From the very start, the movie's premise is an attack on the ol' heartstrings. Lawrence (Tony Leung) is a well-respected doctor, but the loss of his girlfriend in a traffic accident has left him a hollow person. His colleague, Paul, is in love with a beautiful comatose woman, Jackie (Michelle Reis). However, it's Lawrence that brings Jackie out of her coma. Before you know it, Jackie is staying with Lawrence until she can put her life back in order. Unfortunately, Jackie suffers from a life-threatening disorder that manages to pop up at the worst times.

Personally, I would take it as a warning when the plot sounds like your average "E.R." season finale. But that just barely scratches the surface of this movie's flaws. Much of the plot seems built upon sheer convenience. Lawrence just happens to be a heartbroken, yet brilliant surgeon. Jackie just happens to come out of a coma when Lawrence prays for her. Paul just happens to acquiesce when he realizes Jackie and Lawrence are growing closer together (no real romantic triangle here, folks, despite what you might read). I'd let such a fortuitous setup go by if there was a payoff, but "Healing Hearts" offers none. Well, it tries to offer a couple, but you'll never see them.

There are times when it feels like writer/director Tang wants to inject some drama into his movie. Unfortunately, he never followe through on any of them. There's a subplot about the reckless driver who killed Lawrence's girlfriend. He turns up every so often, Lawrence promises to track him down, and the movie's pace goes up a notch. But by the next scene, all is forgotten. And evidently, Lawrence isn't as brilliant a surgeon as everyone thinks he is. The relatives of a patient who died in his care promise to get even, but after a tense scene, they're never seen again. There's also a sidestory surrounding a shootout in the film's opening moments, and some legal repercussions surrounding the hospital's actions, but the characters involved just seem to come and go at Tang's whim.

And the romance... for a "romantic drama", there's very little romance or drama. One minute, the two are arguing over how to buy groceries and the next, they're making out on the couch (there's that convenience again). You do see some scenes of the two eating and walking together. But most of the couple's interaction centers around Jackie messing up Lawrence's structure, albeit empty life. Here, it feels like Tang is trying to pull off his own "Chungking Express", in which Leung plays another heartbroken man whose life is thrown into chaos by a cute, perky girl. Tang even tries his hand at "Chungking Express"'s visual style for a scene, but never again.

As for the acting, Tony Leung is completely wasted here. For the most of the movie, he looks completely bored, and it's easy to see why. Leung is one of the best actors in Asia; as "In The Mood For Love" showed, he's able to pull off incredibly deep, nuanced performances. But this movie never requires anything of the sort. And none of the other cast members really do anything spectacular (aside from Reis being cute and meddling).

Tang just has so many ideas that he doesn't know what to do with them all. The movie takes steps down many paths, from one subplot to the next, but none of them are ever developed. They're mere oddities, meant to pique your curiosity. Meanwhile, the drama of the central story is completely lost. Apparently, this was Tang's first directing and writing job, and it shows. It's amateurish, sloppy, and never really involving, despite its attempts to make you reach for the tissues. By the time the movie ends on its "heartwrenching" note, you'll probably be too bored or too annoyed to really care if everything worked out or not.

The story centers on Tetsuo and Kaneda, members of one of the bike gangs that roams Neo-Tokyo in 2019. A chance encounter involves them in a convoluted series of military experiments, political machinations, and social upheaval that surround the mysterious entity called "Akira".

After undergoing treatment, Tetsuo begins to develop incredible psychic powers that rapidly drive him insane and unstoppable. Kaneda, with the help of political revolutionaries and a group of military psychics must try to stop him. That only touches the surface.

Believe me, I had to watch this film about 3 or 4 times before I finally understood all of the plot's elements. Adapted from a long-running comic series, the film only scratches the surface of the series' plot. A challenging film, but it's this challenge that makes it so rewarding and long-lasting.

A note of caution; the film gets pretty bloody, and the scenes of Tetsuo's transformations may be a bit disturbing for some. But if you're looking for a good dystopian film, it doesn't get much better than "Akira". Forget about "Bladerunner" and its ilk...

Oh sure, it's terrible. Don't get me wrong... this is easily one of the worst films I've ever seen, from a certain standpoint. The dubbing is atrocious (why do they have to use people with the most annoying voices?), the special effects are laughable (most of them consist of the film being run backwards), and the plot, if you can follow it, is as cliched as they come. Young man studies martial arts. Young man sees his school destroyed by evil ninjas. Young man vows revenge. Young man studies under new master. You can see the plot twists coming from a mile away.

But who cares, when you get to see ninjas floating across the surface of the river and ensnaring their opponents in nets? Or when the ninjas fly through the air thanks to trampolines and running the film backwards? Or when people trip over their own entrails during a fight? I swear, this movie has some of the most innovative ways to kill people I've ever seen in a kung fu film. At the beginning of the film, the narrator announces that the weapons are based on authentic historical documents. If that's the case, then those ninjas were a bunch of sick mothers.

The sheer over-the-topness of the film, the desire to please you with moves and flips that defy every law that Nature has, and the schlockiest chopsocky gore this side of "The Streefighter" will probably have many crying foul. But true fans of kung fu cinema should keep their eyes open for this. Check on-line stores like KungFuFlix.Com. Keep your eyes peeled at EBay. Go to garage sales. But don't pass this one up if you consider yourself a fan of the genre.

"Chungking Express" is not a chop-socky flick, nor is it a "heroic bloodshed" film. I'd probably have to say it's more along the lines of a romantic comedy, but unlike most romantic comedies I've seen. And even though it's nothing like it's more action-packed cinematic cousins, it still bubbles with its own sense of energy. The film consists of two different stories of love lost and love found. Although the stories are, by and large, independant of eachother, they are slightly woven together (which becomes more apparent with repeated viewings). Characters from the second story appear in the first, and events that happen in the first story come around again, albeit in odd ways, in the second. And both stories hover around Chungking Express, a small restaurant whose owner dispenses words of wisdom concerning love and romance.

The first story is about He Qiwu, a young Hong Kong police officer on the eve of his 25th birthday. He broke up with his girlfriend one month ago and has been waiting for things to be reconciled. As such, he develops the odd habit of buying cans of pineapple (his girlfriend's favorite fruit) with the expiration date on his birthday. If she doesn't call him by his birthday, he'll eat all of the fruit and move on. Enter the mystery woman, played by Brigitte Lin, who is involved with a drug smuggling operation. When it goes awry, she crossed paths with Qiwu, who falls in love with her. After spending the night with her (but not in that way), he learns to move on.

The second story concerns another police officer (played by the great Tony Leung) who has recently broken up with his stewardess girlfriend and frequents Chungking Express. There, he meets the perky Faye (Wong), who has just started working there. She develops a crush on him, eventually gains access to his apartment, and begins to rearrange his life, slowly removing traces of his old girlfriend and taking her place.

Of the two stories, I found the second one to be the best. This is due, in no small part, to the two leads of Leung and Wong. Although I've only seen a couple of his films, I've really grown to like Leung's acting (he's excellent in "Bullet In The Head" and "Hard Boiled"). Especially amusing are the scenes of him talking to various items in his apartment, telling them to "cheer up" after his girlfriend has left him. However, it's Faye Wong who steals the show. This was her first movie, but she's like a breath of fresh air on screen. I hate using the word "cute," but I feel I can use it in this case and not be demeaning. The first story isn't bad, and in reality, may be the "deeper" story. Lin is pretty good as the aloof, no-nonsense woman, and Kaneshiro brings a certain desperation to his character, who is determined to woo Lin. However, it doesn't have the zest of the second story.

Most of the film's energy is due to the quirkiness of the stories. Although I've left out certain details, suffice to say, both stories (the second one especially) have a lot of whimsy and silliness. If that's not your cup of tea, they might seem silly and stupid. However, I thought it was a lot of fun. Not "laugh out loud" fun, but fun nonetheless. Another reason for the film's energy is the shooting style. If there is one similarity to be drawn between this film and more famous Hong Kong works, it's the camerawork which nevers feels like it stands still for too long. In the first story, it's used to show the seamier side of Hong Kong, especially as we follow Lin's character on her journeys through the alleys and streets. In the second story, it highlights the odd intentions of Faye, as she invites herself into Leung's apartment and begins to recreate his life. We often watch her cavort and frolic in his apartment to the sounds of "California Dreaming" and the Cantonese version of The Cranberries' "Dreams" (sung by Wong, no less).

All in all, this is a fun, offbeat little film that showed me there's more to Hong Kong cinema than heroic bloodshed and kung-fu. I don't think it's for everyone, simply because most people will dismiss its lighter moments as too silly and complain it's "darker" moments aren't "dark enough." I'll admit that some of the offbeat moments, especially some of Faye's antics, get a little out there. If there is one major complaint I have, it's that I couldn't really connect too any of the characters on an emotional level, and this is supposed to be lovelorn strangers and all that. Much of the emotional impact some of the scenes could have had is sacrificed for the sake of being quirky and offbeat. However, I still feel that quirkiness is able to carry most of the movie, and that works for me.

Yip Su-King (Lau), also known as "Sword Saint", has challenged Snow, "God Of Sword" (Cheng), to a duel atop the Forbidden City. However, only 8 people will be allowed to view this historic event. Dragon 9 (Cheung), an Imperial Agent, is charged with the task of picking the 8 lucky viewers. But he soon finds himself investigating a series of murders, and all evidence points to a strangely absent Snow as the prime suspect. As the day of the duel draws closer, Dragon 9, with the help of Princess Phoenix (who also happens to be in love with Yip), works to solve the case. Unbeknownst to him, he may just have stumbled across a conspiracy that threatens the empire.

Now first of all, seeing as how the movie is named "The Duel", there's actually very little dueling. Heck, the titular showdown isn't even the point of the movie. And it's not even a very impressive duel. Oh sure, the trailer makes it look cool. But it mainly consists of Cheng and Lau - who, in all fairness, do look quite cool in their hair extensions - leaping and flailing madly about while all manner of energy bolts and shockwaves swirl around them. The funny thing is that, despite all of those effects and wire tricks, the two never seem to get within 20 feet of eachother. Must be some fighting style I'm not familiar with.

I could go on and on about the movie's lame, anachronistic humor (which makes "Xena" look historically sound). And let's not forget the crude, sexual humor that abounds in the movie, especially the "8 limbs, 9 limbs" joke (I'd explain it to you, but there are children present). James Bond references even pop up now and then, what with Dragon 9 being an Imperial Agent and all. And that conspiracy I mentioned earlier? Thankfully, for the slower members of the audience, it's all revealed within the last 10 minutes or so, just so you don't feel like you're missing out on anything plot-wise.

And if that's not bad enough, we're also treated to a feeble attempt to work romance into the story. It's just too bad that the filmmakers expected that to add depth to their characters. The men, with the exception of Dragon 9, come off as cold and interested only in their dueling, revenge, honor, etc. Dragon 9 just comes off as a lecher fond of crude sexual jokes and brothels. The women, on the other hand, come off as either doe-eyed boycrazy teenagers or petulant little brats, and sometimes both at the same time.

But storyline, plot, characters... these things matter not to "The Duel". Extravagance, on the other hand, does. The movie had a budget, and by God, the producers were going to use all of it. Sure, there are parts when the movie is visually impressive. The costumes, the scenery, the cinematography... it looks pretty cool (although all of the location-hopping does get a little confusing). But it's spoiled by cheesy acting (especially Cheung, whose hamming would embarrass Jackie Chan) and hokey dialog, and clobbered by the special effects. And let's talk about those effects...

I love CGI as much as the next red-blooded moviegoer. But "The Duel" isn't content to just dazzle the audience. It wants to beat it into their heads that they're watching powerful swordsmen and martial artists, and if that means a barrage of special effects that make no sense, then so be it. But that just dooms the movie from the start. Within the first 15 minutes, the effects grow tedious and boring. Rather than convince you of the characters' skill, it just makes them seem that much more ludicrous. By the end of the movie, you're struck with how artificial it all felt, as artificial as watching someone play a really cool video game.

I really had to laugh when I saw the American trailer for this movie. I'll give you two guesses as to which movies "The Duel" was compared to. That's right... "Crouching Tiger, Hidden Dragon" and "The Matrix". But let's think about that for a second. We've got a martial arts/swordplay movie with a bevy of digital effects, so I guess it makes sense in a weird Hollywood marketing sort of way. Unfortunately, that's really the only thing about "The Duel" that does make sense.

Now, pardon me while I try and get 3 hours of my life back.

Sammo Hung plays Ah Lung, a hapless pig farmer who is sent to Hong Kong to help out his uncle. Lung is obsessed with Bruce Lee, adopting Lee's haircut and style of dress, as well as his kung fu skills. Once arriving in the big city, it's only a matter of time before he finds trouble. Of course, he does everything with a good heart, but that doesn't mean that he's any less of a bungler.

The main reason that anyone interested in Bruce Lee would be interested in this film is Sammo Hung. I've always found it amazing that anyone as portly as Hung (who studied at the Peking Opera with Jackie Chan and Yuen Biao) can move that quickly and smoothly. At times, his acrobatics rival those of his former classmates. In addition to his speed and agility, he as all of Bruce's mannerisms down to a T; the little gestures, the quick little steps, the high-pitched yelps, even the tasting his own blood.

The movie cops scenes from various Bruce Lee films throughout its length. The best is the opening scene, which is taken directly from the opening of "Enter The Dragon". Lung enters Hong Kong riding in the prow of a boat, which he soon sinks in the course of one of his Bruce Lee fantasies. The final scene also contains references to "Enter The Dragon" (complete with a Black Belt Jones lookalike of sorts), as well as "The Big Boss".

I didn't go into great detail about the plot, but for good reason. It's just not all that interesting. Suffice to say, a lot of hijinks go on; mistaken identities, Lung's bungling, etc. If you're not a fan of the sort of humor that seemed to pervade Jackie Chan's early 80s movies (think "Wheels On Meals"), you'll probably grow very tired of this film very quickly. But if you're a rabid Bruce fan, you might get a kick out of watching Hung parody and pay homage to your hero...

The film centers around Bu, a woman who discovers a lovenote in a bottle. Determined to meet Albert, the sender, she travels to Hong Kong. It turns out Albert (played by the great Tony Leung in a hilarious performance) is gay. But she runs into C.N. Chan (Jackie), a billionaire who can't seem to find the right woman. You know the rest. Oh yeah, and there's some kung-fu in there somewhere. But it's bad... real bad. To be fair, Jackie does spend less time hamming it up early on in the movie, and shows that he's actually a good actor. But the movie can't help but sink into cheese towards the end.

There's less props and comedy, less outtakes, and just less of what makes a Jackie Chan film a Jackie Chan film.

Besides doing fight and stunt choreography, Woo-Ping has also directed his share of films. He directed Jackie Chan's "Drunken Master" (often considered one of the greatest martial arts films of all time) and the incredibly silly "Wing Chun" (which, if you could make it through slapstick-esque sendup of the Battle of the Sexes, was halfway decent). He also directed the phenomenal "Fist Of Legend" (starring Jet Li), one of my favorite kung fu films.

In a movie like this, it's pretty pointless to try and pretend you've got a deep plot, because if you've half a brain, you'll see the twists coming within the first 15 minutes of the film. Rongguang Yu ("My Father Is A Hero") plays Dr. Chang, a kindhearted physician who moonlights as the Iron Monkey, who robs from the rich and gives to the poor. After Iron Monkey has crossed the authorities one too many times, the governor decides that to arrest any suspected of being the Iron Monkey. In walks Wong Kei-Ying (Donnie Yen in a great performance) and his son, young Wong Fei-Hong.

After dispatching some local bandits with incredible ease and kung fu prowess, Kei-Ying and Fei-hong are arrested and charged with being Iron Monkey. Kei-Ying promises to capture Iron Monkey in exchange for the freedom of everyone else. The governor agrees, but being the bastard he is, keeps Fei-Hong as insurance. Confused? Well, don't worry because the film is actually quite easy to follow. The plot leads quite nicely into the many elaborately choreographed fights that fill this film to the brim (and let's face it, that's why you watch it and you know it).

The martial arts in this film are quite good, if not a tad bit over the top. Those accustomed to American action films, with all of their testosterone, will just find it silly, if not annoying. The wire action is used very well, although it definitely involves the suspension of disbelief (npi). Yu and Yen both give great performances. And the Shaolin monks they fight at the end definitely have some of the more unique attacks I've seen in awhile (you'll see what I mean with "The Wonder Palm").

Most of the humor comes from watching Iron Monkey make the authorities look like fools, as they fall for traps that even a 6 year old could get themselves out of. However, there are scenes that do rise above the normal schlock, and enough background is given on the main characters, especially Dr. Chang and his assistant Orchid and their relationship, that they don't come across as two-dimensional stereotypes.

I've liked this more than other films of the genre, that being the fantasy/historical kung fu period piece. And even though it doesn't star the big guns (Jackie Chan, Jet Li, et al.), this movie definitely ranks up there with some of the better martial arts films I've seen. And it's a blast to watch. My friend and I really got into this one, and I even rewound it and watched it again. You won't see me doing that with 90% of the films I watch.

Lung, a powerful crimeboss, is almost killed in a hit. His righthand man, Frank, assembles 5 men from different backgrounds for a mission; to protect Lung and find out who ordered the hit. At first, the 5 men don't seem to have too much in common. Roy is a clubowner hassled by toughs moving in on his territory. Curtis runs several businesses, including a hair salon, but he's also a ruthless killer. This is Shin's first job, and he hopes it will increase his reputation. Mike is tired of being a valet, and sees this job as an opportunity to get ahead in life. And James... well, James just seems to want to eat.

As these 5 men spend all of their time together, friendships begin. They never get buddy-buddy (these are killers and thugs after all), but trust and loyalty does start to build up. There's never an outright display of friendship; half the time, they act like they can't stand eachother. But there are small moments, such as when the 5 engage in an impromptu soccer match in the office, where they kid around and seem like normal blokes. But they're professionals, first and foremost. As soon as Lung enters the room, it's all business.

To be honest, I really liked this way of looking at the lifestyle. Too often, movies tend to romanticize the gangster. Half the time, those hardened hitmen come off as big, fuzzy dopes. Not so here. And To plays up that tension between the 5. At times, you don't know if one of them is going to snap, if the paranoia of the job is going to get to them.

For much of the film, To's direction is flawless, emphasizing this tension and the danger of their situation. One scene in particular just screams "hardcore". The five men are escorting Lung through a closed shopping mall when the assassins strike. Instead of a violent ballet of bullets a la John Woo, To keeps it restrained. Calmly, almost methodically, the men escort Lung out to safety and hold off the assassins with dogged patience. Compared to Woo's hyperkinetic style, the pace is almost maddening. However, this restraint gives any sudden outburst, be it a gunshot or a quick movement, an intensity it wouldn't have otherwise.

I loved watching the dynamics of this motley crew. Again, unlike Woo's emotional outbursts, the personal interactions are almost nonexistent. They don't care about eachother as friends. They're more like business partners. If one of them is killed, it's not a loss. It's an inconvenience. It just means the mission will be harder to accomplish. But that stoicism means that any sort of emotional connection, any sort of friendly action, takes on a whole new meaning. To handles the emotion like he handles the action, with less being much, much more.

But there are 2 things that bother me about the movie. The first (and I know this might sound trivial) is the music. We're supposed to believe that these guys are BMF's, and yet the music is composed with the help of a Casio keyboard and its demo button. What you hear is at complete odds with what you see, especially during the final showdown with the assassins. Any doubt as to the crew's collective badness should be put to rest here, but it's ruined when they walk out, "Reservoir Dogs" style, to some cheesy synth tune.

But what really ruins this movie is its ending. Granted, we're not talking about anything on the level of "A.I." here, but it still irks me. To makes the same mistake here that he did with "Running Out Of Time"; he ends the movie in a way that feels out of place, even unfaithful to everything else that's transpired beforehand.

After successfully completing their job, the other 4 learn that Shin had an affair with Lung's wife. As professionals, they can't allow Shin to get away with this, even if he acted out of naivete. But their burgeoning loyalty complicates things. Well, except for Curtis, who sets out to kill Shin that night.

I'll give you three guesses as to how the movie ends. And I guess it works on an emotional, Hallmark level, but it just feels wrong. We're supposed to believe that these guys are hardened professionals struggling with their loyalty to eachother, to their boss, and to their job. But the movie just feels like it takes the easy way out with a sudden "twist" ending. It feels sloppy and contrived, and renders their emotional struggle meaningless.

I will grant To this. After watching "Running Out Of Time", I didn't know if I ever wanted to see another Johnny To film. I know that sounds harsh, but that's the way I felt after my high expectations for "Running Out Of Time" were, well, dashed. I didn't know "The Mission" was a To film until I started watching it. And despite my gripes, there's a lot in this film that works incredibly well as a drama, an action movie, and a crime film. If my criticism of the ending sounds harsh, it's simply because the rest of the film is so freakin' good that I just feel it deserves better.

Yen plays Tong Shan, a doctor educated in the West who returns to Shanghai to open a clinic in a poor section of the city. Shortly after arriving in town, he gets mixed up with a local gang led by Brother Chi (Yu Rongguang), and completely wipes the floor with them. But despite being skilled in the martial arts (which must've been required reading at medical school), Shan refuses to get caught up in local affairs and remains neutral, much to the chagrin his assistant. When its discovered that Chi's gang works for one of Yen's former teachers, a British doctor, Shan and Chi agree to stop fighting eachother. But things are never quite this simple in movies, are they?

Brother Chi's younger sister Shen is mute, and Chi refuses to send her to the doctors, believed instead in local superstition. But Shan knows he can cure her with Western medicine, and proceeds to do so. Naturally, Shen falls for Shan, but so does Chi's girlfriend (who happens to be Shen's best friend). So now we've got the romantic angle covered. But wait, there's one more strand to the plot. Young children have started disappearing, only to be found dead a few days later with all of their internal organs removed. Could all of these be related? If you really have to think about that one, you obviously need to start watching more movies. And it's pretty safe to say that things aren't going to end on an incredibly positive note.

This movie had a lot going for it, and it does an okay job at balancing all of the various plotlines. I was impressed, however, by how the romantic angle was handled (a rare thing for me, or maybe just an indicator of how uninteresting I found the rest of the movie). Shen and Shan obviously like eachother, but the affections of Chi's girlfriend complicate matters. And Chi isn't ignorant of the romantic shenanigans going on under his nose. There's one especially lovely scene where it all comes to boil, as all 4 characters must wrestle with their feelings of love and betrayal.

Unlike most martial arts flicks, this one isn't at all manic. Most movies in the genre try to pack so much into one scene that it becomes an overload. In comparison, "Shanghai Affairs" is pretty slow-moving. Unfortunately, this reveals the movie's greatest weakness, the acting, and most of that falls on Yen's shoulders. I really want to like Yen, but he just doesn't have the personality to pull off this movie. The supporting parts, with the exception Rongguang, don't help too much either. There are many scenes where there's little or no dialog, which is fine, if the acting can save them. Silence can be used to great effect in movies, revealing the thoughts and feelings of the characters in far more subtle ways. But far too often, the characters in "Shanghai Affairs" simply look as if they're trying to remember their cues, turning to wood until the next time they need to speak.

Even the martial arts sequences seem lacking. With a good fight sequence, you become aware of the fight's rhythm, but all of them seem cut off prematurely. And many of them are shot up close, so that you never get a real sense of what's going on. There are times when the camera does pull back, and we get to see the fight in all its glory, but those are few and far between. And that goes for most of the movie as well.

There are times when a good movie does peek through, but overall it's fairly predictable and even a little blatant in the ripoff department (the conflict between Chi's superstition and Shan's medicine is reminiscent of "Once Upon A Time In China" and there's a scene where Shan battles a horde of axe-wielding gangsters with a tree branch that's lifted directly from "Drunken Master II"). I found myself more impressed by the scenery (set in autumn against falling leaves and grey skies, the movie has a fairly downcast look from the beginning) of the movie, which adds more to the movie's inherent tragedy than nearly anything else.

The film sets up its breakneck pace right from the start. Lin (Leung) is being pursued through Tokyo by a bunch of guys. It's not clear if he's a good guy or a bad guy, but one thing is clear. In a fight, he'd probably give James Bond a run for his money. Not only does he have a bunch of nifty Bond-like gadgets (smoke canisters, glue sticks, cattle prod, a trenchcoat with ripaway sleeves), but he also knows some mean kung fu. Flash forward to a Las Vegas chapel, where Macy (Kelly Chen) is being stood up by her fiance, Takahashi. Macy returns to Hong Kong, where she runs into Yung (Cheng), an interior decorator looking for Takahashi, who stiffed him on a payment. Together, Macy and Yung head to Tokyo to track down Takahashi.

The next thing you know, they're getting mixed up with some suits too. But before you know it, Yung reveals that picking window treatments isn't his only skill. That's right... Yung is quite the kung fu expert (I guess he needs something to keep other guys from making fun of him). Of course, some pretty fancy editing and lots of slow motion (and some flashy flamenco music) help out his kung fu quite a bit. Actually all of the kung fu in the movie benefits from this treatment. I swear... even I'd look cool doing kung fu if I did it in this movie.

I'd have to say that's my biggest gripe with this film. I know that I should just sit back and enjoy the ride, but I also know that much of this film's strength relies on its fancy editing and modern sheen. Plenty of movies have relied heavily on style. Shoot, Guy Ritchie has made a career out of it so far. But his films also have interesting stories, clever plotting, and characters that are interesting, to say the least. But with "Tokyo Raiders", if you take out its hipness, its style, it doesn't have too much left to stand on.

But enough film school. Macy and Yung are rescued by a cute Japanese girl in black leather driving a fast sports car. Alright... it's just a Pontiac Sunbird (but it is a convertible). She takes them to Lin (who has a whole a gaggle of cute Japanese girls in tight clothing working for him). Lin is a private eye working for Ito, the boss of Japan's largest gang. Takahashi was working for Ito, but also decided that Ito's woman was part of his workload and the two of them ran off together. But as the three of them draw closer to Takahashi, noone turns out to be who they claimed to be. Is Lin really a private eye? Is Yung really an interior decorator? Is Macy as ignorant about Takahashi as she claims to be? Will you be surprised at the double-crosses and betrayals?

Well, maybe "double-cross" and "betrayal" are bit strong, because the movie isn't really savage enough for that. Jingle Ma and Co. obviously intended "Tokyo Raiders" as nothing more than a hip, stylish movie full of attractive people kicking the crap out of eachother. And I suppose it is pretty successful in that regard. But since it is so lighthearted, that also means the "groan" factor is pretty high here. For example, I'm sure that the constant bickering between Yung and Lin is supposed to be played for yucks, especially Yung since he's such a boob. But after awhile, their idle threats ("I'll smash your face", "You're dead meat", etc.) just get a little tiresome. And Macy may seem like a stubborn, independent woman. That is, until a fight breaks out, and then her only purpose is to get threatened, look distraught, and be totally useless.

Thankfully, all three leads do a fine job with what they're given. I've loved Leung's work ever since I saw him in John Woo's "Hard Boiled". He's one of the more underrated Asian actors, and his character is probably my favorite. Perfectly calm and cool... even when he's fighting on a motorized skateboard or playing video games. And the fact that he did all of his own stunts ups his "cool" meter even more. Chen and Cheng do what they need to do... look pretty for the camera. There is chemistry between them at times, but I honestly can't say if I'm happy or sad that the hints of romance between them weren't explored more.

In the end, "Tokyo Raiders" feels like cinematic frosting... all sweet and sugary, but ultimately fluff. I like stylish movies as much as the next hip, young filmgoer. But I also like there to be a heart, characters worth caring about, an interesting story... something to keep me intrigued once the flashy camera work, breakneck editing, and novelties wear off (a chase involving Yakuza toughs on skateboards and bikes gets old pretty quick). With "Tokyo Raider", there is nothing there to hold my interest. The only thing I have to look forward to is the next flamenco-enhanced fight, Macy's pouting, or Yung's buffoonery. And 2 hours of good-looking leads and slick filmmaking doesn't make for a great (or memorable) movie.

While serving as bodyguard for a wealthy man, Hung gets involved in a plot to recover a cache of gold to fund a rebellion against the corrupt government. He also crosses paths with Red Bean and Notorious Mother, a mother and daughter team who specialize in robbing from rich men, and have come to rob Hung's current master. And then there's Hung's arch-foe, a former enemy who has returned from the dead as an invincible, melting monster who rides around in a silver chariot-like device.

I know there's stuff I'm leaving out, but there's so much going on in this film at any one given time that it's easy to miss some things. At times, it's too crazy. Li is awesome as the stoic Hung, who's about as bad a mofo as you're like to see.

Unfortunately, the film delves into crazy Shaolin kid hijinks (which just get stupid after awhile), and Red Bean and Notorious Mother ham up precious screen time that could've been devoted to Hung's bad mofo-ness. But if you're looking for a kung fu film that will dazzle your senses and blow your mind with it's insane action sequences, wire stunts, and complete lack of coherence (and obedience to the laws of physics), "New Legend Of Shaolin" is for you.

The set-up feels pretty generic. On one hand, there's O (played with the utmost of cool by Sorimachi), Asia's best hitman. He's mysterious, efficient, and completely dedicated to the job, even if it means killing an old friend to keep him from squealing. On the other hand, there's Tok (played with the kind of smarm that only Andy Lau has), the new assassin on the block who wants O's crown. Unlike O, Tok is flashy and brazen, even going so far as to take out people in the middle of a busy street for everyone to see. He dresses in leather, rides motorcycles, and lives up the killer lifestyle.

Caught in the middle is Chin, a young woman hired by O to clean his apartment. In reality, O doesn't live there; he lives across the street in an abandoned warehouse. Haunted by the murder of Nancy, his former cleaner, he watches over Chin and begins to fall for her. Tok begins seeing Chin as well, hoping to use her to get to O. Meanwhile, Police Inspector Lee (played by the venerable Simon Yam) is pursuing O and Tok to bring them to justice. However, the stress of the case threatens to drive Lee insane.

Okay, so maybe it's not quite so generic. But for the first 2/3 or so of the movie, O and Tok play an increasingly complex game of cat and mouse, both with each other, and with their betraying bosses. But just when you think things come to a head, with the police closing in on O and Tok, things just get weird.

It's the growing madness of Lee that eventually becomes the movie's lynchpin. After a climactic shootout leave's Lee's forces in tatters, he completely loses it. He quits the force, and decides to write a book about the case, believing that's the only way he can solve it. Unfortunately, he can never come up with a satisfactory ending. Just when he hits rock bottom, Chin appears out of nowhere, promising to tell him how it really ends.

While "Full Time Killer" is throwing the viewer for a loop, it's also throwing out one movie reference after another, until it almost feels like a tribute of sorts. There are nods to "El Mariachi" and "Le Samourai". "Hard Boiled"'s library scene makes an appearance. Tok gives Chin some shooting lessons, a la "The Professional". Chin's incredulous responses to Tok's claims of being an assassin are reminiscent of "Gross Point Blanke". At first, it's fairly humorous to see a scene from another movie make an appearance. But after awhile, you start to wonder at the point of it all. Paying homage to other, well-known movies in the genre is one thing; but soon, it starts to feel oddly ingratiating.

Any talk about "Full Time Killer"s acting has to start and end with Sorimachi's performance. Like I said before, he plays O with the utmost of cool; calm, collected, and completely brutal. However, O is also wracked with guilt for the consequences of his lifestyle (like the death of Nancy and having to murder his best friend from high school). O is a conflicted person, though he hides it behind an icy, professional facade. Sorimachi captures this perfectly. 95% of the time, O may be a killer. But Sorimachi's performance makes that other 5%, when O wants to lead a better life, that much more poignant. As O's rival, Andy Lau perfectly captures the flamboyance of Tok with the kind of smarm that only Lau can pull off.

But it all comes down to the ending. I have to hand it to directors To and Wai; my jaw was on the ground throughout most of the movie's final act. I had no idea how the directors would try to wrap up the movie, or even if they could. However, as interesting as the ending's concept may have been, that doesn't prove to be enough. The movie runs out of steam well before the credits, and the ending feels like a letdown.

That's because the movie has spiraled too far from its original focus. The final showdown between O and Tok, the event the whole movie's been moving towards, feels like an afterthought, rather than the climax it should've been. And compared to the maddening ride through Lee's insanity, the final scenes feel too nice, too neat, and too simple. Perhaps they had some poignancy in the novel the movie is based on, but watching them onscreen, don't be surprised if you feel a little cheated.

Yeah, that's right... duck style. You see, there are many kung fu styles modelled after the movements and strengths of various animals. For example, "dragon" style emphasizes flowing, swirling movements, like a dragon flying through the air. "Bull" style emphasizes charging and tackling. The "monkey" style is awkward and agile, emphasizing quick, improbable movements to throw off the opponent. But just what does the "duck" style offer? Loud, obnoxious noises to confuse your foe? Does the waddling make it easier to dogdge blows?

Well, I guess it matters little, because as anyone who has seen their fair share of kung fu films knows, reality has very little place in them. And that's especially true of "Kung Fu Genius". Cliff Lok plays a powerful, but poor kung fu master, the titular "kung fu genius" (his genius comes from having mastered so many styles). His comic relief (aka student) convinces him to start a kung fu school, the aptly titled "Genius" school. Unfortunately, this crosses the "Spiritual Boxing" school, so named because of their ability to call upon the spirits of great fighting styles.

One of the members attacks the genius' student, leaving a babbling fool. The good sifu takes revenge, beating up his student's assailant at the local brothel. Unfortunately, the son of the brothel owner is left a babbling fool as well (setting up for a silly scene when the two fools battle eachother). The owner calls in his brother, played by Wilson Tong, who is master of the "fan" style. And you know where this leads... the two schools realize they must fight together, and the genius reveals just why he is a genius.

It sets itself to be your typical chopsocky flick, but there were some above average scenes. For example, I thought the training sequences of the "Spiritual Boxing" school were pretty darn impressive, especially the display of "drunken monkey" style. But let's be honest... you know you're not going to watch a "great" movie. But even though this movie came out several years before the whole "Deadly Venoms" phenomenon (one of the most famous series in kung fu cinema), I found the martial arts to be better. They were less predictable, somewhere between the rhythmic, cadenced fighting of "Five Deadly Venoms" and the crazy mayhem of "Snake In The Eagle's Shadow".

Yes, it's silly and cheesy. What else do you expect from a movie with the "duck" style. It falls into all of your normal genre stereotypes (except for the one about avenging your master's death). And I'm sure the portrayal of insanity is less than sensitive (picture the final scene of "Drunken Master 2" multiplied by 10). But we're talking about the freakin' "duck" style here, so nothing can be taken seriously. If you're a novice, don't watch this movie, because there are parts that are pretty painful to watch. But if you grew up with "Black Belt Theatre", you'll probably be right at home.

"Anna Magdalena" starts off conventionally enough. Chan (Kaneshiro) and Yau (Kwok) are complete opposites. Chan is a decent, hardworking guy who doesn't have much luck with the ladies. Yau is the type that could have any girl he wants, and yet couldn't care less if he breaks their hearts. In fact, when the two meet, Yau is in the process of ditching a gal. But through a series of events, mainly revolving around Yau's irresponsibility, they become roommates and friends.

But things get complicated the day Mok (Chen) moves into their apartment building. Chan is immediately smitten with her (not that I blame him - it is Kelly Chen after all) but he's too nervous to talk to her. And it doesn't help that she holds the two friends in no small amount of contempt. And it really doesn't help matters when Yau takes an immediate disliking to Mok and her constant (and poor) piano playing. But soon enough, Chan finds himself the odd man out as Yau and Mok inexplicably begin growing closer after Mok's apartment catches on fire.

Told in a series of movements that introduce the characters and develop their relationships, "Anna Magdalena" is certainly charming enough, if not a little pedestrian, for the first three-fourths or so. There's nothing revolutionary going on, and there's certainly no great amount of gripping drama. But as the film progresses, you start to feel for Chan, to really hope he gets his act in gear before he loses any chance with Mok. And the movie's use of Bach's "Notebook For Anna Magdalena" as a haunting parallel of Chan's feelings lends it a certain poignancy.

Eventually, Mok comes face to face with Yau's womanizing ways, but she still can't shut him out completely. Even though she turns him away, they eventually end up in eachother's arms again and, in what might be the movie's most moving scene, finally shut out Chan. That's when Chan finally makes his move, and that's where the movie just, well, gets weird. Unable to confront Mok personally, he writes a story about his desire and gets it published. But rather than just tell us, director Chung-Man Hai decides to show us Chan's story in the movie's 4th and final movement.

Told in a dreamlike sequence that plays like bad children's fantasy, 2 adventurers named Cross (Chen) and Zero (Kaneshiro) embark on an adventure to fulfill a ghost's long lost love. When they are unable to fulfill their mission, Cross And Zero decide to do the next best thing (or so they think). They start a company that will help others express their love when they can't, a sort of singing valentine service. And it's as bad as you can imagine.

While I was interested, and even attached, to the movie, the moment I saw Cross and Zero launch into a horrible lovesong I just wanted it to end. I wanted to go back to the movie I had been watching. Yes, "Anna Magdalena" is about unrequited love, but I don't need song and dance numbers and a subpar adventure story to reinforce that.

This little story within a story concept is novel, but it's something "Anna Magdalena" never recovers from. Whereas the first three-fourths had developed slowly, the fantasy sequence is all madcap and mayhem. It's over the top and rambunctious, and throws everything that comes afterwards completely off-balance, and undoes everything that occurred beforehand.

Furthermore, a new character (the editor that puts out Chan's novel) is introduced, complicating things moreso. She just hovers on the movie's periphery, and you're never sure if you should keep waiting for her proper introduction. And Yau drops completely out of view, only to suddenly reappear in the last 10 minutes or so, tie up all of the loose ends, and bring about the hollow, contrived ending.

When I first saw the sub-story coming, I thought it would be an interesting look at Chan's unexpressed desire. I was even looking forward to it. While I liked the first 3 movements, I was unsure how the movie would resolve itself. I felt like this might be an interesting way to brings things to a close. But as it went on and on and on, I realized that I made a big mistake.

I suppose it might come across that I don't like romantic movies, but that's a bit of a misnomer. What I don't like are the treacly, manipulative pieces of drivel that are normally associated with the genre. If I'm going to feel for the characters, I want it to be because they're genuinely likable, and not because the movie tries to make me.

Ultimately, "romantic" movies rest on their characters. Their interactions, hopes, and heartaches, and the success with which they can make the viewer identify with those things, is what drives these movies. But rather than trust in these things, "Anna Magdalena" would rather place its faith in gimmicks.

From a visual standpoint, the film is a thrill to watch. The film projects a dark, brooding style, which resonates perfectly with the main character and his inner turmoil. Scenes are lit dramatically, sometimes bathed in red or green. Shadows become just as, if not more important to the film's lighting. It's a morally dubious world contained within "Ballistic Kiss", and the dark, smoke and shadow-enshrouded cinematography reflects that.

As for the action sequences, they're as kinetic as you'd expect coming from Yen. At times, they're almost too kinetic. The camera jumps, lurches, and jerks like a rollercoaster during the fight scenes, slowing only to show the blood spurting from countless bullets or a particularly dramatic movement or flourish.

Indeed, if there was ever an argument for loving a film for its style, rather than substance, "Ballistic Kiss" is a pretty convincing one. And for much of its length, the film manages to coast along on its style alone. But when the film requires that the storyline become the focus, the film falls apart, muddling along until it can throw in some visual flare and make things interesting again.

Yen plays Cat, a former New York city policeman who was framed, and left in jail for 6 years. Upon his release, he becomes a hitman in Hong Kong, believing this is the only way he can mete out justice. For him, "Noone is innocent", but society's "morals" prevent real justice from being done. On his trail is Carrie (Wong), an officer with the police who just happens to be Cat's neighbor. Not too surprisingly, Cat falls in love with her, unaware that she's trying to bring him in.

But what kind of hitman movie would this be if there weren't a few twists thrown in for good measure? On a "routine" job, Cat discovers that the man who framed 6 years ago is working for his boss, a man who is making a move for power in the underworld. And of course, Carrie gets caught between the two men, as Cat tries to get to Carrie and find a way to make peace with his profession.

To be honest, I actually liked much of the film's storyline. Granted, it's as over-the-top and stylized as the visuals. But if you're willing to accept the fact that Yen can take out a dozen armed gangsters by himself, well, you should be able to give the story a little suspension of your disbelief. Yen is surprisingly good as the brooding, alienated Cat. I've never thought of Yen as leading man (his leading roles have always felt lacking, ie "Crystal Hunt"), but I was fairly impressed. But then again, this is Yen's show, and all of the other roles get pushed pretty far into the background.

The film's biggest misstep is the romance between Cat and Carrie. When they finally get to embrace, it's a fairly groan-inducing moment. Their "relationship" is at its best when Cat is opening Carrie's eyes to the brutality of the world, revealing to her what lies behind the thin veneer of society. That exchange feels much truer to their characters' personalities.

But like I've said before in reviews, if you're watching this kind of movie for deep, powerful character interactions, you'd best look elsewhere. Granted, there are moments when "Ballistic Kiss" oversteps even its own insane style. The final shootout fulfills nearly every gunfight cliche in the book (characters shooting at people just a few feet away with automatic weapons and missing completely). And then there's the gunfight where armchairs become mobile strategic forts from which to unleash a barrage of bullets.

But even those excesses don't really account for why this movie is as reviled as it is. From what I understand, most people either like, or despise this movie. It definitely has its flaws, and some scenes (like the aforementioned armchair scene) do seem a little laughable. But there's still a lot to be liked, and Yen's direction certainly needs to be given its due. It may not be ready to take its place beside "The Killer" (even though it nails the style in spades, "Ballistic Kiss" still lacks Woo's emotional drama), but it's certainly a fine entry in the genre, and it was certainly more than I gave it credit for.

The first story looks at Kien An, a young woman sent to work at a lotus plantation, picking beautiful lotus blossoms and selling them in the city. The plantation is run by Master Dao, a once-famous poet who now lives as a recluse in a temple in the middle of his lake. However, her singing attracts the notice of Dao, who asks her to visit him. Dao turns out to be a leper; unable to visit the outside world, he takes solace in his poetry. But having lost his fingers, he's unable to write. Kien volunteers to help him, to serves as his hands and write down his words for others to read.

Huy is a hardworking pedicab driver. However, he has a chance encounter with a beautiful young prostitute named Lan who captures his interest. She soon finds him faithfully waiting for her after her engagements. After winning money in a race, he asks to spend the night with her, but not in the way that she imagines. His kindness and mercy stirs up feelings in her that she thought were long-dead and tries to push him away, until an injury forces her to rely on him.

James is a Vietnam vet searching for his daughter, the result of a wartime affair. He spends everyday sitting outside a restaurant, unable or unwilling to go in and start getting right with his past. When he finally finds his daughter, he discovers she's working as a female escort of sorts, and he realizes that he has set things right with her before it does any more damage.

The final story deals with Woody, a young streetkid named after the Woody Woodpecker shirt he wears. He spends everyday selling gum, cigarettes, and various trinkets out of his small wooden box. After an encounter with James in a bar, he loses his box. Unable to return home until he finds it, he spends the rest of the movie searching the city's alleys and backstreets for his livelihood.

For the most part, the stories are largely independent, with only the slightest of interaction. When the stories to meet, it's in the form of a chance encounter: James and Woody meet at a bar; James buys flowers from Kien on the street; Huy gives Woody a quick escape when he needs one. On the one hand, it allows the stories to develop and become fleshed out on their own. In case of the stronger stories, like Kien An and Huy, this works. However, James' story feels rushed and incomplete, almost like it was tacked on. Bui's approach also means that movie feels fragmented at times, drawn out at others. But when he keeps things balanced, and he often does, the result is quite subtle and beautiful.

And "beautiful" is the keyword here. Bui's view of Vietnam is not of a wartorn country, but of a country full of life and energy. Even when death is close, as it is for Kien and Bao, life is still all around, be it the lotus blossoms or Kien's singing. And Bui fills his movie with one moving image after another; the mist-covered lotus lake, Tien swirling water in a lotus leaf, Lan walking down a road amidst raining flower petals. One scene in particular stands out in mind, that of Woody engaged in a soccer game in the midst of a rainstorm. Played out in slow motion, it transforms the garbage-filled alley into a rain-soaked oasis full of energy and motion.

For some stories, there is a resolution. Kien finds a way to pay tribute to her master's death by bringing his dream to life. And Huy and Lan end the movie together, finding solace in eachother. But even though James finds his daughter, the last we see of them is sitting in that restaurant, separated from us a by a window. We leave them with James trying to put things right, but we have no idea how it goes. But we can take comfort that there's hope for James.

"Three Seasons"' most uncertain moment is saved for Woody. The last we see of him is heading off down a rainy alley, followed by a little girl who has taken a liking to him. Just moments before, his life was filled with the joy of a soccer game, but soon it's back to business, to life as usual. It's a poignant image, and one that sticks with the viewer for a long time.

Directed by "Beat" Takeshi Kitano (who also wrote and edited the film, and is the star), "Hana-Bi" has had gobs and gobs of praise heaped upon it. Why, I don't know. Critics have praised his movies, using words like "heartstopping" and "thrilling." Those words couldn't be further from the truth. As I said, there are scenes that are certainly wrenching, visually and emotionally. But they are few and far between.

Takeshi himself is the film's greatest strength and its greatest weakness. The guy doesn't really act. He kind of just sits there, like he was carved with stone, letting the camera focus on him. In the slower scenes, it's simply unnerving to watch this man who shows less emotion than Mr. Spock. But at other times, it's captivating to watch because you just have to wonder what emotions are seething behind those sunglasses and that iron facade.

Takeshi plays Nishi, a former cop whose life has fallen to pieces. His only child died at a young age, his wife is currently dying from cancer, and his partner and friend has been shot and paralyzed because of him. He also has dealings with the Yakuza, raking up debts. However, none of this seems to bother him at first; he seems so utterly wrapped up in his thoughts that no expressions come through. Perhaps we're supposed to believe that, as a tough cop, he's built up all of these walls around him and the film consists of him slowly lowering those walls as he must deal with the tragedies around him. As Nishi, Takeshi does this perfectly. Again, in some scenes it works wonderfully, because we're just left to wait for Nishi to explode in some outburst or reaction (which he does). But other times, he just comes across as insensitive, the stony facade hindering rather than helping the film.

If you were to read the movie's sleeve, the compliments heaped on Takeshi's use of violence would make you think that this guy's the next John Woo. This is not the case. True, Takeshi uses shocking scenese of violence, but they don't have Woo's choreography. Instead, the outbursts of violence are just that, outbursts. Even though you know they're coming, you're suprised when they happen. A great deal of this has to do with Takeshi's stony exterior. Any show of emotion or action comes as a surprise. In fact, the violence almost seems surreal because of it's rarity and suddenness. And as soon as its done, the stony exterior slips right back into place.

In order to deal with his current situation, Nishi robs a bank, pays off his debts, and takes his wife on a trip into the countryside. Here, the film shifts mood. Whereas before it'd been an urban cop flick, here it takes a slightly more pastoral feel, and often throws in a lighter, comedic touch. Of course, the violence is still there, as Nishi's Yakuza dealings slowly catch up to him. The ending seems incredibly unavoidable, because if you're a careful viewer, you'll be able to catch all of the visual clues. A big one is provided by Nishi's former partner, who has now become an artist and whose works often serve as seques.

One thing I do like is the fact that is a "visual" film. Takeshi keeps dialog to a bare minimum, though Joe Hisaishi's score is excellent and often underpins the scenes better than any dialog could. Nishi barely speaks, and Nishi's wife doesn't say anything until the end. Instead, we have to pay attention to the film and the visuals that Takeshi uses in order to know what's going on. Scenes often seem incomplete, so we have to fill in the gaps with what we've previously seen, or are about to see. The first half of the film is presented in a non-linear pattern that barely holds together and often makes no sense at first. As Nishi and his wife go into the countryside, the film becomes more linear, which works as we begin to see Nishi open up towards his wife. Interspersed are scenes of Nishi's former partner coming to terms with his paralysis and loneliness by turning to art. At times, however, the use of these scenes seems out of place, as a visual counterpart to Nishi that doesn't always work.

Part of me really wants to like this film, to find it meaningful on some level. Is it a comment on self-destruction and personal demons or is it just a cop flick trying to become philosophical, a thinking man's "heroic bloodshed" film? Honestly, I can't decide. I do think this is a better film than Takeshi's previous work "Sonatine" (which, for some reason, was billed as the Japanese "Goodfellas"). "Hana-Bi" feels and looks better, though I must admit that I still feel underwhelmed as to why everyone praises Takeshi so much. Parts of this film really work for me, and though rare, Takeshi's use of violence is often quite visceral and thrilling to watch. But a good deal of the film just seems to not work, and I'm only going to spend so much time trying to look for hidden meaning and deep content before I realize it just isn't there, or simply wasn't delivered well.

"Galaxy Express 999" was based on a long-running manga series by Leiji Matsumoto (who also created "Star Blazers", as it was known here in the US). It tells the story of Tetsuro Hoshino, a young street urchin obsessed with with getting on the Galaxy Express 999, a Jules Verne-esque spaceship made to look like an old 19th century steam train. He hopes to travel to the Andromeda galaxy and receive a free mechanical body, so that he may avenge his mother's death at the hands of Count Mecha, a leader of the mechanized people. After a failed attempt at getting a ticket, he encounters the enigmatic Maetel, a woman who looks just like Tetsuro's mother. She offers him a ticket to board the Galaxy Express 999, in exchange that she can come along.

Through his journeys across the solar system, Tetsuro discovers the loneliness and despair that mechanical bodies create. Tetsuro soon realizes that all mechanical people must be destroyed, or else humanity is threatened. Along the way, he begins to suspect that Maetel may not be as benevolent as previously thought, especially when they arrive at the Mechanized Empire's homeworld.

There's certainly an epic feel to "Galaxy Express". The movie deals with lofty concepts such as love, honor, and the basic ideas of what it means to be human. When Tetsuro leaves Earth, he's nothing more than a brash urchin. However, along the way, he must quickly grow up if he is to carry on his mission of vengeance and honor. However, the devil is in the details, and it's here that "Galaxy Express 999" ultimately fails. Originally released in 1979, the animation is quite poor when compared to anime nowadays, and in certain places, the character designs are simply horrible. Sad as it may seem, this really does detract from the storyline, since I found myself jarred by the oftentimes crude animation.

Although the movie's story starts off easily enough, it grows more and more convoluted as the movie passes. Plotline upon plotline is heaped onto the basic story, until it all becomes a confusing mess. Famous characters from some of Matsumoto's other titles (Captain Harlock and Emeraldas) appear, though their appearances are seemingly at random and merely to fill in a plot hole. By the time the story tries to wrap up all of the elements into one nice, neat package, it feels rushed and done for the sake of convenience.

As I understand it, there were several "Galaxy Express 999" movies, each following Tetsuro's attempts to overthrow the Mechanical Empire and save humanity from serving machines. I'd seen bits and pieces of them, but this was the first one I had seen all of the way through. However, it leaves me with a bad taste in the mouth. There were so many elements of the story that could have made for an enjoyable picture, not the least of which was following Tetsuro's progression to manhood and his appreciation of his own humanity. But the movie doesn't do any of the concepts justice and I just end up feeling cheated by the film's outcome, not to mention disappointed by the film's quality.

I've heard many people describe this as a serious, "adult" anime, but I don't buy it. I would love to see a remake of this, one that deals with the subject matter seriously instead of trying to make the plot more complex than it has strength to be, one that does justice to the epic feel of the movie without reducing it to a complicated mess.

Perhaps it's because the ending is never really in doubt; even in the movie's darker moments, there's no doubt that things are going to end on a positive note. I'm not saying that I wanted a tragedy, but even when Wang is wasting away in a prison after being charged with kidnapping, I couldn't bring myself to feel any empathy. When the movie tries to ramp up the melodrama, as in Wa's last sacrifice for Wang's freedom, it feels heavyhanded and desperate. And that immediately sets off some alarms. I don't mind movies that are emotional and moving, but when they pile on the melodrama, well... suffice to say, I ended up watching "The King Of Masks" with my forcefields up.

I know all of this makes me sound like a heartless bastard. I'd be lying if I said there weren't any beautiful moments in the movie. Xu Zhu and Renying Zhou do a stellar job as Wang and Gou Wa, respectively. Zhu portrays Wang as a man who has had more than his fair share of suffering, but is still looking for a chance to share his skills and life with his family. When Wang finds the child that he thinks will be his true heir, his sense of joy is overwhelming.

A movie with a child as one of its protagonists sinks or swims with that role, and Zhou movingly shows Wa's love and dedication. One scene that sticks out in my mind is when Wa is first rejected when Wang finds out her gender. Wa throws herself at Wang, desperate not to be left behind. As Wang leaves on his boat, Wa trails behind, pitifully crying out "Grandpa". It's a scene that could make the hardest heart melt.

But that kind of response overlooks the movie's other side, where it looks at the social traditions and structure of 1930s-era China. It's this area that I found most interesting, because it provided a fascinating background for the emotional elements of story. Unfortunately, Wu only delves into this as much as is necessary, giving the viewer only a barebones look at the movie's world. There are few scenes where this sense of tension are really palpable (such as when Wang is confronted by a group of soldiers), but they're few and far between.

As such, you don't really get the feeling that Wa is trying to go against age-old traditions when she tries to be Wang's student. Rather, the movie comes dangerously close to portraying Wang as nothing more than a crotchety old man dealing with a stubborn little girl. And sooner or later, you know his heart is going to melt. Perhaps if that feeling of what Wa was doing had been more fully realized, the emotional impact of what Wang and Wa finally accomplish together would've been greater. It's a solid movie, and not without any merit; in fact, it probably stacks up quite well to most dramas you'll be able to find. But I was expecting so much more.

TECH SPECS:
You get the movie, and that's about it. Quality-wise, the transfer is only so-so. It looks like a highgrade VHS recording, and there are plenty of defects to see. Aside from the trailer, you really don't get anything else in terms of extras. It's here that this DVD could've shined. I would've loved to have seen a documentary on China, perhaps exploring some of the social issues (namely the role of women and children in China at the time of the movie's story) that the movie only touched on. But as it stands, this is a pretty disappointing disc.

Some of these are absolutely brilliant, such as Jet Li's "Fist Of Legend", which is not only a fine homage to Lee, but also one of the finest martial arts films ever made. Others, such as Sammo Hung's "Enter The Fat Dragon", are less so, an homage with tons of heart but still almost painful to watch. Perhaps the most ambitious Lee homage was the 1995 TV series "Fist Of Fury", a Chinese production that took Lee's classic film and expanded it into 30 episodes, creating whole new storylines and characters and fleshing out the story of China's struggle against Japanese invaders.

Now, I say "perhaps" because all I have to go on is this, a 2 hour slice n' dice distillation of the series courtesy of Tai Seng, and a pretty poor one at that. That became painfully clear as I watched the "Making Of" featurette included on the DVD. Whole character arcs and backstories had been cut out, which explained why some characters just suddenly appeared in the movie, with little or no explanation, and yet noone else in the movie seemed to notice. The movie's entire pacing feels rushed, as if they're trying to condense as much of the series as possible into 120 minutes, a futile attempt that becomes painfully obvious as the movie continues. Rather than adding depth to the movie, the result is a slow, confusing mess that drags nearly every single minute.

The plot's essence is this: Due to internal strife, China has become increasingly divided. Using this to their advantage, Japan begins plans to invade China, hoping to control its vast natural resources. The martial arts schools have become increasingly divided, caring more about their individual styles than unity, and are unable to defend against Japan. One school, Jing Wu, hopes to lead all of the schools, creating a single, very powerful style to use against the invaders.

Donnie Yen plays Chen Zhen, Jing Wu's finest pupil. When his master is poisoned in a Japanese plot to undermine the school, Chen promises vengeance. He systematically begins defeating Japanese martial artists, proving time and again that Chinese martial arts are superior. But complicating matters is Yumi, Chen's love and also the daughter of Sachio Takeda, the man in charge of China's invasion. An ambitious man, Takeda is not above treachery and assassination to achieve his goals, even at the expense of his own family. Furthermore, Chen has to deal with treachery from his own countrymen, as other Chinese flock to the Japanese, hoping to benefit as their conqueror's lackeys.

What immediately drew my eye to this was Donnie Yen's involvement, one of the few true martial artist/actors out there. Unlike so many who appear in martial arts movies, Yen is a true expert, having studied under the same wushu master as Jet Li. Although Yen has starred in some clunkers (i.e. "Crystal Hunt"), his involvement in "Iron Monkey" has forever cemented his place in my pantheon of kung-fu gods. Recently, Yen has made a name for himself as a choreographer, working on films such as "Blade 2" and "Highlander: Endgame".

Since Lee was Yen's childhood idol, it's no surprise that you find Yen playing Chen (Lee's role in the original), as well as handling the action choreography. Unfortunately, the results (at least in these 120 minutes) are, well, silly. Yen's always been a fan of undercranking (shooting the action at a slower speed, which results in sped-up moves when the film is played back at normal speed), but he goes nuts here. What you get is the visual equivalent of Alvin And The Chipmunks, enough to make someone with ADD plead for a little slow motion. When someone lands a blow, you never feel it like you do in great martial arts movies; combined with way too many cuts and incredibly tight framing, it feels like the editor accidentally left the film in fast forward, hoping to get through as much action as possible.

Making it hilarious (though unintentionally, I presume) is Yen's copping of Lee's trademark moves, gestures, and noises (and I say this knowing full well that Yen could paralyze me with his left nostril). At first, it's worth it just to hear Yen doing his best Lee impersonation while hopping across the screen like a hyperactive kid on uppers, but then you just want some break in the action, one solidly-landed punch or graceful kick. What I've always liked about "Fist Of Legend" was that Jet Li never tried to be Bruce Lee; rather than impersonating the man, he paid homage to the man's spirit, to the spirit of the film while making the role his own. So, even though "Fist Of Legend" was a remake, it had a heart and soul all it's own.

Now, I could deal with insane action pieces and senseless editing if the story had been solid. But, as I've mentioned before, the ultra-truncated version leaves huge gaps in the story, gaps that I was barely able to fill by watching the DVD's supplemental materials. Everything in the series dealing with Chen's youth, especially his family, is gone. Anything dealing with the romantic development between him and Yumi is absent, as are the details behind the romantic triangle involving Hideaki Ishii, a Japanese warrior in charge of destroying the martial arts schools. Any drama left in the movie is on par with your cheaper soap operas, complete with overacting and melodramatic pauses. I found myself waiting for someone to make a shock announcement about their pregnancy and the identity of the child's father.

The other thing that irked me was the film's treatment of the Japanese. What I've always liked about "Fist Of Legend" were the shades of grey the film employed when it came to both the Japanese and the Chinese. There were villains to be sure, but there were also great, noble characters. "Fist Of Fury" is clearly a patriotic work, but the film's treatment of the Japanese turns them, at best, into vapid girls (Yumi) and at worst, treacherous, bloodthirsty dogs (Takeda and Ishii). It's all black and white, and you know whether someone is good or evil by the flag flying behind them.

All of which just goes to show that condensing 30 full episodes into 120 minutes just can't work. Important details are going to be left out, be they plot points or character development. Any depth the series might have had is lost, replaced by senseless fight scenes bridging the gaps between extreme romantic melodrama, jingoism, and characters just popping in and out seemingly at will. I'm guessing that most of the series' finest moments are on a Tai Seng cutting floor somewhere in the world.

Now, I'm assuming "Fist Power" is supposed to be some sort of thriller, or at least that's how it starts. Anthony Wong ("Hard Boiled") plays Chau, a retired army officer whose stepson is being taken back by his opportunistic ex-wife and the child's real father. They hope the child will boost their chances at getting a billion-dollar inheritance. In other words, they're the bad guys. When official channels don't do him any good, he does what any desperate parent would do... he takes over his son's school and holds it hostage, demanding the return of his son or it's curtains.

Determined to stop him is Cheuk (Zhao), whose nephew is a student at the school. Accompanied by a nosy tabloid reporter and Chau's brother-in-law, Cheuk races to retrieve the tyke. Of course, the kid's father is a bit of a nogoodnik, and puts all sorts of obstacles and traps in his path. Essentially, this translates to one inane, awkward fight sequence after another. Thankfully, Cheuk just so happens to be the top security advisor in the country; something made painfully obvious when he's able to defeat a whole skyscraper teeming with security guards in 10 minutes.

Now, the reason I assume that "Fist Power" was supposed to be a thriller is that it certainly goes out of its way to be anything but. Somewhere along the way, I think they lost the script, and just decided to wing it. That's the only thing that might explain what ended up on that DVD.

Humor is often a mixed bag in martial arts movies, but here is just downright dumb. If we don't see Cheuk's reactions to sitting down too hard on a bicycle seat, there are the cartoonish actions of Chau's brother-in-law, and the various hijinks of Cheuk's own family. For example, that nosy reporter mentioned earlier just so happens to be a girl that Cheuk's family is trying to set him up with. Let the hilarity ensue! And if that's not enough, it turns out his family is a bunch of martial arts masters... something that comes in surprisingly handy in the film's final minutes (please note the sarcasm there).

And what's with the cute little kids?!? Personally, I'm this close to proposing a ban on all cute little kids in kung fu movies. They're never cute, and all they ever seem to do is get into trouble, fall into disturbing situations (I don't know what's with the scene involving hiding the kid under the woman's dress), or they cry. The only exception to this is Miu Tse, who played Jet Li's son in "New Legend Of Shaolin" and "My Father Is A Hero", but even that's pushing it.

And while I'm on a rampage, can I just go off on the inane moral lessons that seem dished out with every fight scene. I call them "inane" because the movie obviously doesn't take them seriously. One minute, Zhao is lecturing security guards on the problems of violence, the next he's electrocuting people. If the movie's so "anti-violent", than I don't understand why gangsters bashing the brother-in-law's head in with aluminum bats or the reporter cold-cocking someone is played for cheap laughs. And that's not all... this movie's got opinions on the news media, Hong Kong bureaucracies, and class warfare! Just don't expect any of them to be worth taking seriously.

Finally, there are the performances. Only one is noteworthy, that of Anthony Wong. His understated performance feels woefully out of place (probably because it actually has depth and nuance) when compared to everyone else. As the other "star" of the movie, Zhao has nothing going for him, charisma-wise. He looks like that guy that's always plays "Fight Extra #3" who has suddenly been given a starring role. His wushu skills seem formidable, but I really couldn't tell since crappy editing and choreography resulted in fight scenes that looked like nothing more than a bunch of jump cuts and flying props.

"Fist Power". What a horrible name for this movie. That implies something hard-hitting, something with some "oomph" behind it. This movie, whatever it's real title should be, falls flat in every single way. I could go on and on about how crappy this movie is, but I'd end up repeating myself. Stay far away from this one, even if you're looking for something "so bad it's good". It won't even meet those high standards.

Now "Shiri", on the other hand, feels like the exact opposite, a Korean remake of some big Hollywood political thriller. In fact, "Shiri" was made just so that it could compete with big "foreign" blockbusters. And looking at it, the filmmakers did an admirable job. Gone are the hokey sets, cheesy effects, and melodramatic acting that often seemed de rigueur for Asian action movies (or were some of their most endearing qualities, depending on how you look at it).

Hee is a top North Korean assassin who has been taking out various criminals and politicians. Assigned to her case are two special agents, Ryu and Lee, who have tracked her movements for years, to no avail. A recent rash of assassinations all seem to revolve around a mysterious chemical called CTX, a powerful explosive and source of energy. When a group of rogue North Korean soldiers make off with enough CTX to reduce Seoul to rubble, Ryu and Lee find themselves surrounded by political intrigue.

Why are these North Koreans so intent on foiling plans for reunification? How do they seem to know every move that Ryu and Lee make? And just what does Ryu's fiancé, Hyun, have to do with all of this? Soon, Ryu and Lee find themselves unable to trust anyone, including eachother, as the terrorists make one deadly move after another.

"Shiri" has loads of action, romance, espionage, political machinations involving the reunification of North and South Korea (always a touchy subject), and a double-cross or two. And it's got a slick, modern look. Unfortunately, it comes off feeling like the Korean remake of a Jerry Bruckheimer film. Part of me wants to congratulate director Kang for making such a successful film ("Shiri" broke box office records in South Korea, and could be considered that country's "Titanic"). It's wonderful to see other countries make movies that stand up to the wave of American films that flood and snuff out their box offices. And it's even more impressive when you learn they did it all for $5 million dollars.

But it all feels so, well, slick and modern. This is as "westernized" an Asian movie as I've ever seen, and I'm not sure that's a good thing. Gone are all of those excesses, those gritty, manic quirks that I love so much about Asian cinema. You could throw Ben Affleck and George Clooney in there, move the plot to Washington D.C. or New York, and you have any disposable politically-charged thriller that's come out in the past 5 years.

There are some exciting moments, and the movie does take risks that most Hollywood movies wouldn't take (love the exploding suicide pills). The big shootout between the South Korean agents and the North Korean soldiers is great to watch, reminiscent of the free-for-all in Michael Mann's "Heat". But that's just it... this movie feels like one I've seen before. At times, it even feels measured and uneventful, a real no-no when you're trying to pull off a thriller. There are parts of this movie that feel like blatant attempts to strengthen weak characters (ie Ryu, Hyun, and Lee's night on the town), or moments meant to make us feel for these bland individuals. Even when Kang tries to up the emotional ante with a surprise "twist", he insists on prolonging it even though an attentive viewer would've figured it out 30 minutes earlier, and successfully snuffs it out.

I love to see foreign movies that can compete with big Hollywood movies, but not when it's like this, not when it feels like they give into the big budget way of doing things. The thing that pulled me into Asian cinema was how un-Hollywood it was; you saw things in those films that you just didn't see elsewhere. Give me an example of a film that has as much heart and firepower as "The Killer", as much joie-de-vivre as "Chungking Express", as much excitement as "Police Story". Nothing compares to them. But if you ask me to give an example of a film that compares to "Shiri", well, I hope you have some time because we'll be there for awhile.

"Avalon", on the other hand, truly deserves the title "visionary"; its depth and visual style makes "The Matrix" look like little more than a student project.

Of course, I wouldn't expect anything cut and dried to come from Mamoru Oshii ("Ghost In The Shell", "Jin-Roh"), who wrote and directed the film. While most anime seems little more than buxom babes with big guns, his works delve into complex technological and psychological themes more intent on making the viewer go "Huh?" than throw them a little fan service. Even if you don't always get his films, and believe me, you'll scratch your head more than once through them, they're not easily forgotten. And "Avalon" is no different.

In the distant future, people are addicted to a virtual reality combat game called "Avalon". In "Avalon", players progress through battlefields, trying to hone their skills, either in teams or solo. The game is so widespread that the best players can make their living playing "Avalon". Ash (Foremniak) is one of the game's best players. Once a member of "Wizard", one of the best teams around, a horrible mishap in the past has left her solo. Other players marvel at her talents, but as she progresses, the game begins to lose its challenge.

That is, until a former teammate tells her of a secret level that one can only get to under special circumstances, a secret level that imprisons her former leader from "Wizard". Ash becomes obsessed with finding out more about this level, ostensibly to rescue her old comrade. Although she has always been a lonely type, she grows more and more isolated, her only source of companionship her basset hound. Eventually, Ash gets her chance to find this secret level, accompanied by a mysterious stranger who promises to reveal "Avalon"'s truths upon completion.

To really go into more detail would spoil the movie for you. Not because I might reveal some spectacular twist ending, but because I might spoil your interpretation. That's the true beauty of "Avalon"; it's ending is truly open to interpretation, to look back at the viewer and force them to decide what's happening based on what they've seen so far. Its ambiguity is not some cheap ploy, nor is it laziness on Oshii's part. "Avalon" feels too carefully constructed for that. When the final credits roll, you're left with the notion that the true puzzle is about to begin.

But even if ambiguously existential virtual reality flicks aren't your cup of tea, "Avalon" is still a stunning and ambitious film. Do yourself a favor and peruse the stills from this movie. Yes, the movie really does look like that, though those JPEGs really don't convey how beautiful, how otherworldly this movie feels. For whatever reason, Oshii decided to shoot the movie with a muted color palette that consists mainly of browns, muted greys, and sepias.

The result is a distinctive look that has to be seen, but one that feels like a far cry from other "cyberflicks", with their William Gibson-esque visions of virtual worlds (a la "Johnny Mnemonic" or God forbid, "Hackers"). If anything, "Avalon" feels much closer to "Blade Runner" in this regard. Both movies present stunning visions of fairly dystopic futures that don't resort to visual clichés. When Ash logs into "Avalon", you don't see a vapid electronic rush of swirling datastreams, neon networks, floating 3D operating systems, and glowing avatars.

"Avalon" looks rusty and vintage, a world on the verge of fading out of existence. The buildings look like they'll fall apart as soon as the camera looks away, the streets like ghosts alone walk down them, the machinery like it was left over from some more advanced age. The whole movie looks like faded photographs, something dreamlike and wistful. Ash's faded apartment mirrors the emptiness of her life; outside of "Avalon" she's really nothing, her only routines are checking her mail for clues and feeding her dog. When real color is introduced, something as simple as a green apple jumps off the screen. And when Ash finally reaches the secret level, the visual shock is as disorienting for the viewer as it is for her.

Adding to the movie's look are the effects. Whereas most special effects scream "Look what we can do with a room of SGI workstations and a couple million dollars!", "Avalon" is remarkably restrained, though much more intriguing. When people are killed in "Avalon", their bodies flatten and shatter like stained glass windows, or simply unravel. When the ghost holding the key to "Avalon"'s secret level appears, she is truly haunting and eerily out of place in "Avalon"'s rusted world.

These days, most effects are meant to leap off the screen, to dazzle the crowd and make them feel like they're getting their $10 worth. "Avalon" is different. You'll notice the effects, simply because they look pretty darn cool, but the movie never lets them become the centerpiece. It doesn't grind to a halt just to make sure you notice how big the budget was. Rather, "Avalon" uses effects the way they should be, to enhance the movie's world, to underscore its reality (or surreality, as the case may be). There's a reason why James Cameron hailed "Avalon" as one of the most beautiful films he'd ever seen.

Also adding to "Avalon"'s distinctive flavor was Oshii's decision to shoot the film entirely in Polish. One can imagine the logistical headaches that might've arisen from the cross-lingual hurdles, but kudos to Oshii. It's yet one more element that adds to "Avalon"'s exoticness. And Foremniak is perfect as Ash, all business in the game, but almost painfully awkward and empty in the real world.

Oshii's movies have never been mere entertainment. Although his films are sometimes bogged down with too many questions and ambiguities, or simply too much monotonous dialog (as was the case with "Patlabor 2"), "Avalon" stands head and shoulders above his other works. Visually stunning and mentally puzzling, it's an intriguing movie, and a very beautiful one to behold that just gets richer the deeper you go.

Ho Tao (Gordon Liu) is initially opposed to an arranged marriage to Kuda, the daughter of his father's Japanese business partner. Once he gets a good look at her, however, he changes his mind (if you saw that your bride-to-be was Yûko Mizuno, you'd do a 180 too. When she starts practicing karate, Ho Tao lets her, amused with her "foreign" ways. But once her training gets more aggressive, he begins to get more concerned with impressing upon her the superiority of Chinese kung fu. Not that I blame him; you can't have the new wife busting down walls, breaking statues, or removing all of your weapons from the gymnasium.

Kuda grows more and more obstinate, and the couple can't resolve their differences, which threatens to ruin their marriage. Of course, it's all very entertaining. My favorite scene involves the couple getting ready to go to bed, but not before removing all of their secret weapons (daggers, throwing stars, darts, and enough hidden weaponry to make James Bond green with envy). And their fight in the gymnasium, each trying to "explain" the merits of their styles, is a great one. Unable to beat Ho Tao, and fed up with his closed-mindedness, Kuda returns to Japan and her old teacher, Sanzo (Kurata).

In a dimwitted plan to get her back, Ho Tao sends her a letter claiming that Japanese martial arts are poor rip-offs of Chinese techniques. He hopes to rile her up so that she comes back to China, where they can kiss and make up (but not before he puts the smack down). Just a little advice, pal... you catch more flies with honey than vinegar. Of course, this letter falls in the hands of Sanzo, who heads to China along with his master and 6 other Japanese experts, all who intend to put Ho Tao in his place. And you thought in-laws were bad.

Now, this is basically an extended set-up for some incredible martial arts action, as Ho Tao takes on each of the Japanese, all masters of different styles. Of course, given that this a Hong Kong movie, it's pretty easy to figure out how all of the fights are going to end, but that doesn't lessen the fun any bit. Each one is a blast to watch, especially Ho Tao's duel with the nunchaku master. But it all leads up to the titular battle with Sanzo, a master of ninjitsu.

Ho Tao's extended duel ranks right up there with "Chinese Super Ninjas" as far as old-school ninja action goes. Although not as bloody as that movie, "Shaolin Challenges Ninja" does get pretty clever, especially in Ho Tao's initial confrontation with Sanzo, which involves a heavy dose of illusion and mannequin killing. And then there's that whole "crane vs. crab stance" sequence that you must see to believe.

Liu - best known for his role in the classic "36 Chambers Of Shaolin" - is quite impressive here, with his martial arts skills put on prominent display. Another treat is Kurata, who may best be known as the elderly uncle of Jet Li's girlfriend in "Fist Of Legend". And of course, there's Mizuno. Unfortunately, it doesn't look like she did any other movies, which is a shame. Here, she's cute as a button as well as capable of kicking some serious butt, although her role in the film's second half is seriously reduced. But casting aside, there are several other things worth noting here.

Okay, so Kuda doesn't really start off the marriage on the right foot. But the movie does a good job at pointing out Ho Tao's ignorance and refusal to learn anything about his new bride's culture. One misunderstanding piles on top of another, and Ho Tao stubbornly refuses to admit that his pride is getting in the way of things.

Also, unlike some kung fu comedies, which sometimes seem to focus on the slapstick rather than the martial arts, "Shaolin Challenges Ninja" is all about the latter. There are some sophomoric gags involving Kuda's training, loose fitting clothing, and cleavage, but they occur early on in the film and are quickly forgotten (thankfully). That leaves the remainder of "Shaolin Challenges Ninja" to focus on one great fight after another, with a good lesson in tolerance (and not pissing off your wife's martial arts master) to end on.

Yen plays the titular Wolf, a retired assassin of renown. He's tortured by the ghosts of his past and prone to remembering the happier times, if only to punish himself even more for his past transgressions. When he's tracked down by Ben, a young upstart assassin who hopes to take the Wolf's place as the number one killer, the pro decides to dissuade him. And so begin the flashbacks.

In fact, the whole movie seems like it's nothing but one flashback after another, which makes for some very confused viewing. The Wolf was once Man-Hin, a villager drafted into the army and turned into a brutal killer. After the war, he becomes a bandit, only to realize the error of his ways. He takes out the gang, but loses his memory as a result. He becomes an aimless drifter, knowing only that he must return to Wai-Yee, the girl he left so many years ago.

From there, the predictability just abounds. What do you want to bet that he just happens to come across a village that just happens to be located next to the temple where he and Wai-Yee pledged their love so long ago? What do you want to bet that his old bandit buddies come looking for revenge? And what do you want to bet that the film will have a tragic ending?

From the minute he and Wai-Yee find eachother again, you can basically figure out each turn of the story. What makes it all "better" is how Yen just piles on the martial arts action, making liberal use of his pride and joy, undercranking. His editing knows no bounds either, resulting in fights that seem to consist of jump cuts and transitions more than actual kicks and punches. Admittedly, some of it does look really cool - Man-Hin's fight with the tiger-clawed bandit at the film's end is pretty exciting to watch - it becomes fairly old hat after awhile.

But Yen also tries his hardest to make the film "artistic" and "deep", throwing in ultra-dramatic moments meant to expose the longing and hurting in Man-Hin's life (which, unlike those in "Ballistic Kiss", rarely work). My favorite is a scene that takes place after Man-Hin's reunion with Wai-Yee. One day, Wai-Yee awakes to find him missing, and desperately searches for him. She finally finds him sitting out in the middle of field, looking pensive as he gazes into the peaceful sky, finally feeling at home. He and Wai-Yee share a tender moment, but lest we forget how tough he is, his shirt is unbuttoned and flapping in the wind.

As for the film's romantic element, it has everything going for it except passion, depth, and believability. The couple's big romantic moment, which happens during a rainstorm (of course), is so awkwardly done, with the camera right up in their faces as they paw eachother, that it looks like another one of the movie's fight scenes. Yen almost seems afraid of letting the audience's view stay in one spot for more than 10 seconds. As a result, even the lovers' embrace is filled with tons of cuts, to the point where it looks like they're trying to beat the crap out of eachother... with their tongues.

Yen plays the tortured, existential killer to the hilt, doing everything he can to make sure we know how pained his character is. I can't say if it's a problem of ego or what, but the Yen reaches way too far throughout this entire movie. Even his moments of subtlety announce themselves with dramatic music, meaningful glances that fill the screen (usually undercut with scenes of his past violence), and more slow motion than he knows what to do with.

It's shame, because Yen is a talented guy. Anyone who has seen "Iron Monkey", "Once Upon A Time In China 2", or "Wing Chun" can see that. However, in those films, he's an actor... and he rules the screen whenever he's on there (just watch "Iron Monkey" is you need proof). As a director, however, he leaves a lot to be desired, which is pretty ironic considering how hard he tries and how much he jams into his films.

In 1765, a mysterious beast is stalking the French countryside of Gevaudan. Noone has been able to kill it, a fact that is alarming to the rest of the country. Determined to bring the situation under control, the king dispatches a botanist, Grégoire de Fronsac (Bihan), to study the beast and help in its capture. Accompanying Fronsac is the enigmatic Mani (Decascos), Fronsac's blood brother and an Iroquois warrior from America.

Fronsac discovers the situation is rapidly deteriorating. The local militia has proven to be incompetent, a point quickly made when Mani is able to single-handedly trounce a group of them with his fighting skills. After several hunts, no results have been made aside from a bunch of dead wolves. Soon, Fronsac finds himself caught up in political intrigue. The king, afraid that the fear surrounding Beast's activities might throw the whole nation into a panic, concocts a plan to simply bury the whole matter, regardless of whether the beast is killed or not.

It quickly becomes obvious that "Brotherhood Of The Wolf" is no mere "monster movie". In fact, we never even see the monster for the first half of the movie, just its victims. This creates a palpable feeling of terror and anxiety that, when combined with the moody look and feel of the movie, is very effective indeed. To be honest, when they finally do get around to showing the beast, it's a bit of a disappointment.

Although the first half of the movie focuses on attempts to capture the Beast, the second half takes a decidedly more complex twist. The focus shifts to the various political intrigues that were simmering just below the surface of the movie's first half. As Fronsac delves deeper into the mystery of the beast, he begins uncovering plots within plots surrounding a secret society that may be using the beast, a discovery that may be more deadly than any animal. As dark as the movie's first half was, the second half feels even more alien and terrifying, if a bit awkward.

At this point, the movie begins to feel a bit like an "X-Files" episode, if the series had been more inspired by the writings of Umberto Eco and less by "Kolchak: The Night Stalker". To the filmmakers' credit, they never settle for the easy way out. There are parts of the movie that seem a bit too ambiguous. However, it's not easy to shift from a mere monster movie to one that involves international intrigue, power struggles between the Church and the king, secret societies, superstition, and the social upheaval that was beginning to sweep through France at that time period, and not leave a few plot points unexplained or introduce a plot hole or two.

Thankfully, if the movie gets a bit too much or the plot holes get a bit too big for you to swallow, you can sit back and just appreciate the movie's visual style (which, in my opinion, ranks up there with "The Lord Of The Rings"). The filmmakers spared no expense, crafting a rich and vibrant world within the movie, from the elaborate costumes to the gorgeous sets. The cinematography beautifully captures a haunting and terrifying countryside where a bloodthirsty Beast could strike at any minute, but it also captures the decadent court where noone is what they seem. Visually, the film packs enough flair for two movies, seamlessly weaving in visual effects such as CGI. At times, some of the visual effects (such as director Gans' love for playing with film speeds) seem a bit gimmicky given the movie's context; they feel more appropriate for, say, "The Matrix". But the movie has no qualms about throwing believability out the window.

There's no better example of this than in the fight scenes that are pop up throughout the movie. Again, it shouldn't work, and at first it doesn't. It feels like an awkward attempt to copy Hong Kong's kinetic cinema (as is the case with every action movie these days, it seems). But as the movie envelopes the viewer into its world, things like a kung-fu Iroquois warrior don't seem all that out of the ordinary. Sure, there were times when I laughed out loud, such as when the main baddie unleashed his bone-and-chain sword (which looked like something straight out of "Zu: Warriors From The Magic Mountain"). But by then, I didn't really care. Considering everything else I'd seen, I was more than willing to allow the film a little more latitude.

These fight scenes also pave the way for one the movie's real revelations, that of Mark Dacascos. Dacascos is probably best known for his roles in films such as "Only The Strong", "Double Dragon", and "Drive", as well as his role in the television series "The Crow: Stairway To Heaven". But he absolutely rules as Mani, nailing the part of a mysterious Iroquois warrior/priest who also knows a mean roundhouse kick. Dacascos has been laboring in the direct-to-video market for a long time now, but this role should open up all sorts of horizons for him.

"Brotherhood Of The Wolf" follows in the footsteps of movies like "The Matrix", movies that manage to combine mind-blowing action and visual effects with a solid, interesting storyline. While "Brotherhood Of The Wolf" may not quite achieve the same pop culture status of "The Matrix", it's certainly another step in the right direction, giving you plenty of eye candy and a fine adrenaline rush without insulting your intelligence. Somehow, I think the facts surrounding the real Beast of Gevaudan (which remains unexplained, by the way), were less mercurial... but I doubt they would've inspired a movie as cool and involving as this one.

Yeah, that's right... Not just a kamikaze ninja. An exploding kamikaze ninja. And that's just the tip of the iceberg that is "Duel To The Death". And when you add great acting, terrific action sequences, an ultimately tragic and poignant story, and beautiful cinematography... well, that just sweetens the deal. However, this movie also works as just a riotous movie chock full of furious wuxia/swordplay/martial arts action. As such, it ultimately pleases the aesthetic side of me that wants a stirring story and well-executed film, and the action side of me that just wants to see a lot of butt-kicking and bloodshed.

The movie focuses on two main characters, Hashimoto and Ching Wan, and the events that lead up to their duel. Both are expert swordsmen, the best their countries have to offer (Hashimoto being from Japan and Ching Wan from China). The two are duelling in order to prove which country has the best warriors. However, the two warriors are caught up in personal honor and such. Each wants to prove himself the best warrior, and each see the other as an equal.

Unfortunately, other forces are at work. It seems the Japanese Shogun wishes to capture the secrets of Chinese martial arts, and have sent over an army of ninjas to accomplish such a tast. Hashimoto is ignorant of this at the start. For him, it's just a personal contest to prove his worth. However, as the movie progresses, he starts to wise up to the Shogun's tricks and becomes torn. He has sworn allegiance to the Shogun, but his sense of honor is disgusted at the Shogun's duplicity.

Ching Wan also wants to test his skills, and sees the duel as a way to prove his masters that he is a capable student. Although he suspects the Japanese of being dishonest, he is caught up in the honor as well, and insists that he must fight Hashimoto in order to prove China's worth. However, there is betrayal among the Chinese as well. By the film's end, the two warriors must not only prepare to battle eachother, but it becomes increasingly obvious that the other parties at work will prevent the duel from being a mere test of skill and valor.

Unlike some of the wuxia films I've seen, this one holds up remarkably well under repeated viewings. The story, with the two warriors surrounded by political deceit, racial tensions, and personal betrayal, must ultimately decide what true honor is. And of course, it leads up to a tragic end that shows, in the most graphic terms, the emptiness that can lie at the heart of such honor. Both Norman Tsui Siu-Keung ("Wing Chun") and Damian Lau ("Last Hurrah For Chivalry") give superb performances, especially during the final battle. Although they are enemies, they respect and admire eachother; in a different world, perhaps, they might even be allies and friends.

Another reason that "Duel To The Death" holds up to multiple viewings - and believe me, there will be multiple viewings - is the superb action. This is why I love these kinds of movies. I swear that you could stare at a different square inch of the screen each time you watch this movie, and see something new. The fight scenes are a visual riot; blades slice and blur through the air, fists and feet fly with abandon, and bodies careen and bounce around the screen so much it makes "Crouching Tiger, Hidden Dragon" seem tame. Forget about the laws of physics, people. I'm not sure, but I think the ability to use your sword as a springboard to jump higher while flying in midair violates at least one of Newton's laws. But screw all that nonsense; things like that just make for a darn fine swordfight.

And then there's the ninjas. Ah yes, it's impossible to talk about this movie without mentioning the ninjas. Ninjas are everywhere in this movie. They fly through the sky on giant kites. They soar through the trees. They turn invisible. They can combine to form giant ninjas, Voltron-style. And they explode. And explode. And explode. Not since "Super Ninjas" have I seen such ninjalicious action.

Everything in this movie is over the top, and as you can see, I love ranting about it. But I love ranting about it even more because it's such a great story. Oh sure, you get to see a man's decapitated head fly through the air, impale itself on a tree branch, utter a last threat, and explode... but you also get to see a great, and maybe even moving story about the weight of honor in a world without any. It's a rare case where a movie's insane action and it's drama complement and strengthen eachother. Let the masses have their "Crouching Tiger, Hidden Dragon". As much as I loved that movie, I'll take "Duel To The Death" any day.

However, the ultimate test comes when 2 of them (Jeong-Suk and Dong-Su) begin rising through the ranks of the mob, becoming powerful members of rival gangs. Meanwhile, the other two (Jeong-Ho and Sang-Taek) choose a straighter path, going off to school and getting legitimate jobs. It's obvious that Jeong-Suk and Dong-Su are headed for a confrontation, and one is left hoping their past friendship will be enough to save them both, that Jeong-Ho and Sang-Taek can help their troubled chums.

If you want action, "Friend" delivers some incredible action sequences ranging from a high school brawl that finds the 4 taking on a theatre full of classmates to Dong-Su's bloody raid on Jeong-Suk's turf. If you want drama and tragedy, it's there as well, anchored by gripping performances by the 4 lead actors. And there's even humor, especially in the earlier scenes, as the 4 raise get into and bail each other out of all sorts of trouble. Unfortunately, as the movie progresses, we see them begin to reap the fruits of their seemingly innocent hellraising.

Based on director Kyung-Taek Kwak's childhood experiences, "Friend" merges a very slick, stylish drama (special kudos to cinematographer Ki-Seok Hwang) with a very deep, thoughtful storyline. Think of it as the Korean "Goodfellas", and you're getting pretty close. At times, the movie does get a little too bogged down on the gangster side of things. I found myself wondering what Jeong-Ho and Sang-Taek (who serves as the film's narrator) were up to, and if they were faring any better than their criminal friends. Their appearances later in the film are a bit too few and far between, and their characters never really become as fleshed out and developed as the other two.

But that's really a very, very minor quibble. It certainly doesn't diminish the power the film has at the end, and it doesn't spare the viewer from the sorrow of innocence lost. The final conversation between Jeong-Suk and Sang-Taek is especially moving, speaking as childhood friends even as they both know they can never hope to make things right. "Friend" forces you to feel the weight of that sorrow in no uncertain terms, and I found myself quite shaken by the time the credits started rolling.

"Friend" gets my highest recommendation, but just prepare yourself before watching. It will not leave you untouched.

Dae-Ho is your completely average middle-class working man. He hates his job, his boss is a complete prick who enjoys putting his employees in headlocks, the ladies ignore him, and his dad thinks he's a failure. That all changes when Dae-Ho begins a secret life as a pro wrestler, donning the mantle of the legendary Foul King and becoming the most notorious rassler in all of Korea. In the ring, he finds his true calling, as well as people who begin to accept him for who he is. Unfortunately, "The Foul King" is just never as enjoyable as it could be.

There are certainly moments that had me rolling on the floor (such as when Dae-Ho begins wearing the Foul King's mask in public). But there's plenty of padding, usually involving Dae-Ho bumbling in front of his co-workers (including the gal he has a crush on) or as he tries to learn the ropes.

The film gets a much-needed boost of energy in the final 25 minutes or so when the Foul King heads into the ring for his greatest fight. Director Ji Woon Kim (who also wrote the movie) takes a page out of Guy Ritchie's playbook, using wild camerawork and filming to achieve the same effect as "Snatch"'s boxing scenes. It soon escalates into an all-out brawl, as the Foul King and his opponent take it outside of the ring for a real free-for-all that starts off hilarious and becomes a tab uncomfortable to watch.

Still, there are long stretches where the film just seems to be running on fumes. You wonder how long it's going to be before Dae-Ho finally starts acting on all of this inner strength his wrestling alter ego supposedly gives him. How long will it be before he starts to live up the Foul King's legend? How long will it be before he gives up on his snooty co-worker and hooks up with his coach's hot daughter?

Finally, there's the social commentary. The film takes what should be some subtle jabs at modern society and its tendency to marginalize those who don't fit in and gets a bit pedantic with them. After hearing Dae Ho's boss rant on and on about his uselessness, I was ready to get in line to pop the guy one.

All in all, "The Foul King" will probably frustrate most viewers, but they will find some comedic treasure amidst the flotsam and jetsam. They'll just have to be real patient.

One caveat, however. The version I watched didn't contain the original Korean soundtrack. Rather it came with Cantonese (starring Steven Chow) and Mandarin soundtracks. I'm not sure how much this affected my impression, but it has in the past ("Bichunmoo" being a shining example). I'd be interested in watching this with the original Korean soundtrack, if only to see if some of the comedy just didn't carry over. However, with a film like "The Foul King", which is largely physical comedy to begin with, I'm willing to wager I didn't miss too terribly much.

Of course, there are notable exceptions to this, and "Wild Zero" is one of them. The first time I saw this movie I was alone, which may have been a mistake. Mathematically speaking, this is one case where your enjoyment of the movie is directly proportional to the number of people in the room with you.

For better or worse, Tetsuro Takeuchi set out to make the ultimate cult movie, culling elements from zombie movies ("Night Of The Living Dead"), 50s B-grade sci-fi movies ("Plan 9 From Outer Space"), and rock n' roll movies ("Rock N' Roll High Forever"). And it might be that his little formula worked a little too well for the film's own good. In the end "Wild Zero" is filled with lots of ambition, excess, and energy that gets a little ahead of itself at times.

Like any true rock n' roller, Ace (Endô) just wants to ride around the country on his motorcycle, following his favorite band (the legendary Guitar Wolf) around from show to show. He's a gawky rockabilly kid who tries too hard (like the movie), but he's got a heart of gold. When the promoter of Guitar Wolf's latest gig refuses to help them out anymore, claiming that rock n' roll is no longer cool, Ace bursts in screaming "Rock n' roll will never die!" He saves the band from the promoter's goons, and Guitar Wolf takes them all out.

To thank Ace, Guitar Wolf (Guitar Wolf's lead singer/guitarist, that is) becomes rock n' roll blood brothers with him, giving him a whistle in case he's ever in trouble. Then they set off in a flame-spitting muscle car and motorcycle (complete with wolf's head and bottle of whiskey on the handlebars). Ace continues on his merry way to the next gig.

He stops in a small town to get gas and inadvertently foils another crime, this one a robbery of the gas station. There he meets Tobio, a super-cute gal who was ditched by her last boyfriend on the roadside. Ace and Tobio hit it off big time in an "awww shucks" sort of way, but Ace must follow the call of the rock and heads off to the next Guitar Wolf gig.

Meanwhile, strange things are afoot at the town, which is apparently deserted. Flying saucers are seen in the sky, a meteor has fallen somewhere nearby, and zombies fill the roads (naturally). This is unfortunate for a group of yakuza on their way to visit an arms dealer, as well as another trio of punks (2 of them, Toshi and Hanako, are the single most annoying couple in any movie I've seen in a long time). All have rather disgusting run-ins with the zombies, who stagger around the countryside like drunks at 3:00 in the morning.

Ace escapes from the zombies and fights to make it back to save Tobio. Meanwhile, the promoter (who wears the shortest, tightest pairs of shorts in cinematic history) is hot on Guitar Wolf's trail to get revenge. Ace makes it back to Tobio, and the two run off the hide from the zombies. Of course, it's not like these zombies could do anything considering how slow and clumsy they are. Finally safe, Ace confesses his love for Tobio, who reveals that she isn't exactly like the other girls. Horrified, Ace runs away. Ashamed that he couldn't truly love Tobio, he turns into a one-man zombie wrecking crew.

Guitar Wolf (the band) have also realized something's up. After picking up the Toshi and Hanako, they head off in search of Ace (remember, they're rock n' roll blood brothers). They hook up with the arms dealer after saving her from a mob of zombies (dispatched by magical, glowing guitar picks that Guitar Wolf slings around like throwing stars) and make it back to her warehouse. Stocking up on weapons, Guitar Wolf prepares for a final confrontation with the zombies.

Let's just focus on Guitar Wolf and his bandmates (the other members are named Bass Wolf and Drum Wolf) for a minute. They drive vehicles that spit fire. They sing into microphones that spit fire like blowtorches. They spend half the movie taking out zombies and the other half striking ultra-cool poses and fixing their hair. To Guitar Wolf, it's no big thing to jump out of exploding building while yelling "ROCK N' ROLL!!!", land on the ground, and immediately retune his guitar. When things get too close for comfort, he just pulls a samurai sword out his guitar and starts slicing UFOs... in midair! Take that, "Six String Samurai"! And when Ace is down on his luck, Guitar Wolf gives him sage advice, which basically consists of, you guessed it, "ROCK N' ROLL!!!" Each your heart out, Dr. Phil!

In fact, watching Guitar Wolf is reason enough to buy this movie. Sure, they can't act one bit, and they may not even be able to really play their instruments, but when they're singing songs like "Violent Blood", who really cares? You don't want frickin' Eric Clapton on your side when you're facing down an army of the undead, do you? You want sketchy, leatherbound rock n' roll backing you up, and Guitar Wolf has enough of that to make Motley Crüe look like James Taylor.

When I first read about this movie, I got all giddy inside like a little schoolgirl. Here's a movie that, on paper has everything a movie needs to be, in a word, classic. It's got rock n' roll, zombies, rock n' roll, aliens, rock n' roll, romance, rock n' roll, and cheesy gore. Oh, and it also has a bit of rock n' roll.

So, if that's all true, why is this movie so painful at times? Really, you'll spend a good deal of the movie waiting for the next cool Guitar Wolf scene to arrive. You know that whenever those guys are onscreen, something good is bound to happen (as in exploding buildings and/or zombie heads). However, there's also a lot of filler, usually involving the shenanigans of Toshi and Hanako (arguing, running through the forest, screaming their heads off, etc.). All in all, they're about as useful as those red shirt-wearing fellows from "Star Trek".

And the zombies themselves are pretty lackluster. Unlike the gun-toting corpses in "Versus", these zombies prefer to stagger around (if they move at all) and groan a lot. And if you're unfortunate enough to be caught by them, the worst they'll do is paw you to death. After watching the zombies (all played by members of the local community theatre, I assume) and their ineptness, it gets a bit old.

From every technical standpoint, the movie is just this side of shoddy. The pacing is pretty bad, the effects even worse, and the editing almost always leave something to be desired. But that's not the point, is it? I'm sure much of that was intentional so as to capture the look and feel of the B movies that "Wild Zero" is so obviously an homage to. Still, I think that Takeuchi and Co. might have done too good a job, as the film does crumble at times underneath the weight of its own considerable excess.

Be that as it may, this can still be a really fun film (and I can just imagine the giggles that happened as Satoshi Takagi wrote the movie's "script"). Like "Dead Alive", "Evil Dead 2", "Army Of Darkness", "Plan 9 From Outer Space", or any MST3K-worthy film, this is definitely a party movie. As much as I love those movies, they really shine when you watch them with a group so that everyone's laughter and enjoyment feeds off each other.

While I still prefer "Versus" in the Japanese splatter genre, "Wild Zero" has a lot going for it, and it does get pretty far on its amateurish charm. Personally, I can't wait for my next movie marathon, so I can spring this on a bunch of my friends and watch their jaws hit the floor as the promoter shoots deathrays out his eyes. Or when Ace finds out Tobio's little secret. But most of all when Guitar Wolf teaches us all about rock n' roll... err, I mean...

ROCK N' ROLL!!!

The result is a highly stylized treatise on life and suffering, a surreal film where the ghosts of one's past can be deadlier than any kung fu master and where honor and virtue are almost always swallowed up by violence and madness.

Hark wastes no time in preparing us for the brutality of his film's world. In one of the first scenes, a group of bandits trick a dog into stepping in a trap. While it howls in pain and tries to get free, the men laugh in cruel joy. It's immediately reminiscent of "The Wild Bunch", which opens with a group of children torturing a scorpion with ants before setting the whole bunch on fire. Like Peckinpah, Hark's world is far darker and dirtier than normally seen in other kung fu movies. You can almost smell the sweat, filth, and grime that coat the film's scenes. No pristine Shaolin temples are anywhere to be found, and those with any shred of virtue are either killed or immediately forced into savagery to survive.

On (Man Cheuk Chiu, a.k.a. Vincent Zhao) and Iron Head (Moses Chan) work as apprentices at Sharp Foundry, which is renowned for its swords. On is quiet and reserved, whereas Iron Head has a furious temper that often gets both of them in trouble. Their relationship is strained by the antics of Ling, the foundry owner's daughter (and also the film's narrator). Ling is determined to start a rivalry between the two men for her affections, and plays the two against each other. The announcement that On will be the foundry's heir just worsens the situation between the two men.

Meanwhile, vicious bandits roam the countryside, terrorizing anyone they please. Iron Head wants to use the foundry's swords to put an end to the rampage, and knows that as the new master, On will be too passive and weak. Then comes the revelation that On's father was murdered by a mysterious and powerful swordsman. On sets out to avenge his father's death, with Ling in hot pursuit. When the bandits capture Ling, On rescues her, but loses his right arm and gets thrown off a cliff in the process.

Presumed dead, On wakes up in the hut of a strange woman named Blackie (presumably because she's that dirty). His only link to the past is his father's broken sword, which he buries when he realizes that, armless, he's unable to carry out any vengeance. Instead, he resolves to live in peace with Blackie. But, as these things go, the bandits don't stay away for too long. After their house is burned down, Blackie finds a hidden book on martial arts. On tries to learn from it, but instead develops an unorthodox style of fighting to compensate for his severed arm and shattered weapon.

Technically, the film follows the same plot cycle of most kung fu films. It's easy to map out the storyline within the first 10 minutes. But within that structure, Hark inserts a sense of madness and pain, of lostness, that is almost palpable. Rendered through Hark's camera, "The Blade"'s world is often nightmarish, especially when Hark lets loose with all of his little stylistic embellishments. Hark's camera is all over the place, disorienting the viewer and further cementing a sense of insanity.

The action lacks any sense of grace and finesse, but rather becomes swift and disturbing. They lack the flair and flash (not to mention Jet Li) of the "Once Upon A Time In China" series and their realistic (and often clumsy and brutish) physicality is a complete 180 from the effects-laden "Zu". At times, the fights become unbearable to watch, not due to gore (though there is plenty of that), but by their sheer craziness.

The closest contemporary I can think of is Wong Kar-Wai's surreal wuxia film, "Ashes Of Time". Both films mine similar subject matter; the subject of trying to live in peace with the past is a central theme. On tries to deal with the knowledge of his father's true past, and responds with vengeance and resourcefulness. Ling must live with her ghosts, literally, as she grows increasingly unable to deal with the violence of the world around her and the weight of the lives she's damaged. Unfortunately, she's not so successful. The film's final image, that of an older Ling living inside the abandoned foundry and imagining On and Iron Head's visits with the help of opium may be the film's most tragic shot.

The concept of violence begetting violence is another theme, as is the realization that sometimes those cycles cannot be broken, regardless of how much you long for a peaceful life. In this regard, I'm also reminded of Clint Eastwood's "Unforgiven", another film that takes a genre's basic concepts and creates a signature film for said genre. Not the most enjoyable or most successful, but one where a genre's themes are seen in as raw and perfect a form as possible.

However, I hesitate at calling "The Blade" brilliant for no other reason than being unorthodox or challenging to the viewer. However, I did feel like I was honestly watching something unique and special with this film. Unlike some kung fu movies, "The Blade" is completely unswerving in its focus. No comedic relief, no silly sidekicks, and no needless romanticism, flaws that often seem to plague otherwise great films. For me, that shows a lot of confidence by the filmmaker in his subject matter. It's also an interesting counterpoint to the more commercially viable films that Hark has made, not to mention his work with Jean-Claude Van Damme.

Regardless of how unremitting the film gets at times, how violent and maddening it is much of the time, "The Blade" is a brutally honest and intense film. Not the best film for a newbie, but for diehards, it offers something very fresh and insightful into our favorite of genres.

And that's just what happens in "Ninja - The Final Duel". Apparently, those ninjas want to be even badder asses, and so they attack the Shaolin Temple in China. After unsuccessfully trouncing the snot out the Shaolin monks, the leader of the ninja clan commits suicide to preserve his honor. Now, we all know that honor runs thick among thieves, so think how it must run amongst those black-clad masters of night. Soon enough, another ninja master, this one even meaner and nastier than the first (you can tell by his poor Sonny Chiba impersonation), sets about on a "glorious massacre" (his words, not mine) of the Shaolin monks.

Now, maybe I have a different idea of just what a "glorious massacre" entails, but apparently, it involves giant amphibious spider-shaped boats that can fly, a weird flute, mad tunneling skills (like those Bugs Bunny cartoons), and lots of maniacal laughter and disappearing. Normally, I don't even think Shaolin monks could handle this sort of onslaught, but fortunately they have help in the form of a traveling Japanese monk with a serious Bruce Lee complex, a black monk from Harlem, and a woman who fights best when completely stark naked.

From a sheer technical standpoint, I think it's pretty much a miracle that all of that even exists on the same reel of film. I would love to have been in on one of the production meetings for this movie.

I want to meet the man who thought that ninjas, already pretty hardcore to begin with, would be even tougher while paddling about on floating spiders (and wearing black Speedos). Also, you'd think that someone would point out to the director that ninjas wearing brightly colored cat masks and making loud growling noises wouldn't be too effective in covert operations. I want to meet the person (I can only assume it was a man) who thought "Hey, let's make Alice Tseng fight completely naked for 10 minutes, then construct a skimpy bikini out of a sheet and fight for 10 more." Sadly, this is Tseng's only movie that I could find, so if you want to catch her nude fighting skills, this is it.

And finally, just where in the heck did the black monk from Harlem come from (aside from Harlem)? It's a kung fu movie about ninjas killing Shaolin monks, and then a jive talkin' monk from New York just appears out of nowhere?!? And no one acts like its any big thing. Personally, if I was a Shaolin monk in the wilderness of China, I'd at least do a double take if I saw a brother from the 'hood sauntering up my temple steps.

It's just ludicrous and downright wacky enough to make you overlook the extremely stereotypical treatment of the man (and you have wonder what Eugene Trammel thought of his character when he read the script, assuming there was a script). The dialog between him and the film's hero (yes, there is one, but he's fairly ignorable) makes "Dolemite" look like a Shakespearean rendition.

Speaking of Dolemite, Rude Ray Moore himself reedited and redubbed this movie to create "Shaolin Dolemite". I haven't seen "Shaolin Dolemite", but I have seen the original "Dolemite". Somehow, the thought of Rudy Ray Moore being involved with "Ninja - The Final Duel" in any way somehow makes sense, in a sick, demented sort of way.

There's no real sane way to look at this movie. It's comparable to other delirious chopsocky fair like "Chinese Super Ninjas" (although that movie still has a special place in my heart). And some have compared it to "Duel To The Death", probably because both movies feature insanely crazy ninjawork that takes great liberties with stuff like the laws of physics. Although "Duel To The Death" is an infinitely better film, you're not going to watch "Ninja - The Final Duel" for the same reasons.

This is one of those "Dude, you won't believe what I just saw" sort of movies, the kind that gives you bragging rights (if only because you survived it). So be proud that you spent money on this film. Drag your friends to the living room, kicking and screaming. Turn a deaf ear to their pleas to fast forward through the poor dialog and needless exposition. Soon, the whole gang will be going nuts. If it's not Tseng's revolutionary performance, it'll be the Californian monks (did I forget to mention them?). If it's not the flying water spiders, it'll be Harlem's Shaolin brother. If it's not the ninja leader's disturbingly short shorts, it'll be his disturbingly smooth legs. If not the action choreography and bloodshed, the dubbing (which ranges from horrible to hilarious).

Come to think of it, this movie has something for everyone.

Personally, I think Dimension should be pretty ashamed of the way they've treated Jet Li's films since they've started releasing them domestically. First off, they've gone in and edited scenes and dialog, and adding the horrible dubbing that people have unfortunately equated with martial arts movies. And now they're just getting sloppy; imagine my surprise when looking at the packaging for "The Enforcer" (the American version of "My Father Is A Hero") and seeing images from "Fist Of Legend". For a fan, that's like a slap in the face, or at the very least, plain rude. If you're putting out someone's films, at least try to be accurate, just out of common courtesy.

That's why I'm all about getting the original Hong Kong releases of these films (regardless of price). I rented "Twin Warriors" (the American version of "The Tai Chi Master"), and while the video and sound quality may have been superior, watching the HK version just feels so much more real.

"The Tai Chi Master" follows the lives of two young men, Jinbao (the always cool Jet Li) and Tienbao. Growing up together in the Shaolin Temple, the two become close friends and skilled martial artists. Though friends, the two are quite different. Jinbao is good-natured and content with his life, whereas Tienbao is more ambitious and competitive. This gets him in trouble at a martial arts competition when he goes overboard after his opponent resorts to dirty tricks. His resulting behavior gets both friends thrown out. Forced to live in the outside world, the cracks in their friendship begin to grow.

Determined to make a name for himself, Tienbao enlists in the army of Master Liu, a powerful eunuch. Meanwhile, Jinbao falls in with a group of rebels (featuring an understated Michelle Yeoh) seeking to overthrow Liu's regime. Tienbao grows more and more ambitious, ultimately betraying Jinbao and his friends to gain a promotion. The shock of his best friend's betrayal drives Jinbao mad. While in the care of two of his former comrades, Jinbao slowly comes out of his madness. Studying nature, as well as some ancient writings from his old master, Jinbao develops a new way of fighting called "Tai Chi".

Tai Chi focuses on using your opponent's strengths against him, on being adaptable and flexible like water, or the wind. On the surface, it isn't an offensive fighting style. However, when used in combat, its techniques are quite effective. But while Jinbao has begun mastering his new style, Tienbao has grown more and more brutal, rising through the ranks of the army and becoming a feared general.

It had been awhile since I'd seen one of Jet Li's pre-Hollywood films. After stuff like "The One" and "Kiss Of The Dragon" (which I did enjoy, I must admit), it was nice to see something as outrageous as "The Tai Chi Master". Comparable to "The New Legend Of Shaolin", "The Tai Chi Master" has some incredibly outrageous fights, the kind of stuff that you only see in the films of Yuen Woo-Ping. Watching this, I can't wait to see what he has in store for the upcoming "Matrix" sequels and Quentin Tarantino's "Kill Bill".

There's the fight between Jinbao and Tienbao and a group of pole-wielding Shaolin students, complete with greasy floors and human surfboards, as well as Yeoh's tabletop fight in the restaurant with her ex-husband's new mistress. But the two centerpieces take place between the ex-friends. The first takes place when Jinbao comes to rescue Yeoh from Tienbao, in a windswept courtyard and culminating on what could best be described as a huge Jenga pile. The second is the final battle between the two, where Jinbao uses his newfound technique, ultimately turning Tienbao's own cruelty against him. It just keeps getting crazier and crazier, with Tienbao literally throwing his troops at Jinbao.

Comparing this version with the Dimension version, I'm amazed at how lighthearted the Dimension's seemed. "The Tai Chi Master" is a pretty dark film, with betrayal, tragedy, and madness (again, closer in mood to "The New Legend Of Shaolin"). However, the Dimension version just played Jinbao's madness for yucks (or maybe it was just their dubbing, which I can never seem to take seriously).

This is the way to see all of Jet Li's movies, or any martial arts movies for that matter. Don't bother with Dimension's releases, even if they do look and sound better; the heart just isn't there. Track down the original releases, even if they cost a little more or you have to wait a little longer to get them from importers. If Dimension wants my money, they'll need to try a little harder. Films as great as "The Tai Chi Master" deserve more.

If you couldn't tell, I'm a fan. So one night, I rent "Bullet In The Head," one of the classic Woo films I haven't seen. In many ways, it consists of the best and worst of Woo's filmmaking. The film follows the lives of three friends -- Paul, Frank, and Ben -- during the Vietnam War. All three want to become successful. They leave Hong Kong for Vietnam, hoping to strike it rich in the chaos of the war as smugglers. Everything goes wrong from the start. Soon the friends find themselves in a living hell as they watch their lives and friendship slowly spiral out of control while being subjected the horrors and violence of the war. Eventually, all three end up committing unspeakable acts to themselves and to eachother.

The premise makes for a gripping story, and in many ways it is. This film has some of the most moving and powerful scenes of any movie I've watched in recent memory. Especially haunting is a scene in a POW camp after the trio have been captured by the VC. After being tortured, Frank is forced to kill other prisoners for the guards' amusement. Frank is hysterical by what he is forced to do, so Ben steps in to spare his friend the guilt and anguish. Watching it, I couldn't tear my eyes from it. I challenge anyone not to watch that sequence and not find it wrenching. Scenes like this elevate Woo's filmmaking above your average "hail of bullets" films.

Unfortunately, some scenes get to be too much, even for Woo. I know this sounds blasphemous, but some of the battles in the POW camp remind me of something that I'd see in a Rambo film. While okay for a mindless action flick, they only serve to undercut the emotional aspects of the film. Ridiculous and inane scenes follow emotionally devastating scenes, the former completely lessening the impact of the latter.

Even though this movie doesn't star Chow Yun-Fat (Woo's most famous counterpart), the acting is pretty top-notch, especially Tony Leung's. As Ben, he serves as the emotional and moral anchor of the trio, a position that gets sorely tested. Leung's portrayal is right on, and his scenes are some of the most riveting. Of course, the acting does get overly melodramatic, but most of the time, it is quite earnest and perfect for the subject matter.

If you can get past some of the more outlandish gunfights and extended battles, and the somewhat cheesy opening sequence (which the shows the trio getting eachother in and out of trouble), you're left with a very powerful movie that shows, in often brutal detail, the effects of war on the once-powerful friendship of three young men. When the movie is focused, it's heartwrenching and haunting. Just be ready to shake your head and ask yourself "What were you thinking John?" when you're watching certain scenes.

"Tai Chi 2" opens up with Hawk-Man's father retiring from the world of martial arts so that he can live in seclusion and raise his son. Hawk-Man, or Jackie as he is later named, is forced to spend hours locked in the study, tied to the ceiling by his ponytail. Of course, being the precocious little scamp that he is, he secretly learns kung fu and gets in all sorts of trouble as he grows up to become a fine young man. One day, he catches the eye of Rose, the beautiful daughter of a local official who has returned from studying abroad.

But it seems like our little Rose is quite the political revolutionary, attempting to institute democracy in China. Completely smitten with her, Jackie (aka Hawk-Man) goes along with their plans, and gets caught up in an opium-smuggling scheme. Add to that the fact that "Great Kick Of The North", a former adversary of his father's, comes back itching for a fight, and it's almost more than a young lovestruck tai chi master can handle.

Fortunately, Jackie's got an ace up his sleeve; his ponytail. It seems that all of those years of being hung from the ceiling has turned that braid into a powerful weapon! Welcome to the wonderful world of Hong Kong cinema, my friends, where belief has to be suspended at every turn. I have to admit that part of me finds the whole concept of Jackie beating up his enemies with his ponytail kind of cool. If only Steven Seagal were that lucky; instead, he has to use his gut (and DMX's coattails).

But the whole movie smacks of a "Once Upon A Time In China" rip-off. The primary themes are still the same; China dealing with foreigners and the corruption they bring, the introduction of new ideas into an ages-old civilization, and whatnot. And it still comes across as a poor imitation of Woo-Ping's other films, including the spectacular "Iron Monkey". "Tai Chi 2" runs nearly 2 hours, which is about 30 minutes too long. A lot of people seem to complain about the romantic subplot; it's a little tiresome, but it's not all that annoying. But one can only take so much of the smugness and youthful ego that Jackie has throughout the film. I thought tai chi masters were supposed to be a little more reserved. Then again, if I knew how to use the "Braid Stance", I'm sure I'd be a little cocky too.

Not entirely bad, but nowhere near as good as Woo-Ping's better stuff, ie. "Iron Monkey" and "Fist Of Legend". On the overall Woo-Ping-O-Meter, this one ranks right below "Wing Chun", and if you've seen "Wing Chun", you know what that means.

Jackal (Takeshi Kaneshiro) and Cash (Jordan Chan) work for Available Tactical Mercenaries (ATM) , a group of the world's top industrial spies. With a mixture of James Bond-esque gadgets, "Mission Impossible" theme music, and dubious computer hacking skills, they've just finished their latest job and are ready to kick back in style. Unfortunately, their nights of zipping around Hong Kong in their silver sports cars and talking on their cellphones quickly come to an end when Hong Kong's Secret Service (a.k.a. "The G-Team") brings them in.

Stanley, who runs the G-Team, lays it out. British Intelligence has recently acquired a set of plates used to print money from Iranian counterfeiters. Fearing that the plates will be used to flood Hong Kong's economy with fake money, the G-Team wants Tango, err, Jackal and Cash to break into British Intelligence's headquarters and steal the plates. However, they won't be doing it alone. The G-Team (I love saying that) has also brought in Titan, ATM's tough mechanic, and Sam, their mysterious operations manager who (surprise!) turns out to be a gorgeous woman fond of wearing midriffs. And as added incentive, Stanley has frozen all of their bank accounts and threatens to throw the book at their nefarious deeds.

Grudgingly, our little band agrees (not like they had a choice, right?) and starts scoping out British Intelligence. But not before they recruit the 5th member of their team, a mute hacker named Phoenix who likes to break into NASA's GPS system so she can track birds (only in Hong Kong movies, my friends) . The team makes short work of British Intelligence's fortress-like headquarters, stealing the plates and setting off the most Rube Goldberg-esque chase sequence I've seen in a long time, involving dirtbikes, speedboats, hang gliders, jetskis, and scuba gear.

Now, if you're even a halfway attentive viewer, you know there's a double-cross just waiting to happen. Stanley gives our team the slip and a bomb, which has the unfortunate side effect of killing off the cute, tomboy-ish Phoenix. Cash, who was a sort of father figure to Phoenix, swears vengeance, while Sam looks cute in her midriff and Jackal throws out bewildered looks as only Kaneshiro can.

Before you can say "suspension of disbelief", our foursome soon find themselves in a complex web of lies and deceit. Well, it's not so much complex as it is convenient. Could the skin cell they find in Stanley's empty apartment possibly be his, or could it be part of some elaborate plastic surgery? Only one way to find out! Break out the portable mass spectrometer and analyze the DNA! Could the URL they find in a hitman's jacket possibly provide clues as to Stanley's whereabouts, and could those clues possibly be hidden in the Internet crossword puzzle they solve in 30 seconds? Thankfully, our team is capable of making even the farthest leaps in logic, pulling the right answers out of thin air almost instantly. And when that doesn't work, the plot helps them out, giving them a break right when they need it.

Now, I realize it might seem like I'm being hard on this movie, but I really do mean it all in good fun. After all, I spent most of this movie chuckling and have a great time. "Downtown Torpedoes" is not a movie to take seriously, no matter how straight the actors try to play it. Actually, I'm glad that the actors played it straight, rather than yuck it up onscreen. The fact that they take it so seriously lets the viewer off the hook, meaning you don't have to take it seriously one bit.

I'm not surprised that people like Teddy Chan and Jingle Ma were involved in this movie. Teddy Chan also directed Jackie Chan's "The Accidental Spy" and "Downtown Torpedoes" has a similar vibe with its numerous locales and slick, commercial look. Jingle Ma wrote and directed "Tokyo Raiders", which might just be "Downtown Torpedoes"' fraternal twin. Both movies have the exact same look and feel, from the multitude of gadgets to the attractive cast (though in the end, "Tokyo Raiders" is the flashier and more polished of the two) .

I've always been a fan of Takeshi Kaneshiro, who I first saw in Wong Kar-Wai's movies playing some sort of quirky, lovelorn loner. However, here he does the action thing pretty well and still manages to look handsome and sensitive. I'd actually forgotten he was in this movie, so it was a pleasant surprise to see him pop up onscreen. Jordan Chan plays off of Kaneshiro pretty well as the loud, rambunctious Cash, making their partnership a pretty easy thing to buy.

As far as the other cast members go, they're pretty generic. Then again, nothing in their roles requires any sort of stretch. Charlie Yeung (Sam) only has to look good in a midriff (which she does quite well) , Ken Wong (Titan) just needs to look surly (and take the occasional swig from his flask) , and Teresa Lee (Phoenix) just needs to look cute as a button to get our sympathy.

When you break "Downtown Torpedoes" down to its individual parts, it's nothing special. But when you put them all together, throw in a decent budget, the obligatory fight scenes (which featured some of HK cinema's first CGI usage) , and a portable mass spectrometer or two, it makes for a pretty enjoyable, if lightweight movie. And that's all I really wanted.

Yan (Tony Leung) was drummed out of the police academy 10 years ago, but that was all a ploy to let him slip into the Triads as an undercover cop. At the same time, Ming (Andy Lau) was a rising star in the academy, eventually becoming one of the department's best cops. However, Ming is working undercover as well. He was placed in the academy by Sam (Eric Tsang) , a ruthless gangster, as part of a plan to infiltrate the police department and undermine their efforts. Meanwhile, Yan is now a member of Sam's gang and reports back to Inspector Wong (Anthony Wong) on their activities.

After the police bust one of Sam's drug deals, both sides reveal they have a mole in the other's ranks. Yan and Ming are charged by their "bosses" with ferreting out the informer, not realizing that they're hot on eachother's trail. This is not an easy task to begin with, and it's complicated by the fact that both men have lived double lives for so long that they've lost sight of their true identities.

When he's not getting harassed and beaten up by cops, Yan lives in constant fear that the gangsters might discover his secret identity. He's become emotionally unhinged and may or may not be a drug addict. Only Inspector Wong knows his true mission. He's the only one who reminds Yan of who he truly is. Ming, on the other hand, has been on the side of law and order for so long that he's developed a conscience. He finds himself growing troubled by Sam's ruthlessness and finds it increasingly harder to give Sam information that will only increase the gangster's power.

The two moles are caught in a deadly game of cat and mouse, always coming close to revealing the other's identity but never close enough. The movie knows how to milk this for suspense. One sequence in particular revs up the nailbiting factor as Yan trails Ming through a movie theatre, almost discovering Ming's betrayal before an ironic phone call fouls it up. The movie might move slowly in spots, but it's only biding its time until it can throw out a plot twist that will leave your head spinning and completely change the rules for Yan and/or Ming.

Obviously, one of the movie's biggest draws is the pairing of Tony Leung and Andy Lau. For my money, Leung's one of the best actors working today. I have yet to be disappointed by his acting, even in movies that were basically fluff (such as "Tokyo Raiders") , and "Infernal Affairs" doesn't break the string. Leung's Yan is haggard and weary, a man who has lived as a criminal for so long he's no longer sure if he's good or bad. This is familiar territory for Leung. The first time I ever saw him was in John Woo's "Hard Boiled" where he also played a disillusioned undercover cop. But this time around, he plumbs the darkness more deeply, delivering an outstanding performance.

But I have to admit the big surprise for me was Andy Lau (who is not related to the director, Andrew Lau) . Lau's never done much for me. In movies like "Fulltime Killer" and "The Duel", he certainly looks cool but always comes off as a bit too smarmy and cocky for my taste. Not so with "Infernal Affairs". Lau's charm and charisma are undeniable, but he keeps them subtle and muted. Perhaps the biggest compliment I can pay him is that he constantly forces the viewer to reassess their opinion of Ming. At first, it's easy to see him as a villain, but as the movie goes on, you'll want to rethink that again and again.

Supporting Leung and Lau, Eric Tsang and Anthony Wong also deliver solid performances. Wong is especially great as the inspector who serves as Yan's anchor. His role gives Leung the fuel necessary to make one of the movie's most gutwrenching moments.

The film's only misstep lies with the female characters. Normally, I'd never complain about seeing Kelly Chen in a movie, but her role, as Yan's psychiatrist and possible love interest, feels completely gratuitous. And the same goes for Elva Hsiao and Sammi Cheng (who play Yan and Ming's ex-girlfriends, respectively) . No offense to any of the actresses, as they all do decent jobs with what little they were given, but their characters could've been dropped from the movie without hurting it one bit. Doing so would only serve to make "Infernal Affairs" more streamlined, which is hard to believe I admit.

"Infernal Affairs" is as lean as movies come, with virtually no fat or gratuitous filler. The story keeps things moving, perfectly balancing intricate character development with tense action sequences (and surprisingly little gunplay for an HK crime film) . Andrew Lau's directing here is lightyears beyond his work in "The Stormriders" and "The Duel", and the cinematography is sharp and detailed. Danny Pang's editing gives "Infernal Affairs" the same ultra-cool style that his own films ("The Eye", "Bangkok Dangerous") possess and Kwong Wing Chan's music - which ranges from guitar-driven rock to ethnic-flavored drum n' bass - keeps the film's energy levels up.

"Infernal Affairs" goes down nice and smooth, and yet still has enough depth and substance to reward repeated viewings. When I watched this movie a second time, I caught many details I'd missed before. I suspect a third viewing will be just as fresh and energetic as the first two. It's easy to see why many people feel that "Infernal Affairs" has pumped some much-needed energy into Hong Kong's cinema. It's a smart, exciting movie that hits the mark in nearly every possible way, starting with the acting of Leung and Lau and going on from there.

While I'm normally against remakes, Hollywood has a hot property on their hands with this one. With Brad Pitt's name already attached, the remake would have plenty of buzz going for it. With a few minor tweaks, it could be a very successful film critically and financially. But if Hollywood drops the ball on this one, they're even more incompetent and careless than I thought. "Infernal Affairs" is a topnotch film, and it deserves the best treatment possible.

To the best of my knowledge, the only other Studio Ghibli film that has been released domestically is Isao Takahata's haunting "Grave Of The Fireflies". However, according the Nausicaa.Net website (an excellent source for all things Studio Ghibli) , that still leaves at least 6 movies that are only available to American anime fans via expensive imports (or bootlegs, if you wish to go that route) .

But if "Whisper Of The Heart" is any indication (and I have no reason to believe otherwise, given the uniform excellence I've seen so far from Studio Ghibli) , that means there's a veritable goldmine of films just waiting to be discovered.

The first half of "Whisper Of The Heart" is truly magical, a meandering fairy tale where wonder abounds at every corner. The film's main character, Shizuku, is a young girl preparing for high school. A bookworm and songwriter, she has decided to read as many books as possible during her vacation while also translating various songs into Japanese for her friends. Thumbing through one of her books, she sees that a boy named Seiji Amasawa had previously checked it out. Recognizing the name from several other books she has read, Shizuku decides to discover more about this kindred spirit.

Shortly thereafter, she meets a mysterious cat on the train who leads her to a strange little shop full of knick-knacks and curios. The shopowner, a grandfatherly man named Nishi, introduces her to Baron Humbert Von Jikkingen, a tall statue of a cat dressed in a suit, and whose emerald eyes come alive in the light. The shop is also where she finally meets Seiji, and she discovers that the boy she found herself falling for is the last person she expected or wanted.

Soon after the two meet and share their feelings, the movie takes a subtle but noticeable turn. As the first seeds of love sprout between the two, Seiji reveals that he'll be leaving for Italy to pursue his dream of becoming a violinmaker. Shizuku realizes that, unlike Seiji, she has no real ambitions or dreams of her own. In fact, she's isn't really excited by her life at all; even the books she once loved don't mean as much to her anymore. Inspired by Seiji and determined to find her own path in life, Shizuku decides to write a novel about the Baron and his exploits.

At this point, the film takes a colder, more distant tone. It took me awhile to realize it, but when Shizuku begins to work on her novel, things didn't feel quite right. At first, I almost felt like I was watching a different film. But as it slowly dawned on me what was going on, I realized that this simple, heartfelt story had suddenly become a bit deeper and more complex.

Through her encounters with Seiji, Nishi, and the Baron, Shizuku has experienced some truly wonderful things. These moments empower her, and she desperately tries to use them to inspire her story. At first, things go smoothly, and Shizuku's imagination runs wild as she begins her story. This leads to one of the movie's most awe-inspiring scenes, as Shizuku dreams of soaring with the Baron over a floating landscape reminiscent of Miyazaki's Laputa ("Castle In The Sky") .

However, Shizuku is afraid that she won't complete the story before Seiji arrives. She constantly pushes herself, and begins slacking off in school and ignoring her family. Worst of all, she begins to doubt herself. She worries that she isn't a good writer, that her story will turn out to be a failure, as will she. Her dreams become more troubled as her growing desperation threatens to snuff any inspiration.

I realize that the story I've described may not sound all that dramatic on paper, but watching it unfold onscreen is an entirely different matter. When I first watched the movie, I had to pause it three times to take care of something else in the "real" world. Each time I did so, it was a jarring experience, and I couldn't wait to be drawn back into the film's world. It's been said that, after reading Tolstoy's novels, one felt as if they were returning to something paler and less true than the art itself. Watching Studio Ghibli's films, and "Whisper In The Heart" in particular, I feel like I have some understanding of that sentiment.

It should be a bygone conclusion that any film produced by Studio Ghibli will be full of lush animation and visuals, but "Whisper Of The Heart" seems especially so. Everything is rendered without compare, from the labyrinthine streets and crowded apartments that make up Shizuku's world to the mysterious shop and the Baron's fiery eyes. While the designs of the characters themselves are somewhat plain (though still very expressive, especially Shizuku when she's teased) , the world they inhabit is as detailed as you can imagine, if not moreso.

Deftly interwoven throughout the scenery is Yuji Nomi's beautiful score, which moves from lush string arrangements to quirky pop songs to delightful little jigs. The music makes for one of my favorite scenes in the entire movie, as one of Shizuku's compositions, a rendition of John Denver's "Country Roads", is brought to life. It's a delightful scene, if only to see Shizuku's reaction when she realizes the beauty in her own creation. As an added bonus, it sets up the cute scene where Shizuku finally realizes Seiji's identity.

I was excited to watch "Whisper Of The Heart", but I found it far more rewarding and relevant than I thought possible. I think we all know what it's like to experience magic in our lives, and to want to create a work worthy of such moments (you're looking at one) . However, doubt and anxiety inevitably set in. We stop listening to the work (to borrow a page from Madeleine L'Engle's "Walking On Water") and start focusing on our own perceived flaws and weaknesses.

Like Shizuku, we forget that it is not about us, but always about where the inspiration, the work itself takes us. We become so intent on living up to our inspiration that we lose sight of it altogether. What should be a joyful task becomes laborious, drab, and desperate.

"Whisper Of The Heart" is a gentle warning against such things, even as it reminds us that beauty remains everywhere, be it in something as special as a first love, as simple as singing a song, or as mundane as concrete roads.