Saturday, February 28, 2026

Lunar New Year 2026: Pegasus 3

So, as we go to Pegasus 3 in what isn't quite Causeway Street's largest screen, how's it doing in China? As of today, $514M in the 11 days since Lunar New Year, which is a bit more than Scare Out, Blades of the Guardians, Boonie Bears: The Hidden Protector, Panda Plan 2, Night King, and Per Aspera ad Astra put together. I don't know that it's an insane juggernaut like Ne Zha 2 was last year, but it's a big 'un.

I'm kind of upset that I didn't get to see it in Imax earlier in the week. It got two days on the giant screen in Assembly Row, but the first aligned with the day all the theaters were closed due to snow, and then I opted for the secret show at the Somerville on the second day with no regrets. I'll bet it's a heck of a thing to see in one of those D-Box or 4DX theaters that shake you around.

Oh, something kind of amusing is that, while it's very easy to come across a lot of social media and economics articles about how Chinese electric vehicles are going to upend the motor vehicle world order, I just randomly saw that a whole bunch of Chinese electric vehicle manufacturers have gone bankrupt in the past few years. It puts a fair amount of the plot of Pegasus 2 into focus (Zhang Chi was sponsored, you may recall, but a company that had been making devices somewhere between golf carts and mobility aids for the elderly but were expanding into full-size EVs) and how this one starts (they are bankrupt).


Fei Chi Ren Sheng 3 (Pegasus 3)

* * * (out of four)
Seen 27 February 2026 in AMC Causeway Street #12 (first-run, laser DCP)
Where to stream it (when available), Pegasus (Prime link), and Pegasus 2, or buy the first on DVD at Amazon

When I watched the first two Pegasus movies a couple years ago, I made the kind of flip comment that as a writer/director, Han Han was a very good racecar driver. This is still more or less true, although he's improved just enough over the course of this series that the parts of the movie that aren't folks behind the wheel are only a bit of a slog and the parts that are make them worth it.

In the last film, Zhang Chi (Shen Teng) and Li Xiaohai (Fan Chengcheng) won the final running of the Bayanbulak rally, but it was not enough to save the electric vehicle company sponsoring them from bankruptcy, though Zhang, his navigator Sun Yuqiang (Yin Zheng), and mechanic Ji Xing (Zhang Benyu) received the factory as a new venue for their driving school. It's only losing money slowly when they are approached by SKYLAD executives Cai (Sha Yi) and An (Duan Yihong) to head up a national team to compete in the new Asian Muchen 100" race, although friction with the company's European partners and a disastrous qualifying round lead them to team up with rival Manager Ye (Wei Xiang), now working as a rideshare driver, to form a "privateer" team.

This set-up is, quite honestly, kind of brutal to sit through at times. Han Han and co-writers Zhou Yunai & Meng Wenyu have happily remembered that the first film was a comedy and are managing to keep things lubricated with the occasional joke here (the second, for better or worse, played things fairly straight), but there is still a lot of awkwardness in the script and editing, as a fair amount of information gets repeated early on while at other times the plot seems to hinge on technical details or the politics of how these teams are selected. There are something like ten drivers of some consequence to the story though only a couple are fleshed out at all, which is kind of a problem when you get to the big rally and everybody is wearing the same sort of jumpsuit and the color-coding is not nearly enough to remind you of what the dynamic between this guy and Team Zhang Chi is while a lot is going on.

(And on the one hand, props for at least recognizing that doing so much damage to the hero car that it needs to be almost completely rebuilt has happened a lot over the course of the series, and the metaphor of how, Zhang Chi will push things to the point of disintegration and self-destruction loses power with each iteration; on the other, they keep doing it!)

The core cast still works, though. Shen Teng may get stuck with a lot of lousy dialogue early on, but he absolutely gets that, like a lot of elite athletes, Zhang Chi is a sweet guy with a hypercompetitive monster inside, even if he's maturing into someone who can control it, and Yin Zheng does will making Yuqiang a man who is a natural sidekick. Zheng Benyu plays Xing as a big, goofy engineering savant, while Sha Yi and Duan Yihong make Cai and An into folks who can more or less get away with stabbing people in the back because they don't necessarily like the system they're in. Wei Xiang often proves to be the MVP, though, with Ye seeming to struggle to hold his tongue even as he's being glib early on and, after announcing that the team needs "a villain", embracing that role with relish.

The main event, though, is the major race that takes up basically the second half of the movie and may occur in what amounts to real time. Han has kind of cleverly lowered expectations by making the qualifying segment dangerous but also a bit anticlimactic, and also created a sort of split course that allows the two cars on the team to deal with different challenges rather than repeating everything (although the rules this time around feature much more head-to-head competition than the rallies in the first two films). He spends a lot of the early going yammering on about tires in a frustrating way, but thankfully pays it off in an unexpected but exciting manner, and from then on, the race is on, gorgeously shot with fairly seamless visual effects, often putting racers in dangerous positions but in a casual way that balances the thrill of how folks could get killed in really impressive fashion if they missed a cliffside hairpin turn at 150 kph with how these guys are clearly good enough that having one tire winding up in midair during such a turn is an expected part of their strategy. As the race takes Zhang Chi & Sun Yuqiang through a bunch of different terrain and conditions, Han turns out to be really good at giving the audience necessary information at speed and both tossing in and keeping up with situations that have these seasoned pros quickly glancing at each other as if to say "can you believe this?", eventually racing to a photo finish.

That back half is seldom truly showy as opposed to filled with well-composed shots and beats that are individually fairly plausible but pile up in impressive fashion without stopping for a flashback or any such similar nonsense, until by the end you realize that this race is one of the most impressive sustained action sequences going. It doesn't exactly make the early going better, but it certainly makes it worth sitting through. It must be amazing in the deluxe auditoriums with personal subwoofers enveloping screens, and maybe that explains why this has been the big hit of the season in China, because it definitely won't be the same when reduced to fit in one's living room.

Friday, February 27, 2026

Next Week in Tickets: Films playing Boston 27 February 2026 - 5 March 2026

I wonder how many of the local holdovers are theaters seeing if they can get the tickets they had to cancel earlier in the week back.
  • Scream 7, the latest (final?) in the long-running series springs to bring Neve Campbell (who sat out the last one), but loses Melissa Barrera and needed Kevin Williamson to replace Christopher Landon when he dropped out as director, so it seems like kind of a mess, but who knows? It opens on a lot of screens at the Capitol, Fresh Pond, Jordan's Furniture (Imax Friday-Sunday), CinemaSalem, Boston Common (including Imax Laser & Dolby Cinema & XL), Causeway Street, Kendall Square, the Seaport (including Dolby Atmos), South Bay (including Imax Xenon & Dolby Cinema), Assembly Row (including Imax Laser and Dolby Cinema), Arsenal Yards (including CWX), and Chestnut Hill.

    Dreams, starring Jessica Chastain as a socialite who sponsors a Mexican ballet dancer (Isaac Hernández) before stalking him, opens at Fresh Pond and Boston Common.

    K-Pops!, which has writer-director-star Anderson .Paak as a musician who travels to Korea to team with his long-lost son for a competition show, plays Boston Common, Causeway Street, and South Bay as an AMC exclusive after sitting on the shelf for a year and a half.

    After a week as an Imax exclusive, Baz Luhrmann's EPiC: Elvis Presley in Concert expands and moves to regular screens at the Coolidge, Fresh Pond, West Newton, Boston Common, Kendall Square, the Seaport, South Bay, Assembly Row, and Arsenal Yards. Another more contemporary concert film, Twenty One Pilots: More Than We Ever Imagined, opens at Jordan's (Imax Friday-Sunday), Boston Common (including Imax Laser), South Bay, and Assembly Row (including Imax Laser). AURORA: What Happened to the Earth plays Boston Common and the Seaport Wednesday; K-pop concert film Enhypen: Walk the Line Summer Edition plays Boston Common and the Seaport Thursday.

    Black History Month shows at Boston Common and South Bay this week are Get on the Bus and The Woman King (with some make-up shows of Fruitvale Station).

    Boston Common continues screening Imax docs on Saturday mornings with "Born to Be Wild". There are early access screenings of Hoppers on Saturday at Boston Common (Dolby Cinema), South Bay (Dolby Cinema), Assembly Row (Dolby Cinema), and Chestnut Hill; Dolly shows early on Tuesday at Boston Common and the Seaport. The Imax re-release of The Revenant encores Sunday at Boston Common and Assembly Row.
  • Pegasus 3, in which the rally-car driver from the first two films coaches a team that heads to Europe, has made half a billion dollars after a week and a half in China, and opens at Boston Common and Causeway Street for its regular run this weekend. Hong Kong Lunar New Year comedy Night King continues at Causeway Street; Blades of the Guardians continues at Causeway Street and South Bay; Scare Out continues at Causeway Street. John Woo/Chow Yun-Fat classic A Better Tomorrow plays Boston Common (Sunday/Monday/Wednesday) and the Seaport (Sunday/Monday/Tuesday).

    Apple Fresh Pond turns their South Asian selection over to open Tamil-language comedy Thaai Kizhavi, Telugu-language comedy Vishnu Vinyasam, Hindi-language drama The Kerala Story 2: Goes Beyond (no show Sunday), and Gujarati-language thriller Paatki (through Sunday).

    Anime feature Uma Musume: Pretty Derby: Beginning of a New Era opens at Boston Common, South Bay. Japanese Oscar nominee Kohuko continues at Boston Common.

    Korean historical comedy/drama The King's Warden continues at Causeway Street.
  • The Capitol Theatre opens The President's Cake, which was Iraq's first submission to the Oscars' foreign-film category and follows a little girl given the task of making a cake for Saddam Hussein, who is visiting for his birthday, very difficult in a poor town. Surprisingly, they're the only place in metro Boston playing it, considering how many times the trailer played at the big chain 'plexes.

    The Somerville Theatre has a double feature of Annie Hall (35mm) & Modern Romance on Friday night, a "restoration and recreation" of Erich von Streheim's never-completed Queen Kelly on Sunday afternoon & Monday evening, a make-up screening of snowed-out documentary The Right Track (and a single show of Marty Supreme) on Tuesday, and My Cousin Vinny on 35mm as Wednesday's Feel Good Film.
  • Oscar-Nominated Short films start continue this week, with the Animated Shorts at the Coolidge, Kendall Square, The ICA (Saturday/Thursday), the Lexington Venue (Friday/Sunday/Wednesday/Thursday), and CinemaSalem (Friday to Monday); the Live Action Shorts at the Coolidge, the ICA (Friday/Saturday), Kendall Square, West Newton, and CinemaSalem (Friday to Monday); and the Documentary Shorts at the Coolidge, the Venue (Friday/Saturday/Wednesday/Thursday), and CinemaSalem (Friday to Monday).
  • In addition to EPiC and the documentary shorts, The Coolidge Corner Theatre showcases Oscar nominee for Best Makeup The Ugly Stepsister at midnight Friday & Saturday, with the other screen showing 35mm prints of Bram Stoker's Dracula (Friday) and Mary Shelley's Frankenstein (Saturday).

    There's a special Science on Screen presentation of the new documentary Starman on Sunday, with both director Robert Stone and subject Gentry Lee in attendance. They start a Mira Nair series on Tuesday with Salaam Bombay!, and also kick off two month-long courses: "Irish Ayes" Tuesday mornings and "Calling the Shots", focused on women filmmakers, on Wednesday evenings, whose companion screenings starting with a 35mm print of Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles. Thursday is also busy, with the opening night shows of Sirât including introductions & Q&As with director Oliver Laxe, a big-screen classic show of Saving Face with BU Professor Arianna Qianru James leading a pre-film seminar, and a cult classic screening of The Doom Generation.
  • The Brattle Theatre kicks off the weekend with Flashdance for the Friday Film Matinee, and then experiments with a couple of Ultimate Double Features, in which they show a film where characters go to the movies, pausing it so that the audience can watch film with in a film. Vivre Sa Vie with The Passion of Joan of Arc embedded plays Friday (and as a conventional double feature Saturday); Donnie Darko shows with The Evil Dead on 35mm film in the middle on Saturday (and as a normal twin-bill on Sunday). There's also a standard double feature of The Last Picture Show & Red River on Sunday (I wonder whether it was Columbia or United Artists who said no).

    They also show the new restoration of Hard Boiled on Friday & Saturday, and then on Monday they begin to flash back to some the first films that the Brattle Film Foundation showed upon taking the theater in 2001: The Mystery of Picasso (Monday/Tuesday), The Gleaners and I (Monday Tuesday), a 35mm print of The Seventh Seal (Tuesday/Wednesday), Ugetso on 35mm Tuesday, a double feature of Crime Wave (35mm) & Devil in a Blue Dress on Wednesday, and Daughters of the Dust on Thursday.
  • Landmark Kendall Square has music documentary Billy Idol Should Be Dead on Sunday, My Neighbor Totoro for the first of a month of Studio Ghibli Retro Replays on Tuesday, and Akira Kurosawa's The HIdden Fortress on Wednesday.
  • The free member screening at The Seaport Alamo on Friday is Longlegs. Interview with the Vampire plays Saturday & Sunday matinees. There's also a free member screening of Sweet Charity on Thursday.
  • The Harvard Film Archive wraps the Antonion/Bertolucci/Olmi series with The Fiancés and Il Poto on Friday and The Sheltering Sky on Saturday. After that, the Kubrick series continues with the restored/uncensored version of Spartacus on Sunday and a 35mm print of Dr. Strangelove on Monday. They also have a special presentation of Gardner Film Study Center Fellow Ali Cherri's The Dam with the filmmaker present on Wednesday; admission is free but there are no advance tickets.
  • The Museum of Fine Arts continues to show Oscar-nominated films and those they could have reasonably expected to be nominated. Bugonia plays Friday night, Die My Love on Saturday afternoon, No Other Choice Sunday afternoon, and Marty Supreme on Thursday evening.
  • The Boston Baltic Film Festival has a pretty packed schedule in the Bright Screening Room of ArtsEmerson's Paramount Theater this weekend: Frank (Estonia) onFriday; To Be Continued Teenhood (Latvia), Rolling Papers (Latvia), Fresh, Blood, Even a Heart (Latvia), and Renovation (LIthuania) on Saturday; Tasty (Lithuania), Borderline (LIthuania), Aurora (Estonia), and Red Code Blue (Latvia) on Saturday. Almost all of them have filmmakers in town for Q&A, with To Be Continued Teenhood and another dozen-plus movies available to stream starting on Monday.
  • The Museum of Science celebrates Black History Month with Sinners on the Omni dome Friday and Soul there on Saturday; tickets are already on sale for weekend shows of The Bride! over the next couple weeks with Project Hail Mary on tap starting the 20th.
  • The Regent Theatre has Nepali drama Harsha on Friday and music doc Billy Preston: That's the Way God Planned It on Thursday, the latter featuring Leon Beal doing a live set of Preston's music before the film.
  • Movies at MIT is apparently getting a late start this semester, with Die Welle showing Friday night.
  • The Lexington Venue is open Friday to Sunday and Wednesday/Thursday with Midwinter Break and the Oscar shorts programs. There are free screenings of Nine Queens Saturday morning, documentary The Public Library on Tuesday, and "The (M) Factor 2: Before the Pause" on Wednesday.

    The West Newton Cinema opens the Oscar Live-action shorts and EPiC, continuing Pillion, Midwinter Break, GOAT, Father Mother Sister Brother, Marty Supreme, and *Hamnet. The Six Triple Eight plays Saturday, IFFBoston alum Come See Me in the Good Light plays Tuesday followed by a remote Q&A with director Ryan White, Rebel with a Clause returns on Wednesday, and there's a "Producers' Circle" screening of The Last Yztari on Thursday.

    Cinema Salem has all of the Oscar Shorts, Scream 7, and "Wuthering Heights" from Friday to Monday. Deep Cover is the Friday Night Light show, Misery encores on Saturday afternoon, there's a (rescheduled?) Whodunnit Watch Party Sunday evening, and the original King Kong for the Wednesday Classic (with Weirdo Wednesday down the hall).

    If you can make it out to Woburn, an English dub of Czech animated film Proud Princess is playing there. The Liberty Tree Mall in Danvers is apparently the only place to see Undercard, featuring Wanda Sykes as the getting-clear former fighter mentoring her son, despite having its trailer play a lot downtown for the past few weeks.
Oh dang, I'm traveling for vacation on Thursday, so that means I'd better catch the Oscar shorts right quick! I'll also try to fit Pegasus 3 and possibly The President's Cake in, though that's a real hit taken on a lot of good rep. Follow along at my Letterboxd page!

Lunar New Year: Night King

Lunar New Years celebrations continue at the Causeway Street AMC, although I don't know that The King's Warden is a LNY release in South Korea if they even celebrate the holiday, and this doesn't include Vietnamese film A Gift from Heaven. All of this is continuing into the next weekend, both because the crowds have been pretty good and I suspect to recover some of the ticket sales lost during the snow.

It was a pretty good crowd for a Cantonese-language film on a Wednesday night, and though I liked rather than loved it, I'm also tempted to bump my opinion up a bit because there were folks behind me laughing in moments when I wasn't even entirely aware that jokes were being told. Maybe a lot of these jokes just land better in Cantonese, or call upon context that I, as a guy who just goes to movies and visited the place once, mostly hitting the touristy stuff, just don't have.

Afterward, I did chuckle a bit at a post on Bluesky talking about how part of what's nice is that it mostly keeps the metaphor for Hong Kong as subtext, because it seems like every movie that comes out of the Special Administrative Region is seen as a metaphor for it and its history/relationship to the larger China. I can sort of see it in this case, and I suspect that it's true for a lot of movies - if your movie is not going to be very HK-specific, there are literally over a billion incentives to cast mainland actors and shoot in Putonghua Mandarin to the north - but I also kind of imagine filmmaker Jack Ng sighing, saying he was just trying to tell a funny story.


Night King (夜王)

* * ¾ (out of four)
Seen 25 February 2026 in AMC Causeway Street #4 (first-run, laser DCP)
Where to stream it (when available)

I learned about the Hong Kong Lunar Year Comedy as a genre - that is, a broad, mostly family-friendly farce that often ends with the cast breaking the fourth wall to wish the audience a happy new year - just about as it was more or less going extinct. Now, it seems, the Hong Kong film industry has contracted enough that a movie like Night King - pretty entertaining but not quite that sort of thing - gets that slot. And I didn't think it at the time, but it's kind of ironic that the movie spends a fair amount of time talking about the end of an era and how the next generation wants kind-of-similar entertainment.

East Tsim Sha Tsui was the center of Hong Kong nightlife in the 1980s and 1990s, but now the clubs have dispersed around Hong Kong, and one of its longest-standing managers, Foon Kwan (Dayo Wong Chi-Wah) is running the last outpost in East TST, the EJ Entertainment hostess club, aided by assistant "Turf" (Alan Yeung Wai-Lun) and two "mama-sans", Mimi (Fish Liew) and Coco (Louise Wong Dan-Ni). They're short-staffed as the film starts, because their freelance girls have been poached by "Madame V" Koo (Sammi Cheng Sau-Man), who manages the clubs run by the Muses company… And who divorced Foon ten years ago. When EJ's owner dies, his widow sells to Muses, putting Madame V in charge and ready to replace most of Foon's girls with low-paid foreign/Mainland ringers. The thing is, she doesn't realize just how much her boss's son "Prince Fung" (Lo Chun-Yip) hates her, and has rigged the sale to bankrupt her and EJ.

This is hardly the first movie that sort of flips the script such that the fun-loving older couple fall (back) in love while trying to save their neighborhood club from the young businessmen, but it does feel kind of oddly re-aligned, especially since the narration from the start implies that saving EJ will still be kind of a last gasp, and it actually feels like it could be set pre-2020, in that there's no talk of Covid hurting this sort of social club or shots of phone or cars that might fix a more specific moment in time (the Asian Financial Crisis is mentioned, maybe as something more recent than it is today). It's not really important, I suppose, though as an outsider I have a bit of trouble getting a grip on the changes the city/district/business is going through: It's a Hong Kong (and Macau) devoid of westerners, though there's talk of people leaving for America, an influx of pretty Mainland girls who don't speak Cantonese (and who are called "foreigners"), and hints that Vietnam may become southeast Asia's new hot spot. It's a bit odd, to me, since recent Hong Kong movies have often been specific enough about the time and place they're grounded in to give even folks like me a sense of the identity characters are trying to hold on to.

It doesn't really matter, much, although it might make the run at the end when Foon, V, and company are trying to outwit Fung a bit more fun, as well as help flesh the girls out more. They're a lively group but kind of under-baked, a bunch of pretty faces with reduplicative names and comic flaws tossed out too quickly to attach them to names and faces or have them become recurring jokes. It would be kind of nice to nail down just how prostitution-adjacent these jobs are, too, considering that the last act has Coco and Mimi catching customers' eyes and how they seem to love Foon despite his beating them early on. The gags about running this sort of club are generally pretty good, at least, with Yeung Wai-Lun easily walking off with every scene he's in.

The heart of the film, however, is Dayo Wong and Sammi Cheng, who spark from the first time we see them cross paths even though we can easily imagine what led to them divorcing ten years earlier even if the filmmakers never explicitly tell us. They contrive three or four different reasons to throw these characters together and we're happy with all of them, because there's a fondness and history between them that sharpens and softens their rivalry as need be, and all the beats hit right. Dayo Wong has carved himself a nice niche as this sort of well-intentioned but kind of hapless guy, while Sammi Cheng is a superstar who excels as women who shine bright despite their foibles.

They're so good together here that it can throw off the rest of the movie; it's kind of hard to see Foon & V flirting and then have to believe that Mimi in Foon's bed is more than just a casual hookup, even though Fish Liew does her part. The movie winds up having to conclude a lot more business than reuniting Foon and V, and nothing else is quite as satisfying as that part.

Wednesday, February 25, 2026

Film Rolls Season 2, Round 07: Waterloo, The Girl from Rio, and The Last Battle

Okay, hopefully it gets a little less effort-intensive from now on!

Dale rolls an eleven, making her way to Waterloo, one of the first imports I ever got from Imprint in Australia.

Then, the next night, Centipede rolls a 20, making his way out of the Korean section and down to the next row to land on The Girl from Rio, one of many crowdfunded silence in this part of the board. The "rule", inasmuch as you can call them that considering how willing I am to make them up as I go along, is that a 20 gets one a bonus movie, usually something already seen, but I've decided that to keep things fair and random, those will involve stepping through a boxed set, in this case the fancy Luc Besson one put out by Sony last fall, and since the silent was short, I watched The Last Battle the same night.

Given that the difference at the end of the last round came down to Dale having one more movie than Centipede, this might even things up!


Waterloo

* * ½ (out of four)
Seen 10 December 2025 in Jay's Living Room (off the shelf, Imprint Blu-ray)
Seen 13 February 2026 in Jay's Living Room (off the shelf, Imprint Blu-ray)
Where to stream it, or buy the disc at Amazon

Many epics end on a historic military battle; of those, many are clearly reverse-engineered to have a story that climaxes in or during that battle. And then there are the likes of Waterloo, which don't so much construct a story that will build to that finale so much as their makers figure out where you have to start so that the battle of Waterloo is the final 45 minutes of a movie long enough to be considered epic-length.

That, then, would be a couple years earlier, when Napoleon (Rod Steiger) is initially exiled to Elba after the French army was pushed all the way back to the suburbs of Paris, the nations of Europe having united to contain him. As we all know, it is not long before he has escaped, and while Louis XVIII (Orson Welles) sends Bonaparte's longtime lieutenant Marshal Ney (Dan O'Herlihy) to capture him, Ney soon rejoins the former Emperor as have many of the soldiers. Bonaparte then looks to pick up where he left off, with Europe once again having the Duke of Wellington (Christopher Plummer) lead the forces to counter him, with the armies eventually converging on Waterloo for a fateful battle.

I suspect that there have been an order of magnitude more books and movies made about Napoleon Bonaparte than Arthur Wellesley - the latter is not singular enough that you hear people described as having a "Wellington complex" - but this is a film about a battle, and a battle requires two people facing off, so we spend a fair time with Wellington. Christopher Plummer is, of course, thoroughly capable in the role, but that's the thing; Wellington is capable and professional and not terribly dramatic compared to his opponent, so Plummer has less to do; his scenes are basically waiting to be sent into battle against this foe, so the movie busies itself a bit with the people around him, notably a nice enough soldier who met a girl at a party they were both attending, more or less marking him as the way one will recognize the human cost of this carnage when he dies. Waterloo is often very dry getting to its title battle, and at times the cast doesn't actually seem to be performing their characters so much as standing in costume while famous words are read in voice-over.

Steiger, by contrast, at least gets to dive into playing this antihero and growl in rage at anyone who stands in his way. It's not really a biography of Napoleon beyond the lead-up to Waterloo, so aside from a few comments about not being able to see his son, there's not much that's personal. Steiger does at least give Bonaparte a sort of forceful charisma, which doesn't particularly contradict how he seems to be doing this campaign to spite the world and show Europe that it had no business resisting him as opposed to trying to achieve some sort of tactical or political victory. Maybe it was, historically, about more than revenge, but that's what animates Steiger's Napoleon and gives the film what emotional stakes it has.

It's striking just how static and dull the shots of the movie stars posing and reciting are when intercut with the massive movements of the Red Army who have been called upon the give the film a cast of thousands, but the scale is nevertheless astounding: Whenever the camera pulls back and up to reveal the armies forming up, shooting at each other's formations, and falling apart, one's jaw drops, and I cannot imagine what it must be like on the big screen. There's so much going on at such a scale that it's hard to conceive of how director Sergei Bondarchuk managed to actually shoot all this without the post-production tools available decades later.

It's not a particularly great movie, and even in the finale when it excels, Waterloo often gives the impression of just a lot going on rather than a sense of what's happening in the battle. But, boy, if one of our local movie theaters gets their hands on a 70mm print, I'll put down money for a ticket. The film does one thing very well and everything else just well enough to justify the time and expense to get there.


The Girl from Rio '27)

* * ½ (out of four)
Seen 11 December 2025 in Jay's Living Room (off the shelf, crowdfunded Blu-ray)
Seen 23 February 2026 in Jay's Living Room (off the shelf, crowdfunded Blu-ray)

Give a movie a hundred years to age, and the preservation and ability to restore the film will be all over the place: The opening of The Girl from Rio is in two-strip technicolor, and while it's seen some wear, it's enough to make one's eyes go wide at how the filmmakers have clearly done their best to make it so vibrant that the images will persist in one's memory through the film. Other scenes appear to come from a print so damaged and degraded as to be a pasty white mess covering half the frame, obliterating the facial expressions one might be trying to read. It's maybe an unfortunate reflection of the movie itself - you see what the filmmakers can do even though it's often not sharp.

The girl in question is Lola Rojas (Carmel Myers), a dancer in one of Rio de Janeiro's most popular nightclubs. Her regular partner Raul (Edouard Raquello) is clearly enamored of her, but so is Antonio Santos (Richard Tucker), one of the most prominent men in the city with his fingers in every business, legitimate and otherwise, who takes her home every night. Recently arrived in Brazil is Paul Sinclair (Walter Pidgeon), a young Brit representing a coffee concern, who initially talks to Lola to prove she doesn't make a fool of all men; after all, he's got the lovely Helen (Mildred Harris) waiting for him at home. And while he inevitably falls for Lola, she is surprised to find herself intrigued by his resistance.

It's not a terribly substantial movie, running just a bit over an hour and having a plot generic enough that there are likely several similar movies with a different "exotic" city pasted into the title and without one necessarily cribbing from the other, and I wouldn't even be surprised if the two player films with the same name had the same plot but no direct inspiration (they don't, for what it's worth). It's a very basic template, with what stands out being how amusingly oblivious Paul is to how Helen is clearly moving on, and how Lola's landlady is a busybody who will obviously rat them out to Santos. It's a simple template and the movie doesn't stray from it.

Maybe the filmmakers intended to, at some point, because there seem to be vestiges of interesting details left: When Santos strong-arms Paul's supplier into not selling him coffee beans, he goes to "the independents", and it feels like there's some tension there (though, perhaps, it's less unique to this particular story than the sort of dealing that 1920s audiences more familiar with agricultural business would recognize easily). One initially might think that's what Santos means when he tells Lola that Paul has made enemies without his help, but it turns out he mostly means Raul, who is not only attracted to Lola but relies on her as a performance partner. It's a bit frustrating, because one can see the shape of a story here, but Paul especially doesn't really do anything; the filmmakers apparently don't want the audience to think ill of him for cheating on Helen getting involved in other conflicts and so are content for there to be attraction with Lola but for things to otherwise happen around them. For a short movie, it can feel dragged out.

Still, Carmel Myers and Walter Pidgeon are good-looking young leads with some actual chemistry. It being 1926, things aren't going to get too steamy and the film is built to not necessarily rely on sweet words, but the pair look drawn to each other and at ease, bristling meaningfully but not theatricality when folks say that they should maybe see less of each other and looking pained when they may separate for their own good. Richard Tucker (who, amusingly, would also appear in an unrelated film titled "The Girl from Rio" 13 years later) was in the midst of transitioning into silver-temple roles, and really nails the big shot who is handsome and charismatic enough to attract Lola in the first place but small and jealous enough to be a monster.

Drop the opening color sequence, and there's really not much to this bland but capable movie, although that does make it kind of a perfect example of this popular template.


Le dernier combat (The Last Battle)

* * ¾ (out of four)
Seen 11 December 2025 in Jay's Living Room (off the shelf, Blu-ray)
Where to stream it (Prime link), or buy the disc at Amazon

Headcanon: Luc Besson's The Last Battle and E.L. Katz's Azrael take place in the same post-apocalyptic world, though obviously on different continents and at different times. Not that I think one necessarily inspired the other, because it's not exactly hard to to think "what if a genre movie had no words" independently, and if you're making your first feature on what is likely close to a shoestring budget (apparently expanding a short, "L'avant dernier", with much of the same cast and crew), I bet that not having to worry about dialogue frees up takes to use on action.

It opens on a man (co-writer Pierre Jolivet) constructing an ultralight airplane in an otherwise empty office building, which will allow him to fly above the marauders led by a sadistic "Captain" (Fritz Wepper) operating nearby - although, when it crashes, he's taken care of by an eccentric doctor (Jean Bouise) who has a young woman (Petra Müller) hidden on his property. The man assists the doctor, hoping to get close, but a man outside the gates (Jean Reno) decides that he's going to come for her more directly.

Besson was Besson right from the start, apparently: Jean Reno is in the cast, Eric Serra does the music, the script is a genre boiled down to its essence but with style and whimsy, and, boy, is he not doing well by the women in his cast. It's not like the men come off much better, since this is the sort of post-fall-of-civilization future where one grades the various loners on who is just a little bit less selfish than the others, but it's not exactly creative in the midst of a movie where the filmmaker is clearly trying to get notices for having some style so he'll get tapped to make bigger things. This is pretty much a demo reel with a basic story - some action, some jokes that don't stop it, a handle on the tone, and a finale of sorts.

And, sure, it demonstrates that well enough. Besson and cinematographer Carlo Varini get some great shots, taking decent advantage of their black-and-white stock to keep their desert and urban settings interesting to look at but not too pretty or self-consciously dour; the team also stages action well, even at this early stage; there's characterization in the way folks fight. Jean Reno's "brute" attacks with a determined mania while Pierre Jolivet's protagonist is trying to figure things out in a way that reflects that we're introduced to him as a builder. I don't know that anybody watching this in 1983 would look at Reno and figure on him eventually becoming an international star, but it's not exactly surprising looking at it 40 years later.

Like a lot of low-budget early works Le dernier combat is more interesting than great, worth watching for seeing the seeds of what would emerge as Besson earned bigger budgets and moved onto the international stage. It doesn't have the playful, understated energy of his better works; he has to stretch thin material more than he can chase odd impulses. It's good that Sony throws this into the boxed set, but, no, it's probably not worth using 4K replication capacity so it matches the rest.


That pulls the number of films watched even; who's doing better?

Dale Evans: 33¾ stars
Centipede: 34 stars

Centipede pulls ahead by a nose!

Monday, February 23, 2026

The King's Warden

Looks like Boston got this in its second week in North America, and hopefully the snow doesn't screw its run up too badly - it's a good little movie that will probably get pushed out this weekend when Scream 7 swallows multiplexes in general and Pegasus 3 and the big furry(ish) track racing anime sucks up all the Asian cinema screens. But, right now the AMC app is simultaneously telling me that I have a ticket for Pegasus 3 in Imax tonight and that all of their theaters are closed indefinitely, so who knows?


Wanggwa Saneun Namja (The King's Warden aka The Man Who Lives with the King)

* * * (out of four)
Seen 20 February 2026 in AMC Causeway Street #3 (first-run, laser DCP)
Where to stream it (when available)

The King's Warden has a hook that would make a terrific TV series - poor village campaigns to host exiled king for the economic benefits - except that history is not always going to accommodate the ensemble comedy set-up. Still, for all that Korean films can often give one tonal whiplash, this one handles the mood changes extremely well, though I imagine how well it plays for Korean viewers who know their country's history.

(Heck, how does it play now, in the aftermath of an attempted coup?)

The King in question is Li Hong-wi (Park Ji-hoon), who ascended as a teenager in 1452 but was overthrown by his uncle Sa-yong a year later and imprisoned in the palace, kept in line by minister Han Myeong-hoe (Yoo Ji-tae). Meanwhile, out in the sticks, village chief Eom Heung-doe (Yoo Hae-jin) is separated from his party during a hunting expedition and comes upon a village not unlike his own that is nevertheless eating extremely well. The secret, he's told, is that when the Minister of Justice was exiled from the palace, he settled there, and not only did the central government keep him well-supplied but the Minister wound up teaching the local children out of boredom. Heung-doe decides his village should ride this gravy train, and convinces Han to exile "Lord Nason" to them, not realizing it's the young king. Not only does this make the new situation highly volatile, but they are not far from where Hong-wi's uncle Crown Prince Geumseong (Lee Jun-hyuk) has been exiled, and the more ambitious Geumseong could use Hong-wi to give him some legitimacy if he challenges Sa-yong.

For as much as listing the major players makes the film sound full of palace intrigue, the front half at least plays more like an ensemble comedy, introducing Eom, his family, and neighbors on the one hand and Hong-wi and his concerned maid (Jeon Mi-do) on the other, and seeing how they bounce off each other. Mostly, it's a fine comedic vehicle for Yoo Hae-jin, playing the sort of puffed-up character whose clownish exasperation could get annoying if it weren't executed so well - it's the sort of Korean movie where the frustrated dialog is often a sort of loud, drawn-out wheeze - rounding into a more sympathetic shape as the film goes on. I don't know that I necessarily buy a deep bond between him and Park Ji-hoon's "Lord Nosan", though I like their parallel, connected journeys. Park does well starting from a more muted place than many filmmakers would have chosen.

It's a historical tale, so obviously it can't just be a situation comedy where the naive young king and the poor but practical village people learn from each other, but it evolves fairly smoothly, which is kind of impressive, considering that jarring tonal shifts can be one of the hallmarks of Korean cinema. The intrigue is introduced as a joke - the folks from the neighboring village being like "good luck with that, glad we dodged that arrow!" - and then sort of grows organically with the comedic material, as Hong-wi's sense of responsibility and connection to the people of this village grows, with Eom also reordering his personal and community responsibilities. The way Geumseong and Han Myeong-hoe emerge is interesting, with the former not a bad guy but maybe not thinking beyond the situations of the noble/ruling class, while the latter plays up his round baby face until it's time to be genuinely cruel and diabolical.

The whole thing is pretty nicely put together, too, making its modest scale work even when one might try to stretch to something more ornate. Even the CGI animals are mostly acceptable, in that they won't convince you that they're real but that they're definitely good enough if the other alternative is having a live tiger on set. In some ways, right-sizing is what makes this a nice surprise; there are a lot of opportunities to do too much or cut some corner, but every decision director Jang Hang-jun and company makes seems to make The King's Warden a more effective whole.

Friday, February 20, 2026

Next Week in Tickets: Films playing Boston 20 February 2026 - 26 February 2025

It's Oscar shorts time! But it's also a weekend when you can see a couple of my favorite from recent Fantasias that I wouldn't have expected to play here.
  • Baz Luhrmann gathered a great deal of reference footage while making Elvis, including some not seen in 50 years, and puts it together as EPiC: Elvis Presley in Concert, which gets an early Imax release at Jordan's Furniture (through Sunday), Boston Common, and Assembly Row (through Sunday).

    Does Glen Powell having a psychopath's smile make How to Make a Killing, in which he plays the last in line for a huge fortune bumping off the cousins, aunts, and uncles ahead of him in a remake of Kind Hearts and Coronets, work better or worse? It's at the Somerville, Boston Common, Causeway Street, the Seaport, South Bay, Assembly Row, and Arsenal Yards.

    Midwinter Break, a drama featuring Lesley Manville and Ciarán Hinds as a couple wrestling with difficult truths during a trip to Amsterdam, opens at the Coolidge, the Capitol, Fresh Pond, the Lexington Venue, West Newton, Boston Common, and Assembly Row.

    I Can Only Imagine 2 continues the story of musician Bart Millard (John Michael Finley), apparently having difficulty managing band MercyMe's success. It's at Fresh Pond, Boston Common, Assembly Row, Arsenal Yards, and Chestnut Hill.

    Huh, last week Georgina Campbell was in Cold Storage from Gavin Polone's production company Pariah; this week she stars in the longtime producer's directorial debut (with a script by Andrew Kevin Walker), Psycho Killer, playing a uniformed cop who hunts a serial killer who murdered her husband and partner. It's at Boston Common, the Seaport, South Bay, and Assembly Row.

    Redux Redux was one of my favorite movies at Fantasia last summer, with Michaela McManus starring for her brothers as a woman who has been bouncing through parallel universes to kill every version of the man who murdered her daughter, but things change when she discovers his next intended victim; it plays Boston Common. Also opening at Boston Common is The Is Not a Test, with a group of students holing up in their high school during a zombie attack.

    Pillion adds the Somerville, West Newton, and the Seaport to the Coolidge, Kendall Square, and Boston Common.

    Paul McCarntney: Man on the Run has and encore screening at Kendall Square on Sunday afternoon. Chase Atlantic: Lost in Heaven plays Boston Common on Saturday. Twenty One Pilots: More Than We Ever Imagined has early screenings at Jordan's (Imax), Boston Common (including Imax Laser), and Assembly Row (including Imax Laser) on Wednesday.

    Black History presentations at Boston Common and South Bay include Sinners (also returning to Arsenal Yards) and Fruitvale Station. Imax documentary film "Deep Sky" plays Boston Common on Saturday. Boston Common will be showing the Dodgers' opening series in Tokyo on Monday & Tuesday. K-Pops has a preview with livestreamed Q&A at South Bay and Assembly Row on Tuesday; Werner Herzog documentary Ghost Elephants has a one-off show with livestreamed Q&A on Thursday at Assembly Row before heading to streaming. The Revenant has a tenth anniversary Imax re-release at Jordan's, Boston Common, and Assembly Row on Thursday. The Scream 7 opening night show on the Dolby Cinema screens at Boston Common and South Bay are "fan events".
  • The Coolidge Corner Theatre Holding Lait, a documentary following the parents of two Gaza captives, following last week's special preview.

    Midnight films at the Coolidge this weekend are The Others on Friday and a 35mm print of Sleepy Hollow on Saturday. Sunday features a Goethe-Institut presentation of Punching the World in the morning and a Sidney Poitier spotlight of A Raisin in the Sun in the afternoon, with Boston Globe critic Odie Henderson on hand for a seminar beforehand. There theater appears to be closed on Tuesday, while Wednesday features an "Opposites Attract" show of 10 Things I Hate About You while Thursday offers a Cinema Jukebox show of Almost Famous in the evening and a 35mm Cult Classic show of Surviving the Game later.
  • The big Hong Kong Lunar New Year comedy this year is Night King, with Dayo Wong and Sammi Cheng as the team trying to save their hostess club, opens at Kendall Square on Friday. What looks like the big Lunar New Year hit for 2026, Pegasus 3, plays on the Imax screens at South Bay, Assembly Row on Monday & Tuesday before its regular run begins at Causeway Street Thursday Night. Yeun Woo-Ping's Blades of the Guardians continues at Boston Common, Causeway Street, and South Bay after opening Tuesday; Zhang Yimous's Scare Out likewise continues at Boston Common and Causeway Street.

    Indian films opening at
    Apple Fresh Pond this week include Hindi-language romance Do Deewane Seher Mein (also at Boston Common), Hindi-language courtroom drama Assi, Kannada-language crime drama Rakkasapuradol (through Sunday), and Telugu-language comedy Hey Bhagawan! (through Sunday at Fresh Pond/all week at Causeway Street). Hindi-language crime drama O' Romeo continues at Fresh Pond and Boston Common.

    Japanese Oscar submission Kohuko, an epic about the son of a yakuza who enters the world of kabuki, opens at Boston Common; it's pretty great and absolutely deserves the nomination it did receive for best makeup.

    Korean drama The King's Warden, following the man assigned to watch a Joseon-era king in exile, plays Causeway Street.

    . It's not listed on Fandango for some reason, but Vietnam also celebrates Lunar New Year, and a family film from that country, A Gift from Heavan, opens at Causeway Street and South Bay.
  • The Brattle Theatre continues the annual Bugs Bunny Film Festival through the end of school vacation on Sunday, and also plays Icelandic drama The Love That Remains for most of the rest of the week.

    Interruptions include an RPM Fest presentation of "Beyond Breaths" with filmmaker Kalpana Subramanian on hand to discuss her short films Sunday afternoon (they also open an exhibition at the Boston CyberArts Gallery on Saturday that will run through 28 March). Monday has a free "Elements of Cinema" showing and discussion of Waiting for Guffman on 35mm film, Tuesday has a special Twin Peaks Day marathon of the first 8 episodes plus the original pilot, and Wednesday & Thursday have late shows or the restored Hard Boiled.
  • Oscar-Nominated Short films start popping up this week, with the Animated Shorts at the Coolidge, the Capitol (Saturday to Thursday), Kendall Square, The ICA (Friday), West Newton, and CinemaSalem (Friday to Monday); the Live Action Shorts at the Coolidge, the Capitol (Friday & Monday to Thursday), Kendall Square, and CinemaSalem (Friday to Monday); and the Documentary Shorts at the ICA (Sunday) and CinemaSalem (Friday to Monday).
  • Landmark Kendall Square has matinees of Netflix's Oscar-nominated documentary The Perfect Neighbor all week, and also brings back the streamer's Frankenstein and Train Dreams if you've got more catching up you want to do on the big screen. Tuesday's Retro Replay is How to Lose a Guy in 10 Days, and both the 2026 New York Dog Film Festival program and The Lovely Bones play Wednesday.
  • The Somerville Theatre has a 35mm double feature of The Wizard of Oz (IB Technicolor!) & The Bad Seed on Friday night, and another one of The Dead Thing & From Beyond on Saturday; I was pretty impressed with The Dead Thing when it played Fantasia - it was trying to figure out how you make gothic horror work in a world of dating apps, gig work, and roommates while everyone else was setting things 30 years in the past to avoid such things, and the filmmakers will be on hand for intros, Q&A, and signings. They also feature Sidney Poitier on Sunday, with 35mm prints of In the Heat of the Night & Pressure Point. Documentary The Right Track plays Monday, Little Miss Sunshine is the 35mm Feel Good Film on Thursday, and there's a "Silents Synched" presentation of A Woman of the World with Pearl Jam on the soundtrack Thursday.

    The Capitol Theatre has the monthly "Disasterpiece Theater" night on Monday, apparently starting at 8pm rather than the usual 7pm.
  • The free member screening at The Seaport Alamo on Friday is The Cabin in the Woods. Saturday has a marathon of the first four episodes of Twin Peaks: The Return, a "Book Club" screening of "Wuthering Heights" and a "movie party" for The Substance. Titanic and Millennium Mambo play Sunday; Harold and Maude plays Monday; a dance-along preview of EPiC and a special screening of Steve Schapiro: Being Everywhere with director Maura Smith on hand for a Q&A Tuesday; and both Saving Face and a free member screening of Perfect Days on Thurday.
  • Liane Brandon introduces three 16mm films from the The Harvard Film Archive's collection on Friday evening (her own "Betty Tells Her Story" plus "Growing Up Female" and "...And Everything Nice") on Friday evening; there's a sold-out screening of Lolita on 35mm film later that night, although one may get lucky in the rush line. 2026 McMillan-Stewart Fellow Alain Kassanda will visit to present two of his films: Colette et Justin plays on Saturday evening and Coconut Head Generation on Monday, with subject Tobi Akinde also on hand that night. Sunday afternoon features Bernando Bertolucci's Partner.
  • The Museum of Fine Arts has three Oscar-nominated films this weekend - The Secret Agent on Friday night, Sentimental Value on Saturday afternoon, and It Was Just an Accident Sunday afternoon.
  • The Boston Asian American Film Festival presents documentary Third Act at ArtsEmerson's Paramount Theater on Saturday afternoon, with director Tad Nakamura and producer Karen L. Ishizuka there for a Q&A and post-film reception.
  • The Regent Theatre has the local premiere of Deepfaking Sam Altman on Thursday, with both filmmaker Adam Bhala Lough and Harvard AI researcher Rich Hakim there to answer questions.
  • The Lexington Venue plays Midwinter Break and "Wuthering Heights" Friday/Saturday/Sunday/Wednesday/Thursday, with Wednesday night's screening of Midwinter Break captioned and followed by discussion with Helen Epstein.

    The West Newton Cinema opens the Oscar Animated shorts, Pillion, and Midwinter Break, holding over Natchez, "Wuthering Heights, GOAT, Father Mother Sister Brother, Marty Supreme, The Secret Agent, and Hamnet. There's a "Behind the Screen" presentation of All God's Children on Sunday, and The Hudsucker Proxy plays Thursday afternoon.

    Cinema Salem has all of the Oscar Shorts, Send Help, and "Wuthering Heights" from Friday to Monday. Spooky Picture Show and Tammy Nicole TooTight show Tales from the Crypt: Bordello of Blood Saturday night, and there's a Whodunnit Watch Party on Sunday. Sabrina '54 is the Wednesday Classic, with a Weirdo Wednesday show down the hall, and Misery plays Thursday.
I've already got tickets for Ghost Elephants and Imax Pegasus 3, will probably do Night King, and The King's Warden, am more interested in Psycho Killer than expected, might try for The Perfect Neighbor and at least the From Beyond and Pressure Point halves of the Somerville double features (since I've seen the other halves and the days are looking tight). Lots of grist for my Letterboxd pagethere!

Thursday, February 19, 2026

Lunar New Year 2026: Scare Out

I was going to stagger these a bit, but Thursday showtimes are very weird this week, so it looks like I'm doing this on Wednesday and then crossing my fingers that nothing messes with getting to the last screening of By Design on Thursday, before getting back into the Lunar New Year material as Hong Kong comedy Night King, Korean drama The King's Warden open Friday. It looks like the Vietnamese family film that was going to open isn't anymore, and Pegasus 3 will play Assembly Row in Imax on Monday & Tuesday and then open on regular screens at Causeway Street next Friday. Still no word on Panda Plan 2 being inflicted on Boston, for better or worse.

Anyway, this one's a lot of fun, although the sudden realization that I recognize the source material toward the end kind of threw me and, well, spoilers down below!


Jing zhe wu sheng (Scare Out)

* * ¾ (out of four)
Seen 18 February 2026 in AMC Boston Common #8 (first-run, laser DCP)
Where to stream it when available and aw dang, the movie it reminded me of is a cheap 4K at Amazon!

Me toward the start of Scare Out: "Man, Zhang Yimou making a modern high-tech thriller is weird!" Me toward the end of Scare Out: Wait, is this a remake of AMERICAN MOVIE X? A Mainland Chinese movie can't end like AMERICAN MOVIE X! To be honest, I kind of wonder if that revelation is leading me to be a bit harder on the film than it really deserves; it was maybe a little than fine but now I was focused on what it couldn't do.

It opens with a State Security team tracking a foreign tourist about to receive stolen property, with Deputy Team Leaders Haung Kai (Zhu Yilong) and Yan Di (Jackson Yee Yangqianxi) co-ordinating on the ground and tech Chen Li (Lin Boyang) monitoring surveillance and controlling drones from the mobile headquarters. Things go sideways, and during the debrief, it's announced that rather than promote one of the two deputies to fill the empty Team Leader position, the agency is instead installing former colleague Hong Zhao (Song Jia), who reveals to the pair that the enemy may have a source inside the team, albeit in the early stages, more developing a source than controlling a mole. Huang Kai and Yan Di quickly realize that Hong Zhao is focusing her attention on them, and both may be compromised: Yan Di was contacted by ex-girlfriend FeiFei, who had been living abroad since they broke up, during the operation, and Huang Kai has been carrying on an affair with Bai Fan (Yang Mi), who has some video files of her own to hold over his head.

Scare Out is actually Zhang's third straight release set in the present (though the first was held up in the censor bureau long enough for him to shoot several of the historic dramas he's better known for), and it shares an LED-lit aesthetic with Under the Lights that's as intentional and well-designed as any of his costumed epics. The screen is filled with glowing arcs overlaid with digital annotations, as if all the information of a modern surveillance state combined with a canny quarry that knows every step that will be taken to catch them will inevitably send everybody in circles. As with that previous film, this may not be Zhang's traditional milieu, although he does occasionally do things that remind one of his roots, like a character in 2026 taking an arrow to the throat out of nowhere.

The trouble, perhaps, is that this is a slick thriller whose audience knows how slick thrillers work, and tips its hand early without enough characters to give screenwriter Chen Liang a whole lot of options for potential twists, until it gets to the one it can't entirely commit to. Zhang and company don't draw it out too far - it turns out that you can, apparently, still make a 105-minute thriller rather than bloat up past two hours if you try - although even in its tight time frame, you can see the story start to run in circles and work a bit too hard to link what really shouldn't happen this quickly up with what shouldn't take this long.

The vibe is good, though; it's got a cast full of actors who know the trick to speaking with crisp professional efficiency while not entirely coming off as robots, with a special shoutout to Yang Mi, whose Bai Fan is absolutely aware that she's the femme fatale in this situation and doesn't play coy. The moments of sudden violence tend to work even if they're not always entirely original (I suspect it's bad luck that one bit of action is awfully close to a gag in last month's The Fire Raven which was much more free to play it as potentially-fatal slapstick), and even when it's got to keep pushing past its logical endpoint to please the censors, the filmmakers manage to do so without feeling like they're undoing or reframing a bad situation as positive.

After watching the film, I looked up the one that I remembered and realized that I've actually seen three versions of the story. Gun to my head, Scare Out is probably the third-best of them, but it's a testament to the good skeleton created almost 80 years earlier that it updates pretty easily, and Zhang and company execute very well (as much as some have commented on how oddly conventional this recent run looks, the present does occasionally seem to see him reinvigorated and trying new things).

<SPOILERS!>

I don't want to leave folks hanging about which movie I was thinking of; so I'll just say that toward the end, I kind of sat up straight and said, wait, this is No Way Out, isn't it? After sleeping on it, I'm a bit less sure: It's been some time since I saw that movie, probably when it was playing on cable or UHF in the early 1990s, so I don't recall it very clearly beyond the last-minute revelation that Costner wasn't the murderer, but he was a spy. It probably followed the plot of The Big Clock pretty closely, which Scare Out doesn't, particularly; Yan Di doesn't really have anything to hide until the last-minute revelation that I saw coming and recognized. The hook for The Big Clock is "man innocent of murder nevertheless has a secret, reputation-damaging connection to the victim that would make him the prime suspect if revealed", and it's one of the great noir/pulp/thriller plots, universal enough that even things that aren't exactly remakes/adaptations contain a lot of its DNA. Scare Out is kind of adjacent to that - Huang Kai is not yet guilty but realizes that he's being developed as a source and is trying to figure out how to avoid his guilt being discovered, though it's not initially clear that he intends to frame Yan Di.

That said, the finale twist is absolutely right out of No Way Out, except that what that movie does - reveals that the sleuth had a lot more to lose than we thought and that his promotion in the wake of solving the crime would cause bigger problems - is just out of bounds in a Mainland movie; the security services have to be on top of it. So the shocking revelation's got to play out long enough to say, no, State Security is going to ultimately be on top of it, and while I think it handles that all right - Yan Di is notably miserable rather than vindicated as a result - it may still be working too hard after the story is essentially finished. Amusingly, that final scene lifts a lot from Infernal Affairs.

I do kind of think No Way Out is a pretty direct ancestor of Scare Out, even if the filmmakers wound up working backward from the finale rather than forward from the premise; the vibe is too close. Maybe not quite a remake, though.

Also, I really should watch No Way Out again, since I vaguely recall that the protagonist wound up being revealed as working for the Chinese rather than the more-typical Soviet Union, and it would be hilarious if China remade an American movie with Chinese-aligned villains into one with American-aligned guys.

<!SRELIOPS>

Wednesday, February 18, 2026

Lunar New Year 2026: Blades of the Guardians

Just for fun, let's look at the first day of Lunar New Year at the box office in China!

Whoa, the movie that's getting the biggest push for the first few days, Blades, made a respectable $19M, but the movie that's getting the second-biggest (and looks like it's sticking around more during the weekend), Scare Out made #34.4M! And the number one film in China for this day was Pegasus 3, pulling in a staggering $92.5M and as near as I can tell is not opening in Boston (I've seen dates of the 23rd and 27th, so maybe AMC's waiting to figure out where to put it). Panda Plan: The Magical Tribe is supposed to open mid-March, and I'm as shocked as anybody that China demanded a second Panda Plan.

Of course, the other thing is that the Lunar New Year movies in China fluctuate like crazy over the first month or so, like the country of over a billion collectively decides to see one movie first, then catches another a few days later, and then a third the next week, so the top three wind up making the same amount. That doesn't happen in the USA very often - something has a bad first couple days and it's not even getting evening shows on Thursday - and I must admit, I do kind of envy that China has the sort of situation where things can build word-of-mouth that way.

But, enough about box office - the important thing is that we seem to be off to a fun start of the festivities!


Biao ren (Blades of the Guardians)

* * * (out of four)
Seen 17 February 2026 in AMC Boston Common #11 (first-run, laser DCP)
Where to stream it (when available), or buy the manhua at Amazon

Fair warning: The title that displays during the opening credits for this movie includes a colon, meaning that 81-year-old director Yuen Woo-Ping, directing his first full feature in about eight years, apparently intends at least one more episode and you're not necessarily going to get a full conclusion with this one. You get enough, though, as Yeun presents a big-budget wuxia adventure with swordfighting and charm to spare.

It starts with bounty hunter Dao Ma (Wu Jing), late of the Left Valiant Palace Guards, and his seven-year-old traveling companion Xiao Qi (Ju Qianlang) tracking down a fugitive but offering to let him go if he pays triple the bounty. He's after bigger prey in Two-Headed Snake (Max Zhang Jin), but also gets offered a job as a general by local lord Chang Guiren (Jet Li Lian-Jie), but prefers the freelance life and his home in Mo Village. Returning there, he's given a mission by elder Mo Lao (Tony Leung Ka-Fai) to deliver China's most wanted fugitive, face-painted revolutionary Zhi Shiliang (Sun Yizhou), to Chang'an. Also along for the ride are Mo's spirited daughter Ayuya (Chen Lijun), just extricated from an arranged betrothal to the heir to another clan, Heyi Xuan (CiSha), and Ayuya's guardian Ani (Xiong Jinyi). They'll be pursued along the way by every mercenary in the land, most notably Dao Ma's old comrade in arms Ting Di (Nicholas Tse Ting-Fung) and his partner (Liang Biying), eventually forming an uneasy alliance with Jade-face Shu (Yu Shi), who has his own prisoner Yan Zinang (Li Yunxiao) to deliver to the capitol.

That's a lot going on, but, some of these folks in the long list of cast members are basically guest stars so that Yuen and his action team can mix and match opponents and have Dao Ma face new challenges regularly rather than and endless series of rematches, and will exit in relatively short order (it's not uncommon for someone to have their name and position put up in subtitles and then be dead less than ten minutes later). The action kicks off in earnest with a three way swordfight between Wu Jing, Max Zhang, and Jet Li, and while they've all maybe lost a step compared to ten years ago, it's a heck of a great battle that establishes the way Yeun and his team are going to stage things: There's a fair amount of wire-fu going on, but they won't be defying gravity nearly as much as the likes of Crouching Tiger, Hidden Dragon or The Matrix. There are three or four more standout action set pieces after that, including a fantastic centerpiece in the middle of a sandstorm and a finale big enough to get past when it's holding things back.

What makes it better is that while Yeun Woo-Ping's fight choreography tends to be imaginative and brilliantly-executed, what he, choreographer Dang Shan-Peng, and action director Ku Heun-Chiu do here really manages to give it solid emotional beats: Early on, it's easy to take Dao Ma preferring to extort than kill for just wanting money, but as the film goes on it becomes clear that he would really rather not, to the extent that a particularly striking and vicious kill indicates that he's angry and done messing around; at another point you can see that a typically capable character is swinging her sword too broadly and that this will cause her downfall. In some ways, Ayuya's arc is entirely told through action, from the cheery trick archery of her first appearances to the angry stabbing at the finish. Perhaps the only real flaw is that Dao Ma and Ting Di look too similar on first glance; yes, they're meant to be reflections of each other, but when the camera gets too close or the motion too quick, it can take a half-second too long to recognize which tall bearded guy in matching black armor we're looking at.

Wu Jing is the charismatic one, at least in this film; though he gained attention among action-movie fans for his martial-arts prowess in Hong Kong, he's spent much of the past decade in China becoming a more versatile leading man, with even his action roles being more military or science-fictional. Here, he's able to give Dao Ma a light enough personality that the darker turns the action takes later aren't revealing that as a facade but showing a guy who has been trying to live a good life and hates being forced into this much violence. He plays especially well off young Ju Qianlang, and fits into a fine ensemble: Chen Lijun is an enthusiastic princess with room to grow, CiSha really nails the charming prince who has a sadistic streak underneath, Yu Shi and Li Yunxiao have a chemistry that suggests Shu & Yan could be more than captor and prisoner but doesn't insist upon it. Sun Yizhou kind of feels like a placeholder as Zhi - the character never feels like someone who can be the threat to the emperor through sheer force of personality - and one wonders if the filmmakers are kind of hedging so they can define him better in later installments. On a more positive note, "Big Tony" Leung Ka-Fai and Jet Li deliver different kinds of gravitas in their roles as elders.

The scenes that Wu Jing and Jet Li share early, whether talking or fighting, put a big grin on my face, and not just because Jet Li is a presence too seldom seen on-screen since some health problems and a turn toward philanthropy (this is his first film in six years). Wu is the closest thing there is to being Li's heir, a screen fighter who burst on the scene with sheer punching ability but developed a genial screen presence along the way, and it's nice to see the torch passed on-screen without getting maudlin about it. I'm not sure how many more adventures there are for Dao Ma in the original manhua, but I certainly wouldn't mind seeing more on future Lunar New Years. It's got the soul of a western (right down to the stagecoach) and the action of a wuxia.