The Laundryman 青田街一號
The Laundryman is the directorial debut of Taiwanese writer Lee Chung (李中), who apparently cannot be mentioned without referring to his famous father, writer and screenwriter Hsiao Yeh (小野). It seems to be a mishmash of genres, as the trailer opens with a laundry shop that doubles as an assassination service, but things turn paranormal when a hitman with a troubled soul starts seeing ghosts and seeks help from a cutesy, pink-haired psychic medium who turns into the vehicle for these ghosts to interact with the hitman. Like many Taiwanese movies these days, the dialogue and action seem to take place in a constant manic state, which actually could be an endearing national trademark after you get used to it. It’s an irreverent black comedy with lots of violence that is sure to entertain, but also takes a look at human nature through the absurd.
Hitman: Agent 47
The genetically-engineered assassin protagonist of the popular first-person shooter video game Hitman: Codename 47 hits the big screens again in this reboot of the 2007 adaptation. This time, Agent 47 goes up against an organization that wants to find out the secret to his powers, and replicate them. Not surprisingly, he teams up with a young woman, also with secret origins, who may have the key to it all. There’s just one problem here. In the game, the player can choose to advance by way of an all-out bloodbath, but earns more points for tactical efficiency such as conserving bullets, not triggering alarms and killing targets without collateral damage. Yet, the trailer shows Agent 47 choosing the former path (such as ramming enemies with cars) which may indicate that the movie kind of misses the point of the game, or of an assassin movie at all.
Marvel Stories
If you’re feeling blue that there won’t be any Marvel action movies until Feb. 2016, take solace in the fact that Taiwan is the only country in the world that will be showing the French television documentaries Marvel Renaissance and Marvel Universe in one setting as Marvel Stories. The first film tells the story of how Marvel recovered from its 1996 bankruptcy to take over Hollywood and become an entertainment industry trendsetter. Descriptions of the film promises juicy tidbits and insider information that would surprise the casual fan, and the audience will hear from Hollywood producers, comic book writers and Avi Arad, former head of Marvel Entertainment and founder of Marvel Studios. Not sure what the second film is about, but hey, it’s 70 more minutes of Marvel screen time you’ll get to enjoy this year.
Pixels
If you grew up playing classic arcade games like Donkey Kong and Centipede, you’ll probably be ecstatic about the film’s premise of giant, pixelated characters from these games attacking the earth and its promotional posters featuring Pac-Man devouring its way through San Francisco. The US government doesn’t know what to do, so the illiterate president (Kevin James) turns to his best friend, a former video game child prodigy-turned-sad sack loser played by, if it isn’t obvious enough, Adam Sandler. Such a promising premise seems to have been turned into a formulaic Sandler bro-comedy with him playing the same person he’s played in most of his films. Worst thing is, it’s not even an original idea — the movie was inspired by a two-and-a-half minute YouTube short film by French filmmaker Patrick Jean, which critics say is better than its feature-lenght counterpart. I won’t lie, though, the special effects are pretty cool.
The Tribe
Set in a school for deaf children, The Tribe is an innovative reason to make a silent film — all dialogue is carried out in Ukrainian sign language, and there is no music. “You don’t need subtitles or voiceovers, because for love and hatred you don’t need translation,” the trailer declares. The effects are haunting, fitting for the grim portrayal of human brutality in a school ruled by a gang of students, “The Tribe,” which deals in organized crime and prostitution. When a member of the tribe breaks all the unwritten rules in the name of love, things turn nasty. The Guardian calls it “one of the most disturbing films of the year,” presumably in a way completely opposite from The Human Centipede 3, yet hitting on the same theme of how depraved people can be.
The canonical shot of an East Asian city is a night skyline studded with towering apartment and office buildings, bright with neon and plastic signage, a landscape of energy and modernity. Another classic image is the same city seen from above, in which identical apartment towers march across the city, spilling out over nearby geography, like stylized soldiers colonizing new territory in a board game. Densely populated dynamic conurbations of money, technological innovation and convenience, it is hard to see the cities of East Asia as what they truly are: necropolises. Why is this? The East Asian development model, with
Desperate dads meet in car parks to exchange packets; exhausted parents slip it into their kids’ drinks; families wait months for prescriptions buy it “off label.” But is it worth the risk? “The first time I gave him a gummy, I thought, ‘Oh my God, have I killed him?’ He just passed out in front of the TV. That never happens.” Jen remembers giving her son, David, six, melatonin to help him sleep. She got them from a friend, a pediatrician who gave them to her own child. “It was sort of hilarious. She had half a tub of gummies,
The wide-screen spectacle of Formula One gets a gleaming, rip-roaring workout in Joseph Kosinski’s F1, a fine-tuned machine of a movie that, in its most riveting racing scenes, approaches a kind of high-speed splendor. Kosinski, who last endeavored to put moviegoers in the seat of a fighter jet in Top Gun: Maverick, has moved to the open cockpits of Formula One with much the same affection, if not outright need, for speed. A lot of the same team is back. Jerry Bruckheimer produces. Ehren Kruger, a co-writer on Maverick, takes sole credit here. Hans Zimmer, a co-composer previously, supplies the thumping
No more elephant and monkey acts. No more death-defying motorbike stunts. No more singing or acting on stage. Several hundred spectators still clapped constantly when acrobats with Dongchoon Circus Troupe, South Korea’s last and 100-year-old circus, twirled on a long suspended fabric, juggled clubs on a large, rotating wheel and rode a unicycle on a tightrope under the big top. “As I recall the hardship that I’ve gone through, I think I’ve done something significant,” Park Sae-hwan, the head of the circus, said in a recent interview. “But I also feel heavy responsibility because if Dongchoon stops, our country’s circus, one genre
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