Vivian Wu

Vivian Wu

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Snow Flower And The Secret Fan Trailer


In 19th century China, Snow Flower and Lily are two girls matched by laotong - a lifelong relationship that is said to be more intimate than a relationship between husband and wife, or parent and child - but both are kept isolated by their respective families. In order to talk to each other, the girls invent a secret language - called "nu shu" - and write it between the folds of a fan, which they share with each other.

Continue: Snow Flower And The Secret Fan Trailer

'To Be Or Not To Be...Carlos Mencia' - East L.A. Classic Theatre Benefit held at The Conga Room at L.A. Live

Vivian Wu and Carlos Mencia Sunday 17th May 2009 'To Be Or Not To Be...Carlos Mencia' - East L.A. Classic Theatre Benefit held at The Conga Room at L.A. Live Los Angeles, California

Vivian Wu and Carlos Mencia
Vivian Wu and Carlos Mencia

Eve And The Fire Horse Review


Weak
Eve, the young Chinese protagonist of Eve and the Fire Horse, was born in the Year of the Fire Horse. According to Chinese tradition, children born during the Year of the Fire Horse grow up to be strong-willed and difficult. The film chronicles one challenging year for her and her family.

Growing up in Vancouver, Canada in the late 1960s, nine-year-old Eve Eng (Phoebe Kut) and her older sister Karena Eng (Hollie Lo) find themselves stuck at a spiritual crossroads. While those around them practice more contemporary forms of religion, their family still believes in the old Buddhist traditions of their homeland. Every day their grandmother (Ping Sun Wong) pours three cups of tea for spirits who never drink them. For special family occasions, their aunt cooks pots full of long noodles - meant to promote a long, healthy life. Eve and Karena feel disconnected from this religious symbolism.

Continue reading: Eve And The Fire Horse Review

Dinner Rush Review


Weak
I will say one thing about Bob Giraldi -- he knows how to capture the chaos and motion of a busy restaurant. For that reason, Dinner Rush, which is set at Giraldi's very own TriBeCa eatery, is wonderful. Pasta twirls poetically in pans, waiters and waitresses bolt toward one another like runaway trains, and the kitchen rattles with activity and the clanging of plates. He gets us caught in the atmosphere.

However, despite the effort Giraldi puts in, the movie comes up short. You keep waiting for that one scene or piece of dialogue that will get things going, and it never comes. We get an appetizer, but the main course never arrives.

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8 1/2 Women Review


Unbearable
Peter Greenaway's latest foray into highbrow elitism will test the endurance of even his most fervent admirers. 8 1/2 Women indulges his fascination with the human body by allowing a father and son to fulfil their sexual fantasies by setting up a brothel comprised of the title characters, and systematically ogling each of the voluptuous and unusual female forms they encounter.

The compulsive listmaking and mathematical precision of Greenaway's earlier films is present and intact, but the center of 8 1/2 Women is ultimately hollow and painfully obvious. His very concept reduces women to childish fantasies such as the sexually repressed nun (Toni Collette), the pregnant woman (Natacha Amal), the nubile bombshell (Polly Walker), the prudish accountant who wears thick glasses (Vivian Wu, from The Pillow Book) and the woman who adores her pet horse and pig (Amanda Plummer). The "half-woman" has no legs, of course.

Continue reading: 8 1/2 Women Review

8 1/2 Women Review


Weak

An idly rich father and son, trying to sidestep the grief brought on by the death of their wife and mother, become obsessed with acquiring a varied private harem to exorcise obscured erotic fantasies in eccentric, elitist director Peter Greenaway's sexual pseudo-satire "8 1/2 Women."

The Japan-based, 30-ish son (Matthew Delamere) comes home to his father's (John Standing) Geneva estate with two girls in tow: A taciturn kabuki actress and a pretty young gambler who has agreed to become his concubine to repay gambling debts owed the family's pachinko parlor.

Over the next few weeks they add several more wildly divergent women to their personal bordello -- a "retired" nun (Toni Collette) with a shaved head, a wannabe aristocrat (Amanda Plummer) recovering from a horse-riding accident in a bizarre body brace, an extremely fertile beauty (Barbara Sarafian) who makes a living as a surrogate mother -- but remain confounded, discontented and unfulfilled.

Continue reading: 8 1/2 Women Review

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