Review: "Tekkon Kinkreet" (2006)

Tekkon Kinkreet” is a fast-paced and poignant animated film that features stunning visuals, interesting characters and an emotionally resonant story of brotherly love.

Loosely translated as “concrete jungle”, “Tekkon Kinkreet” opens with the image of a black crow soaring out of the clouds and swooping down over Treasure Town, a decaying and crime-ridden underbelly of a major Japanese metropolis. The symbolism of the black crow as an augury of death and destruction is appropriate given that “Tekkon Kinkreet” is essentially a tale of transformation – of a city and its people.

Part fantasy, part action-adventure, “Tekkon Kinkreet” centers on the story of Black and White, two orphaned boys with unusual superpowers, who live on the streets of Treasure Town and band together to battle various mobster factions that threaten their beloved home by razing the city center to build a modern amusement park. Black is a tough, pessimistic, anger-filled teenager whose first instinct is to fight. By contrast, White is an innocent child with a sunny disposition who’s always dreaming of a better world filled with blue skies, sandy beaches and dives in the ocean with dolphins. Like yin and yang, together they balance each other; apart, they each fall prey to the extremes of their light and dark natures. Despite names that imply a one-note characterization, both Black and White are interesting characters that draw us in with their vulnerability and so we grow to care about what happens to them.

In addition to the narrative of the young boys, director Michael Arias also skillfully weaves an interesting secondary story about the rivalry between old-school, change-resisting yakuza who value comraderie and their traditional code of honor versus the cynical, modern bad guys who care only about power and money.

Although the film would have benefited from tighter editing - some of the action sequences are repetitive – “Tekkon Kinkreet” is a visually fantastic and thought-provoking anime for adults that explores themes of brotherhood and the impact of urban modernization.

Review: "Big Man Japan" (2007)

“Big Man Japan” is a weirdly entertaining but erratic film that blends a parody of monster movies with a bizarre spin on the superhero epic. It’s an oddball take on “Hancock” that focuses a satirical eye on Japanese nationalism and the world of media and reality TV.

Employing a faux documentary style of filmmaking, director Hitoshi Matsumoto (who also plays the lead character) chronicles the surreal adventures of Daisato, a lonely middle-aged man, gifted with the power to transform into a giant when shocked with electricity, as he goes about his job as chief monster fighter for the Department of Monster Prevention. While his father and grandfather were hailed as national heroes and mobbed by fans, monster fighting isn’t quite as popular it once was and TV ratings are down. Daisato is now a pariah within the community – people complain about the noise and property destruction he causes, his wife and child have left him and neighbors throw rocks through his windows and write obscene graffiti on his door. In order to supplement his income, Daisato takes on a talent agent whose job is to sell advertising space on his chest.

Despite the interesting premise, the film is often dull, focusing too much time on the mundane activities of its hero. Nevertheless, there are some poignant scenes, filled with touching details that reveal Daisato’s inherent sensitivity – his gentleness with a stray cat and his thoughtfulness in picking out just the right birthday present for his daughter - while capturing his sense of isolation.

The film picks up momentum during the computer-animated monster fight sequences, which have a purposely fake look as if filmed on miniature sets similar to the Godzilla movies. Broadcast on national TV, we watch Daisato battle a host of increasingly bizarre creatures such as a Stink monster and another with a long eyeball growing from its genital area that it tosses around like a bowling ball. Kudos to the creature designers!

“Big Man Japan” is likely one of the strangest films ever made. It’s over the top and over long but worth a viewing for its sheer quirkiness.

Review: "A Thousand Years of Good Prayers" (2007)

“It takes 1,000 years of good prayers for a father and daughter to get along”. Thus begins “A Thousand Years of Good Prayers”: a touching portrait of a Chinese father and daughter trying to bridge the vast gap of geography, language and culture that divides them.

Based on a story by Li Yi Yun about an elderly man who travels from Beijing to Washington state to visit his recently divorced daughter he’s not seen in many years, “A Thousand Years of Good Prayers” is a wistful meditation on loneliness, connecting with strangers and the communication gap between parent and child. Henry O gives a subtle and heartfelt performance as Mr. Shi, a traditional Chinese father who is worried about his Americanized daughter and questions her decidedly non-traditional lifestyle choices. In turn, the daughter Yilan (Faye Yu) is defensive and resents her father’s meddling into her private life. Over the course of his short visit, they gradually open up and reveal some hidden secrets that enable them to begin to heal their relationship. Director Wayne Wang complements the father-daughter drama with a modest yet moving minor story between Mr. Shi and Madam, an Iranian immigrant he encounters in a local park, as they form a close bond talking about their children.

Overall, this is a quiet film - filled with moments of tenderness, humor and sadness - that illustrates some universal truths about human connection and how encounters between strangers can be more intimate than those amongst family.

Review: "Hard Boiled" (1992)

“Hard Boiled” is a gritty, powerful Hong Kong crime thriller in the vein of “Dirty Harry” that combines exciting, visceral action with characters that you care about.

Featuring strong performances by Chow Yun-Fat and Tony Leung Chiu Wai, “Hard Boiled” tells the story of Tequila (Chow), a tough-as-nails detective who loses his partner in a teahouse shootout with gun smugglers. Seeking revenge against the ruthless gangster kingpin responsible for his partner’s death, he teams up with Tony (Leung), a disillusioned undercover cop who has infiltrated the gangster’s lair, to bring down the smugglers and stop them from killing.

While the story is solid, the main reason to watch this flick is for the action sequences. Across three unique locations (teahouse, warehouse and hospital) , director John Woo manages to orchestrate a stylish and energetic ballet of gunfights, explosions and bare knuckle brawling that is truly eye-popping. Both Mr. Chow and Mr. Leung are believable as action heroes and very capable actors, imbuing their characters with compassion and bringing emotional resonance to the dramatic scenes.

It is to Mr. Woo’s credit that he allows some breathing room amidst all the fighting and chaos in order to flesh out the dramatic arc of the characters and inject a bit of humor. We can relate to Tequila and Tony -- both are inherently good guys trying to do the right thing against a morally corrupt villain who kills innocent people without remorse – and come to appreciate the bond of friendship that develops between them. Overall, this is a fine blending of action and drama.

Review: "Avalon" (2001)

In the vein of “The Matrix”, “Avalon” explores the world of virtual reality and computer gaming. As directed by Mamoru Oshii, “Avalon” offers an artistic and meditative take on the subject, showing us how addictive the computer game becomes that it distorts our vision of what’s real and what’s imaginary.

Set in a drab world seemingly devoid of human connection, “Avalon” focuses on the story of Ash, a young and introspective woman who is one of the top players in a virtual reality war game that is played for points and money. It’s a game with risks as players’ spirits can become trapped in the game while their bodies remain comatose in the real world. We follow Ash, who seems to blossom only when she’s playing the warrior, in her grail-like quest to win each battle and progress to the next level.

Although the narrative is a bit muddled and the characters don’t really spark much emotional connection, “Avalon” is worth a viewing for its impressive visual effects, dark surreal imagery and production design. Even though it’s a live-action film, the look and feel is very close to anime. The war game sequences are visually impressive even if the action itself isn’t so riveting. The use of a sepia tone color palette is effective in blurring the distinction between the real world and the imaginary game world.

Overall, “Avalon” may not be a good fit for those seeking intense action but it offers some philosophical food for thought about a person’s internal quest for meaning and identity that is constantly changing.

Review: "Ponyo" (2008)

From the breathtaking opening images of a fantastical ocean world of undulating jellyfish, sea anemones and candy-colored sea creatures, “Ponyo” transports us into a realm of hypnotic beauty and magic where anything is possible. Inspired loosely by “The Little Mermaid”, the story is about the friendship between a young boy (Sosuke) and a goldfish princess (Ponyo) who longs to be human. As with his earlier work “My Neighbor Totoro”, director Hayao Miyazaki brings a warm and whimsical feeling to a “goldfish out of water” tale, capturing perfectly the behavior and mannerisms of exuberant young children growing up and learning to take responsibility in an adult world.

While the narrative of “Ponyo” is more meandering and less defined than in previous Miyazaki films, the main highlights are the charming characters and stunning visuals. Ponyo, like Mei in “My Neighbor Totoro”, is an adventurous and stubborn girl who revels in all the delights of the human world while Sosuke exudes a wiseness beyond his years and a quiet, grounding calmness of spirit. Even the adult characters are well-realized: I especially liked Sosuke’s mother Lisa - a spunky gal with a bit of an impulsive streak as evidenced by her Speed Racer driving style, and Ponyo’s father Fujimoto - a curmudgeonly wizard who wants only to protect her from the evil humans who have damaged the ocean with their wasteful ways.

The ocean itself is a character in the story and Miyazaki’s imagination and animation skills bring to life a magical world of enchantment and mystery that is unlike any other. From a visual standpoint, the sheer creativity and attention to detail is awe-inspiring. Each of the sea creatures is unique and artfully detailed. The colors are gorgeous and complement the environments – bright and vivid for the ocean, soft and warm in the land of humans.

Overall, “Ponyo” is a lovely and touching film and its themes of friendship, female empowerment and respect for the natural world will resonate with both children and adults.

Review: "The Curse of the Golden Flower" (2006)

“The Curse of the Golden Flower” melds Shakespearean-style tragedy with elegant martial arts, beautiful actors and extravagant sets and costumes. The result is Dynasty, Chinese-style, which is not at all a bad thing.

Set during the late Tang Dynasty, the movie focuses on the decaying marriage of a cruel Emperor (Chow Yun Fat) and his moody and secretive wife (Gong Li) and the power struggle between them as each plots the other’s complete destruction. The family dysfunction also extends to their three sons who are pitted against each other and their parents in a Confucian battle of filial piety and brotherly rivalry that can only end in blood.

Even though the story is reminiscent of a TV soap opera replete with passionate affairs, betrayals and revenge, it’s elevated by the strong performances of both Chow Yun Fat and Gong Li. Mr. Chow delivers a performance of controlled and fierce intensity and is complemented by the inspiring Ms. Gong who fully embodies a woman struggling under the weight of oppression.

The production design is impressive, featuring a bright palette of reds and yellows. Its flamboyant excess serves to underscore the oppressiveness of the Empress’ plight as she struggles to free herself from the gilded cage. And the contrast between the external beauty of the palace and the inner darkness of the characters is startling.

Martial arts enthusiasts may be somewhat disappointed as the action sequences are not as viscerally thrilling as in Mr. Zhang’s “Hero” and “House of Flying Daggers”. The final battle scene featuring a wave of gold and black clothed soldiers trampling through endless fields of bright yellow chrysanthemum flowers is breathtaking.

Most of Mr. Zhang’s films have featured subtle critiques of traditional Confucian customs and “The Curse of the Golden Flower” continues this tradition. By focusing his lens on the imperial family and the Confucian code that it symbolizes, Mr. Zhang crafts a tragic tale of a woman driven to the brink of madness by the absolute power wielded by a man.

Review: "Memories of Murder" (2003)

Based on a true story about a serial killer who terrorized a rural Korean village, “Memories of Murder” is a powerful crime thriller that combines moments of comical absurdity and gripping suspense.

While the plot unfolds as a typical police procedural, the scope of the story is much broader and it packs an emotional resonance not often seen in the genre. On one level, it’s a “buddy cop” story that focuses on the conflict between the two detectives assigned to the case: Park Doo-Man (portrayed by Song Kang-Ho in a terrific performance) is the jaded, earthy insider who relies on instinct and brute force to solve the case. He clashes with Seo Tae-Yoon, a quiet, methodical detective sent from Seoul, who values analytical thinking and disdains his country bumpkin peers. On another level, “Memories of Murder” casts a satirical eye on Korea’s military dictatorship during the 1980’s, underscoring the ineptitude of the murder investigation despite the substantial manpower resources deployed.

Although the whodunit aspects of the movie are compelling, director Bong Joon-Ho’s focus is not so much on the crimes but on the detectives, their increasing frustration and obsession with nailing the perpetrator over the course of the investigation and how they learn from each other and change. The tension is palpable as various suspects are dismissed by the evidence, with the solution always remaining just out of reach.

Acting performances are uniformly strong and the stellar cinematography underscores the dark, macabre tone. Although more a character drama than action-thriller, “Memories of Murder” boasts a very cool chase on foot sequence at night that is on par with any classic action flick and should not be missed.

Review: "Nana" (2005)

Adapted from a popular manga, “Nana” is an engaging film about friendship, relationships and pursuing one’s dreams. It’s both a female buddy film with empowering messages for young women and a coming-of-age drama that offers a glimpse into Japanese youth culture and the punk rock music scene.

“Nana” kicks off with a chance encounter on a Tokyo-bound train between bubbly Nana Komatsu, an aspiring art student following her boyfriend to the city, and brooding Nana Osaki, a tattooed punk rocker who's broken up with her boyfriend and hopes to jumpstart a music career. Although very different in personality, the pair get along and eventually become roommates. Helping each other navigate turbulent times in their romantic relationships, the two girls form a close friendship, gain insights into their character and learn to rely on their own instincts in the pursuit of happiness.

Stylishly directed by Kentaro Otani, “Nana” contains vibrant music and moments of visual beauty. The appealing performances by the two lead actresses contribute to the overall uplifting and feel-good vibe of the movie.

Review: "Yi Yi" (2000)

“Yi Yi” is a sensitive and uplifting drama about life as seen through the eyes of each member of a middle-class Taiwanese family. Capturing both the mundane and profound, the film focuses on each member’s personal story while also illuminating the larger canvas of contemporary Taipei society.

Working with a slow, lingering pace and harnessing the power of silence to convey truth, director Edward Yang produces a compelling tale of love, friendship and the quest to discover life’s meaning. At the center of the story is NJ, a despondent computer executive who finds his work life unfulfilling and his personal life fraught with crises: his mother-in-law falls into a coma, his wife suffers a spiritual breakdown and he reconnects with his former fiancee. At the same time his teenage daughter befriends a next-door neighbor and experiences the pangs of first love while his 8-year old son takes up photography, capturing pictures of the backs of people’s heads in order to show them something they haven’t seen before.

Although the film runs almost 3 hours, it’s never boring. With interesting characters and subtle acting performances, “Yi Yi” rewards the viewer with insightful and resonant observations about life, in all its wonder and weirdness.

Review: "Green Tea" (2003)

“Green Tea” is a stylish and off-beat drama about male-female relationships in modern China whose strong acting performances can’t overcome a lackluster narrative.

Wu Fang, a shy and conservative graduate student who is looking for a suitable marriage partner, meets Ming Liang, an outgoing and roguish older man, on a blind date in a cafe. Although they don’t click at first, a relationship forms over numerous cups of tea as Wu Fang confides to Ming Liang a shocking story about an emotionally damaged childhood “friend”. Complications ensue when Ming Liang encounters Lang Lang, a sexy piano player who happens to look just like Wu Fang, and becomes attracted to her.

Most of the film focuses on storytelling conversations between Ming Liang and Wu Fang in pristine cafes and Ming Liang and Lang Lang in sultry lounges. The relatively dry and ponderous dialogue is offset by the beautiful cinematography of Christopher Doyle and the compelling performances of the lead actors who manage to convey a range of emotions with small gestures and subtle eye movements.

Doyle’s camera work is interesting and drives a visual energy that is lacking in the narrative. He uses lots of close-ups of the actors’ faces and interesting angles to showcase modern Beijing. And never have tea leaves been so lovingly photographed as they swirl seductively in a glass.

For moviegoers interested in understanding Chinese culture and the evolution of modern relationships, “Green Tea” is worth viewing as it explores the difficulties that urban Chinese women face in looking for a committed relationship in an increasingly Westernized society that seems to value surface more than depth. In that world, the shy, spectacle-wearing Wu Fang, who has trouble attracting men, is on the same plane as the flashy and provocative Lang Lang, who can’t get men to see beyond her physical attributes.

Review: "Pulse" (2001)

What would happen if ghosts were to take over our world? That’s one of the key themes that “Pulse” explores. Visually inventive and chilling, it uses the Internet as metaphor to make a statement about urban loneliness and isolation.

“Pulse” follows two inter-connected story lines. One involves a young woman who works at a plant nursery and is investigating the mysterious suicide of a colleague. While searching his apartment, she finds a computer disk containing eerie images of shadowy apparitions. The other storyline focuses on a technologically-challenged university student who logs on to the Internet and is exposed to a computer virus which links to a website that invites him to “meet a ghost”. He enlists the help of a computer geek who is researching supernatural incidents on the Internet. They discover that the pictures appear to be linked to various disappearances, with victims either killing themselves or turning into dust. As the disappearances increase, the characters must bond in order to survive.

Director Kiyoshi Kurosawa’s eschews excessive gore and shock effects for more restrained psychological horror. Pacing is deliberately slow. Characters talk about death and contemplate the terrifying notion that the afterlife is nothing more than eternal loneliness. Shadows, dim lighting and framing are used effectively to create a mood of dread and melancholy. Kurosawa's vision of a post-apocalyptic Tokyo is deeply unsettling: preternaturally quiet and devoid of people, it's no more than an empty shell.

Review: "Painted Skin" (2008)

“Painted Skin” is a satisfying if melodramatic thriller that tells a tale of unrequited love and revenge involving demons and humans. Combining romance with comedy and kung-fu antics in the vein of old-school Hong-Kong supernatural action flicks like the “The Bride with White Hair”, “Painted Skin” is an enjoyable guilty pleasure.

Adapted from a short story by novelist Pu Song Ling, “Painted Skin” is about a fox spirit, disguised as a beautiful woman (Xiao Wei), who falls in love with a handsome warrior (Wang Sheng) and schemes to lure him away from his loyal wife (Pei Rong). Donnie Yen is a former army general and martial artist extraordinaire who teams up with a local demon buster to thwart the fox spirit's plans.

Those expecting visceral horror and fast-paced martial arts may be disappointed. The movie is fairly light on action and the fight scenes are mediocre at best. The romantic drama is compelling as it explores themes of fidelity, loyalty and true love. The showdown between Xiao Wei and Pei Rong is one of the film’s highlights. Cinematography, music and set design are also impressive.

Review: "The Host" (2006)

More than a chilling horror movie, “The Host” is also a taut drama and sometimes slapstick comedy about a dysfunctional family that comes together to battle both monster and man in order to save one of their own.

The story revolves around the Park family headed by the owner of a tiny snack stand on the banks of Seoul's Han River. He lives with his dimwitted, slacker son Gang-du and Gang-du’s teenage daughter, Hyun-Seo. Rounding out the family is Gang-du’s sister, an Olympic caliber archer, and younger brother, an angry unemployed college graduate. One bright sunny day, a squid-like monster from the river emerges to feed on humans, capturing Hyun-Seo and carrying her off to his lair for a later snack. When a call from a cell phone reveals that Hyun-Seo is alive and trapped in a large sewer, the family galvanizes to save her.

“The Host” delivers a unique twist on the chills and thrills expected of a monster movie. Sure the fish-like creature is horrific to look upon and preys on human flesh but it also has some fine acrobatic talents that enable it to dive gracefully off a bridge into the river with minimal splashing or execute a series of back flips worthy of an Olympic gymnast. The expected “monster chase” sequence at the beginning is visually stunning and truly scary even though all the action occurs in broad daylight.

Scary bits aside, some of the most poignant moments are the quiet scenes with Gang-du and his family as they begin to reconnect and learn to trust each other. Each character is fleshed out and has a unique obstacle to overcome and so we care about them and root for their success, especially as it becomes obvious that they can only rely upon themselves.

“The Host” is also unique is that it’s one of few horror movies that delivers biting social satire. Not only do the Parks have to battle their own inner demons, they have to dodge the clutches of the local authorities who think they’re contaminated by a virus. As officials round up the populace, disregarding civil liberties and all common sense in the process while fueling ever greater levels of panic and chaos, and unleash a dangerous plan to destroy the monster, we come to realize that the focus of our horror is not so much the creature but the inept and deceptive government and its disregard for humanity and the environment.

Review: "Yojimbo" (1961)

Akira Kurosawa’s “Yojimbo” is a suspenseful and darkly humorous samurai-Western with a subversive take on the traditional samurai archetype. Visually stunning, well-acted and filled with interesting characters, the film’s observations on human behavior are timeless.

Taking place in late 19th century Japan, the main character, Sanjuro (Toshiro Mifune) is a masterless samurai roaming the countryside looking for work. He stumbles into a desolate village where two rival clans are fighting for control of the territory. Viewed as a superhero savior to the townsfolk, he uses his wits and the power of his sword to pit the rival clans against each other hoping to secure the best offer for his services. This results in some comic moments as both sides pander to Sanjuro to win his loyalty. Although Sanjuro is an opportunist, he sees both clans as evil and determines to take them both down by turning them against each other. But in the end an act of compassion puts his life in danger and he is forced to improvise an escape.

In addition to its compelling story, “Yojimbo” is distinguished by stunning black and white cinematography which contributes to the suspenseful atmosphere. The acting is also strong. Toshiro Mifune radiates an intense presence as the brooding and clever samurai and Tatsuya Nakadai embodies the snake-like charm of his villain with ease.

Review: "My Neighbor Totoro" (1988)

“My Neighbor Totoro” is a warm-hearted and enchanting animated family film that explores the blissful wonder of being a child. It focuses on the journey of two girls, Satsuki and her kid sister Mei, who move with their father to the Japanese countryside and discover a new world filled with fascinating and fantastical creatures. As they explore their new surroundings the girls encounter Totoro, a large, fuzzy, silent raccoon-type of creature living in a huge camphor tree and known as the “king of the forest”, and embark on a series of magical adventures.

Unlike some of Miyazaki’s previous feature films like “Castle in the Sky” and “Nausicaa of the Valley of the Wind” which emphasize dramatic conflict and thrilling battles, “My Neighbor Totoro” is more concerned with observing a slice of life of two very real, likeable and spirited young girls as they use their resources of imagination to fuel adventure and overcome obstacles. What’s truly amazing is how Miyazaki evokes the magic and wonder of childhood, capturing in realistic detail the emotions and activities of ordinary children as they explore and settle into their new surroundings.

The visuals, as in all Miyazaki films, are stunning – the recreation of a rural Japanese landscape is detailed and realistic while the magical creatures are enchanting and one of kind. Yet it is Satsuki and Mei that resonate the most. We come to care about them and are concerned for them when things go wrong.

Review: "Castle in the Sky" (1986)

“Castle in the Sky” is a fast-paced, Indiana Jones-style animated adventure that will appeal to children and adults alike. As with most Hayao Miyazaki films, an engaging and thrilling adventure story is delivered with a subtle message of respect for the environment.

The film kicks off as a young boy, Pazu, encounters Sheeta, a girl floating down from the sky. We discover that Sheeta, who possesses a crystal necklace that’s believed to lead the way to the mythical floating island of Laputa, has been kidnapped by government agents eager to acquire the pendant and harness the island’s mysterious power. As Pazu and Sheeta try to dodge the secret agents and embark on their own quest for Laputa, a number of high-flying and thrilling adventures ensue involving trains, planes, pirates and robots.

As in all his films, Miyazaki creates an imaginary world full of color and life, inhabited by complex yet interesting characters. “Castle in the Sky” is filled with epic-style battle scenes and it’s refreshing to see both female and male protagonists on equal footing as heroes.

Revew: "Howl's Moving Castle" (2004)

“Howl’s Moving Castle” is an enchanting animated family film that transports you to a magical fantasy world and tells a moving story about the transformative power of love and kindness.

Adapted from a children’s book written by Diana Wynne Jones, “Howl’s Moving Castle” focuses on the story of Sophie (voiced by Emily Mortimer), a shy, plain-looking and serious teenager who works in a hat shop, and Howl (voiced by Christian Bale), a handsome but vain wizard whom she meets by chance when he literally sweeps her off her feet to protect her from some malicious soldiers. Enraged by jealousy, the Wicked Witch of the Waste (voiced by Lauren Bacall) promptly curses Sophie, turning her into a 90-year old woman. In an effort to break her curse, Sophie embarks on a journey that brings her to Howl’s mysterious moving castle where she befriends the wizard’s young apprentice and a tough little fire demon. As she experiences life through an older woman’s eyes, she not only matures and learns something about herself but helps transform all the castle’s inhabitants, who are “cursed” by their own personal demons.

As imagined by director Hayao Miyazaki, the fantasy worlds of “Howl’s Moving Castle” are visually stunning and not like anything seen before. Miyazaki creates gorgeous and richly detailed images of bustling towns, vast mountains and flowery fields, reminiscent of early 20th century Europe. But the piece-de-resistance is Howl’s castle – a smoke belching contraption that looks as if its components were foraged from a junkyard and which moves about on chicken feet. It’s just awe-inspiring.

The narrative is complex and frequently goes off on tangents, into and out of various worlds and across time and space. Yet the journey is always interesting as the characters are multi-layered and we come to care about them. The English voice cast is excellent all-around, particularly Christian Bale who imbues Howl with a sexy bad-boy vibe.

Miyazaki weaves together a number of messages which should resonate with children and adults alike. One is that old age can be liberating. We see this quite vividly as Sophie develops from a shy, mousy girl into a confident and loving woman. Another is that embracing others with compassion and kindness can help them to tackle personal demons, resulting in positive change.

Review: "Still Life" (2006)

“Still Life”, directed by Zhang Jia Ke, is a detailed and contemplative slice-of-life drama that shines a spotlight on contemporary working-class China. Set during the construction of the Three Gorges Dam, Zhang weaves together two distinct stories of outsiders coming to the village of Fengjie to search for lost spouses.

In the first narrative, a middle-aged coalminer arrives from Shanxi Province to reunite with his ex-wife whom he hasn’t seen for sixteen years. Upon learning that she has moved to another town to work and only sporadically visits Fengjie, he decides to stay on indefinitely to work on a demolition project while awaiting her return. The second story focuses on a young nurse who is trying to track down her missing husband who abandoned the family two years ago. She is helped in her quest by her husband’s friend, a local archaeologist. Through the time they spend in Fengjie, both characters come to understand the impact the dam project has had on the local people and how it has influenced their own lives.

As the human drama unfolds, “Still Life” also explores the story of the construction of the Three Gorges Dam which looms as an important character in itself, shaping everyone’s lives. The dam can be viewed as a metaphor for dislocation and the cycle of destruction and renewal. We see the impact on the local inhabitants who have no choice but to adapt as old buildings and entire villages are demolished and established ways of life are lost. This theme of destruction/reconstruction is also mirrored in the stories of the two main characters.

The documentary visual style of “Still Life”, with its detailed attention to people and places, heightens its emotional impact. We realize that what’s been captured on film is a historic transition, an archival record of the human cost of China’s rapid fire modernization.

Review: "Ashes of Time Redux" (2008)

“Ashes of Time Redux” is Wong Kar Wai’s venture into the martial arts genre. However, energetic action and narrative clarity take a backseat to the visual poetry that contemplates wounded hearts, loneliness and the memories of lost love that cut deeper than any sword. Best appreciated as a sensory experience, “Ashes of Time Redux” unfolds as a series of beautiful yet melancholic images like the soft brush strokes of a Chinese landscape painting. Even the swordfights are shot as swirling, hallucinatory dreamscapes. The haunting desert landscape gorgeously captured in saturated colors by cinematographer Christopher Doyle, a brooding cello score by Yo-Yo Ma and the beauty of the actors (an all-star Hong Kong cast) contribute to a movie experience that both pleases the senses and engages the heart.

Review: "A Touch of Zen" (1969)

“A Touch of Zen”, directed by King Hu, is a masterful and thoughtful martial arts film that seamlessly connects a ghost story, a political thriller and a mystical battle between a Buddhist monk and his earthly foe. Based on a story by Pu Song Ling, “A Touch of Zen” focuses on the plight of Yang Hui Ching, the daughter of a Ming Dynasty official murdered for attempting to warn the Emperor of a corrupt Eunuch within his ranks. Pursued by the Eunuch’s agents, she relies on her kung fu skills and the help of a Buddhist monk, a scholar and a couple of her father’s loyal aides to escape.

What elevates this movie beyond the standard kung fu flick is the graceful execution of the “flying swordsmen” fight scenes and the exploration of the philosophical underpinnings of “wu xia”, the honor code by which a man or woman uses martial arts skills for the general good rather than personal goals. This code is embodied most thoroughly by the Buddhist monk who also possesses the best martial arts skills. The showdown between the monk and the evil commander of the Eunuch’s army is not only stunning action but a reflection of Buddhist virtues.

Kudos must be given to the gorgeous cinematography and settings as they contribute immensely to establishing the dark, haunting tone which enhances the sense of fantasy and horror. Also noteworthy is the editing (in lieu of digital effects): jump cuts are used during some of the fight scenes to increase suspense.