Cai li fa xiao zi

Cai li fa xiao zi

International favorite Alexander Fu Sheng cemented his stardom in this, the fourth film in his esteemed director's "Shaolin" series. Fu gives both a great dramatic and kung-fu performance ...

Zhong Jian (Alexander Fu Sheng), a young cocky carriage driver saves a young woman from a street punk (Leung Kar-Yan)... . You can read more in Google, Youtube, Wiki


Cai li fa xiao zi torrent reviews

Kai R (de) wrote: An original, thought-provoking idea and some 'just-above-average' acting means House at the End of the Street is more than watchable.

Christopher M (it) wrote: Very Predicatable story ahs been told many times before

Mateo S (jp) wrote: Good: Helen Mirren, Anthony Hopkins, the man the movie is about, James D'ArcyBad: Script, Scarlett Johansenn, Jessica Biel, plot, lack of intrigue/imagination/anything actually interesting, potential of what could have been

Private U (es) wrote: awesome insite in to the life af stu "the kid" ungar!!

Ryan C (br) wrote: A different take off of Homer's "The Odyssey," "O Brother, Where Art Thou?" benefits from an appealing cast and the usually strong directing and writing of the Coen brothers. While it charms with its dark humor and accurate depictions of the old south, the cinematography and soundtrack make it much more entertaining.

Blake P (nl) wrote: Because I'm prone to believing that any moviemaking experience is as enjoyable as the film that ultimately sits in front of me, disheartening are features revolving around the making of movies wherein it's decided that not every production is partial to imitating some sort of quasi-heaven. Sometimes personalities clash and sometimes filming a certain scene is agonizing rather than passion-fueled - sometimes, expressing yourself through your craft of choice can become a job, or, even worse, a chore. But whereas the best movie about moviemaking ever made, Franois Truffaut's magnificent "Day for Night" (1973), brought a certain sort of romantic charm to the above mentioned cinematic chaos, Olivier Assayas's weirder "Irma Vep" (1996) conjoins New Wave imitating nonchalantness and blatant surrealism that makes it one of the most coercive films about filmmaking ever made. With one eye on industry satire and another on reality blurring fantasticality, Assayas's vision is broad but focused in its delivery. It's faux cinma vrit that increasingly benefits from its unwillingness to conform. Taking place in the mid-1990s, a time during which the French film industry was threatened with extinction due to the mounting popularity of North American action imports, "Irma Vep" follows the doomed production of "Les Vampires," a remake of Louis Feuillade's famed 1916 serial of the name. Helmed by Ren Vidal (Jean-Pierre Laud), a has-been, growingly inept master of the silver screen, the feature is planned to be shot in the exact same style as the original series, photographed in black-and-white and produced as a silent movie for the modern age. Everyone involved has accepted that 1996's "Les Vampires" is going to be a disaster, especially after Vidal proves to be even more temperamental than his reputation has suggested and especially after he inexplicably hires Hong Kong action star Maggie Cheung (as herself) to play the film's heroine. See her in a catsuit, though, and your doubts melt away - it's Vidal's inability to keep his head on straight for more than thirty seconds that concerns us. It'd all be very depressing if the tone Assayas were going for weren't so sardonic, but since his "Irma Vep" is so witty and so knowing, unavoidable is the being seduced by the film's cheeky self-referentiality. Pointed without being mean-spirited, it's scrumptious parody able to bring auteur culture back down to Earth all the while maintaining easygoing perceptiveness. But because the film's so relaxed in its style and its brand of humor, watching it without trying to spot certain, specific studio jabs still warrants it as a lovable moviegoing experience. One doesn't have to much know about the French movie industry, the cult fanbase that circles around the original "Les Vampires," the career of the always luminous Maggie Cheung, or the homages to the New Wave (that Laud himself was a seminal figure of) to appreciate Assayas's deconstruction of the filmmaking process. Blas but cutting, "Irma Vep" is satire that prefers the stance of slice-of-life offhandedness to the going-for-the-throat mentality of "S.O.B." (1981), and that breeziness arguably makes it even sharper.

Alex S (br) wrote: I am torn on this one. On one hand, the idea of America's greatest superhero, Mr. Freedom (decked out in red, white and blue football equipment and going about his daily life in a cowboy hat) fighting political incorrectness in France in the form of Communists in all red and an inflatable dragon representing China is kitschy, unique and hilarious. On the other, the joke surprisingly gets old fast and you can see where things are going before you even get there. But still, for scenes that depict the US Embassy as a bulk grocery store a la Wal-Mart with go-go dancing girls and an interesting scene involving a character called "Christ Man," you owe it to yourself to check it out if you can. Certainly not for everyone but the film does have its merits in crazy visuals and ideas and a plot that is oddly timely, even if it drags in the last third.

Daniel J (fr) wrote: I was surprised when I saw such a low score from the critics. To me, this was a fantastic documentary. I can even say that this is a life changing film!