Chris says: “SHADOW was Zhang Yimou’s best film in years; this follow-up is not as innovative, but it does feel faintly reminiscent of his smaller-scale 1990s dramas (his most fertile period), if perhaps a little goofier. Set in a remote area
Michael says: “Who knew Zhang Yimou had a new movie out this year? Certainly not me (thanks, Bob!) I’ve loved a lot of Zhang Yimou’s films, both his gorgeous, epics, and his tiny character films. SHADOW is one of the
Bruce says: “The opening scene of COMING HOME sets the tone. Pre-teen ballerinas are rehearsing – on point, pirouetting, and then crashing their rifles to the floor in unison. One of them is Dandan (Zhang Huiwen) who is suddenly called
Thom says: “With so many great films behind him (including RAISE THE RED LANTERN, CURSE OF THE GOLDEN FLOWER, HERO, SHANGHAI TRIAD, HOUSE OF FLYING DAGGERS, & many others) I would have thought this lovely film would have, at least,
Jason says: “It sort of makes sense when Hollywood makes a movie about something that happened outside the borders of America and Europe but makes a white guy the protagonist – silly, but understandable. When a Chinese filmmaker decides that
Bruce says: “China and Japan have a contentious relationship for hundreds of years, particularly in the years since Japan occupied parts of China and Taiwan in the early 20th century. Diplomatic relationships did not resume until 1972 and attitudes on
Michael says: “In HOUSE OF FLYING DAGGERS, legendary Chinese director Zhang Yimou returns to the high-flying martial arts saga that he scored big with in HERO. After seeing the gorgeous, exciting trailer, I was excited about the film, but ultimately,
Chris says: “Zhang Yimou’s long-delayed (in the US, anyway) martial arts epic is stunning, at least technically. Cinematographer Christopher Doyle outdoes himself, the awesome color-coding even more sensual than IN THE MOOD FOR LOVE’s rain-drenched streets and intricate, congested apartments.
Michael says: “The latest film by Zhang Yimou is an odd little film. It’s only getting a week’s run in Boston, and there were only three of us at the screening on Monday night. You would think that a film