Here’s a nice surprise, just something I found at the video store that I never heard of before, sounded interesting from the description on the box and it turned out it was. BESOURO is another movie based on the life of a legendary martial artist, except not an Asian one. This is a Brazilian film about a capoeira fighter.
The movie takes place in 1924. A narrator tells us that it’s less than 40 years after slavery ended in Brazil, that Africans are still treated like shit, that their religions and the practice of capoeira are outlawed. The setting is a small settlement where mostly African-Brazilians live, but they work in the sugar cane fields for an asshole white Colonel who uses the n-word more than 50 Cent does (played by Michael Richards [no, not really, but wouldn’t that be weird though?]). (read the rest of this shit…)
LEGEND OF THE FIST: THE RETURN OF CHEN ZHEN is the latest in Hong Kong’s prestigious line of FIST movies. If you’re not familiar with the saga it’s very simple: Chen Zhen is a vengeful kung fu master who was played by Bruce Lee in FIST OF FURY (1976), Jet Li in FIST OF LEGEND (1994), Donnie Yen in the FIST OF LEGEND tv series (1995), and Donnie Yen again in this movie based on his tv series adapted from Bruce Lee’s movie because of the popularity of Jet Li’s movie. The fictional Chen Zhen is supposed to be a student of the historical Huo Yuanjia, who was played by Jet Li in FEARLESS (2006). So keep in mind while watching that movie that Jet Li is playing teacher to himself and Bruce Lee and Donnie Yen, who of course played teacher to Bruce Lee in IP MAN 1-2. The Bruce Lee movie FISTS OF FURY is not related to these movies, that’s just another name for THE BIG BOSS. The Chen Zhen movies are only singular FIST and not plural FISTS. Also Chen Zhen is not related to the historical figure from the Han Dynasty, he is instead portrayed as living in the Republican era before the Second Sino-Japanese War although Huo Yuanjia lived during the late Qing Dynasty. So you see there is nothing to be confused about here. 
My man Clint’s new directorial work HEREAFTER hit the home video this week, and it’s some creepy timing. The movie opens with vacationing TV reporter Cecile de France (from 
Kim Sun-Woo (Lee Byung-hun, the ninja-in-white from GI JOE) is the liver of the titular life, and at first I gotta say it mostly seems sweet. He works at a hotel (but really he’s an enforcer) and he seems to be very good at his job. In fact he’s very good at other people’s jobs too, because when some slacker isn’t there to take care of some rowdy guests from a rival gang Kim goes downstairs and personally martial arts the shit out of them.
I can dig a good western, and 
THE MAN FROM NOWHERE is a Korean crime picture that was Korea’s highest grossing movie in 2010 and is new to DVD here in North America. The region free male of the title is Cha Tae-Sik (Won Bin), a young handsome dude who runs a pawn shop. He lives next door to a single mother who unbeknownsted to him has just stolen a big bag of heroin from a dude.
Okay, let’s talk EXPENDABLES 2.
I finally caught up with the heavily hyped, Academy Award nominated, tired of reading about it when I haven’t seen it yet documentary EXIT THROUGH THE GIFT SHOP. I tried to look it up and apparently I am the very last person left who wanted to see it but hadn’t. But I guess wikipedia is not always the most reliable source, so in case they overlooked anybody I’ll explain what it is:
At first I wasn’t even gonna see 127 HOURS, ’cause what’s the point of doing another one if Nolte and Murphy don’t come back? Those movies were all about the chemistry of those two guys. It doesn’t make alot of sense to replace them with a different character. But it was a bold move to not make it a buddy movie, or a cop movie, and base it on a true story about a guy who went hiking and got his arm stuck under a rock. Alot of people will say that’s just a rehash of parts 1 and 2, but I would argue that there are subtle differences. 
Well, not too many people got a chance to examine the evidence, but MR. STITCH was the first solid proof that Roger Avary could stand on his own without reminding anybody of his video store co-worker Quentin Tarantino. Two years after winning an Oscar for PULP FICTION he was directing a DTV movie. Of course around here we know there’s no shame in that, but I guess it was not the original plan, just what happened when him and Rutger Hauer couldn’t agree on anything, according to 
