Wang Leehom

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Blackhat Review


OK

Michael Mann doesn't make standard frantic-pace thrillers (see Heat and Public Enemies); he prefers to work at a more controlled stride, so while this hacking adventure-mystery is intriguing it also feels a bit plodding. Yes, the film erupts now and then into a viscerally exhilarating action sequence, including a couple of astonishing shootouts, but over the course of two and a quarter hours it barely builds up a head of steam. And it's further frustrating that the intriguing characters never quite emerge as real people.

It opens with a cyberattack on a Chinese nuclear power plant, after which Captain Chen (Wang Leehom) heads to America to consult with FBI Agent Barrett (Viola Davis), urging her to get the one man who can solve this case: Chen's former MIT roommate Nick (Chris Hemsworth), now serving 13 years in prison for hacking. On supervised release, Nick heads to Hong Kong with Chen and Barrett, plus a minder (Holt McCallany) and Chen's computer-whiz sister Lien (Tang Wei), who immediately catches Nick's eye. As they secretly begin falling for each other, Nick indulges in a lot of illicit computer work to trace the attack to ruthless thug Kassar (Ritchie Coster) and his shadowy boss Sadak (Yorick van Wageningen). But they're based in Jakarta, and the FBI has no jurisdiction there.

Aside from some cheesy inside-the-computer animation, Mann makes the film look sleek and stylish, dropping clues into each scene to fill in the bigger picture about what is happening. And when an action set-piece breaks out, the film becomes urgent and gritty, with handheld camerawork and a breathless sense of peril that suggests that no one is safe. On the other hand, the script asks us to believe that Hemsworth's imprisoned computer geek can suddenly become a full-on action man, with astonishing gun-handling skills, the muscly precision of a Hollywood stunt man and the ability to out-strategise both spies and super-villains in a massive climactic showdown in a crowded city square.

Continue reading: Blackhat Review

Lust, Caution Review


OK
Halfway through Lust, Caution, Ang Lee's follow-up to Brokeback Mountain, Mr. Yee, a collaborator with the Japanese in WWII Shanghai, throws the flirtatious wife of a businessman onto a bed and proceeds to have sex with her, precariously straddling the fence between rough sex and rape. Mr. Yee (the inimitable Tony Leung) and the woman, Wang (Tang Wei), will go on to have a dark and detailed set of trysts, each more carnal and sweatier than the last. Lee's camera doesn't show a hint of timidity as it sways around every curve and canal of each lover's body, at times so penetrating that one wonders if Lee's precursor was Michael Winterbottom's Nine Songs. It's not Ledger spitting in his hand before he gives it to Gyllenhaal, but it's not far off.

But before we ever get to see these thrashing entanglements, we are plummeted into the early rumblings of the Chinese resistance to the Japanese occupation. Little does Yee know that the woman he is tossing around the bedroom would love nothing more than to feel his blood splatter all over her in the middle of one of their sessions. See, Wang was once a schoolgirl with aspirations in acting, sparked by collegiate cutie Kuang (Wang Leehom), a director who wrote (terrible) plays about the damages of the war and subsequent occupation on the normal Chinese family. While discussing politics in a theater balcony, Kuang and his actors turned from thespians into resistance fighters, planning the assassination of the traitorous Yee.

Continue reading: Lust, Caution Review

Moon Child Review


Weak
If you're a 14-year-old Japanese girl, Moon Child will be without a doubt the best movie you've ever seen. But even if you're not, this teenage yakuza vampire thriller/melodrama starring two of Japan's dreamiest androgynous male pop stars has enough going for it to hold your interest. As a window into current Japanese pop culture, it can't be beat.

We find ourselves in an "Asian special economic zone" called Mallepa, a teeming city-state where for some unexplained reason, the Japanese population has been marginalized and turned into refugees and criminals. The year is 2014.

Continue reading: Moon Child Review

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