Favorite films

  • Gremlins 2: The New Batch
  • Late Spring
  • Raining in the Mountain
  • Sleep Has Her House

Recent activity

  • Star Wars: Episode III - Revenge of the Sith


  • Terminator 2: Judgment Day


  • The Day After


  • Titanic: The Final Word with James Cameron


Recent reviews

  • The Young Master

    The Young Master


    Striking sophomore directorial effort from Chan here. Haven't seen his debut, Fearless Hyena, yet but it's fascinating to see the groundwork laid for his proclivities: the speechifying (most films), the kung fu punishment (most films) and prideful, immature comedy giving way to unhinged freak outs (end of Police Story). It's the rare Chan film, at least among those I've seen, that feels almost narratively complete – in that it basically resolves itself, as opposed to being so jammed packed with…

  • Hidden Letters

    Hidden Letters


    Contributed this on In Review Online for its Tribeca Film Festival 2022 coverage. Check it out here or below:

    Among the slighter entries in the Tribeca line-up is Violet Du Feng and Zhao Qing’s simultaneously debut and sophomoric documentary, Hidden Letters. Taking as its subject the language of nǚ shū (女书, literally “female script/letters”), a provincial spoken and written form of communication that emerged among wives and concubines over the course of several centuries in China’s later dynastic eras and…

Popular reviews

  • Wife of a Spy

    Wife of a Spy


    Really interesting how the digital filmmaking here sits in contrast to its use of classical techniques (i.e. blocking, backlights, very set bound). It's a tension wherein the digital textures re-inforce and -double the whole theme of the constructed nature of images and identity. Everybody's caught up in and pushing against another's story (e.g. the nation's, the military's, a spy's, a wife's). Of course, the real centre of this is Satoko and Yusaka's mutual efforts to insert or remove her from…

  • Zack Snyder's Justice League

    Zack Snyder's Justice League


    Tarnished visions, lost films and abandoned or otherwise destroyed cuts are not unusual occurrences in the history of cinema. Erich von Stroheim’s Greed, Sergei Eisenstein’s ¡Que viva México! and Ivan the Terrible, Part III, or almost any project of Orson Welles’ following The Magnificent Ambersons speak to the consequences that might await filmmakers whose ambitions stray to close to the sun or come up against the wariness of studios and producers who see a bottom line threatened by artistic largesse.…