Review: "Mother" (2009)

“Mother” combines family drama, murder mystery, horror and dark comedy into a suspenseful and intelligent thriller. The premise is deceptively simple: how far will a mother go to protect her child and prove him innocent of a crime?

In the hands of the talented Korean director, Bong Joon-ho, the mother is a lonely and overly-protective woman whose life is devoted to caring for her mentally disabled twenty-something son, Do-Joon. One day a young girl from the neighborhood is found brutally murdered and, based on flimsy circumstantial evidence, Do-Joon is hastily charged with the crime. Faced with a lackadaisical police system and a lazy lawyer, the mother has no recourse but to investigate the crime herself and will stop at nothing to prove her son’s innocence.

As with his previous work, Bong Joon-ho weaves together an exciting, off-kilter psychological thriller filled with mysterious characters, surprising twists and turns, stellar performances and underlying social commentary (in this case, a critique of the criminal justice system). Especially noteworthy is Kim Hye-ja’s performance as the mother: she adeptly embodies a mother’s loving and protective aspects while expressing a subtle undercurrent of hysteria that drives her obsession to free her son. Bin Won, apparently cast against type as he’s considered the “hot guy” in Korea, also gives a moving performance as Do-Joon: a gentle, innocent and moody man-boy who remains an enigma. Kudos must also be given to the cinematography: the use of distorted angles and a muted blue/gray color palette effectively communicate the film’s dark and disturbing tone.

Review: "The Buddhist Fist" (1980)

“The Buddhist Fist” is an entertaining mix of stunning kung fu fighting and wacky comedy that is rooted in a solid story involving murder, intrigue and a heist.

Shang and Si-Ming are two orphans who grow up together in a small Chinese village. Raised by Shaolin monks and trained in the art of kung fu, Shang is destined for life as a barber in a nearby city while Si-Ming is inducted into the temple as a Buddhist monk. After a customer, unhappy that his mustache was mistakenly cut off, triggers a barbershop brawl, Shang is fired and returns to his childhood village where he learns that his godfather has disappeared and a masked villain who tried to steal the temple’s Jade Buddha is on the loose. While searching for his godfather, he finds himself the target of a series of increasingly bold assassination attempts and becomes caught up in untangling a complicated web of crime.

The highlight of “The Buddhist Fist” is definitely the stunning kung fu fight scenes, which combine astonishing creativity and graceful athleticism. One of the trademarks of a Yuen Woo Ping flick is the way he inserts everyday objects as either weapons or things to be protected. In addition to the “usual suspects” of bamboo pole, sword and chain we are treated to fights involving a pair of chopsticks, a teacup, a checkerboard, fortune telling sticks, a birdcage and a jade Buddha statue to name but a few.

What’s also amazing is how each of the fight scenes fits sensibly into the plot, without resorting to silly justifications for each encounter. And the pacing of the action is well-done: the energy escalates with each fight and culminates in a frenetic finale where the true power of the titular Buddhist fist is revealed.

While some of the comedy is a bit cheesy, there are a couple of fight scenes that are quite funny. Not to be missed is the “Last Supper” fight featuring the Holy Ghost claw technique. Who knew that zombie kung fu could be such fun??!!

Review: "Departures" (2008)

“Departures” is a magical film, filled with gorgeous imagery and realistic and likeable characters, which sensitively chronicles the journey of unemployed cellist Daigo as he returns with his wife to his hometown in northern Japan and embarks upon a new career as a mortician.

While the notion of a film about an undertaker may seem off-putting at first glance, director Yojiro Takita focuses on the unsentimental and reverent “encoffinment” ceremony (known in Japanese as Nokanshi) as a means of celebrating the preciousness of human life. He is helped by a well-crafted script that avoids melodrama and balances both the farcical and tender moments encountered during this rite of passage. When we first encounter Daigo at his new job he is terrified and disgusted by the corpses. Through a rigorous, Zen-like training similar to that of the Japanese tea ceremony, he finally comes to understand the depth of emotion and catharsis that the ritual arouses in the families of the deceased. Along the way, he achieves his own redemption as he confronts and reconciles personal demons from the past and regains the respect of his wife and friends.

Mr. Takata has a masterful eye for visual details that flesh out the main characters and a talent for drawing out fine performances from all his actors. Cinematography is exceptional and the cello score composed by Joe Hisaishi complements the melancholy tone.

While there are distinct Buddhist thematic undertones, “Departures” is a universal tale that, through examining the rituals associated with this final rite of passage, reminds us to honor life in the here and now.

Review: "Thirst" (2009)

With “Thirst”, Korean director Park Chan-wook crafts a visually stylish twist on the vampire myth that succeeds both as a classic bloodstained horror movie and as a psychological drama that explores the dark depths of human nature.

Taking as its inspirational source the novel “Therese Raquin” by French author Emile Zola, “Thirst” focuses on the story of a good Catholic priest who, while volunteering for a dangerous medical experiment to treat a deadly disease, is accidentally transformed into a vampire. A reluctant vampire, he slurps blood from the IV tubes of comatose hospital patients rather than kill innocent people. Unfortunately for him, his bloodlust also manifests as an unquenchable “thirst” for the beautiful wife of his childhood friend. And so begins a time-tested tale of suffering, death and redemption.

Aside from a compelling story which is refreshed by being transported to modern day Korea, “Thirst” excels at conveying the intense feelings associated with desire and how they lead to complete destruction. Cinematography, set design and music work together to evoke a sense of claustrophobia and desperation.

The performances of the lead actors are also top-notch. Song Kang-ho captures the sense of forlornness appropriate for a priest turned vampire. But it is Kim Ok-bin who shines in the "Therese Raquin" role, transforming her character from innocence to sensuality and culminating in demonic rage.

Review: "The 36th Chamber of Shaolin" (1978)

For martial arts movie enthusiasts, “The 36^th Chamber of Shaolin” is one of the best. Gordon Liu plays San De, a university student rebelling against Manchu rule during the early Ching Dynasty. When his family, teacher and fellow students are massacred, he escapes and makes his way to the Shaolin Temple. Determined to learn kung fu in order to seek revenge against the Manchu oppressors, he submits to the rigorous training of the Shaolin monks.

One of the film's highlights is watching San De progress through the 36 chambers. The training sequences are impressive, combining solid action with a bit of whimsy as San De discovers that mastering the various fighting techniques and weapons is not as easy as he initially thought.

What raises “The 36^th Chamber of Shaolin” above the typical martial-arts revenge flick is its depiction of the spiritual essence of kung fu. We come to admire San De not because he becomes a master fighter but because, by developing his inner discipline, he becomes a better and more enlightened person.

Review: "Cowboy Bebop: The Movie" (2001)

Based on the popular animated TV series, “Cowboy Bebop: The Movie” is a stylish and fast-paced crime thriller filled with adventure, intriguing characters and fabulous music.

Directed by Shinichiro Watanabe in gritty, film-noir style, “Cowboy Bebop” follows the adventures of Spike Spiegel, a lackadaisical Bruce Lee type bounty hunter living on a futuristic and multi-ethnic Mars, and his band of bounty hunting comrades as they pursue a terrorist intent on unleashing a deadly virus that would destroy the planet. Living on the spaceship Bebop, Spike’s crew is an interesting cast of characters: renaissance-man Jet Black is a hardworking and gruff ex-cop; headstrong and sexy Faye Valentine is addicted to gambling and a fighter pilot extraordinaire; free-spirited and eccentric Edward (a girl) is a genius computer hacker with boundless energy; and “data dog” Ein, an exceptionally intelligent Welsh Corgi adept at playing chess amongst other super-dog talents.

“Cowboy Bebop” is a fun ride and the best parts are the amazing fight sequences, on par with any good live-action film. From the opening fight in a grocery store to the showdown on the bridge with the villain, the pacing is suspenseful and the choreography is creative. The scene where Spike, disguised as an office cleaning man, first confronts Electra, a special detective also on the trail of the terrorist, using buckets, mops and brooms is especially impressive.

The production design is also noteworthy as it beautifully captures the look and feel of a multicultural world. The design of the Arab sector is particularly intriguing. Finally, kudos must go to the eclectic music, created by Yoko Kanno, which blends a variety of jazz, classical, blues and rock tunes that underscore the multicultural setting.

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.