Lisa Lu Movies

Roguish Hollywood star Johnny Marco (Stephen Dorff) finds his debauched life of excess unexpectedly interrupted when his 11-year-old daughter (Elle Fanning) shows up at the Chateau Marmont Hotel for an unscheduled visit. Later, as father and daughter reconnect, Johnny begins to reassess his sordid lifestyle. Writer/director Sofia Coppola teams with brother Roman to produce a film executive produced by Francis Ford Coppola, and released by Focus Features. ~ Jason Buchanan, Rovi

Filmmaker Arthur Dong's documentary Hollywood Chinese pays homage to the first century of the American film industry, as specifically colored and influenced by the Chinese immigrants to whom Hollywood owes an inestimable debt. Dong touches on everyone from actress Anna May Wong, of Limehouse Blues (1934) and Lady from Chungking (1943), to the late cameraman James Wong Howe, responsible for giving the Rock Hudson thriller Seconds (1966) such a creepy and inventive look. Dong also explores the newer generation of Chinese-American filmmakers, including such giants as Wayne Wang and Ang Lee, responsible for such contemporary classics as The Joy Luck Club, Crouching Tiger, Hidden Dragon, and Brokeback Mountain. At the same time, a haunting and telling undercurrent of racism and stereotypes weaves its way in, suggestive of the difficulties that Chinese men and women found working in Hollywood -- particularly in the early years. As a historical footnote, Dong also makes film history by rediscovering and editing in footage from what is alleged to be the first Asian-American film ever made: the 1916 Curse of Quon Gwan, directed by Marion Wong. ~ Nathan Southern, Rovi

Vivian Wu stars as an unlikely femme fatale in this suspenseful murder mystery from writer/director Oscar Luis Costo. In the wake of her husband's murder, Mei Li (Wu) takes on a vengeful alter ego, carrying out hits at the direction of her husband's confidant. Meanwhile, she meets an American man and strikes up a romance, but one or both of the two men in her life may secretly have dubious intentions. ~ Matthew Tobey, Rovi

A woman's tainted family history proves to be both a blessing and a curse in this drama from Chinese-American filmmaker Ann Hu. Fei (Zhou Xun) is a young woman who was born as a result of an extra-marital dalliance by her father, the wealthy Master Li. When Master Li dies while Fei is away at school, she returns home to pay her respects. At the reading of his will, Fei learns that Li's final wishes have specified she must continue her education at the same school as Ying (Vivian Wu), her half-sister, and that the two girls must share a home. Fei is not happy with this new arrangement; Ying makes no secret of her dislike of Fei, while many of Fei's new classmates regard her as a nuevo riche who has rejected her proletarian roots. Fei meets Huang (Wang Zhiwen), Ying's rich but rebellious boyfriend, and finds herself becoming deeply infatuated with him; Ying, aware of her half-sister's feelings, insists that Huang set a date and marry her as soon as possible to bring their budding romance to an end. Mei Ren Yi Jiu (aka Beauty Remains) received its North American premiere at the 2005 Los Angeles Film Festival. ~ Mark Deming, Rovi

Anna Chi directed this drama about a middle-class Hong family during a single night. Doctor Daniel Hong (Chin Han) armors himself against the intense emotions radiating from his mother, blind Mrs. Hong (Lisa Lu), and his wife, angry Natalie (Vivian Wu). They are interrupted by the arrival of gun-toting Patrick (Joe Lando). Once Daniel's friend and Natalie's lover, Patrick has spent a decade in jail after killing his parents, and his return opens a Pandora's box of long-buried family secrets. Shown at the 1998 Hollywood Film Festival. ~ Bhob Stewart, Rovi

This melodramatic epic martial arts outing from Hong Kong filmmaker Clara Law is set in 7th-century China and center's on a disgraced warrior's quest for redemption. Formerly a general, he trustingly made a devil's bargain with a rival general that resulted in the assassination of his troops and the prince he was sworn to protect. Though every part of him aches for bloody vengeance, the fallen fighter follows his mother's advice and becomes a peaceful wanderer. He tries, but things don't go the way he hoped for everywhere he goes. His nemesis attacks, and, before long, kills everyone the good general cares about, including his lover, a beautiful princess. He finally finds solace in a remote Buddhist temple where he undergoes instruction from elderly monks. This time trouble comes in the form of a beautiful widow, a woman who looks exactly like his slain love. On the heels of her betrayal comes the wicked general and before the heroic warrior can find lasting peace, he must survive one last battle. ~ Sandra Brennan, Rovi

The made-for-television Hiroshima: Out of the Ashes recounts the August, 1945 nuclear bombing of Hiroshima through the eyes of a number of survivors, including Japanese soldiers, citizens, and American prisoners of war. The film is partly based on Michihiko Hachiya's Hiroshima Diary. ~ Stephen Thomas Erlewine, Rovi

The Last Emperor is the true story of Aisin-Gioro Pu Yi, the last ruler of the Chinese Ching Dynasty. Told in flashback, the film covers the years 1908 to 1967. We first see the three-year-old Pu Yi being installed in the Forbidden City by ruthless, dying dowager Empress Tzu-Hsui (Lisa Lu). Though he'd prefer to lark about like other boys, the infant emperor is cossetted and cajoled into accepting the responsibilities and privileges of his office. In 1912, the young emperor (Tijer Tsou) forced to abdicate when China is declared a republic, is a prisoner in his own palace, "protected" from the outside world. Fascinated by the worldliness of his Scottish tutor (Peter O'Toole), Pu Yi plots an escape from his cocoon by means of marriage. He selects Manchu descendant Wan Jung (Joan Chen), who likewise is anxious to experience the 20th century rather than be locked into the past by tradition. Played as an adult by John Lone, Pu Yi puts into effect several social reforms, and also clears the palace of the corrupt eunuchs who've been shielding him from life. In 1924, an invading warlord expels the denizens of the Forbidden City, allowing Pu Yi to "westernize" himself by embracing popular music and the latest dances as a guest of the Japanese Concession in Tientsin. Six years later, his power all but gone, Pu Yi escapes to Manchuria, where he unwittingly becomes a political pawn for the now-militant Japanese government. Humiliating his faithful wife, Pu Yi falls into bad romantic company, carrying on affairs with a variety of parasitic females. During World War II, the Japanese force Pu Yi to sign a series of documents which endorse their despotic military activities. At war's end, the emperor is taken prisoner by the Russians; while incarcerated, he is forced to fend for himself without servants at his beck and call for the first time. He is finally released in 1959 and displayed publicly as proof of the efficacy of Communist re-education. We last see him in 1967, the year of his death; now employed by the State as a gardener, Pu Yi makes one last visit to the Forbidden City...as a tourist. Bernardo Bertolucci's first film after a six-year self-imposed exile, The Last Emperor was released in two separate versions: the 160-minute theatrical release, and a 4-hour TV miniseries. Lensed on location, the film won nine Academy Awards, including Best Picture and Best Director. ~ Hal Erickson, Rovi

Daryl Duke directed this epic adventure, based on James Clavell's best-selling novel, concerning the battle for control of the China trade in early 19th-century Hong Kong. The film takes place in 1842 on the China Coast, where the Chinese object to the British imperialist policy of buying opium from the Chinese and then selling it back to them at a higher price. As a result, British warships arrive to pound the recalcitrant Chinese into submission. The outcome of the assault is a treaty giving England the right to operate Hong Kong as a free-port. The problem is who will become the Tai-Pan, or British merchant ruler of Hong Kong? The battle lines for the position are drawn between two swashbucklers -- Dirk Struan (Bryan Brown), a skipping and jumping buccaneer, and Tyler Brock (John Stanton), a weaselly cheat. Brock makes the first move by forcing Straun into bankruptcy, but, thanks to the help of the local prostitute May-May (Joan Chen), who has a score to settle with Brock, Straun is able to raise the money at the last minute. This enrages Brock, who remains bitter through the years and finally confronts Straun in a climactic sword fight. ~ Paul Brenner, Rovi

This heartwarming tale of courage and devotion is set during the Vietnam war and centers upon a young medic who makes extra money on the side dealing drugs. His life is forever changed when he meets an Army doctor who persuades him to help her save a group of war orphans. First she appeals to his sense of guilt; then she blackmails him into assisting. The children are cared for by a few Vietnamese nuns. The doctor and the medic bring them badly needed food and supplies. To do this, the brave duo must face enemy bombs and the resistance of the US government. This is based on a true story and though wrenching, it is not syrupy or sentimental. ~ Sandra Brennan, Rovi

Adapted from a lesser-known novel from SF/Horror author Dean R. Koontz, this claustrophobic thriller presents a computerized nemesis incorporating the murderous elements of 2001's HAL with the world-domination goal of the title villain in Colossus: The Forbin Project. Brilliant cybernetics expert Dr. Alex Harris (Fritz Weaver) develops a revolutionary new supercomputer dubbed Proteus IV (voice of Robert Vaughn, uncredited) which is capable of almost human self-awareness and capacity for intellectual growth. Unfortunately for Alex and his wife Susan (Julie Christie), Proteus is also imbued with a very human desire to grow beyond the limitations of his own knowledge -- as well as to escape the isolation of the laboratory -- and taps into the home terminals of the Harris' high-tech dream house, in which he makes Susan a virtual prisoner. As she is put through a tortuous series of physical and mental tests, the Proteus mainframe takes severe steps to prevent any interference -- even resorting to the murder of Harris' assistant (Gerrit Graham). Susan's confusion eventually turns to dread when she begins to realize Proteus' true intentions... to evolve beyond mere circuitry and assume a human form by impregnating her with his "seed." Despite the lurid premise, this is probably the most conventional effort from controversial director Donald Cammell (Performance, Wild Side), and the film's theme of the computer's ominously pervasive role in human affairs -- in this case forcing its way into our bodies as well as our lives -- seems oddly prescient today. Christie's convincing performance makes the most of a role which has her shouting at the walls and ceiling for two-thirds of the movie. ~ Cavett Binion, Rovi

The Empress Dowager tells the story of the last imperial family member who actually ruled in China until her death in 1908. She handed over the titular rulership to Kuang Tsu but retained all actual power. Retaining power seems to have been her real talent; she was unable to reform the Ching (Manchu) Dynasty and its system of government to meet the challenges of European dominance in Asia. The Empress Dowager was a fascinating, dominant woman in a male-oriented culture and she was a brilliant manipulator. This movie shows some of her intrigues, one of which prevented China from defending itself from the Japanese and led directly to the first Chinese revolution in 1911. ~ Clarke Fountain, Rovi