The Killer (1990) Review

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(More customer reviews)As the popularity of Chinese cinema begins to spread in the US, two men must be noted for their contributions - Director John Woo and Actor Chow Yun-Fat. Their names are synonymous with action in Hong Kong cinema. Both have had projects that were successful (Face/Off and Crouching Tiger, Hidden Dragon, respectively) and some that were not so (Hard Target).
The Killer, however, is the apex of both their works.
It is possibly the best movie that very few people know about, and upon seeing it, it has become my mission to ensure that it becomes more widely viewed. John Woo's cinematic stylings and breathtaking action sequences are his trademark, and are often mimicked (but never duplicated) by more accessible works. Those who believe that action began with Desperado, Resevoir Dogs or The Matrix need only look to John Woo to find the obvious inspiration for these works.
Of course, as much as a gun is a weapon in action movies, Chow Yun-Fat is John Woo's weapon. Entire tales can be told simply with Yun-Fat's expressions - the ability to "act" without saying a word is sometimes underrated, but I would say that Yun-Fat challenges even DeNiro in his method-acting abilities. His on-screen charisma is electric, and no other actor in Woo's stable has been able to produce the kineticity required of a John Woo hero figure.
The two have joined forces for a number of movies, but none better than The Killer. Besides the afforementioned qualities of each individual, The Killer brings with it a story of "Real Men" in a world where honor is a dirty word. The Killer belongs with the great mafia dramas of Hollywood Cinema and with Kurosawa's samurai epics. The Killer is listed in the guidebook, "The Top 100 Movies No One Has Ever Seen." The latter half of that statement needs to be changed.

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In the Mood for Love - Criterion Collection (2000) Review

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(More customer reviews)Perfection in cinema is an almost impossible goal to achieve. Mostly because spectators have varying taste and perspectives. But you can't help but feel that Wong Kar-Wai's "In the Mood for Love" is anything short of perfection. The imagery with its lush colors and breathtaking movements is enough to elevate this film. The simple, yet somewhat complicated tale is both heartfelt and authentic. And the performances by Tony Leung and Maggie Cheung are a marvel. But it's none of these that really makes this film, it's rather the manner that Kar-Wai so magically molds all these factors to set a mood that I have never felt before while watching a movie. In all honesty, I'm really not too fond of "forbidden love" movies, but this film really startled me.
Ironically, "In the Mood for Love" feels nothing like a Wong Kar-Wai film. It's a very slow moving film which uses lots of fades and dissolves. The Criterion edition of this film is probably the best dvd package I've seen to date. There are just so many extras on it, it's hard to believe. Deleted scenes, interviews, and promotional material, are just a few of the extras. The way Kar-Wai shoots his films (without a script) also adds to the suprise of picture. You see in the extras how much different the original concept was for "In the Mood for Love." There is also an alternate ending that seems very plain, but at the same time very heartbreaking.

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Hong Kong, 1962: Chow Mo-wan and Su Li-zhen move into neighboring apartments on the same day. Their encounters are polite and formal-until a discovery about their respective spouses sparks an intimate bond. At once delicately mannered and visually stunning, Wong Kar-wai's In the Mood for Love is a masterful evocation of romantic longing and fleeting moments in time.

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Red Cliff International Version - Part I & Part II (2009) Review

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(More customer reviews)This 'international version' of John Woo's RED CLIFF is the preferred edition over the previously released (and shorter) US theatrical version. Woo worked hard to shoot this epic adaption of a famous Chinese historical novel, and the final version of the movie was so long (closer to 5 hours than 4) that in Asian markets the film was released in two parts, each playing in cinemas at opposite ends of a near 12 month period. In the US, the UK and Australia, Woo tentatively gave approval for a cut-down version to play in cinemas, with both parts condensed by 50% down to a single movie. Australian critic David Stratton (a frequent reviewer for VARIETY) gave the condensed version a good, not great review, but then noted that he felt the full, uncut edition of RED CLIFF was one of the great cinema epics. And so it is.
Woo's career seemed to take a gradual downturn in the US after the peak of FACE/OFF, and it would be hard for fans of the director's earlier HARD-BOILED or BULLET IN THE HEAD (both great films) to share the same sense of enthusiasm for works like MISSION IMPOSSIBLE 2 or the aptly titled PAYCHECK. Woo reportedly wasn't that happy with things either, so when he announced he would return to Asia to shoot the biggest historical epic in Chinese film history, it was welcome news. (RED CLIFF is based on the same story that was adapted for THREE KINGDOMS, filmed not too long ago with Andy Lau and the lithe, hypnotically sexy Maggie Q). Woo regular Chow Yun Fat was in RED CLIFF, then out. Another Woo regular, Tony Leung, was in, then out, then back in (long story). Once the casting issues were resolved, Woo took his good time to shoot the movie that had apparently tantalized him for decades. The result is a real return to form and a consummate display of confidence from a director clearly passionate about the subject matter, and the movie.
RED CLIFF is epic from the get-go. In the first few minutes (of the long cut - this review deals with the 2-part extended cut listed here and will hereafter ignore the shorter version) the narrative puts events in motion for an army of thousands to commence a destructive attack across the kingdoms of China. We see thousands of soldiers (some realized digitally, others through enormous crowds of extras) and soon see a smaller band of heroes putting up a spirited defense. Characters escape the melee, seek shelter, join forces with others and prepare to make a stand against the attackers in a series of battles that escalate in size and complexity throughout the two movies. Tony Leung and Takeshi Kaneshiro are two of the main heroes. There are several other key characters fighting alongside them, and a villain of imposing stature fighting against them, determined to wipe out the heroes and consolidate his rule. Each side possesses an army, but the forces of good are outnumbered by their enemies. Interpersonal intrigue, moments of heroism and bravery, lyrical interludes where the characters philosophically ponder their situation and careful scenes where each side pragmatically plots their next movie against their opponent - these all flow forward in scenes of great beauty, warmth and power, preparing the ground for each skirmish, battle or stand-off. The opposing sides gather in numbers until, at the end of part 2, we witness a ferocious, climactic attack taking place on sea and land, with thousands determined to battle to the death.
I've generalized the story above, partly for my own sake but more specifically as I suggest you catch the various incidents of the movie fresh. The story as presented by Woo is elegant and satisfying. The devil is in the details, though, and its Woo's marshalling of texture and sound, his characteristically kinetic and mobile camerawork, and the sheer bravura of the films spectacle that make this a must-see movie. Scenes in RED CLIFF, particularly the epic destructive battles comprising much of the spectacular second part, match Jackson's LORD OF THE RINGS for effects, grandiose scale and visceral impact. (Actually, I'd clarify that statement by suggesting that the RED CLIFF films match those earlier movies visually, but surpass them viscerally, as Woo's staging of the action is more physically impactful than Jacksons). The US effects house The Orphanage provided the visual effects, and the enormous budget complements those with countless eye-opening scenes staged for real with crowds, stunt men and gargantuan sets. Woo (and his producer Terence Chang) have really pulled out all the stops. I viewed RED CLIFF on DVD but if you have the equipment and the interest, the Blu-Ray edition of this extended cut should be even more enticing. (The HK Blu-Ray of these movies received top marks for AV quality and I'd imagine the US release replicates those standards).
RED CLIFF - the full, uncensored, no-holds-barred two-part version - didn't really get the attention it deserved upon release, (at least here in the West), nor has it since. (Another fine film, Kim Je-Woon's big-budget, visionary Korean western THE GOOD, THE BAD AND THE WEIRD, suffered a similar fate). Even so, a few astute critics such as Glenn Kenny put the full RED CLIFF high in their top 10 for the year. I'd argue the same (it'd be in my top 5), and months after I originally acquired the DVD's of this movie, I still return to it in admiration, luxuriating in its many moments of grace, beauty and power.
As Amazon occasionally conflates its reviews of variant products into the same listing, let me repeat that the edition of this film you should purchase is the RED CLIFF INTERNATIONAL VERSION - PART I & PART II, on either Blu-Ray or DVD. The editions labeled as featuring the `theatrical' version are shorter, inferior, and not worth pursuing over this longer, more satisfying cut.

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RED CLIFF is the epic historical dramabased on a legendary 208 A.D. battle that heralded the end of the Han Dynasty. A power-hungry Prime Minister-turned-General Cao Cao seeks permission from the Han Dynasty Emperor to organize asouthward-bound mission designed to crush the two troublesome warlords who stand in his way, Liu Bei and Sun Quan. Vastly outnumbered by Cao Cao's brutal,fast-approaching army, the warlords band together to mount a heroic campaign - unrivaled in history - that changes the face of China forever.

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The Warlords (2010) Review

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(More customer reviews)Jet Li as a villain is quite a remarkable piece of casting, and everyone really holds their own in this action epic set in 1860s China. The title in English is Warlords but in Chinese it was Blood Brothers, and features three men who are doing their best to survive in a wartorn land.
Jet Li, a great general in the Imperial army, is betrayed and the only man in his army to survive. His resurrection from the dead is both fascinating and appalling to watch as his desire for power obliterates all before him. Andy Lau gives the performance of a lifetime as the head of a band of brigands, who first follows Jet Li but later becomes disaffected by what he sees and tries to turn back from the collision course the ambitious general has set them all on.
Takeshi Kaneshiro as the youngest of the three strong male leads is remarkable in terms of both his battle prowess and how loyal he is to both men, until he is forced to choose sides. Complicating matters still further is the fact that Li's character unintentionally fell in love with a woman on the road, who turns out to be the wife of Lau's character. The inevitable ending is anything but as each man meets his fate.
The action and battle sequences, music, costume, and above all, the depiction of warfare at the time, including trench warfare, makes this an Asian All Quiet on the Western Front, where there is no glory for anyone, only more bloodshed for the sake of ruthless territorial ambitions. I have watched it several times now, with a variety of friends, and everyone LOVED it, even as they were completely shocked by it. If you like action films, there is plenty to recommend Warlords, but the sheer depth of this epic is remarkable. This is a GREAT film in the true sense of the word.

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Set in the midst of the Taiping Rebellion of the 1860s, THE WARLORDS stars Jet Li as General Pang, who barely survives a brutal massacre of his fellow soldiers by playing dead, and then joins a band of bandits led by Er Hu (Andy Lau) and Wu Yang (Takeshi Kaneshiro). After fighting back attackers for a defenseless village, the three men take an oath to become "blood brothers," pledging loyalty to one another until death. However, their lives quickly derail as they become embroiled in a web of political deceit and a love triangle between Pang, Er Hu and a beautiful courtesan (Xu Jinglei).

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