Fearless review

 Number 597 on the top 1000 films of all time is the Hong Kong Wuxia film 'Fearless.'

Fearless tells the true-life story of martial arts legend Huo Yuanjia (Jet Li.) He became a hero across China by restoring national pride after China lost cultural status to Europe, the US and Russia in the dying years of the Qing Dynasty.

Wuxia films have never been my thing. Although they always look great with terrific fight choreography and beautiful cinematography like Crouching Tiger Hidden Dragon or Hero - also starring Jet Li. I've always found the storylines lacking. The exception might be IP Man, but it wasn't as good.

I think much of this was down to the character of Huo Yuanjia who wasn't as interesting as he could have been. The film started a little too early in his life as we see the effect his father had on his life. It was important backstory that fed into Yuanjia's motivations, but it could have been excised. It removed too much focus from Yuanjia.

This wasn't necessarily the fault of Jet Li, but of the direction of Ronny Yu. Jet Li was perfectly fine as the hero of this film and at least Fearless had more forward momentum than Jet Li's earlier martial arts epic 'Hero.' Although, a bit like IP man, the villains could have used more work. The actors they hired to play the foreign fighters were cliched to the max.

Like I said, I'm not a big fan of Wuxia films and I'm not sure that Fearless is going to do anything to change that.

The Last Emperor review

 Number 482 on the top 1000 films of all time is the epic biographical period-drama 'The Last Emperor.'

The Last Emperor tells the life story of its titular character - Pu Yi, the Last Emperor of China from his childhood where he was played by Richard Vu and then Tiger Tsau to his adolescence where he was played by Wu Tao and all the way to his adulthood, where, played by John Lone, he becomes a political prisoner of the Chinese Communist Party.

Bernado Bertolucci's story about Puyi felt very much like a Chinese version of Laurence of Arabia. The Last Emperor was almost four hours long and it also starred Peter O'Toole who played Pu Yi's Scottish tutor Reginald Johnson. Granted, I had unknowingly watched the extended cut, but I think even the one hundred and sixty-five minute theatrical cut would have still had me struggling to stay awake.

Obviously the academy didn't agree with me as they awarded The Last Emperor nine Oscars including Best Film, Director, production and Costume. The latter two were well-earned. Bertolucci was granted unprecedented access to film in China's Forbidden City and he made brilliant use of this opportunity. The production in this film was absolutely breathtaking especially in the early scenes within the city itself. It's just a shame the story itself wasn't very interesting.

The story is told from the adult Piyu's perspective - now a prisoner of the CCP, as he looks back on his life as China's last emperor. Although this part was interesting, his earlier life was less so. Considering how he was very much just a figurehead with no real power, it's no surprise that he was little more than a spoiled and lazy character, but he also became a tedious one too.

This is a film for true cinophiles. Although it looked great on-screen, the actual story left me cold and in desperate want of my bed.

Chungking Express review

 Number 234 on the top 1000 films of all time is the Hong Kong art house romantic-drama Chungking Express.

Chungking Express tells two separate love stories which only interconnect where one ends and the other begins. The first sees a Hong Kong police officer He Qiwu (Takeshi Kaneshiro) trying to come to terms with the ending of a relationship, while growing closer to a mysterious, unnamed woman in a blonde wig (Brigitte Lin) who is trying to survive in a dark, criminal underworld. The second story sees another policeman only known by his serial number 663 (Tony Leung) as he grows closer to the cafe waitress Faye (Faye Wong) after another failed relationship.

Of the two stories, I much preferred the second one. I found the first to be more of a loose sketch rather than an actual story. He Qiwu was such a wet blanket of a character. I get it. I've been him, moping around after a bad break-up. I'm sure I was an absolute misery to be around. What fun is somebody who is always feeling sorry for themselves? While it was realistic, it didn't make for a very compelling protagonist.

His female co-star had a more interesting story, but she wasn't afforded enough time to tell it. We see that she has been wronged in this criminal underworld and she is trying to take revenge on everybody who screwed her over. Yet her story was left incredibly vague and unexplained. Her actions certainly didn't have a lot of clarity. Although maybe this was because of the intentional motion blur that director Wong Kar-Wait used. And who knew there was such a big Indian minority in Hong Kong? Evidently not me who didn't realise the real Chungking estate does indeed host a whole bunch of Nepalese and South Asian immigrants.

Overall, the first story took itself too seriously. Not so for the second which was more light-hearted. It helped you had the comic relief character of the cafe manager played by Chan Kam-Cheun. He was constantly pushing 663 to move on. And it also helped that Tony Leung's character had more backbone than the other copper. Rather than moping around in self-despair, he's trying to get on with his life - if not actively moving on.

One way he's doing this is by frequenting a cafe where he starts getting friendly with the waitress Faye - who plays California Dreamin' by the Mamas and Papas on repeat. She is immediately smitten with him and her attempts to get closer to him - like cleaning and organising his flat when he isn't there - usually leading to some comic moments. It's quite a charming little story.

And Chungking Express is a charming enough film. It's actually two films in one with the second story being a lot better than the first. 

The Flowers of War review

 Number 647 on the top 1000 films of all time is Zhang Yimou's 2011 Chinese historical drama-war film - 'The Flowers of War.'

Set during the rape of Nanking, we see a group of Chinese school girls led by Shu (Zhang Xinyi) taking cover in a church led by Father Ingleman. But with this priest's recent death, the responsibility falls to his young apprentice George Chen (Huang Tianyuan.) They are soon joined by a group of high-class prostitutes led by Mi Yo (Ni Ni) and American mortician John Miller (Christian Bale).

I've said it before and I'll say it again: more people need to know about the atrocities that Japan committed against China in the run-up to the Second World War. In the West, this has always been over-shadowed in favour of the Western Front, but the rape of Nanking is one of Japan's most heinous crimes. An entire city was decimated with its men shot and women raped.

Zhang Yimou quite rightly did not shy away from showcasing the sadism of the Japanese. We saw their brutality in unflinching detail. It was upsetting to watch, but it was only being honest to what happened in real life. I thought the acting from all the child actors was very good.

The actresses playing the schoolgirls were excellent, displaying a maturity beyond their years. Despite the terrible things done to them, they never cry and complain. This was especially true of Zhang Xinyi who excelled as their leader Shu. But it also applied to Huang Tinyuan who portrayed George Chen. Despite not being much older than them, he tries his best to protect the school girls. Yet it is obvious that he is quickly out of his depth. It was difficult not to feel sorry for him as he tackled his insurmountable task. The characterisation and the acting all round was good.

The Flowers of War received a mixed reception from critics with most criticism centring on John Miller being an unnecessary distraction who was playing a white saviour. Initially, I was tempted to agree with this. John Miller was a cliched, predictable character who added so little to the first half of the film that it could have survived without him. Up until the forty-five minute mark, much of the Flowers of War focussed on the school girls with Shu taking centre-stage. She also narrates the film.

However, I did enjoy watching John Miller fulfil his reluctant hero character arc. Yes, it is predictable, but it is still enjoyable to watch. I also don't agree with him being a white saviour. How much saving does he actually do? Despite his best efforts, he does little to stop a rogue squad of Japanese soldiers attacking the church; instead it is the lone Chinese Major Li who saves everybody.

And when the Japanese demand that the girls sing at a special play it isn't Miller who suggests a solution, but Mi Yo. And when two of the prostitutes sneak out of the church, needlessly putting themselves into danger, Miller does not bring them back safe and sound. If anything he is a white failure - trying to save everybody but mostly failing. Not to mention, he was based on the real-life American missionary Minnie Vautrin.

There was also some who argue that the film was style over substance. Yes, while there was a lot of spectacle with plenty of slow-motion and vivid colours, it never detracted from the plot. This is in comparison to most Wuxia films which place spectacle front-and-centre. While the Flowers of War did focus on myth and legend, it was always tied to the plot. Even the sequence of the prostitutes singing to the schoolgirls enhanced rather than detracted from the film.

Zhang Yimou wanted to separate the Flowers of War from other similar films by highlighting and celebrating the efforts of women in the war. He certainly achieved that goal. Despite their best efforts, George and John are largely useless - yes they show remarkable bravery and self-sacrifice at the film's conclusion, but this is after four of their number have been killed.

Instead, we see the incredible strength and resourcefulness of the female characters. I've already spoken about the schoolgirls, but the prostitutes were equally intelligent and tough. Yes, the two groups quarrel on occasion - you get tiffs, arguments and fights, but, in the end they work together for the greater good.

Ultimately, I think the Flowers of War was a triumph. It looked gorgeous while also having strong writing, acting and characters. It's just way too traumatic to watch for a second time.  

Top ten World Cinema films from the top 1000 films of all time

 Since I started working through the top 1000 films of all time, I have seen the best that World Cinema has to offer. Here are my top ten best World Cinema films.

City of God

There is a reason that this film is number 21 on the top 1000 films of all time. And there is a reason that it is on my list for the ten best films of all time. It is a breath-taking piece of cinema.

Detailing the lives of two boys growing up in the slums of Rio De Janeiro, it is an absolute roller-coaster. I have seen this film multiple times and each time it has been more thrilling than the last.

Oldboy

This Korean film comes in on number 82 on the top 1000 films of all time. Plus it also features on my top ten films of all time and for good reason. It is a powerful tale of revenge based on a Japanese manga.

This thriller follows Oh Dae-Su - a man who has been mysteriously imprisoned for fifteen years. After his sudden release, he goes on a self-destructive journey to find his kidnappers. It is brimming with gorgeous Korean proverbs, stunning fight sequences and one of the biggest plot twists in film history.

Rang De Basanti (Paint it Saffron)

Yes, you've guessed it. Rang De Basanti also features on the top 1000 films of all time at 34th. It is an Indian film. Critics of Indian cinema dismiss them as overly-dramatic with shoe-horned musical numbers. Yes, that is partly true, but Rang De Basanti is far more than that.

It tells the story of Sue - an English film-maker making a documentary about some of the early leaders of the Indian independence movement. However, the lines between reality and fiction soon begin to blur. It is a magnificent story about finding your place in the world. An absolute must-see for lovers of Indian cinema.

The Hunt

Director Thomas Vinterberg creates a gripping psychological drama that shows the witch-hunt following teacher Lucas (Mads Mikklesen) after he is falsely accused of molesting one of his pupils. This Danish film show-cased Mikklesen at his best. There is a reason that he won the Best Actor award at Cannes. But the entire film is a triumph. The tension never lets up for a minute. It is Danish cinema at its best. I much preferred it to Vinterberg's earlier effort of the Celebration, which is probably why The Hunt places 124 on the top 1000 films of all time. Fifty-five places higher than Vinterberg's earlier film.

My Neighbour Totoro

I had to include Japanese cinema on this list. And while it might have made sense to include Akira Kurosawa, I instead wanted to pay respect to the genre of anime. And there is no greater producer of anime than Hayao Miyazaki and Studio Ghibli.

I was so tempted to put Grave of the Fireflies on this list, but that heart-breaking affair has featured on other lists of mine, so I want to pay homage to another Studio Ghibli great: My Neighbour Totoro, which features at 137 on the top 1000 films of all time.

It would be all too easy to dismiss as a kids' film, but it is great for all the family to watch. Sisters Sasuki and Mai have just moved into a country home with their father while their mother is sick in the hospital. The young Mai then befriends the adorable Totoro who helps her through the process. This coming-of-age story is surprisingly poignant. Plus, I just love Totoro. He is the cutest thing ever. There's a reason he has become the mascot for Studio Ghibli.

Les Intouchables (The Untouchables)

This French film is the last time I'm going to mention my list of the top ten films of all time.

Les Intouchables features at 31 on the top 1000 films of all time. It tells the story of Philippe (Francois Cluzet) a billionaire quadriplegic and his unqualified, unprofessional carer Driss (Omar Sy.) Their unlikely friendship contributes to one of the feel-good films of the century.

Les Intouchables will make you laugh. It will probably make you cry too. Plus it's what launched Omar Sy to international stardom. If you've seen him in Lupin, do yourself a favour and go back and watch. You won't regret it.

Y tu Mama Tambien

We've come to Alfonso Cuaron and Mexico. This film really surprised me. Some of its critics have dismissed it as a Mexican American Pie, due to its frank depiction of sex, but this touching coming-of-age drama is far deeper than that. It places at 641 on the top 1000 films of all time.

It follows three characters: best friends Julio (Gael Garcia Bernal) and Tenoch (Diego Luna) and older Spanish woman Luisa (Maribel Verdu) as they try to find a mythical beach.

It's a story about growing up. It's a story about change. It is under-stated, but also really sexy. You just might not want to watch it with your parents.

IP Man

Although I'm generally not a fan of wuxia/kung-fu films, I would make an exception for IP man. It tells the true-life story of IP Man (Donnie Yen) a Kung-fu master who navigates the dangers of living in Hong Kong during the occupation of Japan. IP Man places at 215 on the top 1000 films of all time.

Unlike other Wuxia films, IP Man stays grounded in the real-life. Plus the kung-fu sequences are brilliantly choregraphed. Donnie Yen also gave a charismatic performance. I wasn't as keen on the sequel, but I still think IP man is the best that the Wuxia genre has to offer.

Zwartboek (Black Book)

We're returning to Europe with this excellent Dutch film that centres on the Dutch resistance movement during World War Two. Black Book is 435th on the top 1000 films of all time.

Where director Paul Verhoeven succeeded is by highlighting the different shades of grey that comes with warfare. No matter what Hollywood says, things are never black and white. This is a fast-paced affair with twist after twist. Its film-making at its best.

Das Boot 

We remain in World-War-Two for this excellent West German film that focusses on a German submarine crew who are under attack. And that film is Das Boot. It places 70th on the top 1000 films of all time.

Tight camera angles result in a claustrophobic, suffocating affair that highlights what it would be like to be on a submarine during battle. It also does great character work especially in how it explores how war can affect men. It certainly isn't perfect, but it is still an intense affair that doesn't let up for a minute.

It was difficult to nail this list down to just ten film. And there were many films and directors that did not make the cut: Fellini, Kurosawa, Bergman, Lang etc. Have I missed any other films? Let me know in the comments below. 

Crouching Tiger Hidden Dragon review

 Number 401 on the top 1000 films of all time is Ang Lee's 2000 wuxia film 'Crouching Tiger Hidden Dragon.'

Set in Qing Dynasty China, Li Mu Bai (Chow Yun-Fat) is a renowned swordsman who owns the legendary 'Green Destiny' sword. One of his closest friends Yu Shu Lien(Michelle Yeoh) is a similarly talented warrior who is tasked with delivering the sword to Li's benefactor Sir Te. But the sword is stolen in the night by a masked thief. Li Mu Bai and Yu Shu work to recover the sword while working through their previously unrealised feelings for each other.

I found 'Crouching Tiger Hidden Dragon' to be a confused film uncertain of its own identity. At times, it seemed like it wanted to be a classic wuxia film with physics-breaking, brilliantly-choregraphed martial art sequences. But at others it tried to be a Western love story focussing on Mu-Bai and Shu-Lien. Shu-Lien was previously engaged to Mu-Bai's friend Meng Sizhao before his untimely death. Out of respect, the two hide their feelings for one another.

This film was made specifically for a Western audience, so perhaps that was the reason for the cloying love story that was never ever fully realised. If it had been made with an Eastern audience in mind, then I think this love story could have been better portrayed. Instead, we were left with great martial art sequences punctuated with verbose, hammy dialogue. I watched this film with subtitles, so I can't even say this was a bad translations, as Ang Lee oversaw the subtitling himself, as he wanted to get the most accurate interpretation possible.

Also, the identity of the masked thief was obvious from the start. If you didn't figure it out in the first five minutes, I won't spoil it here, but that definitely hurt the dramatic tension.

Reportedly, Ang Lee described the film as Sense & Sensibility with martial arts. He also directed this film, which may explain why I wasn't a fan of either.

Kung Fu Panda 2 review

 Number 962 on the top 1000 films of all time is John Stevenson's sequel to the original 2008 animated wuxia film Kung Fu Panda.

Po (Jack Black) now a respected Kung Fu master is called upon to defeat the peacock Lord Shen (Gary Oldman.) Lord Shen aims to dominate ancient China by using the newly-discovered gunpowder as a weapon. This could spell the end of Kung Fu. Meanwhile, Po starts to learn more about this mysterious past.

What can I say about this film which I haven't said about its predecessor? The animation was gorgeous. And the score was superior. Po remained a goofy yet sympathetic protagonist thanks to Jack Black's performance. James Hong, who plays Po's adoptive father Goose, was also great. As Po's adoptive father, he is very protective of his son. And he is naturally worried when Po goes off on his adventures. This concern was touching to see. One heart-twinging moment was when Po, just about to leave to defeat Lord Shen, reassures Goose that he'll be back before he can say noodles. As Po is leaving, Goose mumbles 'noodles' to himself. I'm not ashamed to say that I nearly cried.

Gar Oldman was also great as Lord Shen. He helped to bring the peacock to life with his borderline over-the-top performance, reminiscent of his villainous role in Leon the Professional. He made Lord Shen a far more memorable villain than Tai Hung.

John Stevenson also changed direction in this film choosing instead to take a darker tone. Nowhere is this more evident than when we learn more about Po's past of which I won't spoil here. Yet he also stayed close to the roots of kung fu films. From the wuxia films that I have seen, I have observed that they always champion the art and prowess behind kung fu. It is a source of national pride. Having this pride threatened with the invention of gunpowder, the tension and stakes went right through the roof.

Unfortunately, Kung Fu Panda 2 shares the same failures as its predecessor in its under-utilisation of its considerable cast. Despite starring in major kung fu films, Jackie Chan and Michelle Yeoh were majorly neglected.

That notwithstanding, I did enjoy Kung Fu Panda 2. It holds the rare title of being just as good as its predecessor. 

Hero review

 Number 367 on the top 1000 films of all time is the 2002 wuxia film 'Hero.'

Jet Li stars as the Nameless warrior who is summoned before the king of Qin - one of the seven kingdoms of Ancient China. Nameless foiled three assassination attempts on the king. And the king wants to hear how he did it.

Stylistically, there is no faulting Hero. It was visually gorgeous; a real treat for the eyes. Different sections of the film are broken into different colour schemes - white, blue and the gorgeous red that is considered so lucky in China. The martial art sequences while far from being the most realistic were still spectacularly choregraphed. The use of slow-motion and occasional monochrome added to the striking visuals.

However beautiful Hero looked it wasn't very interesting to watch. I found it very boring. Part of that was down to how it was structured. Much of the film is told in flashback and we're led to believe these flashbacks are not to be trusted. The prime timeline sees Nameless and the king simply talking to each other. There is no forward momentum and very little else going on. And I did struggle in paying attention.

Perhaps I don't have a very long attention span or I'm impatient, as I'm sure there were plenty of deep-rooted metaphors and symbolism which I missed out on.

Although I didn't find Hero particularly interesting, there ids no denying that it is a visually stunning film.