Working in his native country of Malaysia for the first time rather than in Taipei, where most of his movies are set, Tsai takes us into the seedy underbelly of hot and dangerously smoggy Kuala Lumpur, where we tag along with a merry band of impoverished immigrant Bangladeshi construction workers who are lugging an old and stained futon to their hovel. To them, it's a treasure. Along the way they run into a homeless guy (Tsai's main man, Lee Kang-shen), who's been brutally beaten while trying to out-con a con artist. One of the workers, Rawang (Nathan Atun), takes responsibility for gently nursing the poor guy back to health and enjoys sleeping next to him with a not-quite-platonic vibe.
Continue reading: I Don't Want To Sleep Alone Review
In Goodbye, Dragon Inn, the decrepit building is the Fu-Ho Theater, a large movie palace that on this, its last night of operation, is showing the 1966 Chinese kung-fu classic Dragon Inn. At first glance, the theater is packed with people. At second glance, it's almost deserted, a strange mystery that leads to the first line of dialog, which comes along more than half an hour into the film: "You know this theater is haunted." What we have here, among other things, is a ghost story, Tsai's take on the belief of superstitious Chinese people that all movie theaters are haunted.
Continue reading: Goodbye, Dragon Inn Review
The NBC series ended a decade ago, but Will, Grace, Karen and Jack haven't changed a bit.
The album is Williams’ first release since 2013’s ‘Swings Both Ways’.
There's already an Oscars buzz surrounding this movie.
He's back. Tsai Ming-liang, master of slow-moving image-laden tales of urban disconnection, returns to all...