By Andrew Hamlin Northwest Asian Weekly When director Eiichi Kudo went into pre-production for his 1963 samurai film “13 Assassins,” he had no way of knowing that he would help […]
Bright lights and twilight, a film review of “From Up On Poppy Hill”
By Andrew Hamlin NORTHWEST ASIAN WEEKLY Rating: “From Up On Poppy Hill” is the second anime feature from Goro Miyazaki, son of the famed anime master Hayao Miyazaki of Studio […]
“Stoker,” an elegant horror
By Andrew Hamlin Northwest Asian Weekly Chan-wook Park told reporter Rachel Lee, “I like telling stories through small, artificially created worlds.” This predilection obviously influenced the South Korean director’s first […]
Understanding in “Jun-Ai”
By Andrew Hamlin Northwest Asian Weekly Keiko Kobayashi, the star, co-writer, and co-producer of “Jun-Ai,” has an entire life mission centered around the film. As she makes clear on the […]
Following an “Emperor”
By Andrew Hamlin Northwest Asian Weekly Peter Webber’s historical epic “Emperor” takes place immediately after the United States dropped two atomic bombs on Japan in August 1945. On the 15th […]
“Children Who Chase Lost Voices”
By Andrew Hamlin Northwest Asian Weekly “Children Who Chase Lost Voices” marks the fourth major work from master Japanese animator Makoto Shinkai. It’s also, at just a touch under two […]
Taking the Last Stand
By Andrew Hamlin Northwest Asian Weekly Many people were curious about “The Last Stand” because it marks action superstar Arnold Schwarzenegger’s first return to the silver screen since leaving office […]
“In Another Country”
By Andrew Hamlin Northwest Asian Weekly Up until now, it’s been safe to say that South Korean director Sang-soo Hong has had a knack for crisp photography, deftly-drawn interperonsal struggles, […]
The Top 10 APA Movies of 2012
By Andrew Hamlin Northwest Asian Weekly From close-set family dramas to burgeoning blockbusters, Asian films were as strong as ever this year. Here are my picks for the top ten […]
At the “Mekong Hotel”
By Andrew Hamlin Northwest Asian Weekly “All characters appearing in this work are actual persons,” warns the fine print at the end of Apichatpong Weerasethakul’s new film, “Mekong Hotel.” “Any […]
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