Ip Man was an early 20th century master of a specific style of martial arts known as Wing Chun, and while he’s highly revered in China his biggest claim to fame in the Western world has been by way of his most famous student: Bruce Lee. He died in 1972, but his stature has continued to grow thanks to recent films about his life. The most notable ones are Ip Man and Ip Man 2 which starred Donnie Yen in the title role and kicked insane amounts of ass. The latest entry in Ip Man’s biopic canon comes from an unlikely source in director Wong Kar-Wai. He’s been working on The Grandmasters to various degrees over the past few years with Tony Leung as Ip Man joined by Chen Chang and the lovely Ziyi Zhang. It covers the same ground as Yen’s films but looks to be a bit more artsy. Check out the trailer below.

Last night a bunch of critics in the UK were treated to an early screening of Skyfall, and while nobody invited any of our diehard 007 junkies, I figured it’s worth our while to take a look at the first reactions to the new James Bond blockbuster. To do so, I’m using the recent breakdown of elements by one of FSR’s resident Bond experts, Kevin Carr, in order to dissect the reviews and highlight their takes on each individual ingredient. What about overall opinions? It seems they’re generally of a simple consensus, that Skyfall is not only a great return for the series following the disappointing Quantum of Solace but it may be one of the best Bond installments yet. This feat is achieved, apparently, in director Sam Mendes‘s balance of serious and nostalgic tone, brought about with a script (by Neal Purvis & Robert Wade and John Logan) pays tribute to the past films and franchise conventions while still also delivering a lot of fresh ideas. And Roger Deakins‘s cinematography sounds like a real highlight of the film — even Oscar-worthy, according to some critics. Check out what the reviews (linked at the bottom of the page) have to say about Bond’s fit with the 10 main ingredients of a 007 film after the break.

For 36 days straight, we’ll be exploring the famous 36 Dramatic Situations by examining a film that exemplifies each one. From family killing family to prisoners in need of asylum, we brush off the 19th century list in order to remember that it’s still incredibly relevant today. Whether you’re seeking a degree in Literature, love movies, or just love seeing things explode, our feature should have something for everyone. If it doesn’t, please don’t make us stare longingly at Maggie Cheung without being able to do something about it. Part 28 of the 36-part series takes a look at “Adultery” with Wong Kar-Wai’s In the Mood for Love.

Sixteen years after the release of Chungking Express – the film that placed Wong Kar-Wai firmly and what seems to be permanently in the realm of international auteurdom – it is repeatedly remembered and recounted as an exercise in Cannes-friendly urban arthouse cool, specifically in its constant comparisons with the style-heavy and suave work of early 60s Godard; Amy Taubin called Chungking Express the Masculin-feminin (1966) of the 1990s, and Tarantino has made vague comparisons to Breathless.

My Blueberry Nights is the first American film from director Wong Kar-Wai, which actually feels like three short films cobbled together. Great cast and some decent acting, but they feel like student films. Ouch.