Tag: fantasy

Wendy Wu: Homecoming Warrior

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★★★
“Into every third generation, a slay..ah, warrior is born.”

It’s kinda sad to say, but the action in this Disney TV movie kicks the ass of, not only most TV shows, but a credible number of Hollywood films. Then again, behind the fights here is Koichi Sakamoto, who is also responsible for Drive, among the best American martial-arts films of all time. And while obviously “Disneyfied”, this is still sprightly and engaging, with a couple of very decent fight sequences. It is, however, extremely influenced by Buffy: an unwilling heroine (Song) destined to face down evil on the night of a major school event, under the care and tuition of a mysterious guardian? Joss Whedon should have a word with his lawyers. However, the Chinese cultural twist is nice, not least the Shaolin Soccer riffs, though neither lead actually is Chinese.

This does pose problems, the film trying hard to be culturally “sensitive”; Wendy struggles between wanting to be a “normal” American girl, and her Chinese heritage. This is clunkily handled and does drag the middle of the film down, as the whole Homecoming Queen plot-thread is simply not very interesting, and adds nothing of significance to the film. Things do perk up again, when her teachers get taken over by monk spirits, to assist with her training. It then heads to the finale in a deserted museum where Wendy and her “watcher”, Shen (Koyamada), must face an possessed-schoolmate and a host of terracotta warriors. I stumbled on this by accident, in an advert break during a baseball game on a neighbouring channel, and enjoyed it, despite being about three times the target audience’s age. Some more action would certainly have been preferred, but between this and Kim Possible, Disney have as good a claim to being the home of action heroine TV as any channel.

Dir: John Laing
Stars: Brenda Song, Shin Koyamada, Justin Chon, Andy Fischer-Price

Guardian of the Realm

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★★★

“Why do villainesses get all the best clothes?”

They may be good girls or bad…

Despite a male hero, this qualifies since the very significant second lead and the villain are both female, with the former, in particular, worthy of our attention here. It’s set in the near-future where the group CORE, including agents Josh Griffin (Levy) and Alex Marlowe (Dempsey), keep humanity safe by executing demons that pop through portals from the dark side. However, an occult sect have unleashed a higher-level demon, Virago (Piryan) into this world, and she must be stopped before an upcoming total eclipse will allow her to blow the portals between the realms wide-open, and take the world down, Titanic-style.

Director/co-writer Smith appeared in both Guyver movies, and you sense that’s the kind of feel he’s going for here, combining martial-arts and rubber suits, in a world running just below the surface of ours. But according to his bio, he’s also done special effects on everything from Contact to Xena, and perhaps the latter’s influence can be seen in the statuesque Piryan, who would certainly have given Lucy Lawless a run for her money. The result is a mix of the highly-effective and the less-impressive. The moment where Alex’s true nature is revealed is just fabulous: among my favourite moments in any film this year. There is also a nice sense of ongoing history, though this is not developed as much as in, say, Witchblade. I got the sense of this being a fragmentary corner of a universe much larger than the film, perhaps due to budgetary limitations, could portray – a TV series would be very welcome.

…but the thong remains the same!

On the other hand the CGI, especially at the finale, is not up to the tasks demanded of it; the world-threatening apocalypse looks too often like a bad video-game. I wasn’t really impressed with Levy either, who lacked the required presence for a lead. The main problem, however, is a first half that drags horribly. After Virago is freed, she basically vanishes, and it’s almost sixty minutes before she does anything of significance. The film doesn’t really develop the back story, or do much with the characters during this time either, and it’s pretty tedious, with little action to keep you interested.

Things do perk up significantly later on and, must say, Virago is definitely a nominee for the Best Costume of 2006, while Alex’s thong gets almost as much screen-time as she does. The action is well-staged with Dempsey kicking ass in a manner befitting a grown-up Buffy. However, and a minor spoiler, it’s Griffin that ends up taking on Virago – sadly, not in the cool costume – even though it’s clear that Marlowe is the better fighter. If the makers cut 25 minutes out (the current running-time is 110), this would be a much tighter, more effective work with a claim at cult status. As is, it’s still an interesting rental, but one whose potential isn’t quite realised.

Dir: Ted Smith
Stars: Glen Levy, Tanya Dempster, Lana Piryan, Ronald Quigley

Sky High

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★★★★
“Life’s a bitch, then you die…then life’s a bitch again.”

Combining elements from Dead Like Me and Ghost, this still manages to come up with something unique, especially given its origins as a prequel to a popular TV series. It is designed to explain how Mina (Shaku) got the job as Keeper of the Gate, where murder victims must decide whether to forgo revenge and pass on, return to Earth as a ghost, or seek vengeance at the price of eternal torment. She ends up there after having her heart torn out on her wedding day by insane billionaire serial killer Kudo (Osawa) who will stop at nothing to save his one true love, currently lying in a coma. Trust me – it all makes perfect sense, and it’s a particularly nice touch that Mina’s fiance, Detective Kohei (Shosuke) is equally driven in his actions by love.

What’s of particular note is the continuous parade of strong female characters. As well as Mina, who starts off cowed and shy, but ends up wielding a sword with enthusiasm in her new role, there’s the existing Keeper (Eihi Shiina, the piano-wire wielder in Audition); Kudo’s secretary-come-hit woman (Uotani Kanae), who kills for him so that his soul remains pure; and medium Shuho Kamiina (Yumi Kikuchi), Keeper in a former life, who remembered her previous existence and retained the fighting skills. Any one of these would make the film worth watching; put them all together, and it’s a shame the film is only two hours long.

The resulting swordfights are longer on style than substance, with much posing before and during the battles, while the plot does rely too much on convenient coincidence, such as the photographer who just happens to be able to take ghost snapshots. It also seems that every other person has been a Keeper in a previous life. However, the longer the film goes on, the more engrossed you get in the characters, and the ending is genuinely quite touching. I really doubt the TV series could live up to this, but I’d certainly be prepared to give it a shot.

Dir: Ryuhei Kitamura + Norio Tsuruta
Star: Yumiko Shaku, Shoshuke Tanihara, Takao Osawa, Toda Naho

Silverhawk

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★★½
“Comic-book stuff – unfortunately, in the bad sense of the phrase.”

There’s no doubt about the aesthetic they’re aiming for here; heroine with secret identity, sneering evil nemesis, gadgets, etc. Take a Marvel comic from the 60’s, transplant it to the modern Far East, and there you are. Indeed, this period is apparently where SilverHawk originated; unfortunately, the makers failed to learn from similar failures such as The Avengers, The Mod Squad and Wild Wild West, and the results are lacklustre.

The problem here is mostly a script with no idea how to fill the gaps between the fight scenes, succumbing to the nemesis of so many HK films: juvenile humour. Jen is the worst offender, playing a cop out to track down Lulu Wong (Yeoh), a.k.a. SilverHawk, who is so incompetent we’re given no credible reason to believe he’d be put in charge of tea-making, never mind a high-profile investigation. They were in the same orphanage as kids: yes, it’s that kind of script. Inevitably, they team up to go against bad guy Alexander Wolfe (Goss) who wants to control people’s minds using mobile phones – the satirical potential in this idea is, inevitably, never realised. The potential for product placement, on the other hand…Nokia and BMW are the big winners there.

That’d all be okay, if the action was above average. It’s not. While still the best thing here, we actually fell asleep during the climax, and had to rewind once we woke up. There’s little sense of escalation: once you’ve seen the opening battle, that’s pretty much all the movie has to offer, save various gimmicks. Silverhawk battles thugs on bungee cords! [The producers were clearly hoping we’d all forgotten Tomb Raider, which at least made a thin pretense at explaining itself there] Thugs on roller-blades! Wolfe is clearly not short of imagination – except when it comes to giving his henchmen firearms, naturally.

It’s great to see Yeoh, now in her forties, still do a motorcycle jump across the Great Wall. However, things like the clunky mix of languages cripple this, and the result definitely won’t help Yeoh’s career. After Tomorrow Never Dies and Crouching Tiger, the world was at her feet, but projects such as The Touch and this one have proved very disappointing. Her talent remains clear; her judgement, on the other hand, is clearly very questionable.

Dir: Jingle Ma
Star: Michelle Yeoh, Richie Jen, Luke Goss, Brandon Chang

The Magic Crane

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★★★½
“Plotplotfightplotfightplotfightfightplotfight.”

This is one of those Hong Kong movies which seems to believe that if they cram in enough complications and characters, you’ll overlook the deficiencies. They’re kinda right: if you can let go (I did, Chris couldn’t), you will enjoy this a whole lot more, though here, it’d take five times as much plot to make you ignore the truly woeful titular bird. There would seem to have been confusion in the prop department over whether the request for a “giant crane” meant a bird or a piece of construction equipment: it looks as if they split the difference, building something with feathers, which remains (painfully) obviously mechanical.

All the kung-fu masters are getting together to carve out territories; Leung and Lau represent about the smallest school imaginable, but are befriended by Pak Wan Fai (Mui), a mysterious lady who rides the crane. Her foster-sister (Kwan) has been building resentment for 20+ years, and inevitably, someone else is plotting to wipe out all their martial-arts rivals. The battles are great, and most of the characters too (among the supporting cast, especially memorable is Jan Lau’s engagingly slutty Lady Jade Flute, who brings a Basic Instinct approach to her kung-fu) – but there are way too many, and the same goes for the plot elements (Killer bats? A guy with no legs in a well?). Less would certainly be more; instead, they don’t get the attention they deserve. As you’d expect from a Tsui Hark production, the visual side is stylish and impressive – just don’t look for a high degree of coherence.

Dir: Benny Chan
Star: Tony Leung, Anita Mui, Rosamund Kwan, Damian Lau

Dragon Blue

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★★½
“Into each generation a rubber-suited monster slayer is born…”

When the island site of a proposed resort starts seeing mutilated bodies turn up, they call in Feng Shui specialist Mayuko (Tanaka) to investigate. However, as she herself discovers, she’s no ordinary psychic, but the next in a line of guardians dedicated to stopping demons from entering the human world. With the aid of some conveniently informative dreams, a down-to-earth cop (pro-wrestler Mutoh, known in the West as The Great Muta) and a sword she finds underwater, it’s up to Mayuko to stop the Hellmouth from openi…er, save the world.

Despite careful thought clearly having gone into the back-story and related folk legends, this wastes time meandering around before its climax, where Mayuko finally gets her powers by snapping her rock crystal power bracelets [incidentally, available at Trash City :-)] It probably doesn’t help that the monster is…well, let’s say that despite the involvement of Steve Wang, it’s no coincidence that this was released in the US by ‘Rubbersuit Pictures’. Though its relentless interest in human women – particularly topless ones – is amusingly reminiscent of B-pics like Humanoids from the Deep, that sound you hear is the Creature from the Black Lagoon sniggering.

This lacks the necessary enthusiasm which would counter the obvious budgetary restrictions. While possessing a smattering of sex and violence, the film as a whole is overly restrained, well-mannered and simply too damn polite to be of much interest.

Dir: Takuya Wada
Star: Hiroko Tanaka, Keiji Mutoh, Tomoroh Taguchi, Ryo Hayami

Pink Force Commando

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★★★
“At least they got the title straight. Now, about the plot…”

Pretty much the same cast and crew as GQC [initials used to prevent lengthy debate over exact title] bring you, if anything, an even more surreal adventure. We get footage from the earlier film to introduce the characters, not mentioning that a lot of them died first time round. And what era is this? The original was WW2, but at one point here, a character sails off on a jet-ski. Anyway, our heroines find themselves aligned against the evil swine who betrayed them, whose motley gang includes ninjas, banditos and the KKK. This time, Brigitte Lin is Jackal – at least she gets a new character. Initially with the villain, she sees the light and proves loyalty to her old pals by cutting her own arm off. She then meets “The Heart-Broken Man”, who provides a nifty prosthetic, complete with gun and power-drill attachments.

I am not making any of this up, I swear.

On the plus side, once it actually gets on track with the story, it’s as effective as GQC, with a final battle that’s rousing and well-staged. As before, however, it takes its own sweet time to get there, meandering via betrayal, reunion, more betrayal, amputation, a subplot involving a really big diamond y mucho mucho mas, as they say on Mexican TV adverts. None of this will hold your interest but, hey, if you don’t like this plot, no need to worry, there’ll be another one along in a minute. Chu’s “everything but the kitchen sink” approach can either infuriate or entertain – probably both – but at least Chris stayed awake for this one.

Dir: Chu Yin-Ping
Stars: Brigitte Lin, Elsa Yeung, Sally Yeh, Sylvia Pang

Dragon Chronicles – The Maidens of Heavenly Mountain

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★★★½
“Cool!” battles “Eh?”, and comes out ahead – albeit only after a lengthy struggle.

Going in, I knew this had a reputation for incoherent plotting, but after 10+ years watching HK movies, I figured I’d cope. Wrong: I sank within two minutes. An incomprehensible opening voiceover makes this feel like part 17 of an ongoing series; from there on, characters, sects, and magical kung-fu abilities (such as Shifting Stance, which lets you blink in and out of reality, or the self-explanatory Melting Stance) arrive with rush-hour frequency. Basic principle: various factions struggle for martial arts supremacy. Central to these battles are four women, who initally fight among themselves, before realising they must band together to face the ultimate enemy. If I said more, I’d be engaging in wild speculation.

The fact that you don’t really know who is good, evil or any point in between does hurt the film, and every scene with dialogue seems to make things worse. Just to confuse things even more, Brigitte Lin plays two of the women, though Cheung Man perhaps does best as the feisty, light-hearted Purple, whose ambitions exceed her actual skills. Lose any desire to understand what’s happening: the sets and costumes are spectacular, and the fights are imaginative, despite cheesy visuals, and sound effects that appear to have been lifted from Return of the Jedi. Instead of following the plot, try to copy the cool magical gestures of the characters. We did. :-) Maybe some day, we too will be able to regenerate a torso from the severed stumps of our legs…

Dir: Chin Wing Keung
Star: Gong Li, Brigitte Lin, Cheung Man
a.k.a. Semi-Gods and Semi-Devils

Amazons (1986)

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★★
“More Argentinian sword ‘n’ sorcery: mostly harmless.”

It’s amusing to see that even New Concorde – who released it – don’t seem to have watched the film, their website describing it as “about the legendary lost tribe of warrior women”. Er, no: the A word doesn’t actually get used in the movie, which is really about the quest for a legendary sword, the only thing which stands between an evil sorcerer and world domination.

There’s something irresistible about a film where it sometimes feels like characters were given names by pulling letters from a Scrabble bag – the sword of Zjiqkl – and for half the movie, we were prepared to swear one villain was called Al Gore. Sadly, it was Balgur. Ah, well, never mind. There’s certainly plenty going on, with plots, treachery, topless human sacrifice, bad blood and an alternate dimension largely realised with dry ice and strobe lights.

The action, unfortunately, sucks, though credit is due to Randolph for struggling with a lethargic snake, making it look like the most ferocious attack in cinematic history. Not sure the animals here were monitored by the American Humane Society either… Less bondage-heavy than the other Argentinian Corman productions, the nudity is still frequent. It’s kinda neat how no-one really makes a fuss about the warriors being female, but this is, at best, a passable waste of 80 minutes.

Dir: Alex Sessa
Star: Windsor Taylor Randolph, Penelope Reed, Joseph Whipp, Danitza Kingsley

Sakuya, Slayer of Demons

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★★★½
“Into every generation, a slayer is born…even in 18th-century Japan.”

Any similarities to Buffy are purely coincidental – despite the fact that our heroine Sakuya (Ando), like the blond one, has a soft spot for what she’s supposed to be slaying. Here, she saves the child of her first demon victim, and raises him as her kid brother Taro, despite unnervingly rapid growth and green lump on his head. She takes him on the ultimate mission, travelling to the recently-erupted Mount Fuji, which is the hellmou…er, source of the demons, to face the Spider Queen.

The special effects here are probably the highlight, both simple (the blue flames enveloping Sakuya’s kills) and complex, such as the impressive volcanic eruption and climactic battle with the Spider Queen. En route, she also meets a range of imaginatively-realised creatures – though one set look particularly cheesy, they are, apparently, a nostalgic collection from some classic 60’s films, so we’ll let Haraguchi off with a slap on the wrist for his self-indulgence. The problem is that when there aren’t any demons around, the movie seems lost and is, frankly, pretty dull. The basic premise is established early on, and not much more happens, storywise.

It also doesn’t play by its own rules. It is carefully explained that Sakuya’s Vortex Sword feeds off her life-force, and only human blood is an acceptable substitute. This just doesn’t seem to happen – I was, admittedly, watching a Chinese dub (featuring Anita Mui as the Spider Queen), so maybe something got lost in translation. But between such shaky plotting and the song(!), can’t help feeling it was perhaps aimed at a more juvenile, less critical audience. And that’s something of a shame.

Dir: Tomoo Haraguchi
Star: Nozomi Ando, Kyusaku Shimoda, Keiichiro Sakagi, Yuki Kuroda