The legend of Sweeney Todd lives on in Asian cinema. From an Indian slum Little Red Riding Hood spin-off to an expose of a Hong Kong-based serial killer, directors all across Asia have wrestled with cutting-edge attempts at filming a subject as old as civilization itself: butchery. We’ve collected here some of the most notable films on the subject. Some are grimy, some are gruesome, and yet some are simply gory; the meat of the matter is though, almost all of these films wield a sharp political edge layered underneath all the bone and gristle. Take caution as you peruse this sensational list. You may never see your pork bun the same way ever again. And btw, the +1 refers to “Untold Story”, a film that is about butchering, but on a whole different level.
*You can read the full reviews of the titles in the list by clicking on...
*You can read the full reviews of the titles in the list by clicking on...
- 7/7/2020
- by AMP Group
- AsianMoviePulse
Following “Durian Durian” at a short distance, “Hollywood Hong Kong” is billed as the second instalment of the Prostitute Trilogy. A personal favourite, the film has a playfulness and a blend of comedy, sleaze, horror and Cat III flavours that make it rather different from the more realistic previous one. In fact, the only evident similarity is the protagonist being a Mainland prostitute working in Hong Kong to make money to fulfill her dream.
“Hollywood Hong Kong” is screening at Five Flavours Asian Film Festival
“Hollywood Hong Kong” is staged in a very precise place and time. The story unfolds in the Village of Tai Hom, a small Hong Kong shantytown in the Kowloon area that was being evacuated due to impending regeneration of the area, right when Chan was filming. In stark contrast with the low-rise of the low-life of Tai Hom, a complex of Shopping Centre and 5 classy apartment blocks annex,...
“Hollywood Hong Kong” is screening at Five Flavours Asian Film Festival
“Hollywood Hong Kong” is staged in a very precise place and time. The story unfolds in the Village of Tai Hom, a small Hong Kong shantytown in the Kowloon area that was being evacuated due to impending regeneration of the area, right when Chan was filming. In stark contrast with the low-rise of the low-life of Tai Hom, a complex of Shopping Centre and 5 classy apartment blocks annex,...
- 10/26/2019
- by Adriana Rosati
- AsianMoviePulse
Rabid, and Clive Barker's Nightbreed are just a couple of films in the lineup for Shout! Factory TV's 5 Nights of Fear. Prepare thyself. Also in today's Horror Highlights: a new Beistle Cat special edition pin from Creepy Co., details on Horror Movie Night podcast's fundraiser to raise money for FamilyStrong4ALS, and Jasmine release details.
Shout! Factory TV's Five Nights of Fear Details: Press Release: "Scream Factory™ is celebrating five years of fear with the special screening event 5 Nights of Fear airing on Shout! Factory TV. In celebration of the now-iconic horror brand’s fifth anniversary, Scream Factory will present nightly screenings of cult favorite films Nightbreed, Bad Moon, The Exorcist III, Hellhole, and Rabid. 5 Nights of Fear will air from Monday, June 12 through Friday, June 16 each evening at 10 p.m. Et/7 p.m. Pt at http://www.shoutfactorytv.com/, and on Pluto TV Channel 512.
On Monday, the terrifying celebration...
Shout! Factory TV's Five Nights of Fear Details: Press Release: "Scream Factory™ is celebrating five years of fear with the special screening event 5 Nights of Fear airing on Shout! Factory TV. In celebration of the now-iconic horror brand’s fifth anniversary, Scream Factory will present nightly screenings of cult favorite films Nightbreed, Bad Moon, The Exorcist III, Hellhole, and Rabid. 5 Nights of Fear will air from Monday, June 12 through Friday, June 16 each evening at 10 p.m. Et/7 p.m. Pt at http://www.shoutfactorytv.com/, and on Pluto TV Channel 512.
On Monday, the terrifying celebration...
- 6/9/2017
- by Tamika Jones
- DailyDead
Tagline: "He Loved Here." Indican Pictures will release the Hong Kong thriller Jasmine, throughout the Summer. Along with appearances in several film festivals, Jasmine will show in Los Angeles, at the Laemmle Theatres. In July, the film will be available on DVD and Video-on-demand. Jasmine is a tale of revenge as one man seeks vengeance on whomever killed his wife. Events spiral out of control, with Leonard (Jason Tobin) forced to confront the truth. Jasmine also stars: Byron Mann (The Big Short), Eugenia Yuan (Memoirs of a Geisha), Sarah Lian and Glen Chin. More release details, for Jasmine, are hosted here. The trailer shows Leonard confronting a mysterious man. Both characters appear at his wife's murder site. But, who is this other man? Leonard pursues him, in order to discover his identity and the truth surrounding his wife's murder. Jasmine is an international award winner. Appearing at dozens and dozens of film festivals,...
- 6/8/2017
- by noreply@blogger.com (Michael Allen)
- 28 Days Later Analysis
This second installment in Hong Kong director Fruit Chan's "prostitute trilogy" -- the first was "Durian Durian", which played at Venice last year -- is lucid and free-flowing. The story, scripted by Chan, shows the havoc a girlish prostitute from mainland China wreaks on an overweight family in Hong Kong. It's a sharp, deceptively casual look at how immigrants from China are influencing Hong Kong daily life four years after the territory's return to Chinese rule. "Hollywood Hong Kong" screened recently in the main competition at Venice.
The film's neorealist approach, coupled with the current fascination for all things Asian, should interest art house distributors in the West. Chan's name, meanwhile, should guarantee sales in such upscale Asian markets as Japan and South Korea.
The story unfolds in Hong Kong's last shantytown, a rough-and-tumble place in the shadow of a newish development called Hollywood Plaza. Chu (Glen Chin) and his two sons run a small business roasting pork. Their life is humdrum, with their prize pig Mama -- whom they resemble in size -- providing the only entertainment. The family is befriended unexpectedly by a happy-go-lucky Shanghai prostitute, Tong Tong ("Suzhou River"'s Zhou Xun), whose girlish innocence brings joy into their lives.
The first hour sees Tong Tong ingratiate herself effortlessly into Chu's clan. She befriends the father and youngest son and sleeps with the older brother -- as well as their neighbor Wong, a would-be pimp. Then things turn much nastier. Tong Tong reveals that she is underage and hires a crooked lawyer to blackmail the two boys with a claim of statutory rape.
Performances are nicely understated. Although sex comes into the picture, Tong Tong mainly brings excitement and affection into the family's life. Even when it's clear that she's blackmailing them, they are slow to anger and prefer to let the situation ride. In fact, the three very fat, almost immobile lads seem impervious to anything.
The point of the film is to show how immigrants from China are bringing small-scale chaos to the lives of Hong Kongers. Pre-1997, modern Hong Kong was an influence on developing China. But now the vast, economically powerful motherland is changing Hong Kong. As the film makes clear, people rather than politics are influencing the territory. Economic migrants are bringing disorder from China and upsetting the balance of Hong Kong life.
The film is shot through with Chan's customary black humor. The comedy is more integrated than in previous works, though a body-disposal scene seems out of place. Bearing in mind the amount of comment that previous tampon-hurling and shit-throwing scenes aroused, it's tempting to conclude that Chan cheekily included this scene to irritate conservative viewers.
HOLLYWOOD HONG KONG
Capitol Films
Nicetop Independent Ltd. and Hakuhodo
A Movement Pictures Media Suits
and Nicetop Independent Ltd. production
in association with Golden Network Asia
Producers: Christine Ravet, Doris Yang, Kei Haruna, Sylvain Bursztejn, Fruit Chan
Director-screenwriter: Fruit Chan
Executive producers: Carrie Wong, Kimi Kobata, Sharon Harel
Director of photography: O Sing-Pui
Art director: Oliver Wong
Music: Lam Wah-chuen, Chu Hing-cheung
Costume designer: Jessie Dai
Editor: Tim Sang-fat
Color/stereo
Cast:
Tong Tong: Zhou Xun
Boss Chu: Glen Chin
Wong: Wong You-nam
Ming: Ho Sai-man
Running time -- 108 minutes
No MPAA rating...
The film's neorealist approach, coupled with the current fascination for all things Asian, should interest art house distributors in the West. Chan's name, meanwhile, should guarantee sales in such upscale Asian markets as Japan and South Korea.
The story unfolds in Hong Kong's last shantytown, a rough-and-tumble place in the shadow of a newish development called Hollywood Plaza. Chu (Glen Chin) and his two sons run a small business roasting pork. Their life is humdrum, with their prize pig Mama -- whom they resemble in size -- providing the only entertainment. The family is befriended unexpectedly by a happy-go-lucky Shanghai prostitute, Tong Tong ("Suzhou River"'s Zhou Xun), whose girlish innocence brings joy into their lives.
The first hour sees Tong Tong ingratiate herself effortlessly into Chu's clan. She befriends the father and youngest son and sleeps with the older brother -- as well as their neighbor Wong, a would-be pimp. Then things turn much nastier. Tong Tong reveals that she is underage and hires a crooked lawyer to blackmail the two boys with a claim of statutory rape.
Performances are nicely understated. Although sex comes into the picture, Tong Tong mainly brings excitement and affection into the family's life. Even when it's clear that she's blackmailing them, they are slow to anger and prefer to let the situation ride. In fact, the three very fat, almost immobile lads seem impervious to anything.
The point of the film is to show how immigrants from China are bringing small-scale chaos to the lives of Hong Kongers. Pre-1997, modern Hong Kong was an influence on developing China. But now the vast, economically powerful motherland is changing Hong Kong. As the film makes clear, people rather than politics are influencing the territory. Economic migrants are bringing disorder from China and upsetting the balance of Hong Kong life.
The film is shot through with Chan's customary black humor. The comedy is more integrated than in previous works, though a body-disposal scene seems out of place. Bearing in mind the amount of comment that previous tampon-hurling and shit-throwing scenes aroused, it's tempting to conclude that Chan cheekily included this scene to irritate conservative viewers.
HOLLYWOOD HONG KONG
Capitol Films
Nicetop Independent Ltd. and Hakuhodo
A Movement Pictures Media Suits
and Nicetop Independent Ltd. production
in association with Golden Network Asia
Producers: Christine Ravet, Doris Yang, Kei Haruna, Sylvain Bursztejn, Fruit Chan
Director-screenwriter: Fruit Chan
Executive producers: Carrie Wong, Kimi Kobata, Sharon Harel
Director of photography: O Sing-Pui
Art director: Oliver Wong
Music: Lam Wah-chuen, Chu Hing-cheung
Costume designer: Jessie Dai
Editor: Tim Sang-fat
Color/stereo
Cast:
Tong Tong: Zhou Xun
Boss Chu: Glen Chin
Wong: Wong You-nam
Ming: Ho Sai-man
Running time -- 108 minutes
No MPAA rating...
This second installment in Hong Kong director Fruit Chan's "prostitute trilogy" -- the first was "Durian Durian", which played at Venice last year -- is lucid and free-flowing. The story, scripted by Chan, shows the havoc a girlish prostitute from mainland China wreaks on an overweight family in Hong Kong. It's a sharp, deceptively casual look at how immigrants from China are influencing Hong Kong daily life four years after the territory's return to Chinese rule. "Hollywood Hong Kong" screened recently in the main competition at Venice.
The film's neorealist approach, coupled with the current fascination for all things Asian, should interest art house distributors in the West. Chan's name, meanwhile, should guarantee sales in such upscale Asian markets as Japan and South Korea.
The story unfolds in Hong Kong's last shantytown, a rough-and-tumble place in the shadow of a newish development called Hollywood Plaza. Chu (Glen Chin) and his two sons run a small business roasting pork. Their life is humdrum, with their prize pig Mama -- whom they resemble in size -- providing the only entertainment. The family is befriended unexpectedly by a happy-go-lucky Shanghai prostitute, Tong Tong ("Suzhou River"'s Zhou Xun), whose girlish innocence brings joy into their lives.
The first hour sees Tong Tong ingratiate herself effortlessly into Chu's clan. She befriends the father and youngest son and sleeps with the older brother -- as well as their neighbor Wong, a would-be pimp. Then things turn much nastier. Tong Tong reveals that she is underage and hires a crooked lawyer to blackmail the two boys with a claim of statutory rape.
Performances are nicely understated. Although sex comes into the picture, Tong Tong mainly brings excitement and affection into the family's life. Even when it's clear that she's blackmailing them, they are slow to anger and prefer to let the situation ride. In fact, the three very fat, almost immobile lads seem impervious to anything.
The point of the film is to show how immigrants from China are bringing small-scale chaos to the lives of Hong Kongers. Pre-1997, modern Hong Kong was an influence on developing China. But now the vast, economically powerful motherland is changing Hong Kong. As the film makes clear, people rather than politics are influencing the territory. Economic migrants are bringing disorder from China and upsetting the balance of Hong Kong life.
The film is shot through with Chan's customary black humor. The comedy is more integrated than in previous works, though a body-disposal scene seems out of place. Bearing in mind the amount of comment that previous tampon-hurling and shit-throwing scenes aroused, it's tempting to conclude that Chan cheekily included this scene to irritate conservative viewers.
HOLLYWOOD HONG KONG
Capitol Films
Nicetop Independent Ltd. and Hakuhodo
A Movement Pictures Media Suits
and Nicetop Independent Ltd. production
in association with Golden Network Asia
Producers: Christine Ravet, Doris Yang, Kei Haruna, Sylvain Bursztejn, Fruit Chan
Director-screenwriter: Fruit Chan
Executive producers: Carrie Wong, Kimi Kobata, Sharon Harel
Director of photography: O Sing-Pui
Art director: Oliver Wong
Music: Lam Wah-chuen, Chu Hing-cheung
Costume designer: Jessie Dai
Editor: Tim Sang-fat
Color/stereo
Cast:
Tong Tong: Zhou Xun
Boss Chu: Glen Chin
Wong: Wong You-nam
Ming: Ho Sai-man
Running time -- 108 minutes
No MPAA rating...
The film's neorealist approach, coupled with the current fascination for all things Asian, should interest art house distributors in the West. Chan's name, meanwhile, should guarantee sales in such upscale Asian markets as Japan and South Korea.
The story unfolds in Hong Kong's last shantytown, a rough-and-tumble place in the shadow of a newish development called Hollywood Plaza. Chu (Glen Chin) and his two sons run a small business roasting pork. Their life is humdrum, with their prize pig Mama -- whom they resemble in size -- providing the only entertainment. The family is befriended unexpectedly by a happy-go-lucky Shanghai prostitute, Tong Tong ("Suzhou River"'s Zhou Xun), whose girlish innocence brings joy into their lives.
The first hour sees Tong Tong ingratiate herself effortlessly into Chu's clan. She befriends the father and youngest son and sleeps with the older brother -- as well as their neighbor Wong, a would-be pimp. Then things turn much nastier. Tong Tong reveals that she is underage and hires a crooked lawyer to blackmail the two boys with a claim of statutory rape.
Performances are nicely understated. Although sex comes into the picture, Tong Tong mainly brings excitement and affection into the family's life. Even when it's clear that she's blackmailing them, they are slow to anger and prefer to let the situation ride. In fact, the three very fat, almost immobile lads seem impervious to anything.
The point of the film is to show how immigrants from China are bringing small-scale chaos to the lives of Hong Kongers. Pre-1997, modern Hong Kong was an influence on developing China. But now the vast, economically powerful motherland is changing Hong Kong. As the film makes clear, people rather than politics are influencing the territory. Economic migrants are bringing disorder from China and upsetting the balance of Hong Kong life.
The film is shot through with Chan's customary black humor. The comedy is more integrated than in previous works, though a body-disposal scene seems out of place. Bearing in mind the amount of comment that previous tampon-hurling and shit-throwing scenes aroused, it's tempting to conclude that Chan cheekily included this scene to irritate conservative viewers.
HOLLYWOOD HONG KONG
Capitol Films
Nicetop Independent Ltd. and Hakuhodo
A Movement Pictures Media Suits
and Nicetop Independent Ltd. production
in association with Golden Network Asia
Producers: Christine Ravet, Doris Yang, Kei Haruna, Sylvain Bursztejn, Fruit Chan
Director-screenwriter: Fruit Chan
Executive producers: Carrie Wong, Kimi Kobata, Sharon Harel
Director of photography: O Sing-Pui
Art director: Oliver Wong
Music: Lam Wah-chuen, Chu Hing-cheung
Costume designer: Jessie Dai
Editor: Tim Sang-fat
Color/stereo
Cast:
Tong Tong: Zhou Xun
Boss Chu: Glen Chin
Wong: Wong You-nam
Ming: Ho Sai-man
Running time -- 108 minutes
No MPAA rating...
- 10/4/2001
- The Hollywood Reporter - Movie News
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