VIEW THIS PAGE Tricked out in leather and heavy metal hair, the British actor Michael Sheen takes a lively break from his usual high-crust duties to bring wit, actual acting and some unexpected musculature to the goth-horror flick Underworld: Rise of the Lycans The film, a prehistory to the first two Underworld movies, rewinds time to when the werewolves, or Lycans, led by Lucian (Sheen), began rattling the chains clamped on them by their vampire masters, a louche crowd that answers to Viktor (the British actor Bill Nighy).
Set primarily in the lair of the vampires, a dark castle bathed in moon-blue light and dappled with pools of black shadow, the film offers few surprises other than Sheen’s vigorous, physical performance. Although the presence of Sheen — who can be seen twinkling as David Frost in Frost/Nixon and is probably best known for playing Prime Minister Tony Blair in The Queen — is initially distracting, it soon becomes the movie’s greatest asset. There is, as it turns out, some benefit to having a real performance even in a formulaic entertainment like this, as shown by Sheen’s commitment here and by the lackluster star turn of Kate Beckinsale in the previous movies.
Unlike Nighy, who puts an amusing camp spin on his every line and gesture, Sheen appears to have taken his monster duties seriously: his eyes pop with menace, and he howls up a mighty storm. Though the director, Patrick Tatopoulos, clearly likes the looks of the female lead, Rhona Mitra as Sonja, Viktor’s daughter and Lucian’s lover, he gives Sheen plenty of face time. The actor’s value is particularly evident during the various fight sequences, which — because they are underlighted and, as is too often the case in contemporary genre cinema, overedited — come across as needlessly chaotic. It’s at moments like these that Sheen’s bright eyes become beacons, two points of light in the murky dark. VIEW THIS PAGE
In late October of 1873 the government of Japan decided against sending a military expedition to Korea to force that nation to open trade relations. Across the government supporters of the expedition resigned immediately. The spectacle of revolt by disaffected samurai began to loom over Japanese politics. In January of 1874 disaffected samurai attacked a senior minister in Tokyo. A month later, a group of pro-Korea expedition and anti-foreign elements from Saga prefecture in Kyushu revolted, driven in part by high food prices stemming from poor harvests. Their leader, according to Edward Drea’s classic Japan’s Imperial Army, was a samurai
The following three paragraphs are just some of what the local Chinese-language press is reporting on breathlessly and following every twist and turn with the eagerness of a soap opera fan. For many English-language readers, it probably comes across as incomprehensibly opaque, so bear with me briefly dear reader: To the surprise of many, former pop singer and Democratic Progressive Party (DPP) ex-lawmaker Yu Tien (余天) of the Taiwan Normal Country Promotion Association (TNCPA) at the last minute dropped out of the running for committee chair of the DPP’s New Taipei City chapter, paving the way for DPP legislator Su
It’s hard to know where to begin with Mark Tovell’s Taiwan: Roads Above the Clouds. Having published a travelogue myself, as well as having contributed to several guidebooks, at first glance Tovell’s book appears to inhabit a middle ground — the kind of hard-to-sell nowheresville publishers detest. Leaf through the pages and you’ll find them suffuse with the purple prose best associated with travel literature: “When the sun is low on a warm, clear morning, and with the heat already rising, we stand at the riverside bike path leading south from Sanxia’s old cobble streets.” Hardly the stuff of your
Located down a sideroad in old Wanhua District (萬華區), Waley Art (水谷藝術) has an established reputation for curating some of the more provocative indie art exhibitions in Taipei. And this month is no exception. Beyond the innocuous facade of a shophouse, the full three stories of the gallery space (including the basement) have been taken over by photographs, installation videos and abstract images courtesy of two creatives who hail from the opposite ends of the earth, Taiwan’s Hsu Yi-ting (許懿婷) and Germany’s Benjamin Janzen. “In 2019, I had an art residency in Europe,” Hsu says. “I met Benjamin in the lobby