Reviews (59)

Elegant and Powerful Communist Propaganda
This movie is a visual feast. The Chinese government spared no expense in creating it; all-star director Yimou Zhang apparently had everything at his disposal: a super star (Jet Li), an excellent supporting cast, unlimited costume expenses, and the full array of Hollywood digital imagery. More than just action and elegant Chinese cultural imagery, this film is a bold statement to the world: China is once again its cultural center.

Unfortunately, money does not always buy happiness. Despite the beautiful imagery, the story is brazenly unoriginal, taking its principle technique from Kurasawa's 1950 breakout film Rashomon, and much of its wuxia energy from Ang Lee's Taiwanese sensation of 2000, Crouching Tiger Hidden Dragon. To the simple-minded, I think it fails as an action picture, and to the sophisticated, its moral push is far from certainly digestible. Neither do any of the actors succeed in endearing themselves to us. Its greatest strength is its beautiful imagery.

I recently watched Alexander Nevsky, the famous Soviet propaganda film. Viewed today, its intent is obvious and clumsily applied. I watched Ying Xiong, or "Hero", well into the second hour before I realized that I was watching a modern version of that same old communist template. What are the messages here?
A) Look Out: China is bigger than life and is ready to take its rightful place as the center of the world.
B) All under Heaven: union is not bad, it is in fact noble and unselfish, supporting the common good (Cantonese Hong Kong and Mandarin Taiwan take note).
C) The National Government is working for the common good: "They call me a tyrant", the emperor says scornfully, as he laments the fact they ignore the burdens he must bear for their own good.
The film tries to appeal to the values of common decency in order to support these latter two points: killing is wrong, selfish grudges are wrong, excessive resentment is wrong, etc. It seems to accept and mildly promote individualism, although not allowing it to trump collectivism.

I admit that even as an American, I cannot quickly digest these complex moral questions and make an immediate assessment as to their worthiness. For a Chinese person, I assume this film has been even more powerful. The pride evoked from its bold nationalist statement may further push them towards accord. Hence its value as propaganda has probably been quite strong. I think that ultimately the value of this film as a classic will be decided by the prevalent answer to these moral questions, and my suspicion is that history will not look favorably on the direction in which it pushes viewers to think.

An intimate epic
"Hero" is a very ambitious film, attempting to combine quiet introspective philosophy with visually stunning action and pageantry. It is like an intimate epic. The scope is grand to say the least, with full armies on the march as well as intense and magical personal duels, all of which serves as decoration to the Buddhist philosophy being put forward.

It is very beautiful, and this is probably the first thing to be noticed. The various elements, actors, scenery and colors all combine to create a visual splendor. It is a very painterly movie, a feast for the eyes. Specifically, color is used to create moods and to differentiate the various storylines. If the visuals are painterly, then the Martial Arts are dancerly, along the same line as "Crouching Tiger, Hidden Dragon," to which inevitable comparisons must be drawn. The actors are equally beautiful as well, and "Hero, truly a feast for the eyes, could probably be enjoyed in this manner, without any dialog.

Storywise, it is a variation on the familiar "Rashomon" theme of "what is the truth?" The same story is told and re-told, each time moving closer to the purity of truth, and with truth comes enlightenment. This is an intimate tale, a quiet verbal duel between an Emperor, so fearsome and lonely than no human can approach within one hundred paces of him, and a nameless subject, who might just be a true hero. Between them, a story is told of epic engagements, artists and warriors, and what is actually worth fighting and dying for.

I won't spoil too much of the story, as part of "Hero's" strength and insight lies in discovery. That is not to say that it is full of surprises and twist endings, but rather that, like all Buddhist insight, the answer of the movies riddle lies as much in the viewer as in the actors.

rebuttal to JUSTAREADER & Other Naysayers
Western movie studios like to spoonfeed the story to the audience and have an ending that provides closure. Asian movies tend to be more ambigious & leave the conclusion more open-ended to allow the audience to walk away "thinking" about the consequences of the actions of the movie characters.

The wire kung fu is meant to be an expression of the inner turmoils that play within the character's heart and mind. Suspending your belief in reality would have to take place to accept the incredibly artistic fight scenes in this movie or just about every other action movie ever made like Spiderman or ID4. At least enjoy the beautiful camera work and use of colors in this movie instead of thinking about "too many pretentious but self-indulgent thought-to-be poetically beautified scenes".

The "peking opera styled slow talking dialogue" is used effectively in my opinion. JUSTAREADER may not be a fan of this type of dialog but everybody has their own opinion.

Zhang Yimou used the story of the Qin Emperor only as an outlet much like Passions of the Christ. Many will not agree with the portrayal of the Qin Emperor in Hero or the portrayal of Christ in Passions but it made its point.

I agree that the Qin Emperor is not as "benevolent" as Hero suggests but this is a fictional story meant to convey the conflicts of the characters - the sacrifices made for self and country and the eternal question "does the ends justify the means"?

Boring movies don't move the audience and just passes 2 hours of their lives. It's the reaction I get after attempting to watch Dreamcatcher, Road Trip, or Day After Tommorrow.

Great movies provoke a reaction from the audience. This is a great movie with great visuals and cinematography. It got a reaction out of the "love it" and "hate it" camp! It wasn't a simple "love it" or "hate it" review.

Some of the best movies and music are derivatives of others. Example: Led Zeppelin and Aerosmith just borrowed from the blues and garage rock; Hero borrows from Rashomon; the list can go on and on forever. So to call Hero an unoriginal movie is an oxymoron because every movie copies from earlier movies.

Not all westerners are "simple-minded". People who just want simple Kung Fu movie or action movie with no plot will be bored to death and will find the movie "too complicated for westerners." For those of us who want something more than movies like Garfield or Starsky & Hutch will more than likely enjoy Hero.

Must see
This is a truly beautiful film. I own the import version and this film delivers on all scores. Maggie Cheung and Tony Leung give outstanding performances as the two lovers Flying Snow and Broken Sword. Jet Li is fantastic as Nameless.
If you love Hong Kong cinema this is a must see

too poetically unfocused, too complicated for the westerners
this is a very dark but also very pretentiously directed and performed swordsmanship movie. the chinese philosophy would put off mucho western viewers, 'cause the values in the orient and what we got in the west are totally different, i.e., the ends justify the means, or the means justify the ends. to not to assassin a tyrant and allow him a great opportunity to conquer all the other small feudal warlords and unify the whole china, in a larger vision, might save more peoples' lives than letting all the warlords killing each other and their subjects year after year....so what's the choice of the way-too-deep philosophic assassin in the last second and to face a doomed consequence? the director has tried too hard to express his own montage philosophy, his own interpretation of what should be done and only by himself in such genre to surpass the crappy oscar winning crouching tiger had achieved only one thing: a somehow and somewhat boring staged show instead of an exciting movie, with too many slow motion scenes, too many wired suspension, too many pretentious but self-indulgent thought-to-be poetically beautified scenes, with a too narrow minded and one-sided chinese philosophy delivered in a peking opera styled slow talking dialogue to grandize the butchering tyrant of all time in ancient china who later became the only role model of the modern time chairman mao, conquered all the warlords and took the advantage of generalismo chiang kai-shek's enduring war against the invading japanese of the world war II, and later the pathetic and horrible cultrual revolution in china, the rude-awakening of the chinese holocaust.
this is somewhat a mediocre and even a quite lousy film made and should not be made by the legendary chang yi-mou. ... Read more

Amazon.com

Director Zhang Yimou brings the sumptuous visual style of his previous films (Raise the Red Lantern, Shanghai Triad) to the high-kicking kung fu genre. A nameless warrior (Jet Li, Romeo Must Die, Once Upon a Time in China) arrives at an emperor's palace with three weapons, each belonging to a famous assassin who had sworn to kill the emperor. As the nameless man spins out his story--and the emperor presents his own interpretation of what might really have happened--each episode is drenched in red, blue, white or another dominant color. Hero combines sweeping cinematography and superb performances from the cream of the Hong Kong cinema (Maggie Cheung, Irma Vep, Comrades: Almost a Love Story; Tony Leung Chiu-Wai, In the Mood for Love, Hard Boiled; and Zhang Ziyi, Crouching Tiger, Hidden Dragon). The result is stunning, a dazzling action movie with an emotional richness that deepens with every step. --Bret Fetzer ... Read more

Reviews (310)

Thrilling Hero
With "Hero" and "House of Flying Daggers" director Zhang Yimou has jettisoned to the forefront of filmmakers working today.There is no denying that Yimou has a distinctively strong visual style.That said, if it's all style and no substance, so what?"Hero" is blessed with a good narrative.Essentially, the theme of the film is what defines a hero.The answers that Yimou offers are both surprising and enlightening.Strong cast that includes Jet Li and Ziyi Zhang.Essential viewing.

Beautiful Film, but where was Jet Li?
Okay, Zhang Yimou is one of the all-time great film directors and i love his movies, though this one came across as a Disney cartoon done in real-life. My main complaint is that he didn't give Jet much to do. The part of the so-called Hero was a wooden, 2-dimensional character who wasn't on screen much. Instead, the story is really a visual tapestry of how China became united, without much dialog. Whatever. Great for kids, I guess.

Pure Visual Poetry: Story, Myth, Heart, Emotion, & Beauty
Okay, people...let's get a hold of ourselves.Many have knocked the martial arts sequences in HERO as being horribly unrealistic and that this fact has ruined the movie.Nothing could be further from the truth.True, the martial arts in this film are not the "realistic" acrobatics of Jackie Chan.Instead, it is pure visual poetry.These martial arts sequences are absolutely beautiful to watch.Anyone that can watch them without coming away with a sense of awe is just plain blind in my book.

In fact, that goes for the entire movie.HERO is one of the most gorgeous films I have seen in a long time.Not only are the sequences superb, but the scenic locations are also breathtaking.Moreover, the extensive use of color is astounding.While watching it, I felt completely transported into a different world and found myself lost in the film's sheer beauty.Furthermore, the mythical story is extremely complex, interweaving several themes & variations of the central plot.The audience gradually discovers the truth of this film and it continued to surprise me throughout its length.

I am not sure why so many people did not like this film.I can only guess that they were expecting a pure-action film with Jet Li taking on a country, "Rambo" style.I, for one, am happy that we were treated to something more.HERO has plot, heart, emotion, and style.And let us not forget the outstanding action it does provide: the action sequences in this film are some of the best ever captured on film.Highly recommended.

Not sure what multiple narratives is for
Basically, I think the graphic, plot, and theme all work fine and those who enjoy plays should be able to enjoy this movie as well (at least, I do). A major part of the movie, i think, is devoted to delineating and discovering of perspectives (narratives, you might say) related to the proper fate of China proper. In the end, a supposedly supported perspectives is revealed and the death of some characters might represent the painful but necessary abdication/self-annihilation for a better future. Even if there can be a better future, it necessarily involves an excruciating self-negating process. Something passionate, tender, free or even righteous must be given up. I'm not sure if every character and plot fits into this major theme very well because some do seem a little bit distracting, but still entertaining (nothing really needs to make sense as long as you like it).
Some might think the implied theme of reunification is a serious problem. I wouldn't totally agree with it for the reason the emperor wants to unify China and three characters give up assasinating him is for the longer peace of China. "If you want peace, prepare for war." This is from Punisher, but it explains the logic well. However, I seriously doubt that the director made this movie to condemn Chinese nationalism, though I don't know if any trace of anti-cosmopolitanism is obvious in it.
Anyway, graphic is cool, plot acceptable, theme...a little bit cliche, and, because the theme cliche, the use of multiple narrative might seem childlish and rather less challenging. But for those who really have no idea about Chinese history during the end of Chou dynasty and the present situation between the strait, it might be interesting. That is why I gave it three stars. If I have know zero about China, I might give it four and a half.

I didn't see the point of the movie
This movie basically tells one story in a few different ways.A warrior and friends are attempting to kill the emperor.That is about it for plot.There are several martial arts scences in this movie, but most of them are just too unbelievable.In one scene, the main character single handedly stops hundreds of arrows without even getting hit once.This is impossible, and that is coming from someone who used to watch DragonBall Z.

There are also to many inane comparison of fighting to various things.Fighting is compared to music and to caligraphy, which both have nothing to do with fighting.The is even a long, drawn out story plot in the movie involving caligraphy, which I found really boring and did not really feel that it served a purpose in the movie.

The ending of this movie is also very disappointing.I'm not going to ruin it, but I will say that it made the movie seem rather pointless.I really don't know why the main character was considered a hero, and frankly think that the movie was too limited on plot and did not even have a good story to begin with. ... Read more

Description

Hong Kong, 1962: Chow Mo-wan and Su Li-zhen move into neighboring apartments on the same day. Their encounters are polite and formal-until a discovery about their respective spouses sparks an intimate bond. At once delicately mannered and visually stunning, Wong Kar-wai's In the Mood for Love is a masterful evocation of romantic longing and fleeting moments in time. ... Read more

Reviews (83)

Wong Kar-Wai's Masterpiece
If you were to find a fault in Wong's film it would be the pace: slow, methodical, but inspite and because of that pace "In the Mood for Love" is an utterly engrossing tale; a tale of a man who suspects his wife of cheating and a women who suspects her husband of the same. As they secretly share their pains and suspiscions they fall in love, a love which, due to guilt and the society they live in, cannot blossom.

"In the Mood for Love" is a period piece, taking place in 1962 Hong Kong, and it captures the period wonderfully with small details like the snippets of Shanghainese speech and Nat King Cole's melodic voice floating in an American-style diner.

In this movie Wong Kar-Wai achieved brilliance on every level. Not only does he create a perfect mood with his methodical pace, dark yet beautiful camera work, but he tops it off with excellent performances by Tony Leung and Maggie Cheung and an enthralling soundtrack that ties it all together. I have been a fan of Wong Kar-wai for some time, but in all of his films I felt something was missing. Here he has captured it all. With "In the Mood for Love" Wong leaves the label "a good director" behind and becomes "a great director".

The DVD is full of fascinating extras: interviews with the cast, Wong Kar-wai; descriptions of the music used in the film; trailers, posters, images. You can spend hours not even looking at everything but the movie!

Best movie of the year
It's only a shame that this wasn't released several months ago in the U.S. as it was in the U.K. or else it would have been nominated for some major awards. It's actually really hard to fault anything in this movie: the acting, directing, music and cinematography are all world-class.

The story centers around a woman and a man who live next to each other in a Hong Kong apartment complex in 1962. They both suspect their spouses of having an affair with each other, and begin to fall in love themselves. Being in such tight surroundings they obviously cannot show very much affection to each other in public and rely on subtle glances and very little actual physical contact: it is a testimony to the superb acting skills of the two main leads, Maggie Cheung and Tony Leung, that the relationship is believable. The director Wong Kar-Wai is also brilliant at mixing in slow-motion shots (perhaps to emphasize how slowly their relationship develops) and Spanish music, which fits the mood of the movie amazingly well.

To add to the atmosphere, the movie is almost completely shot indoors except for some shots outside at night and in the rain and the haunting last scene. You really get a sense of clautrophobia after a while, not only of the living space but how confined the characters' marriages and even lives are as well. Futhermore, the movie also has a political overtone which is, like everything else here, subtle, but suffice to say its setting in 1962 is not accidental.

Finally, the lack of a huge amount of dialogue means that those who don't like subtitles won't have to suffer through so many. For those of you like me who were disappointed with most of the junk nominated for Academy Awards this year, finally here's a movie that lives up to its reputation.

An unforgettable journey.
'In the Mood for Love' is a touching, engrossing meditation on, you guessed it, love: what it is, what creates it, what ends it, what keeps it sewn strong together. All of these aspects are collected into a clever, lovely, sometimes devastating piece of artistry directed by the fabulous Wong-Kar Wai. Those of you who love romantic comedies or grand, epic love sagas will be immensely disappointed with his latest film. It is not either. Rather, it is a gem of cinema that strives for emotional truth and absolute realism. Inside of cramped apartments and old diners, that, too, is what the main characters of 'In the Mood for Love' yearn for.

The film takes place in Hong Kong during the year 1962. Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung) have just moved into neighboring apartments and have met each other rather casually. But the two progressively realize a secret about their respective spouses and a profound relationship develops almost instantly. From there, the film sets a tone that is cislunar, seeming to float in its own world situated between reality and a sense of disconnection. Kar-Wai perfectly evokes this mood with fleeting slow-motion sequences accompanied by Christopher Doyle and Mark Li Ping-bin's delicately visceral cinematography. What ensues throughout the rest of the film (both plot-wise and technically) masterfully conveys romantic yearning.

The lead performances were breathtaking, namely Maggie Cheung as Su Li-zhen. From scenes of obvious hurt to moments of hidden despair, she ceaselessly astonishes. I'm surprised she did not receive the massive encomium she deserved from 2001 year-end awards groups, let alone the Oscars. But credit must also be given to Tony Leung as Chow Mo-wan, who managed to maintain a quiet, tired loneliness throughout the film. Leung also understood that it was only with Su Li-zhen that Chow Mo-wan felt truly alive with passion.

Another character worth mentioning are the breath-taking sets by production designer William Chang Suk-ping. The claustrophobic atmosphere offered by Suk-ping's dated, tight hallways was as much a part of the emotion and story line as each lead. Collectively, each part of the movie-making process (screenwriting, directing, designing, acting) achieved an assured concinnity; and in the end, what was already a personal, accessible study is lifted by Kar-Wai to a universal level using epic shots of Mayan temples and mysterious landscapes. As the credits role, it becomes apparent that 'In the Mood for Love' is arguably a masterpiece worthy of the all-time lists.

For me personally, the constant flashbacks of wind sifting past vinaceous curtains and artful conversations about love at its core only underscore 'Love's greatness. It is an unforgettably personal journey not to be missed.

Tertiary Love Film at its Highest Form
98 minutes of excellence. I am never a big fan for romantic films. Especially with the current scene filled with countless teen-or-chick flicks, I have become very picky on this category. I watched it with skepticism. 98 mins later, I switch off the TV in great relief, and also with understanding of why a few people do not enjoy it.

Generally, people who dislike this film have the following reasons:
1. Simple plot and no plot twist
2. Repetitive scenes
3. Few and confusing dialogues
4. No significant signs of intimacy or eroticism. Can it even be categorized into "Romance"?

One thing I have learnt from "In the Mood for Love" is also the same thing I wish romantic film directors would learn for a long time: Character Study and Development are often more important than unnecessary plot twist. There are pretty much only two characters in the movie, but by middle the audience could feel as if we know them for real. Thus we do feel the characters' happiness, pain and suffering. Yes, even if the time is set in 1962, Hong Kong.

The repetitive scenes do not represent lack of creativity. In fact it is one of the hardest tricks in my opinion. Although some actions are very similar, each scene has a subtle change in intimacy and impact for future relationship. Not one of the scenes can be taken away because they're all crucial links. As for the dialogue, it is few but every line is to the point. Each word is polished to sharpest and kept to minimum. Every word is a keyword.

Intimacy and eroticism are indications and eye-candy. Audience would understand immediately two people are in love. In my opinion this is director's point of view to choose it or not. Wong Kar Wai deliberately wanted to create a longing relationship without obvious physical contact to add up the sadness. In fact, the film has at least once "Implied Intimacy". ***SPOILER*** When Su told Chow she did not want to go back home in the cab, that "Implies"they would probably spend the night together ***SPOILER***

It could be artistic whether sex scenes are included or not. It just happens that WKW wants to present us a unique experience. I highly appreciate this effot. In the Mood for Love is a ten-level-upped romantic film and I definitely recommend it to every viewer, tertiary or not.

A Masterpiece, flawless, perfect, beautiful!
Simply put, it is one of the more ravishingly beautiful films ever made! Every now and then, a director and his collaborators are so in-tune with each other, so opperating at the height of their powers, that as a viewer watching it, you are aware of watching greatness yet an air of disbelief pervades. Such feelings you get with (to name a few flawless masterpieces) Tarkovsky's ANDREI RUBLEV, Bergman's CRIES & WHISPERS, Fellini's LA DOLCE VITA, Lee's DO THE RIGHT THING, Scorsese's TAXI DRIVER, and Hitchcock's VERTIGO. All of the aforementioned films are flawless works which use everything the cinema can do...such films are perfect; IN THE MOOD FOR LOVE is such a film. It is a masterpiece and a must own! ... Read more

Reviews (37)

High Kickin' Funfest Galore!
I realize that this may be an acquired taste which only means that even if you have not acquired this taste then you are still required to admit that this film is absolutely, positively, hands down funtastic.

Duh, I'm not even sure which page I'm on; if this is the Americanized version or not. I own the true blue Hong Kong edition which is supposed to contain some flippin' freaky scenes edited out of the American version. I've seen both but cannot remember because, oh, blar!, never mind.....

Back to the movie: "Heroic Trio" stars three of Hong Kong's mightiest screen queens as superheroes. Michelle Yeoh plays Invisible Girl who can become, well, invisible and really kick some bad man fanny, Anita Mui plays Wonder Woman who is quite different from the Amazonian Wonder Woman but just as effective, and Maggie Cheung is the streetwise little Thief Catcher who drives a mean motorcycle and carries an arsenal of nasty toys. Despite some personal differences the three gang together to track down the rotten evil doer who is 'napping poor little innocent babes to fulfill his fiendish scheme. The special effects and action scenes are psycho-silly wild yet the atmosphere is dark and moody with just enough bitter-sweetness to snap a heartstring or two.

A note on Michelle Yeoh: I don't understand Hollywood for seemingly tossing her aside after sticking her in one James Bond flick. Miss Yeoh is the best female action star around; we see Jackie here and there and Jet everywhere, but where oh where is Michelle? This woman has got the goods (my martial arts instructor Saul-Yu Lingstein will back me on this 100%), yet Hollywood stupidly persists in casting flashy young starlets who don't know kung-fu from King Kong from Donkey Kong from a horse's patootie.

Anyway, this movie is one kickin' good time and is REQUIRED viewing for all human beings. So don't just sit there - get watching!

Please note!
For those of you thinking of purchasing this DVD, please note that the dialogue is dubbed in English completely. For those of you who prefer it in its original language (Cantonese), give this a miss.

Otherwise the movie is great and the acting superb, plus we get to see the late Anita Mui in action. What can you say... top notch performance from Michelle Yeoh, Maggie Cheung and Anita Mui.

The Heroic Trio
Proud to say that I do own the Tai Seng release of this DVD. That itself is a good thing because it doesn't have the garbage sound actors, the good stuff isn't edited, and what's the point of seeing this movie if you're not seeing it the way it should be?

But, I will say that if you do decide to pick up this movie, first, look for the Tai Seng release of it. Though it is out of print, it is still around in places.

If you can't, then, fall down to the "mouse" and pick this copy up.

A little about the movie: It was influenced by the movie "Batman," and the directors (Ching Siu Tung & Johnny To) liked it so much, they wanted to make a film just lke that. And, how can you go wrong with Michelle Yeoh, Maggie Chung and Anita Mui? You truly can't.

I would have given this movie 4 stars, but, seeing I'm not too big a fan of what Disney did to this version, I can only give it a 3. Horrid dubbing and editing so obvious to those that have seen the original.

Disney, as well as all the other movie studios, you need to stop cutting and dubbing the Asian films - you do a horrible job. Leave it the way it was supposed to be, and give us the subtitles instead.

The Heroic Trio
The bad editing turned me off to this movie. I didn't need to see the wires to know that they were using them. Thru the whole movie I spotted items that should have been edited out.

The Heroic Trio
Starring Anita Mui ('Rumble In The Bronx'), Michelle Yeoh ('Crouching Tiger, Hidden Dragon') and Maggie Cheung ('In The Mood For Love') as three crime-fighting superheroines in Hong Kong's answer to Gotham City, 'The Heroic Trio' is a high-kicking, crimson-soaked comic book action romp that could only come out of our favourite country for hi-octane beat-em-ups. As you might have guessed, it's hardly Oscar-winning stuff; the plot is at times incomprehensible, the sets cheap and the acting camp, but it all adds to the charm. This is, after all, not a film to be analysed, but enjoyed with popcorn on a Friday night. And, as that, it succeeds - the action sequences are very exciting, the wire work is well done, the original score is superb and, of course, our three leading ladies light up the screen at every turn. But those weak in the knee may wish to turn away at certain points as it does get a tad grisley at times, what with decapitations, exploding body parts, cannibalism and baby-murdering. Indeed, the violence is so over-the-top at times that it becomes not so much offensive as it does laughable. Which was probably the idea.

So while the movie itself is recommended, Buena Vista's DVD release definitely isn't. The Disney company has once again seen fit to edit yet another Asian movie for its Western market - this time by three minutes to remove the aforementioned gory moments. And, as expected, the original Cantonese soundtrack has been replaced with a dreadful English dub and generic score - denying us the pleasure of hearing Anita Mui's two excellent songs. Still, this is what we've come to expect from the distributor that seems to delight in infuriating hardcore Chinese film fans. Those wishing to own the uncut version of the film would be advised to seek out the 'Universe' DVD from Hong Kong or the now out-of-print 'Tai Seng' American release. Better still (if you have PAL/Region 2 capabilities), waiting for the forthcoming remastered Special Edition from British DVD label 'Hong Kong Legends' would be the ideal solution. ... Read more

Reviews (32)

All-star cast at thier best
This movie is my favorite kung-fu/swords movie that I own (an i do have many) Brigitte Lin is incredible in this film. She is the best HK actress of all time. This film showcases her beauty, acting, and swordsplay. She holds this movie high but not alone Tony Leung is wonderful as well as a cool, calm, and collected swordsman. Brigitte lin an Tony leung have a somewhat similar romance to Michelle Yeoh an Chow yun-fat in crouching tiger. The romance in this film though has more heart to it. Maggie Cheung is also very good in this film, as the Dragon Inn owner. Maggie, Brigitte, and Tony all play characters with a lot of depth. Donnie Yen is an OK bad guy but his talents as an actor or as a martial artist are not completely used. This film should be in every movie lovers collection it is simply a masterpiece on film.

The Infamous "Dragon Inn"
Brigitte Lin is in her usual spectacular role as a kung fu master along with Tony Leung Ka-Fai ("Island Of Fire"). Lin is truly a great actress with "Police Story", "The Bride With White Hair", "The Bride With White Hair 2", and "Swordsman 2" to name a few impressive titles. She really is quite a martial artist on screen. She's very graceful and has a strong presence as a leading role. The amazing Donnie Yen ("Iron Monkey") is also in this film, though he's only at the beginning and end of the movie, he made his scenes effective. The last fight scene with Yen agains Lin, Leung, and Maggie Cheung ("Supercop") in the desert is quite outstanding. So venture into the desert and rest your head in the dragon inn, but beware...you might not last the night.

Excellent, Brigitte Lin the star
When I first read the reviews online, I couldn't wait for the last fighting scene. But the last fighting scene was no where near as good as Brigitte Lin's fighting scene at or near the beginning.

She was fantastic, and made the movie a must see. This movie has a great story, solid ending, and lovable charcters. (Like the little guy who was the cook). Where do you learn to cook human meat? Especially in the middle of the desert.

I can't give it 5 stars, because its not as good as Musa in my opinion. Its as good as Once Upon a Time in China, maybe a little better.

But again, a must see movie, Brigitte Lin takes the show from the All Star cast. This is a movie I recommend buying (I did), as it makes a great movie in anyones collection.

Exellent Swords Play
This is one of the best Kung Fu movies I have ever seen. The fight scenes were amazing and memorable. If your a Donnie Yen fan you will have to wait till the end. But when Donnie Breaks out. He breaks Out. But there is plenty of Brigitte Lin and Maggie Chung. I am so in love with Brigitte Lin. I wish she would come out of retirement. It is truly a joy to see her work.

Great remake
This film borrows heavily from the 1971 classic A Touch of Zen. It starts off the children of an murdered official being led into the desert, only to be saved by Bridgitte Lin, and Tony Leung. After saving the children, they make their way to the Dragon Inn, a desolate place on the western Chinese border. While waiting to cross the border, they are pursued by a Eunuch general who traps them in the Inn.

Overall, this film is filled with excellent sword play, drama, and the inclusion of Maggie Cheung. ... Read more

Reviews (32)

The adventures of Kai-Kui (Kevin Chan) continue!
Among all of the American releases of Jackie Chan films, this one is the best. Though it is the third chapter of the "Police Story" series, the tone is much different from the first two. Jackie directed the first two and they are surprisingly really intense. Sure, there are some funny bits, but the action is razor sharp and Jackie gets really pissed off several times. In "Supercop" the tone is much lighter, maybe due to the direction by Stanley Tong. But don't get me wrong, this film is still great entertainment. Jackie and Michelle Yeoh (Billed as Michelle Khan) make a great team and trade stunts right and left. The final chase scene involving an armoured car, Chan hanging from a ladder of a speeding helicopter, Michelle jumping onto a moving train with a motorcycle, and the two of them taking down thugs on top of the train is something to behold. Maggie Cheung also returns again as Jackie's girlfriend.

A could be better performance by the "great" JACKIE CHAN.
The third sequel to Jackie's smash hit which changed the action film industry, Police Story, comes another regular action packed thriller. Although there were some great stunts leading to the capture of the main villan, Jackie Chan's action doesn't even come close to what he is capable of. Jackie's other sequels to this parady which also include First Strike and Police Story 1 and 2 are not only funnier, but the action is more diverse. Diverse meaning, wider. There's more action, better comedy, and a better acting job in the other three sequels. Supercop is a great film for first-time American action movie watchers, due to American director's minute imagination when it comes to action movies; however, when it comes to Asian standards, this movie doesn't match some of the other movies Jackie had out.

Supercop
The movie is ok but it is a superior film in Cantonese. The dubbed English is awkward and detracts from the film. I find the "dubbing" very annoying and would prefer the vintage Hong Kong Jackie Chan films marketed in the US be provided in the original language. Argggh!

stick with original
Why American production make HK movies look so cheap? First of all, they cut off so much scene, second of all ruin it by making look act so dumb by English Dubb. ALWAYS stick with ORIGINAL LICENSED HK RELEASE. Be careful with cheap imports, boots, and bulls though.

Beware: You're Not Getting the Whole Movie
When you buy this DVD, you're actually getting an "Americanized" version of Police Story III, a Jackie Chan classic. If you're really a Chan fan, you'd be better off searching for an import shop (or a certain auction site) and getting the original Hong Kong version of the film. Not only will it have the original chinese dialog (with english subtitles of course!), but it also has a few extra minutes of film that were cut from this "American" version. ... Read more

Amazon.com

In the tradition of films about filmmaking, Irma Vep takes itsown special place among such films as Fellini's 8½. A has-been director decides to remake the silent French serial film Les Vampires starring a Hong Kong action film superstar. The production is falling behind schedule and its star, Maggie Cheung (who plays herself), finds herself an outsider with the film's crew save for a woman costumer (Nathalie Richard) who has a crush on her. Rene the director (Jean-Pierre Leaud) cast Maggie after viewing one of her many martial-arts fantasy films. Although he finds her perfect for the part of the jewel thief in Les Vampires, the rest of the crew cannot see the reasons for casting Maggie beyond her beauty and how she looks in her tight-fitting latex costume. Rene's vision is soon lost on everyone and he suffers a mental breakdown. The film is reassigned to Jose (Lou Castel), a seemingly more commanding director (although he takes the job because his welfare is about to run out), whose first decision is to fire Maggie. Irma Vep is presented as a comedy, but at its heart lies an examination of the art and craft of filmmaking. In a clever turn, Maggie creeps around her hotel getting into character, in essence remaking Irma Vep for real-life director Olivier Assayas. Assayas wrote the film in 10 days and shot the film in a month after meeting Maggie Cheung at a film festival--a fascinating case of life imitating art... or is it the other way around? --Shannon Gee ... Read more

Reviews (25)

Notions in different directions...
Maggie Cheung, as herself, comes to Paris to partake in a remake of Louis Feuillade's Les Vampires as Irma Vep. However, when Maggie arrives three days late to the set she finds a disorganized film company trying to hold together a group of actors, a crew, and filmmakers who all have different agendas. Nevertheless, Maggie tries her hardest to fit in, even though she does not speak any French, and she tries to get a good grip of the character that she intends to cast. Meanwhile, the director is having problems keeping himself emotionally together and the film's future becomes jeopardized. Irma Vep is an interesting film that portraits thoughts that are not followed through with or that cannot be followed through with unless they are organized.

Quelque chose de different
The French do self-reflexive cinema better than we do. This tale of a has-been director attempting a comeback with a re-make of a silent French serial (and using a non-French speaking real-life Maggie Cheung in the title role) is the ultimate exercise in cinematic intertextuality. But it's also a lot ofe fun and not--as one of the film's own characters grouses about the state of French cinema--just intellectual navel gazing. Not for everyone, of course, but for lovers of cinematic irony, it's hard to think of a more delightful feelm.

Leaping latex lesbian vampyres, Rocky!
I truly fail to understand those who consider this a serious cinematic masterpiece. It pales in comparison, for instance, with other Maggie Cheung vehicles such as "In the Mood for Love" or "Song of the Exile". Indeed, one of the four rating stars is purely for the presence of Maggie as something at least close to her off screen persona (ok, I admit to a bit of a crush here :-).

On the other hand, it is not the abysmal drek others rate it. The plot is drolly amusing, along the lines of a mid-level American TV sitcom. And as one who has been in similar situations a few times, the depiction of Maggie's perplexity and detachment when thrust into making a film in Paris while speaking no French rings true.

The side-plot of Zoe, the costumier, who develops a crush on Maggie while fitting her with the black latex catsuit in a Paris sex shop, is amusing and well handled. Nathalie Richard is just right (and dang cute) as Zoe, a grown woman regressed to breathless teenage puppy love.

Maggie wanders through it all with gracious aplomb as everything and everybody is falling apart around her, intrigued by Zoe's interest though ultimately declining.

For those who haven't read the previous hundred reviews, a brief summary: Maggie Cheung, playing herself, arrives in Paris on a movie set in chaos. The director has chosen her to play the part of a cat burglar (Irma Vep) in a remake of a classic silent film, on the basis of obsessive viewing of Cheung's Hong Kong action films (I think it was Heroic Trio he was watching). [Real life director Arrayas was Cheung's boyfriend, later husband. Art imitating life, or vice versa?] Maggie is the calm center of a swirl of studio politics, backbiting and romantic advances (male and female). She goes to a late night party, and one night dreams (?) that she gets tricked up in her cat suit and burgles another room in her hotel. The director, dysfuntional at best, eventuallly has a breakdown. A new director decides he needs a French actress to play a classic French role, and Maggie accepts calmly(probably glad to get out of this mess). The last we hear is that she has cashed in her return ticket for a flight to New York to meet an American director.

Hmm...
Seeing this movie has left me flabbergasted. I guess it's one of those either-you-love-it-or-hate-it movies. But let me be objective about this. It comes across as a masochistic satire on contemporary filmmaking, ridiculing on all points the folly of churning out meaningless movies filled with gore, violence, and Schwarzenegger. The storyline is simple: Director wants to shoot movie, crew is unstable, everything falls apart... and voila... the 5-minute ending redeems the 2-hour jargon that just took place before your eyes. But you can't beat having Maggie Cheung running around in that latex suit. Overall acting was precise, intense, and really, you can't ask for more. There is lot of handheld camera movement, so make sure to take your motion sickness pills. I sat watching this movie flicker in front of me. One hour later, I was still waiting for something good to happen. I am somewhat disappointed, I guess. I feel that a lot of time has been wasted on cinebabble. The ending's good, though. All in all, I'd rather have watched 20 minutes worth of the film than in its entirety.

The movie sucks the life out of you.
Unbearably pretentious rot. *Irma Vep* has nothing going for it, unless you consider the admittedly enjoyable spectacle of Maggie Cheung tromping around in skin-tight black latex. It's shot in the form of a "documentary" about a French re-do of the silent-era film serial *Les Vampires*. First of all, why would anyone want to remake *Les Vampires*? -- second of all, why would anyone want to watch a documentary about the making of it? It's unpalatable any way you look at it. Further, director Olivier Assayas embarrasses us by having Jean-Pierre Leaud ("Antoine Doinel" from Truffaut's *The 400 Blows*) attempt to speak English: the result is a mumbling disaster. It's as if Assayas is purposefully trying to denigrate the entire French cinematic tradition, from the silent classics (Arletty is invoked, of course; no lustre rubs off) to the New Wave. Meanwhile, Maggie Cheung looks mystified and somehwat irritated at the proceedings. The ending, by the way, is one of the worst I've ever seen. ... Read more

Reviews (83)

Wong Kar-Wai's Masterpiece
If you were to find a fault in Wong's film it would be the pace: slow, methodical, but inspite and because of that pace "In the Mood for Love" is an utterly engrossing tale; a tale of a man who suspects his wife of cheating and a women who suspects her husband of the same. As they secretly share their pains and suspiscions they fall in love, a love which, due to guilt and the society they live in, cannot blossom.

"In the Mood for Love" is a period piece, taking place in 1962 Hong Kong, and it captures the period wonderfully with small details like the snippets of Shanghainese speech and Nat King Cole's melodic voice floating in an American-style diner.

In this movie Wong Kar-Wai achieved brilliance on every level. Not only does he create a perfect mood with his methodical pace, dark yet beautiful camera work, but he tops it off with excellent performances by Tony Leung and Maggie Cheung and an enthralling soundtrack that ties it all together. I have been a fan of Wong Kar-wai for some time, but in all of his films I felt something was missing. Here he has captured it all. With "In the Mood for Love" Wong leaves the label "a good director" behind and becomes "a great director".

The DVD is full of fascinating extras: interviews with the cast, Wong Kar-wai; descriptions of the music used in the film; trailers, posters, images. You can spend hours not even looking at everything but the movie!

Best movie of the year
It's only a shame that this wasn't released several months ago in the U.S. as it was in the U.K. or else it would have been nominated for some major awards. It's actually really hard to fault anything in this movie: the acting, directing, music and cinematography are all world-class.

The story centers around a woman and a man who live next to each other in a Hong Kong apartment complex in 1962. They both suspect their spouses of having an affair with each other, and begin to fall in love themselves. Being in such tight surroundings they obviously cannot show very much affection to each other in public and rely on subtle glances and very little actual physical contact: it is a testimony to the superb acting skills of the two main leads, Maggie Cheung and Tony Leung, that the relationship is believable. The director Wong Kar-Wai is also brilliant at mixing in slow-motion shots (perhaps to emphasize how slowly their relationship develops) and Spanish music, which fits the mood of the movie amazingly well.

To add to the atmosphere, the movie is almost completely shot indoors except for some shots outside at night and in the rain and the haunting last scene. You really get a sense of clautrophobia after a while, not only of the living space but how confined the characters' marriages and even lives are as well. Futhermore, the movie also has a political overtone which is, like everything else here, subtle, but suffice to say its setting in 1962 is not accidental.

Finally, the lack of a huge amount of dialogue means that those who don't like subtitles won't have to suffer through so many. For those of you like me who were disappointed with most of the junk nominated for Academy Awards this year, finally here's a movie that lives up to its reputation.

An unforgettable journey.
'In the Mood for Love' is a touching, engrossing meditation on, you guessed it, love: what it is, what creates it, what ends it, what keeps it sewn strong together. All of these aspects are collected into a clever, lovely, sometimes devastating piece of artistry directed by the fabulous Wong-Kar Wai. Those of you who love romantic comedies or grand, epic love sagas will be immensely disappointed with his latest film. It is not either. Rather, it is a gem of cinema that strives for emotional truth and absolute realism. Inside of cramped apartments and old diners, that, too, is what the main characters of 'In the Mood for Love' yearn for.

The film takes place in Hong Kong during the year 1962. Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung) have just moved into neighboring apartments and have met each other rather casually. But the two progressively realize a secret about their respective spouses and a profound relationship develops almost instantly. From there, the film sets a tone that is cislunar, seeming to float in its own world situated between reality and a sense of disconnection. Kar-Wai perfectly evokes this mood with fleeting slow-motion sequences accompanied by Christopher Doyle and Mark Li Ping-bin's delicately visceral cinematography. What ensues throughout the rest of the film (both plot-wise and technically) masterfully conveys romantic yearning.

The lead performances were breathtaking, namely Maggie Cheung as Su Li-zhen. From scenes of obvious hurt to moments of hidden despair, she ceaselessly astonishes. I'm surprised she did not receive the massive encomium she deserved from 2001 year-end awards groups, let alone the Oscars. But credit must also be given to Tony Leung as Chow Mo-wan, who managed to maintain a quiet, tired loneliness throughout the film. Leung also understood that it was only with Su Li-zhen that Chow Mo-wan felt truly alive with passion.

Another character worth mentioning are the breath-taking sets by production designer William Chang Suk-ping. The claustrophobic atmosphere offered by Suk-ping's dated, tight hallways was as much a part of the emotion and story line as each lead. Collectively, each part of the movie-making process (screenwriting, directing, designing, acting) achieved an assured concinnity; and in the end, what was already a personal, accessible study is lifted by Kar-Wai to a universal level using epic shots of Mayan temples and mysterious landscapes. As the credits role, it becomes apparent that 'In the Mood for Love' is arguably a masterpiece worthy of the all-time lists.

For me personally, the constant flashbacks of wind sifting past vinaceous curtains and artful conversations about love at its core only underscore 'Love's greatness. It is an unforgettably personal journey not to be missed.

Tertiary Love Film at its Highest Form
98 minutes of excellence. I am never a big fan for romantic films. Especially with the current scene filled with countless teen-or-chick flicks, I have become very picky on this category. I watched it with skepticism. 98 mins later, I switch off the TV in great relief, and also with understanding of why a few people do not enjoy it.

Generally, people who dislike this film have the following reasons:
1. Simple plot and no plot twist
2. Repetitive scenes
3. Few and confusing dialogues
4. No significant signs of intimacy or eroticism. Can it even be categorized into "Romance"?

One thing I have learnt from "In the Mood for Love" is also the same thing I wish romantic film directors would learn for a long time: Character Study and Development are often more important than unnecessary plot twist. There are pretty much only two characters in the movie, but by middle the audience could feel as if we know them for real. Thus we do feel the characters' happiness, pain and suffering. Yes, even if the time is set in 1962, Hong Kong.

The repetitive scenes do not represent lack of creativity. In fact it is one of the hardest tricks in my opinion. Although some actions are very similar, each scene has a subtle change in intimacy and impact for future relationship. Not one of the scenes can be taken away because they're all crucial links. As for the dialogue, it is few but every line is to the point. Each word is polished to sharpest and kept to minimum. Every word is a keyword.

Intimacy and eroticism are indications and eye-candy. Audience would understand immediately two people are in love. In my opinion this is director's point of view to choose it or not. Wong Kar Wai deliberately wanted to create a longing relationship without obvious physical contact to add up the sadness. In fact, the film has at least once "Implied Intimacy". ***SPOILER*** When Su told Chow she did not want to go back home in the cab, that "Implies"they would probably spend the night together ***SPOILER***

It could be artistic whether sex scenes are included or not. It just happens that WKW wants to present us a unique experience. I highly appreciate this effot. In the Mood for Love is a ten-level-upped romantic film and I definitely recommend it to every viewer, tertiary or not.

A Masterpiece, flawless, perfect, beautiful!
Simply put, it is one of the more ravishingly beautiful films ever made! Every now and then, a director and his collaborators are so in-tune with each other, so opperating at the height of their powers, that as a viewer watching it, you are aware of watching greatness yet an air of disbelief pervades. Such feelings you get with (to name a few flawless masterpieces) Tarkovsky's ANDREI RUBLEV, Bergman's CRIES & WHISPERS, Fellini's LA DOLCE VITA, Lee's DO THE RIGHT THING, Scorsese's TAXI DRIVER, and Hitchcock's VERTIGO. All of the aforementioned films are flawless works which use everything the cinema can do...such films are perfect; IN THE MOOD FOR LOVE is such a film. It is a masterpiece and a must own! ... Read more

Description

The fascinating life of the Soong Family (ChinaÆs equivent of the Kennedys) is chronicled in this lavish epic melodrama, with an all-star cast headed by Michelle Yeoh, Vivian Wu and Maggie Cheung. To see that China remains a dominant world force after the founding of the Republic by Dr. Sun Yai-sen, the patriotic Charlie Soong sends his three daughters to America for their education. The sistersÆ return to China marks the beginning of their tumultuous lives, as the country endures the Japanese invasion and the subsequent clash between the communists and the nationalists. ... Read more

Reviews (7)

A Dose of History Sumptuously Served - with reservations
THE SOONG SISTERS is a visually stunning recounting of the turns of events that changed China from a land of Dynasties to a nation of multiple personalities: the Nationalist Party, the Revolutionists, and the Communist Party. As such it fills in many bits of political and social history that by and large have gone unnoticed by the West. Charlie Soong (having been educated in America) has three special daughters whom he loves so much that he sends them to America for schooling at Wellesley to prepare for what he envisions as a New China. The daughters return to China as young women, marry men who are destined to become important political leaders, and the changes the resulting schism of a Chinese family parallels the cultural transformation of one of the oldest civilizations on the planet. Director Mabel Cheung has a keen eye for vistas of Oriental splendor, capturing the young girls at play in gardens, marrying in elegantly beautiful ceremonies, joining the 'imported' western culture with the elegance of the Chinese culture in the arts, a fine sense of the seasons (though when it rains in China apparently one cannot hear a normal conversation!), and even the requisite battle scenes that of course must accompany this period of transition (internal battles as well as fighting the invading Japanese army). For the most part she draws vivid performances from Jiang Wan (a true mixture of East and West) as Charlie Soong, Michelle Yeoh, Vivian Wu and Maggie Cheung as the three Soong sisters, and Winston Chao as Sun Yat-Sen and Kuo Chiu Wa as Chiang Kai-Shek, two of their husbands. The drawbacks in this very long movie are the editing (scenes literally bounce off each other in a most distracting non-fusion), sound track (treacly Western sentimentalist gush coupled with the elegance of old Chinese music on ancient instruments), and the lack of passion in the relationships of the people. Perhaps this is her style: perhaps it is a way of avoiding commitment to any one of the political parties addressed. Given these reservations, if you are in the mood for eye candy and the wonder of history, try this film in the comfort of your home.

You have been warned. Buy at your own risk.
The story might have been good had we watched the whole thing. A previous reviewer was correct in saying that the quality of this video was poor. The subtitles are indeed very small and difficult to read.

This DVD comes off looking like a bootleg, and gives every indication of having been produced on a home PC (such as pixelated images that jump and stutter). The audio is often very garbled as well.

After a while, we couldn't take it anymore, and turned it off.

The copy we received had none of the extras you would expect with a DVD ... no actors' filmographies, no director's commentary, not even a scene selection option. In fact, there was no menu of any kind ... it just went straight into the movie ... another indication of it being a bootleg.

Since there is so little information about the Soong Family availible in video form, this was a great disappointment. If you really want to know about them, I recommend the book The Soong Dynasty by Sterling Seagrave instead.

Very Moving
First rate acting and beautifully filmed. Don't believe the garbage that this movie looks cheap.

The Soong sisters played a crucial role in modern Chinese history. Maggie Cheung, Vivian Wu, and Michelle Yeoh portray with deep emotion a close family driven apart by political turmoil.

Winston Chao as Sun Yat-Sen and Kuo Chiu Wu as Chiang Kai-Shek make the movie very convincing.

Could have been, would have been
This could have been a better movie if the filmmaker was not overtly sentimental and nostalgic. By romanticizing the female characters and the dramatic events that surrounded them, the shifting personal values and murky lines between good and evil got lost. The characters and the story became one-dimensional. Maybe that's the best the filmmaker could do to squeeze everything she wanted to address in 120 minutes.

My opinion is that every major character in this movie deserves a feature length treatment of his/her own to fully present the conflicted emotions and the choices he/she made under the historical events during a very turbulent time in the Chinese history.

The actors are terrific in their craft. However, the character development is sacrificed due to the time and story line limitation. The portrayal of President Sun and Commander Chiang was accurate and appropriate. Among the sisters, Vivian Wu's youngest sister, after she became Mrs. Chiang, is a standout. It's a pity that the filmmaker can't spend more time on her earlier emotional and character development. Michelle Yeoh is very consistent through out the whole movie as a practical oldest sister prefers to live in a "real world". Maggie Cheung's middle sister is less sympathetic when she became too idealistic and blindly nationalistic. Miss Cheung's performance can seem too melodramatic at times.

Other than the acting, the production value is below par. The make-up is very amateur to say the least when the characters aged or in various state of health. The lighting was even worse. Maggie Cheung was 5 years older when she made the movie "In The Mood For Love" but in Soong Sisters she looked a lot less luminous (during which when she portrayed her character as a young woman). The lighting was simply unkind to the all the female characters in the movie. The make-up and lighting seem to be the problems in a lot of Chinese films. Very rarely the Chinese filmmakers pay close attention to lighting and make-up..

In whole the movie looks cheap and hastily made.

The DVD quality overall is a big disappointment. The picture quality is not clear, the sound quality is not crisp, and the subtitle is too small to read unless you are right in front of the TV screen.

I'd say unless you are 1. really into the Soong sisters' story, 2. interested in Chinese History through out both world wars, or 3. a fan of any of the actors in the movie, this movie is not a must see or must own.

Stunning non-fiction epic
This stunning non-fiction epic is filled with cinematic splendour. Base on accounts of the social upheavals in various points and eras in Chinese history, it is filled with gorgeous cinematography, great score by Kitaro and great cast. Historically accurate if not, a few minor point may be incorrect, but as a whole, it shows you the big picture.

With some of the best stars there is from China, Taiwan and Hong Kong. Maggie Cheung, Michelle Khan and Vivian Wu portrayal as the three sister are excellent. But the most powerful in performance are from the men. Jiang Wen (outspoken Charlie Soong) also a favourite actor of mine, Winston Chou (charismatic Sun Yatsen) and Kuo Chiuwu (commanding Chiang Kaishek) are powerful and haunting.

Despite an 18 minute footage cut from the original, still its a great direction from Mabel Cheung. As a loyal fan of great movies from China, in likes of directors Yimou, Kaige, XieFei and HePing, Soong Sisters to me will be one of my personal favourite masterpiece, one of the few from Hong Kong.

Genghiz ... Read more

Reviews (38)

Twin Stars
I haven't as yet seen this DVD (I fully plan to as Jackie Chan dubbed on this release I am told). The 3 stars are for the movie itself. It is not the best Jackie Chan Hong Kong movie, the Police Story series and Project A 1 & 2 are much better but is definitely worth a look. I have seen an old dubbed version (OK) and the Asian DVD release (better). Before approaching any "old" Jackie Chan film (ie. ones done in Hong Kong before America!) viewers should be aware they are lower budgeted so don't have the capacity for special effects as in US movies. Also, what a Chinese considers funny might not necessarily be what a westerner thinks is funny! Keeping this in mind, I really liked this film. The story is "old" (ie. twins separated at birth and coming together later in life with the expected mix-ups) but with Jackie (twice!) it is a lot of fun. The last action scene in the car factory shows Jackie's amazing acrobatic and martial arts skills to perfection. If you are Hong Kong movie buff, there are a lot of cameo appearances by HK actors and directors. Jackie did not direct this film, so ignore any criticism of bad direction by him! Most of the films Jackie directed himself are superb action pieces, though the acting is not very good in some. Jackie is more interested in action than dialogue, though "Accidental Spy", his latest Asian release, is extremely good in all aspects, both action and action, with a good storyline. Anyway, give Twin Dragons a look - it will be worth it.

Lots of fun - but not one of the best
Just a quick note: I don't think some of the reviewers have paid attention. There are criticisms to Jackie Chan as director. Well, two notes: 1) He did not directed this movie 2) Most of the best Jackie Chan movies have been directed by him. He has been recognized as an excellent director.

Anyway, this movie was done for the construction of some association for directors from Hong Kong, and that explains why the multiple directors. Jackie Chan has said he is not satisfied with the final result of the movie.

But don't be scared. This is an excellent comedy, using the old joke about mixed identities. It is not heavy on the action side, but includes some nice fight scenes, including a final shutdown at a facility for testing cars.

If you are looking for one Chan movie, there are better ones to select for starters (Supercop, Operation Condor, Rumble in the Bronx). But if you are a die hard fan, you will want to take a look at "Twin Dragons".

a good funny movie but not an action one.
I am a cantonese person and I rent this US version dvd. Is some ways it disapointted me because it doesn't provide cantonese audio and they substitute English audio instead. Anyway, this movie is so funny is so ways. I especially like the bathroom scene. It can't help laugh loudly. The action parts are quite boring but I think American people would like to watch them.
I would like to give it a 4 stars if it provides chinese audio.

Stick with an Original
Why American production make HK movies look so cheap? First of all, they cut off so much scene, second of all ruin it by making look acting so dumb by English Dubb. For ANY of HK movies, ALWAYS stick with ORIGINAL LICENSED HK RELEASE. Be careful with cheap imports, boots though.

"I think I got the fighter!!!!"
...If your interested in a REAL Jackie Chan movie, with REAL stunts, REAL comedy, REAL action, and REAL Jackie, look no further than TWIN DRAGONS.
It may not be entiely convincing that the twins are really together inframe (the split screen effects are as corny as they get) and the story may not be entirely original...but TWIN DRAGONS is nevertheless, one of the best Jackie Chan movies ever...

Jackie plays Boomer, womanizing, karate choppin' mechanic living in Hong Kong, and the brother he never kenw he had, reknown condutor John Ma. Ma arrives in Hong Kong to give a concert and things go completely cattewumpus. Ma knows kung fu about as well as Boomer knows how to conduct a concert
Boomer:P>Before long, bad guys have kidnapped Boomer's smart-...buddy Tyson (Teddy Robin, who also produced)...with all that to worry about, there's even girl trouble, when Ma's lady Tammy (Nina Li Chi) winds up in the sack with Boomer, believing him to be Ma, and lovely lounge singer Barbara (lovely Maggie Cheung) falls for Ma believing him to be Boomer.

The summary of TWIN DRAGONS plot simply does not do it justice. From the moment Boomer gets in a fight with an entire night club full of mobsters, the movie has already hit take off velocity. Fans of the sexy Maggie Cheung...will find she doesn't have much to do, but looks fabulous not doing it. This is only one of the movie's she's done with Jackie. off the the top of my head, I can name many others, but let it suffice to say that for action, comedy, and Maggie Cheung, Jackie Chan's TWIN DRAGONS can't lose. ... Read more

Amazon.com

Set during the Chinese takeover of Hong Kong in 1997, this fascinating film uses that urgent and grandly ceremonial political backdrop for an intimate study of personal transition. Jeremy Irons plays a seasoned journalist who discovers he is terminally ill, causing him to be torn between his obsessive love for a former prostitute (Chinese film star Li Gong) and a streetwise hustler (Maggie Cheung) whom he has chosen as the subject of a video documentary. Through his involvement in the lives of these two very different women, director Wayne Wang (The Joy Luck Club) creates a cinematic "love-hate letter" to his native Hong Kong, where each character is allegorical and suffers an identity crisis much like Hong Kong itself. The film's love story is somewhat aimless and ultimately unimportant, but Chinese Box (even the title suggests a place that holds secrets within its borders) remains a fascinating film in the semi-documentary tradition, capturing the psychology of its time and place with compelling immediacy. Musician/actor/politician Ruben Blades is featured in a memorable supporting role. --Jeff Shannon ... Read more

Reviews (26)

A quiet but memorable film...
I say "quiet" because, as other reviewers have noted, it was slow. Still, that didn't bother me. I was drawn into it, and if the story itself seemed weak, the characters and setting were not. Jeremy Irons played the role he plays best -- a man obsessed with one who is "forbidden," and in this case, it's the city as much as the woman that draws him. Gong Li and Maggie Cheung both gave memorable performances as well, and the seduction-scene between Li and Irons is both tender and titillating. I also want to praise the soundtrack. The sequences by Graeme Revell, featuring "Dadawa," were haunting and evocative, and I ended up buying the soundtrack soon after I saw the movie. You may find the movie dull if you're expecting action or high drama, but its voyeuristic feel, the underlying love story, and the actors themselves make the film worthwhile.

a place called home
I watched this film by "accident." One night I turned on the TV and "The Chinese Box" movie was on. I watched it because it is a film about Hong Kong. The story is only average, not too excited but close enough to real life. However, some scenes are unreasonable exaggerated. For instance, two customers drank and talked about the northern girl in a very bad slang. Their attitudes were so rude. They embarrassed Gong Li because she is from the northern part of China. I hope that the audience who watched this film do not have an impression that the Hong Kong people are rude. It is not turth. Generally speaking, most Hong Kong people are polite and conservative. The photographers did a very good job. They successfully depicted the lankmarks of Hong Kong, including the City Hall, The Shanghai and Hong Kong Corporation Banking Headquarter, Mandarin Hotel, Temple Street, Mongkok, Central District, etc.

A Travesty
Once again, Wayne Wang is a disappointment. As a third-generation Chinese American woman, I can't fathom how a fellow Chinese American can create such stereotypical films such as Chinese Box and the Joy Luck Club (although Amy Tan is largely to blame for the latter--I won't get started).

The one thing I enjoyed about this film was the artful use of hand-held filming. But more of note is the bad. First, in general, the storyline is superficial and simplistic, with no perceptible deeper meaning. The romance and "chenistry" between Jeremy Irons and Gong Li feels contrived.

Second is the irking, too-familiar Miss Saigon/Sayonara/World of Suzie Wong-esque portrayal of the leading lady as a prostitute for a Caucasian man. This is extremely aggravating to me as an APA woman--it seems to me that rarely are Asian women ever seen in an American film other than as a lotus blossom prostitute or as a dragon lady (even if the latter is a "better" stereotype). Coupled with the poor portrayal of Asian men in TJLC, I really wonder how Wayne Wang directs these films with a clear conscience, knowing that he is promoting Asian stereotypes.

Third is the travesty that Gong Li was made to even act in this film. Anyone who has watched a masterpiece such as "To Live" knows she is an extraordinary actress, and this film does not do her justice by a long shot. It is unfortunate that her English probably limited her already insubstantial role.

Finally, I can't speak to any inaccuracies in portraying Hong Kong, but if it's anything like the time/setting/cultural incongruities of TJLC--exploited to make the story more "interesting,"--viewers including myself are in big trouble. In a culture where Joy Luck Club is lauded for its "true" north-south-east-west "portrayal of the Chinese American experience", I am saddened to think this film will similarly add to the false picture about Asians held by so many.

If you are in the mood for an Asian film, please watch "To Live", by director Zhang Yimou or "Picture Bride", a truly BEAUTIFUL film by Asian American director Kayo Hatta, rather than this travesty of a movie.

A Fan of Both Irons and Ruben Blades, But "CB" Was the PITS!
I watched about the first excruciating half hour and then gave up. I am glad I did not get to the scenes of animal cruelty that some reviewers here made reference to -- then it would not have been just a bad movie, but an upsetting one.

What a waste of two fine actors, and an interesting idea. Screenwriters and directors just don't seem, many a time, up to snuff nowadays.

Want a good Chinese-themed movie? Try "The Last Emperor." Based on a true story, and very well done.

P.S. The movie really deserves NO STARS, but as we all know, that is not an option here.

An Exceptional Movie, Can't Wait for the Signature DVD!!
I first saw this film in Scottsdale, AZ at the local arthouse movie theatre, and it really left me with a feeling. Couldn't immediately put it into words or identify it, but a feeling nonetheless...an impact...a strange sensation. The more time that passed, the more I thought about the film and the more I liked the experiece while watching it. Although I have never been to HK, I believe that Wayne Wang has captured the breath and soul of Hong Kong and the mysteries that it carries. It has put in me, a hope and a dream that one day I can visit this exotic city and breathe in the aroma, the sounds and sights of its vibrant, pulsing atmosphere. Even with Ms. Li's newly budding English skills, this is still a remarkable piece and dazzles with metaphors and rich character-driven fabric. Ruben Blades is a marvelous choice as Iron's ex-pat friend and strums a beautiful song, Across the Borderline. Mr. Wang, if you are listening, this is fine piece of work and I hope that you continue to make these wonderful films that evoke a canvas of feelings and stimulate the senses. ... Read more

Description

Director and star Jackie Chan (Rush Hour 1 & 2, Shanghai Knights, The Tuxedo, Sh