Maggie Cheung

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London Fashion Week A/W 2011 - Burberry Prorsum - Arrivals

Maggie Cheung and London Fashion Week Monday 21st February 2011 London Fashion Week A/W 2011 - Burberry Prorsum - Arrivals London, England

Maggie Cheung and London Fashion Week
Maggie Cheung
Maggie Cheung
Maggie Cheung
Maggie Cheung
Maggie Cheung and London Fashion Week

Clean Review


Grim

There is one scene in Clean that sticks out to me. A supremely-groggy Nick Nolte sits at a small fast food joint and gets a small salad and water while Maggie Cheung (playing his widowed daughter-in-law) goes up to the counter and orders a monster burger, french fries, and onion rings with a large coke. It's her first real meal since getting out of prison and it's his first meal with her for god knows how long. There's a lot of symbolism, even though it's simple, being used in the scene, and it gives depth to a complicated relationship (everyone thinks she Courtney-Loved her rocker boyfriend). How did director Olivier Assayas, a seasoned pro, allow this to be one of the scant few scenes that hold any real fascination? Furthermore, how did he allow himself to write something so damn drab and insipid?

Emily (Cheung) spends the first 15 minutes of the film being the annoying Yoko to Lee (Nick Cave dead ringer and cohort James Johnston), an aging rocker trying to get a deal for his anthology. She gets nabbed for heroin possession just when she finds Lee's body but is saved by Lee's manager. Out of jail after a quick stint, she meets with Albrecht (Nolte), her father-in-law who has been raising her son Jay with his wife. It's apparent to all involved (besides Jay) that Emily needs to get clean, get a job, and take custody of her child. The journey is held up by a brief stint in Paris where she still takes pills, gets fired from a job and finally begins to detox after her musician friend Tricky (playing himself) ignores her requests for help with the custody issue.

Continue reading: Clean Review

Project A 2 Review


Grim
In this 1987 chopsocker, Jackie Chan returns as Dragon Mao, a supercop who, just back from his adventures in Project A, discovers corruption in the police force. He's then framed for a crime and ends up battling both cops and robbers to clear his name and bring the true evildoers to justice.

Unfortunately, former sidekick Sammo Hung is absent this time around, and there are far fewer fights to be had. The cool stuntwork doesn't come out until the final 15 minutes, but by then I was honestly too bored to perk up. The rest of the film is just much less inventive than its predecessor, proving Project A 2 to be a vanity knockoff for Chan, who was busy directing every action film he could get his hands on. Chan would go on to make much better movies with a more impressive sense of humor later, but A 2 qualifies for little better than a C-.

Continue reading: Project A 2 Review

In The Mood For Love Review


OK
Wong Kar Wai has long been a rock 'n' roll Marcel Proust for the art house crowd, shaking things up with his hip, funky meditations on sentimental love and loss connected with the passage of time. Best known by American audiences for his cinematic tangos Chungking Express, Fallen Angels, and Happy Together, Wong stakes out more traditional, straight-laced territory with his excruciating new melodrama, In the Mood for Love.

Wong's fan base may be most surprised at the stillness of this new entry. Putting aside the hyperkinetic blurry visuals of his earlier works, Wong favors careful compositions and warmer lighting. If this film were in black and white, it might be confused for early Bresson. Wong shoots entire scenes of Love in static, pristine minute-long takes emphasizing the distant spatial relationships between a handsome young man, Mr. Chow (Tony Leung, Hard Boiled) and a beautiful young woman, Mrs. Chan (Maggie Cheung, Irma Vep).

Continue reading: In The Mood For Love Review

Supercop Review


Good
The Jackie Chan franchise continues to expand in America. Riding on the success of last year's Rumble in the Bronx, Chan returns to U.S. screens with the release of Supercop.

Relying on the three pillars of Chandom -- blazingly fast fights, awesome stunts, and bad dubbing -- Chan once again turns out a crowd pleaser full of karate chops and busted skulls. Basically a continuation of Chan's Police Story series, fans of this genre will find themselves in familiar territory.

Continue reading: Supercop Review

Hero (2002) Review


Excellent
After political (Raise the Red Lantern), sexy (Ju Dou) and reflective (The Road Home) films, writer-director Zhang Yimou embraces the aerodynamic action of digitally enhanced kung fu swordplay made famous in Crouching Tiger, Hidden Dragon. The object here is to outdazzle that genre landmark and, perhaps, to outdo it at the box office.

It's probably too late and too familiar a technique to do either, but there's plenty to admire despite those limitations, for which it has already received critical and award level acclaim. At the time of this writing, it is one of the 2002 Oscar nominees for Best Foreign Language Film.

Continue reading: Hero (2002) Review

2046 Review


Extraordinary
Picking up where In the Mood for Love dropped off, but also mixing in elements of (or at least nods to) just about all of his other films, Wong Kar Wai's 2046 has most of the same positives, as well as the negatives, common to his work, meaning it's frustrating, elliptical, occasionally quite shallow, and utterly smashing to behold in all its nervy glory.

This time, Tony Leung's Chow Mo-Wan is far from the repressed creature that he played in Love, eternally suffering for the married beauty living in his apartment building. Mo-Wan is now going through all the highs and lows of numerous affairs in 1960s Hong Kong, playing out almost an entire history of love within the space of one film. The title comes from the number of the apartment next to his, wherein reside a number of women with whom we will see him become entangled over the course of the film. 2046 is also the name of a science fiction serial he scribbles down (part of the dues he pays as a struggling hack writer), scenes of which we see acted out, watching its hero endure an eternal train ride away from the mysterious place called 2046, where everybody goes to reclaim lost memories and never returns from; except him.

Continue reading: 2046 Review

Ashes Of Time Review


Weak
Between the lousy DVD quality (dig the big gray bar that covers the bottom half of the screen -- that's where the subtitles go!) and the baffling story line (ancient China, guy living in the desert, magic wine, dual identities, and horse thieves!), the average viewer isn't going to exactly thrill to Ashes of Time's charms. As mood music, the movie's got its share of beautiful, tragic, and poetic moments. As an entertainment experience, the detractors who find the movie to be on the dull side have a point or two.

Continue reading: Ashes Of Time Review

2046 Review


Good

Another achingly evocative and melancholy near-masterpiece from virtuoso writer-director Wong Kar-Wai, "2046" is breathtakingly beautiful and lush with color, narratively dense and psychologically complex, and blessed with vivid, visceral performances that burst at the seams with reserved passion.

Its tender yet abrasive story catches up with Chow (Tony Leung), one of the broken-hearted lovers from Wong's unforgettable "In the Mood for Love," years after the affair that redefined his life has ended. Now a cold, slippery, charming, Brylcreem-ed playboy, newspaper hack and pulp writer in 1960s Hong Kong, he lives a film-noir life (complete with gritty voice-over and dark wit) in a semi-seedy hotel, across the hall from Room 2046 where he once spent the night with the love of his life. Lately the room has been occupied by a string of beautiful women (Gong Li, Faye Wong and Zhang Ziyi among them), and Chow seduces (or is seduced by) each of them in turn, often with unforeseen emotional consequences.

These liaisons and the quiet turmoil they produce in his leathered soul serve as fuel for Chow's latest dime novel, a highly symbolic science-fiction story of ardent rebel activists and android women incapable of love, set largely onboard a bullet train speeding on elevated tracks through worldwide skyscraper canyons in the year 2046. (The title -- which is also the year China's promise of sovereignty for Hong Kong expires -- crops up many times.)

Continue reading: 2046 Review

Cheung's Glad She Waited 21 Years For Hollywood


Maggie Cheung

Hong Kong actress Maggie Cheung is glad Hollywood discovered her 21 years into her movie career - because she would never have approached American studio bosses herself.

The HERO star, 40, prefers being approached by US film moguls than travelling to America and begging them for work - so was thrilled when she was asked to make her US debut in 1999 movie AUGUSTIN, KING OF KUNG-FU.

She says, "It doesn't bother me. I'm glad I waited for them to know who I am, rather than me coming to them.

Continue reading: Cheung's Glad She Waited 21 Years For Hollywood

Cheung: 'I Hate Martial Arts Stunts'


Maggie Cheung Crouching Tiger Hero Jackie Chan Bruce Lee

Hong Kong actress Maggie Cheung has shattered her image as a martial arts superstar - by complaining she hates doing her own stunts and relies on special effects to make her look convincing.

Cheung admits she didn't enjoy filming Japanese hits Crouching Tiger HIDDEN DRAGON and Hero, because the demand for impressive stunts left her cursing Asian stars like Jackie Chan and Bruce Lee, who popularised martial arts movies.

She complains, "I always up doing the stunts. But I'm not a very sporty person. Every time I'm offered one, I think it will be a chance to get fit. But it never happens. I always end up feeling achy on set.

Continue reading: Cheung: 'I Hate Martial Arts Stunts'

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