and Tides: Andy Goldsworthy Working with Time (USA 2001 | 90 min.) 6
The Swimsuit Issue (Allt flyter | Sweden 2008 | in Swedish | 100 min.) 3
Taking Woodstock (USA 2009 | 120 min.) 5
City Island (USA 2009 | 104 min.) 9
Case 39 (USA 2009 | 109 min.) 2
Due Date (USA 2010 | 95 min.) 6
What's the matter with Kansas (USA 2009 | 90 min.) 4
Melancholia (Denmark/Sweden/France/Germany 2011 | 136 min.) 2
The Way Back (USA 2010 | in English/Russian | 133 min.) 3
Warrior (USA 2011 | 139 min.) 8
Client 9: The Rise and Fall of Eliot Spitzer (USA 2010 | 117 min.) 6
Cedar Rapids (USA 2011 | 87 min.) 7
Antichrist (Denmark/Germany/France/Sweden/Italy/Poland 2009 | 108 min.) 3
The Hedgehog (Le hérisson | France 2009 | in French | 100 min.) 8
Conan the Barbarian (USA 2011 | 112 min.) 1
Fair Game (USA 2010 | 108 min.) 6
Jack Goes Boating (USA 2010 | 91 min.) 7
White Material (France 2009 | in French | 100 min.) 6
Salt (USA 2010 | 100 min.) 7
The World Sinks Except Japan (日本以外全部沈没 | Japan 2006 | in Japanese | 98 min.) 3
Higher Ground (USA 2011 | 114 min.) 4
Amigo (USA 2010 | in Tagalog/English/Spanish | 128 min.) 8
Glee: The 3D Concert Movie (USA 2011 | 100 min.) 8
TRON: Legacy (USA 2010 | 125 min.) 4
The Whistleblower (Germany/Canada 2010 | 112 min.) 7
Lost Innocence, Lost Lives (Japan 2011 | in Japanese | 73 min.) 9

July
SP: The Motion Picture (SP 野望篇 | Japan 2011 | in Japanese | 98 min.) 4
His Mother's Eyes (Les yeux de sa mère | France 2011 | in French | 105 min.) 7
All the Suns (Tous les soleils | France 2011 | in French | 105 min.) 3
The Well Digger's Daughter (La fille du puisatier | France 2011 | 107 min.) 8
Battle Los Angeles (USA 2011 | 116 min.) 3
The Fighter (USA 2010 | 116 min.) 8
Sarah's Key (France 2010 | in French | 111 min.) 4
The Tree (Australia/France 2010 | 100 min.) 8
Cowboys and Aliens (USA 2011 | 118 min.) 3
Permanent Residence (永久居留 | Hong Kong 2009 | in Chinese/English | 115 min.) 7
The Guard (Ireland 2010 | 96 min.) 9
A Better Life (USA 2011 | 98 min.) 8
Animal Kingdom (Australia 2010 | 113 min.) 8
The Tourist (USA 2010 | 103 min.) 4

June
Beginning of the Great Revival (建党伟业 | China 2011 | in Chinese | 140 min.) 4
Collapse (USA 2009 | 82 min.) 7
Seven Days (세븐 데이즈 | South Korea 2007 | in Korean | 125 min.) 3
The Edge of Dreaming (UK 2009 | 73 min.) 3
Dogtooth (Κυνόδοντας | Greece 2009 | in Greek | 94 min.) 2
Sabu (さぶ | Japan 2002 | in Japanese | 122 min.) 4
Grbavica: Land of My Dreams (Grbavica | Bosnia/Herzegovina 2006 | in Bosnian | 90 min.) 9
The American (USA 2010 | min.) 4
The Resident (USA 2011 | 91 min.) 2
Brighton Rock (UK 2010 | 111 min.) 2
Somewhere (USA 2010 | 97 min.) 3
Hereafter (USA 2010 | 129 min.) 7
The Union: The Business Behind Getting High (Canada 2007 | 104 min.) 8
Map of the Sounds of Tokyo (Spain 2009 | in Japanese/English | 109 min.) 3

May
I Love You Phillip Morris (USA 2009 | 102 min.) 2
X-Men: First Class (USA 2011 | 132 min.) 5
Enlighten Up! (USA 2008 | 82 min.) 5
Burlesque (USA 2010 | 119 min.) 2
Eat Pray Love (USA 2010 | 146 min.) 2
Ichi (市 | Japan 2008 | 120 min.) 4
Gun Hill Road (USA 2010 | 88 min.) 5
Submarine (UK 2010 | 97 min.) 3
The Tillman Story (USA 2010 | 94 min.) 8
Life (UK 2009 | 500 min.) 10
Wassup Rockers (USA 2005 | 111 min.) 6
Midnight in Paris (Spain/USA 2011 | in French/English | 100 min.) 7
Enter the Void (France 2010 | 161 min.) 1
Ken Park (USA 2002 | 96 min.) 7
True Legend (苏乞儿 | China 2010 | in Chinese | 116 min.) 4
Forks Over Knives (USA 2010 | 90 min.) 4
Fate (숙명 | South Korea 2008 | in Korean | 123 min.) 5
On Tour (Tournée | France 2010 | in French | 111 min.) 2
The Stool Pigeon (线人 | Hong Kong 2010 | in Cantonese | 112 min.) 3
Jermal (Indonesia 2008 | in Indonesian | 90 min.) 4
Thor (USA 2011 | 115 min.) 2
(500) Days of Summer (USA 2009 | 95 min.) 9

April
Fast Five (USA 2011 | 130 min.) 8
Ocean (USA 2008 | 60 min.) 8
Skirt Day (La journée de la jupe | France 2008 | in French | 88 min.) 9
One Day You'll Understand (Plus tard | France/Germany/Israel 2008 | in French | 90 min.) 2
Meek's Cutoff (USA 2010 | 104 min.) 5
Queen to Play (Joueuse | France 2009 | in French | 96 min.) 5
Water for Elephants (USA 2011 | 122 min.) 8
POM Wonderful Presents: The Greatest Movie Ever Sold (USA 2011 | 88 min.) 6
The Horseman (Australia 201 | 96 min.) 3
Incendies (Canada 2010 | in French/Arabic | in French | 130 min.) 9
The Secret (Un secret | France 2007 | in French | 105 min.) 3
The Future (Germany/USA 2011 | 91 min.) 8
Circumstance (France/USA/Iran/Lebanon 2011 | in Persian | 105 min.) 1
The Princess of Montpensier (La princesse de Montpensier | France 2010 | in French | 139 min.) 4
Life, Above All (South Africa 2010 | in Northern Sotho | 100 min.) 4
Love in a Puff (志明與春嬌 | Hong Kong 2010 | in Cantonese | 95 min.) 3
Beginners (USA 2010 | 105 min.) 5
Cave of Forgotten Dreams (USA 2010 | 95 min.) 5
Outrage (アウトレイジ | Japan 2010 | in Japanese | 109 min.) 6
13 Assassins (十三人の刺客 | Japan 2010 | in Japanese | 126 min.) 8
Page One: Inside the New York Times (USA 2010 | 88 min.) 8
Let the Wind Carry Me (乘著光影旅行 | Taiwan 2010 | in Chinese | 88 min.) 8
Hospitalité (歓待 | Japan 2010 | in Japanese | 96 min.) 7
End of Animal ( 짐승의 끝 | South Korea 2010 | in Korean | 114 min.) 7
The Journals of Musan (무산일기 | South Korea 2010 | in Korea | 127 min.) 5
Hahaha (하하하 | South Korea 2010 | in Korea | 115 min.) 6
The High Life (寻欢作乐 | China 2010 | in Chinese | 96 min.) 6
Born to Be Wild (USA 2010 | 40 min.) 2
Lion's Den (Leonera | Argentina 2010 | in Spanish | 113 min.) 5

March
Poetry (시 | South Korea 2010 | in Korean | 139 min.) 8
In a Better World (Hævnen | Denmark 2010 | in Danish/Swedish/English | 113 min.) 6
Unthinkable (USA 2010 | 97 min.) 7
Jane Eyre (UK 2011 | 121 min.) 7
Winter in Wartime (Oorlogswinter | Netherlands 2008 | in Dutch | 103 min.) 7
Limitless (USA 2011 | 105 min.) 8
The Man from Nowhere (아저씨 | South Korea 2010 | in Korean | 119 min.) 8
Open Season (USA 2011 | 57 min.) 7
The Fourth Portrait (第四張畫 | Taiwan 2010 | in Chinese | 102 min.) 9
Gold and Copper (طلا و مس | Iran 2011 | 97 min.) 6
When Love Comes (當愛來的時候 | Taiwan 2010 | in Chinese | 109 min.) 7
Dooman River (두만강 | China 2010 | in Korean | 89 min.) 9
A Woman in Berlin (Eine Frau in Berlin | Germany/Poland 2008 | in German/Russian/Georgian | 131 min.) 5
The Headless Woman (La Mujer Sin Cabeza | Argentina 2008 | 87 min.) 1
West Is West (UK 2010 | 103 min.) 3
Carancho (Argentina 2010 | in Spanish | 107 min.) 6
Win Win (USA 2011 | 106 min.) 6
Shutter Island (USA 2010 | 138 min.) 7
Heartbeats (Les amours imaginaires | Canada 2010 | in French | 95 min.) 6
I Saw the Devil (악마를 보았다 | South Korea 2010 | in Korean | 141 min.) 7
Flame & Citron (Flammen & Citronen | Denmark 2008 | in Danish | 136 min.) 8

Feburary
Girl on the train (La fille du RER | France 2009 | in French | 105 min.) 6
The recruit (USA 2003 | 115 min.) 7
Of Gods and Men (Des hommes et des dieux | France 2010 | in French | 122 min.) 7
The Experiment (USA 2010 | 96 min.) 6
The Piano in a Factory (钢的琴 | China 2010 | in Chinese | 107 min.) 7
Summer Pasture (USA/China 2010 | in Tibetan | 85 min.) 8
Peace (Japan 2010 | in Japanese | 75 min.) 5
Bi, Don't Be Afraid! (Bi, đừng sợ! | Vietnam/France/Germany 2010 | in Vietnamese | 90 min.) 9
Dance Town (댄스타운 | South Korea 2010 | in Korean | 95 min.) 8
The House of Suh (USA 2010 | 90 min.) 9
Almost Perfect (USA 2011 | 106 min.) 3
The Black Balloon (Australia/UK 2008 | 97 min.) 8
Clash (Bẫy Rồng | Vietnam 2009 | in Vietnamese | 100 min.) 3
One Voice (USA 2009 | 84 min.) 9
Chloe (USA 2009 | 96 min.) 8
The Age of Stupid (UK 2009 | 92 min.) 7
Surrogate Valentine (USA 2011 | 75 min.) 4
Tea-Horse Road Series: Delamu (茶马古道：德拉姆 | China 2004 | in Chinese | 110 min.) 6
Even the Rain (También la lluvia | Spain/France/Mexico 2010 | in Spanish | 109 min.) 4
The Last Lions (USA 2011 | 88 min.) 9
Fallen Angels (堕落天使 | Hong Kong 1995 | in Chinese | 90 min.) 4
Wilde (1997 | 118 min.) 5
The Adjustment Bureau 5 (USA 2011 | 109 min.) 6
Sanctum (USA/Australia 2011 | 109 min.) 3

January
Sway (ゆれる | Japan 2006 | in Japanese | 120 min.)
Cowboys & Angels (Ireland/Germany/UK 2003 | 89 min.) 6
Mammoth (USA 2009 | 125 min.) 6
Tokyo Tower (東京タワー | Japan 2005 | in Japanese | 125 min.) 4
The Mechanic (USA 2011 | 92 min.) 8
The Rite (USA 2011 | min.) 2
The Girl Who Played with Fire Poster (Flickan som lekte med elden | Sweden 2009 | in Swedish | 129 min.) 5
I Wish I Knew (海上传奇 | China 2010 | in Chinese | 125 min.) 6
Funny Games (USA/France/UK/Austria/Germany/Italy 2007 | 112 min.) 7
A Little Pond (작은 연못 | South Korea 2009 | 86 min.) 3
California dreamin' (endless) (California dreamin' (Nesfârșit) | Romania 2007 | 155 min.) 9
Kaboom (USA 2010 | 86 min.) 3
Barney's Version (Canada 2010 | 132 min.) 8
College Boys Live (USA 2009 | 90 min.) 4
Au revoir Taipei (一頁台北 | Taiwan 2010 | 85 min.) 9
The Illusionist (L'Illusionniste | UK/France 2010 | 80 min.) 10

The Flowers of War (金陵十三钗)

2011-12-23T00:43:00.000-08:00

Being the creator of 2008 Beijing Olympics's magnificent opening and closing ceremonies, and the director of masterpieces such as "Red Sorghum" (红高粱, 1987) and "Raise the Red Lantern" (大红灯笼高高挂, 1991), prolific Chinese auteur Zhang Yimou has all eyes on him whenever he makes a new film. His latest epic "The Flowers of War" (金陵十三钗 | China 2011 | in Chinese/English/Japanese | 145 min.) is no exception.

With a budget of more than $94 million, this highly anticipated war drama is the most expensive film ever made in China. Once again, for the seventh time, Zhang's film is selected as China's submission to compete for Oscar in the Best Foreign Language Film category. With a terrific performance from an impressive ensemble cast led by Academy Award winner Christian Bale, this emotionally charged and gorgeous looking film brings high hope for finally bringing an Oscar back to China. Already nominated for the 69th Golden Globe Awards, this film is surely on the track to be nominated for the 84th Academy Awards. If that happens, it will be Zhang Yimou's third nomination. Three should be a charm.

Based on an upcoming novel by Yan Geling, the film intimately tells a deeply moving story about survival and sacrifice during a horrific war crime known as the Rape of Nanking on December 13, 1937.

When American encoffiner John Miller (Christian Bale) comes to Nanjing to prepare the burial of a deceased priest at a church, he encounters the brutal massacre by the Japanese invaders. He escapes to a church, where a teenager orphan George (Huang Tianyuan) and fourteen young convent girls live. The next day, fourteen beautiful young women from Nanjing's famous brothel arrive and occupy the church's cellar to hide from the Japanese.

John is delighted to be surrounded by these flirtatious women in glamorous dresses even during the most devastating time, and he is particularly fond of Yu Mo (Ni Ni) who speaks almost perfect English. However, when Japanese soldiers come in the church and begin to attack those young students, John's conscience is waken. Pretending to be the priest at the church when confronting the Japanese, with the help from those brave prostitutes, the flowers of war, he carries out a heroic and miraculous mission—to rescue these young convent girls.

Although some of the characters in this film echo those in Lu Chuan's operatic "City of Life and Death" (南京! 南京! | China 2009), although some of the bloody battle scenes resemble those in Steven Spielberg's unforgettable "Saving Private Ryan" (USA 1998), Zhang Yimou tells his gripping story in a survival girl's point of view. He displays enormous affection toward his female characters, as he always does in his films. And, he is a master of creating exquisite visuals in grand scale with impeccable details.

Rape of Nanking is one of the most horrendous crimes when Japanese invaders killed about 300,000 people and raped 20,000-80,000 Chinese. When telling a story about this gruesome crime, many feel a little unsettling when the protagonist is an unsung hero from America instead of the courageous Lt. Li (Tong Dawei). However, Christian Bale gives an extraordinary and emotional performance that engages us with his character instead of his race. When he talks with tears in his eyes, so do I watching it.

Unfortunately, some parts of the script are unconvincing. For example, it is perplexing how bullets can pierce through church windows and hit targets every single time. John's transition from a playboy to a hero also lacks reasoning. The intimate moment between John and Yu Mo seems utterly out of the place. Yet, these flaws are not significant enough to damp the film.

Winning an Oscar or not, Zhang Yimou tells an incredible story that depicts Japanese's appalling crime in China's darkest period, while the humanity and compassion from crime's victims are on full display.

History is to be remembered.

"The Flowers of War," a Wrekin Hill Entertainment release, opens on Friday, December 23, 2011 at Bay Area theaters.

New Year's Eve

2011-12-09T00:58:00.000-08:00

In recent years, there is a robust trend in China's filmmaking—in the end of each year, a few films are wildly released as "New Year's celebration film" (贺岁片). These films almost always have a large number of biggest stars, the highest expectation, the most expensive budget, and an ultimate goal to entertain, which means often they are comedy and blockbusters at the box office.

It looks like Hollywood is taking notice about this formula. For this holiday season, using a similar recipe, here comes a US-version of "New Year's celebration film" called "New Year's Eve" (USA 2011 | 118 min.).

The film gathers an impressive list of Hollywood's most recognizable actors, including many Oscar winners, to play in a multi-thread story. However, none of these plots stands out to be significant or interesting. The existence of many characters seems to serve one purpose only—so that a big star can be included in this film.

As if walking on the red carpet to attend the Golden Globe Award gala, these actors keep entering into the film while new subplots are constantly introduced. It is meaningless to enumerate each of these subplots, but they are basically falling into one of these categories: to reconciliation in a relationship, to seize the opportunity, or to give a second chance on the New Year's Eve of 2012. They are ludicrous and tiresome.

Never mind there are 24 time zones in this world. Somehow the countdown at Times Square becomes the turning point for a new year. No matter how freezing cold and chaotic on New Year's Eve at Times Square, people seem enjoy themselves for simply being there.

That might explain why these talented actors all sign up in this film, as if being casted in this film is similar to finding a perfect spot at Times Square on New Year's Eve. Nothing else matters.

Next year, instead of repeating this "New Year's celebration film" recipe from China, Hollywood should just import a film from China. At least that would be authentic. It is already noon in China when the giant ball drops at Times Square anyway.

"New Year's Eve," a Warner Bros. Pictures release, opens on Friday, December 9, 2011 at Bay Area theaters.

Hugo

2011-11-23T00:01:00.000-08:00

Oscar-winning director Martin Scorsese is perhaps one of today's most celebrated filmmakers. His films are often embraced for memorable characters and compelling stories. However, can you imagine that he makes a Children's film in 3-D, no less, and delivers it on the eve of Thanksgiving Day with a turkey?

You bet.

Based on a Brian Selznick's novel, a dazzlingly looking "Hugo" (USA/UK 2011 | 127 min.) tells a story about a boy's adventure. It is Martin Scorsese's 3-D movie debut. However, while he fantastically adds a new dimension in visualization, he eliminates one dimension of depth in his characters.

Set in early 1930s in Paris, Hugo (Asa Butterfield) loses his father (Jude Law) to an accident and becomes an orphan. He lives in a train station and attends to all the giant wall clocks. While constantly facing the danger to be rounded up to an orphanage by an intimidating station inspector (Sacha Baron Cohen), he is busy on finding resources to fix an automaton left by his late father.

Hugo's activities also irritate a hot-tempered magic shop owner at the station—Georges Méliès (Ben Kingsley). With the help from Georges's goddaughter daughter Isabelle (Chloë Grace Moretz), Hugo discovers that Georges is a beloved yet forgotten filmmaker. The genius Hugo not only repairs the automaton, he also brings Georges and his films back to the spotlight.

Although the film a children's movie, Hugo's adventure is not prominent enough to capture a child's attention. A big portion of the film, which is intended for adults, dedicates to the nostalgia sentiment about Georges's film-making past. The ingenious usage of the new 3-D technology is brilliant to tell a love story for film and filmmaking. However, the unconvincing characters and the written-for-children plot compromises the effort of paying homage to pioneers in films.

Compared to Martin Scorsese's other character driven films, this one is anything but. The film looks strangely familiar, with undeniable charm and impeccable details. Every time when Monsieur Frick (Richard Griffiths) meets Madame Emilie (Frances de la Tour) and her dog at the train station, I am reminded by those little cartoons sprinkling between the pages in The New Yorker. Yet, despite all the delightful ingredients, the finishing dish does not live up to its expectation and is served just as a discount kid's meal.

Let's hope that Martin Scorsese finds his magic key to fix this 3-D handsome looking automaton and brings us some magic in the near future.

"Hugo," a Paramount Pictures release, opens on Wednesday, November 23, 2011 at Bay Area theaters.

The Descendants

2011-11-18T00:02:00.000-08:00

The situation is dreadful—the wife is on a death bed. Then more salt is rubbed into the wound—the wife has been cheating. Yet, director Alexander Payne masterfully sails into this dire and troubled water with perfect precision and remarkably emerges with a humorous and delightful "The Descendants" (USA 2011 | 115 min.), the first film since his awarding winning "Sideways" seven years ago.

Living in scenery Hawaiʻi, Matt King (George Clooney) is a real estate lawyer, as well as the trustee of a piece of ocean front land that developers are eager to tap into. After his wife Elizabeth (Patricia Hastie) is injured in a water-skiing accident and slips into a coma, Matt's "back-up parent" role is suddenly changed. Worse, he has to break the news about Elizabeth's inevitable death to his two daughters—10-year-old Scottie (Amara Miller) and 17-year-old Alexandra (Shailene Woodley), as well as the extended family and friends.

As if this is not bad enough, in the midst of this chaotic life changing event, Alexandra drops the bomb shell: Elizabeth has been cheating on Matt with a real estate agent Brian Speer (Matthew Lillard). Matt wants to find out who Brian is. With Scottie, Alexandra and her side kick Sid (Nick Krause), Matt sets out to track down Brian. However, what he really discovers during the journey is his family and himself.

It is an exquisite pleasure to watch the terrific performance from George Clooney in a role similar like Paul Giamatti played in "Sideways". The idea of a woman cheats on the "sexiest man alive" is quite comical itself. Although George Clooney can easily become the mega star of the film, he never shadows the excellent performance by the entire ensemble cast.

Alexander Payne creates his characters with great sensibility, diligent care, calm pace, and pitch perfect balance. These characters are rich and complex, believable and funny, refreshing and memorable. They are not perfect people, nor are they meant to be. But they are alive, and people can resonate with them.

The last scene of the film poetically summarizes the story without a single word, as if Alexander Payne is finishing a fantastic painting with one last brilliant stroke. That stroke wonderfully concludes the film which is one of this year's best.

"The Descendants," a Fox Searchlight Pictures release, opens on Friday, November 18, 2011 at Bay Area theaters.

J. Edgar

2011-11-09T00:01:00.000-08:00

With an annual budget of almost eight billion dollars, Federal Bureau of Investigation (FBI) is undoubtedly one of the most powerful agencies on this planet today. It is also not exaggerating to characterize FBI's first leader J. Edgar Hoover as one of the most powerful officials in American history. During his long career as the FBI's director until his death, he served eight presidents and established his lasting influence in intelligence collection such as wiretapping, fingerprint, and other forensics techniques on American public and the abroad.

However, while J. Edgar Hoover spied on just about everybody, he was an extremely secretive individual himself. Who is J. Edgar Hoover?

Written by Dustin Lance Black, director Clint Eastwood's biopic "J. Edgar" (USA 2011 | 137 min.) depicts this mysterious historical figure with little judgment, if any at all, and Leonardo DiCaprio gives an Oscar calibrated performance as the complex J. Edgar Hoover.

Set in 1972, as the Director of FBI, although J. Edgar Hoover (Leonardo DiCaprio) is an ailing 77-year-old man, he firmly holds his power, along with his right hand man and life time companion, FBI's Associate Director Clyde Tolson (Armie Hammer), as well as his trusted secretary Helen Gandy (Naomi Watts). Constantly intertwined with flashback as early as five decades ago, the film chronicles major events during Hoover's long career at FBI and his personal life that he safeguards away from the public eye.

The film portraits Hoover as a loyal and dedicated patriot, a hot-tempered and demanding boss, a loving and obedient son, a paranoid and suspicious individual, a meticulously dressed and ambitious bureaucrat, an influential and forceful politician, and a ruthless and intelligent lawman. Either love him or hate him, he is undeniably fascinating.

The subtle relationship between J. Edgar Hoover and Clyde Tolson is carefully represented in the film. It certainly avoids being another episode of "Brokeback Mountain," but it is also far from an innocent platonic friendship. The film is ambiguous about what happens after the obvious "love at the first sight" between the two, and how Hoover keeps their genuine affection toward each other a secret while the entire FBI has been collecting secrets on everybody else.

Perhaps after all, Hoover is simply that good. You be the judge.

"J. Edgar," a Warner Bros. Pictures release, opens on Wednesday, November 9, 2011 at Bay Area theaters.

In Time

2011-10-28T00:01:00.000-07:00

You must have heard the phrase "time is money." However, I bet you have never really seen how time is literally used as a currency in a society, unless you witness the transactions of time in writer/director Andrew Niccol's sci-fi thriller "In Time" (USA 2011 | 109 min.). Despite many obvious flaws, this is a captivating film that presents a mind-boggling scenario which marvelously echoes the sentiment of the current occupy Wall Street movement about the inequality in wealth distribution.

Through genetic engineering, a clock on the left (never the right) arm starts to tick when one turns to 25 year old—everybody has one more year to live, unless you are rich to buy more time. A welcome side effect is that nobody ages after 25. Everybody dies while looking young, and no botox treatment is ever needed.

Will Salas (Justin Timberlake) earns his "time" day by day for three years after he turns 25 and lives with his mom Rachel (Olivia Wilde) in a working class "zone." In this ghetto looking zone, everyone is rushing against the ticking clock. After his mom's dramatic death, Will is given a century from a 105-year-old guy, who no longer wants to live, leaving him an advice—"Don't waste my time." Will does not. He spends a year—that is the toll charges—to travel to a zone where the rich lives "slowly."

In this rich zone, Will meets time magnate Philippe Weis (Vincent Kartheiser) and his daughter Sylvia (Amanda Seyfried) who spends all her life "trying not to die by mistake," because they can literally live forever otherwise. Will is accused of stealing time and hunted by the chief timekeeper (aka policeman) Leon (Cillian Murphy), Will snatches Sylvia and escapes back to the ghetto zone, and acts like (Robin Hood) dispersing Weis family's time to everyone.

The film is fascinating in displaying an intriguing world using time as a commodity and the only currency. Under such setting, many catchy phrases have a more literal sense. For instance, a sign "Out of Time" lights up at a loan office that lends time with interest. People can exchange, give, take, share, rob, seize, lend, borrow, and certainly waste time.

However, the film never really explains how the exact amount of time is transferred by simply touching each other's hands—they announce the amount, and magically the transaction takes place from one party to another. If all it takes is to touch each other's hand, how come time does not flow to the opposite direction as one announces it? Of course, you never see a person who loses a left arm in the film—there will not have any clock.

The film is also unnecessarily contains subplots such as the mob of gangsters. They simply distract the main story line.

Those are just the minor flaws of the film. The biggest problem is that there is hardly any chemistry between Justin Timberlake and Amanda Seyfried. Yet, their characters manage to skinny-dip together just a few minutes after they meet for the first time. It is even more preposterous that Amanda Seyfried's character Sylvia jumps in the 99% camp quickly and turns her back to her father, who is definitely belongs to the 1%. Perhaps the folks occupying city plazas should take a hint and start to search for their Sylvia instead of protesting.

That being said, this is still an entertaining film with refreshing and thought provoking concepts. However, it does not mention the foreign exchange rate for time between countries though, probably because we all know China has too many people living there already.

"In Time," a 20th Century Fox release, opens on Friday, October 28, 2011 at Bay Area theaters.

Johnny English Reborn

2011-10-21T00:02:00.000-07:00

Even you do not recognize the name Rowan Atkinson, you should recognize his distinct funny face as Mr. Bean in a British comedy series. Besides best known as Mr. Bean, Rowan Atkinson may also be perceived as a lesser-known MI-7 agent Johnny English, in a forgettable spy spoof British comedy "Johnny English" (UK 2003). This spy agent might gain more name recognition after he is "reborn" in the sequel "Johnny English Reborn" (UK/France 2011 | 101 min.), an outrageously hilarious comedy that can be served as a perfect escape from all the depressing happenings around the world. Rowan Atkinson once again establishes himself to be one of the finest comedians.

Exiled MI-7 agent Johnny English (Rowan Atkinson) is summoned back to London by the British secret service, now named "Toshiba British Intelligence" (as if a title read from The Onion). He is given a mission to stop an assassination of the Chinese Premier by a group of international assassins. Although he seems clumsy and often makes mistakes, but he always show up at the right place and at the right time to engage in heroic battles as well as to uncover moles in agency. Of course, he is also the hero who saves the lives of Chinese and British leaders.

Everyone should anticipate that for an over-the-top physical comedy starring Rowan Atkinson, the plot and logic should be the least important element of the film. What matters is how each comic situation is staged and delivered. The film brilliantly plays out each joke and provides a laugh-out-loud entertaining experience throughout.

One particular funny character is a Chinese cleaning lady (Pik Sen Lim), who also appears magically like Johnny English does—everywhere they want to be. She never speaks one word in the film. However, her amusing facial expression and her funny outfits makes me laugh every time she turns up on the screen, because she resembles those elderly women who shop groceries in San Francisco Chinatown pulling their carts on wheels. And, she does look like the Queen from behind when she wears the Queen's dress, doesn't she?

Besides offering plenty laughs, as a bonus, the film also suggests a tip to emergency medical services personnel that they never learn during their training—if you fail to revive a victim, give a kiss to the victim on the lips. That kiss surely brings Johnny English back to life in the film.

"Johnny English Reborn," a Universal Pictures release, opens on Friday, October 21, 2011 at Bay Area theaters.

The Skin I Live In (La piel que habito)

2011-10-21T00:01:00.000-07:00

Just a few seconds after a trailer began to play at a film screening, I immediately recognize the colorful visual, distinct close-ups, exceptional beautiful images of women, and an elegant style—this must be a new film from Pedro Almodóvar, I made my bet. Indeed, it is the trailer for this Spanish auteur's latest film "The Skin I Live In" (La piel que habito | Spain 2011 | in Spanish | 117 min.). Like his previous films, Pedro Almodóvar twists the plot, toys with sexuality, adores beautiful women, exhibits stunning visual, and plays loud music in this new thriller. However, he also blends a darker persona into its protagonist like never before.

Dr. Robert Ledgard (Antonio Banderas) is a talented plastic surgeon who secretly develops a new human skin that is resistant from damage such as burning. His obsession about this research is inspired by his personal tragedy—his dead wife is a burn victim. At his secluded mansion that also serves as his personal research lab, a beautiful woman named Vera (Elena Anaya) can be seen on a big monitor. Not only Vera has the perfect synthetic skin that Dr. Ledgard implants his invention, she also has the look of his deceased wife, thanks to Dr. Ledgard's surgeries. However, that is just the iceberg of a mountain of dark secrets and appalling mysteries, which I will not say one more word.

Most of Pedro Almodóvar's films contain shocking story development, but this film outdoes any earlier film. He skillfully presents the character of Dr. Ledgard—when each secret is revealed, one layer of Dr. Ledgard's cover is peeled off. A similar observation goes to the beautiful and mysterious Vera, who is living under the skin Dr. Ledgard creates. Dr. Ledgard surely can change Vera's outlook, but can he change her mind and replace his loss?

Even though I can somehow recognize Pedro Almodóvar's underlying style in this film, I am shocked and disturbed by the darkness of this film's theme. The film is quite powerful, yet extremely unsettling. It is a beautiful picture to watch, yet, I wish I have not witnessed the horror.

"The Skin I Live In," a Sony Pictures Classics release, opens on Friday, October 21, 2011 at Bay Area theaters.

Taiwan Film Days

2011-10-12T00:01:00.000-07:00

While Xinhai Revolution (辛亥革命) is commemorated for its centennial anniversary, Taiwan Film Days returns to the Bay Area for its 3rd year, Oct. 14-16, 2011 at San Francisco Film Society (SFFS) | New People Cinema, the new home for SFFS' year around programming.

This year's Taiwan Film Days presents six narrative features and two documentaries, most of them were shown at the 13th Taipei Film Festival earlier this year.

Formosa Mambo
寶島漫波 | Taiwan 2011 | in Chinese | 96 min. | dir. Wang Chi-tsai 王啟在
"Formosa Mambo" is a comedy about a few unfortunate characters. It tells a kidnapping story that goes wrong at just about every turn, and portraits both the criminals and the victims sympathetically.
This is the opening night film for this year's Taiwan Film Days, followed by the opening night party.

Showtime: Friday, October 14, 7:00 pm at SFFS | New People Cinema.
Taivalu
沉沒之島 | Taiwan 2011 | in Chinese | 80 min. | dir. Huang Hsinyao 黃信堯
When the sea level rises due to global warming, an island nation Tuvalu, the fourth smallest country in the world, will be the first to disappear into the ocean. Will Taiwan be the next? Award winning documentary "Taivalu" investigates the harsh reality and compares Taiwan to Tuvalu.

Showtime: Saturday, October 15, 1:30 pm at SFFS | New People Cinema.
Pinoy Sunday
台北星期天 | Taiwan/Philippines/Japan/France 2009 | in Tagalog/Chinese | 100 min. | dir. Ho Wi-ding 何蔚庭
"Pinoy Sunday" is a comedy about two Filipino workers in Taipei who are trying to bring an abandoned couch back to their dorm on their only day off during each week—Sunday.

Showtime: Saturday, October 15, 4:00 pm and Sunday, October 16, 7:00 pm at SFFS | New People Cinema.
You Are the Apple of My Eye
那些年，我們一起追的女孩 | Taiwan 2011 | in Chinese | 110 min. | dir. Giddens Ko 九把刀
Freshly nominated for four Golden Horse Awards, "You Are the Apple of My Eye" is a charming comedy that tells a coming-of-age story about tender love and innocent friendship among a group of high school classmates. This film makes you fall in love with Taiwan even if it does not bring you to go back to high school. A must-see.

Showtime: Friday, October 14, 4:30 pm and Saturday, October 15, 6:00 pm at SFFS | New People Cinema.
Honey Pupu
消失打看 | Taiwan 2011 | in Chinese | 102 min. | dir. Chen Hung-i 陈宏一
How are people's lives connected in this Facebook era? "Honey Pupu" unfolds a tale that a young woman's search for her missing boyfriend, through social networking.

Showtime: Saturday, October 15, 9:00 pm at SFFS | New People Cinema.
The Coming of Tulku
化城再來人 | Taiwan 2011 | in Chinese | 165 min. | dir. Cheng Tsun-shing 陳傳興
"The Coming of Tulku" is a slow-paced documentary about the life of a legendary 90-year-old poet Chou Meng-tieh (周夢蝶).

Showtime: Sunday, October 16, 1:00 pm at SFFS | New People Cinema.
Bear It
熊熊爱上你 | Taiwan 2011 | in Chinese | 104 min. | dir. Cheng Fen-fen 鄭芬芬
"Bear It" is a comedy about a tour guide who encounters with other unexpected characters when he tries to replace the teddy bears he loses to a car accident.

Showtime: Sunday, October 16, 4:15 pm at SFFS | New People Cinema.
Ranger
歸‧途 | Taiwan 2010 | 80 min. | dir. Chienn Hsiang 錢翔
"Ranger" tells a story about a newly released ex-con unexpectedly becomes the guardian of an abused child, and struggles to break the cycle of violence.

Showtime: Sunday, October 16, 9:00 pm at SFFS | New People Cinema.

1911 (辛亥革命)

2011-10-07T00:02:00.000-07:00

To commemorate the 60th anniversary of the founding of the People's Republic of China, an epic film "The Founding of a Republic" (建国大业) was released in 2009 in China. To commemorate the 90th anniversary of the founding of Chinese Communist Party, another epic film "Beginning of the Great Revival" (建党伟业) was released last year. October 10, 2011 marks the centennial anniversary of the Xinhai Revolution (辛亥革命), which overthrew Qing Dynasty—the last imperial dynasty in China. Therefore, it is understood to have a high expectation for another grand scale film to commemorate the centennial anniversary of Xinhai Revolution this year.

Co-directed with Zhang Li, Jackie Chan's 100th (I am not the one who counted) film "1911" (辛亥革命 | China 2011 | in Chinese | 118 min.) aims to deliver such a spectacular epic. Unfortunately, like its two precedents, the film focuses more on reenacting what happened, instead of telling stories about why and how those events happened and who these revolutionaries were.

At the turn of last century, Sun Yat-sen (Winston Chao) and his comrades, including Huang Xing (Jackie Chan), lead an underground organization called Tong Meng Hui (同盟会 - Chinese Revolutionary Alliance). Tong Meng Hui wants to found a new republic. Its goal is to start a revolution, Xinhai Revolution, to abolish the Qing Dynasty, presiding by a child emperor Puyi and Empress Dowager Longyu (Joan Chen). The film conventionally chronicles the major uprisings during Xinhai Revolution fought by those brave young souls in Tong Meng Hui against the royal army led by the political savvy Yuan Shikai (Chun Sun).

Without a fair amount of knowledge about Chinese history, the flashing of name tags on the screen hardly offers any help to the audience about these historical figures, especially when the film's script pays little attention in developing its characters.

Like portraits printed on paper, both Sun Yat-sen and Huang Xing are good looking but lifeless in the film, besides the fact that Jackie Chan is 20 years older than Huang Xing in 1911.

On top of that, some scenes are plain laughable. For instance, when Sun Yat-sen returns to China from oversea exile, Sun Yat-sen and Huang Xing are calling out each other on a ship. Of course, they eventually meet at a spot designated by the directors. The scene looks like a reunion of a young couple in love from a Korean drama. Since Jackie Chan plays the lead, the film not only prevents him from being killed by bullets or bombs in a battlefield, it even manages to include a kung fu fighting scene, which is completely out of the place. Even the kung fu fighting is very brief, the damage to the film is already done.

However, one exception is the creation of a in-depth character—sly Yuan Shikai, who literally steals the spotlight of the film. Yuan Shikai knows how to manipulate the political rivals and power, with only one goal in mind: to benefit himself. He might be the only character that resides with you after you finish the film.

"1911" has its ambition and shows its spectacle visual, but it is trapped into the footsteps of "The Founding of a Republic" and "Beginning of the Great Revival." As a result, it neither provides inspiration from these revolutionaries nor serves as a review to the history. Luckily, there are books and the internet for that.

"1911," a Well Go USA Entertainment and Variance Films release, opens on Friday, October 7, 2011 at Bay Area theaters.

The 34th Mill Valley Film Festival

2011-10-01T09:33:00.000-07:00

October is the time when the leaves change color to indicate the arrival of the colorful autumn season in most parts of the world, except few places like the Bay Area—there is no changing color in leaves here in October. Instead, October is when the annual Mill Valley Film Festival (MVFF) takes place, to indicate the beginning of a different season—Oscar campaign.

Last year MVFF's opening night film "The King's Speech" won the Oscar, didn't it? Will the history repeat this year? We shall see. However, one thing seems to be certain is that multiple films in this year's program will be serious Oscar contenders.

The 34th Mill Valley Film Festival opens on October 6 with a period drama "Albert Nobbs" (Ireland 2011 | 113 min.) and a goofball comedy "Jeff Who Lives at Home" (USA 2011 | 84 min.).

Set in the mid-19th-century, in "Albert Nobbs," Glenn Close plays a English woman who poses as a man in order to work as a butler in a hotel. We already hear plenty Oscar buzz for her performance in this title role. The question is which category Glenn Close might be nominated: best actor or best actress?

Jason Segel's fans will enjoy his title role as a 30-something pot-smoking "Jeff Who Lives at Home." It is an over-the-top comedy that touches your soft spots if you do not guard them carefully.

On Oct 16, the festival closes with a delightful silent film "The Artist" (France 2011 | 100 min.). Its story timelessly resonates the entertainment industry's never changing harsh reality faced by generations of struggling artists.

In between, the festival pays tributes to Glenn Close, Michelle Yeoh, and Gaston Kaboré, and shines spotlight on Ezra Miller and Elizabeth Olsen. The festival also presents a centerpiece film "My Week with Marilyn" (UK 2011 | 100 min.).

Surprisingly, films from Japan and South Korean are noticeably absent from this year's program, except one Japanese animation "Light of the River" (川の光 | Japan 2009 | in Japanese | 75 min.) in MVFF34 Children's FilmFest.

Sacrifice (赵氏孤儿 | China 2010 | in Chinese | 124 min.)
Renowned Chinese director Chen Kaige (陈凯歌) is well known for his masterpiece "Farewell My Concubine" (霸王别姬 | China 1993), that tells a heartbreaking story. In his latest "Sacrifice," another grand tragedy, he transforms a classic in Chinese literature into cinema.
Ge You (葛优), the most prolific actor in China today, plays a physician Cheng Ying about 2500 years ago in State of Jin (晋国). During a rival cleansing, the entire family of Zhao is wiped out, except one infant, who is saved by Cheng Ying with his own son. (The direct translation of the film's Chinese title would be "The Last Orphan of Zhao.")
Buried the devastation and hatred deep inside, Cheng Ying patiently waits and plans his vengeance.

The stunning visual, the gripping storytelling, and the superb performance make this beautiful film unforgettable.
The Butcher's Wife (王良的理想/Wangliang's Ideal | China 2010 | in Chinese | 119 min.)
In the booming economy of modern China, not everyone is finding a seat on a high-speed train heading to the prosperity and a better future. Many are left behind, but they are not giving up hopes. They are still desperately chasing their dreams. They want to catch the last train fading away from their sight.
Based on a novel by Wang Xuemei (王雪梅), director Gao Xiongjie (高雄杰) tells a poignant tale in "The Butcher's Wife." His film's protagonists, a tenderhearted butcher in a rule village in Zhejiang Province Wang Liang (Fang Ye) and his younger wife Li Qiao (Tang Huihua), are among those who miss the train.
Despite repeated failures in the national college entrance exam, Li Qiao continues to try because she believes that attending a college is the only way for her to get out the village, to start a new life, and to reunite with her old boyfriend who attends a college. She marries Wang Liang is purely for the economical reason and finds excuses not to sleep with him. Meanwhile, Wang Liang accommodates Li Qiao's demand to leave her alone until she finishes the exam, hoping that one day he will be able to start a normal family life with Li Qiao.
When things are not happening according to plans, and seeing their dreams are vanishing, both Li Qiao and Wang Liang become desperate to hold on to their last hope.

Unfortunately, there are too many Wang Liang and Li Qiao in today's China. They are not willing to settle with what is laid out in front of them. However, sometimes the price is too high to pay for pursing that dream. Gao Xiongjie's film takes a focus on this often invisible group of people. Let's hope eventually there will be another train coming to pick them up.

The 34th Mill Valley Film Festival takes place at CinéArts@Sequoia and 142 Throckmorton Theatre in Mill Valley and Christopher B. Smith Rafael Film Center in San Rafael, just across the elegant Golden Gate Bridge from San Francisco, October 6-16, 2011.

Restless

2011-09-23T00:22:00.000-07:00

Can a grieving teenager boy fall in love with someone who is dying? In reality, it might sound preposterous. However, in director Gus Van Sant's new film "Restless" (USA 2011 | 95 min.), the fairy tale of tender love is charmingly unfold, but without leaving you heartbroken.

Pretty-faced Enoch Brae (Henry Hopper) is devastated by the loss of his parents in a car accident. After he comes back from coma for three months, he drops out from school and becomes a loner. He crashes strangers' funerals and hangs out with his only friend—Hiroshi (Ryō Kase), a Kamikaze pilot ghost during World War II.

When Enoch meets a beautiful and gentle cancer patient Annabel Cotton (Mia Wasikowska) at a funeral (where else?), he falls for her quickly. Despite the fact that there are only three months left for Annabel, Enoch breaks away from being a grief-struck loner and opens up to Annabel. They team together to have an almost childish uplifting attitude toward death and Annabel becomes surreally at ease facing the imminent destination. "Death is easy, love is hard," the imaginary ghost Hiroshi concludes. Yet, the sweet love experience between Enoch and Annabel proves otherwise, for three months at least.

Although the film is constantly dealing with the subject of death, it is surprisingly unsentimental. The two young protagonists talk or even act about death casually as if they are discussing a school project. Of course it seems unusual, but these two teenagers are nothing but ordinary. However quirky they might look, the tender love between these two beautiful youth is hard to resist.

The film deliberately removes any modern gadget to blur the time setting for the film, aiming for another timeless "Love Story" classic. While the film is some distance apart toward that goal, the terrific acting from the talent cast, the perfect costumes, the gorgeous visual, and even the brilliant selection of a romantic French song make you want to forgive the flaws in the film, and embrace the courage and love between Enoch and Annabel.

I would not mind to die like Annabel—young and beautiful, without any sign of illness from cancer, and having an Enoch in love with in the end.

If it sounds like a fairy tale, so be it.

"Restless," a Sony Pictures Classics release, opens on Friday, September 23, 2011 at Bay Area theaters.

Killer Elite

2011-09-23T00:02:00.000-07:00

A typical summer blockbuster in action thriller genre almost certain to contain the following ingredients: exciting explosions, never ending gunfire, spectacular car chase, bravely jumping off roof tops without dying, and brutally beating the crap out of some tough looking guys, from some equally tough looking guys. Director Gary McKendry's feature directorial debut "Killer Elite" (USA 2011 | 105 min.) has them all. Luckily, the film is executed well enough to keep you captivated and entertained.

Adopted from Ranulph Fiennes's novel, which is claimed to be based on a true story, the film's plot is like a Russian doll, it keeps revealing a conspiracy underneath a story you are just told, until you lost track of the number of layers. Then you just give up but simply watch those tough guys carrying out each assassination.

Retired hit-man Danny (Jason Statham) finds out that his buddy Hunter (Robert De Niro) is held hostage in Omen by an oil mogul—sheik Amr (Rodney Afif) who is on his deathbed. In order to free Hunter, Danny must meet Amr's demand to take revenge for his three dead sons, killed by British Special Air Service (SAS). Danny has no choice but to form a small assassination team called "The Clinic" to hunt down three SAS agents who are protected by Spike (Clive Owen), an intelligent agent who is the head of a secret military society. Bloodshed is just the beginning of a twisted chain of events.

There may have reasons for a dying sheik in the far East hand-picks Danny to fulfill his vengeance, but you probably will not get them from this film. In fact, the added twisted relationship among these British lads is like those embedded confusing dreams in "Inception"—they are never meant to be clear. However, what will keep your attention away from pondering these details are the non-stop carefully crafted actions. They are thrilling even not necessarily original. These actions might get laughed at by a real Navy SEAL, but they almost surely entertain the audience.

You will walk away from this film with almost nothing that stimulates your brain cells, but you will get what you expect—a typical action thriller that you might crave once awhile, even you know what it looks and tastes like.

"Killer Elite," an Open Road Films release, opens on Friday, September 23, 2011 at Bay Area theaters.

I Don't Know How She Does It

2011-09-16T01:14:00.001-07:00

Nobody says it is easy for a woman to have a successful career while carrying on with a normal family life. However, some people think that it is impossible. Worse, they assume that everyone else in this world thinks that it is impossible. Base on that stereotype, a new comedy is made with a catchy title called "I Don't Know How She Does It" (USA 2011 | 89 min.). But, the film turns out to be an awkwardly crafted farce of clichés, lacking of humor and wit. And, I still don't know how she does it.

The "she" in the film's title is a middle aged investment banker Kate (Sarah Jessica Parker). Kate constantly faces the challenge of juggling between high demanding at work and a mom's responsibility for her two young children at home. Luckily, her understanding and supportive husband Richard (Greg Kinnear) is not the one who brings home the bacon. Therefore, while Richard is helping out at home, she can come up some brilliant ideas to compose a mutual fund when traveling, sometimes flirting, with a high profile investment banker Jack (Pierce Brosnan). On top of that, Kate sometimes acts as a mentor and therapist to her straight faced junior assistant Momo (Olivia Munn) about balance of career and family, but never on investment.

Indeed, this sounds like the film is joking. Unfortunately, it is not funny.

If by a remote chance that you have not heard the voiceover from Sarah Jessica Parker in the television series "Sex and the City," you will get a chance to hear her talking exactly the same in this film, but without the insight and sincerity in the TV series. It is a failed attempt when the film mimics the style of the TV series, by letting talking heads express their feelings and thoughts, in case the audience cannot get the point through these character's actions.

What insults the audience's intelligence even more is when a character makes a (not funny) joke, the film brings another talking head to explain the punch line.

One funny moment actually comes from the conversation between Kate and Jack when they brainstorm "new ideas" about the type of mutual fund they want to create—the fund should be high yield in dividend. Can't you tell the film's writers know nothing about investment?

The truth is, even you know how she does it after the film, you probably won't want to follow her footsteps.

"I Don't Know How She Does It," a Weinstein Company release, opens on Friday, September 16, 2011 at Bay Area theaters.

Warrior

2011-09-09T00:01:00.000-07:00

I confess that I probably never be a sports fan, even one day someone can explain to me what sports mean. For example, I can never comprehend the point of beating the crap out somebody with your fists, even given a fancy name like boxing or mixed martial arts. There are many other ways to prove that you are tougher and stronger than others. However, I am not single this particular barbaric form of so-called sports out. I think it is equally ridiculous for Tiger Woods walking around followed by people carrying his golf clubs. What's even more incomprehensible for me is many spectators enthusiastically watch them.

Not surprisingly, I am not fond of films about fighting per se, except a few decent ones such as "The Fighter." Therefore, the bar is set rather high for writer/director Gavin O'Connor's new "mixed martial arts" film "Warrior" (USA 2011 | 139 min.). Fortunately, the film not only overcomes my prejudice about fighting, it also meets my high bar with its high human drama and powerful performance from a terrific ensemble cast, while still having plenty awesome fighting scenes. Did I just describe fighting with the word "awesome?"

Marine Tommy Conlon (Tom Hardy) unexpectedly returns home to his estranged father Paddy (Nick Nolte) and asks Paddy to train him for an upcoming mixed martial arts tournament with five million dollars prize money for the winner attached. Tommy's brother Brendan (Joel Edgerton) is a schoolteacher who cuts tie with both Tommy and Paddy many years back. Even the two brothers are grown men, they are not ready to make peace with the pain caused by Paddy's alcoholic past.

Brendon is facing foreclosure during this dire economy and believes that the only way to keep the house to his family is to win the tournament, in which Tommy is fighting the same prize money for his falling comrade's family.

Miraculously, the final match is between the two brothers. However, in the end, which brother wins the tournament is no longer important, whether love and forgiveness can prevail in this broken family's struggle becomes the focal point.

Although the plot is rather predictable—how would the film proceed to the climax if one of the brother were eliminated from the tournament?—but the gripping human story always dominates the film and the mixed martial arts tournament recedes to the sideline. That is essential for me to enjoy the film because this film definitely vindicates my opinion, or prejudice, about the brutality in fighting.

The most moving aspect of the film is its earnest and convincing portrayal of the relationship among father and sons. The credit largely goes to an extraordinary performance by Nick Nolte and Tom Hardy. Both of them are almost pitch perfect and brilliant in every scene.

While I am profoundly touched by the stories both inside and outside the fighting ring, I am deeply saddened by the motivation why the two brothers step into the ring. It reveals what is more barbaric in this society than mixed martial arts.

"Warrior," a Lionsgate release, opens on Friday, September 9, 2011 at Bay Area theaters.

The Hedgehog (Le hérisson)

2011-08-26T00:51:00.001-07:00

Like it or not, we all live in a heterogeneous environment where people are from different classes, hold different statuses, and reflect society's inequality. How we interact with people outside our own domain can be very different based on our understanding and empathy toward them. Often, that interaction does not exist at all. Based on a best-selling novel, Mona Achache's impressive feature directorial debut "The Hedgehog" (Le hérisson | France 2009 | in French | 100 min.) is an excellent film about discovering friendship and love beyond the underline boundary of social circles.

The film's narrator is an artistic and articulate eleven-year-old girl, Paloma (Garance Le Guillermic) who lives in an up-scale Parisian apartment building and despises the wealth of the riches and the emptiness of their souls. She determines not to be one of them like her parents, and decides to end her life on her 12th birthday. She uses her dad's camcorder to make a film as her last testimony about her dramatic ending of her life. While running around shooting with her camcorder, she discovers a secret of the reserved 54-year-old concierge lady Renée (Josiane Balasko) who lives downstairs with her cat Leo, named after Leo Tolstoy—Renée is a bookworm and has her own world behind her closed door.

However, Renée's unkempt outlook doesn't escape the notice from an observant and polite wealthy Japanese tenant Kakuro Ozu (Togo Igawa) who just moves in the building. Despite the obvious difference in their social status, Kaburo's charmingly offers Renée his friendship. Ignoring any potential prejudice, they lighten up each other's life in this clearly divided building.

Even the film's touching story sounds like a fairy tale, the fable is beautifully told by young write/director Mona Achache. The film artfully illustrates the elegant and sophisticated side of Renée's character, which doesn't resemble her labor duty during the day when she is invisible to most of the rich tenants in the building. The heartwarming romance between Kaburo and Renée is delicately developed and wonderfully displayed like a sushi platter by a skilled Japanese chef.

However, the rhythm of the film seems constantly disrupted by the restless Paloma. Perhaps Kaburo and Renée should have traveled to some remote location without Paloma around in order to proceed their courtship, Kaburo must be able to afford it. That brings another paradox of the film—on one hand, the film tells us not to judge a book by its cover; on the other hand, Renée gets a makeover before she shines and goes on a date with Kaburo. Being rich does provide benefits sometimes. Is Paloma learning this lesson too?

With terrific performance, this beautiful film affirms us that love can be found and felt, if we are brave enough to embrace and express it, regardless who we are.

"The Hedgehog" a NeoClassics Films release, opens on Friday, August 26, 2011 at Bay Area theaters.

Amigo

2011-08-19T00:02:00.000-07:00

Can you quickly name an Asian country that Americans have not stepped on its soil fighting in a war? That is probably why many countries around the world feel resentful toward American imperialism. The US has been acting like the world police since the little known Philippine-American War at the beginning of the last century, and continues to act in that role around the world today in the name of spreading or defending "democracy." At this moment, the US spends a billion tax dollars per week right fighting in Afghanistan while the domestic deficit skyrockets to an absurd bankruptcy stage.

A little history lesson through a film might help us to reflect on American's foreign policy. Academy Award-nominated indie auteur John Sayles offers an impressive such lesson with his new film "Amigo" (USA 2010 | in Tagalog/English/Spanish | 128 min.). The film tells a tragic story during that forgotten Philippine-American War which amazingly resonates today's wars in Iraq and Afghanistan.

In 1900, after the US wins the Spanish-American War, the US takes control over the Philippines from the Spanish, and begins to fight with the resistance from the local guerrillas. Led by Col. Hardacre (Chris Cooper) and Lt. Compton (Garret Dillahunt), the US troops occupies a small village. Knowing nothing about local language and culture, they can only communicate with the villagers through a shady Spanish friar Padre Hidalgo (Yul Vázquez). The earnest village head Rafael (Joel Torre) is caught in the middle and faces a daunting dilemma. He must cooperate with the Americans in order to protect other civilians in the village, which makes him a traitor in the eyes of those guerrilla fighters, consisted of his son and brother, who also depend on his support for supplies and information. Rafael's tragic fate is sealed as soon as the Americans arrive from the other side of the Pacific Ocean.

The film creates many rich and complex characters with superb performance, although the flow of the story telling seems a little choppy and sometimes a scene appears to be artificial for the purpose of making a point (for example, the conversation between the two Chinese workers). However, above all elements of the film, the anti-imperialism central theme stands out. We observe how the war destroys the lives of civilians and their culture. The film effectively delivers this powerful message by focusing on Rafael's personal tragedy.

The film's story is strikingly relevant to today's wars that Americans are still fighting. History is repeating itself, unfortunately.

"Amigo," a Variance Films release, opens on Friday, August 19, 2011 at Bay Area theaters.

Conan the Barbarian

2011-08-19T00:01:00.000-07:00

Even you have not seen a 1982 film staring ex-Governor of California, you probably heard about a fictional fantasy character named "Conan the Barbarian." This heroic character has been featured in comic books, televisions, and even video games. The newest addition featuring this celebrated figure is a 3D action film "Conan the Barbarian" (USA 2011 | 112 min.), which is not a remake of the identically titled 1982 film. Unfortunately, instead of bringing new dimension to this fantasy hero, the film makes the character as flat as the image on a cover of a paperback romance novel.

Set in a fictional Hyborian Age, the film opens with a barbaric C-section during a battle, and Conan (Leo Howard) is born. When Conan is a teenager, the evil Khalar Zym (Stephen Lang) and his witch daughter Marique (Rose McGowan) destroy Conan's village and kill Conan's father (Ron Perlman).

After Conan (Jason Momoa) grows up, he hunts down Khalar Zym and Marique to revenge. During his quest, he meets beautiful Tamara (Rachel Nichols) who has the pure blood that Khalar Zym and Marique are looking for.

There, the film has gathered all the necessary ingredients for a cheap routine stir-fry: gruesome violence, pretty woman, horrific monster, and a spectacular fantasy world made by CGI. The fire is on, and the cooking begins. The mindless actions are non-stop and there are plenty rolling heads. However, Conan and his newly met woman Tamara are like two hot chili in the wok—they can overwhelm every counterpart and maintain their presence. They are unbeatable for some unknown reasons.

Perhaps taking the cue from the famous Fabio, Conan almost always bares his chest and let his long hair flow with the wind. Although, I do think Conan's darker hair color looks better than Fabio's blond. Of course, Conan must be given a chance to bare more than his chest in the film as well.

The film is laughable, but not because it is funny. Its characters are so simple and one-dimensional. No matter how I tilt my 3D glasses, I am unable to lift Fabio, I mean Conan, off the screen. Conan keeps posing his fabulous looks to make covers for a romance novel like Fabio. Well, what can we expect? He is a Barbarian.

"Conan the Barbarian," a Lionsgate and Millennium Films release, opens on Friday, August 19, 2011 at Bay Area theaters.

Glee: The 3D Concert Movie

2011-08-12T00:02:00.001-07:00

Even you have not watched any episode of the phenomenal television series "Glee", you should not hesitate to go see this energetic musical documentary "Glee: The 3D Concert Movie" (USA 2011 | 100 min.). You will be humming with joy and glee, in addition a big smile on your face when you leave the theater and recycle your 3D glasses.

Based on the enormous success and popularity of the TV series, Glee's cast members go on a world-wide concert tour during 2010-2011. This documentary shows more than 20 pop songs, from The Beatles to Lady Gaga, at the concert, accompanied by vigorous choreography and screaming fans. You can't help but to tap your feet or even sing with the cast. The uplifting force of energy coming out of the performance is simply irresistible.

However, the concert performance is only part of what the film is offering. The film also features a few Glee fans who have been inspired by the characters from the TV series. They share their heartwarming stories of finding happiness and being accepted for being different—a core message from the award winning TV series.

Throughout the film, you constantly feel the exhilarating vibe pouring out of the big screen. You might laugh at the silliness exhibited by some of the Glee fans, but you will definitely be cheering on for those featured stories, and be inspired by their courage, and be brightened by their genuine happiness.

Perhaps you are not a Glee fan like little Kellen yet before you watch this film, but you might become one afterward. If you are a Glee fan, you are probably lining up getting your tickets for the second viewing of the film already. Either way, make sure you stay to the end watching the credit to roll.

As for the 3D, is it necessary? Probably not, although it does give you a sense that you are right next to the center stage of the concert, as if you can reach out and hold the hand of a Glee cast member, while singing "I Want to Hold Your Hand." You know you want to.

"Glee: The 3D Concert Movie" a 20th Century Fox release, opens on Friday, August 12, 2011 at Bay Area theaters for a "limited two-week engagement."

The Whistleblower

2011-08-12T00:01:00.000-07:00

As if a war itself is not ugly enough, some peace keepers from the so-called "international community" such as UN often commit crimes and engage in corruption during the lawless post-war era. It is like rubbing salt into the bleeding wounds. Sadly, it happens almost in every past and present war. Based on a true event, Canadian writer/director Larysa Kondracki's feature directorial debut "The Whistleblower" (Germany/Canada 2010 | 112 min.) tells a police officer's courageous battle to uncover a horrific human trafficking crime in Bosnia about two decades ago.

Kathryn Bolkovac (Rachel Weisz) is a divorced police officer from Nebraska who wants to be transferred to Atlanta to be with her daughter. When the transfer fails, she takes on an opportunity and joins a US firm contracted by the UN as a peace keeper in war-torn Bosnia in 1999. Soon after being on the job, she discovers wide spread human trafficking of young women who are held in inhuman conditions in various brothels. Further investigation reveals more disturbing truth—those US peace keepers and the local police force are actively involved with these sex-trafficking operations. Her effort to save these girls and to seek justice is a devastating uphill battle that hits brick walls for each step she moves. Not discouraged by the dire situation, she risks her own safety and continues the fight.

This gripping film effectively explores the dreary but important subject matter. It literally depicts the helpless and despairing situation faced by these sex-trafficking victims, as well as by officer Kathryn Bolkovac. It seems nothing one can do to shake the giant UN bureaucrat and to bring these diplomatic-immunity-protected criminals to justice. Humanity appears to be disappearing in the ruin of war, and the only thing matters is the money flowing into these UN peace keep contractors.

Academy award winner Rachel Weisz's extraordinary performance vividly transforms the brave protagonist to the big screen. She creates a convincing and rich character, despite many other characters are underdeveloped. She should be the reason for you to go see this film even you feel the story is too heavy.

What if we change Bosnia to Iraq, or Afghanistan? Let's not think about it now, because this movie is depressing enough.

"The Whistleblower" a Samuel Goldwyn Films release, opens on Friday, August 12, 2011 at Bay Area theaters.

The Guard

2011-08-05T00:02:00.000-07:00

There are many films are claimed to be a comedy, but they are hardly funny at all, despite how hard they try. For example, whatever Jim Carrey does is almost guaranteed not funny. On the other hand, some films are effortlessly hilarious with wit and intelligence—for instance, writer/director John Michael McDonagh's feature directorial debut "The Guard" (Ireland 2011 | 96 min.).

In a small town in Ireland, Sergeant Gerry Boyle (Brendan Gleason) has his own unorthodox way to manage both his public duty and personal life. When a group of drug smugglers pass by, not only they bring homicides, but also a FBI agent Wendell Everett (Don Cheadle) into this sleepy coastal town. Being used to take orders from nobody, certainly Gerry is not going to be a foot soldier for the privileged Brendan from the USA government. Like always, he has his own master plan for each and every move he has.

The crime story constantly takes its own unexpected detours, which might remind you films like "Fargo." However, the colorful characters in this film have their own distinct flavor and accent, which will reside with you long after entertain you during the film.

Gerry is anything but conventional. He sneaks drinks to his mom in a nursing home, when she is battling with cancer. Or, he hires two uniformed prostitutes on his day off. Yet, he is intelligent, competent, politically incorrect, and funny. Brendan Gleason gives a brilliant performance as this original and eccentric character. It is immensely entertaining to watch Brendan Gleason and Don Cheadle play out the duo gracefully.

This film is a small gem that is genuinely funny because of its quirky dialogs and smart characters. It makes you laugh out loud without any physical mishaps to those unlucky characters such as those played by Jim Carrey. This film is a delightful escape from those mindless summer blockbusters jamming the theaters, 3D or not.

"The Guard," a Sony Pictures Classics release, opens on Friday, August 5, 2011 at Bay Area theaters.

Cowboys and Aliens

2011-07-29T00:01:00.000-07:00

You must have heard about stories that somebody is kidnapped by aliens. But, do you know how? This is how: the aliens use a wire, probably stainless steel, and efficiently hook people up into the air, then carry them away. At least that is shown how it is done in the new sci-fi Western flick "Cowboys and Aliens" (USA 2010 | 118 min.). Based on a comic novel, using mindless explosions and disgusting looking aliens, the film aims to offer a typical seasonal theatrical entertainment for young film goers to escape the sizzling summer heat.

Set in the Wild West in 1873, Jake Lonergan (Daniel Craig) is a most-wanted criminal. But when he wakes up from a coma with a high-tech bracelet on his wrist, he has no memory about his past nor where he is. That is because he just barely escapes from a kidnapping by creepy aliens. The aliens continue to snatch people up with metal wires, while bombing the villages like NATO's airstrikes. Somehow, Jake figures out that he doesn't have to draw guns like a cowboy does. He can just extend his arm, and that bracelet from the 22nd century will blow up the aliens. Joined by a grumpy Colonel Dolarhyde (Harrison Ford), and a beautiful Ella Swenson (Olivia Wilde), Jake is on a mission to reclaim the dessert back to humans from the aliens.

The film is a big pot of messy stew with all kinds of half-cooked ingredients that don't really complement each other. It's neither Western enough, nor sci-fi sufficient. Of course, the plot is not meant to make sense when the film is credited with eight writers. However, it surely makes you want to vomit everything you just ate when a gruesome CGI alien jumps at you on the screen from nowhere, or when an alien opens its chest and extends out E.T.'s fingers. No, it's not cute.

Although the film lacks originality, imagination, and coherence, it doesn't seem to have trouble to become an instant blockbuster—that's the only purpose that everything of this film is designed to achieve, and it doesn't bother with anything else.

"Cowboys and Aliens," a Universal Pictures release, opens on Friday, July 29, 2011 at Bay Area theaters.

Page One: Inside the New York Times

2011-07-01T00:10:00.000-07:00

No one would disagree that the American printing press is in a big crisis like never before. Newspapers go out of business like a wildfire burning out of control. But that doesn't mean there are less "news" feeds nowadays. To the contrary, the sources of news media are more crowded than ever. I bet you should have no trouble to answer the question about where you normally get your news from when your juggle your electronic gadgets. However, how credible is the content you are reading? More importantly, how often do you ask that question in the rapidly moving information age?

I, not alone by any count, am very skeptical about what I read online or even in print about news, unless I can trace a report back to institutions that I have not lost my faith yet, such as The New York Times. However, will The New York Times survive from tough challenges in the news business? Director Andrew Rossi's engrossing documentary "Page One: Inside the New York Times" (USA 2010 | 88 min.) takes an intimate look at news reporting inside one of the oldest empires in the press.

In a fly-on-the-wall style, the filmmakers observe how news stories get discovered, followed, and eventually printed by the diligent work from the reporters at The Times. Over a period of more than a year, the filmmakers follow four journalists at the Media Desk including a charismatic hoarse-voiced straight talker David Carr, an energetic fast paced Brian Stelter, a media reporter who later becomes Baghdad Bureau Chief Tim Arango, and their no-nonsense editor Bruce Headlam.

It is absolutely fascinating to learn how these journalists strive for excellence in news reporting by observing their daily operations, during a trying time for printing press and at a time of war when WikiLeaks takes the headlines.

Although the title gives the impression that the film is about how a story appears on the front page of The New York Times, it's not. David Carr steals the movie with his candid and opinion-ed remarks about journalism, and many other things. He becomes the most interesting and fascinating character in the film that actually holds the film together.

On the front page of The New York Times, it claims: "All the News That's Fit to Print." Obviously, that requires the paper's existence for the news to be printed. Yet, the existence of the paper is nothing short of struggle. Where will we get factual original reporting if the Times flips its belly, which might really happen?

If nothing else, this film is thought provoking about news reporting and news consumption when more and more news aggregators flood the internet, while less and less fact-checking in-depth investigation.

The New York Times' new editor Jill Abramson says: "In my house growing up, The Times substituted for religion. If The Times said it, it was the absolute truth."

Let's hope the truth be held.

"Page One: Inside the New York Times," a Magnolia Pictures and Participant Media release, opens on Friday, July 1, 2011 at Bay Area theaters. The film was also shown at the 54th San Francisco International Film Festival.

X-Men: First Class

2011-06-03T00:01:00.000-07:00

For generations, superheroes have been fantasized by many children, adolescents, and even adults. They are continuously reinvented in endless comic book series, as well as numerous blockbuster movies. They are also used by McDonald's to successfully hook millions of children to junk food. Indeed, these superheroes seem to have superpower in creating a gold mine. The latest superhero movie "X-Men: First Class" (USA 2011 | 132 min.) is not trying to tell a compelling story, but is aiming to drill deep in this gold mine, and to pave the road for its sequels to dive even deeper to reach the gold. It is quite obvious that the film specifically targets the demographic group of young film goers. From the special effects to casting, it does everything possible to hook them up with the film. Does the film achieve that goal? You bet.

In 1944, a Nazi doctor Shaw (Kevin Bacon) kills Erik Lehnsherr's mother in front of his eyes, and engineers him into a mutant called Magneto (Michael Fassbender) who possesses superpower. Fast-forwarding to 1960s, when Magneto seeks out Shaw for revenge, he teams up with young Professor X, Charles Xavier (James McAvoy), who recruits a group of even younger mutants. Their challenge is to use their superpower to stop Shaw from starting the World War III during the "Cuban Missile Crisis." They fly around doing just that, and you can easily guess the outcome because we all already know the consequence of the crisis—you can only smuggle Cuban cigars into the US.

Based on characters in Marvel Comics, although this film is the fifth movie in the X-men series, it is the first of a new trilogy. While the characters are nothing new to the X-men fans, the noticeably younger cast sets the tone for the sequels, as well as young viewers, to follow.

If you come to this film looking for in-depth characters, or logical plot, you must have come to the wrong movie. Actually, even the performance is mediocre in this film. You come to this movie to see what sort of superpower these mutants have but you lack. You come to cheer for these superheroes like you follow your favorite sports team—you root for them even they are losing the game and they are performing poorly.

During breaks between actions to save the world, these young cast members repeatedly come together to attend a "support session" for being mutants, that is, for being different from ordinary people. Although they do not sing Lady Gaga's Born This Way together as if they appear in an episode of Glee, surely they seem to be making a clip for the "It Gets Better" project.

There are at least two more movies to follow, let's hope "It Gets Better."

"X-Men: First Class," a 20th Century Fox release, opens on Friday, June 3, 2011 at Bay Area theaters.

Midnight in Paris

2011-05-27T00:21:00.000-07:00

Paris—it is more than just a name for a magical city, it is also a symbol for romance, art, culture, and intellect, no matter how pretentious that might sound. It is hard to find anybody who dislikes Paris. For auteur Woody Allen, his love for Paris is already quite evident in his "Everyone Says I Love You" (USA 1996). Fifteen years later, he writes a love letter to Paris—his delightful comedy "Midnight in Paris" (Spain/USA 2011 | in French/English | 100 min.). The film's scenery opening almost looks like a promotional clip from Paris Visitors Bureau. I can only imagine how it enchants the crowd as the opening night film at this year's Cannes Film Festival. In addition to paying homage to Paris, the film composes a nostalgic sonata toward the golden times in literature and culture.

Gil (Owen Wilson) is a Hollywood screen writer who wants to be a novelist. He goes to Paris with his superficial fiancée Inez (Rachel McAdams) to experience the magic of Paris before they get married. When Gil is walking on the streets in Paris, he travels back in time when he hops into a taxi night after night.

He hangs out with iconic Ernest Hemingway (Corey Stoll), Salvador Dalí (Adrien Brody), F. Scott Fitzgerald (Tom Hiddleston), Zelda Fitzgerald (Alison Pill), and Pablo Picasso (Marcial Di Fonzo Bo). He gets advice about his novel from Gertrude Stein (Kathy Bates), and he falls in love with Adriana (Marion Cotillard), a beautiful woman who is friend of Hemingway and Picasso. Adriana instantly connects with Gil because she too feels that she does not belong to the era she lives in—she wants to go back in time even further than Gil does. Regardless which era Gil final stays, he is unlikely to leave Paris.

Even this lighthearted film seems snobbish from time to time, I enjoy it more than Woody Allen's other recent films. Of course, the funny and charming character Gil, played by Owen Wilson, is written for Woody Allen. Owen Wilson non-stop mumbles like Woody Allen, with witty and humorous lines—a trademark of Woody Allen.

The character is likable, because I can easily share Gil's anti-Hollywood sentiment. He wants to be among intellectuals and living in an environment surrounded by art and culture, where else should he go if not Paris? San Francisco or New York, perhaps?

"Midnight in Paris," a Sony Pictures Classics release, opens on Friday, May 27, 2011 at Bay Area theaters.

13 Assassins (十三人の刺客)

2011-05-20T00:03:00.000-07:00

Despite the uniquely shaved hairstyle, samurai give me the impression for being brave and brutal at the same time, and they treat their dignity and reputation as important as their lives. They often draw their swords to kill either the enemy, or themselves. They regard death as honor and have no fear of it.

These characteristics of samurai are vindicated from the opening scene to its last frame in prolific Japanese director Takashi Miike's (三池崇史) splendid and bloody film "13 Assassins" (十三人の刺客 | Japan 2010 | in Japanese | 126 min.). This remake of a 1963 Japanese film is a samurai movie that is filled with fierce fight, river of blood, and plenty rolling heads, and it is certainly not a period drama about Japanese history or politics.

Set in 1844, the end of Edo period, shougun's brutal brother, Lord Naritsugu (Gorô Inagaki), is about to seize more power and bring more misery to the people. In order to stop Naritsugu, a veteran samurai Shinzaemon Shimada (Kôji Yakusho) chooses eleven more samurai to carry out the assassination of Naritsugu, even he is protected by a well-trained army with hundreds of soldiers.

They all understand that obviously this is a suicide mission, but all of them are determined to finish this last job with their lives.

On their way to the location where they ambush Naritugu, they encounter a villager who is familiar with surroundings, and he is quickly recruited to be the 13th assassins.

After they carefully convert a village to a battle ground, the rest is history.

Besides numerous swords are stuck to the ground like grass, a large amount of explosive is also used in the battle. Otherwise, how can thirteen men confront hundreds of soldiers? If assassination is the ultimate goal, anything goes for a kill.

Although I can still see traces from Takashi Miike's previous films such as "Audition" (a female victim of Naritugu surely looks familiar), "13 Assassins" is a delicately crafted epic samurai film that has little resemblance to his previous films. The almost never ending battle is surprisingly engaging, remarkably detail oriented, and definitely entertaining.

However, besides few leading characters, it is hard to distinguish the other assassins, especially when they wear similar clothes and have the same haircut. Let's just call them samurai.

"13 Assassins," a Magnet Releasing release, opens on Friday, May 20, 2011 at Bay Area theaters. It was also shown at the 54th San Francisco International Film Festival.

True Legend (苏乞儿)

2011-05-13T01:01:00.000-07:00

Chinese martial arts enthusiasts never get bored watching a fierce fight on the big screen, and kung fu genre almost never runs out of material to satisfy that group of audience, because revenge seems a motivation that forever inspires those glory fights. What might be new is the deployment of the computer technology that creates visual images that human being cannot possibly achieve no matter how long and hard one practices martial arts.

That is basically what renowned martial arts director Yuen Woo-ping (袁和平) offers in his latest film "True Legend" (苏乞儿 | China 2010 | in Chinese | 116 min.). It contains plenty terrifically choreographed martial arts sequences and feather-weight kung fu masters flying on tree tops, but everything else falls flat.

Set in Qing Dynasty, after a bloody battle, General Su Qi-er (Vincent Zhao) leaves his post and departs his adopted brother Yuan Lie (Andy On) to go home. He wants to live a peaceful life with his wife Yaun Ying (Shu Qi), Yuan Lie's sister.

However, Yuan Lie has been seeking opportunity to revenge over the killing of his father, years ago by Su Qi-er's father. After Yuan Lie masters the poisonous martial arts form "Five Venom Fists" (五毒拳), he delivers his vengeance to Su's family. It is not pretty and Su Qi-er barely survives. During his recovery, Su Qi-er builds up a habit of non-stop drinking and talking to an illusional martial arts god (Jay Chou). Then, he takes revenge to Yuan Lie. What else?

When the ordeal is abruptly over, the film does not feel like to end. It jumps to an epilogue when Su becomes a drunken beggar and ends up in an pro wrestling style battle with the Russians. You all can guess how it ends.

In this film, director Yuen Woo-ping does not disappoint the viewers for what he does the best—composing the most exhilarating fighting scenes.

However, he does not seem care anything else in the film. Besides the exceptionally formulaic and overly dramatic plot, the acting is uniformly dull and dry, often over the top, even with an ensemble of good actors. Everything seems to serve one purpose only: to create a platform for carrying out his carefully designed martial arts sequences.

After all, the true legend is not Su Qi-er, but vengeance—a forever living human instinct that inspires more and more mindless fights in martial arts genre. Without it, how can these films ever get made?

"True Legend," a Indomina Releasing release, opens on Friday, May 13, 2011 at Bay Area theaters.

Forks Over Knives

2011-05-13T00:02:00.000-07:00

"You are what you eat" can be taken literally in America. Over 40% Americans are obese. The medical spending is skyrocketing. Getting an open heart surgery is no longer an earth shaking event for the person under a knife. The poor diet and health of the American public have reached to a level of crisis, all because Americans eat too much fatty fast food and they like to drive in circles in a parking lot hoping to find a closer spot to the front door.

These are the main issues (except the part of driving in a parking lot part) that are addressed in director Lee Fulkerson's unconvincing documentary "Forks Over Knives" (USA 2010 | 90 min.). However, they are not the film's focus. The film's true intention is to persuade the viewers to become a vegan, which is believed to be the solution to American's health problems.

The film's two main voices are Professor T. Colin Campbell in nutritional biochemistry and physician Caldwell Esselstyn. Both of them advocate plant based whole food diet, which excludes meant and dairy products. Based on interviews with their patients and chosen few experts, they claim that the plant based diet not only can reduce your risk of heart attack, diabetes, and cancer, the diet can actually reverse the damage from these life threatening diseases. Sometimes the evidences are quite amusing, such as the Nazis reduced the Norwegian's death from heart attack because they take away Norwegian's meat during the invasion in World War II.

No one can dispute that fact that vegetarian diet has great benefits to human health, just like regular exercise. However, in order to claim that vegetarian diet can actually reverse the cancer growth and repair damaged arteries, it requires real scientific data and a sound statistical analysis by somebody with a Ph.D. in statistics, like me.

Unfortunately, when the film only shows the exhilarated patients whose health dramatically improved by the vegan diet, it only makes the film looks like a pro-longed infomercial—it doesn't matter if you have cancer or diabetes or heart attack, just quit eating meat, then you will be fine and the trouble will all go away. Wouldn't that be wonderful if it were true?

As pointed out by the film, seeking pleasure is human instinct, including satisfied by eating hearty foods. Many people seek that instant gratification even they understand that it might jeopardize their health and shorten their life span. What is shown in this film is not enough for them to give up the pleasure in food in order to live longer and healthier.

If you are craving for tender, juicy, glazed pork spareribs with garlic and basil right now, I think you still want those ribs after watching this film, even the film shows plenty gruesome looking meat products and skips the mouth watering pictures of the ribs you are looking for.

"Forks Over Knives," (USA 2010 | 90 min.) a Monica Beach Media release, opens on Friday, May 13, 2011 at Bay Area theaters.

Incendies

2011-05-06T00:05:00.000-07:00

The good, bad, and ugly about religion, as well as the politics around it, have been debated since as early as the religions are created. Those debates often involve wars and killing of human lives. I agree most points made in Christopher Hitchens's controversial book "God Is Not Great: How Religion Poisons Everything," and I always fantasize a world that only exists in the lyrics of John Lennon's "Imagine."

Therefore, it is natural for me to resonate with the tragic story when I am only half way into Canadian director Denis Villeneuve's powerful Oscar nominated film "Incendies" (Canada 2010 | in French | 130 min.). However, by the end of the film, the killing and hatred initiated by religion recede to the background, and an extraordinary woman's personal tragedy takes the center stage, with an operatic gravity that can be matched by the scale in Shakespeare's plays.

The film begins with the death of a Mid-east woman Nawal Marwan (Lubna Azabal) who lives in Canada with her twin children Jeanne (Mélissa Désormeaux-Poulin) and Simon (Maxim Gaudette). Jean Lebel (Rémy Girard), the executor of Nawal's will, hands each of the twins a sealed envelop— Nawal asks Jeanne to deliver the letter to her father she has never met, and Nawal asks Simon to deliver the letter to his brother who never exists to him.

The journey of seeking their father and brother not only unveils Nawal's haunting past, but also allows the twins to truly know their mother for the first time.

Like Wajdi Mouawad's play which the film is based on, director Denis Villeneuve deliberately makes the story's Mid-east location ambiguous, in order to make the film apolitical. That appears to be an artificial stroke for avoiding the obvious unrest in the Mid-east today.

However, on the other hand, it makes another point more prominent—just like the blood shed and war in the film, many political turmoil and conflicts around the world today (and in the past) are rooted in people's hatred toward others who have different religious believes. That echoes back to the title of Christopher Hitchens's book, on a very personal level in Nawal's tragic story.

Without a doubt, this gripping film should have won the Oscar for Best Foreign Language Film.

"Incendies," a Sony Pictures Classics release, opens on Friday, May 6, 2011 at Bay Area theaters. It was also shown at the 54th San Francisco International Film Festival.

Fast Five

2011-04-29T23:55:00.000-07:00

Even I dislike cars in general, I enjoy director Justin Lin's previous two energetic films "The Fast and the Furious: Tokyo Drift" (2006) and "Fast & Furious" (2009) that contain plenty street car racing scenes. His latest installment of the fast and furious series is an action packed entertaining "Fast Five" (USA 2011 | 130 min.). Although the word "furious" is dropped from the title, the film is nothing short of being furious.

Picking up from the last scene in the preceding "Fast & Furious," "Fast Five" opens with a spectacular escape sequence when Dominic Toretto (Vin Diesel) is on his way to prison. The rescuers are Dominic's sister Mia Toretto (Jordana Brewster) and her boyfriend, a former federal agent Brian O'Conner (Paul Walker), both driving incredibly fast, of course.

The trio hides out in Rio, Brazil. But, the hiding doesn't last long. In nothing else, this movie needs to get moving with non-stop actions. The "last" job they want to do is to steal three fancy cars. That job not only brings federal agent Luke Hobbs (Dwayne Johnson) to Rio to arrest them, it also leads them to confront a drug lord Reyes (Joaquim de Almeida). They assemble a team that represents almost all the ethnicities listed on a US census form. The team's mission is to get all of Reyes's money that is stored in a state-of-the-art giant vault, and then disappear forever. They call it a "mission freaking insanity."

Director Justin Lin is brilliant at choreographing the most jaw-dropping actions on the big screen. Even you think you have seen all the car chasing scenes in movies, yet he can show you remarkably new and fresh tricks in this film.

It's expected that not every detail is convincing. For example, if two small modified cars can have the horsepower like a tsunami, we may not see any truck on the highway any more. When Vin Diesel and Dwayne Johnson roll around on the floor, they look like playing in a pro-wrestling match, only with more clothes on, instead of in tight undies—it can't be more obvious that they are just putting up a show.

However, that does not make this film any less enjoyable, because the point of this film is to entertain the audience with what they come to this film for: fantastic action sequences, mindless violence, comic characters, pro-wrestling hunks, and very fast cars.

Handsomely, the film delivers just that thrilling ride. Nothing less, nothing more.

"Fast Five," an Universal Pictures release, opens on Friday, April 29, 2011 at Bay Area theaters.

Let the Wind Carry Me (乘著光影旅行)

2011-04-29T23:53:00.000-07:00

If you were asked who Lee Ping-bin (Mark Lee 李屏賓) is, I doubt that many of you would know. Although you might have seen many Lee Ping-bin's work through over 50 films he shot behind the camera—you rarely have the chance to see him in front of the camera.

Director Chiang Hsiu-chiung (姜秀瓊, whose "Artemisia 艾草" is one of my top-ten films in 2009) and co-director Kwan Pun-leung (關本良) bring this award-winning Taiwan-born cinematographer Lee Ping-bin to the focus in an intimate documentary "Let the Wind Carry Me" (乘著光影旅行 | Taiwan 2010 | in Chinese | 88 min.).

It often intriguers me how distinct visuals in films such as the following have a lasting impression on me: "In the Mood for Love" (花樣年華), "Flight of the Red Balloon" (Le voyage du ballon rouge), "The Sun Also Rises" (太陽照常升起), "Café Lumière" (珈琲時光), "Air Doll" (空気人形), "Three Times" (最好的時光)... The list goes on.

Besides these remarkable films are all made by acclaimed auteurs, what else are these film in common? They are all shot by Lee Ping-bin (Mark Lee 李屏賓). He has an exquisite talent to tell a story by his unique visual style for his subject.

While this documentary affirms that statement by showing large amount of footage from Lee's work and from many interviews with renowned directors, it also provides a platform for soft-spoken, low-key, modest Lee to speak candidly about his work, his philosophy, his family, and his life in general.

The film pays tribute to a talent artist, Lee Ping-bin, not only for his exceptional work, but for his inspiring integrity and charming character during the quest of pursuing his art.

"Let the Wind Carry Me" (乘著光影旅行) is showing at The 54th San Francisco International Film Festival, April 21 - May 5, 2011. Click on the SFiFF54 logo on the right for showtime and ticket information.

The Journals of Musan (무산일기)

2011-04-29T23:20:00.000-07:00

It seems that if you are born in North Korean, you are doomed. No matter what you do, your future looks grim, if you have one. If the news media reports are accurate, you will starve to death if you stay in North Korea. However, if you are lucky enough to escape to South Korea (where else?), you will be discriminated and you will encounter extreme hardship to survive. If there is one happy-ending North Korean defector story, it is yet to be told.

Adding to a steam of recent films on the misery experience of North Korean defectors, for example "Dance Town" (댄스타운 | South Korea 2010), write/director/actor Park Jung-bum's feature directorial debut "The Journals of Musan" (무산일기 | South Korea 2010 | in Korea | 127 min.) tells another poignant heartbreaking story, which you might have heard it in a slightly different version before.

Jeon Seung-chul (played by the director Park Jung-bum) is from Musan (무산군) in North Korea. After he defects to South Korea, he lives with anther street-smart defector Kyung-chul (Jin Yonguk) in a tiny shabby apartment.

Because of the discrimination and prejudice against North Korean detectors, as well as the practical obstacles, it is extremely hard for Seung-chul to find a stable and well paying job. He struggles to make ends meet by posting bills on street walls and working at a karaoke nightclub, while being harassed repeatedly by local gangsters. The only comfort moment he can find is when he goes to the church watching the beautiful Sook-young (Kang Eunjin) singing, or when he is holding a stray dog he finds on the street.

While the characters are well acted and the story is convincingly told, the film only goes skin deep at this complex issue of the treatment toward North Korean defectors in South Korea. Instead of letting us understand Seung-chul's character better, the film only paints a sketch of another pitiful soul that is born to the wrong place.

Like other films on this subject, this film repeats the similar message that has been sent to North Koreans like Seung-chul many times before—we know how hard life is back there in North Korean, but for you, it doesn't get any better if you come to South Korean either. Just take a look at Seung-chul. You are done.

"The Journals of Musan" (무산일기) is showing at The 54th San Francisco International Film Festival, April 21 - May 5, 2011. Click on the SFiFF54 logo on the right for showtime and ticket information.

End of Animal (짐승의 끝)

2011-04-28T23:14:00.000-07:00

Like best buddies, horror and sci-fi genres tend to hang out together in a film. It is logical, because we as human have an instinct fear toward unknown, while unknown is what sci-fi deals the best—it only uses imagination. Writer/director Jo Sung-hee (조성희) composes his imagination in his impressive directorial debut "End of Animal" (짐승의 끝 | South Korea 2010 | in Korean | 114 min.). This gripping film never stops bringing in more intriguing moments that make your head spin and give you goose bumps.

A pregnant young woman Sun-yeong (Lee Min-ji) takes a taxi to her mom's place for the delivery. The cab is stopped by a hooded young man (Park Hae-il) who wants to share the ride. But he does not appear to be a random stranger, because he seems to know both the taxi driver (Kim Young-ho) and Sun-yeong very well, especially about their secrets. He claims that "the wind from the sun will blow out the light, and the angels with sharp teeth will come down to earth" when he finishes his count down. Sure enough, everything stops with a white bang.

When Sun-yeong wakes up, she finds herself in an apocalyptic environment. She wanders into an empty nearby village, desperately hoping to find a phone to contact her mother. Nothing works. No one is around, until a lost boy (Park Sae-jong) and a villager on a bicycle (Yoo Sung-mok) show up. However, they are not really the ones she hopes who can help her to get away from the mysterious man in the hood and to get out this chilling mess. Everything only gets worse.

Jo Sung-hee effectively crafts engaging and terrifying scenes one after another to keep you on your toes. He seems interested more in displaying the dramatic tension among these characters during an arduous situation, than explaining why certain things happen and how. Perhaps in an apocalyptic stage, reasoning is not what people concern the most.

Sun-yeong, and everyone else in the film, is obsessed about going to a rest area to make a contact to the outside world. However, if nothings works in the village, how can they be so sure that the rest area is business as usual? Nobody knows. Anywhere else probably looks better than this terrifying domain that Jo Sung-Hee creates with his imagination.

"End of Animal" (짐승의 끝) is showing at The 54th San Francisco International Film Festival, April 21 - May 5, 2011. Click on the SFiFF54 logo on the right for showtime and ticket information.

The High Life (寻欢作乐)

2011-04-23T23:07:00.000-07:00

Nobody can ignore the economical boom in China over the last few decades. A huge army of super rich and middle-class is born in China. Last year, China became the second largest economy in the world, only behind the Unite States. Yet, underneath those glamorous achievements, there are millions of Chinese people who are left behind. They struggle to make ends meet and desperately searching for a way to survive.

These are the people who have been the subjects of Chinese director Zhao Dayong's (赵大勇) documentaries. He continues to tell their stories in his narrative feature debut "The High Life" (寻欢作乐 | China 2010 | in Chinese | 96 min.), a film that is certainly not singing a harmony note in the chorus of celebrating China's economical progress.

Jian Ming (Liu Yanfei) is a small time crook who sets up a job referring stand on a street corner for new comers in Guangzhou. Instead of introducing jobs, he collects the money and posts their pictures on his bedroom wall for his own amusement, when he is not singing opera on top of the roof to escape the reality. However, when he meets Xiao Ya, he falls for her and actually lands her a job at a hair salon. That job doesn't go well when a local gangster shows up at the salon.

Then, unexpectedly, the film abandons all these characters, but turns its (very expensive) lenses to a railroad police, Dian Qiu (Shen Shaoqiu), who enjoys hear inmates reading "trash poetry" as shown in the opening of the film.

You can come up your own explanation about the sudden switch of film's protagonists and story line. I believe the filmmaker is determined to use this real life "trash poet" Shen Shaoqiu 沈绍裘 (see his blog: 典裘沽酒) to shout out his anger and despair. If nothing else, its shocking value fits the bill.

Here is an example of anti-culture and anti-establishment "trash poetry" by this real life railroad police Shen Shaoqiu when he refers to one of the most prominent figure in Chinese literature Lu Xun (鲁迅):

"It must be said, Sir, with your cock last century,
Which must have been China's hardest and thickest,
You took thousands of years of Chinese culture,
And fucked a great hole right in the middle."

After all, the police's life is not that much different from Jian Ming's fate, perhaps the only difference is that he writes "poetically."

"The High Life" (寻欢作乐) is showing at The 54th San Francisco International Film Festival, April 21 - May 5, 2011. Click on the SFiFF54 logo on the right for showtime and ticket information.

Hospitalité (歓待)

2011-04-23T23:00:00.000-07:00

The Japanese are well known for living with their etiquette and tight space. However, the Japanese's xenophobia tendency perhaps is less obvious. Writer/director Koji Fukada's (深田晃司) offbeat and hilarious comedy "Hospitalité" (歓待 | Japan 2010 | in Japanese | 96 min.) presents these Japanese traits with plenty fun and entertainment.

Mikio Kobayashi (Kenji Yamauchi) operates his family printing company downstairs in his small apartment next to the Sumida River in Tokyo. Upstairs, he lives with his young wife Natsuko (Kiki Sugino), his young daughter Eriko (Eriko Ono) from previous marriage, and his divorced sister Seiko (Kumi Hyôdô). Outside the apartment (sometimes inside), folks from the neighborhood watch group keep an eye on outsiders.

One day, a smooth talking, humble, yet mysterious Kagawa Hanataro (Kanji Furutachi) appears. Not only he quickly lands himself a job working for Mikio in the printing company, he also moves in, with his Brazilian wife Annabelle (Bryerly Long). Mikio and Natsuko politely accept the move. Little do they know, this is just the beginning of seemingly never ending home invasion in this tiny little apartment.

The film's laugh-out-loud comical moments are always generated by terrific performance and brilliant setup of amusing situations. The more absurd a scene gets, the funnier it becomes in this film. You are busy on laughing and you have no time to think if what happens on the screen can actually really happen in real life.

Although the story is set in Tokyo, most the scenes are inside the tiny apartment home, away from the metropolitan hubbub. I find that setting makes this film even more enjoyable and delightful, as if the story is in any small town in Japan.

Like its poise, polite, and funny characters, the film unfolds the story gracefully, even the story cannot be more chaotic. Koji Fukada (深田晃司) is a young director's name that you should look out in the future.

"Hospitalité" (歓待) is showing at The 54th San Francisco International Film Festival, April 21 - May 5, 2011. Click on the SFiFF54 logo on the right for showtime and ticket information.

Hahaha (하하하)

2011-04-22T21:03:00.000-07:00

Based on films directed by Korean auteur Hong Sang-soo (홍상수) so far, I can safely come up two conclusions: he is obsessed about exploring the courtship of men toward women, and he loves to drink. He frequently puts the word "woman" in his films' titles. For example, "Woman on the Beach" (해변의 여인), "Woman Is the Future of Man" (여자는 남자의 미래다), and "Virgin Stripped Bare by Her Bachelors" (오! 수정)—that "virgin" refers to a woman. As for drinking, can anybody even count how many drinking scenes in his films? Although his newest film continues to tell a story about the courtship over drinks, the title is a quite original and modern (like a text message or a Facebook update): "Hahaha" (하하하 | South Korea 2010 | in Korea | 115 min.). The film is just like its title—unusual, lighthearted, funny, and hahaha.

In the film, film director (the character, not Hong) Jo Moon-kyeong (Kim Sang-kyung) meets up his film critic friend Bang Jong-sik (Yu Jun-Sang) in Tongyeong before Moon-kyeong moves to Canada. Over drinks, they talk about their past happy moments in Tongyeong. Whenever a happy moment is flashed back, they cheer and have a sip. Of course, these moments almost always involve relationships with women, including a tour guide Wang Seong-ok (Moon So-Ri) who is also an amateur poet.

When more and more moments are revealed, and more and more drinking cups are emptied, the audience begins to realize that these two friends may be telling the same moments without even knowing it.

The twisted plot unfolds playfully and effortlessly, even you may wonder from time to time if you are the one who are having too much to drink, instead of the characters. The film certainly has Hong's signature style and his everlasting theme: courtship with women.

In the end, we can sense that Hong is the one who has the most fun making this film. He is the one laughing while many of us might be pondering what kind of joke he has been artfully telling in this film.

"Hahaha" (하하하) is showing at The 54th San Francisco International Film Festival, April 21 - May 5, 2011. Click on the SFiFF54 logo on the right for showtime and ticket information.

Water for Elephants

2011-04-22T00:35:00.000-07:00

After hundreds of years entertaining the audience, circus gradually fades away and becomes a dying breed as a form of performance art, even when PETA is not outside the stage protesting. However, amazing performances by these talented artists and their equally talented adorable animals continue to awe the children and charm the adults, before they final pack up and leave for good. Stories about lives in a circus continue to be told in books and movies. (Seen "Circo" yet?)

Based on a novel by Sara Gruen, director Francis Lawrence tells a gripping love story inside a circus troop in a handsome looking drama "Water for Elephants" (USA 2010 | 120 min.), with a strong ensemble performance, including a giant elephant.

The story is set in the '30s, during the Great Depression. Polish decent veterinary student Jacob Jankowski (Robert Pattinson) is forced to quit Cornell after a tragedy in his family. He ends up being a vet in Benzini Brothers' circus troop, owned by a charismatic yet brutal August (Christoph Waltz). Jacob falls in love with August's beautiful wife, the circus's equestrian super star, Marlena (Reese Witherspoon).

After Marlena's horse gives out, the circus badly needs a new attraction to maintain the "Most Spectacular Show on Earth" status, as August unforgettably declares at the beginning of each performance. Rosie, an intelligent 57-year-old elephant, comes as the rescue for the circus, and she brings Jacob and Marlena even more closer.

The film's conventional storytelling and character development are nothing out of ordinary, but the uniformly terrific performances stand out and make the film engaging and entertaining, even the elephant—Rosie is not just an elephant in a circus, she is a star.

August is Christoph Waltz's first major role after he wins an Oscar for his electrifying performance in "Inglourious Basterds" (although his minor appearance in "The Green Hornet" is also memorable). He shines again in this complex and multi-layered character. Despite a little resemblance to his previous roles, his performance is the main attraction to this film.

The circus might have gone for good, but their stories live on.

"Water for Elephants," a 20th Century Fox release, opens on Friday, April 22, 2011 at Bay Area theaters.

POM Wonderful Presents: The Greatest Movie Ever Sold

2011-04-22T00:01:00.000-07:00

When I was riding the New York subway last month, I noticed an advertisement for an upcoming cable television show on the platform. I paused for a moment, not because the poster is striking, but because I was thinking what the poster is really advertising. To me, it is not advertising the show, but the commercials that are about to be aired on the show. The bottom line is that the ad is promoting more ads that you will see, besides the plenty product placements in the show—when you see embedded product promotions in movies and on television.

That is the focus of Oscar-nominated documentary filmmaker Morgan Spurlock's latest film "POM Wonderful Presents: The Greatest Movie Ever Sold" (USA 2011 | 88 min.).

His idea is simple. Since many movie and television productions involve product placement, Morgan Spurlock wants to talk companies into sponsor this yet to be made documentary. In return, he presents their products in the film, while showing the audience how the product placements take place in the entertainment industry.

Morgan Spurlock is truly a gifted salesman. His articulate and persuasive, sometimes hilarious, presentations land him a few sponsors who completely pay off his film's production. As a consequence, he gets a beverage brand in his film's title: "POM Wonderful."

Apparently, it is already a matter of fact that we are overwhelmed and consumed by advertisements. A few top internet giants are all based on a business model that sells as many ads as possible. In every possible moment and in every possible way, somebody wants us to buy something. Consumerism has become the driving force in the world's economy. We are already aware of this unhealthy phenomenal, including the product placement in the entertainment industry.

While being amusing from time to time, the film does not offer any insight or solution to the situation. Instead, it becomes part of game, but less subtle and sneaky like in other film productions. Quite contrary, the film lays everything on the table openly and frankly. In the end, we are tricked to watch more commercials, under the intention to expose the dirty tricks in the film industry.

A paradox indeed.

"POM Wonderful Presents: The Greatest Movie Ever Sold," a Sony Pictures Classics release, opens on Friday, April 22, 2011 at Bay Area theaters.

Poetry (시)

2011-04-08T00:20:00.000-07:00

If you look carefully at an apple, or life, you will find the inspiration for writing a poetry, and perhaps discover more about everything surrounding you that you might have overlooked. That is what is taught in a poetry class in acclaimed Korean writer/director Lee Chang-dong's new film "Poetry" (시 | South Korea 2010 | in Korean | 139 min.). Actually, it might be a message that Lee wants to convey through this poignant yet poetic film. The film is awarded Best Screenplay Award at last year's Cannes Film Festival.

Beautiful and elegant 66-year-old Mija (Yun Jeong-Hee) raises her grandson Wook (Lee Da-wit) alone while working as a maid caring elderly Kang (Kim Hui-Ra) who is paralyzed from a stroke. After she finds out that she begins to show signs of Alzheimer's, she decides to take a poetry class and try to write poetry, because she believes that she has "a poet's vein." Meanwhile, she discovers that Wook and his friends are to blame for a local middle school girl's suicide. Shocked by the news and happenings around her, she focuses on her unique angle to "see things" in order to sense her poetic inspiration and to find the ground of her moral standing. Ultimately, the poem she writes is her vision how she sees life and her solution to the people and violence in the society.

In "Poetry," like in Lee Chang-dong's other films such as "Secret Sunshine" and "Oasis," Lee is exceptionally skillful at infusing social commentaries into his unforgettable stories. His complex characters are always unique and memorable, although often heartbroken, and consistently played by terrific actresses. In this film, his protagonist Mija is remarkably played by veteran Yun Jeong-Hee, who has been absent from the silver screen for the 16 years before taking on this role. She seamlessly transforms her character from Lee's creation to the big screen.

This film, about a woman who writes poetry, is a poem itself. It expresses the feelings of both the characters and filmmaker, perhaps it will also inspire the audience to see the world differently. That is the power of poetry.

"Poetry," a Kino International release, opens on Friday, April 8, 2011 at Bay Area theaters.

In a Better World (Hævnen)

2011-04-08T00:01:00.000-07:00

Are we human beings hard-wired with the instinct of using violence to revenge? Probably so, since human beings are also animals after all. However, civilization and humanity set us apart from other animals on this planet, in theory at least. Unfortunately, take a look around the world today, that theory needs a serious proof. That seems to be what the title implies in Danish director Susanne Bier's Oscar-winning and Golden Globe-winning film "In a Better World" (Hævnen | Denmark 2010 | in Danish/Swedish/English | 113 min.).

The film opens in a dusty African refugee camp, where Danish doctor Anton (Mikael Persbrandt) provide humanitarian aids to local patients due to diseases and war violence. Back home, his shy 10-year-old son Elias (Markus Rygaard) is bullied at school constantly, until he becomes a friend of a newly arrived Swedish boy Christian (William Jøhnk Nielsen). Christian is devastated by his mom's recent death to cancer. He finds a perfect outlet for his repressed anger—he stands up to the bullies and takes the vengeance matter into his own hands. It seems working.

Taking a break from the horrific violence in Africa, Anton comes back home for a visit, but he is bullied himself one day by an auto-worker, witnessed by Elias and Christian. He tries to set an example for the children to take a higher moral ground. That does not seem working at all. The kids take on their own course that has been vindicated by their schoolyard experiences.

Director Susanne Bier is no stranger for bringing provocative and difficult social dilemmas into her story telling, as in her brilliant "Brothers" (Brødre | Denmark/UK/Sweden/Norway 2004 | in Danish | 117 min.). "In a Better World" is no exception.

The film is remarkably ambitious trying to connect the two very different parts of the world, a middle class European town and a war damaged African desert, to answer a sophisticated philosophical question about society and humanity in general. Despite the admirable effort, the result is not as satisfying. We might be intrigued by the film, but not inspired by it.

Let's go back to the original question after watching the film—can we resolve conflicts without using violence? Apparently, not on this planet. In a better world, maybe.

"In a Better World," a Sony Pictures Classics release, opens on Friday, April 8, 2011 at Bay Area theaters.

Winter in Wartime (Oorlogswinter)

2011-03-25T00:01:00.000-07:00

Almost every adolescent boy has gone extra mile to prove himself that he is a grown-up man. Although, in snow-covered and Nazi-occupied Netherlands during World War II, what he does might be nothing short of being extraordinary. Based on Dutch scientist, politician, and author Jan Terlouw's semi-biographical novel, a gorgeous looking film "Winter in Wartime" (Oorlogswinter | Netherlands 2008 | in Dutch | 103 min.) tells an unforgettable story about how a thirteen-year-old boy saves a wounded British pilot's life. That brave act certainly qualifies him as a grown-up and reaches beyond a typical adolescent's potential.

Set in 1945, inquisitive Michiel (Martijn Lakemeier) plays with his friends like every teenager boy in a Nazi-occupied small Dutch village, whose mayor is Michiel's father Johan (Raymond Thiry). Johan tries his best to dance between satisfying the German and saving the lives of people in his village. That displeases Michiel. Meanwhile, Michiel looks up to his uncle Ben (Yorick van Wageningen) who appears to be involved in the resistance. When he finds a wounded British pilot Jack (Jamie Campbell Bower) in the woods, he immediately takes the risk and responsibility to save Jack. The ordeal becomes Michiel's coming-of-age manifesto.

"Winter in Wartime" is Dutch's submission for the Academy Award for Best Foreign Language Film in 2009. It is undeniable that this is a skillfully crafted film with plenty gripping and suspenseful moments. The story unfolds almost entirely through Michiel's eyes. That gives you the first-person feel as if you are in the middle of every twists and turns, however they are predictable in the film.

Despite its admirable achievements, the film is rather sloppy on attending the details in logic. You get the impression that either the Nazis are extremely dumb, or Michiel and his pals are exceedingly lucky, repeatedly.

The good news is that Michiel has proved himself unquestionably—he has grown up and he has become a hero.

"Winter in Wartime," a Sony Pictures Classics release, opens on Friday, March 25, 2011 at Bay Area theaters.

Heartbeats (Les amours imaginaires)

2011-03-18T00:04:00.000-07:00

Talented 21-year-old Canadian director Xavier Dolan impressed the world with his terrific directorial feature debut "I Killed My Mother" (J'ai tué ma mère | Canada 2009). His stylish and moody "Heartbeats" (Les amours imaginaires | Canada 2010 | in French | 95 min.) affirms his status as a promising filmmaker. Echoing Wong Kar-wai's "In the Mood for Love" (花样年华 | Hong Kong 2000), he tells a story about unrequited love and its overwhelming effect in his second feature.

Sensitive Francis (Xavier Dolan) and chain-smoking Marie (Monia Chokri) are close friends. However, their BBF (Best Friends Forever) relationship begins to crumble when the beautiful, charming, irresistible, elusive, ambiguous, and free-spirit Nicolas (Niels Schneider) shows up—both Francis and Marie fall for Nicolas helplessly and obsessively. When the threesome go to a country guest-house for a mini-vacation, suppressed emotions inside Francis and Marie finally erupt, which make Nicolas casually claims: "Hey guys, I've had it with the country, I'm going home."

While the film brilliantly depicts the mood and fantasized desire inside the protagonists, its dialogues are not as witty and humorous as in "I Killed My Mother." In fact, those unnamed talking heads in mock interviews are prattling and dull. However, once they stop talking occasionally, when they characters parade across the screen in slow motion frequently, when the Dalida's singing of "Bang Bang" blasts off repeatedly, a delicious Wong Kar-wai moment will appear on the screen, with a French-Canadian flavor.

Xavier Dolan is truly a gifted prodigy. Based on the credits, it almost looks like that he single-handedly crafted this film. He is the writer, director, actor, producer, art director, costume designer, and editor.

No matter if you are in the mood for love, you will witness the burning desire vividly in this film. And it hurts, a lot.

"Heartbeats," an IFC Films release, opens on Friday, March 18, 2011 at Bay Area theaters.

I Saw the Devil (악마를 보았다)

2011-03-11T21:11:00.000-08:00

Vengeance is one of the most popular subjects in Korean cinema in recent years, at least it appears to be that way. Films like "Oldboy" (올드보이 | South Korea 2003) sets the bar up high for the connotation for "revenge." Korean director Kim Ji-woon (김지운) attempts to exceed that bar both in visual and in story telling with his extremely violent new film "I Saw the Devil" (악마를 보았다 | South Korea 2010 | in Korean | 141 min.). , despite the fact that the film never lacks of gore and rolling body parts, it does not offer anything refreshing in vengeance, except the body counts and blood.

So-Hyun (Lee Byung-Hun) is a romantic secret agent who plans to marry police chief Ho's (Jeon Kuk-Hwan) daughter Joo-Yun (Oh San-Ha). However, when Joo-Yun's car breaks down in the snow, she falls into the hands of a psychopath serial killer Kyung-Chul (Choi Min-Sik), who drives a school bus hunting for his victims. Based on the information provided by Ho, So-Hyun goes on a mission to hunt Kyung-Chul and to execute his version of vengeance.

Although both Choi Min-Sik ("Oldboy") and Lee Byung-Hun ("The Good, the Bad, the Weird") give chilling and striking performance in the film as the mouse and the cat, they are helplessly constrained by the characters written for them. This is especially evident for the So-Hyun character.

Yes, So-Hyun suffers extreme grief and shock when his finance is murdered. But, that does not offer any logic for So-Hyun's actions—he releases Kyung-Chul each time after he captures and tortures him. His action only helps to accumulate more dead bodies. How that serve as part of So-Hyun's grand scheme of revenge is beyond anybody's right mind.

"I Saw the Devil" is not for the weak stomach. The film was re-cut twice before it could be released in South Korean with an equivalent "R" rating. Perhaps, that compromises the depth of some of these characters. The suspicion can only be confirmed or overturned by viewing the uncut version in the future on a DVD.

Despite the disappointing elements, the film still gives an unforgettable cinema experience that contains horror, humor ("Revenge is for movies," says Joo-Yun's sister when she tries to stop So-Hyun's vengeance spree), violence, and plenty flesh and blood. One thing is certain—you will definitely see devil, from both protagonists.

"I Saw the Devil" opens on Friday, March 11, 2011 at Bay Area theaters.

The Adjustment Bureau

2011-03-04T00:01:00.000-08:00

Wouldn't that be creepy if every detail of your life is programmed ahead of time according to a specific design? That is precisely the scenario in George Nolfi's directorial debut: a sci-fi thriller "The Adjustment Bureau" (USA 2011 | 109 min.). However, what actually happens does not seem always to be according to plan, both in the plot and in the movie itself.

David Norris (Matt Damon) is a charismatic rising star in politics who loses in an election for the US Senate. When he practices his concession speech, he meets a gorgeous ballet dancer Elise Sellas (Emily Blunt). He falls for her at the first sight, and wants to meet her again.

Not so, according to The Adjustment Bureau that is in charge of designing a master plan about everything happening in the world, inside a library looking building. The Bureau deploys a group of stiff faced agents, wearing signature hats (because they would not look as cool if they were wearing bracelets), to set David and Elise apart. If the Bureau succeeds, David can come back to the original plan the Bureau has mapped all out for him.

Of course, David is not willing to comply. He and Elise run like crazy from these powerful (at least appearing to be so most of the time) agents. But, if the Bureau is indeed powerful, why does it keep failing on David's execution?

The film has a fantastic start, with captivating plot development, terrific dialogues, and mysterious characters. Everything seems according to the plan. Then, the film turns into a chaos just as David begins to run off the Bureau's plan. The story becomes incoherent and the characters begin to lose credibility. The later half of the film grows as tiresome as David running up the stairs to a skyscraper—pointless and perplexing.

Early in the film, we see those agents can instantly appear anywhere they want. But later in the film, they run after David and Elise one floor at a time, accompanied by a busy music background. Why can't they just appear in front of David and Elise anymore? Does a film have to have a chasing scene in order to be a thriller.

The truth is, if everything happening is according to a specific master plan, the world will be boring and scary. The only interesting part might be when things go "wrong" and fall off the plan. Unfortunately, that doesn't apply to the film—it falls apart when it does not have a master planned story. Where is the plan when you actually need one?

"The Adjustment Bureau" opens on Friday, March 4, 2011 at Bay Area theaters.

The Last Lions

2011-03-01T00:10:00.000-08:00

Lion, the king of beats. They are magnificent, powerful, and beautiful, when you watch them in Nature on PBS or even at a Broadway musical. However, in real life, you probably want to stay far away from them just to be safe, unless you are the award-winning husband and wife filmmaker team—Beverly Joubert and Dereck Joubert—who are on a mission to save these beasts by filming them up and close and making an amazing documentary "The Last Lions" (USA 2011 | 88 min.). After four years and shot more than 200 hour long footage, the filmmakers tell a suspenseful and gripping story with breathtaking visual and haunting music on the big screen.

Narrated by Jeremy Irons's deep voice, the film takes us to the desolate Okavango Delta in Botswana, where the number of lions decreased dramatically over the last half century. This is not just a film that will take you to places where you can only dream about being there, it actually contains more drama than a Korean soap opera. It tells a heartfelt tale about a mother lion, whose name is Ma di Tau ("Mother of Lions").

Ma di Tau and her three young cubs escape other lions' aggressive attack, and camp out on a small island surrounded by a river where crocodiles hunt. Although a large herd of buffalo is close by, she faces a difficult dilemma either to go hunt for food or stay close to protect her cubs. Despite her fierce look and her tremendous power, she cannot bring down a giant buffalo as easily as one might think. Ma di Tau must go on to do what she has to do in order to survive in the trying environment, even that means she has to pay a heavy price.

It is probably a human instinct to adore furry babies—from puppies to kitties, to cubs, and even to chicks. Therefore, the film is brilliant to choose a story involving three cute playful cubs. You cannot help but to fall for them after hearing their first cry. However, the film's interpretation on these animals' behavior might be debatable, and might not be as universally agreeable as our fuzzy feeling toward those little cubs.

Regardless if you believe in the filmmakers' version of the mind of Ma di Tau, you will not forget her majesty, her bravery, her struggle, and her motherly love.

"The Last Lions" opens on Friday, March 4, 2011 at Bay Area theaters.

Narratives at the 29th San Francisco International Asian American Film Festival

2011-02-27T21:53:00.000-08:00

San Francisco International Asian American Film Festival (SFIAAFF) offers unique opportunity for accessing great Asian films that you will not be able to see on the big screen in the US otherwise. Sometimes, small independent films do not have a distributor even in Asia.

For example, an acclaimed Chinese film "Grain in Ear" (芒种 | China 2005) was only released in South Korea, but we had the luxury to see it at the 24th SFIAAFF in 2006.

The following is my selection of not-to-be-missed narrative features at this year's festival. As always, any title or film image is linked to the festival Web site that contains showtime and ticket information.

Bi, Don't Be Afraid! (Bi, đừng sợ! | Vietnam/France/Germany 2010 | in Vietnamese | 90 min.)

Vietnamese director Dang Di Phan's award-winning directorial debut "Bi, Don't Be Afraid!" is a beautiful, gentle, and poetic film.
Through 6-year-old Bi's observant and curious eyes, the story unfolds in Bi's home that hosts three generations. Like a restless and aimlessly little butterfly, Bi drifts freely and connects other family members—from his ailing grandfather, to his absent and adultery father, and to his unrequited love bearing aunt.
With engrossing characters, lyrical style, terrific performance, and aesthetic cinematography, "Bi, Don't Be Afraid!" promise to be one of the most memorable films at this year's festival.
Dance Town (댄스타운 | South Korea 2010 | in Korean | 95 min.)

Korean director Jeon Kyu-hwan's final installment of his "Town Trilogy" is "Dance Town," an unflinching honest look at the poignant reality for many "invisible" people in a town.
Ra Mi-ran gives a brilliant performance as Ri Jeong-rim, who defects from North Korea leaving her husband and mother behind. Ri Jeong-rim must build a new life in South Korea, but that proves to be almost as difficult as she crosses the border of North and South Korea.
Would she be better off if she had stayed in the North? You can draw your own conclusion after watching the film.
The Piano in a Factory (钢的琴 | China 2010 | in Chinese | 107 min.)

Chinese director Zhang Meng's (张猛) new comedy "The Piano in a Factory" is a delightfully entertaining comedy, especially for those who enjoy the Northeast Chinese dialect, which is frequently used for the comic effect—that is what China's most famous comedian Zhao Benshan (赵本山) speaks.
Chen Guilin (Wang Qian-Yuan) is an ex steel worker turning into a street musician after the steel factory is closed down in Anshan. When his daughter announces that she would live whoever has a piano during Guilin's divorce, he is determined to keep her daughter—he gathers his pals and builds a piano in the abandoned steel factory from scratch, with scrap materials they can find laying around. They end up a piano with a steel body as you can see in the trailer. Hence, the direct translation of film's Chinese title 钢的琴 would be "A Steel Instrument."
The film blends well with its often hilarious comic moments and not always convincing story line, and brilliantly inserts exhilarating surreal dancing routines and constantly amusing Russian (Soviet Union to be exact) songs. However, I am afraid that some of the jokes might be lost in the translation if you do not speak the language.

The following is a few films that I have not seen yet (for some, on purpose), but I am looking forward to at the festival.

Dooman River (두만강 | China 2010 | in Korean | 89 min.)

Besides "Dance Town," another film about crossing the North Korean border is "Dooman River," by Korean-Chinese director Zhang Lu (张律). This time, it's the border of North Korea and China—Tumen River (图们江), director's hometown. The film is about the friendship of two boys from North and South Korea respectively, on the backdrop of waves of the North Korean refugees coming to China.
Zhang Lu's previous films "Grain in Ear" (SFIAAFF '06) and "Desert Dream" (SFIAAFF '08) makes me believe that this is a film I cannot afford to miss on the big screen at this year's festival. A must see.
The Man from Nowhere (아저씨 | South Korea 2010 | in Korean | 119 min.)

Get ready for some action! Award-winning South Korea's blockbuster "The Man from Nowhere" is coming to Castro Theater at this year's festival.
This is the annual so-called "surprise screening" at the festival, which means you will not find this film in the festival catalog and the selection is almost always a crowd pleasing Asian box office hit. And with huge Asian super stars, of course. This year, the star is the one and the only: Won Bin (원빈).
The Fourth Portrait (第四張畫 | Taiwan 2010 | in Chinese | 102 min.)

Winning multiple awards at Taiwan's Golden Horse Award in 2010 and traveling among film festivals, "The Fourth Portrait" tells a story about ten-year-old boy's broken family. This film promises to be a treat that is character driving with powerful performance.
When Love Comes (當愛來的時候 | Taiwan 2010 | in Chinese | 109 min.)

Another big winner, including best picture and best cinematography, at Taiwan's Golden Horse Award in 2010 is a family drama "When Love Comes" that touches the core of the meaning of family in Taiwan today.

Documentaries at the 29th San Francisco International Asian American Film Festival

2011-02-24T01:13:00.000-08:00

The San Francisco International Asian American Film Festival (SFIAAFF) has a great track record on showing superb documentaries that can be thought provoking, socially conscious, often educational, and surely unforgettable. There is no exception in this year's documentary selections.

These are my picks of documentaries at this year's festival. Any title or film image is linked to the festival Web site that contains showtime and ticket information.

One Voice (USA 2009 | 84 min.)

Is it possible that you are moved into tears when watching a documentary about high school chorus and when listening to their beautiful songs? Absolutely, if you are watching "One Voice," directed by Lisette Marie Flanary whose "Nā Kamalei: The Men of Hula" rocks the audience at the 25th SFIAAFF.
This deeply touching film follows a few leaders of the Kamehameha Schools Song Contest which involves thousands of the students enrolled in Kamehameha Schools in Hawaiʻi. These students embrace the Hawaiian heritage, cherish the Hawaiian culture, discover the Hawaiian identity, and realize older generations' Hawaiian dream by singing in Hawaiian language in the annual song contest.
This enchanting film is not just about a song contest, it is about Hawaiʻi. It is a must-see at this year's festival.
The House of Suh (USA 2010 | 90 min.)

A hard-working Korean immigrant family in Chicago falls apart after the father passed away, the mother is murdered, and the son, Andrew Suh, kills his sister's boyfriend. What happened? Why? Iris Shim's directorial feature debut "The House of Suh" is a solid work that brings this tragic high profile case to the audience. Most importantly, it allows us to know who Andrew Suh really is and why he pulled the trigger on September 25, 1993, when he was only 19 years old.
It is a heartbroken and tragic story for all parties involved. However, behind the headlines, there is a deeper story to be told about the articulate Andrew Suh whose potential is cut short by the event. This film impressively unfolds that unforgettable tale with honesty and intelligence.
Summer Pasture (USA/China 2010 | in Tibetan | 85 min.)

In China, if there is still a piece of sky that is blue all the time, not gray because of pollution, that sky must be above Tibet. However, the lives under that piece of blue sky might be as primitive as hundreds of years ago. A fascinating documentary "Summer Pasture" intimately observes the nomadic life on this breathtakingly beautiful yet uncompromisingly harsh land.
The film follows Locho and his wife Yama who live with their infant daughter in Dzachukha, regarded as the highest, coldest, poorest, largest, and most remote area China. They live in an extremely difficult environment, work hard in a very traditional nomad way, and cope with the fast moving modern world. Yet, their lives are also filled with love, humor, happiness, and hope.
This is truly an eye opener about lives in Tibet against the backdrop of Tibet's splendid landscape.
I Wish I Knew (海上传奇 | China 2010 | in Chinese | 125 min.)

Although in general people are fond of their hometowns, people coming from Shanghai are passionately affectionate about this beautiful city. Therefore, it is only fitting to let Shanghainese tell Shanghai's history in first person for the occasion of World Expo 2010 Shanghai China. Composed of interviews from all walks of life in Shanghai, "I Wish I Knew" is a beautifully photographed genuine love letter to this arresting city. However, it is a surprise that this love letter is directed by the Jia Zhangke, who is regarded as the leading voice of the "sixth generation directors" in China.
If you love Shanghai, you will be delighted by this poetic film. If you love Jia's cinema language, you will be entertained by Jia's reinvention of himself. Nevertheless, you will learn about Shanghai's past, present, and the future through Jia's lenses.
Open Season (USA 2011 | 57 min.)

One documentary I have not seen but looking forward to at the festival is "Open Season" by directors Lu Lippold and Mark Tang. The film is based on a high profile tragic hunting incident on November 21, 2004 in Birchwood, Wisconsin. A Hmong immigrant Chai Vang had a dispute with white landowner. In the end, six people were dead and two were wounded. Chai Vang is sentenced to six consecutive life terms plus seventy years.
As explained in this NPR interview last year, the filmmakers re-examine the case in the scope of culture clash and racial relationship.