Corey Yuen, martial arts director and Jet Li collaborator, died in 2022, Hong Kong film federation confirms

Film-maker who directed films starring Li, Jackie Chan and Michelle Yeoh and later worked as a Hollywood fight coordinator, died during the Covid pandemic two years ago

Celebrated Hong Kong martial arts actor and director Corey Yuen died two years ago during the Covid pandemic, it has been reported.

The Federation of Hong Kong Filmmakers confirmed Yuen’s death following a social media post by action star Jackie Chan naming Yuen (also known as Yuen Kwai) among a list of late disciples of China Drama Academy head Yu Jim-yuen, who died in 1997.

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Unseen ‘log fight’ footage from Bruce Lee film Game of Death to be released

Scene which has long been the holy grail for fans will feature in a new box set marking the 50th anniversary of the star’s death

Long-lost unseen footage of the celebrated “log fight” scene from the Bruce Lee film Game of Death is to be released in a new box set marking the 50th anniversary of the famed actor and martial artist’s death.

Lee, who shot to fame around the world with the 1973 film Enter the Dragon, died on 20 July 1973 before he could complete shooting on Game of Death, which eventually emerged in 1978, incorporating some of the original footage in a largely reshot and rewritten version.

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Daniel Kaluuya’s Barney the Dinosaur film to be ‘adult’ and ‘lean into millennial angst’

Mattel says the Barney movie will be inspired by Charlie Kaufman, while Barbie director Greta Gerwig is planning two Narnia movies for Netflix

The Daniel Kaluuya-produced movie featuring Barney the Dinosaur will be an “adult”, “surrealistic” and “A24-type” film inspired by Charlie Kaufman and Spike Jonze, it has been revealed.

In a wide-ranging report on the film-making plans of toymaker Mattel in the New Yorker, Mattel Films executive Kevin McKeon said of the project: “We’re leaning into the millennial angst of the property rather than fine-tuning this for kids. It’s really a play for adults. Not that it’s R-rated, but it’ll focus on some of the trials and tribulations of being thirtysomething, growing up with Barney – just the level of disenchantment within the generation.”

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Top Gun: Maverick: ‘Conversations’ under way for sequel

Miles Teller, who stars alongside Tom Cruise in the hit action blockbuster, says he is keen, but ‘it’s all up to Tom’

Top Gun: Maverick actor Miles Teller has said he is “having conversations” with the film’s producer-star Tom Cruise about a sequel to the hit action blockbuster.

Speaking to Entertainment Tonight at a charity golf event, Teller was responding to a question about the likelihood of a third Top Gun film. “That would be great, but that’s all up to [Tom Cruise]. It’s all up to Tom. I’ve been having some conversations with him about it. We’ll see.”

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Gay references removed from Fantastic Beasts 3 for Chinese release

Big-budget fantasy sequel has had six seconds cut, as Warner Bros releases statement to say ‘the spirit of the film remains intact’

Fantastic Beasts: The Secrets of Dumbledore has been edited for release in China to ensure any gay references have been removed.

The fantasy sequel, which has an estimated budget of $200m, contains allusions to a romantic history between the characters of Dumbledore and Grindelwald, played by Jude Law and Mads Mikkelsen respectively. Six seconds of dialogue, including the lines “Because I was in love with you” and “The summer Gellert and I fell in love”, were taken out for the Chinese release on 8 April.

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Charlize Theron ‘felt so threatened’ by Tom Hardy making Mad Max she required on-set protection

New book details allegations of unprofessional behaviour and aggression during making of George Miller’s 2015 blockbuster Mad Max: Fury Road

Further details of the animosity between Charlize Theron and Tom Hardy have been detailed in a new book about the making of George Miller’s 2015 action blockbuster Mad Max: Fury Road.

The co-stars were known to have a frosty relationship through the lengthy shoot in the Namibian desert, but Kyle Buchanan’s new book Blood, Sweat & Chrome: The Wild and True Story of Mad Max: Fury Road suggests Theron felt sufficiently threatened to require on-set protection from the “aggressive” Hardy.

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China’s go-to English bad guy Kevin Lee: ‘I’m happy to play a villain’

The English actor, who has worked with Chinese directors from Jackie Chan to Zhang Yimou, reveals how a chance meeting at the visa office in Beijing changed his life

If the Chinese film industry needs a stock foreign villain, I’m their first port of call. I was a Gatling gun-wielding mercenary in 2015’s Wolf Warrior, one of the first of the new wave of military blockbusters, and a hitman in Jackie Chan’s Kung Fu Yoga in 2017, among many others. And I recently played an American colonel in the Korean war in The Battle at Lake Changjin, the most expensive and successful Chinese film ever: it made $909m (£675m) last year.

It’s surreal – coming from humble beginnings in Huntingdon, Cambridgeshire – to find myself in the middle of a massive field in Hubei province filming the likes of The Battle at Lake Changjin. You’d think you were in a real-life warzone – there were hundreds of tanks supplied by the government. I grew up watching Jackie Chan, Bruce Lee and Jet Li movies, which kickstarted my passion for China. I originally came here to study martial arts in 2004. Then I came back 10 years later to work as a financial consultant, which I didn’t really enjoy.

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Dolph Lundgren: ‘In showbusiness, you kind of live for ever’

Answering readers’ questions, the hardman actor discusses his bust-up with Jean-Claude Van Damme, his degree in chemical engineering – and ham sandwiches

If someone said: here’s loads of money, but we get the right to CGI you into movies for ever after you die, would you accept? LarboIreland

I’ve been in about 80 movies already. I guess part of being an actor is there’s some immortality. That’s why people are interested in showbusiness, because you kind of live for ever. So maybe I would. It depends how bad the movies are.

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The Matrix Resurrections: the bonkers visuals, the love story and the final reveal – discuss with spoilers

Neil Patrick Harris and Yahya Abdul-Mateen II join Keanu Reeves and Carrie-Anne Moss in a fourth instalment in the franchise that is full of little treasures

  • This article contains spoilers for The Matrix Resurrections

There’s no need for a blue pill. The Matrix Resurrections is, by and large, an engaging and energetic motion picture, and worthy of being on the same shelf as the groundbreaking original from 1999. Unlike the soul-crushingly dull previous entry, The Matrix Revolutions, it remembers that mind-scrambling pseudo-intellectual yammering gets tiresome on-screen if there isn’t also some fun. Luckily, director Lana Wachowski, working apart from her sister Lilly for the first time, and her screenwriting partners David Mitchell and Aleksandar Hemon, have included plenty of flashbacks. A rewatch isn’t absolutely necessary. But talking about the new one after you see it is.

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Timothée Chalamet: how the prince of indie grew into a multiplex star

A role in the sci-fi epic Dune has transformed the young actor into a bona fide leading man – but not one from the old Hollywood mould

In September, the Met Gala in New York – Anna Wintour’s annual fusion of fundraising gala and celebrity parade – redesigned itself for generation Z. Instagram sponsored the event, Justin Bieber was its headline performer, and four young whippersnappers were enlisted as co-chairs: singer Billie Eilish, tennis player Naomi Osaka, poet Amanda Gorman and – the elder statesman of the quartet at 25 – Timothée Chalamet.

Chalamet turned up, typically tousle-haired and puppy-eyed, in an outfit of two halves. Up top, a cropped, snugly tailored satin tuxedo jacket by avant-garde designer Haider Ackermann, complete with cummerbund and blingy brooches. Below, a pair of baggy cream jogging bottoms, tucked into white socks and Converse trainers. Half princely film star, half kid at play: it’s a look that encapsulates the persona of the biggest, most hysterically obsessed-over teen idol to emerge from the movies since the heyday of Twilight.

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The top 20 duels in cinema – ranked!

Forty-four years after The Duellists, Ridley Scott draws swords again with his star-studded swashbuckler The Last Duel. But which one-on-one fight film is the champion? Let mortal combat begin …

Inspired by Ridley Scott’s The Duellists, Gregory Widen wrote a screenplay about immortals trying to hack each other’s heads off with big swords. Former Olympic fencer Bob Anderson choreographed the showdown between Christopher Lambert and evil Clancy Brown, who is clearly having too much fun to live. “There can be only one!” Followed by a zillion sequels and TV spin-offs.

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Michelle Yeoh: ‘Jackie Chan thought women belonged in the kitchen – until I kicked his butt’

The kung fu goddess talks about her most eye-popping stunts, her yearning to do another Crazy Rich Asians, and her outrageously enjoyable new Marvel movie, Shang-Chi and the Legend of the Ten Rings

Ten minutes into my conversation with Michelle Yeoh, there is a misunderstanding. We are discussing her character in Shang-Chi and the Legend of the Ten Rings, an outrageously enjoyable new Marvel adventure about a San Francisco parking valet trying to ignore his destiny as a martial arts warrior. Yeoh plays Ying Nan, a beneficent gatekeeper who lives on the far side of an enchanted bamboo forest. Another character, played by Awkwafina, refers to Ying as “an awesome magical kung fu goddess”. When I mention this, Yeoh thinks Awkwafina made the remark about her. “Oh, that’s so sweet!” she says. “Of course, I already knew Awkwafina because we were both in Crazy Rich Asians.”

There’s no need to point out the error, because it is perfectly true: Yeoh really is an awesome magical kung fu goddess. No one would argue with that. Not the millions who gasped as she skipped nimbly up walls and across rooftops in Crouching Tiger, Hidden Dragon. Nor the ones who flocked to her early Hong Kong action movies with the likes of Jackie Chan and Cynthia Rothrock. Not the ones who were first introduced to her in the Bond movie Tomorrow Never Dies. And certainly not Oliver Stone, who called her “a woman of elegance and magnificent grace – the young grande dame of Hong Kong cinema”. Nor Quentin Tarantino, who rushed to her bedside when she was in a body cast for a dislocated neck and cracked rib sustained after falling 18ft on to her head while filming The Stunt Woman in 1996. “He insisted on seeing me and sat on two pillows at my feet and recounted my movies frame by frame,” she later said.

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Sonny Chiba, martial arts master and Kill Bill star, dies aged 82

Chiba made his name with the 1970s Street Fighter trilogy, before Quentin Tarantino’s admiration brought him fame in the west

Sonny Chiba, the Japanese martial arts movie star who found late-career renown in Hollywood after outspoken admiration from Quentin Tarantino, has died aged 82 from a Covid-related illness. Variety reported that it had received confirmation of the news from Chiba’s agent.

With an acting career beginning in the 1960s with a string of roles in Japanese martial arts films and TV shows, Chiba became widely known in the west after being name-checked in True Romance, the 1993 thriller written by Tarantino and directed by Tony Scott. By then, Chiba had become a star in Japan, appearing in titles such as the 1970s Street Fighter trilogy (and its spin-off, Sister Street Fighter), Bullet Train and Champion of Death.

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The Suicide Squad review – eyeball-blitzing supervillain reboot

Guardians of the Galaxy’s James Gunn is a good directorial fit for the humour and freaky violence of DC’s bad-guy jamboree

DC’s new Suicide Squad movie announces itself as different from the coolly received first film from 2016 simply by adding “The” to the title, maybe sneakily trying for an unacknowledged rebrand or reboot. James Gunn, also in charge of Marvel’s Guardians of the Galaxy, is brought on board as director and co-writer. This second Squad outing (if you don’t count last year’s standalone Harley Quinn adventure Birds of Prey) is a long, loud, often enjoyable and amusing film that blitzes your eyeballs and eardrums and covers all the bases. There is Guardians-style comedy mixing humans and talking animals, there is freaky violence – including what I have to say is a gruesomely impressive interior-anatomical shot, showing a knife plunging into the still-beating heart – and there is colossal CGI spectacle for the final act in which a giant thing runs rampant in a city, while the gang look up at it; a trope that has become almost legally mandatory for superhero movies.

Viola Davis once again brings a touch of class to the Suicide Squad franchise as the chillingly manipulative security chief Amanda Waller who now springs supervillain Bloodsport (Idris Elba) from jail so that he can head up an elite new crew of misfits, desperadoes and undesirables. These include Harley Quinn (Margot Robbie), Rick Flag (Joel Kinnaman), the ironically belligerent Peacemaker (John Cena), King Shark – a great big talking shark in Hulk-ish stretchy shorts – voiced by Sylvester Stallone, Ratcatcher II (Daniela Melchior), who commands an army of rats wherever she goes, and Polka-Dot Man (David Dastmalchian), who fires molten polka-dots at the enemy, revving himself up for the task by imagining that this is his overbearing mother. There is also a kind of B-team of Squadders whose job is to be hilariously expendable.

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Jungle Cruise review – the Rock’s Disney theme-park actioner takes predictable turns

Emily Blunt and Dwayne Johnson are romancing riverboat adventurers in a ride-turned-film that quickly becomes bland

The Jungle Cruise theme-park ride is a riverboat trip that Disneyland visitors have been queuing up for since the 1950s: an old-timey craft travelling down an artificial jungle river, with a jolly captain pointing out animatronic animals lurching out of the artificial undergrowth. Now it’s been adapted into a blandly inoffensive piece of generic entertainment: screenwriters Glenn Ficarra and John Requa (who once gave us Bad Santa and I Love You Phillip Morris) have mashed up The African Queen with Raiders of the Lost Ark, and with what I admit is a surreal splash of Aguirre, Wrath of God.

It’s lively enough for the first 20 minutes. The year is 1916, and Emily Blunt plays Lily Houghton, a haughty yet idealistic British scientist, much patronised by the male establishment in London. She imperiously hires a riverboat in Brazil to find the much-rumoured “Tree of Life” somewhere in the jungle. Its captain is a cynical-with-a-heart-of-gold rogue called Frank Wolff, man-mountainishly played by Dwayne Johnson. After the traditional meet-cute, their growing romance plays off the comedy turn provided by Jack Whitehall, playing the other passenger: Lily’s foppish, neurotic younger brother MacGregor. At one stage, Whitehall’s prissy, wussy Englishman explains to Dwayne Johnson that he is gay – or rather, he says something indirect about being not as other men, and the subject is never raised again, Edwardian reticence dovetailing nicely with Disney family values. It is a stereotype that Walt himself might have recognised, while also approving of the obvious heterosexuality of Frank with his muscles, boots and sailor’s cap.

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The Green Knight review: Dev Patel takes a magical and masterly quest

David Lowery’s complex, visually sumptuous and uncommercial tale of Arthurian legend revels in upending expectations

Equal parts folk, prog rock and metal, The Green Knight takes place at the inflection point when one version of the old world was supplanted by the next. In David Lowery’s liberty-taking interpretation of the character’s 14th-century origin poem, the headstrong yet not-quite-valiant Sir Gawain (Dev Patel, superb) traverses an England caught between the mystical pagan religions and the nascent Christianity soon to change the face of the nation.

At first, subtler touches denote the friction between the two, as in the cross-cutting juxtaposition of a supernatural blood-and-bone ritual against the quasi-biblical imagery of an ageing Arthur’s court. (The king’s crown doesn’t take the shape of a golden disc framing his head for nothing.) By the time near the third act that Lowery reveals his key reference point to be Martin Scorsese’s Last Temptation of Christ, another mounting of myth invested in mortal frailty and unconcerned with textual fidelity, it’s apparent that the maturation of one man is meant to coincide with that of an entire society.

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Riders of Justice review – Mads Mikkelsen revenge thriller turns screwball

Anders Thomas Jensen’s film is far-fetched, tonally wayward and shouldn’t work at all, but somehow it all comes together

The poster image of a grey-bearded, shaven-headed, tooled-up, mean-looking Mads Mikkelsen, combined with that title, might set alarm bells ringing … along the lines of, “Oh no, he’s doing a Taken.” Blessedly, rather than giving us a straightahead middle-aged revenge thriller, this unpredictable Danish film takes apart the whole trope. There are action thrills, to be sure, but they are folded into what becomes a sort of group therapy session on the psychology of grief, guilt, vengeance, chance and coincidence. Even more blessedly, it’s often hilarious.

Mikkelsen plays Markus, a military commander who is recalled from Afghanistan when his wife is killed in a train crash. He might have a particular set of skills, as Liam Neeson would put it, but emotional intelligence is not one of them. Markus refuses counselling and struggles to connect with his teenage daughter. Fortunately, along comes Otto (Nikolaj Lie Kaas), a maths geek who happened to be on the same train as Markus’s wife. He is accompanied by eccentric sidekicks Lennart (Lars Brygmann), and Emmenthaler (Nicolas Bro). They are convinced the crash was not an accident but a targeted killing connected to a violent biker gang.

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Bob Odenkirk: ‘Soon people won’t remember Breaking Bad’

He charmed as slimeball lawyer Saul in the drugs drama and its spinoff – but now Bob Odenkirk has gone badass in action thriller Nobody. Has he left his comedy days behind?

On the surface, Bob Odenkirk’s new film is entirely preposterous. As the story of a man who goes on a murder spree after his house is broken into, Nobody is an all-out, full-throated action movie. In one scene, 58-year-old Odenkirk tears a handrail off the inside of a bus and beats a man senseless with it.

However, as he explains, the story stems from something much more personal. “My family had two break-ins,” he reveals from his home in LA, where he’s sitting beneath a vast Chinatown poster. “It was very damaging.”

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‘My parents still have no clue what I’m doing’: Lupin star Omar Sy on Hollywood, fame and fighting racism

After a decade in Hollywood, French actor Omar Sy returned home to star in Netflix’s much-loved hit, Lupin. He talks about playing the charming thief, growing up with Arsenal’s Nicolas Anelka and his battle with racism

Actors, obliged to exhaustively market their wares, will pose for hours in front of posters of their latest film or TV show. They’ll hop between city premieres, sit on dreary festival panels, tell rehearsed comic stories on night-time talkshows, then get up early to be on breakfast radio. Before meeting Omar Sy, a 43-year-old Frenchman who stars in the massively popular Netflix drama Lupin, I’d never heard of an actor picking up a bucket and brush to spend a day gluing up their own billboard posters on the Paris metro. Sy, who is 6ft 2in, born in a working-class Parisian suburb to West African parents, explains the thinking behind this unusual marketing stunt that took place just before the first series of Lupin debuted earlier this year.

“A lot of people know me in Paris,” begins Sy, who worked as a comedian in France through his 20s before becoming a film star there in his early 30s. “Because people in France have watched me in stuff for years, I’m used to meeting strangers who recognise me and who already have smiles on their faces.” In Lupin, lightly adapted from the classic heist books by Maurice Leblanc, Sy plays a French-Senegalese man called Assane Diop, an anonymous Parisian who is used to being ignored and overlooked in his home town, but who is willing to use that to his advantage while robbing the city’s jet-set blind. “The show is entertainment and we want to have fun with it,” he says, “but at the same time we’re talking about something very serious: that some people in France are simply not seen.”

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The Swordsman review – thrilling fight scenes in spectacular Korean action drama

An intricate tapestry of 17th-century political intrigue and family feuding is bolstered by fabulous costumes as Chinese invaders are dealt with

The Swordsman, a pacy, crisply choreographed South Korean action film set in the 17th century handicaps itself by opting for such a bland, generic title. It’s like naming a Hollywood action movie The Gunman or The Cop. Debutant writer-director Choi Jae-Hoon could have been a little more specific about the protagonist Tae-yul (played by boy-band-beautiful star and sometime rapper Jang Hyuk) by calling it The Blind Swordsman, given the character’s vision impairment. But then that title has already been used several times. Also, Tae-yul is not quite blind yet, although the threat to his vision and his need to access an expensive medicine hang over the plot throughout.

As it happens, the intricate tapestry of action, family drama, political intrigue and period spectacle is anything but generic. Unfolding during a period when ruling dynasties in China and Korea were in major flux, the story springboards off the fall of the Joseon dynasty’s 15th king; a disgrace in combat sends Tae-yul, one of the finest swordsmen in the country, into exile with his baby daughter.

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