The Sparkle in the Dark (黑道之無悔今生)
Set in Taiwan but largely a Hong Kong production, The Sparkle in the Dark tells the story of an orphan whose tragic and grisly loss and inability to adapt to subsequent home life leave him marooned in a world of hatred and drug abuse. Eventually he gets involved with gang members, among whom he finds support, animosity, romance and — judging by the trailer — no shortage of machete violence. Most of the songsters starring in this effort hail from Hong Kong, which isn’t likely to lend the movie any verisimilitude. That’s possibly the reason why this downbeat flick is being released in only one theater in Taipei (Vieshow Xinyi).
Eagle Eye
The big-budget release for this week is a chase film in which the pursued (Shia LeBeouf and Michelle Monaghan) are caught up in a plot involving government security forces, terrorism, a renegade supercomputer with a female voice and an FBI interrogator (Billy Bob Thornton). Eagle Eye has Steven Spielberg as executive producer, but that doesn’t necessarily lend it the trenchant worldview that marks his later films, such as Minority Report and A.I. Artificial Intelligence. Expect big explosions, crashing trucks and disposable paranoia instead. Also screening in IMAX format.
Igor
Produced by a French animation company, this US coproduction is a film for kids that explores the world of the title character who, like his fellow Igors, works for mad and bad scientists. Our Igor (John Cusack), however, makes the leap to mad scientist himself, creating new creatures for sinister ends — but with results that don’t quite live up to expectations. As usual for bigger budget animated features, Igor has a noteworthy cast of voice talent (Christian Slater, John Cleese, Steve Buscemi, Jay Leno, Arsenio Hall), but this time around the script and animation have resulted in a “mirthless,” “underimagined” and “strenuously unfunny” movie, according to Variety.
Fear Factors (恐懼元素)
Two short thrillers combine for this feature-length outing from Hong Kong — which the Hong Kong Movie DataBase’s review claims was shot on the cheap in unfinished Chinese office blocks. In the first yarn, a dying man and his female abductor are confined in a room as flashbacks paint a more complicated picture. The second has a meat vendor come upon an inheritance in the form of a factory — if he can survive an encounter with a knife-wielding lady wearing the obligatory white sheet. Perhaps released in Taiwan to take a bite out of 4bia’s slice of the box office pie, this undistinguished pairing might even struggle to make money on DVD, let alone in its limited theatrical release.
Three Monkeys
A real downer awaits audiences with this Turkish entry. A fatal accident prompts a politician to convince his driver to take the rap, but the reward he promises once the latter leaves jail doesn’t save anyone involved from deteriorating relationships with spouses, children and lovers. The title seems to refer to the act of shunning responsibility, and the moral of the tale leaves no way out, while some suggest that the scenario is a metaphor for Turkey as a whole. For this film, Nuri Bilge Caylan won the Best Director award at this year’s Cannes film festival.
Vow of Death
A couple of months ago the Thai film The Coffin taught us that lying in coffins when you’re not dead is an overrated tradition that can shorten one’s lifespan. In Vow of Death, also from Thailand, a bunch of teenagers clearly suffering from excessive parental expectations discover that a supernatural tree, which they hoped would help them with exams, has been ripped from the ground and wants them dead. More than a year-and-a-half since its home release, this one is entering theaters here with virtually no fanfare.
Last week the government announced that by year’s end Taiwan will have the highest density of anti-ship missiles in the world. Its inventory could exceed 1,400, or enough for the opening two hours of an invasion from the People’s Republic of China (PRC). Snark aside, it sounds impressive. But an important piece is missing. Lost in all the “dialogues” and “debates” and “discussions” whose sole purpose is simply to dawdle and delay is what the Chinese Nationalist Party (KMT) alternative special defense budget proposal means for the defense of Taiwan. It is a betrayal of both Taiwan and the US. IT’S
March 16 to March 22 Hidden for decades behind junk-filled metal shacks, trees and overgrowth, a small domed structure bearing a Buddhist swastika resurfaced last June in a Taichung alley. It was soon identified as a remnant of the 122-year-old Gokokuzan Taichuu-ji (Taichung Temple, 護國山台中寺), which was thought to have been demolished in the 1980s. In addition, a stone stele dedicated to monk Hoshu Ono, who served as abbot from 1914 to 1930, was discovered in the detritus. The temple was established in 1903 as the local center for the Soto school
Paul Thomas Anderson’s “One Battle After Another” was crowned best picture at the 98th Academy Awards, handing Hollywood’s top honor to a comic, multi-generational American saga of political resistance. The ceremony Sunday, which also saw Michael B. Jordan win best actor and “Sinners” cinematographer Autumn Durald Arkapaw make Oscar history as the first female director of photography to win the award, was a long-in-coming coronation for Anderson, a San Fernando Valley native who made his first short at age 18 and has been one of America’s most lionized filmmakers for decades. Before Sunday, Anderson had never won an Oscar. But “One Battle
In Kaohsiung’s Indigenous People’s Park (原住民主題公園), the dance group Push Hands is training. All its members are from Taiwan’s indigenous community, but their vibe is closer to that of a modern, urban hip-hop posse. MIXING CULTURES “The name Push Hands comes from the idea of pushing away tradition to expand our culture,” says Ljakuon (洪濬嚴), the 44-year-old founder and main teacher of the dance group. This is what makes Push Hands unique: while retaining their Aboriginal roots, and even reconnecting with them, they are adamant about doing something modern. Ljakuon started the group 20 years ago, initially with the sole intention of doing hip-hop dancing.
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