#IpManKungFuMaster

[weekendwarriorblog]

The Weekend Warrior 12/11/20 - MINARI, THE MIDNIGHT SKY, LET THEM ALL TALK, WILD MOUNTAIN THYME, PARALLEL, WANDER DARKLY and More!

Honestly, I almost didn’t write a column this week for reasons I’ll probably be ranting about for a few more months, but the long and short of it is that I’ve now been writing movie reviews for 19 years, as well as writing a weekly column through most of that time, and I’m kind of sick of working my ass off, usually for very little money, and just not getting anything out of it.

This mainly came as I crossed 200 reviews for the year a few weeks back. As I was preparing to write this week’s column, Rotten Tomatoes, where most of my reviews have been available as FREE content for the past 17 years, decided to upgrade a number of critics to be “Top Critics”… but not yours truly. I have a lot more to say about this but don’t want to waste any more of my time or anger right now. I will be wrapping this column up and taking some time off for a month in January and deciding whether I want to keep wasting my time every week for no money and little feedback. It really just isn’t worth it anymore.

Fortunately, I saw a few good movies this week, and more than a few bad, so let’s start with one of the good ones, shall we?

This week’s “Featured Flick” is Lee Isaac Chung’s MINARI (A24), which like Nomadland last week will get some sort of virtual cinema release in New York and L.A., presumably that can be seen across the country. It will then get its official release on February 12, 2021.

The movie stars Steven Yeun from The Walking Dead as Jacob, a Korean father who brings his family to an Arkansas house in the middle of nowhere in the ‘80s, hoping to start a farm. His wife Monica (Yeri Han) is not happy with this decision but their kids Anne (Noel Cho) and David (Alan S. Kim) try to adjust to the new life. Things aren’t going well but then Monica’s mother Soonja (Yuh-jung Youn) shows up, that just adds more pressure on Jacob, and the kids, especially David, who hates the quirky older woman who acts nothing like a grandmother.

I’d been hearing about Minari going all the way back to its debut at Sundance, and though I remained skeptical, I finally saw it a few months ago an again over the weekend, and it’s one of my favorite films of the year, probably Top 5. To me, it’s somewhat in the vein of The Farewell, my number 1 movie of 2019, vs. the Oscar Best Picture winner, Parasite. It’s a very personal story for Chung who based some of the experiences on his own childhood, which once again proves the adage that if you’re going to write a movie, make it personal since that’s the most likely to connect with others. (Not always true, but it was great advice when I was given it.)

It takes a little time to understand why Minari is so beloved, since Chung takes an interesting approach where we see various scenes that don’t necessarily seem to tie into some sort of plot. Characters like Will Patton’s ultra-religious zealot who seems to be a bit lost when Jacob takes him on to help with his farm. Otherwise, we see various character interactions as things get tenser and tenser between Jacob and Monica, who are fighting all the time. Although the drama does get intense at times, there’s a lot of joyful and fun moments, particularly those involving the wacky grandmother and her dysfunctional relationship with her grandson. I also enjoyed the relationship between the two kids where Anne is always protective of her younger brother, who has some sort of heart illness. 

It's a beautiful movie with an equally gorgeous score, but it’s really in the last 20 minutes or so when we start to see where Chung has been going with all these seemingly disparate elements, which builds up to a wonderful ending. Yeun is terrific, and the fact he reminded me of my own father -- we’re neither Korean nor have I ever been to Arkansas -- shows why his subdued performance is so effective. Overall, the film proves that however many awful things life might throw at you, your family can always fix things. I love that message, and I hope others will find and love this as well.

After its one week in virtual cinema, Minari will get an expanded theatrical release starting February 12… hopefully, New York City theaters will be open by then and I can see it in a theater.

Film at Lincoln Center in New York also is starting its 49th annual “New Directors/New Films” series, which was delayed from March, although being virtual, the movies in it can also be viewed nationwide for the first time. I feel like a lot of movies that were scheduled to play ND/NF ended up being released already but there should be some interesting things in there.

George Clooney’s latest film THE MIDNIGHT SKY is based on Lily Brooks-Dalton’s novel Good Morning, Midnight, in which he plays Augustine, a scientist dying on his own at the Barbeau Observatory in the Arctic, who has to warn a group of astronauts returning to earth that it’s no longer safe for them to return.

Clooney has made a lot of good and great movies over the years, so that I’m one of those people anxiously ≠waiting for him to make something great again after the disappointment of Suburbicon. Midnight Sky is definitely one step forward and a few steps back, as it’s impossible not to think of previous Clooney movies like Solaris and Gravity, as well as The Martian and Passengers and Ad Astra. Yes, we somehow have gotten to the point where every year there’s some sort of space movie, and while Midnight Sky at its best is better than Solaris or Ad Astra (sorry, but I was not a fan), there’s enough that’s so quizzical and confounding I’m not sure people will be able to follow what’s going on.

Much of the first half of the movie involves Clooney’s Augustine alone at the Artic base interacting with a little girl (Caoillin Springall) who is completely silent. If it’s ever explained what the girl represents, I must have missed it. There are also flashbacks to Augustine’s earlier career as a scientist and explorer played by a somewhat only semi-impressive Clooney kinda look-alike in Ethan Peck.

The best moments of the movie involve the crew of astronauts on the spaceship Ether, including Felicity Jones and David Oyelowo, who are in a relationship, Demián Bichir, Kyle Chandler and Tiffany Boone, as they deal with various issues. This is really where comparisons to Gravity and The Martian are earned, but that’s such a mighty quintet of actors that these sections are far more interesting than sullen bearded Clooney with his young ward. The production design and visual FX in these portions of the film are also quite impressive.

The Midnight Sky throws a lot at the viewer but then tries too hard to be quizzical and enigmatic about how all of it ties together until the very end. I feel that some of Clooney’s more mainstream fans will be quite confounded and possibly even disappointed. The Midnight Sky is Clooney taking a swing and only partially connecting, and it might require multiple viewings to feel like it’s a worthy addition to his filmography.

Either way, The Midnight Sky will open theatrically in select cities this week and then be on Netflix on December 23, just in time for depressing everyone on Christmas!

Also hitting Netflix streaming this week is Ryan Murphy’s musical THE PROM, which I reviewed last week. It’s great, I loved it, and can’t wait to watch it again!

Next up is Clooney’s pal Steven Soderbergh, whose new movie LET THEM ALL TALK, will premiere on HBO Max this Thursday, December 10. It stars Meryl Streep as renowned writer Alice who is called to England to receive a prestigious literary award. Since she doesn’t fly, she’s booked on a cross-Atlantic trip on the Queen Mary II ship. Alice decides to bring her old friend Roberta (Candice Bergen)—whom hasn’t spoken to her in three decades--and Susan (Dianne Wiest) as well as her nephew Tyler (Lucas Hedges) to serve as her assistant so she can focus on her writing. Little does she know that her young agent Karen (Gemma Chan) is also on the ship hoping to find out what Alice is writing about with the help of Tyler, who is quite smitten with her.  

I’m not sure where to begin with one of week’s films that I probably had the highest expectations and ended up leaving me with the most utter disappointment. I wasn’t really that crazy about last year’s The Laundromat, and I’ve generally found Soderbergh’s work to be hit or miss over the last few years. I loved his thriller Unsanefor instance, and the Magic Mike movies were fun. This one, written by author Deborah Eisenberg, is just plain boring for most of it, offering nothing particularly interesting or insightful, as it’s basically another movie where Streep is playing a character who moans about how difficult her life is and how much better everyone else has it. I mean, if I wanted that shit, I’d spend more time on Twitter than I already do. And then there’s Hedges, one of my favorite young actors over the past few years, who seems to have fallen into a niche playing

In fact, my favorite aspect of the film was Gemma Chan, who plays a character with far more depth and dimension than normal, although much of her role is just to spy on Alice and fend of the subtle advances by the much younger Tyler. The two actors have some fun scenes together, far more lively than anything involving the older actresses, but you always know where it’s going. It’s kind of awkward and painful to watch Hedges bomb so hard. (At least he fared better playing a similar role in French Exit, but in that one, his love interest was Danielle Macdonald.)

The movie looks good with Soderbergh handling his own camera duties and cinematography as usual, and it’s scored with the same hipster jazz he might have used in one of his Ocean movies, but the movie just goes on and on and on, and it hs one of the most “what the fuck?” moments you’ll see this year.

If you can imagine one of The Trip movies without any of the laughs or the delicious food porn…but on a ship, that’s basically what you end up with. More than once while watching Soderbergh’s movie, I was ready to abandon ship.

And from pretty bad, we go to much, MUCH worse. Do you know what thyme it is? It’s WILD MOUNTAIN THYME!!!

John Patrick Shanley adapts his own play Outside Mullingar into a film that will be released in theaters and On Demand by Bleeker Street this Friday, and believe me, its biggest problems isn’t some of the awful Irish accents on display, but they certainly don’t help. Emily Blunt plays Rosemary and Jamie Dornan is Anthony, childhood friends who live down the street from each other in their Irish farming community. When they grow up, Rosemary’s father dies leaving her with a plot of land that forces Anthony and his father Tony (Christopher Walken) to have to use a gate to get to their home. Remember this gate, because it’s going to be mentioned so much over the course of the movie, you’ll wonder why the movie wasn’t called “Wild Mountain Gate.” (It’s actually named after a song that Blunt’s character sings for no apparent reason.)

First, you’ll have to get past the odd choice of the very non-Irish Walken in a key role as the dead narrator of the story with that aforementioned horrid accent. It won’t take long for you to start scratching your head how a noted playwright like Shanley could write such a horrible screenplay. Soon after, you’ll wonder how he convinced someone to finance making it into a movie. I’m normally a pretty big fan of Blunt, but this movie and role might be one of her biggest missteps as an actor to date. As a child, Rosemary was told by her father that she was the White Swan in Swan Lake, so of course that will lead to

It’s not long before Jon Hamm shows up as one of Anthony’s distant relatives who also has interest in Rosemary’s plot of land – nudge, nudge, wink, wink. Pretty soon we’re thrust into awkward love triangle rom-com that falls somewhere between Leap Year and The Holiday. Not exactly something you’d expect from the filmmaker behind the drama Doubt that produced multiple Oscar nominations for the cast, eh?

Instead, Shanley ends up trying to foist the… I don’t want to call it chemistry. What is the exact opposite of chemistry? Between Blunt and Dorman with one long boring conversation after another. At one point, they’re having a romantic chat about suicide, the next Anthony is telling Rosemary that he thinks he’s a honeybee. I mean, what the holy fuck?

Honestly, the whole thing is just grueling to watch, because you wonder how so much talent could falter so badly, particularly Shanley? Even the recent Shane MacGowan doc was a far more romantic take on Irish farming than this could ever possibly be.

One of the nicer surprises of the week is the sci-fi thriller PARALLEL (Vertical), which will be in theaters and On Demand this Friday, and it’s likely to be missed by a lot of people who would enjoy it. Directed by Isaac Ezban from a screenplay by Scott Blaszak, it follows four young people working in the tech sector of Seattle who discover a mirror in a hidden section of the house they’re renting that apparently allows them to experience other dimensions and other versions of their lives. Soon, they’re experimenting with different ways they can make money and achieve fame, although not all of them are cool about how they’re doing it.

Although Parallel opens like a home invasion thriller featuring the great Kathleen Quinlan, we soon learn that it’s a red herring before we meet the quartet of young entepreneurs working on a parking app with an almost impossible deadline. When they find the mirror that leads into an alternative dimension, they immediately start to experiment with figuring out what is happening exactly, and once they do, they realize they can make money by stealing from “alts” i.e. other versions of themselves. Soon, their success starts driving them insane with a desire for even more money and power.

Ezban’s movie benefits from a talented mostly unknown cast, including Martin Wallstrom and Mark O’Brien as boisterous alpha males. Georgia King’s artist Leena is far more than a love interest, although she does become an obsession for one of them eventually – and man, does she remind me of a young Reese Witherspoon. British actor Aml Ameen plays Devin, whose father committed suicide after being accused of corruption, and he’s also wary of some of the activities his friends get up to. There’s also the quartet’s main competitor Seth who gets suspicious of their success as they start producing all sorts of incredible technical inventions.

Parallel is a pretty twisted sci-fi movie that in some way reminded me of the ‘90s thriller Flatliners and even Primer a little bit, but the mirror aspect to it also will draw comparisons to Oculus, one of Mike Flanagan’s cool earlier movies. It doesn’t take long for the twists to start flying at the viewer, and once they do, your mind will be boggled and not necessarily in a bad way. I wouldn’t want to even begin sharing some of the crazy places where the film goes, but even gore fans won’t be disappointed by some of it.

It’s a real shame this terrific movie has floundered without distribution or deserved attention for so long, because there’s absolutely no question in my mind that Jason Blum should be talking to Ezban and Blaszk about doing something together. Parallel is the type of quality high-concept thriller Blumhouse thrives upon.

Another nice surprise this week was Ekwa Msangi’s FAREWELL AMOR (IFC Films), which debuted at Sundance earlier this year and barely got any attention, which is a real shame. It’s expanded from her earlier short, and it’s about an Angolan immigrant named Walter (Ntare Guma Mbaho Mwine), who is reunited with his wife Esther (Zainab Jah) and daughter Sylvia (Jayme Lawson) after 17 years. As they share a small New York apartment, Walter and Esther try to rekindle their romance while Sylvia tries to adjust to an American school.

Msangi’s film opens at Newark airport where the small family is reunited, Walter not having seen either wife or daughter in a decade and a half. He’s working as a cab driver, and he’s ready to rekindle the old flame and meet his daughter who was only a baby when he moved to the States. (Little does Esther know that Walter was in a relationship with another woman, a nurse who isn’t too happy about having to leave Walter’s life.)

One of the things Msangi does to keep things interesting is that she splits the film into three sections, one for each character that focuses specifically on them, and the story gets infinitely interesting as we learn more about each of them. Walter is somewhat at odds with doing the right thing by his wife and daughter, who is wanting to explore her love of dance that her ultra-religious mother forebids. For some reason, I thought Sylvia’s section would be the most interesting as she deals with the trials of being a teenager, but then Esther’s section shows her to be a far more layered character we might have assumed earlier. She also befriends a neighbor woman played by Joie Lee that helps her expand. The thing is that all three are clearly good people, and you never feel as if one is doing something bad in relation to the others.

Farewell Amor is a quiet but beautiful film that explores an immigrant story in a far different way than we’ve seen before. It’s a discovery film, and I hope people will not just presume it won’t hold their interest. It’s a wonderfully relatable human story, similar to Tom McCarthy’s The Visitor.

Sienna Miller and Diego Luna star in Tara Miele’s psychological drama WANDER DARKLY (Lionsgate), playing Adrienne and Matteo, a couple who recently had a baby. After they get into a horrible car accident while arguing, they end up revisiting the highs and lows of their relationship as Adrienne believes either she or Matteo or both are dead.

This is a surprisingly stranger film than I expected, delving into the supernatural not quite in the way as something like Wes Craven’s Serpent and the Rainbow or Jacob’s Ladder, but having a few elements in common. Although I haven’t seen Miele’s other films, this one feels very much like something Drake Doremus might have made to the point where I’m not sure I could say I fully understood what was happening from one moment to the next. The film seems to be exploring a couple’s relationship through a horrible tragedy but does in a strange way.

With the emotional performances by the two leads being enhanced by an amazing score by Alex Weston (who also scored The Farewell last year), Wander Darkly is more than anything, a performance piece with a decent script and further proof Miller continues to be one of the most underrated actresses working today. Despite those great performances, the movie’s strange premise might be too metaphysical and intense in execution for everyone to be along for the entire ride. In that sense, I probably liked last week’s Black Bear just slightly more.

I reviewed Steve McQueen’s ALEX WHEATLE (Amazon Prime Video) in last week’s column, and that will hit Amazon Prime this Friday, but I think I’m going to save Education, the last film in his “Small Axe Anthology” for next week’s column.  I was also hoping to review Tom Moore and Ross Stewart’s WOLFWALKERS (Apple+) this week, since it premieres on Apple TV+ on Friday, but I just couldn’t get to it. Story of my life.

I’m not sure if I could tell you how many of the Ip Man movies I’ve seen over the past 12 or so years, many of which I saw at the New York Asian Film Festival, but Ip Man is indeed back after last year’s Ip Man: The Finale, but that’s because IP MAN: KUNG FU MASTER (Magnet/Magnolia Pictures) is part of the spin-off prologue series starring Dennis (Yu-Hang) To, who looked enough like a younger Donnie Yen to start a whole sub-franchise. This one is directed by Liming Li, who is also directing a Young Ip Man: Crisis Time prequel movie that presumably stars someone younger than both Yen and To. Got it?

Okay, maybe this needs a little more explaining, although the nice thing about Kung Fu Master is that it works perfectly fine as a stand-alone in case you’ve never seen any of the other movies. This one takes place in the ‘40s as Man is a police captain in Foshan, dealing with the ever-present gang known as The Axes.  He’s framed for murder when the leader of the gang dies in prison, and his daughter, Miss Qingchuan (Wanliruo Xin), wanting revenge as she takes over the gang. Ip Man has other issues like being disgraced as a police officer and then the arrival of the Japanese army who have their own agenda. Ip Man ends up donning a mask to become the Black Knight to fight crime in another way.

I make no bones about my love of martial arts films when they’re not stupid or hoaky and sadly, the Donnie Yen franchise was getting by last year’s so-called “finale.” Kung Fu Master starts out with an amazing action scene of To fighting off what seems like hundred of axe-wielding gangsters, and it barely lets up, constantly throwing interesting and thoroughly entertaining fights at the viewer. Eventually, there’s a bounty on Ip Man’s head with whoever kills becoming leader of the Axes, but he has other issues, like his wife giving birth to their baby boy, just as the police chief and force shows up to arrest him. Cutting quickly between childbirth and kung fu action is just one of the interesting things Director Li does to make his Ip Man debut.

The resemblance between Dennis To and Donnie Yen is more than just facial as his wushu techniques are equally impressive, and sure, there’s a few more dramatic moments between Ip Man and his wife, but it’s Xin’s Miss Qingchuan who ends up being more of a formidable counter to To in just about every way, including a few fight scenes where axes are flying through the air.

Ip Man Kung Fu Master is fairly short, less than 90 minutes, but it still feels long because it feels like it finds a good ending, and then tacks on an epilogue and then another one. There were times I thought it might end on a cliffhanger to set up Ip Man’s inevitable next movie. The abundance of evil antagonists Ip Man must fight in this one tends to become a bit much, but it’s hard not to be thrilled by the martial arts on display and Li’s terrifically stylish visuals that keeps the movie interesting.

Ip Man Kung Fu Master will be available digitally Friday through a variety of platforms.

Filmmaker Adam Egypt Mortimer, who released Daniel Isn’t Real last year, returns with ARCHENEMY (RLJEfilms), starring Joe Manganiello as Max Fist, who claims to be a hero from another dimension that fell to earth. He ends up spending time with a teen brother and sister, Hamster (Skylan Brooks) and Indigo (Zelee Griggs) who want to clean the streets of the local drug syndicate, led by The Manager (Glenn Howerton from It’s Always Sunny in Philadelphia). It’s a strange and quirky dark superhero movie that includes appearances by the likes of Paul Scheer and Amy Seimetz, and though I ran out of time to review, I do have an interview with Mortimer at Below the Line.

Time to get to some docs, and there are definitely some you’ll want to check out, although I don’t have as much time to write that much about them, and some of them I wasn’t able to watch yet.

Another great doc out of the September festival circuit is Ryan White’s ASSASSINS (Greenwich Entertainment), which follows the assassination of Kim Jong-nam, half-brother to North Korean leader Kim Jon-un in 2017 at a busy airport in Malaysia by two young women. Although the two women had never met before, they were jointly charged with attacking the North Korean ex-pat with a lethal nerve gas called VX but White’s investigation takes him all over South-East Asia trying to get answers to how the two women were tricked into committing the assassination. This is a pretty masterful display of doc filmmaking by White, not just in the sense of the way the story is paced and edited like a good political thriller, but it’s one that keeps the viewer invested even as the last act deals with the trial of the two young women and the bond that forms between them.

I’ll have more about this film over on Below the Line sometime very soon, but it hits theaters and virtual cinema this Friday and then it will be on PVOD on January 15

I saw Seamus Murphy’s doc PJ HARVEY: A DOG CALLED MONEY way back in March when it was supposed to open at New York’s Film Forum, but it’s finally getting a virtual cinema release there. Murphy travelled across Afghanistan, Kosovo and Washington DC with singer/songwriter PJ Harvey as she prepared material for her 2015 album, The Hope Six Million Project, which she produced with Flood and John Parish as an installation at Somerset House where people can walk by and view the recording process.  This is an amazing doc that allows you into the process of writing for an amazing recording artist who has given Murphy and the viewer unprecedented access into her creativity. I had fully lost track of Harvey over the years, even though I was a huge fan of hers when she first hit these shores – in fact, I saw her play a concert where Radiohead opened for her… and there as another band (Gallon Drunk) after them! Because of that, I wasn’t familiar with the album, but I just love good music docs, especially ones that take us behind the scenes of a talented artist, and Murphy has created quite a fascinating film even outside the recording studio, whether it’s following Harvey around (narrated by her own poetic observations) but also with commentary by others they encounter. I found the Washington DC segments particularly interesting, since that’s the one place where I’ve spent the most time.  An absolutely fantastic doc whether you’re a fan of Harvey’s or not.

Also playing in the Film Forum’s Virtual Cinema this week is Thomas Balmés’ SING ME A SONG, the filmmaker’s second doc set in the Himalayan village of Bhutan that’s been isolated for centuries. He returns to update on Peyangki, the 8-year-old Buddhist monk from his 2014 film Happiness, now a teenager who has fallen under the sway of technology including pop music and smartphone games, as he begins a WeChat romance with a young singer, which makes him consider leaving the monastery.

Also premiering on Netflix this Friday is Jim Stern and Fernando Villena’s doc GIVING VOICE, tying into the streaming premiere of August Wilson’s Ma Rainey’s Black Bottom next week. It follows six student actors auditioning for the August Wilson Monologue Competition, which brings thousands of students from twelve U.S. cities together to perform the Pulitzer Prize winner’s work.

Joshua Faudem’s doc THE LAST SERMON (Gravitas Ventures/Will Kennan) follows the director and Jack Baxter as they follow 14 years after making their 2004 documentary Blues by the Beach, in which the two ended up in a terrorist attack by British Nationals on Mike’s Place, a bar next door to the National Embassy on Tel Aviv. This event sends Baxter and Faudem across Europe to refugee camps and mosques in order to understand the essence of Islam and the truth about the international terrorists that almost killed them.

Drew Barrymore plays a dual role in THE STAND-IN (Saban Films), directed by Jamie Babbitt (But I’m a Cheerleader). While under normal circumstances, Wild Mountain Thyme would have been the dog of the week, then this movie came along. Yikes. Barrymore plays Candy Black, a comedy star best known for her pratfalls in bad movies (ala Melissa McCarthy). She also plays Paula, Candy’s much sweeter and almost identical stand-in. Candy is a nightmare to work with and after a fall from grace, she holes herself up in her Long Island Estate for five years, while Paula’s own fortunes falter without having that work. I’m sure you can figure out where it goes from there.

Yes, folks, we have what is now one of the worst iterations of a Tale of Two Cities not made by Barrymore’s frequent co-star Adam Sandler, although there are times where you wonder if she is actually playing a version of Sandler with Candy. Eventually, either Candy or Paula or both decide that Paula can take Candy’s place in her attempt to return to work, but the results are just far worse than The Hottie or the Nottie, as Paula also stands in for Candy on dates with the man she’s fallen in love with online through their love of woodworking. (I didn’t make that up.) You almost always know where it’s going and can’t help but groan when you’re right.

Basically, there’s one Drew that’s glammed-down and the other talking in an annoying wispy voice, so there really isn’t getting away from the awfulness even for a second.The thing is that, like the worst comedies, The Stand In is not funny, and it’s sad to see a decent director like Babbitt being dragged into this one. It’s just a terrible overused premise that’s executed quite poorly. Not only that, but the movie also co-stars TJ Miller, who has fallen so far from grace himself, that it’s shocking to see him in another movie.

Besides guaranteeing Barrymore a double-dose Razzie nomination, The Stand In also leaves her with cow shit on her face, much like her character.

Movies I just didn’t have time to get to this week:

Funny Boy (Array/Netflix) Gunda (NEON) Safety (Disney+) Bee Gees: How Can You Mend a Broken Heart (HBO Max) 40 Years a Prisoner (HBO Docs) Through the Night (Longshot Factory) To the Ends of the Earth (KimStim) Rompan Todo: The History of Rock in Latin America (Netflix) The Wilds (Prime Video) Nasrin (Virgil Films) Finding Ying Yin

By the way, if you read this week’s column and have bothered to read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!

[teasertrailer]

IP MAN KUNG FU MASTER - movie trailer --> https://dai.ly/x7xffm6

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