101
370
13
2
4
2
4
6
1
7
1
2
2
5
9
"Everyone is a jerk!"
What’s Up Connection was a bizarre film by Yamamoto Masashi that felt like it was made up as they went along. Set primarily in Hong Kong with a side trip to Tokyo, the film focused on a family of grifters and con artists attempting to save their homes from developers.Chi Gau Shin wins a trip for two to Japan. Coincidentally, his mother wins a trip to Bali and his dad a trip to Thailand. No one thinks anything is suspicious about this. Gau Shin’s lover refuses to go with him because he’d rather go to Disneyland than shopping. Upon arriving in Japan, he discovers that his guide is new, speaks only broken Cantonese, and works for a cut rate company. Very cut rate. After a disappointing trip, culminating in being robbed, Gau Shin finally makes it home, with his tour guide and robber in tow. Once home, he discovers that a big corporation is buying everyone out and his girlfriend is now sleeping with one of the developers. His family has to decide whether to take the deals offered or fight.
What’s Up Connection showed a view of Japan rarely seen. Yamamoto filmed real homeless encampments and people. In Hong Kong, the problem of real estate development on low-income people was attested to. Relations between Hong Kong and Japan were also mentioned. The rest of the film was a migraine of a mess. There was an abundance of random action, noises, and bright colors. Characters were ill-defined and for the most part not terribly likeable. It was a world with an 8-year-old hacker, a mother who became angry when her kids went to school, pirate costumes, a UFO, blow up sex dolls, and one character who was played by two different actors.
This type of chaotic film with random nonsense bolting across the screen for two hours was not something I could enjoy. It had some entertaining moments and the family’s solution to its problem was interesting but not enough for me to recommend unless Yamamoto’s creative outlook on the world is your jam. There are plenty of people who love his unconventional style, so if you are one, this film might be one to check out.
17 July 2025
Triggers: Bare butt and a masturbation scene.
Was this review helpful to you?
"If we can't dream, we can't change the future!"
Karei naru Ichizoku aka The Family was a 2007 family melodrama set in the late 1960s. Starring Kitaoji Kinya and Kimura Takuya as a father and son in a banking dynasty struggling to keep their financial conglomeration afloat when the government decides that smaller banks need to be merged with larger ones in order to compete with foreign countries. This family is full of dark and twisted secrets that create emotional chasms between most of the characters.Manpyo Teppei is ambitious and fiscally aggressive in his desire to make Hanshin Steel a player in the world market. He also wants his steel company to strengthen Japan's economy and make it more competitive. Despite that ambition, he is a man of great integrity and works alongside his men and is deeply loyal to his wife and child. His father, Daisuke, is the opposite. There is nothing he would not do to maintain his wealth and power, including betraying his son. He marries his children into families that can be of use to him regardless of the harm it causes them. Without a shred of shame, his mistress sits in the wife’s chair at family gatherings. As Daisuke’s schemes and resentments of Teppei grow, only one man can rise to the top when the dirty deeds are done.
This was a good old fashioned family melodrama with sides of banking and steel thrown in. I searched to see if this was an adaption of Shakespeare or Sophocles with its pessimistic and tragic familial relationships. It was hard to not root for Teppei as he fought against other steel corporations, corrupt government officials, and his own father to actualize his dreams. Daisuke claimed to be working for the benefit of his family and employees but his actions brought suffering and pain. I kept hoping someone would shove him into the koi pond and let the giant koi, Shogun, eat him for dinner. Side note---I’m not one to complain about translations, but Netflix’s translation of Shogun was General, enough people in the West are familiar with the original term that they could have just used it. Back to our scheduled program--- Aiko was the devious serpent whispering in Daisuke’s ear. They made a perfect viperous pair.
The Family kept the story moving making use of cliffhangers for each episode. That’s not to say that there weren’t times when the story dragged and became too tangled in the financial weeds. The foreshadowing was heavy-handed, I kept waiting for the two “twists” to finally be revealed. On a better note, unlike many dramas where side characters can be extraneous, the side characters here were put to good use even if it was only to place a check mark next to a melodramatic trope.
The Family had splendid cinematography, eschewing the blown out, retina burning style dramas that came after it tended to favor. The snowy mountain scenes were gorgeous. The sets and cars helped to build a believable 1960s world though the costumes and hairstyles were often more modern, especially Teppei’s BoF hairdo. The music was as overly dramatic as the story, fitting in like a secret love child. Kimura was painfully beautiful and delivered a complex performance as the son who desperately wanted his father’s love. Kitaoji’s performance wasn’t as nuanced but his classic glare was put to good use as the conniving banker and jealous father. I had only one real complaint and will add it further down as a spoiler.
The Family was a compelling family melodrama that managed to make steel production interesting. It also showed how damaging one man’s assumptions and pride could be on his wife, children, and their spouses. The drama sought to answer the question: Are integrity and compassion stronger than vengeance and schemes? Sometimes we don’t always get the answers we want. Shakespeare and Sophocles would be proud.
17 July 2025
Trigger warning: A spider capturing and devouring its prey in at least two episodes.
***SPOILER COMMENTS BELOW***
***SPOILERS***
Usually, I only talk about minor spoilers, but this is a biggie, so final warning:
I was with this drama right up to the last episode and there it lost me. Teppei’s end was used as a “gotcha” moment for Daisuke. His action was out of character for someone who never gave up and loved his family. He abandoned his wife and child. Nitpicky point-the bandage was in the wrong place, that shot should have blown his head off. The officer saying “he died like a man,” was a terrible glorification of suicide which I found repulsive.
The father came away largely unscathed, despite the final scene. His rationale was faulty and like all self-absorbed people he cast blame and aspersions on others instead of taking responsibility and growing as a human being. He wouldn't have turned into a monster if Teppei hadn't been born? Bollocks! I kept thinking of the Princess Bride. “Who kills Humperdinck?” “No one does.” “Geez, Grandpa, why’d you read me this story anyway?”
Last but certainly not least---Where was the justice for Yasuko who was raped by her FIL and humiliated for 30+ years by her husband and then also by his mistress? If anyone deserved her pound of flesh it was Yasuko.
Was this review helpful to you?
"Patients want to know what's going on in their own bodies"
A Life starred Kimura Takuya and Asano Tadanobu which was more than enough to grab my attention. I don’t particularly care for the medical genre but for these two I was willing to give this drama a whirl. They both gave strong performances but had an uneven and inconsistent script to contend with.Okita Kazuaki has been practicing medicine in Seattle, Washington (USA) for the last ten years, honing his skills to a sharp point. When everyone else has given up on a patient they call Okita. His old mentor, Danjo Toranosuke, has a heart condition only he can fix so he flies to Japan. His friend Masao is now the vice director of the Danjo Hospital and married to Okita’s ex-love Mifuyu, who also happens to be Director Danjo’s daughter. After the director’s surgery, Okita is talked into staying to help with the health of another patient dear to him.
What I liked about this drama:
Kimura and Asano gave strong performances and were compelling to watch, even when their characters behaved inconsistently or reprehensibly. I also like that the surgical nurse, Shibata, was quite competent and observant. They used the tried and true trope of teaching doctors to actually care about their patients instead of their own win-loss record. Okita might have been a renowned surgeon, but only due to Herculean preparation, instead of innate genius which was a refreshing change. Surprisingly, he could also admit when he needed help.
What was okay:
The medical stories were compelling for the most part. If you like surgical scenes with realistic body parts laid open and into the weeds surgical charts and images, you will be rewarded. The drama revealed that the biggest problems the surgeons dealt with were not greedy medical corporations or insurance hassles, but instead a rigid hierarchical system where one could not question the diagnosis of another doctor. And many of the doctors were incredibly thin-skinned and prideful. The medical staff vastly outnumbered the patients. There was a Greek chorus of three doctors who commented on the action around them but never saw patients or set foot in an operating room. DRS Igawa and Hamura were stock medical characters. The older doctor seeking to make his way up the ladder and the young overly emotional, overly confident doctor who needed to be shown how to be a person and competent surgeon. Several characters had daddy issues, they ran that trope into the ground.
What didn’t really work for me:
Mifuyu gave new meaning to the word nepo baby. She left work early every day and spent most of her time playing with her daughter, cooking fabulous meals, sewing, and cleaning. Despite desiring a prestigious promotion, she was never shown studying or even so much as filling out reports. What truly bothered me as the drama continued---Mifuyu smiled and giggled throughout the entire drama no matter what was going on. There were very few times she showed any real emotions. I don’t trust anyone who wears a smile mask even when they are alone. Made me wonder if she was grinning while she planned to murder her husband in his sleep. He could be a jerk, as he was unfaithful to her and the hospital. Which brings me to…
The writing for Masao was all over the place. He loves Mifuyu. He wants her to die. He loves his family. He’s rarely home and banging the hospital lawyer. He built the hospital into something grand. He wants to destroy it. He is friends with Okita. He hates Okita. He’s the best neurosurgeon ever. Until the last couple of episodes, he never picked up a scalpel. Given that Mifuyu slept in the same bed with their daughter, maybe he and his wife had a transactional relationship. There was certainly no chemistry or intimate touches. He whined about no one trying to get to know him, yet when his wife and daughter needed him most, he let them down. Speaking of relationships…
The drama often alluded to Okita and Mifuyu’s grand romantic past yet only showed one scene over and over of them tying surgical knots. While Okita seemed to still be carrying a torch or maybe an unlit match, she always looked romantically disinterested in him. The writers and lighting techs (so much gauzy white light around her) worked very hard to portray Mifuyu as pure and devoted to her family.
**(EPISODE 1 SPOILERS that troubled me)**
What annual exam includes a brain MRI? After the diagnosis of Mifuyu’s brain tumor, why wasn’t she given her test results? Aside from the legal aspect of it, she deserved to know what was going on in her own body and to have the time to process the information and get her house in order. Yet Okita and Masao withheld that critical information from her for too long. Unforgivable. Mifuyu didn’t come away unscathed either, she was having concerning symptoms and didn’t take it upon herself to schedule a check-up. Once her condition was identified, they should never have let her perform surgery.
**END OF SPOILERS from Episode 1ish**
This drama was messy and inconsistent, but also had entertaining moments, largely due to the actors. I think it would have been better without the “romantic” angle or if it had just gone full blown melodramatic. Kimura Takuya’s performance was enough to keep me mostly engaged even when he was doing nothing but tying knots. Not a ringing endorsement to be sure.
10 July 2025
Was this review helpful to you?
"It's difficult to dodge bullets in the dark" Better to dodge this movie altogether
The Angry Guest was another Iron Triangle production with director Chang Cheh and actors Ti Lung and David Chiang. This film was a sequel to Duel of Fists which means (spoiler alert!) both men survived the previous film. One or both of their characters usually died horrific deaths in Chang Cheh films. Chan Sing returned as the baddie from the last film only to be engulfed by the Yakuza bad guys led by Chang Cheh and Kurata Yasuaki.Chiang Ren escapes from the Thai prison where he was incarcerated for his actions in the previous film. He heads straight to Hong Kong to settle his score with Fan Ke and Wen Lieh. He’s stopped by Akiko who has had Wen’s mother murdered and girlfriend kidnapped. Her boss, Yamaguchi, wants the boys to work for him and is using Yu Lan to lure them to Tokyo.
This film did something a martial arts film should never do. It bored me out of my mind. It was more Tokyo travelogue with endless drives through town than kung fu flick. For a Ni Kuang film it made almost no sense. There were few fights until the very end and all of them were dreadfully choreographed. I’ve never been a big Tang Chia fan, and maybe because the characters were set in their present, the moves looked slower and clumsier. In modern clothing David Chiang appeared even more petite and less threatening than usual. Kurata could always bring the menace but he didn’t have many chances to show off his skills. Ti barely spoke through the movie. Bolo made a guest appearance as part of the yakuza brute squad. Unless you have a big desire to tour 1971 Tokyo or are a completionist of the Triangle, this one is easily skippable.
8 July 2025
Trigger warning: partial nudity and a sex scene. Apparently, Shaw Brothers didn’t pay Chang Cheh enough money to go to the dentist, his black teeth were frightening.
Was this review helpful to you?
"It's actually good that you can still feel scared."
Morning’s Tree Lined Street has been called a romantic fantasy. This is Naruse Mikio we’re talking about and when it came to how men treated women he rarely wore rose colored glasses.At the age of twenty-two, old maid Chiyo travels from her rural home to Tokyo to find employment. She moves in with her friend, Hisako, who works at a low rent bar as a hostess. Jobs are hard to come by, especially for a woman as old as Chiyo. Eventually, she begins work as a hostess. Salaryman Ogawa takes a liking to her and comes in most nights requesting her company. Chiyo begins to have romantic fantasies about the man who spends his time and disposable income at their club.
I won’t spoil the fantasy element of the film which was foreshadowed in a conversation Chiyo had with Hisako earlier in the story. Chiba Sachiko gave a charming performance as the country girl trying to make it in the big city. Chiyo may have been shocked at some of the things she saw happening in Tokyo, but she was also savvy enough to know who she was and where to draw the line. She dallied for a time with a romantic dream, yet in the end she woke up and made the wisest choice for herself. I was concerned with the direction of the film at one point but Naruse didn’t let me down in the end.
30 June 2025
Trigger warning: Suicide. There was the discussion of double suicides on two separate occasions.
Was this review helpful to you?
"Looks like a good time" Looks can be deceiving
Danger Stalks Near was a 1957 comedy featuring Takamine Hideko as a beleaguered wife, daughter-in-law, mother, sister, and target of a robbery. The little village where she lived, and her house in particular, was the epicenter of greed and selfishness.Yuriko is taking care of her sick child and a stingy, melodramatic mother-in-law. Her day begins with a renter burning a tatami leading her to evict the self-absorbed young woman. The doorbell continues to ring as relatives, friends, and repairmen insisted upon her attention. Most of the seemingly endless line of people turn out to have ulterior motives. The local newspaper had announced her husband as the winner of a prize in a contest leading everyone to want a cut of the booty. Relatives and other interested parties also greatly desire Grandma’s “secret” stash of wealth. Including the three knife-wielding thieves staked out on a hill not so patiently waiting for their chance to rob the family.
This film had the potential to be really funny and probably has been for other viewers. I just found the non-stop entitled behavior stressful and exhausting. Despite Yuriko seeing through the greedy relatives and sundry court of jesters, I felt sorry for the put upon daughter-in-law and sister. I halfway expected her to snap and burn the house to the ground as the grand finale. Her sister Sakura relentlessly badgered her for money. The MIL continually heaped complaints and demands on Yuriko, threatening to sell the house and move into a nursing home as a bludgeoning weapon whenever Yuriko stood up to her. Even the old woman’s son was ready for her to kick the bucket or fall off her shoes and die. There was a subplot involving a standoff between the evicted renter and the new renter which included their significant others. Then, of course, there were the weapon carrying thieves willing to kill anyone in the house for Grandma’s stash. Yuriko was having a challenging day which with this lot was likely an everyday occurrence.
Danger Stalks Near had entertaining moments, especially as the crooks grew more and more impatient with the revolving door of visitors to the small house. “What is this? A holiday or something?” And Takamine Hideko nailed the part of the woman trying to get through the day and fend off selfish guests. At least the robbers were honest from the start, they intended to steal from the family outright instead of swindling or cajoling it as the other guests not so subtly tried.
29 June 2025
Was this review helpful to you?
Kiba comes across prisoners being transported likely to their executions. One prisoner reminds Kiba of his father so when the entourage is attacked Kiba makes it his mission to see to it that Magobei arrives safely at his destination. Magobei had been double-crossed by the bandits who hired him to kill a mine guard. He and the prisoner “Oren the Thistle” escape and head to the mountains for vengeance against Higasa and his criminal family. Kiba ends up being taken prisoner, falls in love with Higasa’s daughter, and has to fight an enraged dojo master all before hunting Magobei down.
SW2 focused more on Magobei and Oren’s story than Kiba. Kiba wasn’t as likeable as he was complicit in innocent people being murdered by Magobei and his romance with Oteru was ill defined at best. The acting and writing weren’t nearly as good as the original SW. All in all, I was quite disappointed in this messy film.
20 May 2025
Was this review helpful to you?
A Tale of Archery at the Sanjusangendo
2 people found this review helpful
"A record is there to be beaten"
A Tale of Archery at the Sanjusangendo was a rare period drama from director Naruse Mikio. Filmed during WWII, Naruse managed to side-step overlaying his film with heavy propaganda. In fact, the lessons involved were of sharing information and being okay with another’s success. “You don’t need to be in a hurry to die.”Seventeen-year-old Daihachiro has been secretly living at an inn under the care of the owner, Okinu. His father had once held the record at the Sanjusangendo Temple archery contest. His record was broken by Hoshino. Pressured to win back the honor, his father tried but failed, committing seppuku afterwards. For the past five years Okinu has been pushing Daihachiro to excel at archery so that he could win back the title. The poor kid is starting to crack under the life-or-death pressure, not helped by ronin attacking him. Out of nowhere, a skilled samurai appears at the inn offering his protection and help with Daihachiro’s archery training. It seems almost too good to be true…
I enjoyed this shorter film by Naruse featuring archers. Daihachiro’s doubts and people calling him a coward could be wearing. His doubts were understandable though. He was a teenager being asked to break a record and failure could tarnish his father’s death which would also lead to his own. Okinu was shown as being overprotective but at the same time her actions could be leading to the teen’s death. Into this pointy deathtrap sauntered in Kanbei who was completely unflappable with a word of wisdom for every crisis. His identity was revealed early on to the viewer. He stood ready to protect Daihachiro even from his own family. Most importantly, he tried to teach the boy what real honor was and that competition wasn’t a death sentence. My biggest complaint would be the awkward dumping of 20 pp of exposition on the viewer during the first six minutes of the film. After that, the pace of the story evened out.
AToAatS was simplistic yet also entertaining, largely due to Hasegawa Kazuo’s smooth samurai that understood honor went far beyond holding records. Tanaka Kinuyo’s role could have been played by a number of actresses, she of course, gave the limited character a modicum of emotional depth. Daihachiro was the last role for Ichikawa Sensho who died at the age of 29. While this was a departure for Naruse, I found it interesting that much like in other films of his, unruly family members were put in their place while the odd person out found their independence and own path. Worth a try if you are a Naruse fan and want to see a different effort from him.
4 June 2025
Was this review helpful to you?
"Why did you have to come to this place?"
The silent film Daybreak aka Tianming was a political melodrama from 1933. Li Lili, one of the brightest stars at the time led the cast as the wholesome heroine done wrong by the big city and warlords. Ling Ling would seek her revenge through the coming revolution.Ling Ling and her beau Zhang leave the countryside for Shanghai hoping to make a better life for themselves. They move into the same building as her cousin and her husband, “Fatty.” At first everything is going their way as they happily work at the factory. When the factory bosses notice Ling Ling’s beauty she is assigned to night duty. Zhang takes exception to their actions and is fired. He ends up working on a ship and later joins the revolution. Ling Ling’s cousin sets her up unknowingly on a “date” with the boss. From there Ling Ling’s fortunes take a downward turn. After a tragedy she learns to use her body and her wits to help the workers and revolution.
The countryside was shown as idyllic and alternately as devastated by taxation and war. The big city and its modern ways was an inherently evil place while the countryside was considered uncontaminated by modern ways. Not for the first time the squeaky-clean country girl was sullied for daring to leave home. Unashamedly a propaganda film, it leaned in hard and used a sledge hammer to drive its points home. Happiness, the individual, and life were meaningless, only the revolution mattered. Only the revolution would bring the solutions for their problems.
Li Lili’s life played out much like one of these films. Her childhood was traumatic. And while she became famous from starring in Sun Yu’s films she drew the ire of Mao’s jealous wife Jiang Qing. Li and her husband Luo Jing Yu were jailed and tortured during the Cultural Revolution. Her husband did not survive the experience.
I’ve watched several of these old silent films. The acting was more overwrought than usual in Daybreak. The makeup might be recognized today as heroin chic or maybe consumption chic. Through no fault of the film makers, the film was off center at times, the frames would freeze and there was significant pocking on various frames.
While I could appreciate the political fervor during a volatile time, the exaggerated acting and martyr complex of the heroine dimmed its impact for me. Despite being historically relevant, the well-worn trope even by this time of the country girl soiled by the big city was less than compelling for me.
2 June 2025
Was this review helpful to you?
Isabel is a bored “tee girl” at a luxury golf club. She finds ways throughout the day to amuse herself and push the envelope regarding the rigid rules set for employees.
Filipiñana showcased the disparity between the haves and have nots. At the practice range, pretty young women set the balls on tees so that golfers did not have to strain themselves bending over. It looked more than a little dangerous as the tee girls were not far from swinging clubs, especially when a child wildly swung his club near Isabel. Women caddied, searched for balls submerged in the water hazards, massaged clients’ feet, and occasionally helped golfers, uh, find their balls in the bushes. Opulence was ever on display but decidedly out of reach for Isabel and her co-workers. That didn’t stop the lowly tee girl from stealing a taste of the other side when no one was looking though.
Well shot and slightly enigmatic, Filipiñana was an entertaining 24 minute glimpse into the gap between the privileged lives and those who serve them in this sharp take on capitalism.
20 May 2025
Was this review helpful to you?
"If you stop the bleeding, you'll survive"
A Samurai’s Sorrow was a made for television movie directed by Inoue Akira. Set during the 8th shogun’s reign of the Tokugawa shogunate the special was embellished with ninjas, poison tongue needles, fratricide and possible matricide.The castle is in an uproar because the shogun’s food has been poisoned. The leader has been subsisting on very little rice for nearly two weeks for fear of being felled by poison. Everyone is hoping Mondo will return and save the day. The poison taster and tester is also masterful with the sword and ladies. Mondo’s mother died when he was young leaving him heart broken. As soon as he returns to town to help the shogun, attempts on his life begin in earnest. Secrets revealed by rivals could unravel Yoshimune’s command and Mondo’s heart even further.
Mondo would have made Rurouni Kenshin proud. For the most part, Mondo didn’t kill those who attacked him, telling them, “If you stop the bleeding, you’ll survive.” Just being in Mondo’s presence could cause a woman to lose her sense of reason. He was said to be so beautiful and well dressed that he could be mistaken for a woman. Satoh Takeru, yes. Fifty-year-old Tamura Masakazu playing a character around thirty years of age, not so much. The actress who played his mother was only twelve years older than he was. All of the actors were subjected to horrendous wigs and exposed wig tape.
The problem I had with A Samurai’s Sorrow was that it lacked spark. With rival clans, concubines, allies, ninjas, and spies around every corner it could be hard to keep up with all of the characters jammed into 90 minutes, much less care about any of them. The basic premise centered around Mondo’s promise to protect the shogun with his life despite the shogun’s betrayal of his mother, rang hollow to me. His mother’s love and hatred for the shogun caused her to kill herself three times for the man. Her son was just as blindly loyal. An emo ronin who constantly mentioned his heart was full of sorrow and might be dead by morning just didn’t resonate with me.
12 May 2025
Trigger warnings:
Three goldfish died trying to save the shogun and this special. RIP little buddies.
Suicides, ritual and otherwise
Was this review helpful to you?
"If you believe it, then it's real"
Director Derek Yee’s The Great Magician was set around 1920 China when the warlords were carving out their territory. Japan was angling to get a foothold by supporting various warlords with weapons. In the midst was a buffoonish warlord, his unwilling 7th wife, and a magician with more than cards up his sleeve.Warlord Bully Lei has his hands full. In order to stay in power, he needs soldiers. In order to feed and arm the soldiers, he needs money. And money is in scarce supply. His assistant, Liu Kun Shan, is an illusionist whom he doesn’t trust. On the family front, his 3rd wife is always vying for his attention, but it is his 7th wife who will have nothing to do with him that he adores. Wife Liu Yin is only hanging around until she can find her father. Yin’s ex-lover, Zhang Xian returns to the country from Europe and sets up shop in a local inn. He is a magician and also in league with rebels planning to kidnap Lei in order to have prisoners released. Zhang wants Yin back and is determined to free her father who was his magical mentor. Liu Kun Shan is working with the Japanese and also after the SECRET SCROLL Yin’s father had possessed.
The story was okay and tended to wander around too much and honestly, was too darned long. This film could have easily been 90 minutes and not lost anything. I will admit that my kung fu movie loving heart was thrilled to see the Flying Guillotine have a guest role. And of course, you have to have a secret list or in this case secret scroll, though in this case it was a bit of a bust. The comedy occasionally veered into slapstick but not overly so.
What made this film entertaining to watch was the enemies to lovers, I mean friends, of Bully Lei and Zhang Xian. Lau Ching Wan and Tony Leung Chiu Wai had a delightful chemistry whether they were ribbing each other or conspiring together. Poor Zhou Xun’s Liu Yin was the third wheel. Aside from her amazing kung fu introduction, the rest of the film she had little of interest to do. I was disappointed she was given short shrift in the story department. Wu Gang (Joy of Life!) and Yan Ni played the dangerous but comedic foils to the trio.
The Great Magician had a little magic, a little action, and a little fun. It was lighthearted bordering on times on silly. Zhang and Lei showed that illusion and perception are part of life whether in politics or entertainment. It’s hard to trust your eyes with those skilled at weaving deception. At least 30 minutes too long and too short on significant Zhou Xun time, this film still had enchanting moments to offer.
“The truth depends on your perspective.”
7 May 2025
Was this review helpful to you?
General Chi sends his son to find the Master of the Three Arts. The master has a book detailing the ninja’s skills. Years ago, he taught three different men three different skills. They’ve never met, but have a way of knowing who the other is. Eventually, Han Yu returns with the fighters and they immediately start ferreting out the ninja spies.
I had higher hopes for this film given the cast. Poor Ti Lung spent most of his time ostentatiously dressed and looking constipated. Kurata Yasuaki didn’t fight until the last five minutes of the film, which was the greatest crime. Phillip Kwok aka Lizard Venom, Lu Feng aka Centipede Venom, and Chiang Sheng aka Venom Intern, put on a good show as all three were quite athletic and acrobatic. The trio took part in directing the film and choreographing the fights. Though a few of the fights strayed into kung fu posing, most were quick and entertaining for the time.
This film was not a Shaw Brothers production where the Venoms had spent most of their time. The Venoms went on the road to Taiwan and it showed. Several of the fights were shot at night which meant that it was difficult to discern the action. Others were carried out in the forests per usual, though at least this time it helped for the ninjas to have trees to jump out of.
The film’s quality was badly degraded. At one point it looked like Mystery Science Theater with dark chunks missing at the bottom of the screen resembling the bots watching a movie. The film choices I found were either subbed with faded white subs on a faded badly cropped background or a dubbed version with Chinese subtitles with more of a letterbox screen. The sound and film quality were poor for both. Basically, pick your poison.
When Ninja in the Deadly Trap focused on the Venoms it was more interesting. I’m still salty that Kurata had such a small part as he could bring the menace to accompany his real word martial arts skills. For fans of the genre, it could be a frustrating watch but worthwhile if you are a fan of any of the players. As always, graded on a curve.
3 May 2025
Was this review helpful to you?
"Don't ask for more"
Cute Girl aka Lovable You was Hou Hsiao Hsien’s directorial debut. Fans of his may be able to spot his tells, but this seemed worlds away from “A Time to Live, A Time to Die” or “Daughter of the Nile”. This was a plain vanilla romcom if you removed all the vanilla.Pan Wen Qi’s wealthy father is arranging a marriage for her to the son of another wealthy family. Wen decides to take a break and spend time with her aunt in the countryside. As luck would have it, Gu Da Gang is surveying the town for a highway that is going to be built. “Hilarious” interactions between the villagers and Da Gang draw the two together. But sadly, this love could never be, because Wen’s father would never approve of a poor engineer. Wen returns home without saying good-bye to the man she has happily spent the past few days with. That doesn’t stop Da Gang from stalking her, I mean searching for her to declare himself.
Romcoms often rely on cheesy situations and misunderstandings, how the tropes are implemented is what matters. Cute Girl was built on cute people who did supposedly cute things. The characters had no depth and Wen’s most emotional outburst was when Da Gang and her blind date became friends. The cringe factor was high in this film, which wouldn’t have been so bad if the characters caused me to care whether they got to together or not. The theme song was played at least six times and for the most part this was a music video with a little story to it. It was truly one of the blandest films I’ve ever watched. At ninety minutes, it felt much longer.
3 May 2025
Trigger warning: A cobra was shown being butchered
Was this review helpful to you?
"To those we remember fondly"
While looking for something to watch on the Criterion Channel, I stumbled across a short film by Wong Kar Wai. He made Hua Yang De Nian Hua (listed as Fa Yeung Nin Wa on MDL) while prepping for In the Mood for Love. Numerous old Chinese films thought lost were discovered during the 1990s in a warehouse in California, USA. Wong used the archival footage and spliced together images of glamorous actresses in a variety of roles and set the short film to the song Hua Yang De Nian Hua made famous by Zhou Xuan.Edited beautifully, the film flowed easily to the rhythm of the song that also used a clip from “Happy Birthday.” There weren’t any words, but it was gratifying to see a short film dedicated to women and their roles in Chinese and Hong Kong films. Dancing, smiling, crying, moments of love, sorrow, and violence were highlighted as well as some truly gorgeous costumes. At less than three minutes, definitely worth a watch.
Was this review helpful to you?
