Word: cinema
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...Amorous Woman of Tang Dynasty,? ?Shanghai Blues,? ?Rouge,? ?Last Romance,? ?A Fishy Story,? ?The Bride With White Hair,? ?Red Rose White Rose,? ?Comrades: Almost a Love Story,? ?Fly Me to Polaris? and three or four moody-broodies from Kar-wai. But Hong Kong cinema didn?t earn its international cachet by dealing in delicate feelings and poignant renunciation. It got there with sex and violence, action and atrocity, deftly orchestrated mayhem - exactly the elements that the press continues to exploit long after the Golden Age of Hong Kong films got tarnished. And with exactly the same rampaging, remorseless vigor...
...Party goes about celebrating itself, few people around here can muster much interest. A few blocks away, the Daguanlou cinema presents the film CEO, a docudrama about refrigerator-maker Haier's aggressive move into the U.S. market. The Party forced movie houses to carry it as part of a nationalistic film festival pegged to the congress. In one showing the evening before the congress opened, a saintly Haier manager breaks off negotiations with a rapacious American who sneers that he'll "buy flowers for the graves" of his Chinese competitors. As the scene ends halfway through the screening, the entire...
Most people remember early ’80s teen cinema as the domain of John Hughes and Molly Ringwald. A happy few, however, remember Michael J. Fox dressed up like a cross between Chewbacca and Bill Walton (circa 1977) throwing down nasty dunks, chomping beers and doing backflips on top of moving vehicles. When Teen Wolf was released in 1985, the world was blessed with one of the most memorably cheesy and obscenely hilarious flicks of the modern age. This tale of a talentless high school point guard who escapes mediocrity when his latent werewolf genes spring into action spawned...
While Nash, who is currently teaching VES 186, “Cinema, Art & The Location of Culture,” says he knew that visas for people from developing countries would take longer, he thought that he would would be fine...
...last effort, the much-lauded big-budget adaptation of Shakespeare’s Titus. That film was notable for, if nothing else, its brash and overwrought self-indulgence; it was a true exercise in almost surreal stylization. It marked Taymor as a new visual force in American cinema and was simultaneously criticized for its over-the-top severity. Strangely enough, the occasionally laughable audacity of Titus is sorely missed in this lush but uninspired production...