Hercules: The Thracian Wars
Greek mythology is getting a heavy workout in Hollywood these days. As yet, apart from the visual inventiveness of Zack Snyder’s 300, this sub-genre of the swords and sandals epic, enhanced with massive quantities of CGI, has produced no particularly good movies. And it is not for want of trying. The character of Hercules features in two movies this year alone, and Hercules: The Thracian Wars, starring that outstanding specimen of prime beefcake, former WWE wrestler Dwayne “The Rock” Johnson, should not be confused with The Legend of Hercules, starring Kellen Lutz, whose main claim to fame is playing the buff Emmett Cullen in the Twilight franchise. Johnson is a perfectly acceptable screen presence, and has been effective in various supporting roles movies such as The Mummy Returns and Luke Hobbs in the Fast and Furious series. Sadly, he is not really up to a leading role, and despite support from the likes of Ian McShane and John Hurt, as well as a host of scantily clad beauties, Hercules: The Thracian Wars is utterly silly and not very engaging. The script is clunky, often undermining the epic tone it seeks to achieve, and occasionally stumbling in unintended humor. It has none of the cheekiness that made films such as Arnold Schwarzenegger’s early Conan movies so much fun.
Cruel and Unusual
Weird psychological fantasy from Canada by Merlin Dervisevic in his debut feature film. The story centers on a shabby everyman named Edgar (David Richmond-Peck) who may, or may not, accidentally have killed his Filipina wife (Bernadette Saquibal), and who then finds himself in a group therapy session in which he is forced to relive the murder for eternity. Through the process of endless confession, a kind of murderous Groundhog’s Day, he realizes that it may actually have been his wife who was trying to kill him. It is all quite cleverly constructed, and Richmond-Peck does an outstanding job of portraying the bemused protagonist struggling toward some understanding of his situation. For all its qualities, Cruel and Unusual has a self-serious earnestness that drags the whole thing down, drawing it toward film school territory and making this relatively compact package (running time 95 minutes) into something of a drag.
7500
The sort of horror flick that deserves to go straight to DVD and then into the trash. 甀 is devoid of scares, and its attempts at creating character and exploit psychological thrills falls flat. Flight 7500 departs Los Angeles International Airport bound for Tokyo. As the overnight flight makes its way over the Pacific Ocean, the passengers encounter what appears to be a supernatural force in the cabin. But do we care about what happens to the cardboard cutouts on the flight? Do we discover why they are there in the first place, or how the snippets of backstory enhance the audience experience of their plight? Do we ever jump out of our seats? The answer is a uniform no. If you must watch people have a bad time on an airplane, watch the DVD of Snakes on a Plane instead.
A Thousand Times Good Night
English-language film by Norwegian director Erik Poppe tells the story of a female war photographer passionately committed to her dangerous profession and caught up in her family’s fear that her job, which brings her to some of the most dangerous locations on the planet, will almost certainly get her killed. The film is anchored by a strong performance from Juliette Binoche, who plays photojournalist Rebecca, who has a compulsion to make others see what she sees through her photographs. The story focuses more on her inner compulsion rather than conflicts of journalistic values as in such Hollywood classics with a similar set up as Under Fire. Binoche is ably supported by Nikolaj Coster-Waldau (from Game of Thrones) as Rebecca’s marine biologist husband, and Lauryn Canny as her daughter, who is torn by the abandonment consequent on her mother’s work, and the vocation, or addiction, it represents. Deftly sidestepping both melodrama and family-values messaging, director Poppe, who worked as a photojournalist in the 1980s, imbues the film with enormous emotional resonance.
The Ghost Festival (盂蘭神功)
Written, directed and starring Hong Kong cinema’s tough man Nick Cheung (張家輝), The Ghost Festival sports a veteran cast that includes Carrieng Wu (吳家麗) and Taiwanese-Canadian actress Annie Liu (劉心悠). With Cheung at the helm, the film has garnered considerable press attention, and its mix of regular horror tropes with a story set against the operation of a Chinese opera troupe ensures that there is a strong element of the exotic to flesh out a horror story that follows genre conventions without too much imagination. Cheung plays a businessman who has returned from China to Malaysia after a failed venture and is forced to take over his father’s opera company, as well as manage the intense family feuding with his younger sister. With the advent of Ghost Month, strange things begin to happen, and the installation of a CCTV system reveals that this paranormal activity seems closely related to the troupe’s star performer. Production values are above average and Cheung elicits some committed performances from his cast.
A few weeks ago I found myself at a Family Mart talking with the morning shift worker there, who has become my coffee guy. Both of us were in a funk over the “unseasonable” warm weather, a state of mind known as “solastalgia” — distress produced by environmental change. In fact, the weather was not that out of the ordinary in boiling Central Taiwan, and likely cooler than the temperatures we will experience in the near-future. According to the Taiwan Adaptation Platform, between 1957 and 2006, summer lengthened by 27.8 days, while winter shrunk by 29.7 days. Winter is not
A sultry sea mist blankets New Taipei City as I pedal from Tamsui District (淡水) up the coast. This might not be ideal beach weather but it’s fine weather for riding –– the cloud cover sheltering arms and legs from the scourge of the subtropical sun. The dedicated bikeway that connects downtown Taipei with the west coast of New Taipei City ends just past Fisherman’s Wharf (漁人碼頭) so I’m not the only cyclist jostling for space among the SUVs and scooters on National Highway No. 2. Many Lycra-clad enthusiasts are racing north on stealthy Giants and Meridas, rounding “the crown coast”
March 25 to March 31 A 56-year-old Wu Li Yu-ke (吳李玉哥) was straightening out her artist son’s piles of drawings when she inadvertently flipped one over, revealing the blank backside of the paper. Absent-mindedly, she picked up a pencil and recalled how she used to sketch embroidery designs for her clothing business. Without clients and budget or labor constraints to worry about, Wu Li drew freely whatever image came to her mind. With much more free time now that her son had found a job, she found herself missing her home village in China, where she
In recent years, Slovakia has been seen as a highly democratic and Western-oriented Central European country. This image was reinforced by the election of the country’s first female president in 2019, efforts to provide extensive assistance to Ukraine and the strengthening of relations with Taiwan, all of which strengthened Slovakia’s position within the European Union. However, the latest developments in the country suggest that the situation is changing rapidly. As such, the presidential elections to be held on March 23 will be an indicator of whether Slovakia remains in the Western sphere of influence or moves eastward, notably towards Russia and