Treeless Mountain was a poignant story about two little girls who were abandoned with relatives and seen through their innocent eyes. This was a spare, melancholy slice of life with little music or dialogue as the sisters learned to navigate their everchanging world.

Grade schooler Jin and her little sister Bin are dropped off at their paternal aunt’s house when their mother goes in search of their missing deadbeat father. As the mother leaves, she hands Jin a red piggy bank and tells her when it is full of coins they earn for doing chores for their aunt, she’ll return. Their aunt who doesn’t work and drinks too much soju does the bare minimum for them and sometimes not even that. The girls often find themselves alone and fending for themselves or asking a neighbor for food. Jin, who was a good student, is no longer enrolled in school. Despite their circumstances the girls stick together and look for ways to earn money to fill their piggybank.

This film eschewed dramatic music for natural sounds or the girls singing. The young actresses gave beautifully genuine, unpretentious performances. They carried the weight of the movie on their tiny shoulders as the story was seen through their eyes. It was agonizing watching Jin slowly piece together the reality of her life after the harsh realization of their situation hit her. Each emotional blow would rock her and she would slowly absorb the new information and try again. Kim Hee Yeon’s eyes told the depth of Jin’s pain. Though the girls were shuttled about, they stayed together and never gave into despair, always making the best of their lives.

Treeless Mountain demonstrated how vulnerable children are and how resilient they can be when they shouldn’t have to be. There were moments that were genuinely heartbreaking as Jin came to realize that adults lie and had let her down repeatedly and others that were filled with hope when she offered all she had to someone in need. This film will cause you to want to show great kindness to any children in your life-to cuddle them and fill their bellies with warm food and shelter them from all danger. Not every child has that security, some sisters live on a treeless mountain with only each other to truly depend on. While this slow meditation on the perils of childhood may not be for everyone, I found it to be deeply moving.

21 May 2024

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"Don't criticize other people's customs and don't criticize their kimchi!"

Heo Young Man, Ryu Soo Young, and Mimi traveled the country trying and discovering new takes on kimchi and relishing the traditional ways of making it on A Nation of Kimchi.

Like the other K Food Shows, our adventurous hosts embraced their roles as food guides whole-heartedly. They demonstrated how “Kimchi shows Korea’s history, culture, and lifestyle.” Nothing else embodies Korea quite as much. Archaeologists have discovered the making of kimchi dating back as far as the Three Kingdom Era (220-280 C.E.). The oldest mention in writing goes back to a poem in 918 C.E. Since that time Koreans have experimented using different plants, seafoods, and spices. The introduction of chili peppers during the Joseon era caused an explosion of new taste sensations and the familiar red color known today.

Seasonal and regional ingredients and differences were examined. “Don’t criticize other people’s customs and don’t criticize their kimchi.” The crew visited restaurants, food stalls, and two temples. At the first temple the head monk used lotus flowers to make kimchi dishes into stunning artwork. At the second temple, the community gathered yearly to pick the vegetables and make the kimchi to be served there.

If kimchi is the heart of Korea, women make that heart pulse. In all the scenes of kimchi being made throughout the country, it was the women working together to lovingly produce it. When Ryu helped out, he was the only man among tables of women massaging the red filling into the cabbage leaves. Heo made the statement, “There are as many kinds of kimchi as there are mothers in the world.” These women might adhere to family traditions, but many of them pushed the boundaries, willing to experiment with new ingredients and combinations. “Gimjang”, the community making of kimchi, has been recognized as a UNESCO Intangible Cultural Heritage.

Whether served with wine or makgeolli, used as a side dish or main dish, in traditional combinations or new imaginative ways, the hosts enthusiastically tried them all. I enjoyed learning more about the history and making of kimchi as well as the nearly endless ways of serving it by people who demonstrated a deep love and appreciation for the national culinary treasure.

20 May 2024

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"Goryeo is more resilient than we thought"

I had been looking forward to watching the historical Korea-Khitan War as it wasn’t a fantasy or focused on the romantic involvements of the king or other characters. I ended up having mixed reactions to the varied approaches to history and the different levels of acting abilities.

Goryeo was dealing with its larger and more aggressive neighbor, the Liao Empire run by the Khitans. There had already been one invasion by the Khitans which had been repelled but led to concessions on both sides. After a coup, Gang Jo has the teenager Hyun Jong coronated king. The Khitans use the coup as justification for another invasion and for the people of Goryeo and their new king it won’t be the last.

When the drama focused on the historical events of the invasions, I found it quite compelling. This small country stood its ground and used every trick and resource it could to repel the invaders. I became deeply invested in characters like Kang Kam Chan, Yang Kyu, Kim Sook Heung, Ji Chae Mun, and even the Khitan general Xiao Pai Ya. Goryeo not only dealt with the enemy across the border but the enemy within, as traitors opened their gates to the invaders or planned to cooperate with the Khitans. After the Khitans were successfully repelled the second time, the drama lapsed into internal conflicts for around 14 episodes that apparently were not based in historical evidence which I found disappointing. When they once again faced the Khitans, more prepared for their familiar enemy, the drama picked back up for me.

The battle scenes required an understanding that with a limited budget, armies of over 100,000 troops were going to be represented by two dozen people. Battle fields that should have been hip deep in bodies and blood were suddenly washed clean with no one there. For the most part when they showed the fighting up close and the stakes involved it was easier to buy in. The battle at Heunghwajin was done quite well. I was hoping to see the damming of the river battle in the third invasion, but that was likely beyond their budget.

Some of the acting was quite good. Choi Soo Jong as the rigid and canny Kang Kam Chan gave a brilliant performance. Ji Seung Hyun as Yang Kyu was quite believable as the determined warrior who could adapt and improvise on the battlefield. The deep voiced Kim Tae Han as Xiao Pai Ya provided the perfect foil for Kang Kam Chan. There were some limited performances by many other characters that often pulled me out of the moment. The drama focused much of its attention on the saintly, emotional king, but I found him to be one of the least interesting characters and performances. The amateurish camera pans of obvious reaction shots of people being wide-eyed, open-mouthed shocked in the court were overused. The villains, Emperor Shengzong of Liao and Park Jin of Chungju, were overacted and did everything but twirl their mustaches to let you know how evil they were.

When Korea-Khitan War focused on the war, it was engrossing to see how the Goryeo army was going to outfox and outfight the larger armies of the Khitans. When it lapsed into endless political jockeying and arguments, focusing on less compelling characters and actors, it lost some steam and historical integrity.

20 May 2024

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"This is personal" Well, of course it is...

Triple Threat had an embarrassment of martial artists riches and also embarrassingly bad dialogue, even for an action movie. The martial arts were also short shrifted in lieu of guns and things that go boom far too often.

Payu and Long Fei have been hired to help with a “humanitarian” mission that turns out to be anything but. Local security for the site, Jaka, loses his wife in the deadly firefight that erupts when the mercenaries enter the village to release Collins, a notorious terrorist. Payu, Long Fei, and Jaka develop a tenuous partnership to bring down the mercs and end up protecting a Chinese heiress/local philanthropist along the way.

The firefights were often over the top as the bad guys mowed down people throughout the small country of Maha Jaya. Things were always more interesting when the guns were down and the fists and kicks were up. Tony Jaa, Iko Uwais, and Tiger Chen all have experience with fighting on screen and choreography. The weakest of the three was Tiger as his fights often looked slow and uninspired. Tony and Iko were far more entertaining as they defied gravity with their flexibility, quickness, and strength. Bad guy, Scott Adkins, was able to keep up with the kicks as was Michael Jai White. Jeeja Yanin had what amounted to a glorified guest role and didn’t have many chances to show her skills.

The action came fast and furious with the fighters and heiress on the run. Unfortunately, some of the acting and much of the dialogue was painfully cringeworthy. Not much effort was made to create a cohesive story either. As a check your brain at the door, let’s watch Tony Jaa fly and flip, it was rudimentary martial arts action entertainment.

15 May 2024

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"Impossibilities are what make this world interesting"

The Sealer was a short drama involving a secret organization that seals blades filled with “filth” such as malice and hatred and causes the humans wielding them to disappear. A reporter who can see the evil black haze emitted from the demons and swords becomes involved with the group and aids in needed research to help one of their own.

The premise of the story was interesting if dark. Anyone dealing with anger or other strong emotions could become a victim of the sword and then be turned into mindless killers, even good people. The Sealers absorbed the “filth” from Blades of Filth until they could no longer contain that “filth”, then they were eliminated lest they become demonic as well. Not a great retirement plan or selling point for new candidates. Over the centuries, no one figured out how to resolve some of the more problematic issues. Karen, the maker of the scabbards that sealed the evil blades, believed that scabbards could be made that would save the humans attached to the blades and grant them the ability to atone for their deeds instead of disappearing. The blades were similar to Mordor blades, wounds caused by them would never heal.

Most of the characters were flatly drawn and acted. The characters wore basically the same clothes throughout the episodes. Sanjo, the overly earnest reporter, needed a pair of trainers as many times as she fell down and couldn’t get back up. In fact, characters falling down and being unable to stand afterwards was a common theme. I counted at least nine times it happened, as if they were all part turtle with no way to get up once down.

The Sealer was entertaining for a short drama, but being so short often left the characters underdeveloped as well as the story. There were times characters just stood around and watched what was happening with little to do. Many of the action scenes felt redundant, yet the stakes were high. For the most part The Sealer kept my attention except when I wasn’t wondering what evil spell caused people to freeze on the floor instead of attempting to escape a sword wielding demon.

6 May 2024

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"A man is not a human being without mercy"

Sansho the Bailiff had little to do with the title character and everything to do with two noble children sold into slavery to him. A family torn apart never let the dream die of being reunited one day. They would all have to decide if they should continue doing the right thing when good things happened to bad people and bad things happened to good people.

A governor who refuses to let the military conscript and further tax his people who have experienced famine for 13 years is stripped of his title and exiled. Before he leaves, he tells his son to remember that “A man is not a human being without mercy…Everyone is entitled to their happiness.” He gives Zushio the treasured family statuette of Kannon, the Goddess of Mercy to keep with him. His wife Tamaki and the two young children stay for a time with her brother and then determine to make the long trek in search of the father. Along the way they are betrayed in an area rife with bandits and slave dealers. Tamaki is sold into prostitution on a distant island and the children are sold into slavery to Sansho the Bailiff. Sansho is a cruel slave owner who keeps his slaves in a walled compound. Any attempt at escape results in a branding on the forehead. Sansho’s son, Taro, is kind to the children and tells them to endure until they are old enough to escape and make the difficult journey to their father. He then leaves the compound, never to return. As the children age, Anju adheres to her father’s words of wisdom while Zushio abandons them and in a twist of fate becomes the cruel "son" Taro could never be.

Calling out injustice was a familiar theme for Mizoguchi. In this film, the barbarism of forced labor camps was brought forth. More than once, the suffering of the common people was dismissed as unimportant by the affluent leaders. Much as his sister in real life had been, Tamaki was sold into prostitution. Despite the longing and despair of the characters, the scenery was amazing. Cinematographer Miyagawa Kazuo brought great beauty to the black and white film with stunning outdoor shots. Mizoguchi used water in several scenes—a lake and the ocean providing two of the more powerful moments in the film. Sansho’s slave encampment was claustrophobic and filthy, dark with hopelessness hanging over the weary people.

Sansho the Bailiff was based on a 1915 short story which was based on an old folk tale. What is curious about the title of the film was that Sansho was the villain and appeared far less than Zushio and Anju who were sold into slavery to him. Instead of Sansho’s story this was the boy Zushio’s as he grew into manhood. The mother and children were given different names along their journeys of suffering and as they sought to hold onto and rediscover their identities. Zushio’s growth and quest to reunite his family was the narrative backbone to the film. And if his growth was the backbone, Anju’s and Tamaki’s loving persistence was the life-giving blood of the film. Both women had deeply poignant scenes that will linger in my mind. Anju had a devastating scene that far from being melodramatic was like ripples through time that would affect other characters’ lives. And like those ripples the good done by the family members spread ever outward even when the family paid the cost. Sansho the Bailiff juxtaposed man’s cruelty and ability to be merciful, an ongoing battle even now as humankind decides who they want to be when they grow up.

15 April 2024

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"Compared to the cosmos, how tiny we are!"

Two people dancing around a relationship struggle to understand each other’s feelings and even their own as the clock ticks down to the Japanese occupation of Hong Kong in Love in a Fallen City. Chow Yun Fat was sizzling as the westernized playboy who takes an interest in Cora Miao’s solemn divorcee.

Pai Liu Su is being pressured to attend the funeral of her ex-husband. She’s been living with her family the last 7 years ever since she walked away after the brute had beaten her. In an explosion of words, her family tells her what a burden she’s been and how she never should have gone through with the divorce. All this despite the fact her brother lost her fortune in bad investments. Mrs. Hsu, a family friend, takes Pai and her younger sister to meet a couple of eligible men. Pai and Fan Liu Yuen hit it off before he leaves for Hong Kong. Mrs. Hsu invites Pai to accompany her to Hong Kong and stay as her guest. Pai and Fan grow closer as they spend time together, yet neither is sure of the other’s motives. Pai fears she will be just another notch in Fan’s belt and Fan fears Pai is only using him to get of out of her toxic household. Will the coming invasion drive them further apart or into each other’s arms?

“Life, death, and parting are immense things beyond our control.”
Chow Yun Fat brought the heat as he wooed the introverted Pai. I’d seen him in a number of action movies but here he turned on the charm and romance. It was hard to understand what Fan saw in Pai who appeared sullen most of the time. He seemed to enjoy the fact she was traditional, though untraditional enough to divorce and also to spend time with him.

“Laws can change from day to day, but morals and ethics, kinship and family, these things don’t change”
I’ve seen my share of Shaw Brothers kung fu movies filmed on their studio lots and with familiar exterior shots so it was a pleasant surprise to see the care and creativity allowed in this film. Hong Kong was explored and many scenes were filmed at the Old Repulse Bay Hotel. I was also pleasantly surprised to see so many women involved in the making of this film. Ann Hui was the director, it was produced by Mona Fong, and based on Eileen Chang’s novella. Violet Lam won the Best Original Film Score at the HKFA for her work.

“If everything should burn down, blow up, collapse, perhaps this wall will be left.”
I was confused by the timing of the story. The story took place from 1939-1941 approximately. My knowledge of Chinese history is minimal at best so my concerns may be over nothing. The Japanese occupied Shanghai by 1937 where the story began and there was no mention of their presence there in this film.

“Life’s never over for the poor.”
Despite Pai’s consistently somber attitude and the impending war, the movie never devolved into melodrama. Pai and Fan gradually worked their way through the problems hurled their way. The film clocked in around 90 minutes, short enough for the story to not become too maudlin and long enough to fall in love with Chow Yun Fat’s Fan Liu Yuen.

12 April 2024

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"Your life is more meaningful when you are willing to face yourself'

The Heroic Trio was a weirdly, wildly, stylized superhero movie starring three of the most beautiful women in Hong Kong films at the time. Michelle Yeoh, Maggie Cheung, and Anita Mui were caught up in an evil eunuch’s plan to steal babies and install one of them as the new emperor of China. This film had a Saturday morning superhero television show quality to it, if that show had cannibalism, decapitations, and dead babies and children.

Tung is married to Inspector Lau. Little does her husband know that she is the much admired hero, Wonder Woman. When babies are being kidnapped with no ransom notes the duo springs into action in their own ways. Chat, The Thief Catcher, rolls in on her motorcycle armed with a pump shotgun and dynamite and saves the day when she rescues hostages at a chemical warehouse. A superhero for hire, she gives her card to the police chief whose new baby has been targeted. Ching, The Invisible Woman, works for the merciless and powerful eunuch who lives in an enormous fortress in the sewers. The eunuch believes that, “China cannot be without an emperor.” And by that he means an emperor he controls so that he would be the de facto ruler. By day Ching lives with The Professor who invented the Invisible cloak so that when it is perfected, she can steal it and kill him. She may not get the chance as the invisibility process is deadly toxic. The three women warriors collide as the kidnappings become more complicated and deadly. The eunuch’s superpowered minion, Kau, brings danger and loss of body parts whenever he appears.

This movie was off the rails bonkers and not for the faint of heart. In Western films, killing and torturing children is right up there with killing pets, it’s rarely done, or at least not done onscreen so the cruelty toward children was quite disturbing for me. The Flying Guillotine survived the ages from the 1975 movie and made a cameo here. There were also a variety of throwing weapons, explosives, razor bladed chains, and poison darts used. The women’s most powerful weapons were the humanity and sisterhood that had almost been trained out of them. Only through their combined powers could they take down the maniacal eunuch. Many of the actions scenes were filmed in low lighting as the characters climbed, leapt, and fell repeatedly. Despite the darkness, the wires showed at times, at other times the train broke through the fourth wall. While exploring the superhero genre, the film kept its feet firmly flying in Hong Kong wuxia history as well.

What was the draw to this absurd superhero movie? The cast! Michelle Yeoh was gorgeous with her flowing hair and impeccable timing, completely believable as the conflicted anti-hero. Ching had the most painful character growth spurred by her inconvenient love for the professor. It would take Chat and Tung to give her a reason to live and break free from the eunuch’s hold. Maggie Cheung went from cocky bounty hunter to the vulnerable middle child caught between two sisters she loved. Anita Mui alternated as the devoted wife and ferocious heroine who was the moral compass of the trio. The three women each had tortuous pasts that they had to come to terms with in order to move forward.

The Heroic Trio was not a great movie but it was entertaining. At times it veered into so bad it was good, especially near the end with an unhinged final fight. Regardless of the movie's shortcomings, it's always refreshing to have competent women warriors and superheroes even if the movie didn’t always serve them well. For fans of these actresses, if you can keep your expectations low, it’s definitely one to give a try.

10 April 2024

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"What comes after?"

That Day on the Beach opens with two women connecting after thirteen years. This film is not about their friendship for the most part, it primarily focuses on Jia Li’s choices and desire for her elusive happiness. The story is decidedly not linear, more circular, as director Edward Yang examined dysfunctional families, work places, and marriages.

Tan Wei Ching, a celebrated pianist, made her first trip home to Taiwan after 13 years. She received a message from an old classmate and at the last minute decided to meet her for coffee. The classmate, Jia Li, is the sister of the boy she loved long ago. When Jia Sen was forced to marry someone else, Wei Ching cut ties with Jia Li and took a scholarship to study abroad. After the loss of her friend, Jia Li began dating Cheng De Wei. She discovered her father made a marriage pact for her, too. Watching the silent, sullen dinners with Jia Sen and his new wife convinced her she did not want that fate. She packed up and left that night. She and De Wei married soon after. De Wei’s old friend was shoring up his position at the company he worked for by hiring old friends and recruited De Wei. Soon the young couple bore the strain of the long days and nights De Wei was required to work and party.

I began this film thinking it was about two friends reconnecting. Around the 20-minute mark of this 165 minute film, Tan Wei Ching was all but forgotten. She’s the friend that got roped into someone’s life story when she asked, “Are you married?” That Day on the Beach also tries to lure the viewer in with police searching a beach during the movie’s introduction, making it seem this element would be ultimately pertinent to the story. Everything was window dressing and red herrings until the story of the excruciatingly slow and painful dissolution of Jia Li’s marriage began. With all of the flashbacks and flashbacks within flashbacks, I’m not entirely sure how long the agony went on for her, somewhere around 7 years. Honestly, it seemed longer. During this time, it was a constant back and forth of two people unable to communicate or come up with a better plan who kept thinking if they both said, “You don’t understand me,” enough, it would make a difference.

Jia Li was looking for love and happiness, thinking that marriage would bring it. It was not what she expected. De Wei was working at a job that required him to drink and socialize which he hated. Jia Li was naïve and De Wei was cowardly and both were completely disillusioned with their marriage. Li’s brother was miserable. Her mother had come to terms with her own flawed husband. Tan Wei Ching still missed the boy she’d loved. Everyone was unhappy and unfulfilled except for possibly the two most cynical characters. A predatory businesswoman and De Wei’s playboy boss seemed to be doing fine using the people around them for financial gain and pleasure. “The world I grew up in taught me that it’s a world without love. Perhaps you will find a moment or two of passion, but that’s not much.” The big mystery, regardless of outcome, was the result of a man willing to chew off his own arm to escape, but not the courage to confront the problem.

That Day on the Beach was a creative approach at displaying the costs of complex relationships, traditions, and toxic work environments. I was grateful that Jia Sen gave Li a piece of advice that helped her finally, after 13 years and 160 minutes, have some substantial character growth. If you are a fan of Edward Yang and long family dramas that tend to be caught up in a cycle of pain and dysfunction, this is one to try.

9 April 2024

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"What matters is your heart"

While Lao Tzu may have stated that the journey of a thousand miles/km begins with one step, he never imagined how the pilgrims in this film would experience that 1200 km journey. Prostrating themselves every 8 steps, the men, women, and child, traversed mountains in the bitter cold and blasting heat as they traveled for months to the holy mountain. Paths of the Soul was a deeply meditative experience in people acting out their faith in an arduous manner, never complaining and never faltering in their spiritual quest.

In a remote Tibetan village five men and four women decide to make the physically demanding pilgrimage to the holy mountain at Lhasa. The idea came from an old man who had never left the village. His brother died before performing the pilgrimage and he is determined to go. A pregnant woman wants her baby to be blessed by being born on the pilgrimage. An alcoholic butcher desires to pay for his sins by going. Two brothers want to honor the two laborers who died while building their house. And a little girl who will have no one to provide for her at home joins the group. One volunteer drives the tractor that pulls their tents and supplies as a priest leads the way. The pilgrims wear heavy animal skin aprons to protect their bodies and clothes when they slide forward on the ground and wooden planks on their hands. They chant, clap, and prostrate themselves, forehead to ground, get up and do it all over again in 8 steps or so for approximately 1,574,400 steps.

The film was shot documentary style and felt very much like one. Instead of focusing on the different sojourners as individuals, they remained a coherent group for the most part. Tsring had the spotlight for a moment when she went into labor but it was shot somewhat dispassionately and she was soon back on the road with the others, her baby swaddled among the tents. Regardless of the challenges the villagers faced, they never whined and rarely complained. If someone was injured or had a baby they waited. Shoes wore out and were replaced by inexpensive ones. When the tractor had mechanical trouble, they dealt with it. The miracle was not completing the arduous journey, it was a dozen people staying focused on their prayers and goals and not dissolving into petty squabbles when they faced exhaustion and challenges. They truly displayed a holy persistence and willingness to overcome obstacles.

Hospitality and generosity flowed on the road both from locals and the devotees. When a farmer offered them shelter and food, they returned his kindness. A cup of tea gifted on the side of the road was enough to bolster bodies and spirits. When they ran out of money, they simply found whatever job was available without grumbling. Back home people cared for their homes, families, and herds for the months they were gone. Watching the villagers walk and prostrate themselves never became old. At times they appeared as only specks of dust on the horizon. The scenery and seasons changed as they traveled from snow covered mountains to verdant valleys, showcasing the beauty of Tibet with excellent cinematography work. There was no musical score except for the chants and singing of the fellowship. One evening they sang and danced on lush green grass next to a river, another time they sang as they pushed the broken carriage up the mountain. And every night in the tent they would talk, sometimes laughingly about the bumps on their foreheads, and finish the day with prayers. Then in the morning they would face the seemingly endless winding road before them and begin their chants and bows all over.

The pilgrims dealt with rockslides, water covered roads, mud, and extreme weather on their sacred journey as they prayed for the safety and happiness for all. They were a determined band of people who were a deeply committed community. More than that, they were family. While the journey of 1200 km was grueling physically and mentally the overwhelming feeling of watching these people was one of peace.

8 April 2024

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"They do nothing. Like you"

The Lobster Kid is a short film that punched above its weight. Short on time and budget, director Jsf Hsu made the most of each scene and supplied a lovely soft jazz score to fit the mood.

A thirteen-year-old girl is trapped in a street gang. She uses lobster analogies when her mind needs to hide from the violence of her surroundings. She desires to escape far away to Taitung and be closer to the lobsters’ surf. Suffering from the punishment of trying to leave, she inadvertently winds up with a begging priest. As the priest has taken a vow of silence, she makes herself at home traveling the city with him, using him to sell her wares and make money for him, too.

The performances were natural with only the gang mistress sliding over the top. The rapport between the girl and monk flowed easily accompanied by a delicate humor. At one point she met up with a friend and played with the young woman’s small daughter. The monk saw that the con artist was little more than a child herself, generous and kind in spirit. The gentle jazz score never intruded but buoyed the action subtly.

My rating might be a tad high given the sometimes amateur performances. The ending won me over and warmed my heart, putting a smile on my face. Like the silent monk who could appear and disappear, I wanted to do whatever was necessary to make this homeless child happy.

7 April 2024

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Be careful what you wish for...

Fu Xiao Xiao makes a wish on her 15th birthday little knowing it would come true and how it would change her life forever. A.I. on the surface is a standard wish fulfillment story with the consequences that arise, but dig a little deeper and it might cause you to ask uncomfortable questions.

Xiao Xiao lives with her divorced father who specializes in A.I. research. She leads a lonely life and is bullied at school. After her 15th birthday a new student arrives in her class and every day he follows her. At first she finds it annoying, but the desire for companionship drives her to accept the quietly adoring Su Xing Chen. By accident she discovers his secret and despite his difference accepts the boy who promises to be with her forever.

As I said, this is wish fulfillment-a boyfriend who will never betray her, never lie, never leave, never hurt her. As he slowly learns what it means to love, their relationship evolves, but never sexually. He also never ages which causes people to question their relationship. Eventually, Xiao Xiao wants more, wants to be normal, to be happy. She finds that normal and happy don’t always coincide, especially for a woman who has never had to learn to compromise and understand the work and wisdom a romantic relationship involves. *

The actors had a nice chemistry. What I enjoyed the most about this short film was the music. I don’t normally pay attention to the background tunes, but in this short film that almost played like a music video it was hard to ignore and easy on the ears.

If you can watch this bittersweet tale of love and acceptance on a superficial level, it is touching and sorrowful. If you choose to look deeper, you may discover questions that are troubling and go unanswered.

2 April 2024

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*****************Spoilery Talk Below**************

Xiao Xiao’s emotional growth seemed stunted in regards to relationships. Her picker was definitely off as evidenced by the man she chose as a husband. With Xing Chen she could be selfish and only think of her own needs. She didn’t have to be kind because he was just a machine. And therein lies the problem I had with this short film. Xing Chen was a victim of his programming-to be with Xiao Xiao forever. He had no other purpose, no dreams, no desires of his own. Everything in his world revolved around her and her happiness, even as he began to evolve emotionally. The machine learned to love before she did and also learned a harsh lesson about heartbreak. Despite his growth, there was no freedom, no independence, which I found disturbing. This perfect boyfriend would never argue about taking out the trash or where to have dinner. Vacation in the mountains or at the beach? “Whatever you want dear.” Never even complain about being hidden away in a closet. This was tantamount to slavery more than love. Which also brings up the thorny question of the rights for sentient beings regardless of their form. I know, I know, I think too much. It’s a short film about how a human woman and an A.I. prototype develop a friendship and learn to love too late, and I should accept it at the surface value. Which I did, until I couldn’t.

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"Fame and fortune bring disasters to many"

House of Traps was a Chang Cheh movie featuring most of the Venoms though my favorite, Lo Meng, was missing. Phillip Kwok, Sun Chien, Chiang Sheng, and Lu Feng were all featured in this convoluted tale of rebellion and double crosses. And of course there was a secret list with rebel names on it!

The film opened with the lineage of the current emperor and a tale of how the first one was murdered as well as his son.
Prince Zhao Jue is the son of the prince who was killed and is planning a rebellion. Normally, he might have the moral high ground but in the House of Traps, he’s the villain. A villain with a house of traps where he stores treasures stolen from the Imperial Palace and hides the secret rebel list. Scholar Yan Chun Min is chosen from the imperial side to investigate the prince and stop his rebellion. He’s aided by two unorthodox swordsmen. Not everyone will make it out of the House of Traps alive.

This story was hard to feel invested in as the motivations weren’t particularly clear. For a movie with four of the Venoms, it was also short on action. The fights were faster than kung fu posing but not lightning quick either. Phillip Kwok (Lizard Venom) choreographed numerous movies, including this one. His moves were lively and nimble though he wore what looked like a roadkill scarf on his head with matching boot cuffs-a major fashion “don’t”. Ricky Cheng and Chiang Sheng (Venom apprentice) provided levity as kung fu masters disguised as magician street performers. Lu Feng (Centipede Venom), as he often did, played the bare-chested baddie with killer moves. Sun Chien (Scorpion Venom) played against type as a scholar with no martial arts skills. The house of traps provided several lethal traps that permanently prevented some of the characters from leaving. What it didn’t provide were any female characters, another one of those strange worlds where only men inhabit.

House of Traps would have benefited from a better story, like telling us why we should root against the prince whose birthright was stolen instead of for the usurpers. At best it was an average early kung fu flick. I enjoyed seeing the majority of Venoms together for one of their last collaborations, but didn’t particularly care who walked off into the sunset.


19 March 2024

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Hwang Jang “I don’t need no stinking wires” Lee directed, wrote, and starred in Hitman in the Hand of Buddha. Like Lo Lieh, he was often relegated to villain roles. Because this was his baby, he was able to shave off his iconic mustache and be the one to pummel the bad guy and not be the one pummeled.

Wong Chin comes to the town where his sister and brother-in-law live looking for work. Chasing a pickpocket leads him to their boss, Beggar Fan. After the two fight, Beggar Fan takes a liking to the brash young man. Not long after Wong ends up in a fight with the annoying Shan Hao. Shan Hao’s boss Tiger/Uncle 33 takes unction at the upstart’s disrespectful action and visits Wong’s family with deadly consequences. Ignorant of what has happened Wong fights with Tiger when the villain comes calling and is losing badly. Beggar Fan steps in and negotiates to save Wong’s life by having the young man leave town. Beggar Fan sends Wong to the shaolin temple for him to learn new techniques that might save his life in the future.

I love watching “Thunderleg” Lee fight, especially when he’s kicking. A 9th dan Grandmaster in Tang Soo Do and Taekwondo he’s the real deal and his high-flying acrobatic kicking needed no wires or CGI. The early fights and the end of the last fight were the best when Hwang Jang Lee was using his Thunderleg. The hand to hand and pole fighting were overly choreographed although they did display Hwang’s athletic ability and agility. A chopstick scene was quite creative in a fight against Tino. I was happy to see him able to play the good guy, a very rare event. Eddy Ko lacked in speed but made up in menace as Tiger/Uncle 33. Whenever there was a need for a smarmy or rapist character producers must have had Tino Wong on speed dial.

The story is one done a hundred times and I wished that Hwang had avoided the rape in his story. The rest was typical. Good guy comes to town, stands up for the little guy and is beaten by the bad guy. He studies a new form with training montages and then returns for the rampage and pay back. This movie was filmed in Korea so at least there was a new shaolin temple for a backdrop. There was a Hong Kong cut of the film and a Korean cut. I saw a version with English dubbing, sometimes a necessary evil with these older kung fu films, but it was also interspersed with German!

Hwang Jang Lee is one of my favorite fighters to watch and being able to enjoy his turn as a hero was a bonus. The kicking fights were fluid and exhilarating. I only wish the rest of the slower fights, while complex, had been as thrilling. As always, I grade these old niche films on a curve.

13 March 2024

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"My heart belongs to me"

Raging Phoenix starred Thai kicker Jeeja Yanin. The story was weak as was some of the acting, but those are not the priorities in this genre of movie. Did Jeeja kick, elbow, and pummel her enemies in style? Yes. Was the fight choreography as incredible as Chocolate? No. But most of the fights were entertaining.

Brokenhearted Deu escapes from a kidnapping and is rescued by a stranger named Sanim. He battles fighters that wouldn’t have been out of place in a Road Warrior movie. Or a parkour street fight with razor prosthetics. His team is made up of three other fighters-Dogsh*t, Pigsh*t, and Bullsh*t. They’ve all lost women in their lives to the kidnappers and are resolved to bring the Jaguar gang down and rescue the surviving victims. The men practice Meyraiyuth, a form of drunken Muay Thai. Before you can say, “Wax on, wax off,” Deu is a proficient fighter. She’s willing to be used as bait to find the headquarters of the bad guys and where the women are being kept. Nothing goes that easy and they will all find themselves in considerable peril.

The story was thin and filled with man pain tropes. Jeeja Yanin had enough acting ability for what the role called for and there’s something about her that is likeable. Kazu Tang who was usually employed as a stuntman or fight choreographer was fine as the determined Sanim and object of Deu’s unrequited love. The Poop Brothers weren’t very strong actors but conveyed enough meaning to keep the story going. Though their first thirty minutes was filled with slapstick comedy that five-year-olds would appreciate.

The fights were well choreographed and the wire-work, for the most part, blended in. There was plenty of action that didn’t require any special effects help. Jeeja and Kazu were fun to watch as they kicked, bounced, and spun. Both were quick and athletic. The fight between Jeeja and Roongtawan Jindasing’s evil Jaguar had some moves that appeared all too real and bone crushing. The Poop Brothers’ style came across as a combination of Meyraiyuth and break dancing. I’ve never seen a fighting style that required spinning on one’s head! Raging Phoenix wouldn’t win any awards for the CGI backdrops to the fights, they were pretty bad. For a lower budget film, I didn’t mind.

If you are looking for a coherent and tightly written story, this won’t be it. If you are looking for superb acting, best to pass. If you enjoy high flying, flipping, crushing knee kicks and elbow hits and kickass women fighting, this might be the ticket.

11 March 2024

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