#anthony chan yau

[roseillith]

MAGGIE CHEUNG in A FISHY STORY (1989) dir. ANTHONY CHAN YAU

[cinematicjourney]

Mr. Virgin (1984) | dir. Anthony Chan Yau

[fentw]

SURVIVOR FIJI - BRANT STEELE EDITION (BEST SO FAR)

Link: https://brantsteele.com/survivor/14/r.php?c=Dl2gy6KR

Sylvia Kwan Winner Finalist 4 Votes To Win

Earl Cole 2nd Place Finalist 3 Votes To Win

Gary Stritesky 3rd Place Finalist 2 Votes To Win

Stacy Kimball 4th Place Juror 3-1 Vote

Erica Durosseau 5th Place Juror 3*-2 Vote

Lisi Linares 6th Place Juror 3-3 Vote 3-1 Revote

Dreamz Herd 7th Place Juror 5*-2 Vote

Rita Verreos 8th Place Juror 4-3-1 Vote

Michelle Yi 9th Place Juror 8-1 Vote

Liliana Gomez 10th Place Juror 3*-2 Vote

Yau-Man Chan 11th Place Juror 3-2 Vote

Boo Bernis 12th Place Juror 5-1 Vote

James Reid 13th Place Pre-Juror 5*-1 Vote

Mookie Lee 14th Place Pre-Juror 4-2 Vote

Alex Angarita 15th Place Pre-Juror 4-3 Vote

Jessica deBen 16th Place Pre-Juror 6-3 Vote

Edgardo Rivera 17th Place Pre-Juror 6-2 Vote

Cassandra Franklin 18th Place Pre-Juror 6-2 Vote

Anthony Robinson 19th Place Pre-Juror 5-3-1 Vote

[vhs-ninja]

Ebola Syndrome (1996).

[twilightronin]

Ip Man: Final Fight 2013

[ponapisach]

Kai popełnia w Hongkongu okrutną zbrodnię. Zbrodnię, której jesteśmy zresztą świadkami, a która to bardzo dużo mówi o samym filmie. To plugastwo wyszło prosto z CAT III, specjalnej kategorii filmowej wymyślonej dla tego rodzaju tytułów. "Syndrom Eboli" znalazł tam zaszczytne miejsce prezentując się nad wyraz obleśnie. Jeżeli patrzyłeś przez palce na scenę z otwarcia (główny bohater rozprawia się z rodziną swojego szefa, który przyłapał go ze swoją żoną w sytuacji jednoznacznej), to daj sobie spokój z dalszym oglądaniem, będzie tylko lepiej. Kai (w tej roli fantastyczny jak zwykle Anthony Wong) ucieka do Afryki, a przystań znajduje w Johannesburgu w RPA. Tam pracuje jako kucharz w chińskiej restauracji. Nie najlepiej traktowany przez szefa i jego żonę, znosi jednak wszelkie utyskiwania, bo przecież jest zbiegiem i nie śmie podskakiwać. Do czasu. Filmy z CAT III prezentują się o tyle osobliwie, że kryją w swoich scenariuszach wiele niespodzianek. I tym razem zaczyna się w miarę przejrzyście, jednak widz, który sądzi, że fabuła potoczy się typowymi eksploatacyjnymi torami, grubo się myli. Przecież tytuł, "Syndrom Eboli", do czegoś zobowiązuje. Kai bowiem oprócz tego, że jest mordercą, jest również seksualnym maniakiem bez zahamowań. Gdy szukają z szefem w afrykańskiej głuszy taniej wieprzowiny (by uzupełnić restauracyjne zapasy), trafiają na małą wioskę, gdzie autochtoni borykają się z jakimś chorobowym ustrojstwem. To ebola, ale o tym dowiemy się później. Azjaci opuszczają w popłochu dzikie tereny, a po drodze Kai dobiera się do słaniającej się nogach Afrykanki i gdy ta dogorywa w konwulsjach na ziemi, gwałci ją i podłapuje rzecz jasna wirusa. Na pewno chcecie oglądać dalej? Jest jeszcze lepiej.

Reżyser Herman Yau ze swoim "Syndromem Eboli", pisząc kolokwialnie, nie bierze jeńców. Jeżeli już jakiegoś wezmą, to tylko po to by go torturować i szokować bezkompromisowym obrazem mężczyzny, który w bezceremonialny sposób przenosi patogen. Kai ma nawet krótki epizod, który jest ukłonem dla "The Untold Story", w którym Anthony Wong grał również główną rolę. Wspomnę tylko, że znowu otwiera kreatywną kuchnię, a klienci wychodzą najedzeni do syta. 

To obraz obsceniczny, nierzadko przewracający w żołądku posiłki z dnia poprzedniego. W swojej krucjacie przez kontynenty, Kai, niczym anioł śmierci roznosi wirusa na ślinie, krwi i spermie. Zaraża gwałcąc, charcząc, plując krwią na przechodniów, raniąc. Ebola przeskakuje ochoczo pomiędzy ofiarami, ale i osobami postronnymi, z którymi miał kontakt Kai. To dziki, nieprzyjemny seans z ciężką do przewidzenia akcją. Eksploatacyjny ściek, który jednak potrafi zauroczyć niezwykłą wyobraźnią scenarzystów, którzy udowadniają, że CAT III kryje w swoich odmętach jeszcze niejeden zaskakujący obraz. "Syndrom Eboli" potrafi wymiętosić, wprawić w osłupienie, zostawić na ulicy w rynsztoku, a na odchodne kopnie w głowę.

[brody75]

Ebola Syndrome (1996)

[aion-rsa]

Ip Man: Kung Fu Master is Not Ip Man 5

https://ift.tt/eA8V8J

Ip Man: Kung Fu Master is the latest film to portray the legendary grandmaster of Wing Chun Kung Fu, Ip Man, the real life teacher of Bruce Lee who lived from 1983 to 1972. All the films have been heavily fictionalized, and the Ip Man film franchise is far from unified. There have been multiple actors, directors and filmmakers featuring Ip Man, and this new film is independent from all of those, although confusingly enough, it’s very connected.

The most prominent Ip Man franchise stars Donnie Yen. It began in 2008 with Ip Man and retained the same core team for four installments: directed by Wilson Yip, produced by Raymond Wong, and written by Edmond Wong.

Yip and Yen collaborated in some previous critically acclaimed martial arts films like Kill Zone (aka SPL: Sha Po Lang), Dragon Tiger Gate, and Flashpoint – all of which were well regarded for their high octane action and brutally satisfying fight choreography. Those collaborations set up the success of their first Ip Man film, and it’s noteworthy that Yip and Ip are different romanizations of the same Chinese character, meaning that although not directly related, Wilson Yip shares surnames with Ip Man. 

The four films were major box office hits in Asia, resulting in the production of several other Ip Man films that rode the coattails of its success. Since Ip Man is a historic figure, his character is somewhat in the public domain. And while it’s best to have the blessing of the family estate, as was seen with Tarantino’s Once Upon a Time…In Hollywood, it’s not necessary. After what was perceived as a negative portrayal of Bruce Lee, Lee’s daughter Shannon protested to the press, which only resulted in Tarantino’s film getting more publicity. Bruce Lee is also depicted in several of the Ip Man films because their legends are intimately connected and it’s unclear if those characterizations were condoned by the Lee estate. 

Wilson Yip’s Ip Man films tell a linear story in four chapters. After the first film, each successive sequel featured Donnie Yen facing outstanding martial adversaries: Sammo Hung in Ip Man 2, Mike Tyson in Ip Man 3, and Scott Adkins in Ip Man 4. The films follow Ip Man’s life very loosely until the final film where Ip Man travels to San Francisco to visit Bruce Lee, an event which never happened. The last installment came out last year and it was the final film by this core team, ending with Lee attending Ip Man’s funeral (another event that never happened). 

There was a spin-off to this series, Master Z: Ip Man Legacy, which fits in between the 3rd and 4th films. It starred Max Zhang reprising his role as Ip Man’s rival from Ip Man 3, Cheung Tin-chi, and featured Michelle Yeoh in a triumphant return to the Kung Fu genre, and Dave Bautista as the villain. Knowing that the fourth would be the last, it was an attempt to keep the golden goose alive. Produced by Raymond Wong and Donnie Yen, and written by Edmond Wong, Wilson Yip stepped down as director, passing the chair to the King of Kung Fu choreography, Yuen Woo-Ping. Master Z: Ip Man Legacy was a good film, so there’s some hope there.

In the latest entry, Ip Man: Kung Fu Master, the titular role is played by Dennis To. To had minor roles in Donnie Yen’s Ip Man and Ip Man 2 playing two different characters, Hu Wei and Cheng Wai-Kei respectively. After that, he was cast as Ip Man in The Legend is Born – Ip Man because he bore a resemblance to Donnie Yen. This film wasn’t connected to Wilson Yip’s productions. It was directed by Herman Yau, written by Erica Lee and produced by Sin Kwok-Lam. Nevertheless, several cast members from Yip’s franchise from his films appear in the film beyond To. Sammo Hung, Louis Fan, and Chen Zhihui have roles in The Legend is Born – Ip Man, although as different characters from those they played in Yip’s films. What’s more, Ip Man’s real-life son, Ip Chun appears in the film. 

After The Legend is Born – Ip Man, Yau followed it up three years later with Ip Man: The Final Fight. Erica Lee served as writer again, but it had different producers. Veteran Hong Kong actor Anthony Wong took the titular role as an elderly Ip Man, and Timmy Hung, Sammo’s son, also appears. Ip Chun makes another cameo in a different role from the previous film. That’s a sure way to get the blessing of the family estate. 

There was one other notable Ip Man film, The Grandmaster, from internationally acclaimed director Wong Kar-wai. Tony Leung plays Ip Man, and this film was Hong Kong’s submission for Best Foreign Language film at the 86th Academy Awards. It made the shortlist for that category but in the end, it failed to make the final cut. However, it did get Oscar nominations for Best Cinematography and Best Costume Design and received numerous other distinguished international film awards. 

The Grandmaster was a sumptuous film from the Cannes Film Festival Best Director that elevated Ip Man from typical Kung Fu movie fodder to global arthouse fare. Starring opposite Leung was China’s global diva Zhang Ziyi in a return to the martial genre after starring in films like Crouching Tiger Hidden Dragon, Rush Hour 2, and House of Flying Daggers nearly a decade prior.

Beyond the lavish brooding style that’s such a signature of Wong Kar-wai films, the fight choreography was taken to new heights. Leung, a Cannes Best Actor, broke his arm from the rigorous training early in production. Training had begun a year and a half prior to filming. Master choreographer Yuen Woo-Ping was calling the shots.

The opening fight scene pitted Leung against real-life MMA champion Cung Le in a gorgeous slow-motion fight in the rain. The scene took 40 nights to shoot and has been emulated repeatedly throughout martial arts films ever since. There’s even a nodding homage rain fight in Ip Man: Kung Fu Master. Wong Kar-wai, ever the auteur, released three different cuts of The Grandmaster.  

Donnie Yen versus Dennis To

Donnie Yen is a Hong Kong A-lister with nearly 80 film credits to his name, including several Hollywood films like Rogue One and xXx: The Return of Xander Cage. He’s been making movies since the 80s and was raised in Boston, so his English is perfect.

Dennis To was born and raised in Hong Kong and has just over a dozen films to his credit. However, his martial competitive record is outstanding having won several world titles. 

Both Donnie Yen and Dennis To began as Wushu practitioners. Wushu is a sport version of Kung Fu that China hoped to add to the Beijing Olympic Games in 2008. It is the gymnastic style that Jet Li practices. Ip Man was a leading exponent of Wing Chun, a traditional style of Kung Fu. 

As Chinese martial arts styles go, Wing Chun is compact. Most styles of Kung Fu have dozens of empty hand forms and dozens of weapons forms. Wing Chun only has three empty hand forms, two weapons and its signature wooden dummy. Robert Downey Jr. is an avid Wing Chun practitioner, so much so that a wooden dummy appears prominently in the opening scenes of Iron Man 3. 

Apart from The Legend is Born – Ip Man and Ip Man: Kung Fu Master, Dennis To played Ip Man in one more film, Kung Fu League. This was an absurd Hong Kong action fantasy rom com where a comic book artist meets four martial arts icons: Ip Man, Wong Fei-Hung, Huo Yunjia, and Chen Zhen. 

Wong Fei-Hung is the most portrayed character in film. There are well over a hundred Wong Fei-Hung movies, around eighty of which were by one actor, Kwan Tak Hing. Like Ip Man, Wong Fei-Hung was a real life folk martial hero but he was from an earlier generation having lived from 1847 to 1925. In Kung Fu League, he’s played by Vincent Zhao, who portrayed him in several later installments of the Once Upon a Time in China franchise after Jet Li abandoned the role. 

Huo Yunjia was the deceased master whose funeral brings Bruce Lee’s character Chen Zhen back to Shanghai in Fist of Fury. Huo was another real life martial folk hero who lived from 1868 to 1910 and was portrayed by Jet Li in Fearless. In Kung Fu League, he is played by Andy On. Chen Zhen was completely fictional, but he’s played by Danny Chan, who reprises his Bruce Lee impersonation from Shaolin Soccer. Chan also played Lee in Yip’s Ip Man 3, Ip Man 4, and the China-made TV series The Legend of Bruce Lee. 

Is Ip Man: Kung Fu Master the Unifier or a Copycat?

Ironically, the Chinese title of this film is Zong Shi Xie Wen, which translates loosely as “Lineage Master Unites.” But Ip Man: Kung Fu Master doesn’t unite the Ip Man franchises at all. If anything, it poaches heavily from its predecessors in another contrived effort to ride on their successes. Directed by Li Liming, Ip Man: Kung Fu Master was previously released online due to coronavirus closures in China and is just now making its way across the Pacific.

What’s more, Li has already released a prequel, Young Ip Man: Crisis Time, starring newcomer Zhao Wenhao as a collegian Ip Man. Time will tell if that one ever picks up western distribution to make it across the pond too. 

Ip Man: Kung Fu Master is set during when the real life Ip Man served as a police officer in Foshan. In the film, Ip Man is depicted as a righteous police captain coping with drug smuggling Tongs while the Japanese occupation encroaches on China. The film begins with an outrageous fight scene where Ip Man takes on dozens of Tong hatchet men who conveniently attack him one at a time. 

The Tong is the Axe Gang, and while the origin of term ‘hatchet men’ can be traced back to 1874 as a reference to Chinese Tongs in San Francisco using hatchets, this Axe Gang feels derivative of the Axe Gang in Kung Fu Hustle, right down to the outrageous magnitude of swarming mob of hatchet men that Ip Man must face alone. There’s an attempt at metaphoric artiness as the Tong leader calmly plays Chinese chess while Ip Man battles his way up flights of stairs to get to him. The opening fight sets the tone of the film. 

There’s going to be a lot of preposterous Kung Fu fights in this film with some pretentious style. But that’s fine. It’s a martial arts film. As long as the filmmakers set the level of suspension of belief consistently, fans of the genre love stylized fights. 

Later, there’s a ridiculous fight scene during a dramatization of Ip Chun’s birth. It’s almost comedic in a good way, leading the midwife to remark “Fights again. They never end.” That sums up Ip Man: Kung Fu Master in a nutshell. It also dates the film since Ip Chun was born in 1924, but this is a highly fictionalized story, not a docudrama by any stretch of the imagination, so it should not be held accountable for exacting accuracy.

Beyond the Axe Gang, Ip Man: Kung Fu Master contains a lot of martial arts cliches. There’s a couple of Japanese assassins in Matrix-like trench coats. There’s a drunken master. It’s a characterization of real-life master Leung Bik who was one of Ip Man’s teachers. Ironically, Ip Chun portrayed Leung Bik in The Legend is Born – Ip Man. 

There’s a point when Ip Man dons a mask and becomes the Black Knight. That recalls Jet Li’s Black Mask, but then it becomes a symbol of Chinese rebellion against the Japanese, echoing the Guy Fawkes masks in V for Vendetta, the Salvador Dali masks in Money Heist, or even the clown masks in Joker. 

As To’s third outing of Ip Man, he owns the role, although not with the gravitas that Donnie Yen or Tony Leung brought. He moves a lot like Yen because both actors have roots in Wushu. He lifts Leung’s debonair fashion sense with a traditional Chinese cheongsam robe topped with a white fedora. 

But this is not going to be a major blockbuster like Yen’s franchise, nor does it have any hope of an Oscar nod. This is an action-packed Kung Fu flick, a park-your-brain-outside romp to sit back and enjoy the ultraviolence. There are some furiously fun fights, and like many Chinese films set in in the period near the Japanese occupation, it ends with overblown tones of Chinese nationalism with the people chanting “China! China!” towards the film’s conclusion. 

In China, Ip Man has become a franchise like the Three Musketeers. There are many versions and interpretations. There are plenty more adaptations that never even make it to western distributors. Last year, Ip Man and the Four Kings was a VOD feature film starring Michael Tong as Ip Man that opened with a tepid replay of the famous opening rain fight scene from The Grandmaster and also lifted Leung’s stylish white fedora. 

There was also a Chinese TV series Ip Man that starred Kevin Cheng as Ip Man. Cheng played the young Ip Man in Ip Man: The Final Fight. This TV show ran for 50 episodes and Ip Chun and his brother Ip Ching (who sadly died in January 2020) were both invited as consultants. Ip Man has become the cinematic folk hero franchise inheritor of Wong Fei Hung, but he still trails Wong by at least a hundred films. Whatever the case, and whoever the filmmakers, we have not heard the last of Ip Man, not by a longshot. 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Ip Man: Kung Fu Master is available theatrically and on VOD on December 11. Visit

The post Ip Man: Kung Fu Master is Not Ip Man 5 appeared first on Den of Geek.

from Den of Geek https://ift.tt/375chgu

[roseillith]

A FISHY STORY (1989) dir. ANTHONY CHAN YAU

[cherryeugene]

Legendary Old Film Canibal Slasher

This sadistic film that is filled with cutting, stabbing, slashing or stabbing the victim is an outline of the Slasher movie genre. This genre gave birth to many legends such as Jason Verhooes, Michael Myers, Freddy Krueger, and Scary Face (Scream). Sometimes films of this genre make viewers nauseous because of the flood of blood and human body fragments that seem real.

Then what if the Slasher genre is combined with the theme of cannibalism? Even scarier, of course. Watching a Hollywood type slasher-cannibalism combined genre is quite scary. But in truth, this film genre feels more exciting if the maker is an Asian filmmaker. Why is that? The cultural background becomes an alibi. For viewers in Indonesia, slasher cannibalism genre films are more realistic and more sinister. Moreover, it feels so real, there are some films that are PROHIBITED to air in their own country.

1. THE UNTOLD STORY (1993) - Hong Kong

The Untold Story is a pioneering slasher cannibalism film that is always remembered. This one film, which is the famous Hong Kong horror-crime-thriller genre in 1993, was directed by Herman Yau and played by Danny Lee Sau-Yin and Anthony Wong Chau-Sang. This film is a visualization based on a real crime that takes place in 1985 in Macau.

Some pieces of rotting human bodies were found on the edge of the sea. The police then investigated the matter and took them to a restaurant "Eight Immortals" where the restaurant owner named Wong Chi Hang was suspected of being the mastermind behind this whole problem. After a deeper investigation was tried, the police created proof of the human body that was none other than the real owner of the restaurant. He was reported to have disappeared without a trace along with his entire family ...

The Untold Story is definitely a film aimed at an intrepid audience. Overloaded with sadistic and disgusting scenes, with blood splattering everywhere, pieces of body falling apart. A restaurant that seems to be a place for human slaughter. The scene after scene was shown quite frontally making my stomach feel sick. Anthony Wong looks amazing like a butcher, his expression is so enjoying every action he undertakes.

2. RUMAH DARA (2010) - Indonesia This film, thanks to the work of Mo Brother, tells the story of a serial killer family who serves human flesh for their restaurant. It begins with a video of a woman directing her 3 children to kill a man who was given a head covering. The woman named Dara (Shareefa Danish) has 3 children who are with psychopaths and a hobby of killing humans.

Their potential victims in this film are a group of younger siblings from Adjie (Ario Bayu) and Ladya (Julie Estelle). Adjie together with his 3 friends and his wife, Astrid (Sigi Wimala), who have their first child, make a visit to his sister Ladya's workplace in a place in Bandung. The intention of Adjie's visit was none other than to make peace with Ladya, who thought that her older brother was responsible for the tragedy that left their parents dead.

Their car must be stopped because of the appearance of a mysterious charming woman who claims to have just been robbed. Not having the heart to look at the condition of the woman who claimed to be named Maya, they also decided to help and escort the woman to her house.

Arriving at Maya's house, the group was introduced by the owner of the house, a charming and mysterious woman named Dara who afterwards greeted them kindly for rest and dinner at the house. Adjie, who actually did not want to stay long in that place, also felt reluctant and decided to accept a banquet from Dara, a decision that he would regret very much later, a decision that led them to a bad dream that they had not had time to dream of, because Dara and the rest of the family were not ordinary people who wanted to let them come out alive.

3. MEAT GRINDER (2013) - Thailand A horror film from Thailand's Elephant Country accompanied by spices of cannibalism tried by Buss (Mai Charoenpura), a poor woman who makes the best noodles with a very delicious meat broth. The dishes attract tourists, especially outside the city. But no one recognizes what he does, to make the spices.

Buss, a poor woman with a traumatic background. This subject made him a closed and stressful individual. To survive, he sells chicken noodles around. However, this effort is not enough color to sustain his life. His trade was quiet and he was always in debt to loan sharks.

Until one day, there was a mass demonstration which led to riots. Police chase down the demonstrators. Buss also quickly returned to save himself. And some of the times after that he was shocked, when he created a corpse lying in his noodle cart. It is the body of one of the victims of the demonstration.

And crazy inspiration also began to come to mind, is to make noodles with ingredients from the corpse meat. The action of Buss continues to increase as the restaurant continues to be crowded with tourists. He began to hunt down humans who hurt himself to make ingredients for his best menu.

The main character Buss (Mai Charoenpura) looks very perfect, his confusion is successfully combined sweetly with his madness, he looks very charming and innocent when the scenes cut into the bodies of his victims, especially the scene when he slaughtered a loan shark who terrorized him beautifully presented.

4. DUMPLINGS (2004) - Hong Kong Dumplings, the title may sound delicious, but believe me there is no delicacy in this horror film by Fruit Chan even though he often shows lots of warm dumplings that look delicious to eat. For horror fans, this kind of incident can be quite familiar, there is her colleague, Anthony Wong, who also had time to make a bakpao / mantau menu with a 'special' formula in the scary Untold Story, or more recently, a woman selling noodles in Thai horror. , Meat Grinder. But it's actually a 90-minute type of one of the horror shorts in the horror omnibus Three… Extremes.

There are many methods for staying young, charming and attractive, the beginning of conventional methods: By implementing a healthy lifestyle such as eating a nutritious diet, exercising actively and having a good break, a method that can feel long and tedious. Second, the practical method: plastic surgery, liposuction or botox sutures, the consequences. must have a thick wallet, or want to try other, more extreme methods, like what Mrs. Li (Miriam Yeung) tried is to actively consume the dumplings made by Auntie Mei (Bai Ling).

Yes, Dumplings ?! Bibi Mei's boiled dumplings are not ordinary dumplings, a woman who does not have the chance to say her age has a 'special' formula that makes her customers, including Mrs. Li, who is a former popular TV actress who can always look charming and charming Mr. Li (Tony Leung Ka-fai ), her husband, who has recently started running out of intimate passion for her. Don't ask, however, what is in Aunt Mei's potent dumplings. After the expedition nears the end of the film, we are about to get to know Aunt Mei's secret formula.

[ulkaralakbarova]

A master thief coincidentally is robbing a house where a murder—in which the President of The United States is involved—occurs in front of his eyes. He is forced to run, while holding evidence that could convict the President. Credits: TheMovieDb. Film Cast: Luther Whitney: Clint Eastwood President Richmond: Gene Hackman Seth Frank: Ed Harris Kate Whitney: Laura Linney Gloria Russell: Judy Davis Bill Burton: Scott Glenn Tim Collin: Dennis Haysbert Walter Sullivan: E.G. Marshall Christy Sullivan: Melora Hardin Sandy Lord: Kenneth Welsh Laura Simon: Penny Johnson Jerald Michael McCarty: Richard Jenkins Red: Mark Margolis Valerie: Elaine Kagan Art Student: Alison Eastwood Waiter: Yau-Gene Chan Airport Bartender: George Orrison Medical Examiner: Charles McDaniel Repairman: John Lyle Campbell White House Tour Guide: Kimber Eastwood Oval Office Agent: Eric Dahlquist Jr. Watergate Doorman: Jack Stewart Taylor Reporter: Joy Ehrlich Cop: Robert Harvey Film Crew: Producer: Clint Eastwood Screenplay: William Goldman Novel: David Baldacci Director of Photography: Jack N. Green Production Design: Henry Bumstead Art Direction: Jack G. Taylor Jr. Sound Effects Editor: Doug Jackson Music Editor: Donald Harris Editor: Joel Cox Original Music Composer: Lennie Niehaus Casting: Phyllis Huffman Producer: Karen S. Spiegel Second Assistant Director: Tom Rooker First Assistant Camera: Bill Coe Sound Re-Recording Mixer: Gregg Rudloff Stunt Coordinator: Buddy Van Horn Stunts: Jennifer Watson-Johnston Production Manager: Michael Maurer Second Assistant Director: Robert Lorenz First Assistant Director: Bill Bannerman Second Assistant Director: Dodi Lee Rubenstein Set Decoration: Richard C. Goddard Set Decoration: Anne D. McCulley Assistant Editor: Michael Cipriano Assistant Editor: Anthony Bozanich Assistant Editor: Gary D. Roach Script Supervisor: Cate Hardman Supervising Sound Editor: Alan Robert Murray Supervising Sound Editor: Bub Asman Supervising Dialogue Editor: Lucy Coldsnow-Smith ADR Supervisor: Jessica Gallavan Sound Mixer: C. Darin Knight Sound Re-Recording Mixer: John T. Reitz Sound Re-Recording Mixer: David E. Campbell Camera Operator: Stephen S. Campanelli Costume Supervisor: Deborah Hopper Key Costumer: Cheryl Scarano Set Costumer: Darryl M. Athons Set Costumer: Peggy A. Schnitzer Makeup Artist: Francisco X. Pérez Makeup Artist: Tania McComas Key Hair Stylist: Carol A. O’Connell Hairstylist: Vivian McAteer Special Effects Coordinator: Steve Riley Special Effects: Jeff Denes Special Effects: Joe Pancake Special Effects: Francis Pennington Second Second Assistant Director: Alison C. Rosa Second Second Assistant Director: Maura T. McKeown Sound Effects Editor: Gary Krivacek Sound Effects Editor: Jayme S. Parker Sound Effects Editor: Adam Johnston Camera Operator: Anastas N. Michos Choreographer: Shirley Kirkes Stunt Double: Jill Brown Movie Reviews:

[psitrend]

UDINE – Who turned out the lights? Nobody did, and the fuses haven’t blown. And no, it’s not even a power cut.

Electricity has just suddenly ceased to exist, so the Suzuki family must now very quickly learn the art of survival: and facing a global blackout is not exactly a walk in the park! It’s with the world screeching to a halt of the irresistible Japanese road movie Survival Family that the highly anticipated Far East Film Festival 19 opens: not just because Yaguchi Shinobu‘s wonderful comedy is the festival’s starting pistol on Friday the 21st of April, but also for a question of symmetry: just like the blackout in Survival Family, the FEFF is an interruption. Normal daily life suddenly stops, and for nine days, the darkness (of the cinema) in the Teatro Nuovo “Giovanni da Udine” swallows up everything and everyone.

Chinese, Hong Kong and Taiwanese  presented at the Far East Film Festival

CHINA (6)

Duckweed, HAN Han, time-warp nostalgic drama, China 2017, International Festival Premiere Hide and Seek, LIU Jie, class-struggle thriller, China 2016, European Premiere I am not Madame Bovary, FENG Xiaogang, eternal lawsuit dramedy, China 2016, Italian Premiere Mr. Zhu’s Summer, SONG Haolin, bitter-sweet school drama, China 2017, World Premiere Someone To Talk To, LIU Yulin, divorce drama, China 2016, Italian Premiere Soul On a String, ZHANG Yang, Tibetan-western road movie, China 2016, Italian Premiere (with Trento Film Festival)

HONG KONG/CHINA (3)

Kung Fu Yoga, Stanley TONG, Jackie-Bollywood style-action comedy, China/HK /India 2017, Italian Premiere Extraordinary Mission, Alan MAK, Anthony PUN, drug-war-action-drama, China/HK 2017, International Festival Premiere Soul Mate, Derek TSANG, girls-best friends drama, HK/China 2016, European Premiere

HONG KONG (7)

Love Off the Cuff, PANG Ho-cheung, crazy cool comedy, China/HK 2017, International Premiere Mad World, WONG Chun, mental illness drama, HK 2016, Italian Premiere – “Creative Visions: Hong Kong Cinema 1997-2017” A Nail Clipper Romance, Jason KWAN, surf and steel romance, HK/China 2017, International Premiere Shed Skin Papa, Roy SZETO, quirky father-son drama, China/HK 2016, European Premiere The Sleep Curse, Herman YAU, blood-splattered horror, HK 2017, European Premiere Shock Wave, Herman YAU, explosive action drama, HK/China 2017, International Festival Premiere – Closing Film Vampire Cleanup Department, CHIU Sin-hang, YAN Pak-wing, hopping vampire comedy-romance, HK 2017, Italian Premiere

CREATIVE VISIONS: HONG KONG CINEMA 1997-2017 (10)

Made in Hong Kong, Fruit CHAN, HK 1997 – restored version 2017, International Premiere A Simple Life, Ann HUI, HK 2012 Accident, Soi CHEANG, HK 2009 After This Our Exile, Patrick TAM, HK 2006 Infernal Affairs, Alan MAK, Andrew LAU, HK 2002 Ip Man, Wilson YIP, HK 2008 Kung Fu Hustle, Stephen CHOW, HK 2004 Love in a Puff, PANG Ho-cheung, HK 2010 The Mission, Johnnie TO, HK 1999 The Grandmaster, WONG Kar-wai, HK 2013

© 2008 Mandarin Films Distribution Co. − All right reserved.

© 2004 Beijing Film Studio − All right reserved.

© 2011 Focus Films − All right reserved.

© 2016 Huayi Brothers − All right reserved.

© 1997 Nicetop Independent − All right reserved.

CHINA NOW: NOT FOR COMMERCIAL USE (4)

Fish Tank, LIU Haoge, experimental animation short, China 2016, Italian Premiere Knife in the Clear Water, WANG Xuebo, drama, China 2016, Italian Premiere The Road, ZHANG Zanbo, documentary, China/Denmark 2015, Italian Premiere What Happened in the Past Dragon Year, SUN Xun, experimental animation short, China 2014, Italian Premiere

More than ever before, this year the Festival has – among other things – focused on creating a peremptory interruption: a packed programme and a massive blackout that counts 83 titles (selected out of more than a thousand films seen) and includes 4 world premiers, including Herman Yau‘s high-octane Shock Wave (which will officially closet the FEFF on Saturday the 29th of April), 12 international premieres, 10 International Festival Premieres, 25 European premieres, one European Festival Premiere and 22 Italian Premieres – testament to the incredible productive and creative vitality of Asian cinema!

We’ll be exploring 12 planets (Cambodia, China, South Korea, the Philippines, Japan, Hong Kong, Indonesia, Malaysia, Taiwan, Thailand, Vietnam and, for the first time ever, Laos) and an incalculable number of artistic nuances. Perhaps the one common thread between all the countries and cinematic styles and approaches on display is the strength of the films themselves: great writing, great direction, a great choice of cast and crew. Films that always feel new. New and capable of narrating an identity (social, geographical, cultural and political), of proudly displaying their origins (China, South Korea and Hong Kong in particular) and of telling stories and inspiring wonder.

After all, expect the unexpected isn’t just the title of a (wonderful) old Johnnie To and Patrick Yau action movie – it’s the short, perfect chemical formula which captures the essence of all of Asian cinema. There are places like the ones we find in fairy tales or in dreams where anything can happen, and Asian cinema is undoubtedly one of them – as, after nearly twenty years of extreme, anarchic, startling visions, the fans and the FEFF are very well aware. It’s a question of soul and of a natural inclination towards the unexpected, and this year the audience will have plenty to admire. Starting, of course, with a certain ex-British colony…

For the FEFF, Hong Kong isn’t simply an inexhaustible source of cinematic wonders: it’s the detonator that gave birth to the Festival itself. The first spark. The “Once upon a time…” from which, back in 1998, the whole thing came to life. What we can today consider the number zero of the Far East Film Festival was originally called simply Hong Kong Film, and one of the films shown at it – a film which later became a cult – will be the symbol of the grand retrospective which is part of this year’s programme: we’re talking about the legendary Made in Hong Kong by dear friend of the Festival Fruit Chan, which we will be shown in Udine once more at the international premiere of the magnificent restored version produced by the FEFF! An absolute masterpiece of independent cinema which had become impossible to find either on film or in any other format.

A grand retrospective, we were saying, and Creative Visions: Hong Kong Cinema 1997-2017 (with the support of the Hong Kong Government and realised together with Create Hong Kong and the Hong Kong Economic and Trade Office in Brussels and after discussion with the Hong Kong International Film Festival Society) is nothing if not grand: 20 years after the handover that returned Hong Kong to China, the Far East film Festival 19 is showing 10 films that totally immerse the viewer in the fervour of a city and a community. From Johnnie To’s memorable The Mission to Alan Mak and Andrew Lau‘s equally memorable Infernal Affairs, so beloved of Scorsese, the Creative Visions selection will thrill the veterans and fill the new arrivals’ eyes with cinema.

As well as returning to or – finally! – discovering the now-famous laid-back atmosphere of the FEFF (in the Asian zones of the Teatro Nuovo, the Festival’s historic stronghold, and in the heart of the city, once again dotted with 100 Far East Events), new arrivals and veterans alike will bump into actors, actresses, directors, “professionals” of all kinds and, who knows, maybe the 10 young talents of the FEFF Campus, the school of journalism led by Mathew Scott, the producers of the international Ties that Bind workshop (seventh Italian session) or the key players coming to Udine from all over the world for the second edition of FOCUS ASIA.

Last year’s FEFF experimented with its first industry experience by providing Asian and European buyers with the opportunity to discuss genre film production (i.e. the “finished products”), and this year it’s taking the next step: FOCUS ASIA becomes an operational space to create the cinema of the future! 13 genre film projects (from Spain, Indonesia, Japan, France, Taiwan, Italy, Brazil, Laos, Singapore, Finland, Serbia and Lithuania) will be presented during the second edition of FOCUS ASIA. The Teatro Nuovo will host the meetings (in the Sala Fantoni and in the fourth floor lounge, dedicated to one-on-one meetings and round-table discussions with decision-makers) while the Visionary will host the market screenings.

More a “Festival of Cinema” than just a “Film Festival” in the technical sense, over time, the FEFF has become a genuine “Island of cinema”: a place where movies are shown, discussed, dreamed up and even made. Popular films, films that are instantly recognizable and easily cataloged (by genre and origin), films that allow the organizers to structure the programme like an on-demand platform and the viewers to make their own decisions. Looking for a Taiwanese musical? Here’s 52Hz, I Love You by Wei Te-sheng. Looking for a transgender Filipino comedy? Here’s Die Beautiful by Jun Robles Lana (which will be presented under the aegis of FVG Pride). Looking for some Hong Kong splatter? Here’s The Sleep Curse by Herman Yau.

Having grown up together with the FEFF, edition after edition, the audience (or rather, the tribe of Fareasters) knows exactly what it wants from Asian showbiz, while the “new arrivals”, as we called them a few lines back, are about to find out: everything you need to take your first steps and fall in love with cinema, leaving your prejudices and laziness at the door. The second film of Opening Night, fantastic Cambodian action movie Jailbreak by director Jimmy Henderson (who, despite his name and residency, is 100% Italian) and the packed programme, the most beautiful couple in Japanese cinema, Takumi Saitoh and Aya Ueto, and the two giants receiving their Golden Mulberry for Lifetime Achievement Awards – “Chinese Spielberg” Feng Xiaogang and superstar Eric Tsang – will do the rest!

It’s not long now until the black out that’s going to swallow up everything and everyone from the 21st to the 29th of April, but don’t panic: each film will provide you with just the right amount of energy to survive. Because cinema is culture, and culture, especially nowadays, is one of the few antidotes for darkness.

  Far East Film festival presented the Line-Up of 19th edition: THE POWER OF ASIA! UDINE - Who turned out the lights? Nobody did, and the fuses haven't blown. And no, it's not even a power cut.

[twilightronin]

Ip Man: The Final Fight 2013

[theintrovision-blog]

Ip Man: The Final Fight

Ip Man: The Final Fight

Ip Man: The Final Fight is a 2013 Hong Kong biographical martial arts film directed by Herman Yau, starring Anthony Wong, Anita Yuen, Jordan Chan, Eric Tsang and Gillian Chung. It is based on the life of the Wing Chun grandmaster Ip Man.

[evp_embed_video url=”http://cdn.theintrovision.com/AB/FTP/Multimedia/Movie/English/Ip Man The Final Fight.mkv”]

[taq_review]