Playing a Chinese mother in America—vivid, domineering, but secretly vulnerable—seems like child’s play to actress Pamelyn Chee. And by this point, it may well be. But to get there, she started acting as an actual child.
The last five years have been exciting for API Disney movie lovers. In 2016, we got Moana, the first Polynesian princess. In 2020, we got a live action remake of Mulan.
It’s not often that a movie successfully accomplishes multiple objectives, yet “The Paper Tigers,” our own Seattle-based and Seattle-born film, does just that.
By LINDSEY BAHR AP Film Writer “Parasite’’ director Bong Joon Ho has been selected as jury president of the 78th Venice International Film Festival, organizers said. The Oscar-winner will preside over seven jurors to hand out the festival’s top awards, including the prestigious Golden Lion. He’ll be the first South Korean to hold the post. […]
Ramin Bahrani, the Iranian-American filmmaker, started out small, with the simple story of a pushcart vendor, a Pakistani immigrant selling coffee and doughnuts in New York, in 2005’s “Man Push Cart.’’
Netflix has been receiving a lot of criticism lately for its lineup. No less “Bling Empire,” which premiered Jan. 15. An Asian version of the Kardashians, this reality television series has been slammed for being racist and thrown in with the movie, “Crazy Rich Asians,” as an unfortunate trend of Hollywood depicting Asians and Asian Americans only as rich people behaving badly.
I had to laugh at the first review I found of this latest installment of the “Ip Man” saga, available from Magnet Releasing on Dec. 11. The reviewer suggested that nobody in the film looked like a real fighter.
In one scene from the Lifetime TV movie, “A Sugar & Spice Holiday,’’ a co-worker says to Suzy, an Asian American architect in Los Angeles: “I didn’t know if Christmas was a big deal where you’re from.’’
The two stars of the new movie “I Hate New Year’s” grew up in America at the same time. Some of their experiences dovetailed. But others could not seem more different.
My old cinematic friends called it “whupass.” You spell that either “whupass” or “whoopass.” A two-syllable brand for action films. They are often brainless action films, films that pushed the whupass, or the whoopass, in the absence of any strong elements of character development, nuance, or memorable dialogue past a few curt, comedic catchphrases.