This Week in Rankings

The 2017 Seattle International Film Festival came to an end earlier this week, and that’s where most of my writing has been since the last update. Here’s an Index of all I wrote about the festival. Here at The End, I wrote about Michael Hui’s The Contract and Tsui Hark and Sammo Hung’s Once Upon a Time in China and America. At Seattle Screen Scene I wrote about Pang Ho-cheung’s Love Off the Cuff, Derek Hui’s This is Not What I Expected, and discussed Hong Sangsoo’s Claire’s Camera and The Day After. I also put together a list of The 25 Best Films of the 21st Century, because I guess that’s what we’re all doing this week.

These are the movies I’ve watched or rewatched over the last few weeks, and where they place on my year-by-year rankings.

Love and Duty (Bu Wancang) – 8, 1931
An Autumn Afternoon (Yasujiro Ozu) – 1, 1962
At Long Last Love (Peter Bogdanovich) – 4, 1975
The Contract (Michael Hui) – 5, 1978
Drunken Master (Yuen Woo-ping) – 11, 1978

The Empire Strikes Back (Irvin Kershner) – 1, 1980
The Dead and the Deadly (Wu Ma) – 27, 1982
Brainstorm (Douglas Trumbell) – 29, 1983
Chungking Express (Wong Kar-wai) – 1, 1994
Heat (Michael Mann) – 4, 1995

Fallen Angels (Wong Kar-wai) – 6, 1995
Once Upon a Time in China and America (Sammo Hung) – 32, 1997
Frozen (Jennifer Lee & Chris Buck) – 52, 2013
January (Jhon Hernandez) – 85, 2014
Blackhat (Michael Mann) – 6, 2015

Baahubali: The Beginning (SS Rajamouli) – 10, 2015
Manifesto (Julian Rosefeldt) – 93, 2015
The Peanuts Movie (Steve Martino) – 96, 2015
The Beautiful Kokonor Lake (Shen Xinghao) – 138, 2015
Yourself and Yours (Hong Sangsoo) – 4, 2016

Dawson City: Frozen Time (Bill Morrison) – 13, 2016
By the Time It Gets Dark (Anocha Suwichakornpong) – 20, 2016
Bad Black (Nabwana IGG) – 36, 2016
Nocturama (Bertrand Bonello) – 72, 2016
Godspeed (Chung Mong-hong) – 76, 2016
My Journey through French Cinema (Bertrand Tavernier) – 80, 2016

The Girl Without Hands (Sébastien Laudenbach) – 89, 2016
Soul on a String (Zhang Yang) – 100, 2016
A Dragon Arrives! (Mani Haghighi) – 106, 2016
Baahubali: The Conclusion (SS Rajamouli) – 1, 2017
Columbus (Kogonada) – 4, 2017

Claire’s Camera (Hong Sangsoo) – 5, 2017
Landline (Gillian Robespierre) – 8, 2017
A Ghost Story (David Lowery) – 10, 2017
The Day After (Hong Sangsoo) – 11, 2017
This is Not What I Expected (Derek Hui) – 12, 2017
Person to Person (Dustin Guy Defa) – 13, 2017

Love Off the Cuff (Pang Ho-cheung) – 14, 2017
Mr. Long (Sabu) – 15, 2017
The Little Hours (Jeff Baena) – 16, 2017
Have a Nice Day (Liu Jian) – 17, 2017
Napping Princess (Kenji Kamiyama) – 18, 2017

God of War (Gordon Chan) – 20, 2017
Vampire Cleanup Department (Chiou Sin-hang & Yan Pak-wing) – 21, 2017
Pendular (Júlia Murat) – 22, 2017
The Reagan Show (Sierra Pettengill & Pacho Velez) – 23, 2017
Wind River (Taylor Sheridan) – 25, 2017
Cook Up a Storm (Raymond Yip) – 27, 2017

SIFF 2017 Index

This is an Index of my coverage of the 2017 Seattle International Film Festival. All the writing was at Seattle Screen Scene.

Full Reviews:

Cook Up a Storm (Raymond Yip, 2017)
Vampire Cleanup Department (Yan Pak-wing & Chiu Sin-hang, 2017)
Mr. Long (Sabu, 2017)

Capsule Reviews:

Dawson City: Frozen Time (Bill Morrison, 2016)
My Journey through French Cinema (Bertrand Tavernier, 2016)
Manifesto (Julian Rosefeldt, 2015)
God of War (Gordon Chan, 2017)
Landline (Gillian Robespierre, 2017)
Wind River (Taylor Sheridan, 2017)
The Little Hours (Jeff Baena, 2017)
Have a Nice Day (Liu Jian, 2017)
Columbus (Kogonada, 2017)


The Frances Farmer Show #12: SIFF 2017 Part One


SIFF 2017: Week One Preview
SIFF 2017: Week Two Preview
SIFF 2017: Week Three Preview
SIFF 2017: Week Four Preview 


SIFF 2017 Rankings

The 25 Best Films of the 21st Century

The Times started this earlier this week, and like I’ve said, I’m unable to resist the call to list making. For the past few years, when one of these comes out I get annoyed that mainstream critics’ list don’t contain enough Chinese films, and that the ones they do list are the most boring, obvious choices. The Times list has three, which considering they only list 25 movies, isn’t a bad ratio, and only one of them is In the Mood for Love or Yi yi, which is nice. I haven’t done an actual best of the century list for awhile, so here it goes. One film per director, but with no more than three other titles by them I think are great listed as an aside.


1. The New World (Terence Malick, 2005)
Also: The Tree of Life, Knight of Cups, Song to Song


2. Millennium Mambo (Hou Hsiao-hsien, 2001)
Also: Three Times, Flight of the Red Balloon, The Assassin


3. Oki’s Movie (Hong Sangsoo, 2010)
Also: The Day He Arrives, Hill of Freedom, Yourself and Yours


4. Running on Karma (Johnnie To & Wai Ka-fai, 2003)
Also: My Left Eye Sees Ghosts, Exiled, Don’t Go Breaking My Heart 2


5. Tropical Malady (Apichatpong Weerasethakul, 2004)
Also: Blissfully Yours, Syndromes and a Century, Uncle Boonmee Who Can Recall His Past Lives


6. Mulholland Dr. (David Lynch, 2001)
Also: Inland Empire


7. La Commune (Paris 1871) (Peter Watkins, 2000)


8. Oxhide II (Liu Jiayin, 2009)
Also: Oxhide, 607


9. Certified Copy (Abbas Kiarostami, 2010)
Also: Like Someone in Love


10. Crouching Tiger, Hidden Dragon (Ang Lee, 2000)


11. 2046 (Wong Kar-wai, 2004)
Also: In the Mood for Love, My Blueberry Nights, The Grandmaster


12. The Midnight After (Fruit Chan, 2014)


13. Sita Sings the Blues (Nina Paley, 2008)


14. Love Exposure (Sion Sono, 2008)
Also: Suicide Club, Tokyo Tribe


15. It Felt Like a Kiss (Adam Curtis, 2009)
Also: The Century of the Self, The Power of Nightmares, The Trap


16. The Missing Picture (Rithy Panh, 2013)


17. Paterson (Jim Jarmusch, 2016)
Also: The Limits of Control, Only Lovers Left Alive


18. Linda Linda Linda (Nobuhiro Yamashita, 2005)
Also: La La La at Rock Bottom


19. Miami Vice (Michael Mann, 2006)
Also: Ali, Public Enemies, Blackhat


20. La danse (Frederick Wiseman, 2009)
Also: At Berkeley, National Gallery, In Jackson Heights


21. Baahubali (SS Rajamouli, 2015 & 2017)


22. Mountains May Depart (Jia Zhangke, 2015)
Also: Platform, Still Life, The Hedonists


23. Los Angeles Plays Itself (Thom Andersen, 2003)
Also: Get Out of the Car, The Thoughts that Once We Had


24. 35 Shots of Rum (Claire Denis, 2008)
Also: Friday Night, L’Intrus, Bastards


25. Goodbye, Dragon Inn (Tsai Ming-liang, 2003)
Also: What Time is it There? Stray Dogs, Journey to the West

The Contract (Michael Hui, 1978)


I guess the BBC asked a bunch of people for their top ten comedy lists. They didn’t ask me, but as I’m completely incapable of resisting the siren call of list-making, I made one anyway and put this film in at the bottom, ahead of favorites like Trouble in Paradise, Annie Hall, The Princess Bride, The Awful Truth, City Lights, The Philadelphia Story, Wheels on Meals, Kung Fu Hustle, Ishtar, most of which I eliminated for generic purity reasons (romantic comedy vs comedy), and Airplane!, which I forgot and therefore invalidates the whole list. I wanted to include a Michael Hui movie purely for propagandistic reasons: he simply isn’t as well known in the West as he should be, and this is, I think, his best film. For about a decade from the mid-70s to the mid-80s, Michael Hui almost single-handedly resurrected Cantonese cinema as it was about to be swamped by the Shaw Brothers’ Mandarin language productions, while at the same time adapting the vaudevillian traditions of American comedy to modern Hong Kong, paving the way on the one hand for the Hong Kong New Wave, Jackie Chan, Sammo Hung and Yuen Woo-ping and on the other for Stephen Chow and Wong Jing.

Michael stars with his brothers Ricky and Sam (himself a major Cantonese pop star). He works at a TV studio (MTV – the M is for “mouse”), trying to find a breakthrough role that will make him a star, but his clumsiness and general idiocy tend to make a mess of things whenever he gets to perform (as a background dancer, as an archery target). When a rival studio (TVC – the C is for “cat”) offers him a job as a game show host, he finds that he’s signed an awful eight-year contract with MTV which he then attempts to steal, eliciting Ricky’s help to crack the safe where it’s stored. The last half of the film is mostly an extended chase sequence, as Michael flees from the Bond-villain-esque henchmen of the studio head while also trying to free Ricky from inside the safe (it’s complicated). Sam gets involved as a magician aspiring to a TV contract whose assistant/sister is in love with Ricky and who is being tormented by an already-established TV magician.

The film is essentially a series of set-piece gags inspired by the classics: Harold Lloyd climbing a building, Charlie Chaplin trapped in an out-of-control machine, Buster Keaton having a wall fall on him, alongside Network-level satire on the nature of corporate television, biting, absurd and completely unpretentious. Before moving into films, Michael had worked on TV as both a game show host and the Hui Brothers’ extremely successful sketch comedy/variety show (imagine a Cantonese Laugh-In), and there’s a pure love of performance that leavens the film’s harder edges (the Let’s Make a Deal-inspired game show Michael hosts is Verhoevean in its cruelty, but Michael’s joy in finally being on center stage is irresistible nonetheless). His other films (Games Gamblers Play, The Private Eyes, Security Unlimited) are more anarchic, more misanthropic (while Chicken and Duck Talk on the other hand is much more conventional, with a warm mainstream heart), but The Contract captures best that lunatic balance the performer must maintain: the desperate desire to please an audience for which they have utter contempt.

Once Upon a Time in China and America (Sammo Hung, 1997)


I will never not think it’s hilarious that Sammo Hung and Tsui Hark stole Jackie Chan’s dream project idea for a kung fu Western and used it to make a sixth Once Upon a Time in China movie. I bet he’s still mad about it. I haven’t seen Shanghai Noon, but I have no doubt it’s glossier, better acted, and much, much worse than this. That this was the last project for both Sammo and Tsui before they too arrived in America is surely no accident, and I suppose Jackie got his revenge by both inspiring the producers of Sammo’s TV series Martial Law to add Arsenio Hall to the cast in order to recreate the Rush Hour dynamic, and also by making a ton of money. But on the other hand: Sammo never had to work with Brett Ratner, so he’s probably still ahead.

Totally abandoning any kind of logical chronology, Wong Fei-hung (with Jet Li returning in the role), 13th Aunt and Clubfoot (now named “Seven”) are in America to visit Buck-Toothed So, who has opened an American branch of Po Chi Lam for Chinese workers in Fort Stockton, which might be a made up place, though there is a Fort Stockton in West Texas, I suspect it would take more than ten days to get there by stagecoach from San Francisco by OUATIC travel time (where it takes three days to get from Hong Kong to Guangzhou (it takes two hours today). The last film ended after the Boxer Rebellion failed, which would mean this one would take place more than a year after that (So was still in China in that film), so at least 1903. But the Fort Stockton we find is a relic from 30 to 40 years earlier, if for no other reason than that the Chinese Exclusion Act, barring immigration from China, was passed in 1882.

It’s clear that Wong hasn’t so much journeyed to America, as he’s journeyed into a Western. The characters and setting aren’t historical, they’re versions of cinematic history. It’s not real Indians he finds, but movie Indians: first attacking a stagecoach for no reason, then adopting the amnesiac Wong into their peace-loving tribe, Pocahontas-style. Throwing Wong Fei-hung into a Western completely destabilizes it, his moral vision reforming Billy the Kid into an upright pillar of the community, an immigrant-friendly mayor while his speeches do little for his own community, putting the laborers, led by Richard Ng and Patrick Lung Kong, to sleep. The villains in the film are the racist white establishment, led by the corrupt mayor, local law enforcement (the kindly sheriff) is sympathetic yet powerless in the face of greed and anti-Chinese sentiment. That the film’s final villain (a bank robber hired by the mayor) is ethnically ambiguous, sporting Fu Manchu eyebrows and beard and deadly ninja star spurs, is surely no accident: what Wong conquers is not so much racism as a version of Hollywood racism, the Yellow Peril monster of America’s id.

The final fight is striking: seven Chinese men set up to be legally lynched, incidentally rescued by the betrayed criminal gang in their quest for revenge on the mayor. Wong and his men defeat the villains of course. But after the fight is over: 13th Aunt arrives with the friendly Indians who had adopted Wong: a cavalry appearance too late to save anyone, but a nice gesture nonetheless. Wong though, refuses to recognize them: even Wong Fei-hung forgets the Indians.

This Week in Rankings

Since the last rankings update, I wrote here about Zhang Yimou’s Hero and at Seattle Screen Scene about The Lost City of ZFree Fire, Your Name.Queen of the Desert, and Song to Song. I’ve got the Hong Sangsoo section of The Chinese Cinema completed, but for the part that explains what Hong Sangsoo is doing in a project called “The Chinese Cinema”. Rather than write that, I’ve been working on the Tsui Hark chapter, which is somewhere over 25,000 words long.

These are the movies I’ve watched or rewatched over the last few weeks, and where they place on my year-by-year rankings.

The Wizard of Oz (Victor Fleming) – 8, 1939
Mambo Girl (Yi Wen) – 16, 1957
The Wild, Wild Rose (Wong Tin-lam) – 11, 1960
The June Bride (Tang Huang) – 18, 1960
The Incredible Journey (Fletcher Markle) – 30, 1963

Star Wars (George Lucas) – 2, 1977
Teppanyaki (Michael Hui) – 39, 1984
Chicken and Duck Talk (Clifton Ko) – 23, 1988
Tricky Brains (Wong Jing) – 22, 1991
Wicked City (Peter Mak) – 51, 1992

Happy Together (Wong Kar-wai) – 6, 1997
She and Her Cat (Makoto Shinkai) – 37, 1999
In the Mood for Love (Wong Kar-wai) – 3, 2000
Hero (Zhang Yimou) – 1, 2002
The Smile (Makoto Shinkai) – 48, 2003

A Bittersweet Life (Kim Jeewoon) – 14, 2005
5 Centimeters per Second (Makoto Shinkai) – 4, 2007
Ace Attorney (Takashi Miike) – 21, 2012
The Garden of Words (Makoto Shinkai) – 24, 2013
Happy Hour (Ryusuke Hamaguchi) – 10, 2015

Bad at Dancing (Joanna Arnow) – 87, 2015
Queen of the Desert (Werner Herzog) – 122, 2015
Paterson (Jim Jarmusch) – 1, 2016
Your Name. (Makoto Shinkai) – 13, 2016
Shin Godzilla (Hideaki Anno) – 18, 2016

Rogue One (Gareth Edwards) – 36, 2016
The Lost City of Z (James Gray) – 50, 2016
See You Tomorrow (Zhang Jiajia) – 75, 2016
Free Fire (Ben Wheatley) – 103, 2016
Song to Song (Terrence Malick) – 3, 2017
Beauty and the Beast (Bill Condon) – 7, 2017

Hero (Zhang Yimou, 2002)


There’s a little making-of featurette on the Miramax DVD of Hero[1] that has some decent interviews with the cast and crew along with some breathless Hollywood narration. Maggie Cheung, Tony Leung and Donnie Yen speak impeccable English, which makes one wonder what might have been if Hollywood wasn’t so racist and dumb, while Ching Siu-tung sports some questionably-dyed hair and Christopher Doyle complains about the lack of bars in the remote deserts of Western China. After the usual rigamarole about shooting challenges and directorial perfectionism, someone asked Zhang Yimou what he thought the film was about, which he either answered honestly or deftly dodged by asserting that what he wanted people to take from the film, long after they’ve forgotten the plot, are the memories of certain images: two women in red fighting among swirling yellow leaves, two sorrowful men flying and dueling on a lake as still as a mirror, a sky of black arrows, a desert moonscape haunted by lonely figures in white. Taken at his word, he undoubtedly succeeded: Hero builds upon the aestheticization of wuxia begun with Ashes of Time and made popular by Crouching Tiger, Hidden Dragon: it’s undeniably beautiful. His two follow-up films, House of Flying Daggers and Curse of the Golden Flower are as well, but where the former luxuriates in the irrational melodrama of tragic romance and the latter is consumed by the emptiness at the heart of its own baroque decadence, there’s a reticence to Hero, a by-product of its episodic structure, narrative instability and potentially repellent politics.

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