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Dragon [Wu Xia] Review


Combining a period drama, police procedural and raucous wu-xia action, this superbly made Chinese thriller grabs our attention from the outrageous opening scene and never lets up. Not only are the fight sequences exceptionally inventive, but the acting is first-rate, stirring up emotional resonance as well as lots of mysterious intrigue.

It's set in a sleepy village in Yunan province in 1917, where the mild-mannered Jin-xi (Yen) lives with his family. But when two ruthless killers attack his stationery shop, something about the way Jin-xi "accidentally" defeats them looks suspicious to big-city detective Xu (Kaneshiro). As he pieces together the events, he begins to suspect that Jin-xi is simply too skilled at battle. Could he even be the nation's most-wanted criminal: the missing commander of the notorious Demon gang? If this is true, Xu knows that Jin-xi will do almost anything to protect his family and maintain his tranquil new life.

Director Chan cleverly peels apart the opening assault as the Sam Spade-like Xu investigates it, using slow-motion and freeze-frames to reveal secrets in ways that are both fascinating and thrilling. This also cleverly lets us know right off the bat that there's a lot more going on here than meets the eye. And all of the actors fill their scenes with churning subtext, which not only adds spark to the interpersonal drama but also makes the action sequences that much more exciting.

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Chungking Express Review

If Happy Together and In the Mood for Love are director Wong Kar Wai's Hong Kong art house ballads, Chungking Express is his smash-hit pop song -- light and fun with a hint of truth. While the two former films explore relationships to their innermost depths, Express flirts with the nostalgic grief and forlorn desperation in finding and losing love through its individual characters. But what it lacks in thematic depth it makes up for in charisma and honesty.

Chungking Express offers two parallel stories of love and loss brought together by a dine-and-dash eatery. In the first half of the film, a detective (Takeshi Kaneshiro) stops in at the local greasy food dive while pining over his lost love. And in the second half, a beat street cop (Tony Leung) stops in while also pining over his lost love. Although Kaneshiro's desperation and tragic romanticism sparks our interest in the first story of the film, it's the second story that really captures our attention. The power of that second story line comes from Faye Wong, who invades the screen (and Tony Leung's) apartment with childish charm and an obsession with the Mama's and Papa's "California Dreaming."

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Accuracy Of Death Review

If you stayed awake long enough at Meet Joe Black to develop a negative opinion about good-looking grim reapers, Accuracy of Death is a helpful tonic. This elegant and witty Japanese take on life and death and "what it all means" offers plenty to think about and a star, Takeshi Kaneshiro, whose charisma is undeniable. A mere tilt of his head had the screening audience (which skewed female) sighing and giggling.

As Chiba, Kaneshiro is an easygoing grim reaper who teleports through time in the company of a sardonic black dog (who communicates telepathically) to drop in on people's lives not to kill them but to spend a week evaluating whether they are ready for death. It's a question he answers by trying to determine whether they have "fulfilled their purpose." He has to tread carefully, though. A mere touch of his bare hand can send a person into a near-death experience. The movie takes him through three such evaluations spread more than 40 years apart, and yes, it turns out that the stories are somewhat connected.

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John Woo Movie Halted After Stuntman Dies In Fire

By on 10 June 2008

Takeshi Kaneshiro

Production on John Woo's new movie Chi Bi, or The Battle of Red Cliff, has been stopped after a stuntman died in a serious fire.

A stuntman named by the AFP news agency as 23-year-old stuntman Lu Yanqing was killed after fire broke out during filming of a scene on the historical epic, while three others were injured in the incident.

"The fire broke out early Monday morning when the crew were shooting a scene in which a small, smoking boat crashed with a large ancient war vessel," Xinhua news agency said.

Though the cause of the fire has not yet been determined, it has said that crew at the northern Beijing location saw a flame shoot some 30 metres into the air.

The film, which has an $80 million (£40 million) budget, has been billed as Asia's biggest cinema production and features actors such as Tony Leung, Zhang Fengyi and Takeshi Kaneshiro.

Set in the Three Kingdoms period of ancient China between 220 and 280 AD, Chi Bi is adapted from the novel Romance of the Three Kingdoms and culminates in the titular battle of Red Cliff in which some 2,000 ships were burned.

According to the Beijing News, Woo was in Hong Kong and not on set at the time of the accident.

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Epic Drama Beats Legend In Hong Kong

Jet Li Andy Lau Takeshi Kaneshiro Will Smith

Peter Chan's 19th century historic epic The Warlords, starring Jet Li, Andy Lau and Takeshi Kaneshiro, had a solid opening in China over the weekend, earning $12.2 million on about 1,000 screens, according to Daily Variety. The film even beat Will Smith's I Am Legend in Hong Kong, as it collected $1.11 million versus $977,000 for Legend. (Warlords faced no significant Hollywood competition on the mainland.) The results were particularly surprising since Smith had recently traveled to Hong Kong to promote Legend. The film also took in an additional $2 million in Singapore, Malaysia and Indonesia.


Returner Review

Returner shamelessly steals pieces of just about every sci-fi blockbuster of the past 25 years, but don't let your scorn drive you from the theater right away. Stick around and admire the sheer nerve of screenwriter/director Takashi Yamazaki, who scrambles all the clichés into a watchable, if somewhat absurd, sci-fi stir fry.

Miyamoto (Takeshi Kaneshiro) is a great-looking freelance fixer whose long hair hangs just-so over one eye. He wanders Tokyo in a fabulous black leather trench coat borrowed from the Matrix costume truck and shoots those who need to be shot while searching for his life-long enemy, Mizoguchi (Goro Kisihitani), the extremely evil leader of the local branch of a Chinese triad. One night, just as Miyamoto is about to blow off Mizoguchi's head, he's interrupted when young, perky Milly (Ann Suzuki) literally drops from the sky, explaining that she's traveled back from the future in order to prevent a war with extraterrestrials that will bring about Armageddon. Hmmm.

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The House Of Flying Daggers Review

A poet of the small gesture, Zhang Yimou moves on from his slice-of-life dramas Not One Less and Happy Times to the more broad, operatic strokes of Hero and The House of Flying Daggers. The resulting House is an astonishing work of cinematic beauty; filled with strong primary colors and evocative storybook forests of green bamboo or autumn leaves. The sound design is remarkable, staging a series of ritualistic combat scenes between policemen and assassins that are stunning in their brevity -- focusing the attention on the swish of cloth, the murmur of breath, or the rush of a cool breeze.

That said, House of Flying Daggers is basically a love triangle set against the backdrop of an epic political struggle. As the Tang Dynasty wanes and the emperor drowns in incompetence and sloth, an underground movement known as the House of Flying Daggers takes action, Robin Hood style. As they rob from the rich and give to the poor, the police decide to infiltrate this underground through the capture of their sleeper agent, a blind dancer, Mei (Zhang Ziyi), hiding out at the classiest brothel in town. She is drawn out by police captains Leo (Andy Lau), a stern disciplinarian, and flirtatious pretty boy Jin (Takeshi Kaneshiro).

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House Of Flying Daggers Review


How the same talented director (Zhang Yimou of "The Road Home" and "Raise the Red Lantern"), working with the same talented actress (lovely Zhang Ziyi of "The Road Home" and "Crouching Tiger, Hidden Dragon") could turn out one of the year's best movies and one its worst -- in the same genre no less -- is a complete mystery. But that's exactly what has happened with a pair of handsomely grandiose martial arts films set in ancient China.

Last summer's "Hero," starring Jet Li as an assassin locked in unblinking intellectual combat with the king he's come to kill, is an imaginatively allegorical, action-packed but understated, brilliant historical epic (in which Zhang Ziyi plays another assassin's apprentice). Pure in vision and bold in execution, it uses real events as a momentous backdrop for jaw-dropping scenes of graceful, physics-defying swordfights, each of which has an increasingly profound consequence on the future of the whole Chinese nation.

But "House of Flying Daggers" is the polar opposite: an outsized and endlessly pretentious romantic melodrama, also about assassins, in which the director has clearly lost any sense of moderation or self-discipline. Every overly polished moment of visual refinement is dragged out to the point of absurdity. Every hint of emotion becomes an excuse for floodgate histrionics. Each swordfight (or combat of any kind) slowly, slowly, s-l-o-w-l-y builds past an initial stage of breathtaking stylishness into a protracted mockery of itself. It's the snooty, art-house equivalent of a Jerry Bruckheimer action movie.

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