Ang Lee

Latest Articles

Review: Taking Woodstock

Ang Lee sums up the counterculture in style
If there ever was a way to inject fresh interest into events that most people born after the baby boom couldn't care less about, it's to involve Eugene Levy and a shame-to-fame plot line made for reality television.
By CHRIS FARAONE | August 27, 2009

Cannes job

Five films to watch for
Five goodies coming out of Cannes
By LISA NESSELSON | May 27, 2009

Wish-fulfillment for a burning world

The 2008 heroic holiday DVD and Blu-ray gift guide
From the shining big-screen debut of Iron Man to the large amounts of green produced by the Incredible Hulk, this was the year the public couldn't get enough of their favorite heroes.
By BRETT MICHEL | December 11, 2008

Shrink wrapped

Gamma rays got you down? The doctor will see you now.
Gamma rays got you down? The doctor will see you now.
By DR. ROBIN S. ROSENBERG | July 09, 2008

Our superheroes, ourselves

What the current crop of comic-book action movies tells us about America's identity crisis
Is there a breed of person more tenderly optimistic, more winsomely hopeful for the best, more loyal to the possibility of good, than the American summer moviegoer?
By JAMES PARKER | July 09, 2008

Hulk sulk

The new version keeps his pants on
After two hugely budgeted adaptations in five years, my biggest question about the Hulk remains: what’s with the pants?
By PETER KEOUGH | June 10, 2008

Shaw business

The HFA proves there’s more to Hong Kong than kung fu
The Shaw Brothers dominated Hong Kong film production in the ’60s and ’70s, and they produced not only martial-arts epics but also musicals, ghost stories, and melodramas.
By PETER KEOUGH | May 28, 2008

The Forbidden Kingdom

Big screen fairy tale
Hong Kong action stars Jackie Chan and Jet Li don’t stray too far from type in this big-screen fairy tale: Chan plays a drunken kung fu master and Li’s a stoic monk with lethal reflexes.
By TOM MEEK | April 16, 2008

The Austen adaptations

By JEFFREY GANTZ | January 09, 2008

Auteur land?

‘Film Culture’ in 2007
Granted, Sweeney Todd is a grim, violent, misanthropic musical.
By GERALD PEARY | December 17, 2007

Ang time

Lee approaches Lust with Caution
“Yeah, it’s very hard,” says Ang Lee — with no apparent double entendre in mind — about shooting the sex scenes in his NC-17-rated Lust, Caution .
By PETER KEOUGH | October 03, 2007

In the mood for Lust

Ang Lee goes NC-17
During one of the sex scenes that have earned Ang Lee’s adaptation of Eileen Chang’s short story its notoriety, I had to ask myself: how did that foot get there?
By PETER KEOUGH | October 03, 2007

Cowboy down

The Gay & Lesbian Film/Video Festival in the shadow of Brokeback
After the heights of Brokeback Mountain , will the course of gay cinema be all downhill?
By PETER KEOUGH | May 15, 2006

Seven heaven

Readers speak out on the best directors
Who are the world’s greatest living narrative filmmakers, what I call the Magnificent Seven?
By GERALD PEARY | April 28, 2006

Adam & Steve

Takes on same issues as Brokeback , but with a more optimistic attitude
For the time being, any gay romance movie requires the Brokeback reference.
By NINA MACLAUGHLIN | January 28, 2010

Brokeback breakdown

Mountain ’s Oscar hopes come down with a Crash
The most politically loaded Oscar race since Gandhi versus E.T. in 1982 seems to have come down to a contest between the gay-cowboy movie that isn’t really a gay-cowboy movie and the drama about racial conflict that’s really a glib exercise in screenwriting.
By PETER KEOUGH | March 07, 2006

Where is the love?

Brokeback Mountain perfectly captures our ambivalence about marriage — gay and straight
Within a couple months of its release, Brokeback Mountain went from being simply a well-made, serious film to a widely recognized, highly satirized cultural artifact.
By MICHAEL BRONSKI | March 06, 2006

Hollywood gives Bush the finger

Why lefty films look good for Oscar
Except for a few agitators like Sean Penn and Barbra Streisand, people in Hollywood prefer to play down their liberal bent.
By PETER KEOUGH | January 26, 2006