This is a movie with a simple plot, if you can call it a “plot”. It’s more of an examination, a look-in on the life of an interesting and sad character. This is a movie about a woman named Songlian, who is sent to an early twentieth-century harem to be a concubine to the rich landlord. It’s simple enough. There’s no real plot in terms of beginning, middle, and end. It is mostly a documentary of her life—and her decline—as she struggles with the hostility of such an objectified existence. Continue reading
Riding Alone for Thousands of Miles (2005)
Of all Yimou Zhang’s films of the last decade, the best is Riding Alone for Thousands of Miles. For some strange reason, this movie never gained the traction that some of his other films have made. From the dramas of the early nineties (like Raise the Red Lantern and To Live) to the martial arts films of the 2000s (like House of Flying Daggers and Hero), Zhang’s popular films are well known. But a mid-2000s contemporary drama? Not as much. Ultimately, Zhang’s best work has been in period pieces. In Riding Alone for Thousands of Miles, he has never been more modern. Continue reading
The Road Home (1999)
The Road Home is Yimou Zhang’s sweetest film. It introduced another person with the Zhang surname (as far as I’m aware, they are not related), the beautiful and talented Ziyi Zhang. Ziyi Zhang might be the most recognized Chinese actress in the world, with such roles as those in The Grandmaster, Crouching Tiger, Hidden Dragon, House of Flying Daggers, and Memoirs of a Geisha under her belt. But, her role in this movie will always be my favorite of hers. It is Ziyi Zhang at her youngest, playing a child caught up in childish things. Continue reading
To Live (1994)
In light of my recent case study on the anthropological benefits of watching Yimou Zhang movies, I will now review the four Yimou Zhang films that appear in my list of the 555 greatest movies. In order to maintain consistency and help this blog make sense, I will try to remain focused on the anthropological elements that were discussed in the chapter that introduced this section. However, I will also dabble a little in the usual banalities: we will examine what makes these movies so great as movies, independent of whatever cultural elements they might introduce to us. With that being said, it is important to retain in our minds the entire argument that I put forward in the case study: a movie is great when it causes us to connect with the mind of its maker. When the movie’s auteur is precise with his decisions, and takes care of his story, its images and characters, then a movie is great. I submit that not only do Zhang’s movies give us good culture, they film the culture in such a way that we can connect with it, and, by extension, with him. Continue reading
Harakiri (1962)
If you are a fan of action films, you may get tired of all the elitists that spew hate at you for your tastes. Maybe, you can’t stand dramas because they bore you, or because you don’t like watching things that make you sad or uncomfortable. You may just want all the movie critics like me to stop bugging you about what movies we like—unless, of course, we want to talk more about the movies that you like (so long as we aren’t mean about it). I understand. But what if a movie critic such as I decided to recommend a film that I thought that maybe you’d like? Would you watch it? Would you trust me? Continue reading
Rashomon (1950)
Seven Samurai and The Samurai Trilogy catapulted the rest of the world into the newest craze in international cinema in 1954. But, before they were winning Academy Awards in the United States and filling up art house theaters in New York and London, a movie called Rashomon had lifted the veil off the eyes of the world and onto Japanese cinema. At no point in history had a film from Japan sent such waves worldwide, asking pertinent questions that bridged cultures and borders while simultaneously embracing elements of cinema that touched all who watched. If there ever was movie, other than Citizen Kane, that demanded study, it was Rashomon. Continue reading
Ranking and Analyzing the Marvel Cinematic Universe (as of May 2015)
As I always do, I am taking a quick break from my current curriculum to have some fun. With the release of Avengers: Age of Ultron a couple weeks ago, as well as the season finale of Marvel’s Agents of S.H.I.E.L.D.: Season Two just days ago, I have decided to indulge myself and whomever else would like to join me as we talk Marvel.
Of course, this is the Film Sage, not Cinema Blend or ScreenCrush. Which means that we first have to address some observations and analyses that I have made of this popular genre. Then, I’ll try to rank the Marvel Cinematic Universe (or, MCU) for your reading pleasure.
#20. “Marvel One-Shot: The Consultant” (2011)
What may surprise some people, but what certainly won’t surprise the die-hard MCU fan, is that Marvel Studios has made more than just movies and TV shows. They have also dabbled in short films. You also may not be surprised to see that these short films will all show up on the bottom of this list.
#19: “Marvel One-Shot: Item 47” (2012)
Perhaps the most unique and original of the Marvel One-Shots is “Item 47”, the story of Benny and Claire, who find the last remaining piece of Chitauri weaponry after S.H.I.E.L.D.’s clean-up of the Battle of New York in The Avengers. Benny, who has figured out how to use the weapon, is convinced by Claire, his girlfriend, to use it to get them rich. From there ensues a fun montage of bank heists that show that the pair is amateurish at best, but finding success using this unparalleled piece of weaponry. Continue reading
#17: “Marvel One-Shot: All Hail the King” (2014)
Perhaps the most funny of the Marvel One-Shots, “All Hail the King” features one of the MCU’s most funny characters, Trevor Slattery (played by Ben Kingsley).
A Slice of Cake 