One of the most hyped up films I was looking forward to seeing this year, over the last couple of weeks, admittedly, my anticipation for the film has simmered. Even if there’s some awkward CG, what I’d seen of the 2D animation in the trailers looks breathtaking. Gatts is a young mercenary, fighting across the lands with his brute strength. After one particular battle he becomes a member of the “Band of the Hawk”, a mercenary group where he meets Griffith, the leader of the “Band of the Hawk” who is an ambitious man and the holder of Behelit, a mysterious egg shaped amulet that he wears on his neck. Following a tragic past and a lonely life, Gatts finds some solace in the company of “Band of the Hawk” where he particularly develops a complex relationship with Casca, the only female soldier of the group and second in command after Griffith. As the war against the Chudar Empire grows, “the Band of the Hawk” are constantly hired by the King of Midland to fight against the Chudar. As the battles carry on one after another, “Band of the hawk” continue to grow in power with Griffith determined to become stronger. One certain incident reveals the vague power of the behelit after Gatts and Griffith face a formidable enemy who is beyond human.

To make things more clear, this trilogy is adapting the same story arc that the TV anime covered but it will more closely following the manga and obviously have a much higher budget. Understandably so, it would have been too expensive to use entirely full animation techniques in 2D. The use of 3D CGI avoids budget, time, and animator staff constraints while still allowing for the depiction of epic battles and detailed sword fights. One thing that must be pointed out it is called Berserk, and for that it has a lot of violence and even nudity. However, it is toned down considerably from the manga. As the series comes to a close, you find yourself saying “Is that all?” No. In fact, the series entrenches only about a third of the entire story thus far. The manga is currently 29 volumes that run about 250 pages each.

For one thing, there are plenty of people that will be watching this that did not watch the series or read the manga. Given the age of the tv series, it’s not at all surprising that they felt the need to revisit the early parts of the story in order to lay the ground work for what is to come. It’s dark and not for many people who are looking for something fun and happy like Pokemon. Berserk also has one of the most saddest, darkets and down right depressing endings ever. Though at times the animation quality could be better, the style here is a little different in that they follow few of the regular anime guidelines. Some of the characters have big eyes, but beyond that they are proportioned perfectly, giving the animation a sense of reality, which of course only adds to the intensity of the story. A larger budget was probably never a possibility, and I’m much happier with this than nothing. Limited 2D animation probably would have been less distracting, but fully-animated fights are a big plus for something like Berserk.

http://www.youtube.com/watch?v=EOU67LPFuWw

All in all, was it worth the wait? Sort of…especially knowing Arc II is right around the corner. There are significant milestones throughout; not just a lot of build-up for one great climactic ending. Meaningful happenings occur on a regular basis, and there are many subtle underlying themes that I missed the first time around on the series. Berserk Golden Age Arc I: Egg of the Supreme Ruler is by far one of the most intricate films to be released in Japan. I really can’t say anything bad about this film since I have been a fan for quite some time. When your watching this anime, don’t rely on personal knowledge from the manga, or you shall be slightly disappointed. In the end, this is an awesome anime, and I am on the edge of my seat just waiting for the next arc to unfold.

Fate chose me. Dont say a word.

The film begins (as does Goshas career!) with a freeze frame on the disturbanceof mud. It is an exceptional film about loyalty, social unrest, and the selfish disconnectionbetween a ruler and his people. The dynamic between the three samurai of the title arethemselves used as an undulating wave of emotional prodding at the audience. Theseare central characters but we never learn anything about them (their history for instance)apart from their moral character. This is significant in that it forces the audience toappraise these characters purely by their actions unmolested by past accomplishmentsor crimes. Like the doomed character who pronounced the quote above, fate makes noexception for status or class, fair or unfair, right or wrong such is a game she plays.

Aya, the daughter of a crooked magistrate named Matsushita is abducted by aband of peasants. They send their demands to lower taxes and the magistrate travelsto confront them. A ronin named Sakon Shiba stumbles upon the peasants during hiswandering and holes up in the mill theyre hiding out in. He gives them advice and seemsto half-heartedly side with them after they explain their demands and level of poverty.Not long after, Matsushita with his modest army bursts into the barn, but Shiba alonecauses them to flee. The magistrate is hesitant to inform the rest of the clan (who couldprovide some valuable reinforcements to resolve this matter quickly and efficiently)under of the disgrace of incompetence. However, the lord is to passing through thetown soon, so the matter must be resolved quickly. Matsushita decides to hire a band ofcriminals to execute the mob. He sends his formidable guard named Kikyo to oversee theoperation. Kikyo is the classic antihero; uninterested, selfish, but incapable of allowinginnocent people to suffer. Also in the group is a ronin named Kyojuro Sakura (the onlycharacter/actor returning from the original series).

A major early turning point in the film involves a friend of the peasants namedMosuke who travels to the mill to bring them food and supplies. He attempts to killSakura who kills him easily, even offhandedly. Sakura finds the bag of food Mosuke wascarrying and brings it with him. Kikyos band begins an assault on the mill, but Sakura (apeasant once himself) is so moved by the peasants plight that he joins with Shiba on thespot. Kikyo, disgusted, returns to the magistrate with his gang to form a new plan. Sakuragives the food to the starving peasants and they recognize it as belonging to Mosuke.Sakura, realizing that he had unknowingly killed their friend, says that he only stumbledupon the bag. Matsushita orders Kikyo to kidnap Oyasu, the daughter of Gosaku (one ofthe men who kidnapped Aya). Meanwhile, Sakura attempts to comfort Mosukes widow,Oine; his conscience eating him alive. When Sakura returns to the mill, the magistrateand his band demand the peasants trade Aya for Oyasu. Gosaku is about to make theexchange but Oyasu falls, bites her tongue, and dies. Gosaku attempts to strangle Ayabut Shiba intervenes. The magistrate gives his word to Shiba that he will not punish thepeasants if Aya is returned and if Shiba receives one hundred lashes. Shiba releases Ayaand himself into the clutches of the magistrate.

http://www.youtube.com/watch?v=Wl7LiYEUki0

It is here, Matsushitas betrayal of that pact between samurai where the filmreally begins (halfway through of course). The keyword of the film is reluctance. All ofthese characters display copious amounts of hesitation. The magistrate is hesitant to helpthe people, the people are hesitant to ask for help, the ronin are hesitant to be loyal yettheyre hesitant to resist loyalty. The score by Toshiaki Tsushima is minimalism at itsfinest and most powerful. Goshas expert use of Dutch angles is also notable and wildlyeffective at certain points. The action scenes are (until the extravagant ending) briefbut intense. Its a very realistic film (occasionally interrupted by unlikely plot devices)thats both brutal and unforgiving – especially to its characters. No one escapes the filmunscathed by fate and its domineering hand watching happiness from utter desolationgrow.

Dichen Lachman was born in Kathmandu, Nepal, and lived in Nepal until she was eight years old, before her family moved to Adelaide, Australia. Her mother was born in India and is of Tibetan descent. She was on FOX’s Dollhouse and guest starred as an insurance agent/street racer on NCIS: Los Angeles. She also appeared as Amy Hanamoa, the widow of a murdered police officer, in an episode of Hawaii Five-0. Lachman made a guest appearance in an episode of the Doctor Who spin-off Torchwood, for its fourth series Torchwood: Miracle Day. Additionally, last year it was announced that Lachman would be joining the cast of Being Human as a series regular. Read below for the full Q&A…

Tourism is a major source of income for Kathmandu. It must be a beautiful place! Do you ever go back and visit the place you grew up as a child?

Dichen:I have not been back for a very long time. But, it is a beautiful place and would like to go back someday soon.

You’ve worked with Joss Whedon and some say once you’ve attached yourself to one of his projects you start being typecasted. How do you react to such statements?

Dichen:I love Joss, and his work. I don’t think that is necessarily true.

Whedon identifies himself as a feminist as it is apparent in many of his projects have strong female leads. Is this aspect important to you as well — to portray characters that represent women in a strong/positive light?

Dichen:I think it is wonderful that he represents woman in a strong and independent light. We are lucky to have him gunning for us and creating strong female role models.

Can you give us any updates on ‘Lust for Love’?

Dichen:We just wrapped the film at the end of last year and it was a blast. One of the hardest things I have ever done, but I met so many amazing people. The support from the fans was just so wonderful and overwhelming. It’s shaping up too. So that is exciting.

Lately, a lot of your work consists of Television. Was this a calculated move or did you decide to hold off on numerous film roles?

Dichen:I would love to work in film. TV is also a great place for an actor to play these days, they seem to be pushing the boundaries a lot. I hope I can do both.

You’ve done auditions for parts without reading a script beforehand, how do you prepare yourself for something like that? or does that actually take the pressure off?

Dichen:Sometimes it takes the pressure off a little, other times it makes it hard to know what the right choice is. It all depends on what the project is and the quality of writing. If something is written really well then it makes the actors job a lot easier in that situation.

I know you want to direct someday so I assume you have some ideas already in your head? What kind of project would you like to helm?

Dichen:I would love to direct. It’s a big job though and I need a lot more experience before I move onto a feature. I would love to do something really playful and dark. But I love drama and comedy too.

Lately, a lot of shows are getting resurrected; 24 is getting a movie. Arrested Development is coming back next year, etc. I know Joss had a 5 year plan for Dollhouse, so if a continuation of the show was to happen in any fashion, would you be interested in rejoining the project?

Dichen:In a heartbeat if it meant I could work with my buddies again [smiles].

http://www.youtube.com/watch?v=fvRSc8zZan4

Congrats on joining ‘Being Human’. Being that the show is based on a British version of the same name, did this initally draw your attention to the project?

Dichen:I actually had not seen the British version or the US version. I just loved the idea of exploring the Shadow Self, I thought it was a wonderful opportunity to play.

You decided to be an actress pretty late in your life and accomplished a lot in a short period of time. Do you have any advice for any actors looking to hit success?

Dichen: You have to be persistent and work hard. Use anything negative people tell you about the business to fuel your fire. Don’t let anyone tell you, [that] you cant do it.

Want to keep tabs on Dichen’s career? Follow her cookie crumb trail below:

http://www.facebook.com/DichenLachman
https://twitter.com/#!/Dichenlachman
http://www.imdb.com/name/nm1901842/

Whoa. What’s this? Jet Li starring in a touching drama? This film should play a pretty significant role in Jet Li’s detour from his martial arts filmography. With the kind help of friends and neighbors, widower and aquarium worker Sam Wong (Jet Li) shares a contented life with his autistic 22-year-old son, David (Lunmei Kwai). That is until Sam learns that he has a terminal illness that will soon leave David orphaned. Now, the doting father begins a quest to ensure that his boy will be loved and cared for after his death. As Wang sums up aptly, there is often support for the young and the old in special schools and aged homes respectively, but little services offered for adults with special needs between these ages. This film was a true eye opener and demanded I pay attention to the issues.

This is the kind of stories that make cinema so great and in my opinion this film is much better movie than any of the nominees to best picture movie of this year. This is a great history that don’t use stereotypes as genius children that can break complex codes or make complex mathematics operations in seconds for impress the audience, it is the story of a dying father making the impossible to give his son the possibility of independence before the cancer take his life. There are also messages that the film is passing to the Chinese government. It seems to be a realistic problem China faces with providing support for people who are mentally handicap. This measured approach also allows Li and Zhang to really shine in their performances, as they capture the day-to-day challenges that many families face when caring for someone with special needs. Zhang might have pushed it a little too far once or twice during the film, but overall he plays an autistic boy well.

The journey itself moves along at it’s own pace with segments of Da Fu being taught to survive on his own, while some areas do seem episodic as his progress is lumped into one section. It has been a little while since I’ve seen a good film come out of China and I must say that Ocean Heaven is one. However, amidst the excellent cinematographic work, the story is told in a very slow pace, and sometimes it all feels repetitive. Still, it is a film that tells how misunderstood people with autism are and what such families in China have to go through because the government does not provide help with such children.

http://www.youtube.com/watch?v=ehumNpIsJhE

Local viewers may draw a parallel with a recent article in the Straits Times that also similarly highlighted a gap in our special-needs welfare system in catering to adults with autism. Though undeniably sentimental in nature, “Ocean Heaven” earns the emotional beats in its contrived scenario, its even handed approach sparing it from becoming another Oscar bait film that tries to wiggle a tear from your eyeball. Especially to the parents of children with special needs who have given themselves continuously to the care of their kids, this is a tribute to the depth of your love, the depth of your heart. For the casual movie goer, there is still a lot to enjoy here and the story is deep enough to suck you in. In the end however, I decided that this is a must watch movie for all parents with autistic children. Ive watched the movie twice now and each time I watched, I discovered a new philosophy in life.

Bruce Lee remains the greatest icon of martial arts cinema, and a key figure of modern popular culture. It was only fitting we count down his top 10 most iconic and prolific fights in cinema & TV. We kick off the number 10 choice:

“When he punched me that last time, I had to stay home from work because the pain in my chest was unbearable”.

In his second major film after The Big Boss. Bruce Lee plays Chen Zhen, a student of Huo Yuanjia, who fights to defend the honour of the Chinese and to bring to justice those responsible for his master’s death. The key fight sequence between Lee and Baker is a mixture of punishing action and dry humor, as at one point Lee bites Baker on his leg to escape an arm lock (and then Lee wipes his mouth just like he was simply finishing a meal), plus Lee boxes with Baker, jabbing him repeatedly in the face whilst wearing a cheeky grin! The fight comes to a dramatic conclusion as Lee side kicks Baker in the head, knocking him senseless, and then Lee delivers a lethal karate chop to Baker’s windpipe, terminating his bigger opponent.

http://www.youtube.com/watch?v=4_AJTgxBqpg

When Bruce Lee directed his action scenes, he implemented ideas which became the mainstream after this movie. Firstly, realism had been added so when he hits his opponent, the opponent shows real pain with the exception of the villains who might be able to take down the hero. Secondly, he has the sense of how to move the camera, where the edit points were and how to make the choreography more fluid. This made his fights nicely paced, giving the intensity to make it enjoyable. Lastly, he is able to use the whole set rather than just two people standing there, fighting. This is shown in the attention to detail in the confrontation and how people surrounded the main hero or used weapons in an ice warehouse

http://www.youtube.com/watch?v=u3NuwwetZtc

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