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As Vanneman notes, "There are no revelations or explanations in Bonnie and Clyde. We don't need to know why the characters do the things they do because we see them as the people they are" Vanneman, Seeing them as the people they are is one thing, but in terms of historical accuracy, the Benton and Newman script is a sea of fabrications, compromises and elisions. Moss Issue 20, June 7 Film Reviews emerges as one of the film's more memorable inventions: More problematic liberties were taken with their decision to include in the original script a bisexual love triangle between Bonnie, Clyde and C.
They couldn't just be a happy couple" Benton, Yet the fact that the real Bonnie was already married to another jailed criminal, and was still wearing his wedding ring when she died, probably would have added too much sexual complexity. A quick scan of documented history suggests that Clyde's brother Buck Barrow was a far cry from the jolly salt-of-the-earth hillbilly type embodied by Gene Hackman; nor was his wife Blanche a hysterically shrill and nervous preacher's daughter whose incompetence as played amusingly by Estelle Parsons repeatedly endangered the gang and allowed for caricaturish comic relief.
Of course, the greatest liberties were taken with Bonnie and Clyde themselves. It is hardly in this film's interest to show us how they first met casually at a mutual friend's house, or were temporarily separated by Clyde's imprisonment in The mythology of outlaw love dictates that Bonnie and Clyde meet in a "movie" way, an instant and explosive conflation of sex and crime, of the desire to escape and the hunger for personal glory: Bonnie, restless beyond words, looks out her bedroom window and sees Clyde trying to steal her mother's car.
What follows is a lazy courtship stroll through the deserted Dallas streets that comes straight out of Breathless, and Bonnie bearing excited witness to the impotent but manly Clyde's sexual transference in action when he robs a grocery store at gunpoint. In true symbolic fashion, the pair only consummates their romance as they approach death, but the outlaw fantasy the film trades on would crumble without the superstar glamour and erotic tension generated by Beatty and Dunaway in the lead roles.
Ian Waldron-Mantgani states that Beatty and Dunaway "were two of the sexiest screen actors of their generation; here, they speak in Okie drawl, move awkwardly and act bumblingly, but do so with rhythm that seems to give every backward gesture the status of mythic Americana" Waldron-Mantgani, As interpreted by Beatty, the 5'6", pound Clyde Barrow becomes a 6'2" vision of charismatic masculinity, glossy black hair and toothpaste grin offsetting his white Borsalinos and double-breasted lapels.
The luscious Dunaway, her bobbed hair a shade of gold only seen in oil paintings, is an even more idealised projection of the unglamorous Bonnie Parker, who stood 4'10" tall and walked with a pronounced limp after her leg was burned in a car accident. Costume designer Theadora Van Runkle has spoken of her work on Bonnie and Clyde as a "sophisticated concept" Van Runkle, wherein Dunaway "combined all the visual elements of elegance and chic" ibid.
It is apparent, then, that a commitment to gritty verisimilitude was not at the forefront of anyone's mind when making Bonnie and Clyde. It is also apparent that audiences would never have bought into that peculiarly cinematic conflation of sex and crime, or felt such sympathy towards these amoral antiheroes, if they did not believe the heat between Beatty and Dunaway when he tells her, "You're a knockout.
Following one of the Barrow gang's more competent hold-ups, we are treated to a rollicking rural car chase, stylishly intercut with after-the-fact eyewitness testimonials from a security guard who shows an off-screen reporter the bullet hole in the hat Clyde shot off his head "There I was, staring square into the face of death"and a sympathetically aged farmer whose money Clyde refused to steal "All I can say is: What we remember most about this scene, though, is the picturesque beauty of the car speeding through sunlit green hills and dirt roads; the exhilarating sense of camaraderie between the gang, laughing as they huddle together in the cramped space; and the infectious banjo riff of Flatt and Scruggs' bluegrass tune "Foggy Mountain Breakdown" on the soundtrack.
The tone is one of farce, broad and irreverent, and it highlights a startling chasm between the reality of a traumatic event and the filmic representation of it as something else entirely.
Another set piece of slapstick humour, deriving from the gang's bumbling incompetence after C. The New York Times' Bosley Crowther — a man famously unmoved by notions of life as an absurd tragicomedy — felt that Penn's "blending of farce with brutal killings is as pointless as it is lacking in taste, since it makes no valid commentary upon the already travestied truth" Crowther, The ever- contrarian Kael, however, felt that this juxtaposition of comedy and violence helped the film attain its own strange truth: Violence is indeed the meaning of Bonnie and Clyde.
The film was largely credited with creating a new language of cinematic violence — tame, perhaps, in comparison to today's numbing excesses, but still harsh and visceral, with gunfire ringing louder than life, and liberal use of projectile bloodshed long before squibs were a regular part of the special effects kit.
With the assistance of cinematographer Burnett Guffey and editor Dede Allen, Penn situates his Issue 20, June 9 Film Reviews violence in an uneasy space between raw realism and heightened lyricism: This is never truer than in the second ambush that ends Bonnie and Clyde both the characters and the film.
Drawing equally on Eisenstein's choppy montage and Kurosawa's poetic approach to combat scenes, it shows Bonnie and Clyde exchanging one final lovers' look before they are gloriously machine-gunned to pulp in slow motion.
As Vietnam escalated steadily, the nation was forced to watch a savage war unfold on its television screens for the first time, and saturation news coverage of both the war and the resulting anti-war protests raised awareness of social unrest to an unprecedented degree. In addition, the burgeoning civil rights movement had sparked a series of brutal race riots in Philadelphia, Cleveland and Los Angeles at the heart of the decade, and while the year has been referred to as the Summer of Love, that same summer witnessed record levels of violence in American history.
In the three months alone before Bonnie and Clyde received its world premiere at the Montreal Film Festival on 4 Augustthere had been race riots in Detroit, Tampa, Buffalo and Newark. The hothouse climate of cultural unease caused Roger Ebert to read into the film's violence a resonant extra-diegetic discourse with real life that perhaps mattered more than issues of factual accuracy or romanticised representation.
When people are shot in Bonnie and Clyde, they are literally blown to bits. Perhaps that seems shocking. But perhaps at this time, it is useful to be reminded that bullets really do tear skin and bone, and that they don't make nice round little holes like the Swiss cheese effect in Fearless Fosdick. Ebert, The technical innovations of Penn's mise-en-scene also suggest methods of reflecting reality that extend beyond veridiction.
Inwhen the Hollywood studio system was dying a slow, sad death, making a film that took place almost entirely on the road presented fresh new possibilities in location shooting. Confidential director Curtis Hanson, then a freelance photographer who was invited to observe part of the filming in Texas, notes how "in the studio system everything was very controlled.
It started out on soundstages, but even on location they controlled it. This was the beginning of giving up control" Hanson, Giving up control meant that Penn often worked against the wishes of DP Guffey to use source lighting, as with the scene where Bonnie flees into a golden wheatfield straight out of an Andrew Wyeth painting, and a passing black cloud weighs over the frame like a harbinger of death.
Sporadic process shots of the Barrow gang driving against rear-projected backdrops remind us that even an uncommonly adventurous Hollywood director was not yet able to fully shrug off 10 Issue 20, June Film Reviews the strictures of classical studio filmmaking, but more often than not, to watch Bonnie and Clyde is to watch Penn dealing up close with the tactile, physical elements of filmmaking — outdoor location space, natural light, unpredictable weather.
This approach does more than charge the film with a rush of spontaneous energy; it allows previously unparalleled interjections of reality to bleed into the frame. Similarly, Dede Allen's groundbreaking use of shock-cutting single-handedly introduced a modernist editing style to Hollywood cinema, creating filmic rhythms that were excitingly new to mainstream American audiences. An average shot in Bonnie and Clyde lasts less than four seconds, compared to the average shot length of six to ten seconds in most Hollywood films of its era Snider, In films as in real life, the world was moving faster than ever before, and Allen's shock-cutting vividly evoked the chaos, confusion and velocity of modern life better than a classical shot-reverse-shot format could.
The formal experimentalism struck a chord with college-educated youth audiences who not only had enough pop-cultural savvy to decode "[the film's] irony, its blatant Freudianism, its references to Keystone Cops slapstick, and its debt to the European art cinema" Carr, Encouraged by tastemakers like Kael and Ebert to read layers of cultural commentary and symbolic meaning into a film, viewers interpreted Bonnie and Clyde in whatever manner best fitted their individual realities.
As its screenwriters later testified, "Critics and interviewers have told us that Bonnie and Clyde was really about Vietnam, really about police brutality, really about Lee Harvey Oswald, really about Watts. After a while, we took to shrugging and saying, 'If you think so'" Newman and Benton, Above all, it is easy to see how audiences — then as now — latch onto Bonnie and Clyde themselves.
Detractors of the film usually argue that, in addition to being a historical whitewash of the outlaw couple, it spins them into dubious folk heroes.
Certainly, viewers seduced by Bonnie and Clyde's humour, romanticism and spirit of escapist adventure, by the sheer movie magic of it all, tend to uncritically accept the position that, in Stefan Kanfer's words, "when the two take up their aimless career as thieves, they try to see themselves as striking back at the haves on behalf of the have-nots — although there is no hint of ideology or social protest in their actions" Kanfer, Perversely, though, it is his very exploitation of Beatty and Dunaway's star power that allows Penn to capture the truest aspect of the duo: Often forgotten amidst the mythology of Bonnie and Clyde is the fact that they were chronic self- mythologisers, a pair of performers who often "seemed to others to be acting out forbidden roles and to relish their roles" Kael, Penn thus shows Bonnie and Clyde reading their headlines with glee, documenting their crime spree Bonnie writes a doggerel ballad which gets published in a newspaperand posing for publicity shots with cigars and tommy guns.
Clyde Barrow," Dunaway announces when they first meet C.
‘Never Say Never’: Justin Bieber and Jaden Smith Team Up for ‘Karate Kid’ Video
Stephen Hunter is hardly alone in thinking that it was an easy generational transference for the nascent Boomers to see themselves as so beautiful, so in love, so radical, so entitled to self-expression, so embittered by a failing economic system, so martyred by a crusty older generation that despised them for those attributes exactly.
Hunter, Rather than being repelled by a film of moral ambiguity and schizophrenic tone changes, young American viewers clearly saw in it a very real mirror to the confusion they had been feeling about Vietnam, about the civil rights movement, and about their own futures. One wonders if this post-classical revolution in cinematic truth would have taken hold without some of the groundwork laid down by Bonnie and Clyde. In this light, it seems fitting to leave the final word to Pauline Kael, whose original review David Newman considers "the best thing that ever happened to Benton and myself" Biskind, More than most critics back inKael sensed the beginning of an important new chapter in Hollywood history.
Bonnie and Clyde brings into the almost frighteningly public world of movies things that people have been feeling and saying and writing about. And once something is said or done on the screens of the world, once it has entered mass art, it can never again belong to a minority, never again be the private possession of an educated, or "knowing," group.
But even for that group there is an excitement in hearing its own private thoughts expressed out loud and in seeing something of its own sensibility become part of our common culture. Dunaway, Faye Revolution!
Dylan, Bob Blonde on Blonde. Hanson, Curtis Revolution! Kanfer, Stefan Hollywood: Waldron-Mantgani, Ian Retrospectives: Shoot the Piano Player. The four cinema releases have enjoyed varying degrees of box-office success: Nonetheless all four films are worth looking at, as they all reveal Ridley Scott's tendency to invoke the past as a way of commenting on the present. This has been evident in several of his recent works as director and producer — for example GladiatorKingdom of HeavenAmerican Gangster set in the early sand The Assassination of Jesse Jameswhich Scott produced.
Cracks the debut feature of Scott's daughter Jordan Scott is set in a girls' private school in mids Britain; Tell-Tale offers a contemporary interpretation of Edgar Allan Poe's short story The Tell-Tale Heart; Robin Hood takes us back to the time of Richard the Lionheart and King John at the beginning of the thirteenth century; while The A-Team breathes new cinematic Issue 20, June 15 Film Reviews life into the hit s television series.
More significantly, all four films demonstrate Scott's continuing preoccupation with the relationship between the personal and the political. Cracks makes this point in microcosm by returning us to the kind of environment previously explored in the remake of The Browning Versionproduced by Scott with Mike Figgis as director. In the earlier film, attention focuses on Crocker-Harris Albert Finneywho has spent all his life in the confines of a boys' public school.
Unable to tolerate the students in his charge, he has earned the soubriquet "The Hitler of the Lower Fifth," whose idea of an "end of term treat" consists of having the students read the Agamemnon by Aeschylus out loud in Latin, even though none of them have the faintest idea what is going on. However Figgis and Scott show that Crocker-Harris is a product of his environment — a school obsessed by history and tradition that represses rather than encourages individual talent.
Nonetheless the film offers some hope for the future at the end, as Crocker-Harris stands up in front of the school and apologizes to the students for his failings. When he started eighteen years previously he was something of an idealist; but now he has neither enthusiasm nor aptitude for the job. Once he has retired, he leaves the school for the last time and throws off his gown, symbolically suggesting that he has now rid himself of the shackles of his previous life and looking forward to a brighter, more tolerant future.
Eva Greenthe swimming teacher in Cracks, knows nothing of the outside world, having spent her entire life at a small girls' public school as a student and a teacher. We know something scandalous has happened to her in the past — exactly what is left unclear — but the experience has transformed her into a helpless agoraphobic, who cannot pay a visit to the local baker's shop without breaking out into cold sweat.
Her whole life revolves around her girls to such an extent that she develops an 'unnatural' passion for some of them. At the beginning of the film her favourite student is Di Juno Templea no-nonsense British girl with a talent for sport and leadership.
The infatuation is doomed from the start: Exhausted, Fiamma collapses to the ground in an asthmatic fit; Miss G.
Following Fiamma's death, Miss G. Although set in a quintessentially English milieu, Cracks makes some intelligent political points about the destructive effects of intolerance and xenophobia. As in Kingdom of Heaven, many of the students in the school fear the presence of "the other" - in this case, Fiamma, who is not only Spanish and therefore bilingualbut appears far superior in the academic and sporting fields.
Their pursuit of her represents their opportunity for revenge; to show the Spanish girl once and for all the supremacy of their English public school ideals such as strength and group as opposed to individual identity. These ideals have been corrupted: It is only after Fiamma's death that Di understands the implications of this belief.
The film's final sequence shows her embarking on a quest to find Fiamma's home in Spain; although she might never reach her destination, at least she has plucked up sufficient courage to reject the collective identity of the public school ethic and trust in her own convictions. Following a heart-transplant operation he discovers to his horror that he is gradually being transformed into a ruthless killer.
As the film unfolds, Terry understands that he has been possessed by Vieillard's spirit: The surgeons were involved in an illegal organ scam, in which they deliberately removed the organs of terminally ill patients Vieillard includedand sold them on to hospitals desperate to perform life-saving operations.
Frances was an innocent victim; she was killed while trying to stop the surgeons operating on her husband. Terry kills everyone involved, and thereby enables Vieillard's spirit to rest in peace. With its emphasis on possession of a male individual by another life-form, the film has strong echoes of Alienas well as several episodes in the late s anthology series The Hungerproduced by Scott.
In Battle of Smokefor instance, a male genie grows inside a woman, transforming her into a dominatrix. Tell-Tale asks us to consider whether there are any ways to protect oneself against this, particularly when it seems on the surface that Terry has been given a new lease of life as a consequence of his operation.
The film suggests that he has to learn how to negotiate between the two different sides of his character; to acknowledge the justness of Vieillard's cause while sustaining his own qualities as a working single parent. Such struggles recall similar conflicts in Poe's Tell-Tale Heart, between the old man representing the scientific, rational mindand the narrator the imaginative, Issue 20, June 17 Film Reviews emotional side. Eventually Terry reconciles the two extremes within himself — despite the evil surgeon Dr.
Lethe's Ulrich Thomsen's attempts to give him a lethal injection of potassium solution, Terry finds a hitherto undiscovered strength, enabling him to dispose of the surgeon once and for all. This strength, it is suggested, derives from his ability to reconcile the two sides of his character.
He becomes a much stronger, self-confident person. Terry's individual development also helps him to make a positive contribution to society, as he triumphs over the doctors who willfully try to end his life.
Like Tyrell in Blade Runner, Dr. Lethe the choice of name is deliberate, as Lethe was one of the five rivers of Hades in Greek mythology is a brilliant surgeon trying to control his patients' minds through his experiments. He claims that stealing organs can actually be considered a social service: However Cuesta suggests that this argument is specious: Lethe treats human beings as guinea- pigs, devoid of personality, who are ripe for financial and material exploitation. In his way he is as intolerant as the students in Cracks, even though he conceals it under a veneer of professionalism.
Robin Hood should be approached as a continuation of the story begun in Kingdom of Heaven: However Longstride is forced to flee back to Britain, having unwittingly become involved in a plot hatched by turncoat English soldier Godfrey Mark Strong to put the French King Philip on the English throne.
Crowe's Robin Hood believes in a strict code of honour, more precisely defined as tolerance, a belief in fair play and trusting in one's own convictions.
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This explains why he can command such loyalty amongst his followers. By contrast King John is a puny, wizened little man bearing a strong facial resemblance to Joaquin Phoenix's Commodus in Gladiator Short of funds, John imposes higher and higher taxes on his people; if they do not comply, he sends his troops in to take the money by force, or razes villages to the ground. John cannot be trusted; he willingly agrees to cede power to the barons, but goes back on his word once the French invasion force has been driven out of England.
For him the concept of 'divine right' assumes more importance than democratic agreement. Scott shows the contrast operating on a societal as well as an individual level. John's court — dominated by fear — with the idealized community in Sherwood Forest, where Maid Marian Cate Blanchett presides, where children play and adults happily partake of roast meat cooked over an open fire. No one even thinks of imposing their authority by force; the Merrie Men would never let that happen.
William Marshal William Hurt declares at one point that the strength of a nation depends on its people supporting one another "We are all Englishmen" — a point that Robin comes to understand when he discovers his noble parentage. Yet, as we have seen, Cracks shows how this community loyalty can be used to as a mechanism for social exclusion. Thus Robin Hood further suggests that community values can only be reinforced through democracy.
In a stirring speech to the barons, Robin declares that "in tyranny lies only failure;" the only way to deal with this is to cultivate the twin virtues of negotiation and mutual respect. Once such qualities have been acknowledged, then individuals should be able to work as a team; to suppress their individuality for the greater good.
To make this point clearer, Scott deliberately contrasts the English with the French invaders, who are both brutal and self-interested they rob dead English soldiers rather than treating them with the respect due to combatants in war.Karate Kid Before and After 2018 ★ Karate Kid Antes y Después 2018 ★
Whole villages are destroyed, the inhabitants slaughtered or burned alive, and women raped. These sequences are reminiscent of the scenes in Gladiator where the Praetorian guards wreak havoc in the countryside around Rome by killing women and children including Maximus' Russell Crowe's family.
While Robin mourns the loss of his fellow-citizens, he realizes the importance of putting such personal feelings aside and leading his troops in an effort to drive out the French invaders. It seems somehow appropriate that Robin should shoot the arrow that disposes of Godfrey, suggesting that traitors never prosper once they encounter the representatives of honour and justice.
Crowe's Robin Hood stands out as a paragon of virtue. His northern accent might be rather shaky — combining elements of Liverpool, Nottingham and Sydney — but his convictions remain unshakable.
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In one sequence he is faced with a choice between rescuing Maid Marian and a sheep from a bog; neither of them can move. He saves the sheep first, realizing that it cannot help itself. Marian objects predictably to Robin's apparent indifference, but secretly admires his decision — it is only a matter of time before they fall in love.
Crowe's characterization holds the story together. As in Kingdom of Heaven, Scott uses landscape imagery to reinforce his political points. The French destruction is emphasized through panning shots of towns and villages razed to the ground, with smoke billowing from straw buildings set on fire.
As Robin musters his army to repel them, Scott introduces aerial shots of England's green and pleasant land, with the iconic white horse set on the northern face of the Berkshire Downs — a timeless symbol of tolerance and democracy. Robin is not only fighting for the nation; his victory will ensure the Issue 20, June 19 Film Reviews future of everything England represents. Robin Hood might be set in England, but Scott clearly intends his ideas to strike a chord with anyone who believes in democracy as the foundation of a stable society.
Individualism certainly has an important role to play in promoting tolerance — as shown in the final sequences of Cracks and Tell-Tale — but Robin Hood suggests quite openly that national stability depends on individuals learning to co-exist with one another. The A-Team likewise promotes community values, through a story set in the American present rather than the mythical British past.
The film bristles with intertextual references to Scott's earlier work: The A-Team also follows Body of Lies in suggesting that the real 'enemy within' is neither the Iraqis, the Taliban or any other group of freedom-fighters, but rather the CIA, which controls US military operations through faceless operatives such as Lynch Patrick Wilson. He is nothing more than a careerist, with little understanding of the responsibilities either to his staff or his country. The CIA willingly tolerates his behavior, allowing him to work under a pseudonym Lynch is not his real name and ensuring that he escapes punishment for his actions, once it has been revealed that he has been colluding in the illegal currency deal.
While most of the action sequences are obviously tongue-in-cheek we know that none of A-Team will be destroyed, despite B. Baracus' Quentin 'Rampage' Jackson obvious fear of flying, or Murdock's Sharlto Copley rather haphazard approach to piloting, which puts the rest of his team-members perpetually at risk. Yet the film suggests that, despite their efforts, the A-Team as a whole remain pawns in the larger scheme of things.
Unlike their counterparts in the s television series, they cannot save America from destroying itself. Although they successfully recover the plates used for printing the counterfeit dollars, they are immediately returned to their respective "detention facilities" as escaped criminals.
The social values advocated by Robin Hood — teamwork, honesty and integrity — seem somewhat anachronistic in a contemporary world where nothing seems quite what it appears. General Morrison Gerald McRaneywhom Smith idolizes as a representative of all that is good about American society — democracy, honesty, tolerance — turns out to be the fence in the currency deal; disguised as an Arab, he meets with Lt.
Peck Bradley Cooper to ensure its smooth progress. Even members of the US army are corruptible, so it seems. Superficially it would seem that The A-Team questions the points made by the other three films. On the other hand the film shows how the A-Team "twisted the system and it twisted [them]. Such 20 Issue 20, June Film Reviews values have little significance in a dog-eat-dog world in which governments — through agencies such as the CIA — seem hell-bent on carrying out a secret master plan for purely financial motives, even if that contradicts the ideals which the US Army are apparently fighting for.
On the other hand The A-Team values individual integrity; like Di in Cracks and Terry in Tell-Tale, the four men stand up for what they believe in even if they have to struggle to achieve it. As one of them observes: In his view the two are inseparable: Terry Bernard in Tell-Tale has to resolve his own personal struggles, so that he can become a better parent and hence make a positive contribution to his society.
However in certain contexts tolerance and loyalty are not sufficient in themselves to sustain the social order — especially in the world of The A-Team, where individuals are often treated as cannon-fodder in the government's overall scheme of things.
Nonetheless, one should perhaps follow the example of Hannibal Smith and his associates and continue fighting for the truth. If they ever gave up, then most societies would have little hope for the future.
Scott's ideas might seem somewhat naive in a world where governments seem to pay less and heed to different points of view; but at least they give filmgoers some sense of hope as they leave the cinema after the films have finished.
This might perhaps help to explain why he remains a potent box- office name nearly thirty-five years after his first film was released. Just when Dre's about to be attacked by six of the bullies, he's saved by his apartment complex's maintenance man, Mr. Han Jackie Chanwho hesitantly agrees to train Dre for a kung fu competition where he'll face all of his nemeses.
Their mentor-mentee relationship develops into strong friendship that helps both Dre and Mr. Han grow past their insecurity and pain. Continue reading Show less Is it any good? Surprisingly, this remake is not only incredibly faithful to the original except for the protagonist's age, the setting, and the style of martial artbut also incredibly entertaining. Viewers are sure to clap and hoot throughout many, many scenes.
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What makes the kung fu reimagining work is the stellar performances by Smith, who channels his father Will's intensity and charm, and Chan, who finally seems in his element and gets to show some dramatic acting skills. They may not have some of the humorous exchanges or lines that made Ralph Macchio and Pat Morita so lovable, but their friendship is believable and strong enough to carry the story. The movie, even with its unncessarily long run time of nearly two and a half hours, proves that Smith is a natural-born entertainer, which isn't surprising considering he's basically Hollywood royalty.
He may have initially gotten the part because of his parents, but he's funny, at ease, and can even nail tween angst. The rapport between Smith and Henson as mother-and-son is realistic, and his flirtation with Meiying is adorable. The antagonists are perfectly played at last, Asian boys aren't portrayed as geeky!
Continue reading Show less Talk to your kids about