People often complain about the selection of movies on Netflix- we pick out some undiscovered gems.
Most films on the lower rungs of Netflix occupy that position for a single reason: they’re downright terrible. The acting is at best laughable and at worst cringe-worthy, whilst the script seems to be the product of baboons who possess a slightly above average intelligence. Elsewhere, the special effects are seemingly artefacts from design software that became obsolete once Windows 98 was released and the goofs and continuity errors come thick and fast. But amongst the schlock, the horribly ill-conceived box office flops and throwaway Chuck Norris vehicles are a selection of films hardly deserving of their placement amongst the vast expanse of Hollywood detritus. We’ve all sifted through the lower echelons of the vast Netflix database, ambivalently scrolling past Beverly Hills Ninja and Death Wish 4 and laughing at the hilarity of shoe-string budget horror C-movies such as Return Of The Killer Tomatoes and Strippers Vs Werewolves. Hiding amongst the most forgettable and artistically hollow filmic endeavours are some criminally overlooked works of cinematic art. Here is a selection of filmic diamonds who have unfairly found themselves confined to the Netflix motion picture ghetto:
Rebellion (2011), Director: Matheiu Kossovitz
Continue reading: The Most Undiscovered Movies On Netflix
On his 18th birthday, Goku (Justin Chatwin) is given a sacred dragonball by his grandfather. Told that with the other orbs in the set, a single perfect wish will be granted, a tragedy sends our hero out to find Master Roshi (Chow Yun-Fat), an old family friend who is the key to unlocking the object's secrets. Along the way, Goku picks up Bulma Briefs (Emmy Rossum), who agrees to help him. With Roshi and desert bandit Yamcha (Joon Park) in tow, he prepares to take on alien invader Piccolo (James Marsters), who along with his assistant Mai (Eriko Tamura) is bent on summoning the dragon Shen Long and ruling the Earth. As the impending solar eclipse signals the moment of reckoning, our group must train to overcome centuries of evil and transform into the ultimate fighting force in the universe.
Continue reading: Dragonball Evolution Review
As the film's pre-script enlightens us, Children follows the life of George Hogg (Jonathan Rhys Davies), a British journalist who steals the identity of a Red Cross worker to sneak into Nanking and get the story and the pictures of the massacres. After being captured, he almost meets the business-end of Tokyo steel before Hansheng (Chow Yun-Fat, not having fun with a mostly-American dialect), a resistance fighter, saves him from the blade. Hansheng sends Hogg off to the titular village, which serves as a sort of city for lost children, held in check by Dr. Pearson (Radha Mitchell), an actual Red Cross medic.
Continue reading: The Children Of Huang Shi Review
Starting with its unlikely origin as an amusement park ride, the Pirates series quickly mushroomed into a sort of meta-pirate film, a vast and whirligig universe unto itself that drew in every possible nautical cliché and legend possible. Thus the first film concentrated on yo-ho-ho-ing, rum-drinking, and general pirate-y scalawaggery. The second roped in Davy Jones and The Flying Dutchman -- not to mention an excess of secondary characters and familial drama. For the third (but not necessarily last, given the teaser it ends with) entry, the bursting-at-the-seams script tosses in a raging maelstrom, an actual trip to Davy Jones' Locker, and even the sea goddess Calypso. Dead Man's Chest showed that more is not always better, with excess just leading to more excess and a general sense of lethargy -- they were just setting us up for the conclusion and marking time until then. At World's End, however, shows that Hollywood excess, when combined with the right combination of actors and an occasionally smart script, can work out quite nicely, thank you very much.
Continue reading: Pirates Of The Caribbean: At World's End Review
Set in a royal court during the 10th century Tang dynasty, Golden Flower starts in and spends most of its time inside those same palace walls; which at first doesn't seem like a bad place to be. The place is a bejeweled rainbow of color, splashed with sunlight that sparkles off the golds, reds, and greens, and the camera greedily prowls its corridors looking for fresh spectacle. Yimou starts off with a feverishly choreographed ballet of servitude as hundreds of courtiers ready themselves in synchronized grace for the arrival of the long-traveling Emperor Ping (Chow Yun-Fat, regally villainous). His three princes await him, each curious about how and if he is going to divide up power between them, as his health seems to be in decline.
Continue reading: Curse Of The Golden Flower Review
Die-hard fans of Chow and Woo will find plenty to like, but frankly, I'll take the overblown theatrics of Suture instead, when it comes to a warring brothers flick.
Continue reading: A Better Tomorrow Review
"The Corruptor" gets off to a shaky start --literally. The over-stylized, '70s-inspired shake-and-zoom handheld cameraworkin the establishing action scenes was enough to make me wish I had a someDramamine.
The first act of the movie mostly by-the-book ganglandcop stuff, featuring Hong Kong action king Chow Yun-Fat ("TheReplacement Killers") as a hard-boiled(naturally) NYPD detective working the gang beat in Chinatown who reluctantlytakes on Mark Wahlberg ("Boogie Nights") as his inexperienced and laughablyidealistic new partner.
Early on Wahlberg and Chow, in his trademark sunglasses,slick suits and leather duster get into the kind of bystander-endangeringchases and shoot-outs that would get a real cop suspended (if not fired),but instead they receive commendations. They rough up informants, cut dealswith mafia leaders and raise the FBI's hackles by busting an undercoveroperative. They're kick-ass Chinatown gang cops who don't play by the rulesand act like a gang themselves.
Continue reading: The Corruptor Review
Because "Anna and the King" stands on its own remarkably well, it may be unfair to begin this review with a comparison to "The King and I," the most famous film adapted from the same source material. But what I found most striking about the elegant, intelligent remake is how acutely aware it made me of the insulting Euro-centricity of its predecessors.
In the same story told in 1946 ("Anna and the King of Siam"), 1956 (from the Rodgers and Hammerstein musical) and 1999 (that dreadful cartoon version), widowed English schoolteacher Anna Leonowens has always been portrayed as a much wiser, civilized woman who teaches the elaborate but backwards Asian monarch to think like a European, to waltz like a European and shapes his diplomatic policy by whispering in his ear.
The prudent but powerful screenplay for this non-musical, epic remake -- directed by Andy Tennant, who so successfully reinvented Cinderella in "Ever After" -- puts this Anna (played by Jodie Foster) and this King (Chow Yun-Fat) on very equal footing, making their relationship far more combative and compelling.
Continue reading: Anna & The King Review
A magnificently crafted hybrid of Chinese historical epic, F/X-enhanced martial arts spectacular, mystical romantic tragedy and live-action anime, "Crouching Tiger, Hidden Dragon" is a film that defies genre while embracing traditionalism.
It's an intellectually challenging story of noble warriors in feudal China, yet it's packed with eloquent swordplay and lightning-fast hand-to-hand combat. It's also the story of a burning, long-unspoken love between one warrior and the fiancée of a fallen comrade -- a woman his honor forbids him from pursuing, even years later as they fight side-by-side against a mysterious and vengeful sworn enemy.
What's more, it is an unconventional coming-of-age fable as well, about the beautiful teenage daughter (Zhang Ziyi) of a provincial governor, who longs desperately for freedom in the face of an impending arranged marriage that will surely clip her wings.
Continue reading: Crouching Tiger, Hidden Dragon Review
Date of birth
18th May, 1955
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