Pride and Glory
Edward Norton and Colin Farrell are New York policemen and brothers-in-law and Jon Voight is Norton’s father and top detective for Manhattan. The story starts with a disastrous drug bust in which four police are slain, then pits family loyalties against propriety with an ethnic Irish angle. For these compromised, feuding men, there’s no genuinely happy ending; dare it be said that the title of the film is meant to be ironic? Lukewarm reviews carped about the familiarity of it all, though a strong lineup should attract the faithful. Either way, the bluster of Pride and Glory only reinforces the contention that the opening half hour of World Trade Center remains the most credible portrayal of NYC cops in recent years.
Big Stan
Rob Schneider stars, directs and flogs anal rape humor for all it’s worth in this comedy eventually set in a prison. Schneider is a real estate shyster who gets jail time, but not before undergoing a course in self-defense from The Master (David Carradine). Unreleased in the US (a shame, because a Roger Ebert review of the film would have been a corker), though it’s been wandering through European and Asian territories for a year looking for a home. Now it’s Taiwan’s turn, presumably thanks to the modest success of You Don’t Mess With The Zohan, which was made later. The elegant Chinese title of the film (“Fierce Men Rape Prison”) should snare exactly the local audience Schneider is looking for.
The Women
Meg Ryan, Annette Bening, Jada Pinkett Smith, Bette Midler, Candice Bergen, Cloris Leachman, Carrie Fisher, to name a few ... what a cast. The relationships of four friends — with each other and the unseen men in their life — are the basis for a very loose remake of the George Cukor favorite from 1939, itself based on a hit play. This post-Sex and the City, Taiwanese-financed yarn is being marketed as having no male actors whatsoever, which might have worked in the 1930s, but it all seems a little desperate today, and a lot of critics were unimpressed. Still, watching the films back to back might offer a fascinating exercise in how women’s mores have changed — and stayed the same — over 70 years, at least in Hollywood’s eyes (but can you imagine Joan Crawford doing a tampon gag?). Directed by Diane English, a writer-producer of Murphy Brown.
Quarantine
Apparently there is yet to be a simultaneous release of a non-English-language film and its English-language remake (though 1931’s Dracula and a Spanish-language cover with the same title were shot over the same period in the same studio), but Quarantine has gone some way toward making this possible. A quickly produced stateside version of the Spanish zombie flick [Rec], which was released here only five months ago, this version follows the leader and tries to scare and disorientate in equal measure as a building’s residents succumb to a horrifying virus — but the survivors can’t get out. What needs to be asked is how many more shakycam epics will be made before the plug is finally pulled on this audience-unfriendly gimmick.
The Wave
A teacher in Germany launches a sociological experiment in his class that spreads, gets out of hand and sets the dogs of fascism loose for a new era. Critics sniffed at the obviousness of some of the moralizing, but the film’s momentum and intriguing premise — based on a real experiment conducted in a California high school in 1967 — sound like something that would happen if Jane Elliott of The Eye of the Storm fame lost control of her campaign to destroy racism and prejudice and ignited an iris race war. It’s interesting to contemplate what Taiwanese schoolkids would make of this film, not to mention the tantalizing ramifications of a “green versus blue” experiment in local classrooms — were it not for the suffocating conservatism of Taiwan’s education system.
A Job to Kill For
In a week of too many new releases and an Ingmar Bergman festival, it’s a mystery why this Canadian made-for-cable entry from 2006 would be dressed up as a cinema product and expected to capture market share. But if the idea of a humorless boardroom version of To Die For by veteran TV director Bill Corcoran (21 Jump Street, Wiseguy) grabs you, rush to catch this one before it disappears in a week or so. Sean Young (a long way from Blade Runner) is an executive whose new female assistant really wants a promotion.
Taiwan Association for Human Rights Film Festival
Lots of good titles are featured in this timely showcase, including Let Him Have It from the UK, Small Soldiers on the child soldiers of Liberia and works on state terror relating to Taiwan, Cambodia, North Korea, Tibet and Chile, among others, as well as indigenous issues. All screenings are free, so get down to the Eslite bookstore on Dunhua South Road (tomorrow and Sunday) and the Chinese Taipei Film Archive (from Monday through next Saturday) in Taipei and the Kaohsiung Film Archive (Dec. 21 to Dec. 31). More details at udhr60.twbbs.org.
Nov. 11 to Nov. 17 People may call Taipei a “living hell for pedestrians,” but back in the 1960s and 1970s, citizens were even discouraged from crossing major roads on foot. And there weren’t crosswalks or pedestrian signals at busy intersections. A 1978 editorial in the China Times (中國時報) reflected the government’s car-centric attitude: “Pedestrians too often risk their lives to compete with vehicles over road use instead of using an overpass. If they get hit by a car, who can they blame?” Taipei’s car traffic was growing exponentially during the 1960s, and along with it the frequency of accidents. The policy
Hourglass-shaped sex toys casually glide along a conveyor belt through an airy new store in Tokyo, the latest attempt by Japanese manufacturer Tenga to sell adult products without the shame that is often attached. At first glance it’s not even obvious that the sleek, colorful products on display are Japan’s favorite sex toys for men, but the store has drawn a stream of couples and tourists since opening this year. “Its openness surprised me,” said customer Masafumi Kawasaki, 45, “and made me a bit embarrassed that I’d had a ‘naughty’ image” of the company. I might have thought this was some kind
What first caught my eye when I entered the 921 Earthquake Museum was a yellow band running at an angle across the floor toward a pile of exposed soil. This marks the line where, in the early morning hours of Sept. 21, 1999, a massive magnitude 7.3 earthquake raised the earth over two meters along one side of the Chelungpu Fault (車籠埔斷層). The museum’s first gallery, named after this fault, takes visitors on a journey along its length, from the spot right in front of them, where the uplift is visible in the exposed soil, all the way to the farthest
The room glows vibrant pink, the floor flooded with hundreds of tiny pink marbles. As I approach the two chairs and a plush baroque sofa of matching fuchsia, what at first appears to be a scene of domestic bliss reveals itself to be anything but as gnarled metal nails and sharp spikes protrude from the cushions. An eerie cutout of a woman recoils into the armrest. This mixed-media installation captures generations of female anguish in Yun Suknam’s native South Korea, reflecting her observations and lived experience of the subjugated and serviceable housewife. The marbles are the mother’s sweat and tears,
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