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.

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.