Movies : Blu-ray : 3D Movies : 4K Movies : DVD : UV : iTunes . Iceman Blu-ray despite stunning video and audio falls short as a Blu-ray release. Eugene O'Neill's 'The Iceman Cometh' is the work of a man. You will receive a weekly newsletter full of movie. Watch The Iceman (2013) movie trailers and video clips, interviews with cast members and more at Fandango.
Watch The Iceman (2. Movie Online Free. Released : 5 July 2. Genres : Biography, Crime, Drama. Rate: (4. 4. 2/5, 1. Loading .. Views: 1.
Yen martial arts movie 'Iceman 3D.
Director : Ariel Vromen. Cast : Michael Shannon, Winona Ryder, Chris Evans, Ray Liotta. The Iceman 2. 01.
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Movies tv music tech the. Clarence Fok’s goofy but charming 1989 The Iceman Cometh gets a modern 3D retread in a film that’s. Iceman 3D, Law Wing Cheong's. Any unbiased martial arts movie fan would say the same thing to you, so save your. IMDb > Iceman (2014) Own the rights? Donnie Yen is in my opinion the best martial arts movie-star out there right now.
Iceman (2. 01. 4) More at IMDb. Pro »Bing feng: Chong sheng zhi men (original title).
The movie’s cool desaturated color lends it the look and feel of a television. All that is tabled for Iceman 3D 2 (Or is it Iceman. Movie review of The Iceman (2012) starring Michael Shannon from the Toronto Film Festival. The Iceman Movie Reviews.
Theoretically, the pairing of action legend Donnie Yen (“Ip Man”) with mainland comic heavyweight Wang Baoqiang (“Lost in Thailand”) in an epic fantasy should cause a commercial avalanche in Chinese and international markets. But the final product will leave fans cold: Neither thesps maximize their potential, and helmer Law Wing- cheong’s lax execution of a corny plot is further marred by foul toilet humor.
Tellingly, the pic was beaten to the top spot at the B. O. Reportedly fraught with technical issues and budget overruns, the film was reshaped and will now be released in two installments, which partly explains its drawn- out feel. Law, who has been an associate director at Johnnie To’s Milkyway Image since 1.
Punished,” here fails to achieve any coherence in narrative structure, genre or style.“Iceman 3. D” skates off with a hectic CGI- and- high- wire stunt sequence, when a freight truck from China topples while passing over Hong Kong’s Tsing Ma Bridge. A large incubator falls out, releasing and defrosting He Ying (Yen), a warrior in ancient Chinese armor. As he wings his way around Hong Kong’s night sky in over- the- top aerial shots, he’s mistaken for “the Terminator” by a groggy old squatter (Lo Hoi- pang).
In fact, he’s more of a Urinator, as he relieves himself atop the poor sod’s hut. A flashback traces He’s historical rupture back to 1.
A. D., when he served as an imperial guard of the Ming Court. He was sent by the Emperor to India, to obtain a time- travel device called “the Golden Wheel of Time,” which can only be activated by “Linga,” the god Shiva’s phallus in crystal form. On his way home, He is waylaid at the border by his fellow guards, Sao (Wang) and Nie Hu (Yu Kang), who charge him with colluding with Japanese pirates. An avalanche interrupts their showdown, putting everyone into deep freeze. Back in the present, He befriends May (Eva Huang), a Hong Kong nightclub hostess, and follows her home. This is the point when the odd- couple chemistry and culture- clash comedy should take effect, but all we get is a gag in which He mistakes May’s toilet for a well.
Meanwhile, the liaison between the two leads is predicated on a lot of squabbling, with the added irritant of May’s boisterously senile mother (Bonnie Wong).“The Iceman Cometh” was driven by the hero’s quest to catch a serial rapist, with a determination that remained unshaken even after several centuries. The new adaptation reverses the plot to make He the hunted one, not just by Sao and Nie, but also by the traffickers (Simon Yam and Lam Suet) who smuggled these frosty relics across the border.
The connections among these five take too long to emerge. In the original, the rapist’s psychopathic menace made him a strong foil for the righteous hero, while it’s never clear from Sao and Nie’s performances whether their characters are supposed to be villainous, misled or just clueless.
Instead of bringing the traffickers into escalating conflict with He, the film has them hang out with an Indian gang, discovering the thrills of girlie mags, curry chicken and club hostesses. This neither advances the plot nor provides comic relief, unless you think irony- free Japanese bashing and fake Indian accents are funny. A combat scene with a SWAT team at the midpoint descends into another toilet stunt that’s a stinker even by Hong Kong B- movie standards. The bumpily paced and loosely structured screenplay by Lam Fung (whose dubious credits include the “Lan Kwai Fong” series) and two other scribes fatally delays He’s meeting with his nemeses.
Much has been made of Wang’s background as a Shaolin disciple since he was 8, but when he finally spars with Yen, it only leaves one wondering why they didn’t fight earlier. The climactic sequence takes place back on Tsing Ma Bridge, realized with a combination of real location shooting and one- to- one models. The juxtaposition of medievalist jousting and horse- riding with rumbling car stunts rep a campy spectacle, but the 3. D effects range from eye- popping to very rough at the edges. The ending tries to get viewers pumped for part two with sneak preview footage, but some won’t mind letting it stay in cold storage.
Yen never fully integrates the serious side of his role with the comically hapless situation he’s in. Huang’s shouty performance makes viewing tantamount to torture, and Cheung Sai- kit’s criminally tasteless costume design does her more disservice. Supporting perfs are rote, and other tech credits belie the purportedly generous budget. Reviewed at UA Cine Times, Hong Kong, April 2. Running time: 1. 04 MIN. Executive producers, Lin Aiqin, Li Aimin, Gao Zhixing, Huang Ziyan, Liu Yadong, Yue Yang, Wu Yakang, Yue Yang.
Co- producer, Han Xiao. Co- executive producers, Xin Xiaodong, Wei Zheng, Zhao Li, Dong Zhengrong, Lu Hongshi. Crew. Directed by Law Wing- cheong. Screenplay, Lam Fung, Mark Wu, Tony Shum. Camera (color, widescreen, HD), Fung Yuen- man, Kenny Tse; editor, Zhai Wenbin; music, Wong Ying- wah; production designer, Alex Mak; art director, Lam Wai- kin; costume designer, Cheung Sai- kit; sound (Dolby Digital), Lee Yin- key, Ken Wong; re- recording mixers.