Archive for the ‘TITLE R’ Category



HONG KONG 2010  Directed by: John Woo, Su Chao-Pin Written by: Su Chao-Pin Produced by: John Woo, Terence Chang  Cinematography by: Wong Wing-Hung, Arthur Wong  Editing by: Cheung Ka-Fai  Music by: Peter Kam  Cast: Michelle Yeoh, Jung Woo-Sung, Wang Xueqi, Barbie Hsu, Shawn Yue, Kelly Lin, Guo Xiaodong, Jiang Yiyan, Leon Dai, Paw Hee-Ching, Pace Wu, Li Zonghan, Jiang Yiyan

We are still far away from a real renaissance, but with two small masterpieces launched around the same time that are reviving the best traditions of Hong Kong cinema we are kind of spoiled for choice: no matter if you see DETECTIVE DEE AND THE MYSTERY OF THE PHANTOM FLAME or REIGN OF ASSASSINS first, you’ll end up coming to the same conclusion – that you just saw a film that looks and feels as good as Hong Kong movies did twenty years ago.

And again it is no surprise that REIGN OF ASSASSINS is helmed by a veteran director of the golden age of Hong Kong cinema: after RED CLIFF John Woo has returned to China once again, this time telling the tale of the mummified remains of an Indian monk that are supposed to bear magical powers. Various parties are after the treasure, including the Dark Stone gang whose top assassin Drizzle (Kelly Lin) gets hold of the remains, but decides to live an ordinary life instead of returning to the gang after meeting a monk and master swordsman who sacrifices himself to enlighten her.

She changes her appearance through surgery and assumes the identity of Zeng Jing (Michelle Yeoh). She moves to the city and opens a store selling cloth, and soon after marries messenger Ah Sheng. They could have lived happily ever after, but the script thinks otherwise: the Dark Stone gang is still in pursuit of the remains, and their leader Wheel King (Xueqi Wang) is upping the ante by sending three assassins to hunt down Drizzle. Lei Bin (Shawn Yue), The Magician (Leon Dai) and sexy but merciless killer Turqoise (Barbie Hsu) are are getting closer to the truth, while some more surprising twists complicate things further. Everything gears towards the last stand-off between Drizzle and her old gang, with some uninvited guests are joining the party.

For a Hong Kong swordsplay flick (new or old) REIGN OF ASSASSINS has a very solid story, detailed characterization and inventive script. All is quite right: the movie’s depth and complexity is intriguing, but never reaches the kind of confusion that have made movies like SWORDSMAN 2 as tiring as an accounting seminar. On the contrary, REIGN OF ASSASSINS achieves a great level of integration with the story driving the action and vice versa. I didn’t know what to expect at first with Su Chao-Pin being under my radar in the past, but it must be said that the script is fabulous.

The same must be said about the action: the choreography is state-of-the-art, a very modern yet artistic interpretation of swordsplay, with spectacular gimmicks and incredible pace, as beautiful to watch as it is breathtaking. Mr. Woo has teamed with legendary DOP Wong Wing-Hung (A CHINESE GHOST STORY, THE KILLER, HARDBOILED) and it is obvious from the beginning that he enjoyed shooting the film quite a bit more than BEAUTY ON DUTY (that’s only my assumption, of course). However, action hasn’t looked that good for a while, and it’s not a coincidence that it comes from the people who originally turned made in Hong Kong into a valuable trademark as far as filmmaking goes.

What brings me back to Tsui Hark’s DETECTIVE DEE and what I wrote about it earlier: DETECTIVE DEE and REIGN OF ASSASSINS are not exceptional for what they are inventing, but because of what they are preserving, or bringing back to the silver screen. Both mark the return to Pre-‘97 Hong Kong filmmaking, and while they are of course products of 2010 they seem as imaginative, untroubled, powerful and touching as movies were back then.

Those who don’t care much about the past or know very little about it should note however that contemporary Hong Kong cinema doesn’t get any better than this. If REIGN OF ASSASSINS, or DETECTIVE DEE for that matter, don’t convince you this kind of cinema simply isn’t for you. And all the dedicated fans will be pleased to hear that, at least for a moment, Mr. Tsui and Mr. Woo have put back the magic into Hong Kong films. Enjoy it while it lasts.





RED EAGLE [IN SEE DAENG | อินทรีแดง]


THAILAND 2010  Directed by: Wisit Sasanatieng Written by: Wisit Sasanatieng  Novel by: Sek Dusit Produced by: Saksiri Chantrarangsri Cinematography by: Chukiat Narongrit Cast: Ananda Everingham, Pornwut Sarasin, Yarinda Bunnag, Wanasigha Prasertkul, Prawit Kittichantera

A superhero movie. From Thailand? By Wisit Sasanatieng?? Interesting. The Red Eagle character isn’t new, in fact it’s Thailand’s only genuine superhero, created in the 50’s and made into a total of 6 movies starting in 1959, with the last sequel dating back to 1970 that ended with the tragic death of actor Mitr Chaibancha during filming. Times have changed a bit since then, and in its 2010 appearance (set in 2016) Red Eagle is fighting against multinational corporations and corrupt politicians instead of targeting communists. If there’s one thing that hasn’t changed then that’s the fact that RED EAGLE is quite a political movie, confronting the popcorn-chewing audience with the harsh reality waiting outside the comfort of their multiplex Honeymoon Seats.


Even though Mr. Sasanatieng insists that the script and most of its storyline has been drafted years ago, it cannot be denied that the movie more than once draws obvious parallels to some of the latest developments in the Kingdom, from political protests, to certain prime ministers, to the Map Ta Phut issue involving a renown industrial development project that is in a dispute with the locals. RED EAGLE might very well be the most political, critical and in-the-face reality check for the Thai nation since a very long time, a courageous enterprise that commands respect and most certainly will not be everybody’s darling.


But RED EAGLE didn’t set out just to lecture us about the state of the nation. In essence, it’s a hard-boiled action flick for genre fans and the general audience alike, a film that, above all, is a milestone for Thai cinema, a movie that works well in so many ways, and with ease, that you can’t help but wonder why this level of craftsmanship is rarely achieved by the local industry. And I am not referring to the – very convincing – special effects, but to various aspects of the film.


From the title sequence onwards RED EAGLE defies all negative perception of Thai production standards: the James Bond-like exercise in how to make a grand entrance is a perfect example, and the gloss and glamour is followed by a contrasting, violent fight that is dipped in tantalizing primary colors, filmed with bravado and ease. RED EAGLE, with all its visual appeal, bloodshed and insane scale of product placement (I cannot think of any other movie featuring this much advertising) is an excessive film, any which way you look at it.


Most notably is the extreme bloodshed, as Red Eagle is nothing like your average superhero: he is much more a Punisher, someone who takes the law in his own hands and wastes one criminal after another. The storyline is loosely following a politician’s career and an environmental scandal, but here and there Red Eagle kills others that get in his way. Addicted to morphine due to an injury, he comes across as a psychopath driven by anger more than once, but with his arch-nemesis Black Death being an even more sinister fiend, Red Eagle’s character kind of gets away with it. He’s still the nicer guy.


However, Red Eagle’s personality is and remains the most problematic aspect of the film. The Character is more multi-dimensional for Thai audiences, as these are very familiar with Ananda Everingham and automatically associate his personality with that of Red Eagle, a smart shortcut Mr. Sasanatieng has chosen here, but it’s one that will backfire internationally as it becomes clear very early on that the main issue of RED EAGLE is the weak characterization of the hero whose motifs are only vaguely outlined without ever being satisfyingly rationalized, while at the same time we unfortunately get very little access to his state of mind or emotions. That is an even bigger problem in view of the hero being a cold-blooded killer.


If you are getting past that issue, you’ll have to deal with one more problem: logic is mostly absent, and is being replaced by magic. Like, for instance, time bombs appearing out of nowhere, the hero appearing out of nowhere, enemies appearing out of nowhere, it’s funny sometimes how they thought we couldn’t recognize a plot hole even when it’s as big as the entire screen. But RED EAGLE wouldn’t be such a fabulously entertaining movie if it wouldn’t make up for its shortcomings easily. Its entertainment value is right up there and never drops.

RED EAGLE’s most outstanding assets are its set pieces and its humor (and yes, it really works this time, most of the time). Take the long fight sequence on the roof for example: I cannot remember seeing anything like that in a while. Or the billboard crashing into the office floor; or the motorcycle stunt amid the explosion, and so forth. RED EAGLE features many memorable action scenes, and it’s fun, too (except for the racist jokes): Mr. Sasanatieng has a good sense of humor that is right in between witty and BS. No other Thai movie in recent years has managed to come even close to achieving this (just watch the scene when Red Eagle uses sanitary pads to stop his bleeding, and you know what Mr. Sasanatieng really thinks of product placement).


Saying RED EAGLE is a great movie would be an overstatement even Mr. Sasanatieng would dare to make. He of all people must know best why certain things are just not right and are sadly missed opportunities (he obviously had serious issues with the studio). But then he still manages to deliver a spectacle that takes the audience by surprise, being a big box of chocolate that we only come across once in a few years. It’s innovative spirit and no-holds-barred attitude should earn RED EAGLE a spot among the all-time cult movie favorites.

RED EAGLE is the best Thai action flick in years: RED EAGLE is indeed the hero Thailand needs. It’s an outstanding action movie by any standards. A superb superhero movie. And without any doubt the definitive anti-hero movie of the new decade.








Some movies don’t really need a synopsis. LET THE BULLETS FLY directed by Jiang Wen is such a movie. All you need to know is this: bullets, Chow Yun-Fat. In cinemas early October (and also starring Carina Lau, Wen Jiang, Jun Hu, Kun Chen, You Ge, Yun Zhou, Lu Yao, Bing Shao, Fan Liao, Pu Miao and Mo Zhang.