Neighbors
Mean, nasty, tasteless, gross, lewd and loud are all words that can be applied to the latest comedy from Nicholas Stoller (Forgetting Sarah Marshall) and star Seth Rogen. What it is, nevertheless, is uproariously funny. The gross out jokes come fast and furious, and although the pacing is sometimes a bit wobbly, there is a level of visual inventiveness that makes Neighbors refreshing. With a running time of just 96 minutes, the film is a miracle of tight scripting and editing, and there is a depth to the characters that is unusual in this type of movie. Rogen and Rose Byrne are Mac and Kelly, new parents who go to war against the college fraternity that have moved in next door. They have great chemistry as the thirtysomethings anxious to do right by their daughter, look cool in front of the kids and still get invited to party like they used to. Head of the frat pack is Zac Efron as Teddy, a sweet-natured lunk who just loves to party, and the conflict of prank and counter prank is both amusing and awful, and if you don’t walk out in disgust, you will probably be paralytic with laughter.
Kill Your Darlings
Even if the Beat generation and the poets and intellectuals who led the movement are not your cup of tea, Kill Your Darlings, with its sumptuous presentation of period detail ranging from the clothes to the ideas, is still a hugely appealing adventure. It starts out as a murder mystery, and the fundamentals of a thriller are all in place, but at the same time, it seeks to explore the value of the Beat ideology. Unlike Walter Salles’s recent adaptation of On The Road, it does not take the genius of Allen Ginsberg, Jack Kerouac and William Burroughs for granted. There are some splendid performances, most notably by Daniel Radcliffe as a young Ginsberg, who has well and truly put the world of Harry Potter behind him and shows real fire in creating the character of the idiosyncratic poet. The debut feature by John Krokidas, the film is inclined to flail and trash about in coming to grips with its themes, but the vibrant energy of the story seems to echo the jazz-inflected and freewheeling notes of Beat poetry and transcend the usual biopic limitations to tell a bigger story.
One Minute More (只要一分鐘)
Based on a novel by the Japanese author Harada Maha, One More Minute is the second venture between producer Khan Lee (李崗) and director Chen Weiling (陳慧翎), following on the success of The Moonlight in Jilin (吉林的月光). The duo are perfectly happy with heavily melodramatic material, but while Moonlight had some dramatic heft, here they allow the drama to degenerate into sloppy sentimentalism. The story centers on Wanchen (played by Janine Chang, 張鈞甯), an ambitious editor at a fashion magazine who inadvertently adopts a labrador puppy. The dog takes up more and more of her affection until the opportunity of her dream job brings a sharp jolt of reality. Her relationship with her boyfriend (played by Peter Ho, 何潤東) is tested, and when the dog becomes ill, the filmmakers want the audience to be reaching for the kleenex. Both leads are veterans of TV and film, but the story and treatment are all overly indulgent. The cuteness of the canine might make up for this among animal lovers.
A Lady in Paris
A mousy, middle-aged caretaker travels from the Baltics to Paris to look after a cantankerous old woman in Estonian filmmaker Ilmar Raag’s A Lady in Paris. This intimate film about the relationship between two women, one a prickly, elderly Estonian (Jeanne Moreau) who doesn’t want anyone to look after her in her adopted home country, much less a woman from her long-abandoned place of birth, the other a carer who both transforms herself and her charge during the course of the film (Laine Magi). It has only the thinnest of storylines, and is carried mainly by Moreau’s immense charisma. The two leading ladies build up an interesting chemistry, and Raag maintains a classic formality in the gradual revelations about Moreau’s character, particularly why she seeks a self-imposed exile away from Estonia, but these a too slight to make much impact. Finely crafted, A Lady in Paris can be enjoyed for the technical perfection of its construction, but provides little in the way of dramatic power.
Transcendence
Debut feature by Wally Pfister, a veteran cinematographer who has worked closely with Christopher Nolan and has a track record that includes such groundbreaking work as Batman Begins, The Dark Knight and Inception. Transcendence has echoes of Inception in its blurring of reality and fantasy, though it never quite manages to be as dynamically involving, despite, or because of, an often annoying Johnny Depp and a script that is so mind-bogglingly clunky that even an outstanding supporting cast that includes the likes of Paul Bettany and Morgan Freeman cannot save it. The concept of the film is fascinating, centered on the character of Will Caster (Depp), who is working toward his goal of creating an omniscient, sentient machine and becomes the target of a radical anti-technology organization. Unfortunately, this man vs machine drama feels more mechanical than human.
That US assistance was a model for Taiwan’s spectacular development success was early recognized by policymakers and analysts. In a report to the US Congress for the fiscal year 1962, former President John F. Kennedy noted Taiwan’s “rapid economic growth,” was “producing a substantial net gain in living.” Kennedy had a stake in Taiwan’s achievements and the US’ official development assistance (ODA) in general: In September 1961, his entreaty to make the 1960s a “decade of development,” and an accompanying proposal for dedicated legislation to this end, had been formalized by congressional passage of the Foreign Assistance Act. Two
President William Lai’s (賴清德) March 13 national security speech marked a turning point. He signaled that the government was finally getting serious about a whole-of-society approach to defending the nation. The presidential office summarized his speech succinctly: “President Lai introduced 17 major strategies to respond to five major national security and united front threats Taiwan now faces: China’s threat to national sovereignty, its threats from infiltration and espionage activities targeting Taiwan’s military, its threats aimed at obscuring the national identity of the people of Taiwan, its threats from united front infiltration into Taiwanese society through cross-strait exchanges, and its threats from
Despite the intense sunshine, we were hardly breaking a sweat as we cruised along the flat, dedicated bike lane, well protected from the heat by a canopy of trees. The electric assist on the bikes likely made a difference, too. Far removed from the bustle and noise of the Taichung traffic, we admired the serene rural scenery, making our way over rivers, alongside rice paddies and through pear orchards. Our route for the day covered two bike paths that connect in Fengyuan District (豐原) and are best done together. The Hou-Feng Bike Path (后豐鐵馬道) runs southward from Houli District (后里) while the
March 31 to April 6 On May 13, 1950, National Taiwan University Hospital otolaryngologist Su You-peng (蘇友鵬) was summoned to the director’s office. He thought someone had complained about him practicing the violin at night, but when he entered the room, he knew something was terribly wrong. He saw several burly men who appeared to be government secret agents, and three other resident doctors: internist Hsu Chiang (許強), dermatologist Hu Pao-chen (胡寶珍) and ophthalmologist Hu Hsin-lin (胡鑫麟). They were handcuffed, herded onto two jeeps and taken to the Secrecy Bureau (保密局) for questioning. Su was still in his doctor’s robes at
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