People Tell Me I Look Like Han Solo.
Wednesday, April 29, 2009
DVD Pick: JCVD
JCVD was one of the best movies I saw last year, but as I mentioned in my initial review from the Toronto Film Festival, my history with Jean-Claude Van Damme’s movies during my early years as a m
ovie geek sort of predisposes me to liking it (as does my love of meta-humour), so while your mileage with this very odd, very ambitious film may vary, I personally love it, and it just came out on DVD in North America this week.
The film is about Jean-Claude Van Damme (playing himself), a washed-up Belgian action star whose glory days are long behind him, and he now scrapes by making cheesy action flicks for barely-interested schlock directors while trying to win back custody of his daughter. If this all sounds a little too real, that’s because it is – not even Van Damme’s battles with drug addiction are off-limits in this movie, and much of the drama going on the life of his “character” is drawn directly from Van Damme’s real-life trials and tribulations. He returns to his home country of Belgium, where he’s still very famous (as a Canadian, the idea that even though he’s considered a joke almost everywhere else in the world, hometown pride wins out, really resonates; Bryan Adams is still a huge star here), where he unwittingly gets caught up in the robbery of a post office-slash-bank. Due to a miscommunication with the police, they come to believe that Van Damme is actually one of the robbers, which in turn sets off a media frenzy.
I love JCVD largely because it feels like a film made just for me. It stars a has-been actor having fun with his reputation and iconography (there’s a scene where he grudgingly re-enacts a famous bit from one of his movies, and it’s utterly hilarious), is filled with self-referential jokes, and has a lot of things to say about fame and the media. It also looks great – young director Mabrouk El Mechri really has a great eye, and I’d love to see what he does next – and, in the biggest surprise of all, proves that Jean-Claude Van Damme can actually act. There’s a sequence where he talks to the camera in an extended monologue, and it’s completely riveting. It’s sort of unfortunate that it took 20-some years, but Van Damme proves he has talents beyond kicking dudes and flexing his muscles.
If any of this sounds even remotely interesting to you, I highly recommend you give JCVD a rent. It’s a really cool, strange, awesome little movie.
¶ 11:18 AM 0 Comments
ovie geek sort of predisposes me to liking it (as does my love of meta-humour), so while your mileage with this very odd, very ambitious film may vary, I personally love it, and it just came out on DVD in North America this week.The film is about Jean-Claude Van Damme (playing himself), a washed-up Belgian action star whose glory days are long behind him, and he now scrapes by making cheesy action flicks for barely-interested schlock directors while trying to win back custody of his daughter. If this all sounds a little too real, that’s because it is – not even Van Damme’s battles with drug addiction are off-limits in this movie, and much of the drama going on the life of his “character” is drawn directly from Van Damme’s real-life trials and tribulations. He returns to his home country of Belgium, where he’s still very famous (as a Canadian, the idea that even though he’s considered a joke almost everywhere else in the world, hometown pride wins out, really resonates; Bryan Adams is still a huge star here), where he unwittingly gets caught up in the robbery of a post office-slash-bank. Due to a miscommunication with the police, they come to believe that Van Damme is actually one of the robbers, which in turn sets off a media frenzy.
I love JCVD largely because it feels like a film made just for me. It stars a has-been actor having fun with his reputation and iconography (there’s a scene where he grudgingly re-enacts a famous bit from one of his movies, and it’s utterly hilarious), is filled with self-referential jokes, and has a lot of things to say about fame and the media. It also looks great – young director Mabrouk El Mechri really has a great eye, and I’d love to see what he does next – and, in the biggest surprise of all, proves that Jean-Claude Van Damme can actually act. There’s a sequence where he talks to the camera in an extended monologue, and it’s completely riveting. It’s sort of unfortunate that it took 20-some years, but Van Damme proves he has talents beyond kicking dudes and flexing his muscles.
If any of this sounds even remotely interesting to you, I highly recommend you give JCVD a rent. It’s a really cool, strange, awesome little movie.
¶ 11:18 AM 0 Comments
Friday, September 5, 2008
TIFF Review: JCVD
I mananged to catch Jean-Claude Van Damme's new film, JCVD, at a Midnight Madness screening at the Toronto International Film Festival, and I'm still trying to process the fact that not only does Jean-Claude Van Damme have movie on the festival circuit (it also played at Cannes a few months ago), he has a great movie on the festival circuit.
In the early ‘90s, Jean-Claude Van Damme was one of the hottest action stars on the planet, combining good looks and impressive karate skills into a nicely marketable package, and his willingness to show off his physique helped him win over a lot of female fans. He made a string of hit action movies before fading into direct-to-video obscurity as “real” actors like Nic
olas Cage became the new action superstars. JCVD is Van Damme’s attempt at reinventing himself after a decade in the straight-to-video wilderness, a satirical, brutally honest examination of himself and his career. And not only is it successful, I think it may be one of the best movies I’ve seen this year.
I should mention that I was a pretty big fan of Jean-Claude Van Damme back in his early-‘90s heyday. I was in my early teens and just hitting my stride as a movie geek, devouring as many films as I could. Granted, most of these were schlocky action and horror and sci-fi flicks, but those summers I spent basically just watching movies with my best friend were very much my formative years as a movie lover. Action was my preferred genre, and Van Damme was one of my favourite action stars. Sure, his accent made pretty much all his dialogue awkward (and often unintentionally funny), and I’m certainly not going to sit here and argue that movies like Kickboxer and Double Impact are quality films by any stretch of the imagination (though Hard Target, John Woo’s first American movie, is a wonderfully over-the-top action flick, and I still think it’s Woo’s best Hollywood effort), but Van Damme had an easy charm about him that contemporaries like Steven Segal lacked, and I never got the feeling he took himself all that seriously. As ridiculous and violent (and ridiculously violent) as his movies were, they were also just fun.
JCVD builds on that sense that Van Damme doesn’t take himself too seriously and launches it into an insane stratosphere of meta-humour and viciously funny self-satire the likes of which I’ve never seen. Sure, celebrities have parodied themselves plenty of times before, but never like this. It’s one thing for George Clooney to have some fun with his ladies-man image, but it’s another entirely for Van Damme to mine his child-custody battles and history of drug problems and failed relationships for comedic and dramatic fodder.
JCVD stars Van Damme as a somewhat fictionalized version of himself, a fading action star on the cusp of losing custody of his daughter in a legal battle that his work in low-rent action flicks can’t quite pay for. He returns to his home country of Belgium (where he’s still considered a huge star bordering on national treasure) only to find out that if he doesn’t get his L.A. attorneys a big chunk of cash, they’ll drop his case. He stops by a post office-slash-bank to try to wire some money (which he doesn’t have) to his lawyers, and ends up walking into a robbery in progress, complete with bickering thieves and terrified hostages. The robbers try to turn Van Damme’s presence to their advantage, using him as a spokesman for their demands to the police, and before long the word’s gotten out that the Muscles from Brussels is holding up a bank, and a full-on media circus ensues.
I have a huge weakness for meta-humour as well as for celebrities poking fun at themselves, and JCVD has plenty of both. Except here Van Damme isn’t just poking fun at himself, he’s taking long, deep gouges. But as funny as the movie is – and it’s absolutely hilarious in parts, and unlike a lot of his previous films, it’s funny on purpose – there’s a real sadness at the heart of the JCVD character. He’s entirely motivated by his fear of losing his daughter, and at 47, his weathered face and perpetually-exhausted expression convey a surprising amount of emotion. Which brings me to the real revelation of JCVD, which is that Jean-Claude Van Damme can actually act. At first I thought maybe his shockingly good performance was due in part to the fact that for the first time he’s acting in his native language, but he’s just as good in the L.A.-set scenes, which are in English. But the real highlight is a truly remarkable five-minute monologue that Van Damme delivers to the camera that basically encapsulates JCVD’s themes of celebrity and fame and the price people pay to achieve their dreams, and what they do once they’ve achieved them.
I’d be remiss if I didn’t also mention how well-made JCVD is. French director Mabrouk El Mechri is incredibly talented, and Van Damme’s never been in a movie that looked this good. El Mechri fills JCVD with cleverly composed shots, and the opening sequence, an elaborate, single-take action sequence that runs several minutes long, is incredible. If he builds on the potential he displays in JCVD, he could turn into one of France’s more interesting filmmakers.
I have an unfortunate tendency to build up movies I’m anticipating up in my head, and often they don’t live up to my brain-hype. As a lapsed Van Damme fan – I haven’t seen anything he’s done since 1998’s abysmal Knock Off – I’d been reading about JCVD for over a year now, and I had fairly high expectations going in. Not only was I not disappointed, I was floored.
GRADE: A
olas Cage became the new action superstars. JCVD is Van Damme’s attempt at reinventing himself after a decade in the straight-to-video wilderness, a satirical, brutally honest examination of himself and his career. And not only is it successful, I think it may be one of the best movies I’ve seen this year.I should mention that I was a pretty big fan of Jean-Claude Van Damme back in his early-‘90s heyday. I was in my early teens and just hitting my stride as a movie geek, devouring as many films as I could. Granted, most of these were schlocky action and horror and sci-fi flicks, but those summers I spent basically just watching movies with my best friend were very much my formative years as a movie lover. Action was my preferred genre, and Van Damme was one of my favourite action stars. Sure, his accent made pretty much all his dialogue awkward (and often unintentionally funny), and I’m certainly not going to sit here and argue that movies like Kickboxer and Double Impact are quality films by any stretch of the imagination (though Hard Target, John Woo’s first American movie, is a wonderfully over-the-top action flick, and I still think it’s Woo’s best Hollywood effort), but Van Damme had an easy charm about him that contemporaries like Steven Segal lacked, and I never got the feeling he took himself all that seriously. As ridiculous and violent (and ridiculously violent) as his movies were, they were also just fun.
JCVD builds on that sense that Van Damme doesn’t take himself too seriously and launches it into an insane stratosphere of meta-humour and viciously funny self-satire the likes of which I’ve never seen. Sure, celebrities have parodied themselves plenty of times before, but never like this. It’s one thing for George Clooney to have some fun with his ladies-man image, but it’s another entirely for Van Damme to mine his child-custody battles and history of drug problems and failed relationships for comedic and dramatic fodder.
JCVD stars Van Damme as a somewhat fictionalized version of himself, a fading action star on the cusp of losing custody of his daughter in a legal battle that his work in low-rent action flicks can’t quite pay for. He returns to his home country of Belgium (where he’s still considered a huge star bordering on national treasure) only to find out that if he doesn’t get his L.A. attorneys a big chunk of cash, they’ll drop his case. He stops by a post office-slash-bank to try to wire some money (which he doesn’t have) to his lawyers, and ends up walking into a robbery in progress, complete with bickering thieves and terrified hostages. The robbers try to turn Van Damme’s presence to their advantage, using him as a spokesman for their demands to the police, and before long the word’s gotten out that the Muscles from Brussels is holding up a bank, and a full-on media circus ensues.
I have a huge weakness for meta-humour as well as for celebrities poking fun at themselves, and JCVD has plenty of both. Except here Van Damme isn’t just poking fun at himself, he’s taking long, deep gouges. But as funny as the movie is – and it’s absolutely hilarious in parts, and unlike a lot of his previous films, it’s funny on purpose – there’s a real sadness at the heart of the JCVD character. He’s entirely motivated by his fear of losing his daughter, and at 47, his weathered face and perpetually-exhausted expression convey a surprising amount of emotion. Which brings me to the real revelation of JCVD, which is that Jean-Claude Van Damme can actually act. At first I thought maybe his shockingly good performance was due in part to the fact that for the first time he’s acting in his native language, but he’s just as good in the L.A.-set scenes, which are in English. But the real highlight is a truly remarkable five-minute monologue that Van Damme delivers to the camera that basically encapsulates JCVD’s themes of celebrity and fame and the price people pay to achieve their dreams, and what they do once they’ve achieved them.
I’d be remiss if I didn’t also mention how well-made JCVD is. French director Mabrouk El Mechri is incredibly talented, and Van Damme’s never been in a movie that looked this good. El Mechri fills JCVD with cleverly composed shots, and the opening sequence, an elaborate, single-take action sequence that runs several minutes long, is incredible. If he builds on the potential he displays in JCVD, he could turn into one of France’s more interesting filmmakers.
I have an unfortunate tendency to build up movies I’m anticipating up in my head, and often they don’t live up to my brain-hype. As a lapsed Van Damme fan – I haven’t seen anything he’s done since 1998’s abysmal Knock Off – I’d been reading about JCVD for over a year now, and I had fairly high expectations going in. Not only was I not disappointed, I was floored.
GRADE: A
Labels: JCVD, Movie review, Toronto Film Festival
¶ 11:15 AM 1 Comments
Wednesday, July 9, 2008
DVD Review: Come Drink With Me
THE MOVIE
Come Drink With Me is a classic of martial arts cinema finally available on a proper DVD here in North America thanks to Dragon Dynasty’s Shaw Brothers Classics Collection. Directed by legendary Hong Kong/Taiwan filmmaker King Hu, it marked a huge leap forward in th
e evolution of kung fu movies, and is probably most notable to contemporary audiences as the spiritual ancestor of Crouching Tiger, Hidden Dragon.
King Hu died at age 65 in 1997 as one of the most revered filmmakers in Hong Kong martial arts movies, though he spent most of his career in Taiwan after banging out several classics of the genre in the ‘60s and ‘70s, beginning with Come Drink With Me in 1966 (he also won a technical prize at Cannes in 1975 for another martial arts film, A Touch of Zen). His films pioneered many conventions of the kung fu subgenre known as wuxia that have since become hallmarks of martial arts movies. (The more fantasy-based wuxia subgenre typically focuses on swordsmen and swordswomen with rigid codes of honour and superhuman powers; think of the difference between fantastic “wire fu” films like Crouching Tiger and Hero and more “realistic” kung fu movies like, say, Bruce Lee's or Jackie Chan's.)
I’d never seen Come Drink With Me before reviewing this new DVD, but I had read about it years ago when I was devouring as many books about Hong Kong cinema that I could find. So when I heard about the movie’s restoration for DVD, I was excited to see it at last to find out what the fuss was all about. The fuss, as it turns out, was well deserved. Come Drink With Me is a pretty remarkable piece of work, particularly considering its age. The story is nothing special – a government official is kidnapped by bandits demanding the release of their own captured comrades, and the official’s sister, dubbed Golden Swallow (Cheng Pei-pei), is sent to get him back – but the action is where this film shines.
The first thing I noticed was that Come Drink With Me doesn’t feature the typically stilted martial arts choreography I’ve come to associate with older kung fu movies, but rather a far more stylized, almost dance-like grace to it. (Hu was a big fan of traditional Peking Opera, and it influenced his martial arts movies in a big way.) Many of the fights are clearly influenced by Akira Kurosawa’s samurai films, with fighters striking dramatic poses and squaring off for several tense seconds before either combatant strikes. This technique allows Hu to really ramp up the tension in several scenes, especially in the brilliant fight in the inn near the beginning.
The other thing that really struck me about the film as just how much of an influence it was on Crouching Tiger, Hidden Dragon. I knew Ang Lee was a huge fan of King Hu and the wuxia genre (going so far as to cast Cheng Pei-pei as the villainous Jade Fox 30-plus years later), but two of Crouching Tiger’s most memorable sequences are direct homages to this film: the aforementioned inn fight where Che
ng faces off against several opponents (echoed by Zhang Ziyi’s character kicking the asses of an entire inn full of fighters – she even does so disguised as a man, as Pei-pei does in Come Drink With Me), and a chase across rooftops at night, one of Crouching Tiger’s most famous scenes. Ang Lee’s film, made decades later, obviously benefits from technical advances (particularly the rooftop chase scene; the Crouching Tiger version rightly blew many a mind when the film came out), but King Hu manages to impress with traditional camera tricks instead of wires and CGI.
The film is also just beautiful to look at; King Hu (a former set decorator) lovingly shoots all the sets and locales with a clear eye for composition and detail, and the new DVD features some incredible restoration. If you didn’t know you were watching a 42-year old film, you’d hardly guess it to look at it. One thing I did notice about the DVD’s audio tracks was that the English-dubbed track (in 5.1 surround) seems to have not only cheesier dialogue, but cheesier music as well, filled with over-the-top flourishes clearly intended for grindhouse audiences. The music on the Cantonese track (available only in mono) is much more atmospheric and more evocative of Peking Opera and Kurosawa samurai movies than the ‘70s-style exploitation vibe on the English track.
Overall I was quite impressed with Come Drink With Me. Fans of martial arts movies will be delighted to see a true classic finally available on DVD, and more casual fans can get a look at where the genre took a great leap forward.
GRADE: B+
THE EXTRAS
As with all the Dragon Dynasty DVDs, Come Drink With Me comes with a nice bunch of extras. First is the commentary on the film with Hong Kong film expert Bey Logan and star Cheng Pei-pei. As usual, Logan is a font of knowledge about virtually every aspect of the film and its legacy, and though Cheng’s English isn’t perfect, they have a nice rapport and he gets some cool little details out of her.
There’s also an interview with Hong Kong director Tsui Hark called ‘The King an
d I’ in which Tsui, a longtime King Hu fan who collaborated with him on one of his last films, 1990’s Swordsman (a disappointing effort meant to be Hu’s triumphant return to Hong Kong movies), in which the filmmaker recalls the impact Come Drink With Me made on its release as well as his personal stories of time spent with his late mentor. Tsui’s actually one of my favourite Hong King directors (despite having made some really bad movies, like the 1998 Jean-Claude Van Damme mess Knock Off, which followed the insanely ridiculous – and entertaining – Double Team, which teams JCVD with former NBA star Dennis Rodman; I could probably write a whole goddamn book about that movie, but I’m digressing here big time), so I really enjoyed watching him talk about the splash King Hu’s first martial arts movie made back in the day. He talks about how even back in ’66 he and his friends knew they were watching a paradigm shift in HK action movies, and I also got the impression he was something of a starstruck fanboy around King Hu himself, at least initially.
‘Come Speak With Me’ is an interview with star Cheng Pei-pei that runs a little over 15 minutes, where she explains that she had no martial arts training before filming Come Drink With Me, but was rather a dancer (a legacy taken up by other dancers-turned-asskickers Michelle Yeoh and Zhang Zi-yi). There’s also an interview with Come Drink With Me’s leading man, Yueh Hua, who plays Golden Swallow’s perpetually-soused kung fu master. Like the Pei-pei interview, it’s pretty basic stuff, but at one point he pulls out the original Come Drink With Me script, which was sort of cool.
Also included is an interview with Bey Logan where he discusses Come Drink With Me in particular and King Hu’s legacy in general. It’s interesting stuff for genre fans like me, as Logan is essentially a walking encyclopedia of HK film knowledge, and he does an excellent job of putting the film in a historical context.
It’s great to see Come Drink With Me on DVD at last, and the fact that it’s on a gorgeously restored disc packed with extras only makes it better. Fans of kung fu films need to check this DVD out.
Come Drink With Me is a classic of martial arts cinema finally available on a proper DVD here in North America thanks to Dragon Dynasty’s Shaw Brothers Classics Collection. Directed by legendary Hong Kong/Taiwan filmmaker King Hu, it marked a huge leap forward in th
e evolution of kung fu movies, and is probably most notable to contemporary audiences as the spiritual ancestor of Crouching Tiger, Hidden Dragon.King Hu died at age 65 in 1997 as one of the most revered filmmakers in Hong Kong martial arts movies, though he spent most of his career in Taiwan after banging out several classics of the genre in the ‘60s and ‘70s, beginning with Come Drink With Me in 1966 (he also won a technical prize at Cannes in 1975 for another martial arts film, A Touch of Zen). His films pioneered many conventions of the kung fu subgenre known as wuxia that have since become hallmarks of martial arts movies. (The more fantasy-based wuxia subgenre typically focuses on swordsmen and swordswomen with rigid codes of honour and superhuman powers; think of the difference between fantastic “wire fu” films like Crouching Tiger and Hero and more “realistic” kung fu movies like, say, Bruce Lee's or Jackie Chan's.)
I’d never seen Come Drink With Me before reviewing this new DVD, but I had read about it years ago when I was devouring as many books about Hong Kong cinema that I could find. So when I heard about the movie’s restoration for DVD, I was excited to see it at last to find out what the fuss was all about. The fuss, as it turns out, was well deserved. Come Drink With Me is a pretty remarkable piece of work, particularly considering its age. The story is nothing special – a government official is kidnapped by bandits demanding the release of their own captured comrades, and the official’s sister, dubbed Golden Swallow (Cheng Pei-pei), is sent to get him back – but the action is where this film shines.
The first thing I noticed was that Come Drink With Me doesn’t feature the typically stilted martial arts choreography I’ve come to associate with older kung fu movies, but rather a far more stylized, almost dance-like grace to it. (Hu was a big fan of traditional Peking Opera, and it influenced his martial arts movies in a big way.) Many of the fights are clearly influenced by Akira Kurosawa’s samurai films, with fighters striking dramatic poses and squaring off for several tense seconds before either combatant strikes. This technique allows Hu to really ramp up the tension in several scenes, especially in the brilliant fight in the inn near the beginning.
The other thing that really struck me about the film as just how much of an influence it was on Crouching Tiger, Hidden Dragon. I knew Ang Lee was a huge fan of King Hu and the wuxia genre (going so far as to cast Cheng Pei-pei as the villainous Jade Fox 30-plus years later), but two of Crouching Tiger’s most memorable sequences are direct homages to this film: the aforementioned inn fight where Che
ng faces off against several opponents (echoed by Zhang Ziyi’s character kicking the asses of an entire inn full of fighters – she even does so disguised as a man, as Pei-pei does in Come Drink With Me), and a chase across rooftops at night, one of Crouching Tiger’s most famous scenes. Ang Lee’s film, made decades later, obviously benefits from technical advances (particularly the rooftop chase scene; the Crouching Tiger version rightly blew many a mind when the film came out), but King Hu manages to impress with traditional camera tricks instead of wires and CGI.The film is also just beautiful to look at; King Hu (a former set decorator) lovingly shoots all the sets and locales with a clear eye for composition and detail, and the new DVD features some incredible restoration. If you didn’t know you were watching a 42-year old film, you’d hardly guess it to look at it. One thing I did notice about the DVD’s audio tracks was that the English-dubbed track (in 5.1 surround) seems to have not only cheesier dialogue, but cheesier music as well, filled with over-the-top flourishes clearly intended for grindhouse audiences. The music on the Cantonese track (available only in mono) is much more atmospheric and more evocative of Peking Opera and Kurosawa samurai movies than the ‘70s-style exploitation vibe on the English track.
Overall I was quite impressed with Come Drink With Me. Fans of martial arts movies will be delighted to see a true classic finally available on DVD, and more casual fans can get a look at where the genre took a great leap forward.
GRADE: B+
THE EXTRAS
As with all the Dragon Dynasty DVDs, Come Drink With Me comes with a nice bunch of extras. First is the commentary on the film with Hong Kong film expert Bey Logan and star Cheng Pei-pei. As usual, Logan is a font of knowledge about virtually every aspect of the film and its legacy, and though Cheng’s English isn’t perfect, they have a nice rapport and he gets some cool little details out of her.
There’s also an interview with Hong Kong director Tsui Hark called ‘The King an
d I’ in which Tsui, a longtime King Hu fan who collaborated with him on one of his last films, 1990’s Swordsman (a disappointing effort meant to be Hu’s triumphant return to Hong Kong movies), in which the filmmaker recalls the impact Come Drink With Me made on its release as well as his personal stories of time spent with his late mentor. Tsui’s actually one of my favourite Hong King directors (despite having made some really bad movies, like the 1998 Jean-Claude Van Damme mess Knock Off, which followed the insanely ridiculous – and entertaining – Double Team, which teams JCVD with former NBA star Dennis Rodman; I could probably write a whole goddamn book about that movie, but I’m digressing here big time), so I really enjoyed watching him talk about the splash King Hu’s first martial arts movie made back in the day. He talks about how even back in ’66 he and his friends knew they were watching a paradigm shift in HK action movies, and I also got the impression he was something of a starstruck fanboy around King Hu himself, at least initially.‘Come Speak With Me’ is an interview with star Cheng Pei-pei that runs a little over 15 minutes, where she explains that she had no martial arts training before filming Come Drink With Me, but was rather a dancer (a legacy taken up by other dancers-turned-asskickers Michelle Yeoh and Zhang Zi-yi). There’s also an interview with Come Drink With Me’s leading man, Yueh Hua, who plays Golden Swallow’s perpetually-soused kung fu master. Like the Pei-pei interview, it’s pretty basic stuff, but at one point he pulls out the original Come Drink With Me script, which was sort of cool.
Also included is an interview with Bey Logan where he discusses Come Drink With Me in particular and King Hu’s legacy in general. It’s interesting stuff for genre fans like me, as Logan is essentially a walking encyclopedia of HK film knowledge, and he does an excellent job of putting the film in a historical context.
It’s great to see Come Drink With Me on DVD at last, and the fact that it’s on a gorgeously restored disc packed with extras only makes it better. Fans of kung fu films need to check this DVD out.
Labels: Asian cinema, Dragon Dynasty, DVD review, JCVD, martial arts
¶ 12:22 PM 0 Comments
