Frank Miller and Robert Rodriguez’s Sin City is pretty ugly. What do I mean by that oxymoron? Just imagine watching a dog eats your flesh, but in a black and white silhouette comical style. Sin City is disgustingly violence, yet aesthetically elegance at the same time. Watching this film is like pumping doses of adrenaline rush into my system, and my eyes are nailed to the screen for two hours straight.

Even before the first scene appears, the title sequence is striking. While the typography travels stylistically in and out of the screen, the fusion of techno and jazz added both hip and elegancy into the motion. The film then opens with a gorgeous black and white shot where a woman is standing on the balcony. The back of her dress is the only element lid in red. The soothing jazz groove in the background enhances the noir atmosphere. But the calming scene does not last for long before the film takes viewers on a much more chaotic ride where heroes, whores, blood, breasts, guns, thongs, bondages, classic cars, and much more to be discovered in Sin City.

The structure of Sin City reminds me of Aimee Phan’s book, We Should Never Meet. The three mesmerizing tales unfolded on their own, but with a clever and subtle connection between the three. They all work together beautifully. Although the casts have short screen time, they hold up the pace well. Devon Aoki is a lovely addition to the bunch. She is cute, and she kicks ass. Quentin Tarantino is credited as a special guest director. It isn’t hard to tell which part he has contributed since he is obsessed with martial arts. Beside the stories and the casts, the special effects and the cinematography are exceptional. From a designer point of view, the level of details and the juxtaposition angles are invigorating.

Aside from the misogyny – I don’t take joy in beating up women, especially from the hero and the cop – Sin City is an amazing work of art. Unless you have no taste in computer-generated motion graphics, don’t miss the aesthetic experience. It is a fantastic escapism.

In a nutshell, two of the most powerful people in Forbidden City are the emperor and whomever he loves. As a result, women would not only do anything to win his heart but also destroy anyone who gets in their way, and that is War and Beauty.

The four women who responsible for keeping the long television series engaging are Sharen Tang, Maggie Cheung, Charmaine Sheh, and Gigi Lai. Their exceptional performances stay with viewers even after the film is ended. We love them, hate them, pity them, but cannot forget them. Beside beauty, each woman left something for us to remember her by. Yu Fei (Sharen Tang) is strong, smart, and unapologetic. Although her emotional expressions are written all over her face, what she has in mind is not easy to predict. Whether being good or evil, she is never unconvincing. Onn Sin (Maggie Cheung) is kind-hearted, intelligent, and highly witty; therefore, she became the most beloved concubine. Yee Shun (Charmaine Sheh) is elegant, quiet, and cleverly wicked. Her evilness is forgivable because who would want to hurt that calm and rare beauty? Yuk Ying (Gigi Lai) appears to be a pretty girl with no brain on the surface, but deep down she is calculated and knows exactly what she is doing. As these four girls plotting their ways to the top, we get to know their personality and understand why they become heartless.

Beside the performances, the script is close to perfect. The tightly structured writing leaves no room for these actresses to wipe their tears. As soon as a scheme is wrapping up, another one occurs. The biggest flaw, however, is the emperor’s role. They have done a great job of keep him off the screen for the first quarter, but then he comes in. I wonder if it is possible that he would never appear. Let the viewers be the emperor. It’s more exotic to have these beautiful girls trying to seduce me, the viewer, instead of the old man.

Of course, the film would not be complete without the soundtrack and costumes. The theme song, which consists of traditional instruments and a humming voice from a female vocalist, is dramatic, eerie, and haunting. The track floats like a ghost passing through Forbidden City leaving me goose bums. The traditional costumes are aesthetically beautiful. They are rich in detail with great color combination and looking fabulous on these gorgeous women.

Although War and Beauty is a traditional film, a little use of technology would not hurt, but enhances the experience. The 3D modeling of Forbidden City is well built and the transition effect from one place to another is fantastic. It gives viewers a sense of how big the palace is. The entire film takes place in the palace, but there are more than enough picturesque scenes to dazzling the viewers’ eyes. Beside, who would pay attention to the scenes when our eyes are glued to the girls?

Fifteen years ago, a movie theater in My Tho, Viet Nam was consisted of wooden benches, a 13″ TV and a VCR. At that time, Chinese TV series took over the Viet Nam entertainment. Despite the ghetto style, the theater was always packed. On the inside, the place was filled with audiences. On the outside, it was filled with peepers, including myself. The art of watching a film through a crack with one eye was an interesting experience. I could not afford the tickets, and my parents also banned me from watching the addictive Chinese TV series because I was not concentrating on my schoolwork.

As a peeper, I could not watch a film in peace. I had to look out for securities at the same time. Although I was a fast runner, I was caught many times because I was drawn into the fighting scenes and forgot to pay attention. One of my favorite series was Han So Tranh Hung, which based on a legendary historical era at the end of the “Tan” Dynasty where rivals fought to be in power. Names like Luu Bang, Hang Vu, Han Tin, and Truong Luong are still puzzled in my head because I was not sure who was who. Watching a film through a hole and on the run was not helping at all.

Recently, I come across Han So Ba Vuong (The Conqueror’s Story), which also based on the same tale as Han So Tranh Hung. The new series is fresher with magnificent actors including Trinh Thieu Thu (Luu Bang), Giang Hoa (Hang Vu), and Truong Kha Di (Lu Chi). The film has cleared up much confusion I had fifteen years ago. I am now understand each legend and his or her role.

Luu Bang was uneducated, horny, and afraid of death; however, his caring, loving, and devoting characters gained him respect from the people, and they would do anything for him. Luu Bang is played by Trinh Thieu Thu who captured those characters through his skillful fluctuating acting. He is an actor that could go deep inside his role.

On the flip side, Hang Vu was an educated man, enthusiastic monogamist, and an undefeatable commander in battle. Unfortunately his flaming temper and frankness turned many people away from him. Giang Hoa is an actor that is always appear to be cool even under pressure, yet he gave a powerful performance as Hang Vu, who is heartless on the outside, but full of emotion on the inside.

Lu Chi was a woman who had high ambitions. Her goal was to help her husband conquered China and she accomplished it with Luu Bang, who had no talent at all. Her mesmerizing beauty combines with her intelligent mind made her one of the most dangerous women of her time, and Truong Kha Di’s expressive performance captured the essence of those characteristics exquisitely.

The film features a handful of eminent roles such as Truong Luong, Han Tinh, Ngu Co. With a fascinating storyline, incredible performances, and excellent artistic visions (custom design, cinematography, and choreography), Han So Ba Vuong is worth watching. Although the series is long, the pace is moving along smoothly. The film took me a whole weekend to finish, but I am glad it is not a waste of time.

Please not: The Conqueror’s Story is a Chinese TV series, but I write all the names in Vietnamese.

When two guys get together on a trip, what else are on their minds? Even if two gay men get together, they would find two more gay men to screw. Alexander Payne’s Sideways takes viewers on a road trip to visit California wineries with two best friends Miles (Paul Giamattie) and Jack (Thomas Haden Church). Before Jack is getting married, his mission is getting himself and his buddy some booties. Jack knows his lines with the ladies and Miles knows his wines inside out. Isn’t that a perfect combination?

Beside the tight chemistry between Giamattie and Church, the scripting is “tighter than a nun’s asshole!” – as Miles describes a new pinot noir. His descriptive lines through tasting wines make him sounds like a great critic. The best lines are when he explains to Maya (Virginia Madsen) the delicacy of pinot noir grape, which reflects him personality. In response, Madsen gives an emotional and most convincing answer for why she loves wine – the liveliness of it that is.

Sideways has its a laughable scenes as well as serious moments. The pacing of the film is just right and the story is compelling. Alexander Payne once again perfecting his character creation by casting the perfect roles for his film. Paul Giamatti is flawless as Miles in this film just like Jack Nicholson as Schmidt in Payne’s earlier film About Schmidt. Virginia Madsen and Thomas Haden Church are no less impressive in their roles.

By now everyone would probably heard enough compliments on the visual elements of Zhang Yimou’s House of Flying Daggers; therefore, I don’t need to slap any more paints on his canvas. Similar to his previous film, Hero, the images are extraordinary. Unfortunately, the story is ordinary compare to the complexity of Hero. In fact, the love triangle is typical for any Chinese film.

Zhang Ziyi, plays Mei, is the engine that drives the film. The moment she is introduced on screen, the attention is on her. Her rare beauty takes the pain and the exhaustion away from Jin (Takeshi Kaneshiro) and Leo (Andy Lau) who try to kill each other during the final duel. And yes! She is worth fighting for even when the weather changes from the gorgeous spring sunshine to the nasty winter blizzards. Zhang’s performance is superior even though she bears too much skin for a traditional Chinese film.

As for Jin (not Ruff Riders’ Jin) and Leo characters, the two actors should have switched their roles. Andy Lau could have given a greater performance as Leo than Takeshi Kaneshiro. Lau is an experienced actor who can express his emotions to the fullest, and Jin would fit him perfectly. Kaneshiro is undoubtedly a handsome guy and he is good, but does not have the charisma that Lau has.

Despite the cheesy storyline, House of Flying Daggers is still entertaining. Both the creative “echo game” and the innovative “bamboo battle” will provide viewers an aesthetic experience. Furthermore, any film directed by Zhang Yimou is guaranteed to be beautiful.

Similar to many Hong Kong TV series, Nguoi Da Ba Yeu Duoi starts off smoothly for the first few chapters, then begins to drag the whole way through. Until the director, Minh Duc Liem, realizes the film has been running way too long, he decided to wrap up quickly on the last chapter.

Not only the production is sloppy, the writing is way off the track. The main character, Ngoc played by Tran Kim Ngan, is so unreal. She is so strong in the beginning, but becomes weaker and weaker as the film proceeds. Her performance is not persuasive at all.

Mrs. Loi (Minh Duc), who takes Ngoc in to be her daughter, is horrible. I want to slap some fairness judgments out of her. Instead of controlling her own kids, she allows them to abuse Ngoc then expresses her apology for what her kids did. When she dies, I feel glad rather than sorry, and she is supposed to be a nice character.

In contrast, Tieu Phung plays a wonderful job as Loc, a wicked daughter, wife, and sister. She only cares about herself. The ways she abuses Ngoc makes me want to smack her; however, she is likable because of her attractive appearance. Speaking of beautiful, Vo Ngoc Ha and Kim Khanh add some pretty faces to the film but their supporting roles aren’t standing out.

If Tieu Phung were not in the series, I would not finish watching the whole thing. She has dominated the film even though she is only a supporting actress. The timing, the writing, and most of the performers are not strong enough to hold up the series.

Is being pretty and poor a sin? Yes! According to Ho Ngoc Xum’s Con Nha Ngheo, a TV series based on Van Ho Bien Chanh novel of the same title. Luu (Bao Chau) is a beautiful but poor lady who was raped and abandoned by Hai Nghia (Thanh Hoang), son of a rich and powerful family. Sounds familiar? Even though the storyline is nothing new, Ho Ngoc Xum has done a great job of keeping the series short and to the point; therefore, the pace does not drag on forever like a soap opera.

“Sau con mua troi lai sang (after a heavy rain, the sun shines again).” After the first dramatic opening with the rape and the injustice, the film moves viewers toward a brighter side of life. The lunch scene on the rice field makes me want to leave this cold place and go back to live a simple life. The husband works on the rice field. The wife brings him a simple lunch. They gather together with the son eating ca kho (braised fish in caramel sauce) and cucumbers with rice. It’s just a perfect life. Simple but filled with happiness.

The performances are simple and natural. Bao Chau is beautiful and Minh Dat is handsome. Together, they are an ideal couple and the chemistry between them is perfect. Le Vu Cau, Minh Phuong and Thanh Hoang have done fantastic jobs as supporting roles. Hong Van is a great comedy actress, but not so convincing in a serious role. I must give her credit for taking on a challenge that is not her usual style.

The only negative aspect of Gai Nha Ngheo, as well as other Vietnamese TV series, is the dubbing. Why don’t they use the actors’ real voice? Hong Van sounds so unnatural with someone else’s voice, especially when I am so used to her high-pitched vocals. Other than that, the film is entertaining. A great time killer for our grandmas.

Two compelling computer generated motion pictures are running neck-to-neck at the box office. Fortunately each targets a slightly different audience. While The Polar Express is pure fantasy, The Incredibles contains a bit of real life situation.

I am feeling the spirit of Christmas already from watching The Polar Express. Not only the high-end computer animation blows me away but Tom Hanks also has done a marvelous job of providing the voices to the characters. As the train takes the kids to the South Pole, The Polar Express takes viewers on a magical roller coaster with its astonishing digital effects. The best part is when the ticket flows off the train, travels around the striking visual sceneries, and makes its way back into the train. The whole process is imaginative. The hot chocolate serving scene, where the waiters dancing, singing, and pouring the drinks, is both creative and fun.

I should have taken Samantha to watch The Polar Express instead of The Incredibles. She could not sit still for two hours even I provided her popcorns and drink. She went from sitting on her own seat to lying down on my lap. It doesn’t mean that The Incredibles is not incredible. It aims more toward older kids and adults. Of course, Pixel’s CG animation is nothing less than superior. On top of the mind-boggling action packed scenes, the terrific writing is what holds the film together. Every family has its own problem and the superhero is no exception. In the beginning the superhero kids (Dash and Violet) are fussing with each other but when trouble comes, they unite and help one another. With the family’s special superpower combined, they conquered their most dangerous enemy (the robot). Pixar studios have once again pushed their work to the limit with this film.

Both movies are highly recommended for family entertainment but if you have any five years old or under, you might not get to enjoy The Incredibles much. I had to make three trips during the movie to buy popcorn, buy drink, and take Samantha to the restroom. Still glad that I get to spent time with her, my adorable Sammy. Felt badly that I couldn’t take little Eric along. He was standing at the glass window watching us leave.

Zhang Yimou’s Hero is a master work of art. Naturally, the martial art is spectacular and the cinematography is visually gorgeous; however, what strikes me the most is the intriguing storyline. My jaw dropped at the end of the film. It’s such a clever piece of writing with an inspiring philosophy behind it. To be honest, I can’t think of anything to write down without spoiling it. So you will have to take my word for it and find out for yourself. Either you’ll get it or you don’t. Apparently, some Western audiences don’t get it.

In term of visual effects, Hero has plenty of them and I just love the way they play with colors and color schemes. Noticeably, the outfits from the characters compliment the scenes surrounding them. I’ve always been inspired by use of bright and rich colors by the Chinese art and this film is no exception. As far as computer-generated effects, the rain of arrows is quite impressive. Furthermore, the battle between Nameless (Jet Li) and Broken Sword (Tony Leung) is just amazing, especially the water drop effect.

In term of characters, Tony Leung gives an outstanding performance as a highly respectable swordsman. He has convinced me with his multidimensional talent. Zhang Ziyi is as striking beautiful as always and Jet Li is pretty much Jet Li.

If you love Crouching Tiger, Hidden Dragons, you’ll adore Hero. If you enjoy martial arts and visual stimulations, you’ll appreciate Hero. As for my recommendation, I urge you to pay close attention to the storyline. So bookmark this page, go enjoy the experience then come back here and we’ll discuss.

Wow! Asian dude finally kisses a gorgeous girl and gets some sexual attentions on the big screen. Harold and Kumar Go to White Castle is the door opening for Asian American actors to Hollywood. John Cho and Kal Penn had demonstrated their ability to play the roles of getting stoned as believable as Method Man and Redman without having to act hardcore.

I am not a big fan of teenage comedy films because of some over exaggerated silly jokes and this one is no exception; however, Harold and Kumar Go to White Castle has touched lightly upon some serious issues about race in America. The White guys pick on the Asian guys; the racist cop harasses the minorities; the Black guy gets lock up for being Black. Even though these subjects are nothing new in Hollywood, they are interesting to see from the Asian American point of view.

Both John Cho and Kal Penn give an excellent performance. The chemistry between Cho and Penn helps holding up the comedy. The best line is when Kuma licks Harold’s face, “I have to try some gay shit to see if you wake up.” There is a funny and clever setup line by Harold, “Did Doogie Howser just steal my car?” Later on, Harold revisits the question with “Dude! Where is My Car?” which references to the director’s (Danny Leiner) first movie. Speaking of reference, there is also a citing of “Better Luck Tomorrow.”

Even though this film has some obnoxious humors such as the “Battleshits”, it has stands above most of the comedies this summer, especially teenage movies. This is also an important film for Asian Americans as we are stepping up into the big screen as lead roles without having to use Kung Fu.