Takeshi Kaneshiro Movies

Too epic in scope to be contained in just one film, the historical saga that began in John Woo's Red Cliff heats up as Prime Minister-turned-General Cao Cao (Zhang Fengyi) leads the Emperor's army southward to do battle with a small but resolute coalition led by fierce opponent Zhou Yu (Tony Leung Chiu-Wai). Incensed at the rebellion displayed by southern warlords Liu Bei (You Yong) and Sun Quan (Chang Chen), Emperor Xian (Wang Ning) grants his trusted General Cao Cao permission to crush their outspoken opponents. But the journey south isn't easy for Emperor Xian's massive military, and before long, the soldiers are tiring from lack of water and sheer exhaustion. Meanwhile, Zhou Yu's army draws a line in the sand and prepares to defend it with their lives. When typhoid breaks out among Cao Cao's troops, the quick-thinking strategist successfully infects Zhou's army with the disease, causing the latter to realize that psychological warfare has finally come into play. Subsequently deserted by Liu Bei, Zhou prepares to lead an army of approximately 30,000 men against Cao Cao's massive force of several hundred thousand. The battle drawing near, Zhuge Liang (Takeshi Kaneshiro) resorts to some clever tactics in order to undermine Cao Cao, and undercover princess Sun Shangxiang (Vicki Zhao) delivers secret messages from the Cao Cao's camp. As violence erupts on the Yangtze River, Zhou Yu's wife (Lin Chi-Ling) emerges to play an unexpectedly crucial role in the historical proceedings. ~ Jason Buchanan, Rovi

Legendary Hong Kong action specialist John Woo and international superstar Tony Leung reunite for their first feature film together since 1992's Hard-Boiled with this historical drama set during the decisive 208 A.D. battle that heralded the end of the Han Dynasty. Adapted in part from the beloved Chinese tome Romance of the Three Kingdoms, Red Cliff opens in the year 208 A.D., just as prime minister-turned-general Cao Cao (Zhang Fengyi) seeks permission from Han Dynasty emperor Xian (Wang Ning) to organize a southward-bound mission designed to silence troublesome warlords Liu Bei (You Yong) and Sun Quan (Chang Chen). As the expedition gets under way, Cao Cao's troops rain destruction on Liu Bei's army, forcing the latter to retreat and convincing Liu Bei's military strategist Zhuge Liang (Takeshi Kaneshiro) that their only hope for victory is to form an alliance with Sun Quan. Increasingly aware of the monumental struggle ahead, both sides begin preparing for the battle that will ultimately shape the future of an entire nation. Originally envisioned as a single epic, Red Cliff was eventually split into two parts due to an excessive running time that approached five hours. Red Cliff, Part I and Red Cliff, Part II were edited together for theatrical release in the United States as a stand-alone film running nearly two and a half hours. ~ Jason Buchanan, Rovi

A man trying to run away from a personal tragedy finds out the hard way how much one of his best friends has changed in this action drama. In 2003, Lau Ching-hei (Tony Leung Chiu-wai) and Bong (Takeshi Kaneshiro) are a pair of police detectives who are both partners and close pals. While Bong respects Lau's abilities as a detective, he's wary of his friend's uncertain temper, and he has enough problems of his own to deal with after the suicide of his long-time girlfriend. Three years later, Bong has left the force to become a private investigator and has developed a serious drinking problem, while Lau is one of the top detectives with the Hong Kong police and has married Susan (Xu Jinglei), a respected reporter. Susan and Lau approach Bong and ask him for help with a case -- Susan's father Chow (Yueh Hua) was murdered, and while the team investigating the crime has found two of the men responsible, a third culprit is still at large. Bong agrees to help, but what he and Susan don't know is that Lau is the missing man who helped kill Chow, and he's playing an elaborate game of cat and mouse with his fellow police officers as well as his best friend. Also featuring Shu Qi, Emme Wong and Chapman To, Seung Sing (aka Confession Of Pain) was directed by Andrew Lau and Alan Mak and written by Mak and Felix Chong, the same team responsible for the international hit Infernal Affairs. ~ Mark Deming, Rovi

Chinese director Zhang Yimou fuses a martial arts action-drama with a tragic romance in this elegant period piece. In the year 859 A.D., as the Tang dynasty is beset by rebellion, Leo (Andy Lau) and Jin (Takeshi Kaneshiro) are a pair of lawmen who have been given the task of ferreting out the leaders of a revolutionary faction known as the Flying Daggers. Working on a tip that members of the group are working out of a brothel called the Peony Pavilion, Jin arrives there in disguise and is introduced to a beautiful blind dancer named Mei (Zhang Ziyi). After watching Mei's performance following several drinks, Jin drunkenly attempts to have his way with her, and Leo is forced to intervene. After gaining Mei's trust in a game of skill, Leo arrests her and informs her that she'll be tortured if she doesn't tell all she knows about the Flying Daggers. Jin responds by helping Mei break out of prison, but he has an ulterior motive -- by following her, Leo and Jin are certain she'll lead them to the Flying Daggers. However, as he helps the blind girl find her way back home, Jin finds himself falling in love with Mei, and isn't certain if he's willing to betray her again. ~ Mark Deming, Rovi

In the year 2084, when humanity is decimated by a ruthless alien force, all hope lies in Milly (Anne Suzuki), a hardened young soldier, as she goes back in time to stop the invasion before it's too late. Ending up in present-day 2002, she appears in the middle of a gunfight as Miyamoto (Takeshi Kaneshiro), a mysterious mercenary, is breaking up a child-slave ring headed by Mizoguchi (Goro Kishitani), a ruthless Triad member with an uncanny thirst for blood. With bullets flying left and right, Milly is shot by Miyamoto and is brought into his secretive ring of do-gooding with the smart-mouthed Kirin Kiki, an arms-dealing old woman that's helping Miyamoto on his quest for revenge against Mizoguchi. Through some coercing (by the form of a small, explosive device the size of a band-aid on his neck), Miyamoto unwillingly joins the mission, as they infiltrate the government base that holds a captured alien and its crashed spacecraft -- the first contact that eventually brings on the invasion. With Mizoguchi and the Triads moving in, seeking some of the alien advanced weaponry, Miyamoto may finally get the vengeance he seeks as Milly gets closer and closer to saving the entire human race. ~ Jeremy Wheeler, Rovi

Stand-up comedian Eric Kot directs and stars in this drama about love and artistic originality. Produced by auteur Wong Kar-wai, the film shares both a similar sumptuous look, thanks to Christopher Doyle's brilliant cinematography, and a familiar bifurcated narrative as that of the Hong Kong master. The first half concerns Kot who, after getting the green light from Wong, is trying to direct a film called First Love in which a love-smitten garbage collector (Asian heartthrob and Wong veteran Takeshi Kaneshiro) follows around cute young kleptomaniacal somnambulist (Lee Wai-wai). Realizing that he is too influenced by Wong, he quits that production and starts another film called After Love, in which a spurned girlfriend (Karen Mok) stalks her ex-boyfriend. This film was screened at the 2000 Berlin Film Festival. ~ Jonathan Crow, Rovi

Renowned actor/director Sylvia Chang created this richly layered film about memory, regret, and lost love. The film opens as successful filmmaker Cheryl (Chang) discusses a script idea about young love with a young screenwriter. She pitches a story about Shao-rou (Gigi Leung) a beautiful though clumsy schoolgirl who falls for a quiet, guitar-playing young man named Ho-chuen (Takeshi Kaneshiro). They develop a deep and enduring passion in spite of meddling parents, jealous friends, and their own naïveté. Yet when they are caught stealing away for a night at far-off Lantau Island, they face the wrath of Shao-rou's mother. The strain proves too much and they tearfully break up. Shao-rou's best friend Li (Karen Mok) responds to the news by offering both emotional sympathy and a bungled attempt at physical affection. The already distraught teen flees, ending their long friendship. Later, when Hou-chuen and Shao-rou meet by happenstance in Tokyo, they quickly realize that time has not altered their feelings for each other. She has become a successful fashion designer while he has become a less-than-successful tour guide. The twist comes when we learn not just that Hou-chuen is married but also who his wife turned out to be. As Cheryl describes the affair, it becomes increasingly difficult to tell if she is outlining a storyline or reminiscing about an old flame. Leung and Kaneshiro, one of Asia's biggest heartthrobs, give sensitive and charismatic performances as both awkward teenagers and world-weary adults. Chang employs a complex narrative structure of flashbacks and flashforwards to tell this beautifully wrought, quietly touching story. This film was screened at the 1999 Toronto Film Festival. ~ Jonathan Crow, Rovi

South Korean-born Wonsuk Chin, a NYC resident for eight years, made his directorial debut with this hip comedy, shown at the 1998 Sundance Film Festival. With numerous cinematic references and allusions (Bergman, Godard, Woo, Hartley), the tale begins with a black-and-white silent sequence depicting Death chasing a young man through Old Baghdad. The setting shifts to present-day New York, where a Japanese man, Kenji (Takeshi Kaneshiro of Chungking Express) is seen abed in a sparsely furnished apartment. Kinji goes to a local cafe where he chats with several others: Italian friend Fabrizio (Michael Imperioli) who proclaims, "Lubitsch is the god!"; a literary wit, Balzac Man (Jeffrey Wright); and an enigmatic German woman, Pola (Geno Lechner), who hints at a possible sexual liaison with Kinji. Death (Mira Sorvino) drifts about, assuming various forms -- disco gal, Japanese geisha, Chinese woman, devil with a red dress on, and a French-accented figure dressed as a man. The sad and lonely Death informs Kenji that she has no choice in determining her victims, and he also learns from her that he has only 12 hours left to live. She suggests that he make the most of his remaining minutes, so he sets forth on a series of brief adventures. At the cafe, he chides famous artist John Sage (Ben Gazzara) for being involved with a decades-younger girlfriend, the beautiful Korean Anouk (Hye Soo Kim). Sage invites Kenji to dinner at their home, and Death invites herself. Kenji makes the proposal that since he's due to die, he could be allowed sex with Anouk as a final act. This request isn't well received by anyone present, leaving Kenji to his own devices as the darkness closes in. Mira Sorvino wears a virtual fashion show of colorful costumes in this movie, which also provided her with the opportunity to speak Chinese onscreen for the first time. Sorvino majored in Asian studies at Harvard and lived for eight months (1988-89) in Beijing, where she studied Chinese, taught English, and viewed a variety of Chinese films. Too Tired to Die and The Replacement Killers both brought her several steps closer to her announced goal of making a film in Mandarin and working with a Chinese director. ~ Bhob Stewart, Rovi

Not to be confused with director Zhang Yimou's acclaimed 2002 effort of the same name, director Corey Yuen's 1997 crime drama is loosely based on the 1972 feature Boxer From Shantung. As thousands of refugees make their way from Shantung to Shanghai, Ma Wing Jing (Takeshi Kaneshiro) and his brother Ma Tai Cheung (Yuen Wah) follow the horde in hopes of finding a better life in China's largest city. When Ma Wing Jing discovers that the whole of Shanghai is run by a mere two triad bosses, his appetite for power is only exceeded by his unquenchable thirst to make a name for himself in the criminal underworld. Though it appears that his friendship with triad head Tam See (Yuen Biao) has served well to set him on the fast track to notoriety, Ma Wing Jing's hasty takeover of one of rival crime boss Yang Shuang's (Yuen Tak) provinces soon sparks a desperate and bloody turf war. ~ Jason Buchanan, Rovi

A beautiful woman suffering from leukemia shares a brief but intense love with a sailor from the North Sea of Scotland in an affecting romance starring Jordan Chan, Kelly Chen, and Takeshi Kaneshiro. Despite the whirlwind romance shared between cancer-stricken Kelly and kindly sailor Michael, their relationship seems all but finished when Michael offers to bring Kelly back to Scotland and the hesitant girl refuses to follow love. When Takeshi comes into Kelly's life, the prospect of relocating doesn't have so much to do with chasing love as it does escaping a precarious situation in life. ~ Jason Buchanan, Rovi

Wong Kar-wai's Fallen Angels is a sequel of sorts to the director's 1994 U.S. breakthrough Chungking Express. Expanding on the latter's style, themes, and mood, Fallen Angels is set in the surreal milieu of urban, nighttime Hong Kong. As with the filmmaker's other features, plot takes a back seat to mood. The wisp of a narrative intercuts two story lines. The first follows a hitman (Leon Lai) who finds that the assassin's life has slowly lost its allure. Complicating his life is his beautiful contact (Michele Reis, a former Miss Hong Kong winner) who pines after him with fetishistic ardor, although the two have never met in their nearly three-year partnership. In another part of the city, He (Takeshi Kaneshiro), a mute, boyish ex-convict, makes a living by sneaking into and running businesses after hours. Still living with his father who runs the Chungking Mansions hotel, the restless Ho falls for Cherry (Charlie Yeung), a woman getting over her breakup with the offscreen Johnny. The movie follows these episodic romances almost half-heartedly as with Wong's other films, and digressionary moments attract much of the camera's distracted gaze. This visually stylish and unabashedly effusive work is considered by some critics to be the quintessential Wong film. ~ Elbert Ventura, Rovi

A Hong Kong fast food restaurant acts as the link between two unusual stories of police officers in love in this eccentric, stylish comedy-drama. Director Wong Kar-Wai plays freely with traditional narrative structure, dividing his film into two loosely connected segments. The first centers on a depressed cop struggling to come to terms with a recent break-up. His sad isolation is transformed when he encounters a beautiful, mysterious femme fatale, whose involvement with the criminal underworld proves troublesome for both. The second story explores the odd relationship between a female restaurant worker and another recently jilted police officer. The strange woman decides to regularly clean and redecorate the man's apartment in his absence, allowing the two to form a close intimacy without meeting face to face. Both stories present a beautifully atmospheric look at modern urban life and romance, with its combination of isolation and casual, unexpected meetings. Chungking Express came to the attention of American audiences thanks to the efforts of director Quentin Tarantino, whose own brand of fractured storytelling and urban cool owes a debt to Wong Kar-Wai. ~ Judd Blaise, Rovi