Donnie Yen really has become the Jean-Claude Van Damme of Hong Kong cinema
By the time "Ballistic Kiss" rolled around--a movie that starred Donnie and of which he was also the producer, director, lead action director and star--he was a self-parody. The scene in which he all but hypnotized a roomful of thugs, gunmen, drug dealers and pimps by (I think) pretending to conduct a symphony orchestra and then shoot all of them was cleary an instance of Donnie saying to the audience, "Look at me--I am the smartest guy in the room be far."
I think he needs someone in the director's chair to keep in under control.
ewaffle wrote:Terror Taxi, 2000, South Korea. While on his way to pick up his girlfriend a taxi driver is in a fatal accident--fatal to him. He doesn't really recover from the accident but realizes that he is still driving the cab, except now he is a ghost. He finds the regular hang-outs for the other ghost cabbies--there are quite a few of them--and tries to figure out which of them killed him.
ewaffle wrote:They are indeed the same.
It was Dennis Law Sau-Yiu's third directed film, but I have not seen the previous two. He has directed a film this year called Fatal Move that has had mixed reviews.
Brian Thibodeau wrote:It was Dennis Law Sau-Yiu's third directed film, but I have not seen the previous two. He has directed a film this year called Fatal Move that has had mixed reviews.
Law's LOVE @ FIRST NOTE is a must-see, if only to marvel at the "packaging" of it all. Not a first in HK cinema, I know, but definitely near the apex of the craft, even if it's not a great film overall. THE UNUSUAL YOUTH is probably the better of the two, though both are worth seeing in my view.
Masterofoneinchpunch wrote:Thanks for the information (always appreciate that). I noticed that LOVE @ FIRST NOTE seems to be OOP while THE UNUSUAL YOUTH has a R1 copy available on HKFLIX.com. Does this seem right? I will put a feed on ebay if so for LOVE @ FIRST NOTE.
Also Brian, did you get a chance to see any of the three I watched this past several days?
Brian Thibodeau wrote:...
I just checked at DDDhouse and they're still selling LOVE @ FIRST NOTE, except they've got it filed as I LOVE FIRST NOTE for some strange reason. I'm guessing it's still in print, and quite cheap, too, though you'd have to import.
http://www.dddhouse.com/v3/product_deta ... uctID=6125
They also still sell UNUSUAL YOUTH. which makes me question the "out-of-print" designations HKFlix assigns to a lot of stuff . . .
...
I'm plowing through a lot of long-accumulating non-HK stuff right now so I can properly get back to the joy of watching primarily Hong Kong movies! Gettin' antsy, actually. Can't earn my keep around here lately!
...
ewaffle wrote:"The Machine Girl"
The web is awash with reviews/commentary/profundities on this movie so I will refrain from saying anything else other than--it has some very funny lines including "Honey, are you finished with that machine gun?" in the exact tone of voice that a wife would ask a husband "Did you take out the garbabe?"
Plus several others.
I've been skeptical of all the praise, though, as I tend to be with films that get free passes over here simply because they're wild and crazy and foreign and aware of their own schlockiness.
Chungking_Cash wrote:Amen. I saw "Versus" for the first time last month and had to watch it in 30 minute segments because my attention span kept waning.
Brian Thibodeau wrote:Chungking_Cash wrote:Amen. I saw "Versus" for the first time last month and had to watch it in 30 minute segments because my attention span kept waning.
I remember thinking how fun that movie was when I first started watching it at a festival screening before its release, but as it went on, and on, and on, I started to get a little irritated. I'm pretty sure it ran over two hours at that point (don't know if that was a director's cut, a preview cut or what have you), which I just felt was too long for such a knowingly cultish film that very nearly wouldn't exist were it not for its cult film antecedents. Overall, though, I liked it for what it was, but were I to write a review, I still would have docked a few points for length, at the very least. I don't mind filmmakers wearing their influences on their sleeves, especially if it's obvious they know their way around a camera, but like that UCLA press article mentions, the "cool" and "different" factor clouds serious discourse sometimes, even though the films under discussion often have much to recommend them ...
At the Toronto festival, the programmer (a member here) read aloud an email from the Great One to the audience before the screening of FLASH POINT and it became instantly clear whose movie this was. Yip, as Mike has noted, almost functions as a journeyman on these pictures�and a very talented one at that, as far as I'm concerned, but still working beneath his true abilities. But these are really little more than Yen putting his "mission statement" about martial arts on film, as he plainly stated in the email. And making back the investment in the process: with mixed martial arts (you know, this cage match-type stuff where grown men essentially pound the s**t out of each other under the guise of martial artistry) being so confoundingly popular right now, along with video games that have taken concepts of fighting to even more ridiculous, body-straining levels than any filmmaker ever could, Yen's got a perfect window in which to make these movies and cater directly to that audience. And if the product may alienate some of us true HK cinema fans, I'm betting he doesn't mind, as the MMA crowd will more than make up the difference. Personally, though, I hate the real-life stuff, but I did enjoy what Yen does with it in the film.
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