Archive for April, 2015
Just got back into town and am diving into the thick of things at this year’s San Francisco International Film Festival, now running through May 7. I’m leaving town again on Sunday so I’m cramming as many screenings into the next five days as I can manage. Luckily there are plenty of great films to see. I’m hoping to make it to the Viggo Mortenson vehicle Jauja, by Argentine director Lisandro Alonso and featuring Viggo in a role that’s tailor-made for him as a Danish military engineer caught up in unrest in 19th-century Patagonia. Viggo he gets to acts in two of his native tongues, Danish and Spanish, and the film is a magical-realist version of the historical events it depicts.
Also on the docket is the 3-D version of Tsui Hark’s The Taking of Tiger Mountain, Hong Kong director Peter Chan’s child-abduction drama Dearest, and City of Gold, the documentary about Pulitzer-prize winning Los Angeles food critic and mensch Jonathan Gold. If I were in town next week I’d surely go see the South Korean thriller A Hard Day but I’m hopeful that it will make it to a theatrical release stateside sometime soon. SFIFF also plays host to Jenni Olsen’s newest feature-length experimental documentary/essay film The Royal Road, which looks at butch longing and unrequited love against the backdrop of El Camino Real, the historic king’s road that stretches nearly the length of California. Indian director Chaitanya Tamhane’s independent feature Court also screens this week, taking a character-based, neo-realist look at the absurdities of the Mumbai judicial system and its surrounding social and cultural milieu, with results that are about as anti-Bollywood as you can get.
One of my favorite films from last year, director Diao Yinan’s neo-noir Black Coal, Thin Ice, has one more screening this week at the festival and it’s definitely a don’t-miss movie. From the very start, with shots of random body parts mixed in among train cars of coal shipping throughout the frozen northern regions of China, the film puts a distinctive spin on the classic noir structure. The film follows Zhang (Liao Fan), a less-than-scrupulous cop, as he becomes more and more deeply involved in the mysterious disappearances and murders of various hapless men, all of whom eventually seem to be tied to a classic black-widow character, played by the amazing Taiwanese actress Guey Lun-Mei.
Looping back and forth in time and place, with bursts of intense and unexpected violence, the movie effortlessly transfers the noir genre to the China’s bleak and wintry industrial north, making great use of the icy landscape and the characters’ corresponding desperation and hopelessness. Both Liao and Guey won acting awards (at the Berlin Film Festival and the Golden Horse Awards respectively) for their performances in this film and they embody the moral messiness and ambiguity of the best noir characters. As in all great noirs, everyone is complicit and no one is innocent, and the most innocuous situation, whether in a beauty parlor or at an ice skating rink, can suddenly change into a deadly trap.
So although I’m missing the big galas and parties at the beginning and end of the fest I’m still catching the meat of the event this week. As always the festival is a chance to see some of the best recent global cinema on the big screen.
through May 7, 2015
Premiering at this year’s Hong Kong International Film Festival and now in the midst of a successful theatrical run in Hong Kong, Two Thumbs Up (dir. Lau Ho-leung ) is a pleasurable timepass with a slapdash absurdist energy that carries it past its shortcomings. It’s also notable for being the second Hong Kong theatrical release this year starring Francis Ng (after Triumph In The Skies), who has mostly been AWOL in the former Crown Colony as he’s been trolling the more lucrative waters of the mainland China film industry for the past few years.
Two Thumbs Up is a caper film about a bunch of low-end crooks who devise the brilliant plan of rehabbing one of Hong Kong’s ubiquitous red-top mini-buses into a police van and then using it for various larcenous purposes. In particular they aim to intercept a shipment of corpses on the way to the PRC that have illicitly been stuffed with smuggled cash. All goes well until they encounter a second group of crooks with the exact same plan.
This one comes favorably handicapped since it has a number of points that make me predisposed to like it:
- Stars Francis Ng, which to anyone reading this blog should be patently obvious
- Also stars Simon Yam, another fan favorite around here
- Dialog in very vulgar Cantonese
- Cheap, low-budget digital effects that in no way attempt to represent reality
- Shot in remote, deserted rural nighttime Hong Kong locations to save money and to avoid the local constabulary
- Includes hyperlocal references like a Softie ice cream truck
- Slyly refers to the mainlander infestation of Hong Kong, substituting “cockroaches” for “locusts.” NOTE: This bit has apparently been trimmed from the PRC release in order not to offend mainland audiences and thus cut into any potential profit.
- Garish and ugly, brightly colored polyester costumes
- The awesome mullet and perm respectively sported by the usually dapper Francis Ng and Simon Yam
- Rambling and illogical script that hearkens back to improvised Hong Kong comedies of old
- Sentimental affection for losers, ex-cons, lowlifes and “scum” (the film’s polite translation for pook gai) who are secretly heroic
- Cynical sneer of gangster gal, played by Christie Chen, who resembles a low-rent Guey Lun-Mei
The movie is a fairly lightweight bit of entertainment that hits its main thematic point pretty hard and pretty often (hoodlums can be heroes too!) but the delight comes in the sheer fun that the cast seems to be having as they run through their familiar paces. The veteran foursome playing the crooks, including Francis, Simon, Mark Cheng, and Patrick Tam, have great chemistry and almost every early scene with them merrily devolves into very loudly shouted Cantonese expletives. Like The Avengers (except not) they each rock individual and distinctly tacky outfits, highlighted by Francis Ng’s amazing extra-long mullet, green fringed jacket, and cowboy boots. Leo Ku as the serious and dedicated cop who uncovers their scheme is a good foil for the cursing and hamboning of the main cast, as is Philip Keung as the leader of the rival gang of crooks.
Some knowledge of Hong Kong film history also helps grease the viewing experience as the movie is rife with self-referential in-jokes and fan service moments. At one point early on in the film Francis Ng’s character (alternately known as Big F or Lucifer, depending on your translation) shows off his mad bowling skilz the local alley where he and his posse are killing time and plotting their big heist. Francis affects his patented swagga not after offing a rival triad but after successfully bowling a strike, which references his many years of gangsta leans throughout the past 20-odd years of Hong Kong movie history. Likewise it’s fun to see Simon Yam playing against his usual suave and debonair type as a frumpy loser with a bad perm living in a subway tunnel.
The main foursome are also particularly amusing the first time they stroll out of the van in their policeman drag, with their non-compliant hairstyles and mack-daddy posture, their hats low over their eyes and thumbs slung into their belt loops belying their attempts to pass as respectable coppers. The veteran actors also make their characters likeable enough that once the crew is separated and in jeopardy the audience is actually invested in the fates of the four of them. These little touches make the movie work and goose up an otherwise pretty silly premise.
Although the movie isn’t without many plot holes, directorial obviousness, and failures in narrative logic, the engaging performances of the cast, supplemented by very silly CGI, editing, and art direction, make for a pleasant and entertaining day at the races. It’s certainly no Infernal Affairs or Hard Boiled but it’s not as horrible as a lot of Hong Kong product these days either, and at this point in time I’ll take what I can get.