Could 'The Grandmaster' u-surp some of the bigger names at the Oscars? We think so.
Wong Kar Wai's The Grandmaster? Chances are, you haven't heard of it. As the Academy were preparing to decorate Ben Affleck and his Argo team in January, the acclaimed Chinese filmmaker was about to kick off the Berlin Film Festival with his latest martial arts movie.
Set in China at the time of the Japanese invasion in 1930s, The Grandmaster stars Wai's regular muse Tony Leung Chiu Wai as the kung-fu master and Zhang Ziyi as his rival. The highly stylized and visually spectacular picture is a story of "honor, principle, betrayal and forbidden love."
It spans the tumultuous Republican era that followed the fall of China's last dynasty - a complex period of time rich for filmmakers to tap into. Wai filmed on location, and the snow-swept landscapes of Northeast China, juxtaposed with the subtropical south makes one of the most stunning films of the year.
Continue reading: Why Wong Kar Wai's 'The Grandmaster' Could Storm The Oscars [Trailer]
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
In its clever introduction, Infernal Affairs presents a triad boss who assembles a band of kids from his gang to infiltrate the Hong Kong police academy - this is a criminal with an unusually long-range vision. Years later, the principals come into focus: there's the undercover cop, Yan (Tony Leung), struggling with his identity after so many years as a fake criminal, and the highly-placed internal affairs officer, Ming (Andy Lau), who turns out to be one of the triad moles. Throwing another loop into the plot is the fact that the triad Yan has infiltrated is the same one Ming is working for, each one knowing that there is a double agent on the opposite side (which is actually their side), whom they have been assigned by their respective bosses to root out.
Continue reading: Infernal Affairs Review
This time, Tony Leung's Chow Mo-Wan is far from the repressed creature that he played in Love, eternally suffering for the married beauty living in his apartment building. Mo-Wan is now going through all the highs and lows of numerous affairs in 1960s Hong Kong, playing out almost an entire history of love within the space of one film. The title comes from the number of the apartment next to his, wherein reside a number of women with whom we will see him become entangled over the course of the film. 2046 is also the name of a science fiction serial he scribbles down (part of the dues he pays as a struggling hack writer), scenes of which we see acted out, watching its hero endure an eternal train ride away from the mysterious place called 2046, where everybody goes to reclaim lost memories and never returns from; except him.
Continue reading: 2046 Review
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