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Ultraman vs. Kamen Rider

A special retrospective of the two franchises, with segments making comparisons between the different characters, their weapons, powers and so forth. The final segment of the special is the short film "Super Battle: Ultraman vs Kamen Rider" The main characters, Ultraman and Kamen Rider 1 appear on the scene separately, each fighting an original kaijin and kaiju. When the two monsters are nearly defeated, they merge into a more powerful kaiju. Ultraman experiences trouble and calls for Kamen Rider 1's help. Kamen Rider 1 is then able to grow to enormous size to fight alongside Ultraman.

Ultraman vs. Kamen Rider

8.3 1993
Jackie Chan: My Stunts

Jackie Chan: My Stunts shows some of the tricks of the trade that Jackie and his stunt team utilize to perform their stunts. This is not an endless gag reel of stunts gone wrong, but an in depth look at how timing and camera placement can make or break a shot. Jackie will show you what is done to enhance fights and protect the stuntmen from getting injured. Of course, if the character you are portraying is wearing shorts and a tank top, you just have to get hurt!

Jackie Chan: My Stunts

7.2 1999
The Invincible Fighter: The Jackie Chan Story

The setting is Hong Kong and the hero of the film is Jackie Chan. This documentary chronicles the life and entertainment career of the star of Hong Kong action films. Archival photographs and the personal recollections of family and friends paint a portrait of the private life of the film star. Clips from movies, such as Top Fighter and Rush Hour, as well as the television series Jackie Chan's Adventures show the martial artist's prowess and skill. Interviews with Chanand his colleagues give viewers an inside look at how some of the stunts are set up and carried out, as they put the action in action films.

The Invincible Fighter: The Jackie Chan Story

NR 1996
The Written Face

In Japanese theater, women's roles are traditionally played by men. The man playing the woman's role, the Onnagata, does not imitate the woman, as in the West, but tries to capture her significance. He need not stick close to his model, but draws far more from his own identity - a shift of value takes place, which is nonetheless not a step beyond. THE WRITTEN FACE is an attempt to offer an insight into the Japanese Kabuki star Tamasaburo Bando, one of the last defenders of this ancient and disappearing performing tradition.

The Written Face

8.0 1995
Sunless Days

Director Shu Kei travelled to Venice, Canada, London and Hong Kong, collecting accounts of the Tiananmen impact. Among his interviewees are: award-winning Taiwanese filmmaker Hou Hsiao-hsien; Hong Kong director Alfred Cheung, a witness to the massacre; actress Deanne Ip, whose national consciousness is fired by the event; as well as his own brothers, one who soon migrates from Hong Kong, and the other, already an Australian emigre. Their personal testimonies are pieced together into a mural of the Chinese people united in their horror and outrage.

Sunless Days

7.0 1990
1966, My Time in the Red Guards

More preoccupied with "history" than Wu's other works, My Time in the Red Guards is a record of his fascination with the missed moment, Mao's Cultural Revolution. In 1966, the Red Guards ironically represented the official avant-garde, a movement carried forward by youth determined to become heroes of the Revolution. Wu interviews people who had joined the Red Guards as high schoolers, most now successful professionals, some Party members. The miscalculations and cruelties of this extreme cultural campaign are spread out before us, detailed by personal recollection and further illustrated by old agit-prop newsreels. Misgivings and fond remembrance vie for position as the interviewees seem to confuse the nostalgia of youthful action with the excesses of historical fact.

1966, My Time in the Red Guards

5.0 1993
The New God

After producing several experimental video art pieces, Tsuchiya first came to prominence with A New God, a personal documentary shot on video about his relationship with a right-wing, neo-nationalist punk rock band. Even though Tsuchiya is on the left, he ended up marrying the singer for that band, Karin Amamiya, who has since emerged as a spokesperson for disaffected Japanese youth in the media. The New God won an award at the 1999 Yamagata International Documentary Film Festival.

The New God

6.1 1999
Yang ± Yin: Gender in Chinese Cinema

An exploration of Chinese cinema and its relationships with gender and sexuality, which the film argues has been more frankly and provocatively explored than in any other national cinema. Utilizing both film excerpts and interviews with many leading directors and academics, the film examines topics such as male bonding in kung fu movies, depictions of same-sex bonding and physical intimacy, the emphasis on women's grievances in melodramas, and the career of Yam Kim-Fai, a Hong Kong actress who spent her life portraying men on and off the screen.

Yang ± Yin: Gender in Chinese Cinema

5.2 1998
My New Friends

Tsai interrupted his pre-production for The River to make this pioneering documentary for Taiwan's nascent AIDS-awareness campaign. Ignoring instructions to 'play down the gay angle', he centres the film on his own very candid conversations with two HIV+ young men. Sadly the identities of the interviewees have to be concealed, and so the freewheeling camerawork focuses most often on Tsai himself; but the sense of rapport between the director and his 'new friends' is palpable and very moving, even to Western viewers already only too familiar with these issues.

My New Friends

5.5 1995
Death Files: Mediums and the Dead

This horror documentary thoroughly covers various psychic phenomena together with a psychic. The film follows the ship Oite, which lies at the bottom of the Truk Island's atoll, and an esoteric Buddhist monk takes on the case of the slaughter of a beautiful mother and daughter in Sasebo, and helps the soul of a 60 year old man who died in an unforeseen accident in Thailand. An interview with the cameraman is also included as an extra in the new version.

Death Files: Mediums and the Dead

4.0 1992
A

Roughly chronological, from 3/96 to 11/96, with a coda in spring of 1997: inside compounds of Aum Shinrikyo, a Buddhist sect led by Shoko Asahara. (Members confessed to a murderous sarin attack in the Tokyo subway in 1995.) We see what they eat, where they sleep, and how they respond to media scrutiny, on-going trials, the shrinking of their fortunes, and the criticism of society. Central focus is placed on Hiroshi Araki, a young man who finds himself elevated to chief spokesman for Aum after its leaders are arrested. Araki faces extreme hostility from the Japanese public, who find it hard to believe that most followers of the cult had no idea of the attacks and even harder to understand why these followers remain devoted to the religion, if not the violence.

A

5.9 1998