This limited edition Jet Li double feature includes two breathtaking martial arts action films directed by Corey Yuen (The Transporter). In The Legend of Fong Sai Yuk Jet Li stars as a carefree young martial arts expert who gets involved with a government official's daughter just as he discovers his family is part of a rebel resistance movement. While his fighting ability and charm made him a local champion, his epic battle for freedom would make him a legendary hero. Acclaimed choreographer Corey Yuen directs Li at his jaw-dropping best, including an unbelievable sequence fought entirely atop the heads of stunned onlookers. In The Legend of Fong Sai Yuk 2 Martial arts sensation Jet Li kicks back into action as the heroic Fong Sai Yuk in this explosive follow-up to the powerfully entertaining original. Having fought to save his father from the wrath of the Chinese government, Fong Sai Yuk joins his father's underground revolutionary organization, the Red Flower Society! But in the camp of rebels, a traitor lurks! Now, at a time when few can be trusted, Fong Sai Yuk must utilise his every skill in the fight to overthrow his nation's brutally powerful empire!
An intoxicating, time-bending experience bathed in the golden glow of oil lamps and wreathed in an opium haze, this gorgeous period reverie by HOU HSIAO-HSIEN (The Assassin) traces the romantic intrigue, jealousies, and tensions swirling around four late-nineteenth-century Shanghai flower houses, where the courtesans live confined to a gilded cage, ensconced in opulent splendour but forced to work to buy back their freedom. Among the regular clients is the taciturn Master Wang (In the Mood for Love's TONY LEUNG CHIU-WAI), whose relationship with his long time mistress (The Mystery of Rampo's MICHIKO HADA) is roiled by a perceived act of betrayal. Composed in a languorous procession of entrancing long takes, Flowers of Shanghai evokes a vanished world of decadence and cruelty, an insular universe where much of the dramatic action remains tantalizingly offscreeneven as its emotional fallout registers with quiet devastation. Special Features: New, restored 4K digital transfer, supervised by director Hou Hsiao-hsien and director of photography Mark Lee Ping-bing, with 5.1 surround DTS-HD Master Audio soundtrack New introduction by critic Tony Rayns Beautified Realism, a new documentary by Daniel Raim and Eugene Suen on the making of the film, featuring behind-the-scenes footage and interviews with Lee, producer and editor Liao Ching-sung, production designer Huang Wen-ying, and sound recordist Tu Duu-chih Excerpts from a 2015 interview with Hou, recorded for the Academy of Motion Picture Arts and Sciences' Oral History Project Trailer English subtitle translation by Rayns PLUS: An essay by film scholar Jean Ma and a 2009 interview with Hou conducted by scholar Michael Berry
Martial arts matinee idol Jet Li portrays a real life turn-of-the-century Cantonese patriot, the dauntless Fong Sai-Yuk, in The Legend. This is a much more blunt and straightforward effort than Tsui Hark's flamboyant Once Upon a Time in China films, but codirectors Ann Hui (Song of the Exile) and Yuen Kwai (Yes, Madam) deliver many lively and funny sequences. The film's revelatory performance, however, comes from Josephine Siao, a Cantonese star of the 1960s in both comedies and high-flying swordplay films, who here plays Fong Sai-Yuk's martial mother. Siao disguises herself as a man to enter a martial arts competition and ends up winning both the prize and the heart of a high official's daughter--mostly because the girl has never met a hero with so much poetic sensitivity lurking just beneath the surface. Chu Kong (Sidney in John Woo's The Killer) plays Fong Sai-Yuk's father as an anti-Manchu patriot so unbendingly upright that he's a bit of a prig. As the action heats up, political stakes emerge more clearly. In the grand finale, Fong Sai-Yuk squares off against a Manchu killer played with great panache by newcomer Chiu Man-cheuk. --David Chute, Amazon.com
Vows. They're like New Year's resolutions- easy to make and impossible to live up to.
This limited edition Jet Li double feature includes two breathtaking martial arts action films directed by Corey Yuen (The Transporter). In The Legend of Fong Sai Yuk Jet Li stars as a carefree young martial arts expert who gets involved with a government official's daughter just as he discovers his family is part of a rebel resistance movement. While his fighting ability and charm made him a local champion, his epic battle for freedom would make him a legendary hero. Acclaimed choreographer Corey Yuen directs Li at his jaw-dropping best, including an unbelievable sequence fought entirely atop the heads of stunned onlookers. In The Legend of Fong Sai Yuk 2 Martial arts sensation Jet Li kicks back into action as the heroic Fong Sai Yuk in this explosive follow-up to the powerfully entertaining original. Having fought to save his father from the wrath of the Chinese government, Fong Sai Yuk joins his father's underground revolutionary organization, the Red Flower Society! But in the camp of rebels, a traitor lurks! Now, at a time when few can be trusted, Fong Sai Yuk must utilise his every skill in the fight to overthrow his nation's brutally powerful empire!
Action super-star Jet Li dazzles with his legendary speed and power in this sweeping epic from the martial arts director of X-Men and Transporter 1 and 2.
Martial arts sensation Jet Li kicks back into action as the heroic Fong Sai Yuk in this explosive follow up to the powerfully entertaining original 'The Legend'. Having fought to save his father from the wrath of the Chinese government Fong Sai Yuk joins his father's underground revolutionary organization the Red Flower Society. But in the camp of rebels a traitor lurks. Now at the time when few can be trusted Fong Sai Yuk must utilize his every skill in the fight to overthrow his nation's brutally powerful empire. With the incomparable Jet Li performing all of his own martial arts in spectacular fight scenes 'The Legend 2' is a film action fans don't want to miss.
Fallen Angels was originally planned as one section of director Wong Kar-Wai's best-known film, Chungking Express, but eventually it grew into its own distinct and delirious shape. In many ways, it may be the better film, a dark, frantic fun-house ride through Hong Kong's night-time world. Part of the film is a love story between two people who have barely met: a young, ultra-hip hit man (Leon Lai) and the dreamy operative (Michele Reis) who plans his jobs. Much of the movie is given over to a very strange subplot about a manic mute (Takeshi Kaneshiro) who goes on bizarre nocturnal prowls through a closed food market--like almost everything else in Wong's films, this is antic, stylish and oddly touching, all at the same time. It must be said that, also like Wong's other work, Fallen Angels is fragmented and oblique to the point of occasional incomprehensibility, but then suddenly something wild or wonderful happens, such as the moment when the killer leaves the scene of a spectacular shooting and is promptly waylaid by a cheerful old school chum on a public bus. These coups--whether lyrical, violent or simply "how on earth did they get that shot?"--are tossed off by Wong and cinematographer Christopher Doyle with all the cool of the hired killer, as though the movie were a cigarette dangling from a pair of oh-so-casual lips. This is exactly why so many otherwise calm critics fell all over themselves in hailing Wong Kar-Wai as one of the most exciting filmmakers of his generation. --Robert Horton, Amazon.com
Four young people are caught in a tug-o-war of evil between an Imperial Wizard and a corrupt General. With the help of the kind Wizard Ning escapes from jail where he was unjustly put. On the run he meets a young scholar and two sisters who are trying to rescue their father from the ruthless General... A second all-action instalment of the saga of the supernatural from Ching Siu-Tung the action director of such classics as Hero House Of Flying Daggers
Fallen Angels was originally planned as one section of director Wong Kar-Wai's best-known film, Chungking Express, but eventually it grew into its own distinct and delirious shape. In many ways, it may be the better film, a dark, frantic fun-house ride through Hong Kong's night-time world. Part of the film is a love story between two people who have barely met: a young, ultra-hip hit man (Leon Lai) and the dreamy operative (Michele Reis) who plans his jobs. Much of the movie is given over to a very strange subplot about a manic mute (Takeshi Kaneshiro) who goes on bizarre nocturnal prowls through a closed food market--like almost everything else in Wong's films, this is antic, stylish and oddly touching, all at the same time. It must be said that, also like Wong's other work, Fallen Angels is fragmented and oblique to the point of occasional incomprehensibility, but then suddenly something wild or wonderful happens, such as the moment when the killer leaves the scene of a spectacular shooting and is promptly waylaid by a cheerful old school chum on a public bus. These coups--whether lyrical, violent or simply "how on earth did they get that shot?"--are tossed off by Wong and cinematographer Christopher Doyle with all the cool of the hired killer, as though the movie were a cigarette dangling from a pair of oh-so-casual lips. This is exactly why so many otherwise calm critics fell all over themselves in hailing Wong Kar-Wai as one of the most exciting filmmakers of his generation. --Robert Horton, Amazon.com
Aliens In this action-packed sequel to 'Alien' Sigourney Weaver returns as Ripley the only survivor from mankind's first encounter with the monstrous extra-terrestrial. Her account of the alien and the fate of her crew are received with skepticism until the mysterious disappearance of colonists on LV-426 lead her to join a team of high-tech colonial marines sent in to investigate... Resident Evil Something rotten is brewing beneath the industrial mecca known as Raccoon City. Unknown to its millions of residents a huge underground bioengineering facility known as The Hive has accidentally unleashed the deadly and mutating T-virus killing all of its employees. To contain the leak the governing supercomputer Red Queen has sealed all entrances and exits. Now a team of highly-trained super commandos including Rain Alice and Matt must race to penetrate The Hive in order to isolate the T-virus before it overwhelms humanity. To do so they must get past the Red Queen's deadly defenses face the flesh-eating undead employees fight killer mutant dogs and battle The Licker a genetically mutated savage beast whose strength increases with each of its slain victims... The Fly David Cronenberg's 'The Fly' is a remake of the 1958 horror classic about a brilliant scientist (Goldblum) who develops a machine that molecularly transports objects in seconds but inadvertently turns him into a fly; incredibly agile super-strong and driven to insanity by appetites he cannot control...
A stylised and violent thriller, prolific director Miike Takashi's The City Of Lost Souls (2000) is set in the ganglands of Tokyo and pays homage to Sergio Leone, Quentin Tarantino and, in a daft, animated cockfighting sequence, The Matrix. Mario (Teah) is the Japanese-Brazilian gunslinger fresh out jail who, in a hilariously audacious action sequence, hijacks a helicopter to save his Chinese girlfriend Kei (Michelle Reis) from deportation. He must then secure 18 million yen to secure fake passports for both of them to make a new life for themselves in Australia. In a misconceived operation, Mario arrives at the lair of the intriguing Ko, Kei's ex-boyfriend--a self-assured, effeminate young exchange student--who is somehow head of a vicious gang of Triads. He is on the point of buying a consignment of cocaine from decadent, cold-blooded Yakuza gangster Fushimi when Mario's arrival triggers a shootout, with Mario escaping with the wrong suitcase. Now, in time-honoured True Romancefashion, Mario and Kei are on the run from the mob. Although visually tricksy with some strong set-pieces, The City of Lost Souls is rather hazy when it comes to story and characterisation. We get little sense of the runaway couple as people. A young blind girl is introduced into the tale and there are romantic moments between Mario and Kei but these feel like sugary palliatives to the bloodshed rather than touching moments. Better perhaps to check out Takashi's Audition, a brilliantly gruesome satire on male Japanese attitudes towards womanhood. This is a flashier, faster but less artistically satisfying affair. On the DVD: The City of Lost Souls is presented in video aspect ratio 1.85:1, with reasonable clarity and sharpness. However, the English subtitles are a little pidgin and slapdash in places, none of which improves the main special feature, a rather dull and vague interview with director Takashi. --David Stubbs
The Heartbreak Kid Ben Stiller and the Farrelly brothers bring out the best in each other. In The Heartbreak Kid, Stiller plays Eddie Cantrow, who--persuaded by his father and friends that he's commitment-phobic--marries a gorgeous and seemingly ideal woman named Lila (Malin Akerman, The Brothers Solomon) that he's been dating for several weeks. But after the wedding, things start to go awry... the least of these being that on their honeymoon, Eddie meets a woman who might truly be the girl of his dreams (Michelle Monaghan, Kiss Kiss Bang Bang). As in There's Something About Mary, writers/directors Bobby and Peter Farrelly push Stiller away from his increasingly schticky "tense guy" persona and draw out his sweeter, more multilayered earnest side. On his end, Stiller provides a human core to what could just be a festival of raunch and absurdity (the movie features aroused donkeys, deviated septum jokes, and digitally-enhanced body hair, among other items of questionable taste). It only takes a quick comparison with Jim Carrey in Me, Myself & Irene or Jack Black in Shallow Hal to see what a surprisingly delicate balance that is. The Heartbreak Kid may not be quite as wildly sublime as There's Something About Mary, but it comes extremely close, with kudos to Akerman for her unrestrained nuttiness. --Bret Fetzer Meet the Parents Randy Newman's opening song, "A Fool in Love," perfectly sets up the movie that follows. The lyrics begin, "Show me a man who is gentle and kind, and I'll show you a loser," before praising the man who takes what he wants. Greg Focker (Ben Stiller) is the fool in love in Meet the Parents. Just as he's about to propose to his girlfriend Pam (Teri Polo), he learns that her sister's fiancé asked their father, Jack Byrnes (Robert De Niro), for permission to marry. Now he feels the need to do the same thing. When Greg meets Jack, he is so desperate to be liked that he makes up stories and kisses ass rather than having the courage of his convictions. It doesn't take an elite member of the CIA to see right through Greg, but that's precisely what Jack is. Directed by Jay Roach (the Austin Powers movies), Meet the Parents is an incredibly well-crafted comedy that stands in nice opposition to, say, the sloppy extremes of the Farrelly brothers. Stiller is great at playing up the uncomfortable comedy of errors, balancing just the right amount of selfishness and self-deprecating humour, while De Niro's Jack is funny as the hard-ass father who just wants a few straight answers from the kid. What makes the Jack character all the funnier is Blythe Danner as his wife, the Gracie to his George Burns, who is the true heart of the movie. Oh, and Owen Wilson turns in yet another terrific comic performance as Pam's ex-fiancé. --Andy Spletzer Meet the Fockers Meet the Parents found such tremendous success in the chemistry produced by the contrasting personalities of stars Robert De Niro and Ben Stiller that the film's creators went for broke with the same formula again in Meet the Fockers. This time around, Jack and Dina Byrnes (De Niro and Blythe Danner) climb into Jack's new kevlar-lined RV with daughter Pam (Teri Polo), soon-to-be son-in-law Gaylord (Stiller), and Jack's infant grandson from his other daughter for the trip to Florida to meet Gaylord's parents, Bernie and Roz Focker (Dustin Hoffman and Barbra Streisand in a casting coup). The potential in-laws are, of course, the opposite of Jack, a pair of randy, touchy-feely fun-lovers. The rest of the movie is pretty much a sitcom: put Bernie and Roz together with Jack, and watch the in-laws clash as Gaylord squirms. As with the original, there is a sense of joy in watching these actors take on their roles with obvious relish, and the Hoffman-Streisand-Stiller triumvirate is likeable enough to draw you in. But the formula doesn't work as well in Fockers mostly because much of the humour is based on two obvious gimmicks: Gaylord Focker's name, and the fact that Streisand's character is a sex therapist. As a result, the movie itself is more contrived and predictable, and a lot less fun than the original. The casting is grand, but one wishes more thought was put into the script.--Dan Vancini Zoolander Charge your micro-mini cell phones and whip up some orange mocha Frappuccino, 'cuz Zoolander is on the runway, and you're gonna laugh your booty off! Based on a sketch created by writer-director Ben Stiller and cowriter Drake Sather for the 1996 VH1/Vogue Fashion Awards, Zoolander is a delirious send-up of New York's fashion scene as epitomised by male model Derek Zoolander (Stiller), a dimwitted preener who's oblivious to a Manchurian Candidate-like plot to turn him into a brainwashed assassin. Tipped off by a reporter (Christina Taylor), Zoolander teams with rival model Hansel (Owen Wilson) to foil the poodle-haired fashion designer (Will Ferrell) who's behind the nefarious scheme. The goofy plot's only half the fun; with roles for Stiller's parents (Jerry Stiller and Anne Meara), dozens of celebrity cameos, endlessly quotable dialogue, and improvisational energy to spare, Zoolander is very smart about being very stupid, easily matching the Austin Powers franchise for inspired comedic lunacy. --Jeff Shannon
Sum Yu is a young princess betrothed to the dictator Yuan Shih-Kai. Unfortunately Sum Yu is being detained by Sun Yat-Sen's republican loyalists and Yuan Shih-Kai sends Governor Li (Liu) to bring her to him. Meanwhile Wong Fei-Hung is enlisted to take the princess to a safe hiding place and learns the art of drunken boxing which he uses to defend the princess from the Governor and his cadre of troops...
Young swordsman Ling Wei (Jet Li) and other followers of the Sun Moon Sect are making a journey to the mountains to abandon the violent swordsman's life. But upon arrival they find their people are at war! With their leader Ling must lead a desperate counterattack in hopes of freeing the benevolent Master Wu and ending the reign of the supernaturally powerful Master Asia (Brigitte Lin) and the Highlander clan before it's too late! Jet Li unleashes all of his devastating martial art
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