Combination Platter, which took the screenwriting award at Sundance in 1993 and subsequently played a limited theatrical run to positive reviews, is in many ways the ideal independent feature. Its outside-the-mainstream perspective -- that of an undocumented, specifically Asian immigrant -- is one that a studio would never touch; or, if it did, the perspective would be broadened so that, like Dirty Pretty Things, the film encompassed the experiences of outsiders of many different types. Combination Platter remains specific to the plight of Chinese immigrants, and it recasts a familiar American landscape in a new light. While all of us are familiar with restaurants like the Szechuan Inn, bare apartments like the one Robert retires to nightly, the bodegas and delis that dot urban street corners, Robert's necessarily low-profile existence is more or less confined to a circuit of locations like these, and the viewer is introduced to an America parallel to, but more restricted than, the one we know. In Robert's small world, Americans are the outsiders, customers mostly, although all of them are to be treated with suspicion since any of them -- and especially the customers -- might prove to be Immigration agents. Meanwhile Robert's Chinese acquaintances are sometimes nearly as foreign to him as the Americans: there are the Mandarin-speakers, those more assimilated than he, and Chinese such as the hostess who were born and raised in America.
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