As Tears Go By (Wong Kar-Wai, 1988)

Cast: Andy Lau, Maggie Cheung, Jacky Cheung, Alex Man, Ronald Wong, Ang Wong, Huang Pa-Ching. Screenplay: Jeffrey Lau, Wong Kar-Wai. Cinematography: Andrew Lau. Production design: William Chang. Film editing: Cheong Bei-Dak, Kai Kit-Wai. Music: Danny Chung, Teddy Robin Kwan.

It takes mastery of a genre to transcend that genre, as Martin Scorsese did with the gangster film and Douglas Sirk did with the romantic melodrama, and Wong Kar-Wai does just that with his first feature, As Tears Go By. Scorsese looms larger here, in that his Mean Streets (1973) was an acknowledged influence on Wong’s film, but I can’t help seeing touches of Sirk in the portrayal of the romance between Wah (Andy Lau) and Ngor (Maggie Cheung). Yet Wong is very much his own man, and the film is a smashing (in all senses of the word) success full of fire and energy, yet able to show the ameliorating effect that Ngor has on the initially standoffish Wah, preoccupied with making his way in the underworld and defending his friend Fly (Jacky Cheung). The use on the soundtrack of Sandy Lam’s version of Giorgio Moroder and Tom Whitlock’s Oscar-winning “Take My Breath Away” evokes its source, Top Gun (Tony Scott, 1986), but it also accentuates the pop-culture-saturated milieu in which the action and the romance take place. 

Thor: Love and Thunder (Taika Waititi, 2022)

 Cast: Chris Hemsworth, Natalie Portman, Christian Bale, Tessa Thompson, Taika Waititi, Russell Crowe, Jaimie Alexander, Idris Elba, Chris Pratt, Dave Bautista, Karen Gillan, Pom Klementieff, Sean Gunn, Vin Diesel, Bradley Cooper. Screenplay: Taika Waititi, Jennifer Kaytin Robinson. Cinematography: Barry Baz Idoine. Production design: Nigel Phelps. Film editing: Peter S. Elliott Tim Roche, Matthew Schmidt, Jennifer Vecchiarello. Music: Michael Giacchino, Nami Melumad. 

Critics were kind of meh about Thor: Love and Thunder, but I found it one of the less wearying of the entries in the superhero comic book sweepstakes. Aside from the unnecessary episode with the Guardians of the Galaxy, it zips along through the narrative challenges and nicely balances the love with the thunder. Chris Hemsworth is one of the most engaging actors stuck in the action genre, especially when Taika Waititi is giving him opportunities to play the goof. Christian Bale turns Gorr into one of the more complex Marvel villains, and it’s good to see Russell Crowe loosen up and have a ball playing Zeus. I have mixed feelings about Natalie Portman’s performance as Jane: She does a good job playing the diminutive foil to Thor, but I never felt the necessary chemistry in their love affair. Thor seems more enamored of Mjolnir than he does of Jane. I don’t know why Waititi needed to reprise the gag of the actors – Luke Hemsworth, Matt Damon, and Sam Neill – playing Thor, Loki, and Odin, this time adding Melissa McCarthy as Hela; it only overloads an already bloated excursion into Thor World. 

Pushing Hands (Ang Lee, 1991)

 

Cast: Sihung Lung, Lai Wang, Bozhao Wang, Deb Snyder, Fanny De Luz, Haan Lee, Hung-Chang Wang. Screenplay: Ang Lee, James Schamus. Cinematography: Jong Lin. Production Design: Scott Bradley. Film editing: Ang Lee, Tim Squyres. Music: Tai-An Hsu, Xiaosong Qu. 

I admire Ang Lee’s Pushing Hands because it takes its story up to a point where a more conventional film would have found an easy resolution to the plot, and then it doesn’t go there. Mr. Chu (Sihung Lung), an elderly tai chi instructor, has come to America to live with Alex (Bozhao Wang) and Martha (Deb Snyder), his son and daughter-in-law. Mr. Chu speaks no English and Martha speaks no Mandarin, and when they’re left alone together during the day, tensions flare. She’s trying to write a novel – her first has just been published – but his presence in the small suburban house proves a constant distraction, a irritant that causes tension not only between Martha and her father-in-law, but also between husband and wife. Mr. Chu teaches tai chi at a local community center, where he makes friends with Mrs. Chen (Lai Wang), an elderly widow who likewise lives with her Americanized children. When things reach an explosive point at home, Alex decides to try making a match between his father and Mrs. Chen. Things seem to be going well in that direction: Both families go on a picnic together, and Mr. Chu uses some of his tai chi training to help Mrs. Chen with a pain she has in her shoulder. But just as we can see the conventional happy ending on the horizon, Mrs. Chen rebels against the matchmaking, expressing her own bitterness at being manipulated by others. This avoidance of sentimentality is what strengthens Lee’s film, his first. It’s an enormously likable movie, with a couple of flaws: Martha is written and played with more shrill edginess than is entirely credible. Couldn’t an obviously intelligent woman married to a man who speaks Mandarin and whose small son is learning it have managed to learn at least a few phrases to communicate with her father-in-law? And Alex’s destructive rage – he destroys the kitchen when the tensions get too high – feels a bit over the top. 

Getting Go, the Go Doc Project (Cory Krueckeberg, 2013)

 Cast: Tanner Cohen, Matthew Camp. Screenplay: Cory Krueckeberg. Film editing: Cory Krueckeberg. Music: Tim Sandusky.

A small surprise: an extremely low budget movie, much of it shot on an iPhone, that manages to explore issues like objectification and heteronormativity with intelligence and wit and even some tenderness. It takes a romcom setup and transcends it, turning stock figures – the nerd and the hunk – into real people, thanks to shrewd performances by its leads, Tanner Cohen and Matthew Camp, who improvised a good deal of their dialogue. Cohen plays a college student and aspiring writer whose sex life is almost entirely online, jerking off to images of men, particularly a go-go dancer in a gay bar. He becomes obsessed with the dancer, and one drunken night emails him, claiming to be a documentary filmmaker who wants to do a film about the life of a dancer in a bar. To his surprise, the dancer responds, and he finds himself rounding up the necessary camera equipment. The dancer, known in the film as Go, wants to know if he’ll be paid, and the student, whom Go calls Doc, agrees to give him five percent of any profits the film might make – although he knows full well that there will probably never be a real film. And then they fall into a real relationship, which, in conventional romcom fashion, we know will be damaged when Go finds out the truth. Except that it doesn’t quite work the way, a smart reversal of our expectations. Getting Go doesn’t seem to have found much of an audience beyond LGBTQ film festivals, but its attractive performances and intelligent dialogue make it a film that should be more widely known. 

The Knack … and How to Get It (Richard Lester, 1965)

 Cast: Rita Tushingham, Ray Brooks, Michael Crawford, Donal Donnelly. Screenplay: Richard Lester, based on a play by Ann Jellicoe. Cinematography: David Watkin. Art direction: Assheton Gorton. Film editing: Antony Gibbs. Music: John Barry. 

When I saw The Knack when it was first released, I was about the age of its principal characters, and I wondered why they were having so much more fun than I was. The obvious answer is that my life was not being directed by Richard Lester. But today, what seemed like a giddy delight of a movie, which so wowed the jury at Cannes that they gave it the Palme d’Or, feels a little tiresome and sad. It climaxes, after all, with Rita Tushingham’s character crying rape. And even though her cries, which are sometimes more like chirps, are played for laughs, we have learned to treat rape as no laughing matter, so a sourness has infected the movie that can’t be dismissed as misapplied “wokeness.” There are still things to like about The Knack: It does have a certain naïve charm and a great deal of energy, and the chorus of stuffy middle-class Brits commenting on the antics of the young is often funny. But the film is as dated as a farce about the flappers and flaming youth of the 1920s would have been to the “mods and rockers” of the mid-‘60s