Director John McKay takes fresh approach with release of new movie ‘Crush'”For years, especially in European movies, there has been a kind of film where a talented, but on-the-rocks middle-aged guy will hook up all of a sudden with a beautiful young girl,” McKay said during a Philadelphia publicity stop for “Crush,” which opens April 19. “She’ll turn his life upside down, but there will never be any (emotional) commitment.In McKay’s view, a key element in “Crush” revolves around the ages of the three main characters. He finds the fourth decade of a woman’s life to be one filled with thoughts about what might have been.”The problem with the three characters in ‘Crush’ is that they’re still following behavior patterns they learned in their 20s.
The film shows how – despite a terrible tragedy – they come to peace with themselves and each other.” Casting Calls
A serious look at Hark
One of Hong Kong’s most famous directors receives serious study in Lisa Morton’s “The Cinema of Tsui Hark” (McFarland & Company; (800) 253-2187; $45).
The credits of the 51-year-old Hark include “Once Upon a Time in China” with Jet Li, “Knock Off” with Jean-Claude Van Damme and “Time and Tide” with Nicholas Tse. Hark’s combat-scene expertise can be heard on the commentary track of the DVD “Ultimate Fights From the Movies” ($19.99), which was released earlier this week. The Hong Kong action specialist provides insights into the various battle scenes – including sequences from “Crouching Tiger, Hidden Dragon,” “Gladiator” and “Rumble in the Bronx” – on the compilation title.
“There are other Hong Kong filmmakers who are far better known than Tsui Hark,” Morton writes in “The Cinema of Tsui Hark.” “John Woo (“Hard-Boiled”) has become practically a household name in the United States for his action films; Wong Kar-Wai (“Ashes of Time”) has developed a worldwide art-house following; and Jackie Chan (“Armour of God”) has exploded into one of the biggest superstars on the planet.
“Meanwhile, Tsui Hark remains virtually unknown outside of Asia.
“His lack of success in Western countries can probably be boiled down to three main obstructions: First, unlike much of Jackie Chan’s work, Tsui’s movies tend to be intensely Chinese in theme and design; second, whereas John Woo’s films are almost entirely about men and male bonding, Tsui’s female-driven and transgendered cinema is a tougher sell in Western culture; and third, in contrast to Wong Kar-Wai, the Hollywood marketers simply cannot pigeonhole the prolific and versatile Tsui Hark.”