Skykid's Top Asian Movie List

[Skykid]

Saving a thread split from the Korean film thread, here's my top list of Asian movies.
I watch a lot of movies, but even though I handpicked these for variety in theme and ethnicity, it can't be a definitive list: that's a veritable impossibility that would require me to watch everything under the sun. But these are some of the best movies out of Asia I've seen and I wholeheartedly recommend any them. Since the themes may be taste dependent, I've included a brief synopsis too.
Enjoy!



Beijing Bicycle (China/Xiaoshuai Wang/2001)
A masterpiece of film, almost untouchably brilliant. Watch it if it's the last thing you do.

Shanghai Dreams (China/Xiaoshuai Wang/2005)
Xiaoshuai Wang again cements himself as a master director. Tells the story of a rural village family during the cultural revolution whose father is desperate to relocate to Shanghai for better pay. The teenage daughter is a stumbling block however.

In Love we Trust (China/Xiaoshuai Wang/2007)
A tight situation if ever there was one! Guilty of being slightly overlong for a slow burning movie, this is still very compelling stuff. I'd say start with the above mentioned Xiaoshuai Wang films and if you like his style, go for this feet first.

Shimotsuma Story/Kamikaze Girls (Japan/Tetsuya Nakashima/2004)
Light-hearted jaunt about two girls who find each other despite being part of totally adverse fads: one a sweet lolita maniac, the other a punk-style tough gal. Despite content you should really hate, it's directed with such a firm grip by Nakashima that you can't help but love it; and Anna Tsuchiya gives a performance well worth watching.

Departures (Japan/Yôjirô Takita/2008)
Consider this here because I don't want Japan to be too under-represented. That's not a slight on the film: it's good, it's just guilty of being 30 minutes too long and struggling to end. Tells the story of a cellist who discovers beauty in the art of conducting funeral services, and you'll see it too.

Tetsuo: The Iron Man (Japan/Shin'ya Tsukamoto/1989)
Probably one of the best and most arresting arthouse movies to come out of Japan, and not a pretender like so many others. It's only an hour, but it's an hour of raw body/machine fusion and violent stop motion animation that will make you feel as though your brain has just had an acid bath. In a good way.

Seven Samurai (Japan/Akira Kurosawa/1954)
A masterpiece. Humorous, dramatic and exciting, with Toshirô Mifune heading up the cast with an award-winning performance. It's original 207 minute run time is very weighty, to say the least. You need to prepare for that, but it will keep you engaged for the duration.

Rashomon (Japan/Akira Kurosawa/1950)
Kurosawa and leading man Mifune again at full force in this dark piece that recounts the story of a murdered samurai from several different angles. The story is told in a complicated way, but it's masterfully crafted in every shot.

Memories of Matsuko (Japan/Tetsuya Nakashima/2006)
A touching story about the life of a recluse who lives in a garbage filled apartment. Her nephew endeavours to find out how she got into such a state, and Nakashima takes the viewer on a fairytale flashback that recalls the memories of Matsuko. Whimsical, often extremely funny but ultimately rather sad, it's a tad long but charming nonetheless; with stellar performances from the entire cast, especially leading lady Miki Nakatani.

New
Shall we Dansu (Japan/Masayuki Suo/1996)
Charming as they come, and a film with *gasp* real Japanese people in it. This one is a simple pleasure, just sit back and let it take you. It's commercial, runs to a formula and is a little predictable, but you'll forgive it wholeheartedly by the end. It's not so much about dance as it is a person finding a form of expression to brighten up his life. We could all use some of that.

New
~ Together (with you)/Kaige Chen/2002 ~
A nice accompaniment to Shall we Dansu in tone and sentiment, this little film with a big heart is the superior of the two. From the director of Farewell my Concubine but clearly aimed at a more mainstream audience, it's brilliantly acted, written and directed - and if you're not adverse to a tug on the heartstrings, it's guaranteed to brighten up your whole week.

New
Rebels of the Neon God (Taiwan/Ming-liang Tsai/1992)
Fast times in downtown Taipei. Two teenagers from different sides of the coin cross paths and there's an unleashing of pent up frustration. Great city shots, solid lead actors and a little dangerousness for good measure. Oh, and shedloads of arcade games.

If you are the one (China/Xiaogang Feng/2008)
Actor You Ge is often described as the Chinese Bill Murray. It's a fair plaudit, since he's absolutely brilliant. He's also the main reason this film works as well as it does. A romantic comedy about an older guy who meets a young girl through a dating agency, it's fun, funny and very well-handled. However be warned: this is a romcom, and despite being completely different to the type found in Hollywood (i.e., good), it's still a commercial movie. If you can deal with that, there's plenty to be had from it.

Kekexili (Lu Chuan) (China/Lu Chuan/2004)
After making Kekexili Lu Chuan was instantly named one of the worlds most promising new directors, and with good reason. Set in the Tibetan wastelands and following a volunteer patrol out to protect Antelope from illegal poachers, it's masterful in its every inch. Watch this before you die.

City of Life and Death (Lu Chuan) (China/Lu Chuan/2009)
Following Kekexili was a big ask, but Lu Chuan came at it with everything he had, taking on one of the most sensitive Asian topics of the last century, the Nanking massacre. Telling the story impartially and from the viewpoint of a Japanese soldier, it's a stunning looking, and deeply harrowing black and white wartime epic. Chuan received death threats from Chinese residents because it wasn't candid enough about the truth of Japan's brutality, but I still found its sense of dread to be almost palpable. An absolute must see, just prepare yourself to be shaken.

Lost in Beijing (China/Li Yu/2007)
A modern story within Beijing's urban jungle. An illegitimate pregnancy sends the lives of several people awry in what is pretty dark stuff. A little meandering at times, but is extremely well crafted for the most part and keeps you guessing.

Zatoichi (Japan/Takeshi Kitano/2003)
After making crap like Brother, it's nice to see Kitano's talent in full swing in this retelling of an oft-trodden tale of a blind swordsman. Humorous and with terrific characterisation, it's really excellent stuff throughout.

YiYi/a one and a half (Taiwan/Edward Yang/2000)
A life extension. YiYi turns out to be so powerful, a huge surprise from its slow beginning. Telling the stories of a huge ensemble cast, it's a masterpiece of a movie that you can't help but find yourself in. Do watch.

Suzhou River (China/Ye Lou/2000)
Arthouse low budget noir-style movie starring the mysteriously seductive Xun Zhou and told from varying perspectives, and often from the first person. A fantastical tale of lost love and brilliantly shot, using poverty stricken locations to the absolute fullest. Storytelling magic.

New
Summer Palace (China/Ye Lou/2006)
Worth every second of Ye Lou's five-year filmmaking ban. Rips you from the comfort of your living room into the China of the late 80's, following a group of teen's newfound freedom of sexual expression and the painful journey of love and love lost against the backdrop of Tiananmen square and a rapidly expanding economy. Harsh, harrowing and profoundly affecting, it's nothing short of a modern masterwork. It has the potential to haunt you for the rest of your days, take that as you will.

Hollywood Hong Kong (Hong Kong/Fruit Chan/2001)
Xun Zhou shaking her ass again, this time seducing a family of shanty town fatties in the blistering heat. You'll be thinking Delicatessen a lot, but Fruit Chan's movie is very much his own. It's a little abstract and meanders at times, but definitely one of Hong Kong's more provocative films outside of Wong Kar Wai.

Dumplings (Hong Kong/Fruit Chan/2004)
Fruit Chan tops Hollywood Hong Kong in this feature length horror movie that was made for the 'Three... Extremes'. Ignore the version in 3 Extremes, since it's chopped down, and this trounces the Park and Miike efforts by a wide margin. Once of the most bloodcurdling horror movies to come out of Asia in forever, but utterly transfixing and directed with an iron hand.

2046 (Hong Kong/Wong Kar Wai/2004)
For my money this tops predecessor In the Mood For Love. WKW combines intertwining stories around room 2046 with effortless brilliance, running from the past into the future. At his artistic best, this movie sizzles, and he drew the best performance out of Zhang Ziyi I've seen - didn't know she was capable tbh.

Chungking Express (Hong Kong/Wong Kar Wai/1994)
Between all of WKW's work, it's so hard to pin down faves. Fallen Angels, As Tears Go By, Days of Being Wild: they're all good, but I have a soft-spot for Chungking Express. Again, interweaving stories and characters, it's artistic in his inimitable style, but never overbearingly so, and really wonderful stuff.

Joint Security Area (Korea/Chan-wook Park/2000)
That one that got overshadowed by the Vengeance trilogy, JSA is a top-notch thriller set on the DMZ divide between North and South Korea. It's brilliantly written and directed, and totally gripping.

Sympathy for Mr Vengeance (Korea/Chan-wook Park/2002)
The best of the Vengeance trilogy, and also the most violent and arresting. It's a lot bleaker and darker than even Oldboy, whose comic book roots liberated it from grim realities. For those who can stomach it, it's a razor blade of a movie where a lot of things go wrong for a lot of unlucky people. But it's great.

Oldboy (Korea/Chan-wook Park/2003)
Beautifully stylish and craftily told, Oldboy is Park at full creative swing. Visually remarkable, with spill your lunch twists and the best brawl ever committed to film, it's a must see.

Hard Boiled (Hong Kong/John Woo/1992)
Flying the flag for action cinema, this is John Woo at the pinnacle of his brilliance (before he became a mutilated Hollywood puppet.) The plot is standard crime/triad/cop shiz, but the chemistry between Chow Yun Fat and Tony Leung gives the film great energy and pace, and the gunfighting is the equivalent of fine ballet. Quite simply the best bullet festival ever committed to film, with a bravura long take in the last act.

Raise the Red Lantern (China/Zhang Yimou/1991)
One of Yimou's best loved early works, this is a slow movie revolving around the several wives of an aristocrat, and their conflicts in bidding for his attention. It's beautifully filmed, acted, and extremely engaging, but I can't honestly say its pace will be to all tastes. Like a fine wine.

Yin shi nan nu/Eat Drink Man Woman (Taiwan/Ang Lee/1994)
Warning: this film will make you fucking hungry. A brilliant slice of life film from Ang Lee, handled with all the grace and love you would expect from such a thoughtful director, and with a great cast. Leaves you feeling warm and fuzzy, without burdening you with over-sentimentality. It's lovely, watch it.

Balzac and the Little Chinese Seamstress (China/Sijie Dai/2002)
Another little masterpiece. Set during the Cultural Revolution, it's the true story of author/director Sijie Dai's experience being taken from his urban city life to be re-educated in a rural peasant village, where he and a friend get more than they bargain for. Absolutely brilliant, that's all that needs saying.

Devils on the Doorstep (China/Wen Jiang/2000)
Director and lead actor Wen Jiang's blackly humorous war time story of a small mountain village who inadvertently end up with two Japanese hostages. Composed in black and white, it's a little caper story that grows into something with tremendous wallop. Banned in China, god knows why, but that's the hallmark of any good film. Stephen Soderberg got the full uncut version released in the west, which errs on being slightly too long, but is still the better version.

Happy Times/Xingfu Shiguang (China/Zhang Yimou/2000)
Oddly enough, my favourite Zhang Yimou film is as straight up as he's probably ever gotten. There's no overt visual artistry here, just the art of great storytelling. Funny and extremely touching story of a blind girl being looked after by a city worker who's completely out of his depth. Brilliant in every way.

Cannot live without you (Taiwan/Leon Dai/2009)
There's some heart-string pulling going on here, but since it's directed with such conviction it's easily forgiven. Tells the story of a poor Taiwanese labourer who lives on a wharf with his daughter, who's suddenly plunged into a custody battle that he can't win. Might make you cry, in a good way.

To Live (China/Zhang Yimou/1994)
Heralded by many as a masterpiece, this is an acquired taste. Spans the history of Mao's regime and the affect it has on a single family. Truthful, sometimes shocking, but slow and measured. It's pacing may not be for everyone, but Yimou has got a firm grip on the subject matter.

New
Riding Alone for Thousands of Miles (China/Japan/Zhang Yimou 2005)
Follows a Japanese man who, in a bid to make peace with his estranged and dying son, travels from Tokyo to China on a pilgrimage to a mountain village to record a folk performance as a parting offering. Takes a very interesting look at the culture differences between China and Japan.

Infernal Affairs (Hong Kong/Wai-keung Lau, Alan Mak/2002)
The best of HK's crime dramas, since this one actually has a plot, two excellent leads, and a hefty twist. If you haven't seen the Departed and spoiled it all, you're in for a treat.

Happy Together (Hong Kong/Wong Kar Wai/1997)
Tony Leung and the late Leslie Cheung play a gay couple trying to make their way in Argentina. The relationship is pressurised to breaking point as they struggle to make ends meet. A fascinating exploration of people and their thought processes, and the best gay movie alongside Brokeback.

Shaolin Soccer (Hong Kong/Stephen Chow/2001)
Yes, better than Kung-Fu Hustle. Shaolin Soccer's brilliant ensemble cast and riotous fun never loses sight of good honest filmmaking. Probably the best Chow has done, and he's done a lot of good stuff.

Farewell my concubine (China/Kaige Chen/1993)
Epic arthouse style movie following the 50 year journey of two colleagues in the Peking Opera. If you're happy to take the slow road, there's brilliance to behold.

Police Story (Hong Kong/Jackie Chan/1985
Couldn't do a list without a Kung Fu movie, so here's the best: Police Story. The plot is throwaway, the comedy is childish, but it's got some of the best stunt sequences ever and fight scenes that just need on the spot rewinding. Cool stuff.


By Accessibility:

~Pick up and Play~

Shaolin Soccer
Police Story
Infernal Affairs
Happy Times
Hard Boiled
Oldboy
Shall We Dansu
Together (With You)
Joint Security Area
If You Are The One
Shimotsuma Story/Kamikaze Girls

~Medium Bake~

Riding Alone for Thousands of Miles
Cannot live without you
Rebels of the Neon God
Devils on the Doorstep
Eat Drink Man Woman
Sympathy for Mr Vengeance
Chungking Express
Dumplings
Hollywood Hong Kong
Summer Palace
Balzac and the Little Chinese Seamstress
Suzhou River
Zatoichi
Seven Samurai
Beijing Bicycle
Shanghai Dreams
In Love We Trust
Happy Together
Lost in Beijing
Kekexili
City of Life and Death
Departures
Memories of Matsuko

~Worthy Investment of Hard Time~

Tetsuo The Iron Man
Farewell My Concubine
To Live
YiYi
Rashomon
Raise the Red Lantern
2046


Short List of Worst ever:

Battle Royale II
Mushishi/Bugmaster
Versus
Brother
The Tube

[hzt]

Not a bad list at all, I think I've seen and liked everything except a couple of the mainland China films so I'll definitely try to catch those. One thing I've got to say is I'm glad to see Devils on the Doorstep there, I'm not sure it's that well known (except maybe as a banned film) but it completely blew me away when I saw it.

Have you seen any of Hou Hsiao-hsian's films? If I made a similar list I would definitely have a couple on there, and Edward Yang's A Brighter Summer Day in a prominent place, and also Tsai Ming-liang. I love Taiwanese cinema.

I almost agree with you when you say Chinese cinema is the best, what stops me is more that I see the mainland, HK, and Taiwan as separate - in terms of cinematic identity, no politics here - than rating other countries especially higher.

If you're interested in braving some more Japanese weirdness you should check out more Tsukamoto Shinya, preferably in chronological order - his films share a lot of the same basic themes but over time they get more interested in and closer to the naked/unconcealed human body, from Tetsuo with becoming a machine and losing the body entirely to Vital, which basically revolves around a guy dissecting a body at medical school and I think marked the end of some phase for Tsukamoto. It's interesting to look at his body of work as a whole like this.

[brentsg]

[xris]

Neat list, glad that it's pretty well rounded with different genres. There's plenty of others depending on personal preferences. A couple that I'll toss in are Time and Tide, and Help Me Eros.

[emphatic]

Seen this, Skykid? http://www.imdb.com/title/tt0112767/

[dingsbums]

I also love the Asian cinema. I have not seen all movies from your list but I agree on the following:

Tetsuo
Seven Samurais
Zatoichi
2046
Chungking Express
Sympathy for Mr. Vengeance
Oldboy
Hard Boiled
Infernal Affairs
Shaolin Soccer
Police Story

Additional Movies this list should contain in my opinion:

1. Tetsuo 2 - Body Hammer
2. The Killer
3. Swordsman 2
4. Drunken Master 2
5. Once upon a time in China
6. Green Snake
7. Bullet in the Head
8. Battle Royale
9. Kikujiros Summer
10. Full Contact
11. Mind Game (2004)
12. A Touch of Zen
13. The Blade (1995)
14. Hero (1997 / Corey Yuen)

And for shits & giggles

15. Story of Ricky
16. Bio Zombie

And one thing I completely disagree: Brother as one of the worst Are you serious I found Outrage much more dull (in fact Outrage was one of my most disappointing movie experiences lately).

[Skykid]

Seen this, Skykid? http://www.imdb.com/title/tt0112767/

Yes, and it wasn't bad. A little too drawn out on the whole, but an interesting look at seedy Vietnam nonetheless.

Hou Hsiao-hsian/Tsai Ming-liang

You're the second person to mention Hsian-Hsian in 24hrs and scanning his IMDB I'm not sure I have seen any of his stuff. Sounds like I'm missing a trick there, since he's very highly regarded, thanks for the tip. Same with Tsai Ming-liang, although sometimes I end up watching movies and not know the English version's name, so it's a possibility I've crossed paths with both of these directors at some point.

I almost agree with you when you say Chinese cinema is the best, what stops me is more that I see the mainland, HK, and Taiwan as separate - in terms of cinematic identity, no politics here - than rating other countries especially higher.

I view them as separate in a sense too, but then I view them as a whole when compared to Japan and Korea. As a conglomerate, I'd say Chinese movies don't even have a fight on their hands when it comes to the best of Asia - they pretty much walk it.

If you're interested in braving some more Japanese weirdness you should check out more Tsukamoto Shinya, preferably in chronological order - his films share a lot of the same basic themes but over time they get more interested in and closer to the naked/unconcealed human body, from Tetsuo with becoming a machine and losing the body entirely to Vital, which basically revolves around a guy dissecting a body at medical school and I think marked the end of some phase for Tsukamoto. It's interesting to look at his body of work as a whole like this.

I've seen Tetsuo II: Body Hammer which I actually quite liked (even though it's rather disliked as I understand it.) I didn't think it had the same impact and clarity as the first which is why it's not on the list, but I did appreciate him experimenting with a stronger narrative based route. Tsukamoto's Japanese craziness has more depth than the norm, which for the most part comes off as extremely trying trash, so I'm willing to see what else he's done.

1. Tetsuo 2 - Body Hammer
2. The Killer
3. Swordsman 2
4. Drunken Master 2
5. Once upon a time in China
6. Green Snake
7. Bullet in the Head
8. Battle Royal
9. Kikujiros Sommer
10. Full Contact
11. Mind Game (2004)
12. A Touch of Zen
13. The Blade (1995)
14. Hero (1997 / Corey Yuen)

And for shits & giggles

15. Story of Ricky
16. Bio Zombie

Not bad, and a couple of these were snipped off my list at the last minute (Battle Royale). I was really trying to go for a 'best of' which means I only included the absolute cream. There's a place for stuff like Ricky-Oh, Kung Fu movies and Full Contact, just not on my list. Appreciate the input tho.

[dingsbums]

Tsukamoto's Japanese craziness has more depth than the norm, which for the most part comes off as extremely trying trash, so I'm willing to see what else he's done.

If you haven't already you really should check out Tokyo Fist & A Snake of June - two of his best movies in my opinion.
From your list I always wanted to see Joint Security Area & Beijing Bicycle and since you have a similar taste in movies I will hopefully get around with it .
And yeah I noticed my list is a bit Martial Arts heavy but these are just movies from the top of my head - when I would have checked my movie collection the list would be different .

[Skykid]

Joint Security Area & Beijing Bicycle

BB is the better of the two, but only because it's tear-inducingly good. JSA is a superb thriller though, definitely catch it.

I've graded the list by accessibility now, just in-case anyone fancies watching something but doesn't know what they're in the mood for.

[DocHauser]

I thought Departures was pretty mediocre (so it's no surprise it won an Oscar). Some parts worked quite well, but there were several overdone melodramatic moments, particularly when the guy was playing cello with the mountains in the background.

I think Hirokazu Koreeda has made some of the best Japanese films of the past decade or so: Maborosi, After Life, Distance, Nobody Knows, Hana yori mo naho, and Still Walking.

I'm a big fan of Park Chan Wook, but I didn't enjoy JSA at all, it just seemed like a wannabe Hollywood thriller (similar to A Few Good Men or something like that) and the English-speaking actors were appallingly wooden.

[Skykid]

I thought Departures was pretty mediocre (so it's no surprise it won an Oscar). Some parts worked quite well, but there were several overdone melodramatic moments, particularly when the guy was playing cello with the mountains in the background.

Consider this here because I don't want Japan to be too under-represented.

Let's just say we're not in total disagreement. Oscar worthy it's not, but mediocre might be a little extreme.

[DocHauser]

Oh, it's totally worthy of an Oscar, because it's exactly the sort of movie that usually wins Oscars.

[Skykid]

Oh, it's totally worthy of an Oscar, because it's exactly the sort of movie that usually wins Oscars.

Sometimes. Let's look at the last decade of foreign movie winners:

2011: A Separation (Iran)
2010: In a Better World (Denmark)
2009: The Secret in Their Eyes (Argentina)
2008: Departures (Japan)
2007: The Counterfeiters (Austria)
2006: The Lives of Others (Germany)
2005: Tsotsi (South Africa)
2004: The Sea Inside (Spain)
2003: The Barbarian Invasions (Canada)
2002: Nowhere in Africa (Germany

Of that list I've seen:

Tsotsi - Average
The Counterfeiters - Average
Departures - Good
The Lives of Others - Superb



...I guess you're right.

[Teufel_in_Blau]

Nice list. Will save and check out when I'm in the mood for some Asian movies.

Also I missed "Dog Bite Dog" on your list. I just saw it recently at a friends home and was pretty surprised how good this movie was. From his description it sounded more like a 0815 movie but it was actually very intense.

[Skykid]

Also I missed "Dog Bite Dog" on your list.

It's passable, nothing special. Grim and very violent, but pretty throwaway Hong Kong stuff (and too long.)
Okay for a watch but I wouldn't go any further than that. And Edison Chen is weak.

[lilmanjs]

how could you forget this one?
http://www.imdb.com/title/tt0375669/

as for the list, I find Infernal Affairs 2, to be the best of the trilogy.

[Skykid]

how could you forget this one?
http://www.imdb.com/title/tt0375669/

Dudes, I've forgotten just about all the commercial triad Hong Kong movies for a very good reason. They have a place, but not on this list.

as for the list, I find Infernal Affairs 2, to be the best of the trilogy.

It's surprisingly good for a high profile sequel, but not better than the original imo. Edison Chen again.

[Drum]

House/Hausu is awesome, should make the list. Watch it if you haven't.

[Casper<3]

I've only seen Oldboy on your list. I thought it was pretty stale and over rated.

Battle Royale was pretty pathetic as it is, hard to imagine that made a part 2 that was even worst.

[Skykid]

Battle Royale was pretty pathetic as it is, hard to imagine that made a part 2 that was even worst.

You have no idea.

[xbl0x180]

Hey, nobody mentioned Shall We Dansu? As banal as a Rom-Com it may be (and it's no Seven-Year Itch), I thought it was alright and on the level with "Departures." Damn, this thred needs MOAR Hou Hsiao-Hsien and Tsai Ming-Liang ("Millenium Mambo" and "Rebels Of The Neon God" for days ). They are very slow-moving, meandering type of movies, but, damn, I love their look and the choice of music.

[chum]

Damn, this thred needs MOAR Hou Hsiao-Hsien and Tsai Ming-Liang

Too slow for anybody but us "artfags", Y'know? (Yes, I will take that comment to heart, since it reflects people's inability to pay attention to a movie unless there is constant action on screen.)

for Tsai, my favourite is "The Hole", it is both hilarious and heartbreaking. I also love Goodbye Dragon Inn and Vive L'amour. Have yet to see Rebels, unfortunately.

I need to watch more Hou, everything I've seen by him has been brilliantly subtle. My favourite is "A City of Sadness".

[drauch]

I'm under the impression that asian cinema was best from the 60s-early 90's. I dunno, I guess I kinda feel the same way about all film, really...

[xbl0x180]

Damn, this thred needs MOAR Hou Hsiao-Hsien and Tsai Ming-Liang

Too slow for anybody but us "artfags", Y'know? (Yes, I will take that comment to heart, since it reflects people's inability to pay attention to a movie unless there is constant action on screen.)

for Tsai, my favourite is "The Hole", it is both hilarious and heartbreaking. I also love Goodbye Dragon Inn and Vive L'amour. Have yet to see Rebels, unfortunately.

I need to watch more Hou, everything I've seen by him has been brilliantly subtle. My favourite is "A City of Sadness".

I wouldn't think of these films as for "artfags." It's just a different method of recording and editing stuff. I'm not too keen on having a lot of edits and cuts, and prefer tracking shots or recording from different angles and distances. Music and sound (or the lack thereof) are also very important for me. I've seen video art and film art, junk they show in installations at the MoMA, private galleries, and student projects, and some of it is downright plodding and trying, even for me (although I STILL consider the concepts as interesting). I mean, when guys knock on artfaggotry, they make it sound as if we're watching this: http://www.youtube.com/watch?v=wtvHSclUhWU

Come on. Dudes just busting my chops over style/method preferences. There are plenty of Japanese films from the past 20 years that are some of the best in the world, outnumbering those of their Far East neighbours (at least from what I have seen up to this point). Anyway, you should check "Goodbye South, Goodbye." Again, the progression is slow, not quite "Bela Tarr slow," but slow and meandering, nonetheless. And, aye, I loved "Goodbye, Dragon Inn"

[TonK]

If you don't like KungFu Hustle, you have no soul.

[xbl0x180]

If you don't like KungFu Hustle, you have no soul.

Good movie. You also must've seen other Martial Arts classics, such as Master Of The Flying Guillotine (with a music score by none other than Neu! ) and Drunken Master

[louisg]

I really dug One Nite in Mongkok. I don't know if you've seen it.

[drauch]

If you don't like KungFu Hustle, you have no soul.

Good movie. You also must've seen other Martial Arts classics, such as Master Of The Flying Guillotine (with a music score by none other than Neu! ) and Drunken Master

Both the movies you referenced rule...but man, Kung Fu Hustle is pretty damn terrible. One of the only movies I've ever fallen asleep to. Modern asian cinema is largely terrible, really.

[Skykid]

I really dug One Nite in Mongkok. I don't know if you've seen it.

I have. It's an okay HK thriller, but nothing to write home about. Commercial HK is very similar to commercial Hollywood. The list here, with the exception of a Woo and Chan classic, is way above that grade I feel.

Kung Fu Hustle is pretty damn terrible.

Kung Fu Hustle is great fun actually. But out of all his stuff I've seen (King of Comedy, God of Cookery, Fight Back to School) Shaolin Soccer is the best.

Too slow for anybody but us "artfags", Y'know? (Yes, I will take that comment to heart, since it reflects people's inability to pay attention to a movie unless there is constant action on screen.)

You took the comment to heart because, what, you didn't understand it as a criticism of Lily Chou Chou? I'm pretty sure I expanded the reasoning beyond a single word, too.
Look at my list: does that look like a bunch of fast paced action-packed movies for people with low attention spans? Now I'm feeling insulted.

Hou Hsiao-Hsien and Tsai Ming-Liang

Duly noted for the third time dude, I will most definitely check these guys out. Appreciate the tip.

[evil_ash_xero]

Thanks for the list. I will definitely check some of these out. I still can't believe you didn't like Dark Knight though.

I'm surprised there's not a little more Kurosawa on there. Hidden Fortress and Ran were pretty supreme.

OH, and to some other posters...Kung-Fu Hustle was awesome fun. So was Shaolin Soccer. Team Evil!

I thought Battle Royale was good...but it lacked depth(as most modern J movies do), but it had other things going for it.