  Chronicles of the Going Home Club - Episode 2 - If the Cuckoo won't sing, it's probably dead \ Girl Power Overdrive \ Social Mixer Training Jul 11th 2013, 19:30 
Oda Nobunaga, Toyotomi Hideyoshi, and Tokugawa Ieyasu each have a poem to describe their personalities that begins "If the Cuckoo won't sing...". The Going Home Club members each try to compose a version of the poem to describe themselves. Although assumed to be a "serene blockhead" type, Karin brings in cookies that she made herself. She reveals a level of Home Ec Club-cultivated "Girl Power" that astounds her fellow members. Karin tells a story about a peer from middle school attending a social mixer. Sakura decides to have the club assume the role of boys and girls and practice so they'll know what to do if they're ever get caught up in a social mixer.
 |  Silver Spoon - Episode 1 - Welcome to Ezonoo Jul 11th 2013, 18:45 
The vast Ooezo Agricultural High School (AKA Ezonoo) is home to many animals such as cows, pigs, and horses. Hachiken is a student there who has ostensibly chosen to enter the school because it is a boarding school. During the campus orientation tour, he becomes lost in the woods after chasing a calf on the loose. Just as panic sets in, he is accosted by a mysterious figure...
 |  Recorder and Randsell Mi - Episode 1 - Recorder and Ransel Mi Jul 11th 2013, 16:00 
Atsumi stresses over height gaps, Atsushi gets taken into custody by a female cop whenever he's with Hina, Sayo has her eye on Atsushi... Those days are back again. But this time, a new character is sneaking up on Atsumi...
 |  Majestic Prince - Episode 14 - AHSMB's Shadow Jul 11th 2013, 15:00 
A cargo ship has gotten stuck in a gravity belt and Team Rabbits is sent to rescue them. With their units not unequipped for battle, the Fail Six are taken by surprise when Jiart and his men suddenly appear!
 | | New World – Review Jul 11th 2013, 00:04 
The head of the Goldmoon crime syndicate is dead, leaving his top two lieutenants. Seizing the opportunity, the police launch an operation with the perfect weapon: Ja-sung, the boss’s right hand man, has been a deep-cover operative for 8 years, closely watched by handler Police chief Kang. With a baby on the way, and living in mortal fear of being exposed as a mole, Ja-sung is torn between his duty and honor as a cop, and the fiercely loyal gang members who will follow him to hell and back. Using inside information from Ja-sung to damage the relationship between the two feuding contenders, suspicions grow that a traitor lives in their ranks. Ruthless Jung escalates the game by hiring hackers to search the police database. As Operation New World closes in, and with the stakes climbing higher and a gangland bloodbath guaranteed among those that remain, Ja-sung makes a final, shocking decision no one could have predicted. Ja-seong finds himself torn between his duties as a cop, and his loyalties to ‘brother,’ and gang member, Jung Chung (Hwang Jung-min). Putting more hours, and more effort into his work, Ja-seong finds less time at home with his pregnant wife, and more into the syndicate ‘family’. Acting as a bridge between the law, and the underworld, the loyalty of Ja-seong is rarely questioned by his acquaintances. Yet, it is apparent that Ja-seong beings to question the nature of loyalty, and of betrayal. As he prepares to dive further into the syndicate, his confusion becomes ever more apparent. Some of the conversations in ‘New World’ were gripping, and the portrayal of violent acts was just spectacular. The use of blood in these instances, paired with close ups, were some of the most aesthetically pleasing moments in the film. While not extremely violent, ‘New World’ uses violence in a manner that complements the pace of the film. The ruthless nature of the law, and the syndicate, was highlighted in these instances, and it is apparent that both sides can be as manipulative, and as corrupt, as one other. All the while, in the midst of this corruption, Ja-seong must find a place of power to call his own; he must create a whole new world. 
New World is perhaps a more domestically oriented movie that would be enjoyed more by those who understand Korean culture, however the casual movie-goer will definitely not be let down. Take The Departed (Infernal Affairs) and Godfather, mix it in a blender, add a dash of Korean gangster and you’ve got a slick thriller that offers a bit of the brutal violence Korean cinema is known for as well as some humor. It’s no secret that I find Choi Min-sik one of the most fascinating actors working. The “Oldboy” star has carved one helluva career for himself this last decade, starring in excellent films such as “I Saw the Devil” and “Nameless Gangster: Rules of the Time”. It seems that if the South Koreans are going to be making a great crime picture, they’d do best to cast Choi. http://www.youtube.com/watch?v=rln9Hx_wPFw “New World” works smashingly, continuing in that fine South Korean tradition of great and gritty crime dramas. It may lack the sheer visceral nature of the “Vengeance” trilogy and virtuoso acting of “I Saw the Devil“, but this thriller is strangely personal, with brusque action and merciless Mamet-like urgency keeping us on the edge of our seat. If Marty decided to try his hand at another remake, he’d do well to consider this one. I would highly recommend “New World”, please do go and see it in a theater to really get the feel (The cinematography is top-notch and needs to be seen on a big screen to be believed!).
 | | Top 10 Lau Kar Leung Films Jul 11th 2013, 00:02 
Lau Kar Leung (Liu Chia Liang), one of the most revered martial artists in Hong Kong Cinema, has lost a long battle with leukemia and died late last month. He fought against Jackie Chan in Drunken Master 2, but also worked on numerous Shaw Brothers films like My Young Auntie and 36 Chambers of Shaolin. To study the films of Lau Kar-leung is to study the greatest examples of the martial arts genre. With the news of his untimely passing, now is a fitting time to countdown his top 10 best: 
Legendary Weapons of China (aka Legendary Weapons of Kung Fu) is a 1982 martial arts fantasy film directed by Lau Kar-Leung. It takes place during the late Qing Dynasty when Empress Dowager Cixi dispatches her agents to various factions of the Boxer Rebellion in order find supernatural martial artists that are invulnerable to western bullets. Although Lau Kar-Leung is known for showing “real Kung-Fu” in his films, he does take some artistic license by incorporating elements of TaoistMaoshan folk magic with hand-to-hand combat. 
Lau Kar-Leung makes a believably grizzled and embittered master, Lo Lieh excels as an amusingly sleazy villain, and Hsiao Ho shows excellent comedic timing as the raffish but dedicated student. However, the key to the appeal of Mad Monkey Kung Fu is the way it handles the action: since he is functioning as both director and choreographer, Leung makes the filmmaking and action compliment each other in a way that is often breathtaking (particularly during the training scenes and the finale). The end result might be a bit too esoteric for every cinematic palate, but Mad Monkey Kung Fu offers plenty to the kung fu fans for whom it was so obviously made. 
In 2007, at the age of 70, he served as action choreographer and in a supporting role in Tsui Hark's Seven Swords. Lau was awarded the Lifetime Achievement Award at the Hong Kong Film Awards in 2010 for his contribution to the martial arts film genre. 
I’m not going to go into the plot, but I will say that this one is a Liu comedy. If his brand of comedy appeals to you, you will definitely enjoy this. Besides, the fu (choreography by Liu & Hsiao Hou) is absolutely incredible. Many great cameos by Gordon Liu (who sings and plays guitar here), Kwon Young-Moon, Wilson Tong & Yuen Tak (one of Jackie Chan’s classmates during their Opera school days). Many great set-pieces including a ballroom dance turning into an all-out brawl, European fencing versus Chinese swordplay & the numerous martial bouts towards the film’s end, culminating with a fantastic bout between Johnny Wang & Liu Chia-liang. 
The film and its satiric sequel, Return to the 36th Chamber, star legendary actor Lau Kar-fai, who appears in Kill Bill, Quentin Tarantino’s hip homage to the martial arts genre. 
Chow Yun-Fat and Conan Lee play two mis-matched cops that are forced to work together to stop a heroin smuggling ring. TIGER ON BEAT is an action comedy that will please fans of Chow Yun-Fat that like to see him show his lighter side. 
A 1994 Hong Kong kung fu action film directed by Lau Kar-Leung. Jackie Chan stars as Chinese folk hero, Wong Fei Hung. It was Chan’s first traditional style martial arts film since The Young Master(1980) and Dragon Lord (1981). The film was directed by Lau Kar-leung, although Jackie Chan is credited with directing the final fight scene. 
If there's a real "fan favorite" Shaw Brothers movie, it would have to be this kinetic later-period masterpiece, packed with some of the studio's finest stars and fight sequences, and helmed by Lau Kar-leung. Fu Sheng, Lily Li and the great Gordon Liu headline this tale of two brothers who survive a clan massacre and seek revenge, leading to ultra-violent, acrobatic smack downs (including the dazzling titular pole fighting) that will leave you in cinematic traction. Don't miss the chance to gather up your friends for a martial arts party movie that will obliterate you — even the opening credits sequence manages to smack you across the head! 
Another tale of revenge, subverted, Lau Kar-leung’s 36th Chamber of Shaolin stars Gordon Liu as a student who joins the Shaolin Temple to become a Kung Fu master and take back the land from the corrupt Manchu. Liu spends most of the film in spectacular training sequences before teaching the monks a valuable lesson about the perils of isolationism. 
Lau Kar-leung co-choreographed the fight scenes in this brutal but beautiful martial arts classic, about a mutilated Kung Fu student (Jimmy Wang Yu) who must overcome his handicap to defend his school from enemies with a fiendish new weapon. | |
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