Review: In a shocking change in style from the first two entries in the film series, RUSH HOUR 3 finds director Brett Ratner and stars Jackie Chan and Chris Tucker engaged in a complex study of cross-cultural relationships, examining detective work in a post 9/11 globalised world, amid a labyrinthine plot that works on several thematic and symbolic levels.

Of course, I'm lying.

If you've seen either of the previous RUSH HOUR films, you should know the drill -

Cue: the fish-out-of-water scenario - this time Carter and Lee find themselves 'out of their depth' in France.

Cue: the racial stereotyping. At least in the RUSH HOUR films everyone is a target (equal opportunities racism?) but it's also surprisingly, and refreshingly, un-P.C.

Cue: the Asian bad guys (but include an upper class white man to distract from any sense of blanket stereotypes).

Cue: whiny wisecracks from Tucker and a slightly confused look from Jackie Chan.

Cue: the excellent score from Lalo Schifrin.

Then we're good to go.

It's been six years since Jackie Chan and Chris Tucker were last partnered up in RUSH HOUR 2. The latest film in the series kicks off with some singing and dancing from Tucker and it's clear from the outset that there's going to be a reliance on plenty of jokes from the first two films. The idea seems to be that if you found it funny the first time, you'll think it's funny again. This only works to a point – it's a bit hit and miss. The success of the film depends wholly on the familiarity of the two leads doing exactly the same things that they've done before.

This time around Carter and Lee manage to find themselves in France - although the plot and locations of the RUSH HOUR 3 are almost unimportant and are only really there to provide a link between comedy and / or action set-pieces. This works two ways – while it might seem like lazy filmmaking and writing, there's still something quite pleasing about being able to see the jokes before they arrive. RUSH HOUR 3 has its fair share of gags that fall flat (Carter posing as designer 'Bubbles' is a non-starter), but also a decent bunch that no matter how obvious they seem, how old they are or how heavy handedly they're delivered will still have you laughing along with them. While there's no truly 'inspired' moments in RUSH HOUR 3's script – the closest they come is a scene with a bilingual nun – there's also a few moments that are genuinely good quality. The best example of this is the appearance of George the taxi driver. Allaying fears that the Paris setting would just be an excuse for a lot of cheap 'French' gags (which there still are – part of Carter's chat up schtick involves the line 'I wanna shave your armpits'), it's good to see that George throws a lot of American stereotypes back at them. And it works very well.

The cast of RUSH HOUR 3 is certainly stronger than it needs to be and while maybe this adds to some of the appeal - seeing top actors engaging in such silliness - it also feels a bit of a waste. Hiroyuki Sanada proves he can act anyone here off of the screen adding more credibility to his straightforward villain character with a simple sneer than anything in the script. It's just a shame that credibility isn't important here. Elsewhere, Max von Sydow looks a little uncomfortable and is underused, and there's a bizarre appearance from Roman Polanski that's neither funny nor necessary. In the lead roles Chris Tucker seems as happy and whiny as ever and tries to steam-roll every scene, but this doesn't work quite as well this third time around partly because Jackie Chan seems a little too serious and the chemistry is lacking. While there's nothing exactly to criticise about his performance, Jackie will never compete with Tucker verbally and his subdued appearance here sometimes has the effect of relegating him to the background.

Action-wise RUSH HOUR 3 is okay but also pretty lightweight. Previously the series has never provided more than only very average Chan action and that still proves to be the case here too. While a few brief fights are fun you also may get the distinct feeling of deja vu (Jackie rolls around the floor, he flips items over his head, he lifts himself off of the floor in a door frame) and even the finale at the Eiffel Tower (we're in France!) feels a little bit flat. There's a brief moment of above average excitement during a face-off between Jackie Chan and Hiroyuki Sanada, but it's a highlight that's over all too quickly. The action highlight instead appears quite early in the film as a car chase through the streets of Paris. It's slapstick, but it's amongst the more tightly paced scenes in the film.

RUSH HOUR 3 does exactly what you would expect it to do: more of the same. Whether this is a good or bad thing depends largely on your opinion of the first two films. If you hated them then RUSH HOUR 3 won't convert you and suddenly make you a fan. If you liked them then you'll probably find enough here to enjoy – although the formula is wearing so thin you can almost see the numbers. There's nothing here that we haven't seen several times before, but as far as mindless action comedies go - and as long as you enjoyed the earlier films - RUSH HOUR 3 is a still a pretty fun way to spend an hour and a half.

The Kalevala is Finland's epic poem, once part of the tradition of folk poems, it tells of the creation of the world and struggles between good and evil. One of its main characters is a heroic smith named Seppo, creator of a machine named the Sampo, a machine with the power to be the source of happiness. In Chinese mythology (according to 'JADE WARRIOR'), Nocktress had nine sons; the ninth, nameless, son is said to have stolen a machine called Sampo, a machine that could bring hell to earth.

Berg and Weckstrom believe they a significant discovery, related to the Sampo, deep in a marsh, clutched by the arms of a mummified man. When this object reacts to Kai's belongings, Berg takes it to him; an act that re-ignites an ancient conflict between good and evil, bringing Kai's destiny, and past, into his life. As the link between the past and present becomes stronger, the life of the warrior Sentai, who struggled against fate, the ninth son and his love for Pin Yu (Zhang Jing-Chu), collides with Kai's, as he attempts to craft the Sampo. Will it be the source of happiness or will it bring hell to earth?

REVIEW:
'JADE WARRIOR' is a strange kind of film. It is the kind of film that you read about then, after it drifts from your consciousness, something will click in your mind and you'll think; 'Did I really read about a director, who had combined a Finnish folklore saga with Chinese wu xia, or was it a surreal dream?' In this case, it wasn't a dream. Another such example would be Yuen Wo-Ping's 'SNOW AND THE SEVEN' which, according to IMdb, is "A re-telling of "Snow White and the Seven Dwarfs" set in British colonial China, where Shaolin monks take in a refuge girl." The mind boggles...

Antti-Jussi Annila, the film's writer and director grew up in a small town near Helsinki, as a child he was fascinated by cinema and grew to love Hong Kong cinema, in particular, wu xia and kung-fu films. He wanted to be a ninja, when he grew up but, instead, he studied film, producing a dissertation on the construction of action sequences in Hong Kong film and even making several short films which reflected his passion for the genre. When Annila read about possible links between Finnish and Chinese mythology (thanks to the research of Castren) he decided that his next step would be to combine the two in a film. In 2001, he'd created ten minutes of 'MUNAVALA', which would become his show-reel and a useful tool when trying to secure funding to make a feature length production. Five years later, he finished 'JADE WARRIOR'.

So, exactly how well does ancient Finnish and Chinese legend combine with the story of a couple breaking up in modern day Helsinki? Surprisingly well...

From the start, I feel as if I should point out that this is not an action film, wu xia or otherwise; this is a fantasy-drama, with a couple of action sequences thrown in. If you're expecting the Finnish version of 'HOUSE OF FLYING DAGGERS', you'll be disappointed. Despite the director's love of the genre, he has only included touches of it, instead, fantasy and drama are at the forefront. The idea behind the narrative, that fate will catch up with those who try and escape it, is not particularly original, but its transposition to the Kalevala and China is and, thankfully, it works well. And, to these ends, Annila has done a good job in constructing a narrative which embraces the past of Sentai and Pin Yu, and the present of Kai and Ronja. The cyclical nature of fate is expressed through the narrative of these two sets of characters, both of whom are struggling to the same ends, battling internal and external forces.

The Finnish cast were completely unknown to me. Tommi Eronen puts in a great central performance, in the dual roles of Kai and Sentai, having spent months preparing for both his action sequences and the large amount of Mandarin dialogue, required for the scenes in China. As Sentai, he is a warrior, isolated from the world, waiting to fulfil his destiny, when he falls in love and finds himself straying from the road that has been mapped out for him: as Kai, he is heartbroken, isolated and lost, when fate catches up with him, pushing him back towards his destiny. The main support for Eronen comes from Markku Peltola and Krista Kosonem, a veteran and a newcomer respectively. Peltola is great as the Kalevala researcher, who becomes a Kai's spirit guide, and brings so much to every frame of the film he appears in. In her debut feature, Kosonem puts in an assured performance, as she struggles to leave Kai behind her. As for the Chinese cast, I'd forgotten that it was led by Zhang Jing-Chu, who you may recognise from Tsui Hark's 'SEVEN SWORDS' or the excellent 'PEACOCK', in which she was fabulous. Zhang is a rising star and turns her talents to the role of Pin Yu with ease, whether she's battling with her feelings, or with Sentai, her qualities are evident.

Complimenting Annila's direction and narrative, along with a great cast, are the film's visuals. The set design, be it Kai's forge or Pin Yu's village, is very impressive and packed with detail yet, somehow, both worlds sit comfortably together. The sets, along with the countryside of a snowy, northern Finland, Estonia (doubling for rural Finland) and China are captured with some quite beautiful cinematography, which is as frequently understated as it is slick. If that makes any sense? All of these elements are enhanced by some extremely well employed CGI, sure there's a couple a moments where its use is a little obvious, but they are countered with elements that I would never have thought were CGI, if they hadn't been pointed out on the commentary track.

And finally, to the action. Choreographed by Yu Yan Kai, who relocated to Sweden, having worked with Sammo Hung and Corey Yuen in his native China, is a nicely stylised take on wu xia and kung-fu. There are several choreographed sequences, all of which are different in style and tone; from a strange confrontation with saplings instead of swords, to a bar fight with some nifty chopstick usage, to a more conventional confrontation, which turns into a mating ritual and a final showdown, where sledgehammers are the weapon of choice. Yu, and the cast, do a fine job.

In summary, Annila et al have produced a very watchable, enjoyable film, which successfully blends drama and fantasy, utilising both European and Chinese aesthetics with great success. I, for one, am interested to see what Annilla does next; he closes his commentary by joking that he'll be back soon with his "ninja musical", I wouldn't be surprised...

Li and Lai Xi will finally meet, but agree to delay their final fight until Li finish his agreement to bring back to safety a caravan carrying a Buddhist monk. However to Li’s ignorance, the monk is secretly carrying a sacred and powerful pagoda that attracts the attention of a region’s ruthless overlord. Followed by his former friends soldiers, Li will face the cruelty of the desert, the region’s barbaric bandits and the brutality of the overlord’s men before he can finally face his ultimate fight with Lai Xi.

Review: The long and old Silk Road, there were always all kinds of people: merchant, foreigners, soldiers, and of course heroes. In a lot of Chinese legends, the west of China, the place forever covered by the sands, where the Silk Road passed by, was always where the knights appeared. This is where this story takes place, it happened in the strongest period of Chinese history—Tang, and the director He Ping used almost 20 years’ preparation to describe it.

There has been a lot of discussions in China about how people compared this movie with Hero directed by Zhang Yimou. Maybe it was because of their similar names in Chinese. I personally cannot see any strong similarity. These are two completely different movies: from the history background, the way they shot, the characters, the story type and whatever. If we must do some comparisons, that is: both movies tried to create big epic story, however Warriors at last forgot the creation of the characters; Hero’s story line was a bit pale, but at least all the characters were plentiful.

In fact, if someone watched the South-Korean movie Musa, they should find much more similarity. Both happened in the desert, both needed protect something to somewhere, both had enemies tracking them and both had a woman as the vase. A strange coincidence? Or an incredible similarity? However, I don’t think the director He Ping just wanted to make a copy, or else he wouldn’t have used 20 years to prepare his film.

If the first half of the movie is a Wu Xia type or 8th century’s police action type, the last half fall in the fantasy genre. Comparing to the ending of Musa, this movie’s ending gave us a lot of unbelievable elements. Seems it wanted to tell us that heroes are not born as heroes but in fact normal as everybody. However, one day they had good luck and God choose to help them, so they become heroes. Does this means that the heroes in Warriors of Heaven and Earth are not true hero but heroes for the situation? Did it want to proof the old Chinese word: “the heroic appears by the current situation”? What exactly are we were really forward to is not very clear as it seem that the director began to fell insufficiency of idea in the middle of the shooting.

This time, I won’t talk about Jiang Wen as there is no doubted about it, he’s an excellent actor. But how about Nakai Kiichi, the famous Japanese actor? I didn’t had chance to watch any of his movies before, except a TV series he played with Faye Wong several years ago. This time, he plays a Japanese emissary who is strong in appearance but soft in heart. He always wants to go home but can’t, so his missing become the words in his letters to his old mother. He always speaks Chinese with very strange accent, but every time he speaks, you can feel the power. He didn’t say a lot, but he is such a good player that you cannot neglect his existence.

Watching this movie, you will get some great surprises in the beginning, but also few disappointments when you reach the end. It’s not a perfect movie, but it is a beautiful movie that shows us the different scenery of the western China. As a Chinese recent commercial movie, Warrior of Heaven and Earth, is a fine example at what we can expect in quality for future Chinese movie.

Review: If you enjoyed the first EVIL DEAD TRAP, you must've asked yourself: a) why is the third part of that series still unreleased in any English-subbed format? and b) why are we, in the West, not seeing more of its director's stuff? Other than his pinku classic, ANGEL GUTS: RED PORNO, the rest of his opus remains woefully unknown. Well, here's one step towards getting to know Mr Ikeda's work.

Unfortunately, this two-part film is aimed at a different demographic than Ikeda's best work –namely, at the young adult crowd which may enjoy a mild spook or an ounce or two of gore once in a while, but is more comfortable with a sappy teen-romance-drama that's more reassuring than disturbing. This means that you should not expect Ikeda's trademark shocking visuals, elaborate gore or disturbing and perverted sexuality (minor traces of those are seen in an occasional tilted angle or filtered shot, an OK impalement, or a succubus-induced wet dream). What you get is, basically, a Japanese equivalent of a PG-13 horror aimed at teenagers, based on a manga which tries to ape the success of RINGU and JU-ON, but without the imagination, terror or dread of those films.

This is most obvious in the fact that the two male leads are real-life brothers, otherwise known as the pop-rock band 'Doggy Bag' (!?!): their sweet-looking faces and even sweeter excuse for pop 'music' are exploited to the max, thus revealing the true agenda behind the flick. If you came to SHADOW OF A WRAITH hoping to see what this whole thing about Japanese horror is all about, you may be slightly bored by being subjected to at least three full songs performed by the Doggy Bag, which serve no valid purpose within the film's storyline, but are there merely so that their female (and other) teen admirers can enjoy ogling the boy-band turned into movie-'stars'. To be honest, the boys are not too bad as actors, but that's mostly because they're not given much to deal with in the first place: as one-dimensional, ordinary teen characters they are doing just fine. They are joined by two sisters whose pretty faces may be more familiar to horror fans: the Miwa sisters acted together in JU-ON: THE CURSE, and appeared separately in MISA THE DARK ANGEL, UZUMAKI and CRAZY LIPS. They have a more physically demanding roles, but don't expect high drama here – nor any erotic exploitation either, considering the tame origin and purpose of this product.

Ikeda proves to be a pro by working bravely and honestly within the limitations of this production, and delivers precisely the kind of thing he was hired to: a watchable, decent, but ultimately generic ghost flick aimed at younger audience, with restrained gore and solid mild frights. It looks like a TV movie, with most of the shots resembling your ordinary TV flick, only occasionally reminding us that it's coming from the guy who delivered the slick, polished, over-stylized Argento-like EVIL DEAD TRAP. This is a fine choice for something to see with your girlfriend who does not particularly like strong horror, or at least with your younger brother if no girlfriend's around. If you prefer stronger stuff, you'd better pray that the third EVIL DEAD TRAP be released soon on a R1 DVD. After all, there's more than enough of American PG-13 horror: someone better import stuff that's lacking in the USA – really shocking and gory stuff that Ikeda is best at!

Review: The Chinese Vampire, or kyonsi was once a powerful force in HK cinema, and the success of the Mr Vampire movies and its various spin-offs and imitations produced some memorable horror flicks. Tragically, after China’s most famous vampire hunter Lam Ching Ying died, the genre seemed to die with him, never to be reincarnated. A few recent attempts have jumped out of the grave, but Vampire Hunters (2002) felt a little decomposed and Vampire Combat (2000) was just plain rotten.

As far as bringing the genre back to life, Shaolin Vs Evil Dead may just be the light at the end of the tunnel. It captures the soul of the Mr Vampire movies with some success, in part due to the involvement of Gordon Liu. The former Shaw Brothers star who also appeared in Tarantino’s Kill Bill steps into the dead man’s shoes, and seems to have modelled his performance on Lam Ching Ying’s. There’s something there in his mannerisms that reflects the great man, and assuming it’s on purpose, it’s a fitting tribute.

Shaolin Vs Evil Dead isn’t a straight up rehash of the original Kyonsi movies, though. Director Douglas Kung updates the formula with a few computer generated special effects. Some of the nicest CG out of Hong Kong has left movies like Legend of Zu and a Man Called Hero feeling a little shallow, but by using it sparingly, Kung has ensured there is still a heart beating in the movies chest . The effects aren’t going to challenge The Matrix, and you should expect something more akin to the better effects seen in TV shows, but nothing brings a game of ‘Phantom Chess’ alive like a giant CG scorpion.

Aside from Gordon Liu, the cast aren’t going to attract too much attention from a Western Audience. It’s nice to see ‘Story of Ricky’ star Louis Koo still has a career, and he makes a decent enough bad guy, but most won’t know who he is. The rest of the cast are relatively unknown names to those outside of HK, but for the most part, are an effective ensemble. This is billed as a horror comedy, but it’s ‘light hearted’ rather than ‘hilarious’, and the cast don’t really strain too hard to get laughs, though they are an amiable bunch.

There is one bad egg in the basket, though. ‘Egg Head’ is possible the most irritating character ever created. Child vampires have always been a staple of the genre and they’re always irritating, but Egg Head is in serious need of an exorcism. I know this is a young child actor, but when you only have to say one word over and over again, and you still can’t act, the it’s time to drag your ass back to drama school.

When all is said and done, this is a good movie, but there’s one major problem that leaves you with rigor mortis, and that’s the ending, or lack of one. Shaolin Vs Evil Dead is sometimes a slow boiler, but just as things finally start to get really exciting, the credits come out of nowhere! It seems that the director was so impressed by the two-part structure of Kill Bill that he went and copied it. Yes, it’s a cliff hanger ending, and we have to wait until part two comes out to find out what happens to our heroes. It makes a fair review of Shaolin Vs Evil Dead a little tricky. There is a trailer for the sequel during the end credits, which looks really promising, but then, that’s the idea of a trailer. Have I just reviewed the build-up to a spectacular main event or a three hour lecture on why the dead should stay dead?

Review: Offerings to the Wu Xia genre have been internationally publicized since the enormous global success of Ang Lee's CROUCHING TIGER, HIDDEN DRAGONback in 2000. Following in its footsteps were Zhang Yimou's Hero and HOUSE OF THE FLYING DAGGERS, each garnering global appeal from cinema-goers everywhere. The Promise is the latest film to get movie critics on each continent wet with excitement, but does it deliver the same strong, cinematic standard of its predecessors?

This CGI opus starts off more akin to a LORD OF THE RINGS film than those mentioned above, but then steadily evolves into an entity of its own. Comparatively it contains all the visual bravado of a Zhang Yimou epic, with stunning production design from Tim Yip just about dominating each shot. A gripe, however, was how the CGI tended to distract from this factor. A lot! It's a tool which works best to subliminally enhance the standard and quality of a movie, but this felt like a case of special effects-overkill; and sometimes scenes were spoiled by how false and engineered the CGI forced everything to look.

As far as direction goes, that's undecided. While there were a number of inventive shots, you couldn't help but get annoyed by the consistent manner in which the camera kept panning from one direction to another. It felt like in every other shot the camera was moving. The intention of this didn't seem entirely clear? Whether or not they were hoping it would keep a constant level of action, perhaps? But it didn't really work to that effect. Of the 121 minute running time, I'm pretty sure the camera spent all of 15 minutes static.

For all its faults, however, there's a little pot of gold over that horizon, because it was by no means a bad effort. The acting was suitable, and the trio of Jang Dong-Gun, Hiroyuki Sanada, and Cecilia Cheung worked really quite well off of one another. Their manage et trois gone-wrong became steadily more interesting as the film progressed, with all credit to them. And you can't neglect to mention Nicholas Tse whose character Wuhuan takes about 100 minutes to find his feet, but ends the film in good stead after spending the duration as your typically clichéd villain.

Another plus to take from THE PROMISE is the manner in which the story gets progressively better and better as you watch. You could find yourself struggling for the first 40 minutes, but then as things finally start to develop it will open out into an engrossing movie. That's not to say that this tale is flawless, there are quite a few clear dips in quality sprinkled throughout, but they're out-weighed by redeeming plot evolutions.

Chen Kaige hasn't delivered another HERO with THE PROMISE; as I said, this film isn't without its flaws. But if you were a fan of the former than it really wouldn't hurt you to give this one a try. It's a worthwhile experience if you have the persistence to see it through.

Review: NEIGHBOR NO. 13 is the kind of a movie that can be hurt by false expectations. It is marketed as a vengeance saga (after all – vengeance sells! Don't we all dream of one kind or another?). The DVD package presents it as an over-stylized action flick: you see two cool dudes, one of them sporting a bloodied samurai sword, and the dark blue wall behind them is splattered with blood. Oh, yeah! The fanboys are drooling already. Below the title, you see the magic words: 'director's cut'! (Japanese DVD) 'Aha', you think, 'so there was some other, censored cut? There must be plenty of gore and nudity to be cut from here!' On the back cover (Japanese DVD) you instantly recognize Takashi Miike scowling from a photo. 'Damn! Miike is in this too? This must be cool beyond words!' If you cannot read Japanese, the rest won't tell you much, since there is no English on this DVD cover, but then you go on the internet and find reviews that mention that it's based on a manga ('Hell yes!') and you also find all the talk about 'brutality', 'gore' and... yeah – 'nudity'! Your hand, with a will of its own, is already in your pockets, counting the cash.

Wait a minute.

First you must be warned of the following: I am not aware of there being any other cut of this film, but if anything *was* cut, it must be mere seconds, since there is not much explicit stuff here to begin with. The most 'shocking' thing you'll see is a close up of a big fat turd. The violence is mostly offscreen, or shot from a distance, while its aftermath –if shown at all- can be seen only in glimpses. Of course, that's a legitimate aesthetic decision – as long as you're aware of it, and do not expect something else. Something more Miike-like. Talking about whom – his cameo is the smallest 'blink-and-miss' cameo you'll ever see in your life: he is onscreen for the whole three seconds. And as for the nudity: no, the cute wife (Yumi Yoshimura) does not bare much more than a single shoulder. The only bare flesh you'll see here belongs to the boyish Shun Oguri: of course, this being an Asian film, you cannot expect full frontal (that's still a big No-no!), but you do get to see almost every other inch of his slim bod. If that's your thing – you've been warned.

OK, now that we've discussed the exploitation parts (or lack thereof), let's talk about art. After deciding that this is neither action nor horror film that the package might lead you to believe, how about drama? Is it a 'revenge saga' along the lines of Chanwook Park's vengeance trilogy? Well, not really. The revenge is utterly uninspired and takes the most predictable route. No ingenious and convoluted plans here. Nor is it emotionally searing in the way that Park's films inevitably are. Admittedly, there is some creepiness involving the bully's kid, but that's about it. (Of course, if you're on a strict diet of recent American fare, then you *will* be shocked by a lot that goes on here, but I assume that readers of this site are well versed in Asian cult cinema, and are therefore not easily shocked.) Our protagonist is reduced to a cipher and his 'struggle' with the double (the two of them fighting in a lonely cabin in the wasteland under gloomy skies) is shown in stylized imagery where visuals from the director's commercials creep in. Unfortunately, none of that makes the drama any deeper or more layered – just prettier, especially in contrast with the drab, claustrophobic environment of the tenement building which takes the bulk of the film.

The greatest fault with NEIGHBOR NO. 13, however, is its 'deliberate' pacing. The story is too simple and the characters too conventional to fill the two hours' running time, and the pace is too often too slow. Our debutant director shows signs of promise, especially in instances where he refuses to go the easy way and provide cheap thrills, but on the other hand, a story like this *requires* something more visceral – either in terms of imagery or emotions. The detached attitude (e.g over-reliance on long, wide shots, which place the characters and events in the distance) is not the way to go; when mixed with a really uneven, stop-and-go pace (with more stopping than going) and an utterly underwhelming ending, it all boils down to a solid, if overlong exercise in nothing special, although occasional flashes of quirkiness make it more palatable. The patient viewers will certainly find some rewards in this film, but the common viewer might not be predisposed to enjoy a too-simple story unnecesarily complicated and prolonged.

Review: SHOGUN'S SAMURAI can seem a bit overwhelming at first. As the rousing opening theme and credits come to a close, the narrator sets up the plot and whizzes through an exhaustive list of characters involved in backing one of the two heirs to the Shogunate. Though it looks like a Dramatis Personae from hell, once the narration ends Fukasaku's handling of the story and introductions to key characters flows perfectly and there are no problems in following the exciting blend of fiction and fact.

As Patrick Macias mentions in the [Adness] DVD's liner notes (a document you'll find to be much richer in the historical aspect of this film's creation than what little is touched upon in this review), SHOGUN'S SAMURAI was Kinji Fukasaku's first attempt at making a period film, only preceded by his 1972 TV series SURE DEATH!. The movie itself doesn't try to disguise its mixed history lesson. Strung together with could-have-beens and maybes, the narration proclaims in the end that what truly happened is not entirely known. This "What If?" script penned by Fukasaku along with Hiro Matsuda and Tatsuo Nogami puts interesting spins on what is known about this bit of history that has been told time and time again.

One big example of uncertainty is the tale of Yagyu Jubei (another character we have all doubtlessly seen before, whether it be in the anime NINJA SCROLL or films like SAMURAI REINCARNATION and the REBORN FROM HELL series) and the true fate of heirs Iemitsu and Tadanaga. Regardless of what may or may not have truly happened, the taste of what's brewing in Fukasaku's pipe is a sweet one.

Kinji Fukasaku's skill at drama and conspiracy shines in SHOGUN'S SAMURAI. Throw suits, guns, and a different dialect over everything else and you would have one of his finest yakuza movies, a genre that this Jidai Geki isn't far separated from. There's betrayal around every corner and an ever-developing sense that "something bigger" is really going on behind all of the disputing over the Shogun's heir. Aside from that correlation, which is a major result of all the in-house brewings and secrecy, this Fukasaku "joint" is just ridiculously epic. It's really important to watch the whole movie in one sitting, despite a few parts that some may find slow and consider taking a break on, the impact of the ending is inevitably dulled by consuming the film in smaller portions.

Action is crucial and the violence is never gratuitous. While it's not completely full of amazing swordplay, the battles in SHOGUN'S SAMURAI are spread out evenly and used to the maximum effect at focal points of particular moments of political conflict in the story. The intensity of the fights grows along with the scale as the movie progresses, and the final battles are brutal and heavily aided by some sporadic handheld camera action, really driving this home as a Fukasaku flick.

To say that the cast in this movie is astounding is an understatement. It's like a huge Japanese film nerd was given the ability to pick his dream cast and put them all in a rousing period epic. Sonny Chiba's first appearance in this film is just as you would expect it, revealing himself as the legendary Yagyu Jubei moments after cleanly lobbing a ninja's head off. It's a shame that Sonny Chiba is now more well-known in the US for his brief role in KILL BILL than anything else. For fans that have been living off of the cheapo sets like any of the hundred variations of STREET FIGHTER multi-packs or the more recent "Kill Chiba" movie collection, SHOGUN'S SAMURAI should be essential viewing. Add the fact that Tetsuro Tamba, Toshiro Mifune, Hiroyuki Sanada, and Kinnosuke Yorozuya front the star marquis and you have a deadly combination of legendary Japanese film figureheads.

Just watching the movie, you can imagine the Japanese trailer with endless strings of boastful slogans and enthusiastic selling points splattered across the screen. "A tough drama about strong people" is one set of characters actually strewn over the film during the trailer, and that sums up the movie, however general it might be. This plays into the fact that you can watch the movie without a "good guy" predetermined for you. While Iemitsu might seem the likely candidate for "evil", the true villains in the war for the Shogunate are those manipulating every facet of the struggle. The web of deceit is long, sticky, and strung in and out of characters to the point that you'll wonder what is or isn't a trap waiting to happen. Nobles, farmers, Samurai, Ronin, and more all play an equal part in deception and battle. There is a lot going on in the movie and it is all pretty damn fantastic.

SHOGUN'S SAMURAI is a long and rewarding watch. Period conspiracies make for a beefy viewing experience that everyone should enjoy to the fullest. There's no need to insert any "if you're a fan of…" lines to this recommendation. If you haven't seen it yet, watch it, period.

Review: SHOGUN'S SHADOW offers something not truly seen in many Swordsplay/Samurai films. The movie uses an anime-esque style in its approach to the film, making it a live action cartoon, and it suits it perfectly.

For the record, the connections to anime are numerous: thousands of arrows, an evil governing body, a fallen hero, a unique blend of mercenary heroes, and even the fighting styles. Surprisingly, all these elements are blended perfectly to create an excellent movie that pleasantly surprises and even separates itself from the majority of action movies out there.

But moving off the anime connections, one will quickly enjoy the fight scenes in Shogun’s Shadow. Although they may not be as impressive by today’s CGI-crazed standards, they truly are cool. Making it more impressive is that every one of the mercenaries has their own unique style that plays out well. So, when you find yourself watching a 20-30 minute stretch of nonstop fighting, you won’t be bored by a repeat blend of action. In fact, you’ll probably find each scene just as impressive and unique as the last.

Going along with the unique fighting, the characters in Shogun’s Shadow are exceptional and engaging. The only drawback is that some of the characters’ personalities are underdeveloped, but this was probably due to time constraints (and may have proved to be a bore if they were developed). Sure Ken Ogata and Sonny Chiba’s characters are pretty standard, but that doesn’t mean they still don’t kick-ass. And both actors do an impressive job of doing the little things to develop their emotions and actions.

By far though, the best character is the man with the staff. This silent character may be cheesy but he is reminiscent of the Ninja Turtle’s Michelangelo- which is a most enjoyable connection.

Speaking of connections to other films, one would swear that several American movies must have ripped off certain scenes from Shogun’s Shadow. Whether it’s a battle near a river that is reminiscent of something out of LORD OF THE RINGS: FELLOWSHIP OF THE RING , or an end scene that looks eerily similar to YOUNG GUNS or BUTCH CASSIDY AND THE SUNDANCE KID (ok Butch and Co came out before it, but the fact remains) one will see the similarities.

However, despite all its enjoyable aspects, there are a few problems that end up almost crippling it. In one tense part, SHOGUN'S SHADOW suddenly gains an 80’s style Japanese pop soundtrack, which instantly turns the nerve-racking scene into a laughable one. The music, while hilarious, destroys that scene completely- and you’ll be glad if no one walks in on you watching the movie at that point (yes it’s that bad).

The ending also drags on way too long- throwing in back story that could have served the story better in an earlier spot. The end scene also turns into this Springer-type of shouting match where the audience knows the result about 10 minutes before it actually occurs. Unfortunately, it all builds up to a poor ending that leaves a bitter taste in ones mouth.

Looking back though, SHOGUN'S SHADOW is a great film that turned out to be surprisingly clever. If you want an introduction to Sonny Chiba (although he is barely in it) this may be a good start. Or if you obsess over anime, this may be a good film to ease yourself into the world of live action cinema. Heck, if you like American Westerns, or crazy characters or even movies in general I would recommend this. It sports a great cast, an interesting plot, and has more than enough action scenes to keep you entertained.

Satomi decides to start her own investigation with the help of a strange psychic woman who may know the whereabouts of Satomi’s daughter. However, things will take a strange twist when two undercover FBI Agents involve her into a big political conspiracy in which visitors from another planet are trying to take over Japan.

Review: As the sequel to CRAZY LIPS, GORE FROM OTHER SPACE is another cinematic abnormality from Japanese director Hirohisa Sasaki. However, except for a few aspects such as the style, the actors and the crew, the sequel doesn’t really follow the first one. In other words, it is not necessary to have seen the first film in order understand the second one.

Just like CRAZY LIPS, the movie starts like any other ordinary Japanese horror film, but the aesthetics end up evolving into this weird comedy/cheap sci-fi hybrid. The main idea of the story may sound pretty believable and original on paper, but the execution on screen was not. The development with the Alien and the habitants is not very interesting and became overwhelmingly confusing.

Some of the actors appearing in the first movie also took part in this one. The strange psychic woman is there again but her assistant is this time absent as the actor now plays the role of the police inspector. The main actress who played the role of Satomi has also been replaced by a new one, unfortunately not as charming as the first one. Good points at least is that our favourite FBI agents are back and played by the same duo of actors and are by far the most memorable character of this second instalment.

A major difference between the first and second movie is that the second one had a different approach to the style. As explained by the writer Hiroshi Takahashi, the first one had a very serious script and director Hirohisa Sasaki shot the film as a comedy. The end result, not exactly on purpose, was a very entertaining black comedy. However, this time Takahashi decided to write the script as a comedy and asked the movie to be shot as serious as possible. The final product unfortunately didn’t ended up as interesting.

There are still some very wacky moments in the movie, such as a rather strange fight between a killer and the group of policemen or the ingenious idea Satomi finds to get inside the house where she thinks her daughter is kept. But since it was meant to be a comedy at first, the jokes are not always very funny and end up more awkward if anything.

Don’t get too thrilled about the sci-fi aspect of the movie either as it never goes beyond assuming things. We never witness any Alien or space ships. There are both in the film but Aliens have human appearances, a disguise of course and UFO’s only appear as bright lights. To think of it, that flying house was rather funny and interesting… Well, at least for a few seconds.

At least there were two things that were very enjoyable. First, the cameo of the famous Japanese director Kiyoshi Kurosawa, which is rather amusing if you know the man of course and also the surprisingly very elaborate kung fu fight scene near the end of the film. The fight, which was again choreographed by a Chinese team, involves a Chinese prisoner against a group of guards. The fight is very dynamic and looks like those 80’s Hong Kong action flicks.

In the end, this is unfortunately a very average flick. It’s worth a watch if you enjoyed Crazy Lips, but don’t get your expectation too high. If you never saw the first one, simply skip GORE FROM OTHER SPACE and try to catch CRAZY LIPS as it is a much more original and surprising film.

Review: Thanks to the success of RINGU, the demand for creepy Japanese films starring villainous girls with long black hair has been plentiful. But sadly, most of these movies are cheap rip-offs that have milked every little aspect of RINGU in lousy attempts at recreating the largely successful horror film. SHIKOKU is no exception. Someone has got to put a stop to this!

The word "shikoku" can mean one of two things, depending on the type of kanji used. The first being "four countries," and the second is "land of the dead." Very clever title indeed since it suits the story of the film to a tee.

SHIKOKU was based on a book written by Masako Bando. It should be noted that Bando had nothing to do with the screenplay and is probably embarrassed as hell that this film was ever made. What may have once been a good story has now become a piss-poor horror film of the ages. Don't let it tarnish the good man's name!

Director Shunichi Nagasaki (SOME KINDA LOVE) is a filmmaker that has never been apart of any reputable films, so it's kind of hard to go in with grand expectations. Just after the first five minutes, you can see how weak the film is going to be with the ghetto handheld camerawork and cheesy lighting that clearly displayed the fact that it was definitely amateur night.

It is really frustrating when you see a horror film that lacks the horror part. Understandably, audiences today are much harder to scare than fifty years ago, but at least put some effort into it. Come on! There was not a single character that I was rooting for, or wishing dead. It's unfortunate when you lack any and every emotion for all of the films participants, especially when the story is supposed to be one with deep content. SHIKOKU failed to create enough character and relationship development as well as the reason for conflict. The lack of these things doesn't mean that the film is hard to follow, because it's definitely not (it's pretty formulaic). Instead, we are left with is a hearty and overwhelming dose of boredom.

Obviously many people have the desire to see SHIKOKU because it stars Chiaki Kuriyama (KILL BILL, BATTLE ROYALE). But don't let this be the sole reason you seek out this one because she simply offers nothing to the movie. Her acting ability is below average, (which fits in nice with the rest of the cast since they have nothing special to offer either) and her character barely has any screen time in the film until the end, despite the fact that the whole film is based around her. Actually, it was a good thing that we didn't see much of her because she was quite irritating (seemed as if she suffered from mild retardation) and not even her supposed sex appeal could save her.

Yui Natsukawa (ONMYOJI) and Michitaka Tsutsui gave equally dull and awkward performances and had no chemistry whatsoever. Luckily Ren Osugi (UZUMAKI, HANA-BI) was there to save the day with his role as Hinako's father. But wait...oh that's right! He only had about 3 minutes of screen time with almost no dialogue. How could I forget?

With a weak cast backed by an even weaker crew, it was inevitable that SHIKOKU was going to suck. Rarely do I find a film this lifeless and intolerable. It may have been one of the most boring films ever made. There aren't any real positive aspects that come to mind, which is too bad because it would be only fair to touch upon those things as well. If a film (especially horror) has a weak story, at least make up for it with some kind of fun and entertainment, a good cast, something -- anything. It's easier to forgive and forget when you have something with which to work. But with these things in mind, if you choose to skip this one...you won't be missing out.

REVIEW:
I have never been a fan of drama movies; in fact the first thing that brought me to the Asian genre was action and kungfu movies. But since the last few months I decided to give a chance to Asian drama movies, maybe they also have something different from those US cliché movies that I love to hate so much. To my surprise I have been really impressed by Korean drama, I still hardly believe that some titles really touched me in a way that no movies have ever done. In my opinion those who really master the drama genre are the Koreans, with great movies such as Il Mare, Christmas in August and Failan just to name a few. I didn't have the chance to see a lot of Japanese drama, but I decided to give a chance to Aprils Story just to see if they can compete against the Koreans.

I remember a Japanese movie that I have seen a few years ago called "Swallowtail Butterfly", I was not really impressed by the movie but a lot of people that I know really loved it. I was really surprised when I saw that April Story was also directed by the same director: Shunji Iwai. But April Story and Swallow Tail are very different, even if both share a very beautiful cinematography, Swallowtail is a lot darker that Aprils Story which is a drama with some subtitle humor, about a young girl who tries to fit into her new situation. The story is very simple, believable and especially fun to follow. The only down side of the story is in my opinion the ending...I wanted more! It would have been great to know what will happen to the characters. The movie is also really short, about 1H5 min, but it stills a great story and even with the short ending I found it very enjoyable and heart cheerful.

The movie really focuses on only one character, which is Nireno, played marvelously by Takako Matsu. There's a great deal of development for that character and even if the movie doesn't give a lot of screen time to other secondary characters, we are never bored to watch that small girl trying so hard to fit into her new life. It's true that the character was not really original, stereotyped as the beautiful girl who is very shy and doesn't have a lot of friends. But I think that was a strong point of the character, in the sense that the story would not have worked the same way with a girl who would have had a strong attitude toward the life.

Expecting a typical drama, I was really surprised with the humor in the movie, it also ended up being my favorite aspect of the whole movie. But wait, don't expect April Story to be a comedy or you will miss the whole point; the humor is there to only create a balance between the dramatic and comedy aspect of the story. The humor is very light and subtle, in fact very simple and typical Japanese humor. The drama part was also very simple, but it was not the type of love story that tries every trick in the book to make you cry. Instead it developed on the theme that life can be sometime hard but great things can happen when you least expect it.

As much as it can surprise you with the great scenery or by his cheerful story, April Story is a really beautiful movie that has a lot to offer. Maybe those who cant live without bloody action will probably have a good sleep but if you are attracted by this kind of movie, be sure to not miss it.

THE DVD:
[Region Free] The Japanese release of April Story doesn't have English sub, but fortunately for us, a Korean distributor had the excellent idea to release this title with English subtitles. The image quality is an excellent anamorphic widescreen transfer and for the sound you also have a very good original DTS audio track. The English subtitles were of near perfect quality, as for the extra they consisted of a chapter selection, cast & crew section, synopsis, shoot pictures, video clips, music video, trailers and a TV commercial. This is another excellent Korean DVD release; I hope that in the future, Korean companies will release more Japanese movies on DVD, because at least their release has English subtitles.

6th grade student Riichi lives a tough life. Between the endless battles with a gang of local punks, and his less than functional home life, it is safe to say the poor kid got a raw deal. Despite his hand in life though, Riichi manages to make the best of things with the help of some thick skin, a few good friends, and a true sense of resilience.

Review: In an interview located on the Artsmagic DVD, Takashi Miike is translated as saying that Young Thugs – Nostalgia is his most favorite cinematic creation. When one takes into consideration the scope and intensity of Miike’s canon, it becomes easy to appreciate the true weight of that statement. Much like the director himself, those who follow Miike’s work undoubtedly have a personal favorite and a reason behind that decision. Whether it be Audition for its unsettling atmosphere, Ichi The Killer with its over the top characters and cartoon-like gore, or any of the dozens of other films that comprise the man’s filmography; if you like his style you more than likely have a favorite that strikes a chord with you, for better or for worse.

After seeing Young Thugs – Nostalgia (the second in the series, though not directly related to the first), I find myself evaluating my own personal Miike favorite, and coming up with a very similar answer. It is rare to see a V-Cinema production (Japanese straight-to-video) with so much heart, especially one of Miike’s. That is not to say that any of Miike’s films lack passion, quite the contrary in fact, but often it seems that style or circumstance overtakes that necessary aspect of character development, leaving a slight void which only manages to hinder the overall product. On the other hand, we find in this particular production just what happens when the plot does not lend itself to excessive expressions of style. The characters can take a minute to breath and the result is rewarding, and particularly in Miike’s case, refreshing.

Now for those who revel in Miike’s typical insanity, fear not. While there is not the overabundance of something like Dead or Alive, there still exists a strange quirk at times that shows all the distinguishing marks of its maker. Naoto Takenaka in particular shows us his Miike alumni roots as he manages to be both the bastard and the charmer all at once. As useless as he is crazy, this street-punk-turned-father manages to beat his wife, son, and his son’s teacher all within a few seconds, only to wrap the scene by having an unforgettable altercation with a broomstick.

Another slight calamity that often befalls Miike’s earlier works is that of the cinematography of the film reflecting the budget. While Young Thugs – Nostalgia is not exactly the type of film that would require a slick look, it still manages to have been photographed in a clean yet artistically sound way that complements the story perfectly.

As for the premise, there is not much that can be said without running the risk of overcomplicating what most of us know as the family unit. Riichi’s a young boy who lives with a comically strange grandfather, an overstressed and terribly underappreciated mother, and a father who does not seem to realize the typical obligations that usually come with being a human being, much less a husband and a parent. Riichi manages to cope with his home life without turning the plot into a pity party, and the rest is just life. Most of us live it to some degree or another and it is this common thread that the average viewer will connect with and relate to.

Review: Japan has a long tradition of stories about boys who refuse to grow up as well as of those about artificial 'boys' unable to fit in their society. With the technological development of this nation, SF was used more and more to express some burning contemporary issues, and so story about Pinocchio was merged with sci-fi motif of the robot, thus making the classic story for kids (written by an Italian author) into a very Japanese, very adult motif – a cultural archetype which obviously resonates with the nation's psyche, since we find it over and over again in both manga and feature films.

Unlike PINOCCHIO 964 (the first title I reviewed for KFCC and thus especially dear to my heart), HINOKIO is a film aimed at kids. The titular character is not an android but a robot whose function in the plot is entirely different. Hinokio is not an independent character at all: 'it' is merely an empty shell, a proxy through which our young protagonist attempts to re-enter the world. Thus, the film's promo material is a bit deceiving: the image on the DVD cover (a boy hugging the cute robot) would make you expect yet another variation on 'a boy and his robot' theme, with a tinge of E.T. vibe suggested also by the nonsensical subtitle ('Inter Galactic Love'). It is not really so. Satoru does not have any relationship with the robot: he has relationships through the robot. Hinokio's origin is not 'inter galactic' but very, very domestic, as it's created by Satoru's father, and the only hint of love in the film is, again, not inter-galactic, but very inter-human...

HINOKIO deals with serious issues, like childhood trauma, abandonment, alienation, suicide, retreat from the world into an otaku-existence in a cyber-world of video-games... In this case, the boy's alienation is triggered by a tragic accident in which he saw his mother die, while he was left temporarily shell-shocked. His key problem (dealing with the rest of the world) divides into three: coping with his schoolfriends (some of whom bully his robotic proxy); creating a real human touch (romance) with a girl; and, equally important, re-establishing contact with his father. HINOKIO does not shy away from the occasional 'darkness' of its themes and cruelties that the boy is subjected to, both physical and emotional, and for something that could too easily (and wrongly) be dismissed as a 'kiddie flick', it is surprisingly mature and honest in dealing with its themes. Some of the situations (especially the scenes in his school) may seem familiar and generic, but even they are accomplished with a real emotion, and manage to be both funny, entertaining and touching. HINOKIO turns a bit too sappy only towards the end (with the inevitable 'dead' boy resurrected by love and sacrifice), but even the over-emotional ending is well deserved by what preceded it.

For a film like this to succeed, the key lies in its convincingness, and HINOKIO packs a wallop in that regard: you'll believe every second of it thanks to the excellent performances of all involved, especially Kanata Hongo who has a difficult task of portraying an emotionally scarred six-grader Satoru. Of course, in a story centered around a robot you'll have to believe 'its' performance as well, and Hinokio itself (or should I say 'himself'?) is made real through an amazing mix of puppetry and CGI. No wonder, since Takahiko Akiyama's experience as an F/X designer (most notably for FINAL FANTASY: THE SPIRITS WITHIN) comes into play, and will challenge you to spot rare occasions in which you can be sure whether you're watching a robot-puppet or a CGI creation. Other than the seamless execution, Hinokio should be also commended for its design, which makes it/him rightfully take a place in a pantheon of memorable characters for children. HINOKIO is one of those cherished films aimed primarily at kids, but highly watchable for adults as well. In terms of its themes and imagery, it is a Japanese counterpart of what would probably be rated PG-13 in the USA (well, perhaps even PG), and is thus strongly recommended for both kids and their parents. Watching it with your kid may help establish a new connection and deal with some important issues that you may not have come across so far.

Meanwhile, former concubine Li Zhenfei had been sanctioned to live in the forbidden palace, where she may never see the prince, who is truly her son. Coincidence brings the young prince before her, and a sea of deceit and conspiracy is revealed.

REVIEW: Known primarily in the U.S. for the outrageous kung fu films they produced, the Shaw Brothers’ studios also managed to pump out films in just about every other genre imaginable. Inside the Forbidden City is oft-revered as their ultimate “huangmei opera” costume drama, and is based on an old Sung Dynasty story which takes place during the period of Emperor Jen Tsung. The tale which unfolds here is as classic as can be, and ripe with colorful characters and some beautiful music.

The first and foremost noteworthy aspect is the costume and stage design. True to Shaw Brothers fashion, this film excels in all regards relating to the costumes worn and the locations ranging from a hermit-like cave to lush royal palaces. It comes as no surprise, though, as this is an incredibly vital characteristic of Chinese operas and costume dramas. It also seems to be a Shaw staple to create lavish sets that capture the imagination in both their creativity and their effectiveness.

One thing that might turn people off from trying out a huangmei opera in the first place would be an aversion to musicals in general. It should be said, however, that these films and the stage plays that they represent are drastically unlike the typical musical an average moviegoer may have in mind. They eschew fancy song numbers and dance routines in favor of more subdued and personal songs that merely act to advance the narrative. Many characters engage in musical soliloquy in efforts to concrete their dilemma and question the situation. Other instances worthy of song are grand announcements or entrances, central conflicts coming to a rushing climax and other key moments of the story.

Truth be told, the singing in this film seems few and far between. I was relating this movie, while I was watching it, to an old Chinese Opera video we had to watch in class last year. It was called “Legend of White Snake” (Not the band, though that would have been nothing less than astounding), and despite having this epic final battle between the demons, I recall it being liberally peppered with songs in most every scene. Such is not the case with Forbidden City, so newcomers to the genre needn’t be too wary prior to seeing this.

Inside the Forbidden City’s story, with the exception of a few select areas, is one of sorrow and separation. Li Zhenfei is a mother doomed to seclusion and fated never to act as protector of her child, who has been written out of her life and claimed as the child of another. The leading lady’s plight is further accentuated when she is allotted a brief meeting with her son, as he brazenly entered the corridors of his mother’s forbidden area, despite direct commands to steer clear. The child is full of questions, none of which Li can answer with complete truth. Spilling the beans would probably result in her death, though the fate she is resigned to is arguably worse.

The narrative of the story actually begins with an age-raddled Li Zhenfei living in a cave, far from society. She relays her story to the passing Bao Zhen, adorned in bold makeup and togged up in ornate clothing. He agrees to hear her out, and what he heeds is the aforementioned tale of betrayal, a story of competition for one man’s (the Emperor) affection that ended her in ruin. The story told leaves Bao Zhen in awe, finding it hard to believe that such a betrayal could happen within the confines of the palace. He vows to uncover the lies within and set everything right for Li.

Kao Li’s direction is careful and well paced, letting the story settle into it’s own, and giving proper introduction to each character, preventing confusion. It’s much more akin to the flow of an actual live Chinese opera, complete with long static shots that provide the actors center stage. The performances, especially Ivy Ling Po’s, are well executed in a classic fashion, and are for the most part engaging and memorable.

If anything, the story’s conclusion leaves a bit to be desired. Perhaps a story with such a cold-hearted woman as Li Zhenfei’s rival Madame Liu needs more of a payoff in the end. Li’s situation is so dire and she does such a good job making the audience feel for her, that the latter part of the movie seems a bit anticlimactic.

Regardless, Inside the Forbidden City is a classic story put on film adeptly by a talented group within Shaw studios. With a script co-written by the legendary Chang Cheh (pre-blood in your eye, knee to the groin, head splitting kung fu god Chang Cheh, but Chang Cheh nonetheless) and some great performances, you’d do well to give this film a shot. Set aside any preconceived notions you have of the Chinese opera, and you may be surprised.