The story involves a Chinese film and martial arts star (Cheung) who is ensnared by a dangerous plot while visiting the Berlin Film Festival. Her survival and the success of a major rescue mission depend on a Korean secret agent (T.O.P.), who is also her ex-fiance.
T.O.P. (real name Choi Seug-hyun) is part of the Yg Entertainment-produced Big Bang group which have been fixtures across Asia since 2007. T.O.P. has a budding career as an actor with credits including “Tazza: The Hidden Card” and “71: Into the Fire,” and “Out of Control” marks his first movie from China, where Korean bands are massively popular. He remains part of the group,
2016 is shaping up to be a classic year for fans of martial arts / action movies. All of the big names are back , Donnie Yen, Jackie Chan, Jet Li, Sammo Hung and lets not forget Jean Claude Van Damme.
So you don’t miss out , we’ve compiled a list of stand out movies which we think you should not miss.
So without further delay here are Amp’s Best Martial Arts Movies to look forward to in 2016
Note: Bookmark this article as we will keep this updated with more news, pictures, posters, trailers as we get them.
ContentsThe Best Martial Arts Movies To Look Forward To In 2016Ip Man 3 (Donnie Yen) Crouching Tiger Hidden Dragon : Sword of Destiny (Donnie Yen, Michelle Yeoh)Kickboxer: Vengeance(Jean-Claude Van Damme)The Deadly Reclaim (Wu Jing)The Monkey King 2 (Aaron Kwok)Rail Road Tigers (Jackie Chan)Kung Fu Yoga
Tse, whose career stretches from Hong Kong actioners “Gen X Cops” to the more recent thrillers “Beast Stalker,” and “The Viral Factor” and the current mainland Chinese romantic hit “But Always,” is selling 60% of his Po post-production and VFX firm for Hk$122.5 million (Us$15.7 million).
See Corp will pay by issuing new shares at a nominal price of Hk$0.35 each. The shares had been suspended from trading on the Hong Kong Stock Exchange, but on re-listing on Friday morning they jumped from Hk$0.38 to Hk$0.8 apiece, meaning that on paper Tse has more than doubled his money. He will also be the largest single shareholder in the company, with 19% of the enlarged share capital.
As a private company, Po showed net losses after tax,
Like “So Young,” which was directed by actress Vicky Zhao, “The Queens” is the directorial debut of actress Annie Yi (“The Assassins,” “Good Men, Good Women”.)
Production is by Ann An, whose Desen Media was among the producers of “Tiny Times,” and the “Ip Man” features, and which is currently preparing a wartime epic “Moon Flower of Flying Tigers,” with Hollywood’s Paula Wagner.
“Queens,” currently in post-production, arrives at the Busan market handled by Easternlight, the specialty Asian arm of Australian-u.S. sales and production finance group Arclight Films.
The story involves three cosmopolitan women – an actress, a PR specialist and a gallery manager – wrestling with the ups and downs of their romantic lives. Along the way they manipulate friends, embarrass their
Clay Epstein is the Senior Vice President of Sales and Acquisitions for Arclight Films, a leading international film sales company with a strong global reach, including the Easternlight and Darclight brands that rule in the Asian and genre markets. Arclight has a long list of titles that spans across the genres, including epic period action The Last Knights with Clive Owen and Morgan Freeman, family film Paper Planes starring Sam Worthington, thriller Reclaim starring John Cusack, Outcast starring Hyden Christiansen and Nicholas Cage, and the animated adventure Legend of A Rabbit: Martial of Fire 3D.
Clay embarked on his film career in Los Angeles back in the days when Pulp Fiction and El Mariachi were changing the playing field for independent cinema. His broad experience in the film world equips him with a deeper and more comprehensive understanding of the filmmaking process - a great advantage and benefit for any of his clients.
Clay shares more about Arclight Films, his experience from the days of the indie film explosion in Los Angeles, and why America's television renaissance is keeping the film business on its toes.
Please share an overview of Arclight Films.
I joined Arclight Films just over two years ago as Vice President of Sales and Acquisitions. Arclight was started 12 years ago by Gary Hamilton, and is an Australian based company with its headquarters in Los Angeles and offices in Sydney, London, Beijing, and Toronto.
We have three divisions of the company, which is more of a branding exercise. Arclight Films is the gold standard, with titles like The Bank Job, Lord of War, and Predestination under its banner.
Darclight is for the edgy genre driven cinema, has nothing to do with budget level, but more with genre. Bait 3D, a 25 million dollar film under Darclight, was number one in the Chinese box office last year. It also carries some of the best award-winning modest budgeted horror films coming from the world of cinema right now. Wolf Creek 1 and 2 also fall under Darclight, as does Grave Encounters 1 & 2.
Our Easternlight division focuses on Asian cinema. We're representing the biggest films coming out of Asia with names like Jet Li, Chow Yun Fat and Donnie Yen. We also sell non-Asian cinema into Asia, and have an aggressive share in this market because of the level of cinema that we're selling. Recent success includes Special ID starring Donnie Yen and Badges of Fury starring Jet Li.
What distinguishes Arclight in the global market?
Let's take China for example. They're looking at commercial films in the west more than noncommercial films in China: cast driven, big budget commercial content, special effects, branded content, 3D big movies, as well as the cast-driven Chinese films. A Jet Li or Donnie Yen film, which might be a limited release in some western territories, will be a number one film throughout Asia, and will earn millions in the box office. We’re excelling in this market, because we truly understand its stars, the content, the filmmakers and especially the cultural idiosyncrasies - this sets us apart from the rest.
We’re also closely tied to the production aspects of half of our slate. This means a combination of development, packaging, and co-production possibilities. There's some incredible cinema coming out of Australia right now. It's a renaissance, and we have many Australian co-productions with support from the Australian film industry. We're developing films that can be made in Australia's film infrastructure with budgets anywhere from 3-4 million up to 20-30 million. Our recent success includes Predestination starring Ethan Hawke, A Few Best Men, and the upcoming sequel A Few Less Men.
We're commercially driven; we know what our distributors want and what the audience is drawn to. We want to be able to make films that they're interested in and that there's a market for. We'll always have some art house films on the lineup because we're all cinephiles, and we need to support those filmmakers too.
How are sales going?
If I take a step back from my sales agent role for a moment, the truth is that the market has become nothing more than selective. Look at other industries. They're selective as well: the tech industry, the automotive industry, and the housing industry. If something doesn't work, if the TV breaks down, if the car does not meet consumer demand, they're not going to sell. If they're not the right shape, and the color's not good, that TV just won't sell. That's what's happening in the film industry. If the films are not what the consumer necessarily wants to see, if the film was not produced well, if the story is off, it's the wrong genre for the market, it just won't do well.
The reason why everyone is saying the market is tough is because yesteryear, you could sell a sub-par film and make money on it. There was an appetite for pure content regardless of quality. Today the challenge is to make a film within a manageable budget that will appeal to a global audience. Unless you have a major hit on your hands, the obstacle we all face is that the cost to produce a film continues to rise while the cost that distributors will pay is creeping downwards.
The market has become selective. The consumers have other choices. They're not going to sit in front of the TV and watch movies all day. There are so many other things that they can do, so we're competing for their free time. We're competing against apps and videogames. We have TV with many amazing series--it's the glory days of TV again. People will sit and watch whole seasons of shows like Breaking Bad, so we're competing for this time as well. What we offer them better be good enough to compete with all the other media that's out there - that's why we all say that it's getting tough.
What do you consider when reviewing potential films?
We all have responsibility to the company, to the audience, to our distributors and our clients. When we evaluate a project, we're thinking whether or not there's an audience. One of the first classes I had in film school said the film is not a film until there's an audience to see it. That stuck with me. I still think about that when I'm evaluating a film. My job is to get an audience for that film. What steps I'll take to get there can be placing it with the right distributor, finding the right festival to launch it at, or finding the right publicist. You have to take different steps depending on the film or the strategy, but my ultimate goal is to find the audience and to identify its potential size.
Please talk about Arclight's current projects.
We have some projects in postproduction including Outcast with Nicholas Cage and Hayden Christensen, Reclaim with John Cusack and Ryan Philippe, and The Last Knights with Clive Owen and Morgan Freeman. They have promos and trailers; we've been successful at securing distribution. It's thrilling to have seen those from go from script stage and then all the way to completion. Nothing beats when you see distributors lining up their release schedules.
We have some films in development that we've just announced: Heart of Darkness and The Nest. I'm looking forward to the next six to twelve months as these films come together.
There are projects that we became involved in during production, and we're lucky enough to be a part of, like Tell, with Jason Lee and Milo Ventimiglia. The distributors' response has been extremely positive.
What is your background?
I wanted to be in the movie business since day one. I never wanted to do anything else. There was a short period when I wanted to be a psychologist, but that was an excuse to avoid failure in what was then a less common field to major in.
I wanted to be an actor, writer and filmmaker. I went to film school when Pulp Fiction came out and Robert Rodriguez was making a name for himself. It was the birth of indie cinema (it was a brand in the early 90's), and I was right in that world as a film student. I remember meeting Robert Rodriguez at a book signing for “Rebel without a Crew” and he was incredibly inspiring. The possibilities seemed endless. Everyone thought that they were going to be the next Tarentino. There was a buzz! People were shooting all over La, such as Paul Thomas Anderson and Ben Stiller. There was a sense that film was breaking away from the studio system, and everyone could go and make an indie film. Inexpensive broadcast quality video was just about to break, but we were still dependent on film.
I learned on 16mm and was always in the labs at school. I spent more money on film processing at the labs than on tuition. I was cutting negatives at the school all night long. There was certainly encouragement to do things in a new and different way, but it's not really embraced when you try to do that in film school. There was a bit of a contradiction there, and my inflated plan to become the next Woody Allen was being stomped on.
I did a few short films and a feature. They were all horrible, but I learned the filmmaking process - that's what's important. I wrote a script. I raised money, and I made it. I learned that process, and I respect it so much; this helps me when I'm evaluating projects and meeting filmmakers. I understand what it takes to make a movie. It's hard to make a good film, and it’s hard to make a bad film. It's a tireless endeavor, and probably one of the most difficult things that a person could do. A filmmaker is so reliant on so many people, so much money and so much time. I am incredibly sympathetic to the endeavor.
Where does your drive come from?
I get passionate for everything I'm working on. I have to, because it influences everyone we work with. Our success relies on this... we're living in a parallel universe with the studios that have the resources to create awareness for its products. They have the marketing and publicity. Sometimes we don't have those means for our films, so we have to find creative ways to get them out there. This is where my drive comes from.
Learn more about Arclight's current lineup.
More About Arclight:
Arclight Films is one of the world’s leading international sales companies for theatrical, television and home video. Arclight Films has sold over 150 motion pictures including the Best Picture Oscar® winner Crash, and Golden Globe® Best Picture Nominee Bobby.
Arclight Films additionally encompasses subsidiary labels Darclight Films, the edgy genre-driven division of the company whose films include the worldwide horror hit Wolf Creek, action thriller Bait 3D and a current slate that includes Wolf Creek 2, and Easternlight, a specialty arm showcasing Asian cinema with the largest film library of any non Asian-based indie film label. Films sold under the Easternlight banner include the worldwide blockbuster Forbidden Kingdom starring Jackie Chan and Jet Li, 14 Blades starring Donnie Yen, legendary auteur Chen Kaige's Sacrifice and a live action adaptation of the world-renowned legend Mulan, now in pre-production.
The latest additions to Easternlight include Outcast starring Nicholas Cage, now in post production, Special ID starring Donnie Yen, The Assassins starring Chow Yun Fat and Cannes Film Festival “Directors Fortnight” official selection and Toronto International Film Festival Gala Selection Dangerous Liaisons starring Zhang Ziyi, Cecilia Cheung and Jang Dong Gun.
Some of the latest additions to the Arclight Films’ slate include Last Knights starring Clive Owen and Morgan Freeman, Predestination starring Ethan Hawke, Reclaim starring John Cusack, Paper Planes starring Sam Worthington, and Left Behind starring Nicholas Cage.
Arclight Films maintains a presence at all major motion picture and television festivals and markets with offices in Los Angeles, Sydney, Hong Kong, Beijing and Toronto.
For more information on Arclight Films, please visit www.arclightfilms.com
China Star Film, which previously produced or distributed movies with Andy Lau, Cecilia Cheung and Stephen Chow and Johnny To’s “Election” (pictured) and “My Left Eye Sees Ghosts,” is currently a joint venture between China Star Entertainment and China Media and Films Holdings.
It will be sold by China Star Entertainment to China Media and Films in a transaction worth just Hk$4.34 million (Us$560,000). Despite the lowball value, the transaction has to be declared to the stock market as Heung is chairman of both companies.
According to the transaction document China Star Film was essentially dormant in 2013 and made an unaudited loss of Hk$41,000 (Us$5,250).
According to China Star Entertainment’s previous 2013 end of year filing revenue
The final sequence of Running on Karma:
The final sequence of Sparrow:
Each of these films arrive at two of the most ecstatic endings in To's cinema, in which the two respective male protagonists, left lonely by the absence of the woman they loved,
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Continue reading: DVD Review: Dangerous Liaisons (2012): Hur Jin-ho, Zhang Ziyi
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Notorious playboy Xie Yifan (Jang Dong-kun) and banking mogul Mo Jieyu (Cecilia Cheung) are wealthy members of Shanghai society who have an intense, ongoing flirtation. Despite said flirtation, both concern themselves with bedding whichever men or women they taking a liking to. Xie has recently set his sights on his distant cousin Du Fenyu (Ziyi Zhang), who is the model of innocence and grace. Mo, believing this conquest to be nearly impossible, bets that Xie won’t succeed. He quickly rises to the bait,
It seems there are some tales we can just never get enough of. While mainstream cinema endlessly remakes itself, super hero franchises rebooted, often more than once in the same decade, the art house crowd has its predilection for familiarity as well. If it’s not another adaptation of Shakespeare’s something or other, there’s a plethora of other canonical texts that cross multicultural barriers, and one of those happens to be Pierre Choderlos de Laclos’ 18th century novel, Dangerous Liaisons, which has just been remade as a co-production between China and Singapore, helmed by Hur Jin-Ho, the award winning Chinese-South Korean director of Christmas In August (1998). Several definitive versions from several countries already exist, and here we have this lurid tale of mind games and sexual manipulation transported to 1931 Shanghai. While this is certainly one lavishly mounted production,
2000:Crouching Tiger, Hidden Dragon
2001:Rush Hour 2
2004:House of Flying Daggers
2005:Memoirs of a Geisha
Zhang was born and raised in Beijing, to Zhang Yuanxiao, an accountant and later economist, and Li Zhousheng, a kindergarten teacher. She is very close to her older brother, Zhang Zinan. Zhang began studying dance when she was 8 years old; subsequently, she joined the Beijing Dance Academy by her parents’ suggestion at the age of 11. While at this boarding school, she noticed how mean the other girls were to each
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