If you enjoyed “Hero” or “House of Flying Daggers,” then this film should be right up your alley. Zhang Yimou is back with his latest film, “Shadow.”
“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.
In the new Seattle Opera Center, a quote by the Opera’s founder, Glynn Ross, reads in part, “We are not custodians of the old order. We are not curators of establishment art. We must be oriented towards the future…”
“Long Day’s Journey into Night” is an extraordinary journey that left me speechless. It is hard to believe the director, Bi Gan, is only 29, and already completed his second major feature. Long Journey takes place in Kaili, located in southeast China, which just so happens to be Bi Gan’s hometown.
Last spring, actor and comedian Mary Sohn landed on a network TV show after years of hard work performing on cruise ships and waiting tables. Sohn was talking to her mom who, at that point, was finally much more on board with her daughter’s unconventional career path.
“Ash is Purest White” director Jia Zhangke is an internationally recognized film director and screenwriter from China. I started experiencing deja vu while watching the film.
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.