Tags :: East Meets West
All Saints (2017)
All Saints opens with the most familiar of pious Hollywood setups, the clergyman tasked with saving a threatened church (school, orphanage, etc.). Then something unexpected and kind of wonderful happens.
Ghost in the Shell (2017)
Scarlett Johansson is becoming — no, at this point it’s safe to say she is — the default Hollywood poster girl for transhumanism.
The Great Wall (2017)
The Great Wall is one of those movies that is more interesting for what it portends and the discussion around it than for what is actually onscreen. Not that what is onscreen, in the most literal sense, is bad or uninteresting.
Silence (2016)
When 17th-century Japanese authorities in the time of the Tokugawa shogunate found it necessary to send the colonial powers of Europe packing and their European Jesus with them, they didn’t just shatter the missionaries’ bodies. They shattered their narrative.
![Big Hero 6 [video]](/uploads/articles/big-hero-6_khVAOrT.jpg)
Big Hero 6 [video] (2014)
It’s a Marvel movie! It’s a Disney cartoon! It’s … a Marney movie! It’s set in San Fransokyo! Wait, what?
Big Hero 6 (2014)
At the intersection of Disney and Marvel, in a pan-Pacific megalopolis spanning San Francisco and Tokyo, in a world with one foot in science fiction and one in superhero adventure, is Big Hero 6. By my lights, this is a very good place to be.
The Hundred-Foot Journey [video] (2014)
While I didn’t care for this movie as much as I hoped I would, I will say I went right from the theater to an Indian restaurant, where I got something I enjoyed more.
Transformers: Age of Extinction [video] (2014)
If Michael Bay can take 165 minutes for his latest Transformers movie, I can take two minutes to review it.
The Wolverine [video]
He’s the best there is at what he does, but what he does isn’t very nice. The Wolverine: my “Reel Faith” 60-second review.
The Wolverine (2013)
It’s not a great film, but it’s a pretty good one. This year, that’s enough to make The Wolverine not only the season’s best superhero film, but arguably its best popcorn action movie: a gingery palate cleanser in a summer of overcooked Big Macs.
The Karate Kid (2010)
This Karate Kid may not be competing at the same level as the original, but it respects the tradition, and if it doesn’t really have anything new to say, it still says it in a reasonably engaging way.
Rush Hour 3 (2007)
Rush Hour 3 is a half-hour of brilliance, preceded by an hour of dreck. That’s a roughly comparable dreck-to-brilliance ratio to the first two Rush Hour movies, I guess, and par for the course for Jackie Chan’s Hollywood films (and a fair number of his Asian ones). It’s just that the earlier Rush Hour movies are hit-and-miss throughout, whereas Rush Hour 3 is basically non-stop missing for an hour, saving all its hits for the end.
The Karate Kid (1984)
Ralph Macchio stars in what is still his signature role as Daniel LaRusso, a sensitive lad reared in the nurturing enclaves of Newark, New Jersey who finds the harsh realities of life in southern California a bit overwhelming after he move across country with his single mother (Randee Heller), who’s just taken a new job.
Bride and Prejudice (2004)
Now Nair’s compatriot Gurinder Chadha (Bend It Like Beckham) takes a much more thoroughgoing approach to Pride and Prejudice, going so far as to tweak the title to telegraph that this is Jane Austen gone Bollywood with a capital B — i.e., Bride and Prejudice.
Around the World in 80 Days (2004)
Without a doubt, the best thing about Frank Coraci’s Around the World in 80 Days is the fight scenes.
Dersu Uzala (1975)
Vladimir Arseniev was an early 20th-century explorer who mapped much of the krai territory of the Russian Far East and studied its indigenous peoples. Based on his memoirs, Akira Kurosawa’s Dersu Uzala tells the story of an unusual friendship between Arseniev (Yuri Solomin) and the nomadic tribal hunter for whom the film is named (Maksim Munzuk).
The Medallion (2003)
Jackie’s current string of Hollywood buddy movies (the Rush Hour and Shanghai flicks; The Tuxedo) have brought him success in the U.S. — but at a price. For one thing, he’s never been allowed to do the kind of really elaborate, extended action-comedy sequences that were the heart and soul of solo efforts like First Strike and Rumble in the Bronx. For another, he’s had to share the spotlight with a string of costars ranging from alternately funny and irritating (Owen Wilson, funny in Shanghai Noon but irritating in Shanghai Knights, and Chris Tucker, alternatingly funny and irritating throughout both Rush Hour movies) to just plain irritating and not funny (Jennifer Love Hewitt in The Tuxedo).
Rush Hour (1998)
After fifteen years of trying, Jackie Chan finally broke into the U.S. market with Rumble in the Bronx and Jackie Chan’s First Strike; but it wasn’t until Rush Hour that he really connected with mainstream American audiences.
Rush Hour 2 (2001)
Rush Hour 2 follows so closely in the footsteps of its hugely successful predecessor that an actual review is practically unnecessary.
Shanghai Knights (2003)
That includes this film’s predecessor, Shanghai Noon, which, as its witty title suggests, was a clever East-meets-Old-West tribute to the classic Hollywood Western. This sequel, set in London, barely manages to be a tribute to Shanghai Noon. Yet in his inventive, elaborate stunt choreography Jackie pays wordlessly eloquent homage to the great physical performers of the past: The Three Stooges, Gene Kelly, Keystone Cops, Harold Lloyd. And two ladder-fu sequences recall one of Jackie’s own memorable triumphs in Jackie Chan’s First Strike.
The Tuxedo (2002)
The suit is in fact the Tactical Uniform Experiment (TUX), a high-tech weapons system that acts directly on the user’s nervous system, instantly enabling Jimmy — who, unlike most of Jackie’s characters, has no special skills of his own — to dance like Fred Astaire, climb walls and ceilings like Spider-Man, and, of course, fight like Jackie Chan.
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