In the years after the Revolution that overthrew the Qing Dynasty in China and established the republic, China broken up into fiefdoms held by warlords, who are busy fighting each other. A ... See full summary »
Tony Chiu-Wai Leung,
Ching Wan Lau,
Blood Brothers- While coming of age in the inner city, Darryl Crawford, a young African-American man, witnesses a gang-related murder and is horrified to discover that his beloved older ... See full summary »
A beautiful real-estate agent (Peiru) gets drunk at a karaoke bar and throws up on a principled, lonely cop (Zhendong). Zhendong quickly falls for the flirtatious Peiru despite the fact ... See full summary »
When circus clown Sunny gets transformed into a super-powered mutant, he finds himself pitted against his fellow circus performers who were altered in the same accident, and who are now using their powers to wreck havoc around the city.
In this sequel to "Tokyo Raiders", wisecracking, kung-fu-fighting spy/private eye Lam jets off to Seoul, South Korea with a bevy of gorgeous assistants to pursue the thief of a valuable ... See full summary »
Yang travels to Chen Village to learn a powerful form of Tai Chi. Though villagers are forbidden from teaching outsiders, Yang becomes their best hope for survival when a man arrives with a plan to build a railroad through the village.
With the 30's Shanghai as background, the film is a gangs story, a romance story, a brotherhood story and a simple story, with a theme portraying the lust for power against brotherhood piety. The narrative is unrestricted with plots generally linear albeit that it is told in flashback. The story embeds complex relations among characters with such relations & revenges constituting parallel narratives for similarity and contrast. The narrative is framed from the perspective of Feng (Daniel Wu) and supplemented with ancillary perspective from the other lead, Mark (Chen Chang). Director Alexi Tan attempts to make it moderately stylistic by use of freeze action (not freeze frame), complete silence and some other cinematographic devices (obviously Tan restrains it from being overdone). Though the movie comes with strong leads and their fine staging, the diegesis is relatively weak and shallow in portraying the evolution of the key antagonists' personalities down the plots. Nevertheless, visual motif (flicking of cigarette on a cigarette box) is repeatedly used to reinforce the use of power and the desire for such. In terms of visuals, the film comes with replete elegant costumes and settings with Mckintoshes, western hats, suits and cuffed shirts' sleeves filling the mise-en-scenes. Fine mastering of lighting and shooting angles in the presence of both diegetic and non-diegetic music delivers a moody combination of visual and acoustic amusement to the audience. The gun-pointing scenes are fairly flamboyant in mounting up tension whilst sudden fires and zigzags of characters' motions bring occasional shocks to the audience and generate uncomfortable surprises to the audience. Yet the visual-acoustic artifice is less than sufficient to redress its shortcoming in the meek, if not weak, psychological coverage of the characters. The film is another product in which substance is subordinate to style.
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