Tampilkan postingan dengan label china. Tampilkan semua postingan
Tampilkan postingan dengan label china. Tampilkan semua postingan

Kamis, 20 Oktober 2011

London Film Fest 2011 Day 8 - LET THE BULLETS FLY


LET THE BULLETS FLY is an utterly ridiculous, hilarious, cartoonish movie of the kind that made KUNG FU HUSTLE so superb, but without the latter film's heart. Written and directed by Wen Jiang (THE SUN ALSO RISES), it is set in 1920s provincial China, where the tax revenues of small towns are fought over by provincial governors and brutal mafiosi drug runners. The movie is a kind of action flick come comedy of errors.  Chow Yun-Fat looks like he's having a ball in the roll of Master Huang - the local drug lord defending his territory against the new governor, played by Wen Jiang.  That governor is an imposter, really a gangster, but the real meat of the story is whether either that gangster or indeed Master Huang is really the legendary and feared gangster Pocky Zhang. And why on earth is the governor, who came to the town to milk it of its cash, turning Robin Hood?!  

The movie unfolds in a series of beautifully choreographed tricks and fight scenes as each guy tries to get the better of the other, culminating in the final show-down and revelation. There are lots of laughs, plenty of ridiculousness and a superb supporting performance by Carina Lau as the governor's wife - willing to do anything to support her own position. The only fault is that it's probably too long at over two hours - there's only so much zaniness one can take in one sitting.

LET THE BULLETS FLY opened in China in 2010, in Hong Kong and Singapore earlier this year, and played London 2011.

Minggu, 14 November 2010

Blu-Ray / DVD Release - THE KARATE KID (2010)


The Jaden Smith-Jackie Chan remake of THE KARATE KID is a high quality, intelligent enterprise, with just enough charm and good humour to get you through the two-hour plus run-time. But it lacks the effervescence of the original, and by making the Kid a twelve year old rather than a sixteen year old, the screen-writers have fundamentally altered the dynamic of the story. Thus, while the original KARATE KID is as much about getting the girl as it is about winning the tournament, in this remake it's pretty much all about the karate and the Mentor-Mentee relationship.

The story follows the original closely. A Kid is uprooted to a new town when his single mother moves to a new job. Immediately, he's singled out but the cool kids as a loser and beaten up, turning up to school on his first day with a black eye.  The bullying continues until finally he's bailed out by the janitor, who turns out to have mad kung-fu skills.  Except, this knowing rename tells us, it's not kung fu, it's karate. The janitor negotiates a truce with the bullies and their mean karate teacher - leave the Kid alone until all matters can be decided at a karate tournament. During the truce, the Kid does repetitive chores for the janitor, not realising that he's really learning mad karate skills, as well as how to respect his elders. And, obviously, when the tournament finally comes, the Kid gets the trophy and the chick, but most importantly, self-respect and a much-needed father figure.

If the story is basically the same, the look and feel of the film is very different. Nothing in director Harald Zawart's back catalogue (which includes the risible PINK PANTHER remakes) could've prepared me for his elegant portrayal of a long-haul flight, or his lush photography of the Chinese landscape. There's also a light touch in his handling of the pre-teen crush that the Kid has for a Chinese violinist that is entirely absent from Zwart's PANTHER movies or indeed the AGENT CODY BANKS flics. There's also a lot to like in the script from relative newcomer, Christopher Murphey. I like how he plays with our expectations for the film, and nods to our nostalgia for particular scenes. For instance, the first time we see Mr Chan, he looks like he's about to catch a fly with his chopsticks, the classic move Mr Miyagi pulled. But, no, Mr Chan, actually just uses a fly swat.  And while Mr Chan is repairing a car, Mr Miyagi style, the reason is quite different than in the original film. The source of Mr Chan's sorrow manifests itself tragically where Mr Miyagi's sorrow was darkly comic. And while Jackie Chan was more than able to convey that tragedy, I couldn't help but be relieved that he hadn't been asked to mimic Pat Norita's Oscar-nominated performance.

There's a lot to like in this remake. The film-makers clearly took a lot of time to work out how best to use the Chinese locations, and incorporate some small details that feel authentic - such as Chinese fascination with curly hair. Jackie Chan and Jaden Smith have real chemistry, and while we all know that Jackie Chan is a charismatic and sympathetic screen presence, Jaden Smith holds his own.

But there are problems with the film too. First, it is woefully sentimental, right from the opening scene. The Kid's best friend gives him his skateboard to take to Beijing. The Kid protests but the bet friend insists. Cut to the Kid looking out of the window as his best friend runs after the car in slo-mo. Please.  Later, we get to Beijing, and Jackie Chan has just given it his all, letting us into the reason for Mr Chan's sorrow. And what happens next? The Kid leads him out of himself with a device that is pure fructose syrup.  It totally brought me out of the moment, and out of the film.

Still, all this syrupy nonsense was more than offset by the film's earnest attempt to give us some insight into modern China, and the intrinsic charm of Chan and Smith. What really sunk the film was its closing scene. All of us who grew up in the eighties know how important the final two scenes of the film are. First, we get the Karate Kid defeat his opponent with a highly difficult, daring move that Mr Miyagi taught him. It shows his courage and self control and skill. Ralph Macchio totally pulls it off. But in this remake we get Jaden Smith have to pull of a hypnotic-cobra-type movie that looks utterly punk and ridiculous. I mean, seriously, it's one thing to train for balance and kick your opponent in the head. It's another to think you can move like a cobra and hypnotise your opponent into losing his guard! When the Kid started shifting his head from side to side I started laughing, and not in a good way.

Worst still, the final scene of the original film is arguably the strongest of all - it's the ultimate victory - but it doesn't even exist in the remake. In the original, sure, the little bully teenagers are vicious but basically they've been made that way by their mean teacher. The Karate Kid has a good teacher in Miyagi and so can defeat them, but the real battle is between two ways of teaching - two different ways of forming children. Accordingly, it is right and fitting that the final scene of the movie sees Miyagi face off against his rival teacher, beat him, but not with brutal force but with kindness. It is the ultimate victory of the Miyagi way.  But in this flick, there is no wider message. The Kid wins, the bullies acknowledge his victory, honour Mr Chan and it's game over.  It was just too simplistic and kid focussed - I wanted closure for Mr Chan too.

Am I being too harsh on the remake? Am I holding it up to an impossibly high threshold - the high bar of eighties nostalgia?  I hope not. I watched the original Karate Kid recently, when it was re-released on Blu-Ray, and the movie still holds up. It's still funny, romantic, tragic, heart-warming and wise, all at the same time. This new movie takes the production values to a new level, and does a genuinely good job of showing us modern China, and Jackie Chan and Jaden Smith are just fine. But I definitely feel the script-writers short-changed us with too much syrup, a too hasty ending, and too long a build-up in the first hour.

THE KARATE KID was released in summer 2010 and is available on Region 2 DVD and Blu Ray tomorrow.

Sabtu, 23 Oktober 2010

London Film Fest 2010 Day 11 - WINTER VACATION


Contemporary China. A Northern town encased in snow, filled with stark, brutal Soviet buildings. Teenage boys wile away the hours in sparsely furnished rooms, or sit on park benches. Boredom. Despair. Hopelessness. And the blackest of black comedy! Such is the movie that Li Hongqi gves us. Welcome to modern China, everyone! Thousands of miles away from the shiny skyscrapers of the economic miracle here is atomised, brutalised reality - the reality of modern life under Communism. WINTER VACATION is a tough watch because it so resolutely holds out against such easy comforts as a narrative arc or a happy ending. But if you allow yourself to settle into it, and to go with its slow rhythm, it can become as mesmerising as an Aki Kaurismaki movie.

WINTER VACATION played Seoul and Locarno 2010, where it won the Golden Leopard. It has no commercial release date yet.

Kamis, 14 Oktober 2010

London Film Fest 2010 Day 2 - CHONGQING BLUES


Xiaoshuai Wang's CHONGQUING BLUES is a real disappointment. A two-hour, crawling-paced, narratively dull dirge. A teenage boy goes to a shopping mall, is dumped by his girlfriend, and in a fit of pique creates Facebook, sorry, takes a shopper hostage, stabs a security guard, and is eventually killed by the cops. His estranged father, absent for a decade, returns to town. Naturally, his ex-wife and his son's friends aren't keen to talk to the man who vanished for a decade, and the first hour of the movie sees the father stonewalled. In the second hour, we piece together the basic narrative but it's fairly dull and inconsequential.

So, ordinarily, I'd say that this movie is one to avoid. However, I was interested in it, but from an oblique angle. I work in an industry - and we all live in a world - where China - her money, her goods, her political intentions - are becoming more and more important. And the directorial style of this film is to let a camera meander through the streets of one of China's major cities - the backstreets, crumbling old buildings, seedy flats, tiny workshops and sweatshops. That - the social document - is fascinating. In addition, I really appreciated a look at how rapid economic growth and the penetration of Western media has changed the relationship between the generations. One of the major themes of the movie is that the older generation - hard-working, disciplined, austere - cannot communicate with the younger generation - raised on mobile phones, rock music and "hanging out".

So, for me, CHONGQING BLUES sort of worked - but not in the way intended, and I won't be seeking out any more of this director's films.

Additional tags: Xiaoshuai Wang, Bingbing Fan, Hao Qin, Xuegi Wang, Yi Zi, Fang Lei

CHONGQUING BLUES played Cannes 2010
 

reiview movies and books Copyright © 2012 -- Powered by Blogger