John Woo has been setting the standards for the action genre for almost fifty years, additionally introducing to the world scene current world-class stars as Chow Yun Fat and Tony Leung Chiu Wai. His usual motifs, including stylized, smooth characters and the presence of pigeons, and his distinct action style with the frequent use of slow motion, the chaotic fighting, and even the use of two guns at the same time have influenced the majority of the filmmakers of the genre including Hollywood ones. Here is a list with his ten best films. 10. Just Heroes (1989) This particular film was shot in order to aid director Chang Cheh who was broke and John Woo directed part of it, with Wu Ma being responsible for the rest.
He promoted the development of world martial arts and Kung fu movies. The martial arts films he starred in became famous all over the world, so that Kung Fu is world-famous. In the eyes of many foreigners, his Kung Fu just is China martial arts. In 1980, Jet Li's Shaolin Temple set off a tide of China martial arts. Meanwhile, martial arts movies are not entirely absent from the awards, such as Crouching Tiger, Hidden Dragon won four awards which are included the Academy Award for best foreign language film, and the Hero and House of Flying Daggers have been named the best movie of the year by Entertainment Weekly of United
Director Luis Buñuel presents stark, surrealistic images including the slitting open of a woman's eye and a dead horse being pulled along on top of a piano. A mysterious film open to interpretations ranging from deep to it all meaning absolutely nothing. It is certain that this short (17 minute) film presented something new in the cinema of its day. Written by garykmcd (Taking from IMDB.com) Un Chien Andalou is a silent surrealist short film released in 1929 shown at Studio des Ursulines in Paris. The film was made by director Luis Buñuel and Salvador Dalí.
The story of Gook, written and directed by Justin Chon, follows the story of two Korean brothers, Eli and Daniel, and their struggle to maintain their father’s shoe business. They live in Paramount, a city characterized heavily by poverty and diversity. Eli and Daniel work at a shoe store where a young African American girl, Kamilla, frequently visits. Eli and Daniel eventually become Kamilla’s mentor and cares for her. Kamilla’s connection to the two brothers conflicts with her brother, Keith, and his negative view of Asian Americans.
30 Lesser Known Japanese Cult Films That Are Worth Your Time Japan is probably the country with the most cult films in the world, a fact that could be attributed to the following reasons: 1. Artistic tradition, particularly the ero-guro movement. 2. History, with the violent transition from the samurai era to the contemporary one, and the nightmare caused by the aftermath of the atomic bomb. 3.
Lee Chang-dong directs a film that focuses on a relationship that seems impossible for many reasons, although the protagonists make it work, in a way. The film 's strongest point lies with the depiction of the characters and their realationship, which is by no
The two of them strike a peculiar friendship, among gleeful and violent nurses and a number of patients including one who uses the rest as horses, an alcoholic who wants to become a social worker and one who seems to know everything about the institution. Mun Che Yong directed a very violent movie, chiefly due to the frequency of brutal scenes rather than their depiction. The comedy and the drama appear in equal proportion, as is the case with the various flashbacks that slowly disclose the true story of the two patients, in a n evident though successful attempt to entail as many Korean favorite themes and
Hailed as “a masterpiece of ‘the first golden age of Chinese cinema’”, the film marked not only Wu’s directorial debut, but also “the pinnacle of [Ruan Lingyu’s] career” (Harris, 128). Ruan’s “mature, nuanced performance”, which was “subtle but at the same time powerful and rich”, proved to be a major factor in the movie’s success and lasting impact in Chinese cinema (Harris, 128; Rayns, 18). As “one of Lianhua’s biggest successes”, The Goddess “provides a handy metonym of the good-hearted prostitute for nationalistic Chinese identity” while channeling “anti-capitalist, anti-feudal leftist notions” at the same time (Gentry,