u/slayrrr666

Breaking News

Combining intense action with deep sociopolitical context is quite a hard endeavor, but this is exactly what Johnnie To achieved with “Breaking News,” as he deals with the media, apart from one of his trademark themes of gangsters and the police.

Read our review of Johnnie To's Breaking News on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2020/06/film-review-breaking-news-2004-by-johnnie-to/

Tokyo Godfathers

The film draws its core element of a trio of people becoming godfathers to a newborn child from Peter B Kyne’s novel titled ‘Three Godfathers.’ Upon its release in 2003, it received an Excellence Prize at the 2003 Japan Media Arts Festival.

Read our review of Satoshi Kon's Tokyo Godfathers on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2019/12/film-review-tokyo-godfathers-2003-by-satoshi-kon/

2LDK

In 2002, on a night in Berlin filled with alcohol, producer Shinya Kawai (The Ring), challenged directors Ryuhei Kitamura and Yukihiko Tsutsumi to a duel in filmmaking, with several peculiar rules: 1. The duration of the films ought to be 60 minutes, plus or minus 10 minutes. 2. The film could not be R-rated. 3. The entire story was to be shot on a single set. 4. It could not have more than two characters. 5. Kitamura was to cast male and Tsutsumi female protagonists. 6. The movie was to be completed in a week, with an equal and minuscule budget. 7. At least one of the characters was not going to live through the film. The venture’s name was Dual Project, and the two films that were created were “Aragami” and “2LDK.” The films were screened successively, and, at the end of the screening, the spectators were asked to choose the movie they preferred. Unfortunately, the result never became known.

Read our review of Yukihiro Tsutsumi's 2LDK on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2020/01/film-review-2ldk-2003-by-yukihiko-tsutsumi/

A Tale of Two Sisters

Within the landscape of the Korean film industry, director Kim Jee-woon can look back not only on a very successful career but also on one defined by versatility and creativity, as evidenced by his work across many different genres. Even his first feature, “The Quiet Family”, which inspired Takashi Miike’s “Happiness of the Katakuris” to some extent, indicated that while obeying certain genre rules, Kim was willing to bend these and also mix them with other storylines, thus surprising his viewer with unforeseen developments and plot twists, making his features unique to this day. Additionally, many of his films, such as “A Bittersweet Life” and “I Saw the Devil,” showed the director’s roots, since he began his career in the theater, as expressed in the staging of scenes and the definition of his characters who, more than once, remind us of tragic heroes. All of these concepts can be seen in what might just be one of this most popular genre entries to this day, his 2003 horror film “A Tale of Two Sisters”, which is, at its core, a deeply moving and quite disturbing family drama about deception, emotional trauma and repression.

Read our review of Kim Jee-woon's A Tale of Two Sisters on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/04/film-review-a-tale-of-two-sisters-2003-by-kim-jee-woon/

A Tale of Two Sisters

Within the landscape of the Korean film industry, director Kim Jee-woon can look back not only on a very successful career but also on one defined by versatility and creativity, as evidenced by his work across many different genres. Even his first feature “The Quiet Family”, which inspired Takashi Miike’s “Happiness of the Katakuris” to some extent, indicated that while obeying certain genre rules, Kim was willing to bend these and also mix them with other storylines, thus surprising his viewer with unforeseen developments and plot twists, making his features unique to this day. Additionally, many of his films, such as “A Bittersweet Life” and “I Saw the Devil,” showed the director’s roots, since he began his career in the theater, as expressed in the staging of scenes and the definition of his characters who, more than once, remind us of tragic heroes. All of these concepts can be seen in what might just be one of this most popular genre entries to this day, his 2003 horror film “A Tale of Two Sisters”, which is, at its core, a deeply moving and quite disturbing family drama about deception, emotional trauma and repression.

Read our review of Kim Jee-woon's A Tale of Two Sisters on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/04/film-review-a-tale-of-two-sisters-2003-by-kim-jee-woon/

Last Exile

Invoking an approach that shares some similarities with “Full Metal Alchemist”, particularly through the concept of two kids whose parents have died and are trying to make a living by following in their footsteps, and the 19th-century Europe-like setting, “Last Exile” is a great specimen of the golden era of anime series.

Read our review of Koichi Chigira's Last Exile on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/09/anime-review-last-exile-2003-by-koichi-chigira/

Colour of the Truth

To be a fan of Hong Kong cinema is to experience déjà vu regularly. If there is one hit movie in the region, then inevitably there will be numerous follow-ups, some done with good intent, others simply to cash in. “Infernal Affairs” was one such hit and so followed a procession of cop thrillers in quick succession. Never one to miss out on a trend, Wong Jing teamed up with Marko Mak to create what was one of the better examples of the genre with “Colour of the Truth.”

Read our review of Wong Jing and Marko Mak's Colour of the Truth on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/11/film-review-colour-of-the-truth-2003-by-wong-jing-and-marko-mak/

Oldboy

This second installment of Park Chan-wook’s “Vengeance Trilogy” is the film that turned global interest toward Korean cinema, one that’s a true masterpiece of South Korean cinema, and one that is still discussed for its unique aesthetics and elaborate technique. “Oldboy” screened at festivals all over the world, winning tens of awards, with the Grand Prix at the 2004 Cannes Film Festival being among them.

Read our review of Park Chan-wook's Oldboy on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/04/park-chan-wooks-old-boy/

Oldboy

This second installment of Park Chan-wook’s “Vengeance Trilogy” is the film that turned global interest toward Korean cinema, one that’s a true masterpiece of South Korean cinema, and one that is still discussed for its unique aesthetics and elaborate technique. “Oldboy” screened at festivals all over the world, winning tens of awards, with the Grand Prix at the 2004 Cannes Film Festival being among them.

Read our review of Park Chan-wook's Oldboy on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/04/park-chan-wooks-old-boy/

The Eye

‘The Eye’ is undoubtedly one of the most popular Asian horror films of the 21st century. A critical and commercial hit upon its initial release, it has gained a devoted fan base that only seems to grow bigger. But does it really deserve all the admiration it seems to evoke?

Read our review of The Pang Brothers' The Eye on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2019/08/film-review-the-eye-2002-by-the-pang-brothers/

Macross Zero

This prequel, 5-episode OVA to “The Super Dimension Fortress Macross” was released to celebrate the 20th anniversary of the Macross franchise. “Macross Zero” is anime at its best, a great addition to the franchise and a title that definitely stands the test of time.

Read our review of Shoji Kawamori's Macross Zero on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/07/macross-zero-anime-2002-review/

The Coast Guard

In 2002, South Korean director Kim Ki-duk only made one film, “The Coast Guard”, which, even though its scenery had changed in comparison to his last movie “Bad Guy,” is in many ways a continuation of its themes. The concept of the outsider, the borders within our world, and the emotional trauma have always been at the heart of Kim’s cinema, but with “The Coast Guard” he went one step further, talking about the actual borders of his home country. Whereas other characters become outsiders through their deeds, the soldier in “The Coast Guard” does not choose his orders, and because he obeys them turns into an outsider in the process. It is an interesting idea which is at the heart of the Korean’s eighth film, albeit with a few flaws in terms of execution and storytelling.

Read our review of Kim Ki-duk's The Coast Guard on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/05/film-review-the-coast-guard-2002-by-kim-ki-duk/

Graveyard of Honor

In 2002, there was possibly no way of avoiding the presence of Japanese director Takashi Miike in his home country, given the incredible output of eight films released that year. Starting with the final entry in the “Dead or Alive” trilogy, 2002 included such features as “The Happiness of the Katakuris,” “Agitator,” as well as “Graveyard of Honor,” a re-interpretation of the original directed by Kinji Fukasaku in 1975. While some of the entries of that year have more or less disappeared into obscurity, perhaps one of the most notable developments in Miike’s career is the occurrence of two films – “Graveyard of Honor” and “The Happiness of the Katakuris” – based on an already existing film. But then again, a “remake” by Takashi Miike is never just a “remake.” It is always something unique.

Read our review of Takashi Miike's Graveyard of Honor on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/08/film-review-graveyard-of-honor-2002-by-takashi-miike/

Oasis

There is far more to the plot of Lee Chang-dong’s “Oasis” than initially meets the eye. The opening hour of the movie appears to be a rather bland and generic take on a melodrama with an unlikely match between an ex-con, Hong Jong-du (Sol Kyung-du), and Han Gong-du (Moon So-ri), who suffers from cerebral palsy. Fortunately, the romantic plot is later nuanced by a more layered focus on social issues and tensions within the families of both of the main characters.

Read our review of Lee Chang-dong's Oasis on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/04/film-review-oasis-2002-by-lee-chang-dong/

July Rhapsody

Directed by Ann Hui and written by Ivy Ho, who actually won many awards for her work, “July Rhapsody” presents a portrait of a midlife crisis by additionally including a rather interesting backstory that finds its parallels in the present.

Read our review of Ann Hui's July Rhapsody on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2024/04/film-review-july-rhapsody-2002-by-ann-hui/

Cowboy Bebop: Knocking on Heaven's Door

The Japanese science fiction anime “Cowboy Bebop” is a 1998 twenty-six-episode television series that takes place on Mars in the year 2071. Highly acclaimed and popular in the West, it’s about the adventures of a bunch of bounty hunters who fly around in the spaceship named “Bebop.” The aspect of connecting with one’s past, loneliness, and loss is a recurring theme throughout the series. Furthermore, thanks to the amazing jazz soundtrack and action sequences, this is a memorable production indeed.

Read our review of Shinichiro Watanabe's Cowboy Bebop: Knocking on Heaven's Door on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/03/film-review-cowboy-bebop-knockin-on-heavens-door-2001-by-shinichiro-watanabe/

Kiss of the Dragon

With his role as the main villain in Richard Donner’s fourth installment in the popular “Lethal Weapon” series, Jet Li entered a new era in his career as he would star in many international productions in the years to come. Apart from the new level of fame he received with mainstream audiences who would get to see him in such features like “Romeo Must Die,” “Cradle 2 the Grave,” and “Unleashed,” it also allowed Li to work with actors and directors outside of Hong Kong, the most notable of which would be French filmmaker and producer Luc Besson, whose projects like “Leon: The Professional” and “La Femme Nikita” had gained him a reputation among cinephiles and especially fans of the action genre. Their first collaboration, called “Kiss of the Dragon,” produced by Besson and directed by Chris Nahon, was a blend of martial arts and action, which, in many ways, defined a change to the kind of features the actor was famous for in his home country.

Read our review of Chris Nahon's Kiss of the Dragon on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/02/film-review-kiss-of-the-dragon-2001-by-chris-nahon/

My Sassy Girl

Inspired by a true story about a guy’s online blog detailing his relationship with a girl, “My Sassy Girl” was an absolute phenomenon in Korea and in much of Asia in general. The pinnacle of Korean rom-com movies and copied over and over, it never really invented the game in the first place. However, it did perfect it.

Read our review of Kwak Jae-yong's My Sassy Girl on Asian Movie Pulse at the link in the comments below and let us know what you think of the film!

https://asianmoviepulse.com/2020/11/film-review-my-sassy-girl-2001-by-kwak-jae-yong/

The Isle

Perhaps South Korean director Kim Ki-duk knew the kind of backlash a project such as “The Isle,” or “Seom,” which is the film’s original title, would have to face internationally. Even though audiences and critics understood the artistic quality of the film, for example, when it was screened at the Venice Film Festival. In his review of the film, acclaimed critic Roger Ebert wrote: ”This is the most gruesome and queasy-inducing film you are likely to have seen. You may not even want to read the descriptions in this review.” For these reasons, its depictions of violence and instances of animal cruelty, the film achieved a certain notoriety over the years.

Read our review of Kim Ki-duk's The Isle on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2019/09/film-review-the-isle-2000-by-kim-ki-duk/

Double Tap

The Hong Kong action movie has a distinctive love of guns since the evolution of the genre brought about by the “Heroic Bloodshed” genre from the mid to late 1980’s. Bullets would be fired in slow motion, with two-handed gunplay exhibiting an almost fetishistic coolness by the leads as the screen would turn crimson. “Double Tap” would be the ultimate extension of this with its central characters obsessing over the speed and accuracy of their weaponry. The first of a loose trilogy featuring Alex Fong’s policeman Miu Chi-shun, it is the action movie as psychodrama.

Read our review of Bruce Law's Double Tap on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/03/film-review-double-tap-2000-by-bruce-law/