Rising pop singer Li Yuchun, who made her film debut in the new action thriller “Bodyguards and Assassins”, has been chosen to sing the movie’s theme song, “Fen Mo” (”Dust”).

Shu Qi has turned down a role in Chinese star Zhang Ziyi’s English movie “Snow Flower and the Secret Fan”.

New stills of Zhao Wei in Mulan released. A Nov.27 release is scheduled (HunanTV)

HD (Sina)

Kitty Zhang Yuqi - Jump

Zhang Yuqi stars in Stephen Fung’s story about a simple rural girl in the big city who loves to dance. The original story comes from Stephen Chow. (HunanTV) (Sina)

Nick Cheung is hoping to win a Golden Horse for Best Actor (Beast Stalker) (Sina)

Variety: Overheard

Quality casting down the line and a script that manages some characterization between its twists and turns make for an entertaining package that’s flawed only by a lack of sustained tension in the direction.

Variety: The Robbers

A pair of amoral thieves end up defending a tiny village they initially came to pilfer in “The Robbers,” a rambunctious black comedy in period duds that plays like a Chinese riff on “Seven Samurai.”

CRI: China Expects Most Crowded Spring Festival Film Season

“We will have a headache in February because the Valentine’s Day coincides with the Spring Festival (lunar new year) holiday,” He said. “There are too many films to manage.”

Cecilia Cheung previously suffered two miscarriages

Taiwan’s sexiest woman

Model-turned-actress Lin Chi-ling says reputation takes “a lot of maintenance”.

Fan Bingbing

(cri.cn)

Fan Bingbing magazine spread in HD (Sina)

Zhang Jingchu Beijing jewelry brand appearance in HD (Sina)

Zhang Jingchu GQ

(ChinaDaily)

CRI: Michelle Yeoh’s New Role

“Crouching Tiger, Hidden Dragon” actress Michelle Yeoh raises awareness on road safety.

(Mandarin dialogue) A Tempo Films Investment Co., Stellar Mega Films Co., Shanghai Film Group, Infotainment China Media, Beijing Back Light Pictures Co. (International sales: Infotainment, Beijing.) Produced by Wang Tianyun, Yuan Xin. Executive producers, Han Xiaoxi, Qin Hong, Ren Zhonglun, Cindy Lin, Amber Wang. Co-producers, Tao Zi, Hu Jun. Directed, written by Yang Shupeng.

With: Hu Jun, Jiang Wu, Wang Xiao, Li Li-chun, Yu Xiaolei, Yin Lu, Yin Jian, Li Sa, Yang Shupeng.

By DEREK ELLEY
A pair of amoral thieves end up defending a tiny village they initially came to pilfer in “The Robbers,” a rambunctious black comedy in period duds that plays like a Chinese riff on “Seven Samurai.” More ironic than knockabout in its humor, and packing an earthy punch in its action sequences, this is an intelligent crowdpleaser with some limited commercial potential beyond East Asia, especially if platformed at Western fests.

In his second feature, self-trained filmmaker Yang Shupeng (aka Leon Yang) delivers on the promise shown in his 2007 WWII drama, “The Cold Flame,” especially in his handling of actors and mood. Yang’s offhandedly witty script — whose flavor was not fully reflected in the subtitles on the print caught — is brought vividly to life by leads Hu Jun and Jiang Wu, whose screen chemistry holds the movie together.

Setting is a remote area in central China during the supposedly highly cultured Tang dynasty — referred to in the film’s ironic Chinese title (”My Tang Dynasty Brothers”) and in a witty, straight-faced cameo by helmer Yang himself as a fraudulent wandering poet. (Latter sequence requires careful resubtitling to bring out the humor for general auds.)

When itinerant ruffians Xue Shisun (Hu, dressed like a Japanese ronin) and tubby Chen Liu (Jiang) arrive in Kuzhulin Village, they initially pose as thirsty hunters. But after getting a drink from villager Ma Qi (Li Sa), Xue announces he’s actually a robber and demands Ma’s money. Meanwhile, Chen starts cozying up to Ma’s daughter, Luo Niang (Wang Xiao), who’s engaged to a local.

From then on, the pic becomes a rondo of capture and escape as Xue and Chen are arrested by the village head, talk their way out of things, are arrested again by soldiers who’ve been hunting them for several years, and are then helped to escape by the village’s beautiful (but deadly) female butcher, Ying Ge (striking TV thesp Yu Xiaolei, in her first major film role).

As the to-and-fro continues, a leery bond starts to form between the two amoral reprobates and the dumb-but-not-so-dumb yokels, with the former helping the latter against the corrupt soldiery. Following a cataclysmic finale, the unexpected coda is actually quite moving.

As the two robbers who seem to have no moral compass at all, Hu and Jiang manage to switch from character comedy to serious combat with deceptive ease. Hu, too often cast in woodenly serious roles, looks especially relaxed here, and chimes well with Yu in their disappointingly few “romantic” scenes. Actors playing the villagers are excellent, never tipping into pratfall comedy.

Clever editing manages to pack a lot into the tight running time without any feeling of haste, and an excellent score (part orchestral, part Beijing Opera-like) binds the film’s several moods together. Shooting in an actual (redressed) village in Zhejiang province, helmer Yang gets the most out of the landscape in a down-and-dirty way, as well as plenty of physical oomph in the battles with the soldiery.

Camera (color), Zhou Shuhao; editor, Fang Lei; music, Lu Jiajia, Hou Dudu; art director, Du Changshun; costume designer, Zhang Yuedong; sound (Dolby Digital), Liu Yang; sound designer, An Wei; action director, Wang Jianjun; assistant directors, Wang Xu, Zhou Yingying. Reviewed at Pusan Film Festival (Midnight Passion), Oct. 14, 2009. Running time: 91 MIN.

http://www.variety.com/review/VE1117941632.html?categoryid=31&cs=1

(Cantonese dialogue) An Edko Films (in Hong Kong)/Beijing Polybona Film Distribution Co. (in China) release of a Sil-Metropole Organization (Hong Kong)/Bona Entertainment Co., Shanghai EE-Media Co., Xi’an Qujiang Film & TV Investment Group (China)/Neo Studios (Singapore) presentation of a Pop Movies, Film Unlimited production. (International sales: Distribution Workshop, H.K.) Produced by Derek Yee, Henry Fong. Executive producers, Song Dai, Yu Dong, Zhang Yong, Wang Jianjun, Jack Neo. Executive in charge of production, Huang Bin. Directed, written by Alan Mak, Felix Chong.

With: Lau Ching-wan, Louis Koo, Daniel Wu, Zhang Jingchu, Alex Fong, Michael Wong, Lam Kar-wah, Waise Lee, William Chan, Stephen Au, Sharon Luk, Queenie Chu, Henry Fong, Lok Ying-kwan, Yeung Ling, Matt Chow, Yuen Fu-wan, Geoff Wong.

By DEREK ELLEY
After last year’s wishy-washy “Lady Cop and Papa Crook,” Hong Kong writing-helming duo Alan Mak and Felix Chong — two of the key creatives behind “Infernal Affairs” — power back with the bent-cops crimer “Overheard.” Quality casting down the line and a script that manages some characterization between its twists and turns make for an entertaining package that’s flawed only by a lack of sustained tension in the direction. Summer release did well in both Hong Kong and China, though in Western markets it’s largely an ancillary item.

First seen clandestinely bugging the offices of Fung Wah share-trading company, Leung (Lau Ching-wan), Yeung (Louis Koo) and Lam (Daniel Wu) are members of the Commercial Crime Bureau, currently involved in a big surveillance op monitoring suspected price fixing.

Screenplay rapidly sketches the friendships, tensions and family backgrounds within the surveillance team, housed in a chaotic temporary office, full of tech equipment and clothing, that’s staffed in shifts around the clock. All the main characters are flawed in some way: Lam is about to marry the daughter of a rich guy (actor-producer Henry Fong), with whom he’s not too comfortable, and Yeung has a young son with cancer, putting a strain on his marriage.

Of the three, Leung has seniority, and he’s the only one able to get on with their irascible boss, old pal Lee Kwong (Alex Fong). But unbeknownst to Lee, Leung is seeing his estranged wife, Yam (mainland Chinese thesp Zhang Jingchu), adding a layer of guilt beneath his seemingly easygoing exterior.

When, one night, Lam and Yeung overhear Fung Wah slimeball exec Lo (Waise Lee) giving a shares tip to his secretary (Queenie Chu), they wipe the evidence from the records and decide to make a quick killing themselves. Leung subsequently gets involved, against his better judgment, and the whole affair turns very deadly when China’s Securities Commission investigates the team, and corrupt tycoon Ma (Michael Wong, hammy) wants their heads on a platter.

Pic is strongest during its first act, as the characters swim into focus, eavesdropping for fun on workmates (William Chan, Sharon Luk) with their surveillance equipment, and prove almost as mistrustful of each other as they are of their quarry. Second act, which only makes sense in such a money-obsessed environment as Hong Kong, is less atmospheric, and the finale, though entertaining, is the least original part, relying on pure Hong Kong action devices.

Lau, as the grizzled heart of the movie, impressively shades in his character, but it’s Koo, who’s started to broaden his roles beyond tanned beefcake, who’s the biggest surprise. Tech contributions are pro, without being either glossy or grungy.

Camera (color, Panavision widescreen), Anthony Pun; editors, Kong Chi-leung, Chan Chi-wai; music, Chan Kwong-wing; art director, Man Lim-chung; sound designers (Dolby Digital), Nip Kei-wing, Phyllis Cheng; visual effects supervisors, Lim Hung-fung, Yee Kwok-leung, Lai Man-chun; assistant director, Lanbo [cq] Cheuk. Reviewed on DVD, London, Nov. 6, 2009. (In Hawaii Film Festival — Hong Kong Cinema.) Running time: 101 MIN.
http://www.variety.com/review/VE1117941633.html?categoryid=31&cs=1

CRI: Classic Fantasy Film Storms back with Dazzling CG Effects

The sequel to 1998 fantasy/kung fu film ‘The Storm Warriors’ will hit cinemas across Asia on December 10.

Director Zhang Yimou will begin shooting a heart-wrenching romance set in China in the 1970s.

The demure 23-year-old actress revealed her tendencies to quarrel with Stephen during filming due to their differences in personality. Despite that, she expressed her utmost respect for the latter and shared that she is filled with awe and admiration for him.

Charlene Choi attending a Christmas lighting ceremony at Times Square (Xinhua)

Gillian Chung

Gillian Chung celebrates 15th anniversary of Toughjeans brand

(Xinhua)

CRI: First Timer Li Yuchun Fights like A Kung Fu Panda

Singer-turned-actress Li Yuchun believes her role in “Bodyguards and Assassins” corresponds to Po.

Nic Tse

Kwai Lun-Mei

(12) (HunanTV)

To Live and Die in Mongkok - Nick Cheung and Monica Mok

Nick Cheung’s hot scene with Monica Mok. Film opens Thursday in Hong Kong. (HunanTV)

CRI: Jackie Chan Reunites with ‘Little Fortunes’

THR: Chan marks Peking Opera school anniversary

Chan, Hung, Yuen celebrate half-century of institute

CRI: Fan Bingbing Promotes “The Last Night of Madame Chin”

CRI: Jiang Wen Reveals Details about New Film

Actor turned director Jiang Wen’s upcoming film Let the Bullets Fly is still in production, but Jiang and his cast discussed the film recently with reporters in Beijing.

Vivian Chow

Donnie Yen

Zhao Wei

Wu Zun

Qi Yuwu

Kate Tsui

New posters released at a recent Hong Kong press conference.

(cri.cn)

(cri.cn)

CRI: Huang Yi as Jet Fighter Maintainer

Actress Huang Yi plays a captain-ranking jet maintainer in the upcoming Chinese film “Jian Shi Chu Ji” (literally “J-10’s Sortie”), which focuses on pilots of China’s homemade J-10 fighter jet. The film is slated to open in theaters later this month. (Related article)

Stool Pigeon - Kwai Lun Mei

Nic Tse

Filming Stool Pigeon in the streets of Tsimshatsui

(Sina)

With: Zhang Weiye, Qi Huaying, Fang Xiaojuan.
(Mandarin dialogue)

By JUSTIN CHANG
A sometimes plodding but cumulatively impactful examination of human-rights abuses in China, “Petition” lobbies on behalf of those who have lobbied in vain. Debuting documaker Zhao Liang spent more than 10 years following several self-described “petitioners,” whose tireless efforts to seek justice from their government have caused them no end of grief and ostracism. While this French-Chinese co-production could benefit from a tighter trim, its journalistic acuity, emotional force and unimpeachable agenda should rally socially oriented fests and cablers seeking worthy, relevant fare. Pic also merits widespread Chinese distribution through underground channels.

An unblinking record of human suffering, the film (whose French title means “Petition: The Court of the Complainants”) essentially grants its subjects the open forum and attentive ear denied them by authorities. Like his countryman Jia Zhangke, Zhao is casting an intensely critical eye on his country in the wake of rapid industrial change and an uneasy suspension between communism and democracy, but Zhao’s methods are more straightforward than Jia’s and his anger more palpable.

Since 1996, Zhao has filmed petitioners living in squalid, makeshift homes near Beijing’s Southern Railway Station; every day, they attempt to lodge complaints at the nearby petition office, where they are met with indifference, rejection and, if necessary, physical force to remove them from the premises. Since filming is forbidden in the petition office, Zhao used hidden cameras, and his secret footage of the treatment to which petitioners are often subjected is particularly galvanizing.

Complainants include farmers thrown out of their villages by authorities in cahoots with the local mafia, and homeowners who received no compensation for the government-ordered demolition of their houses. Many have come to Beijing from all over China and endured countless abuses — imprisonment, institutionalization, beatings — for their determination to speak out in protest.

The first half of the 129-minute docu reps a numbing catalog of grievances and, while it can make for repetitive viewing, it also speaks to Zhao’s point about the incalculable toll on ordinary citizens due to systemic corruption and denial of responsibility.

Despite “Petition’s” focus on the realities of its subjects’ daily lives, few vivid personalities emerge until the second half, when the film finds its key thread: Qi Huaying, who since 1987 has sought justice on behalf of her late husband, and her daughter, Fang Xiaojuan. The patience and longevity of Zhao’s years-in-the-making approach pays off enormously here, as he follows these two very different but equally courageous women to a devastating emotional confrontation.

Rather less successfully, the film contains at least two scenes that feel unnecessarily exploitative in their attempts to crank up the drama, one of them involving a petitioner trying to flee on train tracks from government henchmen. Elsewhere, the pic allows its subjects to argue for democracy in China and express their rather remarkable pride in their country — which, as Zhao demonstrates via footage of the 2008 Olympic Games in Beijing, seems to care more about a grandstanding display of nationalistic showmanship than about its displaced citizenry.

Tech credits are pro for this low-budget guerrilla effort. Zhao’s voice is often heard phrasing questions during interviews, while occasional intertitles serve to streamline information and provide context.

Camera (color, DV-to-35mm), Zhao; editors, Zhao, Shun Zi, Bruno Barwise; sound, Zhao. Reviewed at Cannes Film Festival (Special Screenings), May 22, 2009. Running time: 129 MIN.
http://www.variety.com/review/VE1117940368.html?categoryid=31&cs=1