Word: kung
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Dates: during 2000-2009
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...ballet school during the Cultural Revolution was not all tutus and toe shoes. Beloved teachers cleaned toilets; students spent their summers toiling alongside farmers or factory workers; and more class time was devoted to the study of political movements than to dance movements. At Madame Mao's insistence, kung fu kicks and death stares were introduced to mincing ballet routines. "The dancing looked all right," she once observed during a visit to the school, "but where are the guns? Where are the grenades...
...exclaims, a grin stretching across his bronzed face. "Everybody wanted to be Bruce Lee!" But this was Poland, 1981 - the communist regime had imposed martial law to suppress opposition, and the authorities didn't like the idea of all those teens gathering nightly to chop and kick like the kung-fu movie star. They ended the training sessions "under the pretext of renovating the gym," Korzeniowski says. "Of course they never finished, and athletics was the only session open." Walking was his destiny. In 1984, he qualified for the Polish championships, where he placed last. But competing...
...four times before landing on its subject, then skips assuredly from comedy to horror, with a pretty plot twist at the end. It's all prime Pedro. Like Bad Education, House of Flying Daggers marks a relaxation, but not a reduction, for a world-class director. Hero, Zhang's kung fu classic of 2002, was a meditative, superbly color-coded parable of love and death. Daggers is a jauntier piece, as renegade killer femmes do fantastic battle with the 9th century cops who pursue and fall in love with them. The Almodóvar and Zhang films foregrounded a crucial...
...takes the motion out of motion pictures comes his latest movie, Goodbye, Dragon Inn. Tsai opens this radical experiment in minimalist extremes in the middle of a ferocious rainstorm; the night before it is scheduled to be closed, a grand old Taipei theater is showing the landmark 1966 kung fu film Dragon Inn to a scattered handful of ghostlike characters, including a young Japanese tourist (Mitamura Kiyonobu) apparently cruising for gay men. The crippled, young ticket taker (Chen Shiang-chyi) stalks the venue in search of the mysterious projectionist (Lee Kang-sheng)?perhaps she's in love with...
...star in Vol. 2 as though they were themselves a separate character. Indeed, an entire subplot could be drawn merely among the players’ lips, which Tarantino leaves under scrutiny through his final scene. Surely most moviegoers will reject this lip thesis in favor of the fairly blatant kung fu theme which runs through—and, admittedly, uplifts—both volumes of Kill Bill. And certainly Quentin Tarantino has created a mildly epic tribute to his favored genre. But Vol. 2 makes a compelling case for a more serious interpretation of Tarantino’s talent...