Browsing: China

Reviews Go Away Mr Tumor

Yet another big commercial hit for actress Bai Baihe, this time directed by Yan Han, Go Away Mr. Tumor is much like its title: a balancing act of comedy and drama and the extremes of each one, as a young woman finds abruptly that she has non-Hodgkin’s…

Reviews Seventh-Son-Review

An uninspired, derivative, bargain-basement action-fantasy directed by Sergey Bodrov (Mongol: The Rise of Genghis Khan, Prisoner of the Mountains) from a screenplay credited to Charles Leavitt and Steven Knight, Seventh Son finally arrives in multiplexes after seemingly endless delays, seemingly endless, that is …

Reviews yang-zi-shan-with-luhan-in-the-family-comedy-20-once-again-1

Grandmothers in film are rare. To have them as protagonists is even more so. This fact is to 20 Once Again’s credit. A remake of 2014 Korean family comedy, Miss Mammy, it wishes to challenge perceptions of the older generation, to reveal to us that they still can …

Reviews TheSearchForGeneralTsoFeat

Food-documentarian Ian Cheney understands the classic documentary form of starting with a simple question, which through the journey of answering it, can reveal surprisingly complex answers. His documentary, The Search for General Tso, opens with a food …

Reviews the barefoot artist

It seems that every time I come to review a documentary, I have the urge to expound on the virtues and potential great fortune of the medium. For like any genre of film, documentary has the ability to transcend mere entertainment. Regardless of whether its subject is biographical, historical, or political, it can permeate…

AFI FILM FEST 2014 Black-Coal_-Thin-Ice_web_LIAO_Fan_01

At one point in Diao Yinan’s third feature film, the camera presents the point of view of a car that is reaching the end of a tunnel. The year is 1999. A thick snow covers the road. To the right of the lane are a parked motorcycle and a man slumped on a block of cement. The camera with the car’s point of view passes him by.

Reviews fury

Over the course of the past two decades, writer-director David Ayer (Sabotage, End of Watch, Street Kings, Training Day) has specialized in a particular brand of old-school, throw-back masculinity. In film after film, his male characters operate…

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