102 Bangkok Robbery (2004)

Thailand; 91 minutes
VCD; Region 0; NTSC
Directed by Thanit Jitnukul
With Ampol Lampoon, Chatchai Plengpanich

A bloody gun battle erupts in a jungle. An equally bloody gun battle erupts in a city. What has happened?

According to the helpful site Movies BoOm,
"the Thai Government’s declaration to settle debts with the IMF inspires a powerful secret organization to plan a robbery of the national properties. Leader Nawin (Ampol Lampoon), a former experienced soldier, heads up the mission, and must go head-to-head with talented undercover detective Pakorn (Chatchai Plengpanich), who’s bidding to halt Nawin and his team. Both men have just 102 hours to successfully complete their respective missions."

If the VCD had English subtitles -- or if I'd done a little research *before* watching the movie -- I would have known that. But once the bullets starting flying, I was immediately caught up in the action, and compulsively watched more gun battles, sniper fire, car crashes, pedestrian chases, helicopters, CGI bullets, explosions, civilian casualties, and tense stand-offs. The pace rarely slows, and when it does, the conversations tend to escalate quickly into arguments, and director Thanit Jitnukul (BANG RAJAN) keeps his restless camera moving.

The script steals relentlessly from a wide selection of police thrillers. Plotwise, BANGKOK ROBBERY doesn't feel fresh -- though what do I know, I don't understand Thai -- but the pace and the action left me entirely satisfied.

The only thing better would be seeing it on the big screen with English subtitles, perhaps in a major city? (Hint, hint, daring film programmers.)

More information and stills can be found at CinemaThai

* VCD Notes *

The colors are too frequently muddied, to the point where it is sometimes difficult to determine if it was an intentional artistic decision or simply a poor video transfer.

The stereo audio track is adequate.

No English subtitles.

Released theatrically in Thailand on April 29, 2004; VCD released August 2004.

Debut Features Bookend VC FilmFest

The opening and closing night films have been announced for VC FilmFest 2005, the annual spring showcase for Asian films in Los Angeles. The festival pays special attention to Asian-American filmmakers, and this year is no exception.

SAVING FACE kicks things off on Thursday, April 28. Director Alice Wu tells the tale of a surgeon (Michelle Krusiec) whose pregnant mother (Joan Chen) moves in with her, complicating her life and budding love affair with another woman (Lynn Chen). The film will be released in limited engagements by Sony Pictures Classics on May 27.

One week later, the fest wraps with RED DOORS, a reimagining of Shakespeare's "The Tempest" as a domestic drama. Director Georgia Lee's film features Tzi Ma, Jacqueline Kim, Elaine Kao, and Kathy Shao-Lin Lee.

Congrats to the festival for programming debut features by two Asian women! Can't wait to see what other goodies they have in store.

Springtime in a Midwestern City

The 23rd edition of the Minneapolis-St. Paul International Film Festival describes itself as "the largest film festival in the upper Midwest," presenting more than 150 films from more than 50 countries during its run from April 1-16.

Despite that region's reputation for white-bread flavors and exclusively Caucasian content (based on "The Mary Tyler Moore" TV show in the 1970s and FARGO more recently), the festival has a wonderful record of screening Asian films. Last year they debuted one of my favorites, PIRATED COPY from Mainland China, and this year several titles stand out (all notes courtesy of the festival).

MIN (Malaysia; d. Ho Yuhang) U.S. Premiere
"Min, a 20 something Chinese schoolteacher adopted by a Malay family when she was a little girl, finds herself at an impasse and decides to go look for her birth parents. She enlists an old school friend to help track down her birth mother. ... Along with Amir Muhammad (The Big Durian, in the Non-Fiction Feature section of this year’s fest), and James Lee, Ho Yuhang leads the charge in reinventing a new wave of Malaysian independent cinema. Stylistically minimalist and oblique, Min is one of the harbingers of what promises to be an innovative filmmaking culture."

THE SOUP, ONE MORNING (Japan; d. Izumi Takahashi) U.S. Premiere
"A simple story of an ordinary couple’s failing relationship, this intimate no-budget DV feature exposes a complicated tangle of truths of our modern era. ... TAKAHASHI’s debut feature is a visceral portrait of an era in which panic and anxiety disorders are ubiquitous–an era riddled with medication, self-obsession, and hyper-analysis in which our own banality is a luxury."

SPLENDID FLOAT (Taiwan; d. Zero Chou) U.S. Premiere
"Rose/Roy alternates his time between his life as a drag queen that travels around with a troupe that takes the place of his family and his 'real' life as a Taoist priest. ... CHOU’s rumination on what it means to belong is a moving character study given heart by a pitch-perfect performance by James CHEN."

At least half a dozen documentaries from Asian filmmakers dot the non-fiction category:

15 (Singapore; d. Roystan Tan)
AND THEREAFTER (US/South Korea; d. Hosup Lee)
THE BIG DURIAN (Malaysia; d. Amir Muhammad)
IDENTITIES IN TRANSLATION (Vietnam/Israel/US; d. Vu Tran, Joanna Kohler)
THE SHAPE OF THE MOON (Indonesia; d. Leonard Retel Helmrich)
YANG BAN XI-THE 8 MODELWORKS (China/Netherlands; d. Yang Ting Yuen)

Most of the other Asian films have played elsewhere, generally to acclaim, but it looks like the festival has chosen well:

3-IRON (South Korea; d. Kim Ki-Duk) Will see limited release from Sony Pictures Classics beginning April 29
ABOUT LOVE (Japan/Taiwan/China; d. Ten Shimoyama, Yee Chih-yen, Zhang Yibai) U.S. Premiere; co-director Yee made BLUE GATE CROSSING and Zhang made SPRING SUBWAY, both excellent features
CRYING LADIES (Philippines; d. Mark Meily) Read review
THE FLOATING LANDSCAPE (Hong Kong; d. Caroline Lai) From the director of GLASS TEARS
KUNG FU HUSTLE (Hong Kong; d. Stephen Chow) Will see limited release from Sony Pictures Classics beginning April 8 before expanding April 22
MC DULL, PRINCE DE LA BUN (Hong Kong; d. Toe Yuen) Animated; from the director of MY LIFE AS MCDULL
ONE NIGHT HUSBAND (Thailand; d. Pimpaka Towira) Festival favorite
OSEAM (South Korea; d. Seong Baek-yeong) Animated
THE TASTE OF TEA (Japan; d. Katsuhito Ishii) From the director of SHARK SKIN MAN AND PEACH HIP GIRL
THE WORLD (China; d. Jia Zhang-ke) From the director of UNKNOWN PLEASURES and PLATFORM

'Banished' to Calabasas

Of all places, Calabasas, California is the setting for Method Fest, "a festival of discovery celebrating breakout acting in independent film."

The location away from the heart of Hollywood (just past the western edge of the San Fernando Valley north of Los Angeles) might be a nice retreat for those attending. On a personal note, it's a bummer, because the highway between my home and Calabasas is one of the busiest in the country, constantly jam-packed with traffic and none too inviting for all but the hardy and the Hummers.

Which is too bad for me, because they'll be hosting the US Premiere of a challenging Japanese film entitled RUNIN (aka BANISHED). The director's first first was the underseen, much praised by those who did, AN ADOLESCENT.

RUNIN's narrative is a bit slack and it runs quite long, but it effectively captures the rhythms of rural life and also features a splendid set piece involving rolling large round wooden cages (in which men are locked in) down a hill into the sea. It may sound like something Jackie Chan might do, but it's very serious, and it fits the narrative very well. Besides, it's the one image that's remained with me, in a rather haunting fashion, since I saw it.

RUNIN - BANISHED
(Japan, 149 min.)
US Premiere

Director: Ejiji Okuda
Writer: Izuru Narushima
Producer: Mika Matsumoto
Starring: Keiko Matsuzaka, Kazuhiro Nishijima, Mayu Ozawa, Mariya, Hikaru, Eiji Okuda

For the travel-minded, here's more about Calabasas.

'Angel Guts' Burst Out

How could I forget this stunningly deviant release today?

Now corrupting the youth of America, ArtsMagic has unleashed the five films in this notorious series of films from Japan as part of a box set. Included are numerous extras, such as biographies, filmographies, trailers, interviews, promotional materials, and commentary by Jasper Sharp.

Links to reviews of the films can be found at the ArtsMagicDVD web site.

ANGEL GUTS - THE NIKKATSU SERIES (Box Set)

1. HIGH SCHOOL COED
Cast: Machiko Ohtani, Sansho Fukami, Megu Kawashima, Kenji Kasai
Director: Chusei Sone

2. RED CLASSROOM
Cast: Yuuki Mizuhara, Keizo Kanie, Jun Aki, Minako Mizushima
Director: Chusei Sone

3. NAMI
Cast: Eri Kanuma, Takeo Chii, Minako Mizushima, Kyoko Aoyama
Director: Noboru Tanaka

4. RED PORNO
Cast: Jun Izumi, Masahiko Abe, Kyoko Ito, Miiko Sawaki
Director: Toshiharu Ikeda

5. RED DIZZINESS
Cast: Mayako Katsuragi, Naoto Takenaka
Director: Takashi Ishii

One Japanese Master and Two Korean Sisters

Two new DVDs, both 2-disc editions, are due out today.

KAGEMUSHA (1980)

From the Criterion Collection, Akira Kurosawa's KAGEMUSHA rolls out in its complete, uncut version -- it was shorn of 20 minutes during its North American release in 1980. The two-disc edition includes an audio commentary by Kurosawa biographer Stephen Prince, two documentaries, a featurette, trailers, commercials, and a booklet.

Mike Restaino of DVD File admits to initially being unimpressed by the film as a Kurosawa novice, but has now "discovered the errors of his ways." He also praises the audio and video (it is Criterion, after all) and details the supplementary features. He concludes that the disc is "highly recommended," but not necessarily for newcomers.

Dawn Taylor of DVD Journal agrees, describing the release as "stunning"; she writes that the new digital transfer is "virtually flawless."

DVD Talk's Ian Jane feels the film "is a truly under appreciated masterpiece." He is similarly impressed with the "absolutely gorgeous" video transfer and says that the Dolby Digital 2.0 Japanese-language audio track "is on par with the video transfer in terms of quality."

My memory of the film comes from a cinema viewing of the cut 1980 version -- a magnificent, sprawling epic soaked in blood. I've seen quite a few more of Kurosawa's films since then, which has enhanced my appreciation for KAGEMUSHA for a late-period meditation. Sounds like another visit is in order.

A TALE OF TWO SISTERS (2003)

The latest in Tartan USA's "Asia Extreme" line, A TALE OF TWO SISTERS is said to include two audio commentaries, hidden features, cast interviews, trailers, and documentaries.

I rented another recent Tartan USA release (KOMA) and found the quality quite good. It appeared to be almost a straight port of the Hong Kong release by Panorama, without the Mandarin dub track, but with an audio commentary by the director (with English subtitles) and subtitles added for the "making of."

Based on that experience, my guess is that A TALE OF TWO SISTERS should be of similar quality. I'll try and review it this week.

As for the film, it received a release this past fall and got some good press. When I first saw it (last September as part of the all-too-brief 1st Korean Film Festival of Los Angeles), it felt like another audience-teasing puzzle picture. In the months since then, I find certain images flashing through my mind, and I feel like I want to spend a little more time with those doomed sisters.

'Oldboy' Confounds Critics

OLDBOY opened in Los Angeles and New York with a splash this past Friday.

Kudos to US distributor Tartan Films. Director Park Chanwook's violent and stylish revenge thriller drew healthy if not outstanding crowds (grossing $61,000 at five theaters) and generated considerable debate.

Rex Reed hanged himself with his racist comments about Korea:

"What else can you expect from a nation weaned on kimchi, a mixture of raw garlic and cabbage buried underground until it rots, dug up from the grave and then served in earthenware pots sold at the Seoul airport as souvenirs?"

Note: To reach Reed's further observations about "Oriental mumbo-jumbo," you must scroll down past his bio for Bobby Short, praise for Woody Allen ("Woody's got his groove back"), and disdain for Rebecca Miller's THE BALLAD OF JACK & ROSIE.

Not all New York critics reached for racism to express their disappointment with the film. Steve Erickson (writing for Gay City News) says the film "starts out as a story full of possibilities," but goes downhill quickly, concluding:

"Even if it has finally brought him the attention of Western viewers, it’s a step down for him."

Los Angeles critics were split.

Carina Chocano of the Los Angeles Times once again demonstrated that she's in a bit over her head as a film critic (after moving over from writing about television a few months ago):

"It says something when you come out of a film as weird and fantastical as OLDBOY and feel that you've experienced something truly authentic. I just don't know what. I can't think of anything to compare it to."

Even when she thinks she's positive, she doesn't know why. What's more revealing about the choice of Chocano to review OLDBOY is that principal critic Kenneth Turan chose instead to enthuse about THE BALLAD OF JACK & ROSIE. So far, Chocano has proven herself adept at churning out one-liners (a habit shared by junior critic Kevin Crust) but lacks the depth to explain herself -- at least in the reviews I've read.

The acid-tongued Scott Foundas, writing in the LA Weekly, confesses that the "cult following that has sprung up around [director Park] and his films flat-out mystifies me." He composed his review as a memo to Quentin Tarantino, explaining his choice thusly:

"We all know, of course, that imitation is the sincerest form of flattery, and your influence can be found all over Oldboy."

At least Foundas recognizes that "many genuinely talented young filmmakers ... have helped to make South Korea a world-cinema hot spot over the last decade."

Over the years, Andy Klein has demonstrated that he knows his way around Asian cinema. Writing in LA CityBeat, he declares:

"And then there’s Oldboy, about which one can only say … “Wow.”

Regarding the plot, Klein cites various non-Asian films and in general puts his reaction to the film in a more specific context.

Somewhat surprisingly, Bob Strauss of the Daily News didn't find it "as graphic as I'd expected it would be." He summarized his reaction:

"It is not a pleasant movie, but it's close to a great one."

In Los Angeles OLDBOY is playing exclusively at the Nuart. Due to my increasing reluctance to deal with 60-minute drives crammed with traffic, I'll have to wait to check it out.

Box Office Gross

OLDBOY (Tartan Films) may be grossing some people out, but in the monetary sense, it pulled in a very nice $61,000 at five theaters in New York and Los Angeles.

The per-screen average is a bit less than THE BALLAD OF JACK & ROSIE (IFC Films) at four theaters and a bit more than MONDOVINO (ThinkFilm) at one theater.

THE RING TWO (Dreamworks) made an estimated $14.3 million, down 59%, for a total so far of $58.5 million in 10 days.

Dreamworks' remake of THE RING made out quite well on the international circuit, and its sequel should also do fine. Will Hideo Nakata be able to make anything but remakes from now on? IMDB claims his next three projects are THE EYE (Thailand), OUT (Japan), and THE ENTITY (US).

Further down the chart, BRIDE AND PREJUDICE (Miramax) added another $530,000 to its grosses, totaling up to $5.6 million in about six weeks of release. The weekend estimate reflects a downward trend of just 17%, and I imagine the word of mouth is good.

I saw it again with a friend on Friday evening at a suburban multiplex, and was pleasantly surprised by the enjoyable vibe that the audience was radiating. The cinema was a small one, but it was mostly filled, and people laughed in the right places. The biggest laugh came when the "ugly American" Indian character made a reference to his home 'in the Valley, just 20 minutes down the 101 to North Hollywood,' no doubt because we were sitting less than a mile from North Hollywood.

(Source: Movie City News)

'Hustle' and '2046' Big Winners

The 24th Hong Kong Film Awards presented Best Actor and Best Actress honors to Tony Leung and Zhang Ziyi for 2046 (pictured at right).

KUNG FU HUSTLE won Best Film for Stephen Chow, while Derek Yee won Best Director and Best Screenplay awards for ONE NITE IN MONGKOK.

The best presentation list of the winners and nominees can be found at LoveHKFilm.com.

For pictures from the ceremony, check People's Daily Online.

For the wire service version, ABC News has the story from the Associated Press.

Though I saw precious few Hong Kong films this past year, 2046 is luxuriant, deep, and mysterious. I can't wait for Sony Pictures Classics to release it in the US. And I've forced myself to wait for KUNG FU HUSTLE to open on April 8 because I want my first impression to be on the big screen.

ONE NITE IN MONGKOK has received good notices since its initial release, so perhaps these awards will encourage more adventurous programmers to include it at a festival or special screening soon.