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Ying hung boon sik III: Zik yeung ji gor (1989)
This beautiful romantic action-drama classic is just another proof that Woo has NOTHING on Tsui Hark's genius !!
Sure, it's not a crowd pleaser and exactly as enjoyable on a superficial level like Woo/Hark's previous good installments... this film has something Woo never had, and that's a very good idealistic, detailed but at the same time a complex screenplay that is also opening the door for many various interpretations of the viewer as far as characters beliefs and motivations go; very long spontaneous but also intense dramatic moments led sometimes by the three characters at the very same time, brilliantly structured moody cinematography and "many" distinct characters differing one from another with their own issues interconnected throughout the story, and most of all the ability telling a story mainly only by the images and songs. Not to mention the fact that this film features much more flushy and opulent deeply profound story-line than anyone could have ever witnessed in any J.Woo film to this day! Although, one thing one could find lacking here that many fans of the first two films were affected by, which are the action sequences that this film has clearly no such interest in or simply not being as focused on as many Woo's films, though, such scenes appear here now and then if sporadically but when they show up they're coming with a sense of the unanticipation, shock and philosophical meaningness. As one biographer wrote: "In The Killer Woo shows two men firing guns, back to back, a sort of enclosed circle; Tsui Hark has the same shot in A Better Tomorrow III, except that it's Ho and Kit! Likewise, Tsui has no interest in copying Woo's "bullet ballet" style of directing action sequences; instead, Tsui emphasizes the characters and the situations. Woo directs action for the sake of the action; Tsui directs it for the sake of the story!"
Why people usually prefer the first one to this much dramatically superior film was already many times explained before and one of the things very often mentioned is the element of the commercialism and the appeal well-disposed to the western tastes that was ironically and effectively sold out. This film is totally different by its Chinese aesthetics that works in a more operatic, dreamy, poetic and sometimes fully surrealistic and artistic way J.Woo could only dream of to achieve. This time the meaning of the film is not about the traditional honor, loyalty or brotherhood we've already seen in a never ending line of similar maudlin homo-erotic movies; Here we are introduced to the very meditative themes about the complexities of love and equality, and above all Tsui Hark makes a much more ambitious effort as he brings these themes to a world swallowed by chaos. In the process of portraying the relationship between the main characters, he humbles the viewers with the realization of how insignificant each one of us can be in the face of change. Yet, he does not drag us into the abyss of desperation, as he offers hope and redemption for those who keep trying. Otherwise he brings plentiful other themes resonating with the modern time, among the politics, the fear of the 97 handover and the sprawling examination of gender roles, the film's background centers on the celebration of the Chinese nationality by the usage of the mutual heritage in favor of all or the Chinese notion of fate circling around all the main characters, basically involving Anita Mui's meditative Kit pondering over all her doomed life that's conversely gonna reflect the life of Fat's Mark Gor later in his gangster period (previous sequels -- mind you).
Each 24 or 20 frames per second are filled with an incredible ingenious sense for the timing and meaningful idea that both come along making a totally explosive impact on the mind of the viewer, either verbally or visually. The film employs a jaggy, documentary style to capture the chaos of its time; then later in more quiet moments of the film's time-frame it's creating a lovely montage of Mun, Mark and Kit shopping, using gradated filters for a dreamy, romantic feel that's bringing a sort of allegorical meaning that life continues even under the worst situations, and can also continue with joy.
There's another thing that makes this timeless masterpiece different from other installments: this is one of the very few films that can never be REMADE. Possibly the best and the most provocative T.Hark movie ever!
Let me say that now it doesn't quite surprise me that most of the critics were praising this film as the very best one in this classical series... they could never be more right this time.
Million Dollar Baby (2004)
The Most Non-Self Indulgent Film Ever Made aka Possibly The Greatest Film Ever Made!
I hate to see everyone nitpicking at stupid details such as when Maggie goes down and hits her head on the chair, everyone is silent. "In real life there is no way that would happen, fans would get up, throw things, the trainer would retaliate." People, first of all, Eastwood isn't wasn't nor will he ever be a boxer. He could have chosen any sport or medium through which to tell his tale. Boxing and a woman just so happen to be great choices for a few reasons, #1 not everyday stuff (woman wanting to be a boxer) #2 great way to symbolize a desire and hidden feelings toward the unexpected for both the female boxer and the trainer. This movie was shot with such impeccable detail that you can bet 80% of most viewers have these things go unnoticed, and cannot identify them, yet almost all of these people are subject to the effect the cinematography has. THAT is truly brilliant. The subtleties like the noir-like voice overs and typical lighting (darker) and word choice in dialog esp between Swank and Eastwood as we see how Maggie truly loves her trainer as a father. And he the same. When Maggie falls down in the ring and gets injured, it is such a dark moment because Eastwood has realized the (in his mind) inevitable tragedy which he has led Maggie into. At that point in time, he already realizes retaliation would be of no use. I actually think that part is one of my favorites. Eastwood is so hit by the fall that he is already past anger and revenge. As if there was a part of him that knew this would happen and now he is feeling guilt and hopelessness. Its really an amazing scene. The filming of that scene also totally emphasizes his inner darkness and pain. This movie stays away from clichés and doesn't give the audience what it wants to see. It doesn't even deal with Maggies death in a "noble" way. Its very real. And that is shocking. This movie is 100% guaranteed to withstand the test of time. I don't know much about Clint Eastwood, but this is all I need to know. The man is brilliant. If you don't shed a tear in this movie, you have no heart. Swank deserves an Oscar, so does Eastwood for the directing. Freeman is the only Cliché (the wise old has been black guy) but if you study his character closely you will see how he is actually not clichéd at all. This movie is so powerful that you need a few hours to recuperate and that gut feeling you get during the movie sticks with you for days, and the appreciation will last forever. GREAT MOVIE. MASTERPIECE.
Phenomena (1985)
A stunning, sublime, artistic achievement by master Argento
This is one of my favorite and one of the best Argento films ever and I seriously mean it. The camera work is beautiful, the acting is great, especially from Jennifer Connelly, and the script is well writing. I saw the cut form three years ago when I was eight, now I'm eleven, and I have to say that I was really angry because on the running time. It was so short and I was mad that it was cut by 28 minutes. Last month, I bought Phenomena and was really happy that almost all the cut were restored. Do yourself a favor and watch this movie. It's great. Don't watch the cut form Creepers, watch this version! Last month, I bought Phenomena and was really happy that almost all the cut were restored. Do yourself a favor and watch this movie. It's great. Don't watch the cut form Creepers, watch this version! ds