“Hellboy,” director Neil Marshall’s reboot of the popular film series (derived from the comic books created by Mike Mignola), runs two hours and might well have been twice as good at three-fourths that length. I haven’t seen the first two films, but I’m led to understand they crackled with energy and moved fast.
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The “Ip Man” film series, so far, kept fairly close to the legend (and to a certain extent, the life) of Ip Man himself, a real-life Cantonese master of Wing Chun. Ip Man dominated Chinese martial arts during the early half of the 20th century, and taught, among others, a young Bruce Lee.
The Japanese pop girl group Perfume conquered their native country, branched out to international touring, and became the first J-Pop group ever to be booked at California’s prestigious Coachella Festival. They’re also performing at the Paramount Theatre on April 10.
King Hu, master of the wuxia (“martial heroes”) form of historical-epic Chinese martial arts film, had considerable cachet after his film, “A Touch of Zen,” finished in 1971. His next full-length project, “The Fate of Lee Khan,” would take the fists-and-feet fury in another direction.
The Intiman production of Christopher Chen’s “Caught” begins with the ushers urging you to take stock of the works on display, from Chinese artist Lin Bo. And Lin Bo’s installations sit at irregular intervals around the theater, in the midst of the seats.
“Captain Marvel” starts out with a tribute to Stan Lee, the mastermind of Marvel Comics, who gave the world, amongst many other superheroes, the current, female incarnation of Captain Marvel.
Susan Lieu, creator, performer, and mastermind of the “140 LBS” live show, was only in grade school when her mother died. Her mother went in for what was supposed to be routine plastic surgery, and did not come out.
Playing a man who lives as a woman most of the time, a man who must convincingly pass as a woman to succeed in life, doesn’t come easy.
“A Silent Voice” hits the big screen in and around Seattle as one of the most widely-praised anime features in recent years — and from one of the very few female anime feature directors. It approaches the lives of the handicapped in Japan, what’s going right and wrong, and bullying issues to boot. It’s been supported by the Japanese deaf community. While I found the film uneven in its approach and its overall tone, it deserves attention and support for the following reasons.
By Andrew HamlinNORTHWEST ASIAN WEEKLY They prospered through most of the 20th century and into the 21st. They left their marks in theater, television, and philanthropy, but they’re best known for their films, which turned Chinese cinema, Hong Kong cinema, and eventually, world cinema, on its ear, creating standards and techniques still resonating after their […]