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Tatler Asia
4 days ago
- Entertainment
- Tatler Asia
Female action heroes: 8 women who redefined courage long before ‘Ballerina' pirouetted in
Geena Davis as Samantha Caine/Charly Baltimore in 'The Long Kiss Goodnight' (1996) In The Long Kiss Goodnight , Geena Davis showcased how seemingly contradictory identities can coexist within one complex woman. Her transformation from a sweet suburban schoolteacher into a lethal CIA assassin explored themes of identity and self-discovery through explosive action, predating the amnesia-spy thriller trend by years. Her character's journey from inexplicable knife skills to full assassin mode, culminating in the explosive Niagara Falls finale, showed that female action heroes could be simultaneously nurturing and deadly, domestic and dangerous. Linda Hamilton as Sarah Connor in 'Terminator 2: Judgment Day' (1991) Linda Hamilton's transformation of Sarah Connor remains one of cinema's most dramatic character evolutions. From targeted waitress to hardened warrior, Sarah redefined what maternal protection could look like when the stakes involve preventing humanity's extinction. The character's strength lies in her complete commitment to an impossible mission: her escape from Pescadero State Hospital and assault on Cyberdyne Systems showcase not just physical prowess, but also strategic thinking and determination. Sarah embodies the terrifying power of maternal love channelled into relentless action, proving that mothers can become the most formidable protectors imaginable. Zhang Ziyi as Jen Yu in 'Crouching Tiger, Hidden Dragon' (2000) Zhang Ziyi's breakout performance in Crouching Tiger, Hidden Dragon was a masterclass in playing a character who is equal parts captivating and infuriating, which is exactly what made Jen Yu so unforgettable. Jen is the ultimate rebellious prodigy: a young woman who refuses to be confined by society's expectations and has the martial arts skills to back up her defiance. Ziyi brought an incredible mix of grace and determination to the role, making every fight scene feel like a dance and every emotional moment hit like a punch. She wasn't just leaping rooftops or slicing through a bamboo forest for spectacle—every move was a fight for the right to choose her destiny. Uma Thurman as Beatrix 'The Bride' Kiddo in 'Kill Bill: Volume 1' (2003) Uma Thurman's Bride transformed personal tragedy into a masterpiece of vengeance. Waking up from a four-year coma to discover the massacre of her wedding party and the loss of her unborn child, Beatrix Kiddo channels her grief into the most stylishly brutal quest for justice ever captured on film. The Bride's iconic yellow tracksuit and Hattori Hanzō sword became symbols of determination. Her single-handed destruction of the Crazy 88 at the House of Blue Leaves delivered spectacular action and illustrated how personal loss can fuel extraordinary strength. The performance is pure cinematic magic—violent, beautiful and unforgettable. Charlize Theron as Imperator Furiosa in 'Mad Max: Fury Road' (2015) Charlize Theron's Imperator Furiosa commandeered Mad Max entirely. In a franchise literally named after its male protagonist, Furiosa became the true driving force, both behind the wheel of her War Rig and as the heart of the story. Furiosa represents defiance in its purest form. Her rebellion against Immortan Joe's tyrannical regime to liberate his 'Five Wives' transforms her from war captain to freedom fighter. Her prosthetic arm isn't portrayed as a limitation but as a testament to her resilience, challenging conventional depictions of disability in action cinema while delivering some of the most spectacular vehicular combat ever filmed. Angelina Jolie as Evelyn Salt in 'Salt' (2010) Angelina Jolie gives life to Evelyn Salt, a CIA operative who is accused of being a Russian sleeper agent and goes on the run to try to clear her name. What makes Jolie's Salt fascinating is that the role was originally written for a male protagonist, with Tom Cruise initially secured for the lead, before the script was ultimately rewritten for the actress. The film's central question—is Salt truly loyal or is she the perfect double agent?—keeps audiences guessing until the end. But it's Jolie's committed performance and those brutal action sequences that make the movie work. She took a role designed for a male action star and made it completely her own, proving that great characters transcend whoever they were originally written for. Michelle Yeoh as Evelyn Wang in 'Everything Everywhere All At Once' (2022) Michelle Yeoh's Oscar-winning performance as Evelyn Wang revolutionised the action hero archetype by proving that extraordinary power can emerge from the most ordinary circumstances. This stressed laundromat owner's journey from mundane family struggles to multiverse-saving hero redefined what strength looks like. Evelyn's greatest battles aren't won through violence but through radical empathy. Her famous 'fanny-pack fight' and culinary combat skills showcase inventive action choreography, but her ultimate victory comes from choosing kindness over destruction. She represents the evolution of female action heroes from warriors to healers, proving that sometimes the greatest strength is knowing when not to fight. Ana de Armas as Eve Macarro in 'From the World of John Wick: Ballerina' (2025) Brought to life by Ana de Armas, Eve Macarro in Ballerina promises to be the most elegant yet deadly addition to the action hero pantheon. The ballerina-assassin, trained by the secretive Ruska Roma organisation, isn't just stepping into the John Wick universe—she's poised to steal it entirely. What makes Eve extraordinary is her unique blend of grace and lethal precision. Driven by a deeply personal quest to avenge her father's murder, she represents the evolution of the female action hero: technically skilled, emotionally driven and so formidable that even John Wick himself is sent to hunt her down. Ballerina 's narrative twist positions her not as a sidekick or love interest, but as a force so powerful she becomes the hunted protagonist in her own right. NOW READ These new horror movies prove the slasher genre isn't dead 'Mission: Impossible': 7 stunts that redefined high-stakes action cinema 10 wealth-gap relationships in film that actually worked out Credits This article was created with the assistance of AI tools
Los Angeles Times
09-05-2025
- Entertainment
- Los Angeles Times
Ang Lee and Zhang Ziyi with ‘Crouching Tiger, Hidden Dragon,' plus the best films in L.A.
Hello! I'm Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies. Hollywood was shocked last weekend with the announcement by President Trump of a plan to impose a new 100% tariff on films produced outside the United States. The exact logistics of the plan were unclear; determining which projects would be subject to the tariff would itself be extremely complicated. As one film executive said in a story by Meg James and Samantha Masunaga, 'Nobody knows, and I don't suspect we will for awhile. Is it on domestically funded foreign productions? Is it on foreign-funded ones? Is the tariff on film revenues or film costs on those projects, or both?' Though many seemed to disagree that a tariff was the solution to Hollywood's problems concerning runaway production, as the week went on there was a turn toward hoping that this could nevertheless be the start of something positive. 'It's great that the president is starting to pay attention,' producer Jeffrey Greenstein said to Ryan Faughnder. 'So let's have a real conversation about it and figure out the best way to start bringing movies back.' One thought is that perhaps some kind of federal tax incentive could get things moving in the right direction. In a separate story, Masunaga and James looked at California Gov. Gavin Newsom's efforts to create such a program. 'Right now the industry is teetering,' UCLA professor George Huang said. 'This would go a long way in helping right the ship and putting us back on course to being the capital of the entertainment world.' Tonight the Academy Museum will host a 35mm screening of 'Crouching Tiger, Hidden Dragon,' with director Ang Lee and star Zhang Ziyi present for a conversation with Academy president Janet Yang. Released in 2000, the film still holds the distinction of being the highest-grossing, non-English-language film of all time in the U.S. and also won four Oscars. Set in 19th century China, the movie kicks off with a warrior (Chow Yun-Fat) giving his sword to his lover (Michelle Yeoh) but it is soon stolen, setting them on a journey to retrieve it. In his original review of the film, Kenneth Turan wrote, 'Films we can categorize, that's what we're used to. Good or bad, fiascoes or masterpieces, we put them in their place, every one. What we're not used to, what we haven't had much of at all, are films that transcend categorization, that remind us — simply, powerfully, indelibly — what we go to the movies for. Ang Lee's 'Crouching Tiger, Hidden Dragon' is that kind of a picture. 'A delightful one-of-a-kind martial arts romance where astounding fight sequences alternate with passionate yet idealistic love duets, 'Crouching Tiger' is a fusion film from top to bottom,' Turan added. 'By joining emotional sophistication to the most thrilling kind of Hong Kong-style acrobatic action, by having classical cellist Yo-Yo Ma and preeminent fight choreographer Yuen Woo-ping in the same film, 'Crouching Tiger' brings a specific national cinema fully into the world spotlight. It can do all this so successfully because Lee reconciles these opposites in his own life and work.' Scarlet Cheng spent time on the set of the film as it was shooting in China, capturing the scene as Chow was prepped to perform one of the film's dazzling wire-work stunts. Action choreographer Yuen Woo-ping explained why it was worth the extra effort to do the stunts for real rather than assisted by computer effects, saying, 'It never looks quite right. It still requires people doing it.' Writing about the film in 2023, Justin Chang said, 'If you were among those who saw the movie on its initial release, lured by reports that Lee had made the most kick-ass action picture in years, you might have felt a twinge of impatience at those first 15 minutes of dialogue-rich, action-free scene-setting. Or perhaps you were drawn in by the classical refinement of the filmmaking, the understated gravity of the performances, the realistic sense of grounding in an utterly fantastical world. Operating by his own laws of cinematic physics, Lee must first establish gravity before he can defy it.' The American Cinematheque is paying tribute to versatile genre director Ted Kotcheff, who died recently at age 94. Though 'First Blood,' the film that introduced Sylvester Stallone's character of John Rambo, has already screened in the series, there are still some delights to come. Tonight and tomorrow, the Los Feliz 3 will screen 35mm showings of 1989's 'Weekend at Bernie's,' starring Jonathan Silverman and Andrew McCarthy as two low-level salesmen who get invited for the weekend to the luxury house of their shady boss, Bernie (Terry Kiser). When Bernie winds up dead, they concoct a scheme to convince people he is still alive, in part to keep the party rolling. (Kotcheff has a cameo as father to one of the boys.) In his original review of the film, Kevin Thomas wrote, 'It can't in fact be accused of possessing so much as a shred of subtlety, but as a broad farce its not only cleverly sustained but frequently hilarious. What's more, a weekend among the rich, the jaded and the corrupt is just the right cup of tea for an acid social satirist as Kotcheff.' 'Fun With Dick and Jane,' the director's 1977 film starring George Segal and Jane Fonda as a middle-class couple who turn to crime when they find themselves out of work, will screen on Thursday and May 17 at the Los Feliz 3. 'The Magnificent Ambersons' in 35mm On Sunday afternoon, the American Cinematheque will screen Orson Welles' 1942 'The Magnificent Ambersons' in 35mm. Adapted from a novel by Booth Tarkington, the film concerns a wealthy Midwestern family who see their family's fortunes diminish as time passes them by. The cast included Joseph Cotton, Dolores Costello, Anne Baxter, Tim Holt and Agnes Moorehead. On July 8, 1942, Edwin Schallert wrote in the paper, 'Whatever Hollywood powers-that-be have in mind about the future of Mr. Orson Welles as a picture-maker, there could be no outcome more ghastly, to my way of thinking, than to let him slip away from these purlieus and back to the confines of the stage. 'The Magnificent Ambersons' is proof positive that he should be retained in active service. Whatever values it might lack in humanness — and I'm sure I don't know what they are — it is a splendid technical achievement — indeed, one all but justifying the re-use of the 'magnificent' of its title.' However, on Aug. 24, 1942, Norbert Lusk wrote, 'Apparently there is a desire on the part of some to hail Mr. Welles as the savior of the screen or at least one of its most brilliant trailblazers, but he refuses to come through quite. Actually, his picture is a dull, pretentious bore which in essence states nothing except the folly of scoffing at new inventions like the automobile and that if one is arrogant to one's fellow man one is bound to get his 'come-uppance.'' 'Vox Lux' Now might be a good moment to revisit the early works of Brady Corbet, with his recent 'The Brutalist' having won three Oscars. On Wednesday, Brain Dead Studios will be screening Corbet's 2018 film 'Vox Lux.' Natalie Portman gives a wickedly unhinged performance as an aging pop star trying to navigate her faltering career while also raising her teenage daughter in a world increasingly marked by senseless violence. I spoke to Corbet and Portman, along with actors Jude Law and Raffey Cassidy, for a story about the film when it was initially released. Perhaps hinting at the even grander ambitions to come in 'The Brutalist,' Corbet said at the time, 'And I think that we actually have to reach for bigger ideas in order to move anyone, because we're all just so accustomed to seeing the same thing over and over and over again. It's rare that something really shoots for the moon. And since things are so tough right now, we should really attempt to try and make stories better and be bolder.' Keep an eye out for a tribute to Corbet and his partner Mona Fastvold as part of the upcoming 'Bleak Week,' including another screening of 'Vox Lux' on Thursday, June 5. 'Pavements' at the Nuart The new documentary 'Pavements' is opening in Los Angeles this weekend. Directed by Alex Ross Perry, the film captures the spirit of the '90s indie rock pioneers Pavement by including documentary footage of their 2022 reunion tour along with a stage musical, a museum and a biopic all created just for the project. The result is genuinely unique, all the parts of the film coalescing into a vibe that a more straightforward telling of the band's story could never approach. There will be Q&As at multiple weekend shows at the Nuart with Perry, band member Scott Kannberg, actors Jason Schwartzman, Tim Heidecker and Logan Miller. John C. Reilly will moderate a Saturday night Q&A. I wrote about the film and its unconventional approach to the rock doc. In explaining the film's overall strategy, Perry said, 'I wanted to make a movie from the perspective of Pavement [being] — as we say onscreen in the film — the world's most important and influential band, because that is literally true to 100,000 white Gen-X nerds. So what if the movie takes that not as a premise but as a fact? And builds a fictional world where this music has inspired these other things people build as shrines to their favorite musicians — a museum, a Broadway show, a crappy biopic? Let's just do that and presume that is the cultural footprint of Pavement.' The film plays well to longtime fans and newcomers alike. But for anyone hung up on what is true or not from the film, band member Bob Nastanovich offers, 'If it confuses people, then I'm pretty easy to contact. I can tell them what's real and not real.' Reviewing the movie for The Times, Scott Tobias wrote, 'At a little over two hours long, 'Pavements' can feel a little like the band's notoriously misshapen 1995 opus 'Wowee Zowee,' a double album with only three sides. Yet the perfectly imperfect shape of 'Pavements' is similarly tailored to those who appreciate the band's creative unruliness. It also feels like an apt companion to Perry's last fiction feature, 2018's 'Her Smell,' which strongly alludes to the life of Hole lead singer Courtney Love and pays off a chaotic two-hour drama with a breathtakingly lovely final act.'
Daily Mirror
06-05-2025
- Entertainment
- Daily Mirror
Fans undecided over remake of Oscar winning filmmaker's romantic comedy from Bridgerton director
Fans are divided on the new take of a beloved '90s romcom from an Oscar winning director that has been remade. Aiming to deliver a modern twist, a new version of The Wedding Banquet hits UK cinemas this Friday, May 9. Touted as a contemporary reinterpretation, it salutes the original classic released in 1993 by the legendary director Ang Lee. Before he became famous for his work on masterpieces like Crouching Tiger, Hidden Dragon, and Brokeback Mountain, Lee had already struck gold with this romantic comedy gem. Admirers hold this piece of his early work dear, with one fan raving on Rotten Tomatoes, where the film boasts an impressive 92% approval rating: "An early Ang Lee film which is impossible to forget." The man at the helm of the remake is Andrew Ahn, known for directing Fire Island and episodes of Netflix's Bridgeton. He's taken on both directing duties and revamped the script. The stellar cast features Oscar nominee Lily Gladstone known for Killers of the Flower Moon, along with Kelly Marie-Tran, famed for her role in Star Wars, SNL's Bowen Yang, Oscar-winner Youn Yu-Jung, and Han Gi-chan from South Korea, reports Surrey Live. While there are updates to the original storyline, the central plot remains similar – we follow the lives of Lee (played by Gladstone) and Angela (Marie-Tran), a couple facing the emotional and financial strain of financing another IVF cycle after several failed attempts. The couple's friends Chris (Yang) and his partner Min (Gi-chan), a talented art student from a wealthy Korean family, live in the guesthouse. But as Min faces visa woes and pressure from back home, he pops a different sort of question to Angela: tie the knot for a green card, and he'll cover the costs for her next IVF round. It becomes less simple when Min's grandma (Yuh-jung) touches down with plans to throw them a big traditional wedding. Critics have already dished their verdicts online and although it doesn't trump the original, the flick's scored a decent 87%. Still, the jury's out on whether this new interpretation was even needed. One reviewer penned: "This version of The Wedding Banquet proudly walks down the aisle with confident grace and beauteous determination." While another chimed in: "Though Ahn's The Wedding Banquet never achieves the comic momentum or emotional depth of Lee's original, it's an unfailingly pleasant film filled with endearing characters.." Meanwhile, someone else enthused: "It's a bold move to take on an Ang Lee classic, but Andrew Ahn with his ace cast evolves The Wedding Banquet into a layered heartfelt story that treads depths the first film didn't." Yet, not all were impressed, as one naysayer huffed: "The original Wedding Banquet by Ang Lee is among my favourite movies. This 2025 re-imagining is The Lion King to the original's Hamlet." Another remarked: "You have to admire Hollywood's willingness to burn money making movies no one asked for. Those involved would have been much wiser sending this movie straight to streaming." This reporter, too, echoes that disappointment after screening the film prior to its cinematic debut in the UK. It seems that in trying to bring the classic romcom into the 21st century, the magic of comedy has vanished. It's yet another drama dipping its toes in the comedy pool for a dash of allure – but with the few gags it offers, viewers might confuse the build-up with a sombre occasion instead of a joyful romantic celebration. In an attempt to defy the romcom staples, Ahn's take seemingly rejects the very essence that defines and endears the genre to its fans. Without the customary charm, 'The Wedding Banquet' becomes a stark lesson in what happens if you strip away the enchanting elements. Seeking to reinvent the genre with a dose of harsh reality, the film often stumbles into the realms of improbability. The audience may find it tough to buy into these characters' friendships or romances. When the movie does finally revel in romcom traditions, the effort feels wholly unconvincing. There will likely be those rooting for the original version to hit Netflix or another leading streamer to rediscover the unique sparkle that once captivated audiences.
The Star
02-05-2025
- Entertainment
- The Star
Zhang Ziyi injured in on-stage fall at film awards, later seen in wheelchair
Zhang Ziyi is one of China's most acclaimed actresses. Photo: Zhang Ziyi/Weibo Chinese actress Zhang Ziyi sustained an injury after tripping and falling during the 20th Huabiao Film Awards, held in Qingdao, China on April 27. The 45-year-old had just completed a tribute segment with Jackie Chan and Wang Yibo when the incident occurred. As the three stars exited the stage, Zhang – walking behind the others – tripped over exposed wires near the edge and fell. Footage from the event showed staff and attendees quickly coming to her aid. On April 29, Zhang was spotted at a Beijing high-speed rail station in a wheelchair. Dressed in black and wearing a mask and sunglasses, she tried to remain low-profile but was recognised by onlookers. The footage quickly went viral, prompting widespread concern. Her team later confirmed that she had received medical attention and is now resting. While the extent of her injuries has not been revealed, she is expected to make a full recovery. Zhang is one of China's most acclaimed actresses, best known internationally for her roles in Crouching Tiger, Hidden Dragon and Memoirs Of A Geisha . The Huabiao Awards ceremony is one of China's most prestigious film events, organised by China's National Film Administration. (From left) Wang Yibo, Jackie Chan and Zhang Ziyi presenting a tribute to the 120th anniversary of Chinese cinema at the awards ceremony. Photo via Sin Chew online
Washington Post
17-04-2025
- Entertainment
- Washington Post
‘The Wedding Banquet' is a comic remake with Seoul food
It says something about how we've evolved as a culture that one of the most charmingly conventional movies of 2025 is the Asian American same-sex marriage four-way 'The Wedding Banquet.' A remake of Ang Lee's 1993 film of the same title — the 'Crouching Tiger, Hidden Dragon' director's breakthrough — the new film is unnecessary as such, but it's a determinedly openhearted crowd-pleaser with a handful of delicious performances, and it's just about impossible to dislike.
