FRIDAY

“Golden Slumber”

If you can make the noon start time, we highly recommend “Golden Slumber.” It’s from Yoshihiro Nakamura, the director of “Fish Story,” and like his previous film, “Golden Slumber” is impossible to slot into a narrow category. Story-wise, it resembles a Hitchcock “wrong man” thriller. An ordinary man thinks he’s meeting an old friend to go fishing, but instead is framed for assassinating the Prime Minister of Japan. He goes on the run, dashing from friend to friend in Tokyo — but as loyal as his friends are, they’re also off-beat characters, and that allows for lovely outbursts of sly humor to spring forth at unexpected moments. You’ll be torn between laughing out loud and gasping for breath from the thrills. If you miss it on Friday at Noon, you can catch it next Thursday at 9:35 p.m.

“Shaolin” / “Battle Royale”

We recommend both films screening on Friday evening (tickets sold separately). “Shaolin” is a Mainland China production, helmed by the veteran Benny Chan (“Invisible Target,” “New Police Story”). The great Andy Lau plays a merciless warlord who doesn’t hesitate to kill his enemies, even after they’ve sought refuge with Shaolin monks. Lau himself must seek refuge with the monks after his second-in-command (Nicolas Tse) takes over, leading to a classic “violent man learns the way of peace” scenario, and lengthy, well-filmed action sequences. Look for Jackie Chan in a supporting role as a cook.

“Battle Royale” played, unofficially, at the very first AFFD in 2002, and remains a powerful indictment against apathy and complacency. The Japanese government holds a lottery to select a group of juvenile delinquents who are trapped alone on an isolated island and forced to kill or be killed. The chaos is haunting, the questions are piercing. This was the last film completed by master director Kinji Fukasaku, and features Takashi Kitano as a teacher overseeing the murderous mayhem. Young star Chiaki Kuriyama went on to appear in Quentin Tarantino’s “Kill Bill Vol. 1″ as a mace-wielding assassin.

SATURDAY

Without having personally any of these films, how to pick what to see? Here’s an easy breakdown of expectations:

“Little Big Soldier”: Jackie Chan’s 100th film as an actor is a period adventure in which he plays a cowardly soldier trying to get home. Despite the period trappings, this is a character-based story. Expect more comedy than action.

“Saigon Electric”: Modern urban youth in Vietnam. Girl from a small town moves to the big city to be a dancer. Expect romance and a lot of dancing.

“Monga”: Crime epic from Taiwan. Running 140 minutes, this tells the tale of a fighting brotherhood whose power and reputation grows, along with the intensity of their enemies. Expect bloodshed and an intense drama.

“Wedding Palace”: Romantic comedy in which a man must get married before he turns 30. Complications arise when his fiancee runs off with another man; then his next romance, a long-distance relationship, turns surprising when the couple finally meets. Expect love and laughs.

“The Stool Pigeon”: Back to crime, this time in Hong Kong under the direction of Dante Lam (“Beast Stalker”). Nick Cheung and Nicolas Tse star in this undercover thriller. Lam is a very good director with the right material. Expect thrills and tragedy.

“Zebraman 2: Attack on Zebra City”: Sequel! Takeshi Miike returns to the character he helped immortalize on the big screen. Expect more fantasy goofing and action for adults.

SUNDAY

We’ll give you a break on Sunday and recommend just two titles. But you may want to see only one, for reasons that will become apparent:

“Seven Samurai”: Akira Kurosawa’s very personal epic has passed into legend, and chances are you’ve already seen it. But we highly recommend the big screen experience — we’re hoping everyone in attendance will be respectful and not talking, texting, or checking their cell phone during movie. Seeing this classic story in a movie theater, without distractions, allows you to become fully involved with the marvelous characters, not only the samurai but the townspeople, and by the end you’ll be weeping for the men, even as you cheer for the action.

“Bedevilled”: This is on the super-intense side, probably the most crushing film that will play this weekend. A professional woman who is under severe stress is forced to take some time off from her job, so she decides to return home, to the idyllic island where she grew up. But things are not as idyllic as she remembers, and her vacation turns into a nightmare. This is a brutal and punishing film, with extreme gore, and thus is not recommended for the squeamish or the faint of heart.

In addition, the Texas Avery Award for excellence in animation will be given to directors Dean DeBlois and Chris Sanders for their work in “How To Train Your Dragon.” For those of us who liked “Toy Story 3″ just fine, but thought there were other and just as deserving animated films in the Oscar race this year, picking up a Texas Avery Award might be considered a slight bit of revenge.

Your full press release:

The DALLAS International Film Festival presented by Cadillac (March 31 – April 10, 2011) announced today that two new Honorees have been added to the slate of DALLAS Star Award recipients – writer, producer and director Scott Z. Burns (THE INFORMANT, THE BOURNE ULTIMATUM) and posthumously to Texas legend and Academy-Award winner Horton Foote (TO KILL A MOCKINGBIRD, TENDER MERCIES). The popular Texas Avery Animation Award presented by Reel FX Entertainment will be awarded to the writers and directors of the Academy Award nominated HOW TO TRAIN YOUR DRAGON and LILO & STITCH, Dean DeBlois and Chris Sanders. Previous recipients include Pete Docter (UP), Henry Selick (CORALINE),Chris Wedge (ROBOTS) and Brad Bird (RATATOUILLE,THE INCREDIBLES). Three world premieres have also been added to the festival line-up along with Warner Bros’ documentary BORN TO BE WILD.

Horton Foote and Scott Z. Burns join Ann-Margret and Steve James on the 2011 roster of DALLAS Star Award recipients, all four of whom will receive the stunning Steuben Crystal awards courtesy of Neiman Marcus. Horton Foote becomes the fourth person in the festival’s five-year history following Gregory Peck, Jack Lemmon and Rita Hayworth to be posthumously honored with this award.

“I am so proud of our DALLAS Star Award honorees this year,” said Tanya Foster, President & CEO of the DALLAS Film Society. “To have the opportunity to put Horton Foote’s incredible writing career on a pedestal and bask in everything that he has done, and at the same time be able to celebrate the rising achievements of a young writer/ producer in Hollywood is exactly the purpose of our mission at the DALLAS Film Society. To honor those individuals, young or old, who have made important contributions to modern cinema and the advancement of the art of film is so fitting to our fifth celebration.”

Horton Foote’s career spanned 70 years in the entertainment industry. He started out as an actor but on receiving better reviews for his writing than for his acting, he switched his focus to the written word. His reputation as a television dramatist grew through the 1940s and ’50s and in 1962 he won his first Academy Award for TO KILL A MOCKINGBIRD, which also marked the debut performance of previous DALLAS Star Award recipient, Robert Duvall. Ten years later, Foote and Duvall collaborated again on the critically acclaimed TOMORROW, which prompted Duvall to call Foote “the rural Chekhov”. Ten years on, Foote wrote TENDER MERCIES (1983) for Duvall, which earned them both Academy Awards for Screenplay and Best Actor respectively. Foote’s third Academy-Award nomination came in 1985 with the emotive classic, A TRIP TO BOUNTIFUL. Other awards included the Pulitzer Prize for Drama for his play THE YOUNG MAN FROM ATLANTA (1995) and an Emmy for Outstanding Writing for a Miniseries or a Special for his second adaptation of William Faulkner’s OLD MAN (1997).

Foote’s daughter, Hallie, will receive the award in her father’s memory at the DALLAS Film Society Honors on April 8. In celebration of the Dallas arts community paying tribute to Horton Foote, A TRIP TO BOUNTIFUL will be screened at the DALLAS IFF on April 9 at the Texas Theatre.

Award-winner Scott Z. Burns will receive the DALLAS Shining Star Award at the DALLAS Film Society Honors on April 8. After graduating Summa Cum Laude from the University of Minnesota, Burns began his career in advertising before moving into writing, producing and directing for television and film. His first award as a Producer was the Humanitas Prize and the Stanley Kramer award from the Producers Guild of America for the Academy Award winning documentary, AN INCONVENIENT TRUTH (2006). His screenplays and collaborations with directorsSteven Soderbergh andPaul Greengrass have earned him the recognition of being one of Hollywood’s rising stars in screenwritings – HBO Film’s PU-239 (2006), THE BOURNE ULTIMATUM (2007), THE INFORMANT (2009) and the yet to be released CONTAGION (2011). Currently Burns is adapting Jules Verne’s classic 20,000 LEAGUES UNDER THE SEA for Disney and another feature script for Soderbergh based on the 1960s TV series MAN FROM U.N.C.L.E.

The Texas Avery Animation Award presented by REEL FX Entertainment honors a lifetime achievement in animation filmmaking. 2011 is the first year that there will be two recipients of this award. Collaborators Chris Sanders and Dean DeBlois are highly respected in the animation world after being propelled to fame for the Academy Award- nominated film LILO AND STITCH (2002). Sanders is also known for his work on BEAUTY AND THE BEAST (1991), ALADDIN (1992), THE LION KING (1994) and MULAN (1998).

DeBlois was already an accomplished animator and writer at the time LILO & STITCH became a worldwide phenomenon, having worked on THE NUTCRACKER PRINCE (1990), THUMBELINA (1994) and as head of story on MULAN (1998), another collaboration with Chris Sanders. He then stepped behind the camera to direct the indie critical darling HEIMA (2007) and most recently he and Sanders have regrouped to bring audiences the breathtaking HOW TO TRAIN YOUR DRAGON (2010).

“For the past five years, Reel FX Entertainment has sponsored the Texas Avery Animation Award, which honors achievement in the animation industry,” said Ed Jones, CEO of Reel FX Entertainment. “This year, we give the award to two recipients – Dean DeBlois and Chris Sanders – for the first time. With films like HOW TO TRAIN YOUR DRAGON and LILO & STITCH, they have created unforgettable characters whose stories are told through very different styles of animation. We feel their creativity and versatility embody the spirit of the award, and its namesake.”

Finally, Warners Bros’ BORN TO BE WILD and three world premieres, SPLIT MILK, BETWEEN NOTES and IN THE LAND OF FIREWORKS have been added to the slate of wonderful films at the upcoming festival.

BETWEEN NOTES (USA) – WORLD PREMIERE
Director: Christopher Grissom
A musician trades his dream for a corporate job to keep his relationship but when the girl leaves him, he’s left wondering what went wrong. Is he ready to fall in love again with a person or just with an idea of love?

BORN TO BE WILD (USA)
Director: David Lickley
Narrated by Morgan Freeman, BORN TO BE WILD documents the animal orphan rehabilitation program at the Birute Galdikas’ research station in Borneo. It gives audiences an intimate look at these amazing beasts in their natural habitats.

IN THE LAND OF FIREWORKS (USA) World Premiere
Director: Joel Curry
A successful businessman sees his professional and personal life veer out of control after his girlfriend announces she is pregnant.

SPLIT MILK (USA) WORLD PREMIERE
Director: Blake Calhoun
A disenchanted assistant manager of a local grocery store is the victim of a late-night robbery during his night shift and as everyone is taken hostage in the store, the group is forced together to wait in the safe.

The DALLAS International Film Festival will run March 31 – April 10, 2011. Passes and tickets are currently on sale: available via online (www.dallasfilm.org), phone (214.782.9168) and in person at the FAUXCADES Box Office: 5321 E. Mockingbird Lane, Ste 100, Dallas.

ABOUT THE DALLAS FILM SOCIETY
The DALLAS Film Society celebrates films and their impact on society. A 501(c)3 non-profit organization, the DALLAS Film Society recognizes and honors filmmakers for their achievements in enhancing the creative community, provides educational programs to students to develop better understanding of the role of film in today’s world, and promotes the City of Dallas and its commitment to the art of filmmaking. The annual DALLAS International Film Festival, scheduled for March 31-April 10, 2011, is a presentation of the DALLAS Film Society. In addition to producing one of the largest festivals in the Southwest, the Society produces numerous year round events, screening series and partnership programs with arts organizations around the city. For more information, call (214) 720-0555, orvisit www.dallasfilm.org. The offices of the DALLAS Film Society are located at 3625 North Hall Street, Suite 740, Dallas, TX 75219.

2011 DALLAS International Film Festival presented by Cadillac – Festival Sponsors: Akin Gump Strauss Hauer & Feld LLP, AVID, Barefoot Wine, Baylor Heart and Vascular Hospital, Bright Realty, Inc., CBS Radio, Colibri Promotions, D Magazine, Dallas Film Commission, Dallas Museum of Art, Dallas Observer, Design Expediting Services International, Inc., eatZi’s Market & Bakery, El Creative, Euforia Live, Faulkner Design Group, Fauxcades Creative Event Design, Forté Public Relations, Fun Flicks Outdoor Movies, Gemini Lighting, Sound & Video, Gordon& The Whale, GrandLuxe Magazine, Highland Park Village Theatre, Joule, A Luxury Collection Hotel, Mahr Images, MetroPCS, Metroplex Cadillac Dealers, Milagro Tequila, Mission Foods, Mockingbird Station, Modern Luxury Dallas, MODIA Home Theater Store, Movie Magic, MPS Studios Dallas, My Sweet Charity, Nasher Sculpture Center, Neiman Marcus, NorthPark Center, Post Asylum, Pure Evil Music & Sound Design, Raze Media, REEL FX ENTERTAINMENT, Red Carpet Crash, Screen International, smartwater, Stella Artois, SYNTHETIC PICTURES, Target, Texas Association of Film Commissions, Texas Film Commission, The Macallan Single Malt Scotch Whisky, The Shops at Legacy, The Texas Theatre, The Trammell and Margaret Crow Collection of Asian Art, Time Warner Cable, TM Advertising, TXU Energy, Univision 23, West Village, WFAA-TV, Whole Foods Market, WRR Classical 101.1 FM, You Plus Dallas.

ABOUT CADILLAC
Cadillac has been a leading luxury auto brand since 1902. In recent years, Cadillac has engineered a historic renaissance led by artful engineering and global expansion. The Metroplex Cadillac Dealers are comprised of eight dealerships throughout North Texas, committed to supporting the artistic talent and achievements in performance and visual arts within the community. More information on Cadillac and their affiliation with the Arts can be found at metroplexcadillacdealers.com

On to the review, I Corrupt All Cops is a tale of police corruption in Hong Kong durring the 50s to 70s while Hong Kong was still under Brittish rule, directed by Jing Wong. While it may not have any of the stereotypical Italian tropes we are used to this is a mafia movie plain and simple but in stead of a crime syndicate family the mafia are the police. Every police officer from the very top to the very bottom of the chain take bribes, whether the want to or not. Even the honest cops are caught in a system so crooked that they are forced to comply with the status quo. The corrupt system is enabled by being  far removed from direct intervention from London who is really only concerned with numbers. As long as the Hong Kong police appear to be keeping the crime rate down the Brittish overlords are happy. This is an interesting question this film brings up, although corrupt the police system has reduced crime by controling it. Only allowing so much crime to exist, only 4 gambling dens per block as opposed to rampant gambling everywhere as in the past for example.

Enter the ICAC (Independent Commission Against Corruption) when a new Brittish commisioner is instated who wants to clear all of the corruption out of Hong Kong. When this new division hits the streets the police force fights back with bloody vengence. If you enjoy mafia movies then this is a movie you should check out. Much like Goodfellas, I Corrupt All Cops chronicals the lives of what start as simple men in complicated situations. As time goes on the complications continue to escelate.

This is a good crime film that not only puts a little spin on the usual mafia ideas but also sheds insight into another culture. How it is both similar and different at the same time. If given the chance to see this take advantage of the oppertunity.

I Corrupt All Cops trailer

Writer/director Yasmin Ahmad has crafted a memorable tale of love, loss and redemption with a blend of talented young actors, along with the gifted comedic and dramatic veterans, many of whom you will never have heard of before.

Original music by Pete Teo made the talent competition authentic enough, even if the actors’ inability to play or even believably fake playing the musical instruments to which they were assigned was obvious.

The central theme of this film appears to be varying levels of acceptance and redemption–whether it is a young girl’s acceptance of the boy she admire’s hearing impairment, a woman’s acceptance of her complicity in her brother’s life-long regret, a gifted singer’s acceptance of his mother’s inevitable passing, or the redemption of another performer whose malice toward a rival competitor turns out to be misdirected anger at his own father.

Talentime takes a real look at the interpersonal relationships between Melur (Pamela Chong) and her Muslim family, with sibling rivalries, loving, supportive and often silly parents, and unexpected comic relief provided by Melur’s English grandmother, portrayed by Jacklyn Victor.

Director Ahmad offers a heartfelt look at young love between Melur and Mahesh (Mahesh Jug al Kishor) and young loss for Kahoe (Kahoe Howard Hon), and before it’s all done you’ll more than likely shed a tear or two.

For American audiences, “Talentime” may come across as a bit on the contrived side–tugging at the heartstrings as it does–but it is ultimately a story well told by a director who will tell us no more tales.

Yasmin Ahmad died before this film made it into our theaters and our hearts, and it is my opinion that she would have contributed greatly to the fabric of our film making community. It should be noted that the glaring deficiency of “Talentime” came in post-production, where the editing lacks subtlety and elegance.

If a real old-fashioned tear-jerker is not your cup of tea, then you probably don’t need to see “Talentime”…but then again, it’s not my thing either, and I really liked it.

The festival organizers have long heard gripes from folks that one screening of the big films, which sell out quickly and won’t likely be seen in this area again soon, simply isn’t enough. The expansion of programs to the Angelika gives cinema scofflaws one less excuse to hit the AFFD this year.

Angelika screens will also feature the horror-comedy hybrid “Chaw,” with a man-eating boar on the loose and enough severed limbs to make any genre fan squeak with delight.

Tickets are available for all shows at the Magnolia and Angelika box offices. Details and schedules are at AFFD.org.

Saturday, July 24, head to the Magnolia Theater Lounge for a free-wheeling singalong experience, hosted by Devin Pike and featuring… well, you.

No cover, with the full cash bar at your disposal. No excuses, either. Your guilty musical pleasure awaits.

Ip Man 2

Celebrating its ninth year, the Asian Film Festival of Dallas is committed to “celebrating and supporting emerging and established Asian and Asian-American filmmakers and sharing the rich diversity of Asian culture through the medium of cinema.” It has grown into the Southern United States’ premier venue for showcasing Asian film.

“As always, we are proud of the wide range of films we have to offer to Dallas audiences. We have worked hard to provide something for all ages. From the family-friendly ‘Summer Wars’ and ‘A Tale Of Ululu’s Wonderful Forest,’ to more mature titles like ‘Night & Fog’ and ‘At The End Of Daybreak,’ and everything in between. These are films that will be enjoyed by anyone looking for something great to watch this summer,” said AFFD Executive Director Julie Hwang.

Not only will last year’s crowd favorite, “Ip Man,” makes its return at the festival’s Deep Ellum Kickoff Party, but the highly-anticipated sequel “Ip Man 2″ makes its Southwest Premiere on Sunday, July 25.

The festival promises films to appeal to every demographic, whether you’re seeking “gangsters, ninja, geisha, aliens, monstrous wildlife, sexy ladies, math geniuses, taxi drivers, shipyard workers, farmers, sharks, young lovers, ghosts, pickpockets, zombies, ballet dancers, wolves… or a man stuck in a room with no doors.”

“The ‘genre’ fans will be very pleased with selections like ‘Robogeisha,’ ‘Phobia 2,’ ‘Bay Rong (Clash)’ and ‘Chaw’,” Hwang said.

Au Revoir Taipei

Red Carpet Crash is proud to be an official Media Partner of the Asian Film Festival of Dallas, hosting the Midnight Karaoke Throwdown at the Magnolia Theater on Saturday, July 24.

Full details are available at the newly-relaunched festival web site, AFFD.org.

Here’s the full slate of films spooling during the 2010 Asian Film Festival of Dallas:

• 9500 Liberty (2009), Dir: Eric Byler/Annabel Park
• A Frozen Flower (2009), Dir: Yoo Ha
• A Million (2009), Dir: Cho Min-Ho (Southwest Premiere)
• Accident (2009), Dir: Cheang Pou-Soi (Southwest Premiere)
• Agrarian Utopia (2009), Dir: Uruphong Raksasad (Southwest Premiere)
• At The End Of Daybreak (2009), Dir: Ho Yuhang (Southwest Premiere)
• Opening Night Film: Au Revoir Taipei (2010), Dir: Arvin Chen (Southwest Premiere)
• Bay Rong (Clash), (2009), Dir: Le Thanh Son (Southwest Premiere)
• Beijing Taxi (2010), Dir: Miao Wang
• Breathless (2009), Dir: Yang Ik-Joon
• Chaw (2009), Dir: Shin Jeong-Won (Southwest Premiere)
• Empire Of Silver (2009), Dir: Christina Yao (Southwest Premiere)
• I Corrupt All Cops (2009), Dir: Jing Wong (North American Premiere)
• Centerpiece Presentation: Ip Man 2 (2010), Dir: Wilson Yip (Southwest Premiere)
• Iron Crows (2009), Dir: Bong-Nam Park
• Kamui (2009), Dir: Yoichi Sai (Southwest Premiere)
• Kung Fu Dunk (2008), Dir: Yen Ping-Chu (North American Premiere)
• Let’s Fall In Love (2009), Dir: Wuna Wu (North American Premiere)
• Like You Know It All (2009), Dir: Hong Sang-Soo (Southwest Premiere)
• Mao’s Last Dancer, (2009), Dir: Bruce Beresford
• Night & Fog (2009), Dir: Ann Hui (North American Premiere)
• No More Cry!!! (2009), Dir: Nobuo Mizuta (North American Premiere)
• Phobia 2 (2009), Dir: P.Purijitpanya/V.Poolvoralaks/S.Sugmakanan/P.Wongpoom/B.Pisanthanakun (U.S. Premiere)
• Robogeisha (2009), Dir: Noboru Iguchi
• Running Turtle (2009), Dir: Lee Yeon-Woo (Southwest Premiere)
• Seven 2 One (2009), Dir: Danny Pang (U.S. Premiere)
• Sparrow (2008), Dir: Johnnie To
• Summer Wars (2009), Dir: Mamoru Hosoda (Southwest Premiere)
• Symbol (2009), Dir: Hitoshi Matsumoto
• Talentime (2009), Dir: Yasmin Ahmad (Southwest Premiere)
• Closing Night Fim: The People I’ve Slept With (2009), Dir: Quentin Lee (Southwest Premiere)
• The Tale Of Ululu’s Wonderful Forest (2009), Dir: Makoto Naganuma (North American Premiere)
• Toad’s Oil (2009), Dir: Koji Yakusho (U.S. Premiere)
• Visage (2009), Dir: Tsai Ming-Liang (Southwest Premiere)

Tickets for regular exhibitions are $10 at the door ($9 if purchased online), with Special Event tickets (Opening Night, Centerpiece Film, and Closing Night films) running $12.50. Viewers can also purchase a Day Pass online, getting them in to three weekday films for $15.

“Bella I am leaving you for Jacob”

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The four films – “Ip Man 2,” “Au Revoir Taipei,” “Robogeisha,” and “I Corrupt All Cops,” represent the wonderful diversity that the AFFD celebrates. This year’s festival runs July 23-29.

With a full slate of Asian films coming, organizers will be making several announcements to stoke enthusiasm for the upcoming festival.

“These first four selections are just a sampling of the types of films we’ll be bringing to viewers, and we’re proud of the scope of our selections. From family-friendly features to horror films, samurai epics, anime, comedy, drama, and documentaries, there’s something for everyone, no matter what type of film you love,” said Crystal Decker-Norwood, AFFD Director of Programming.

Social media users can follow AFFD on Facebook and Twitter to get advance information on film announcements, and special events leading up to festival week. “It pays to follow us on these sites,” Decker-Norwood said. “We’ll be sneaking titles here and there, doing some advance events. The fans are going to be thrilled.”

Passes are currently on sale through AFFD.org.

Here are the details on the first four films on the 2010 AFFD slate:

• Ip Man 2 (Hong Kong – Director: Wilson Yip)
  Hong Kong film star Donnie Yen reprises his role as Ip Man in this semi-autobiographical sequel following the adventures of the grandmaster of Wing Chun.
  Cast: Donnie Yen, Simon Yam, Sammo Hung
• Au Revoir Taipei (USA – Director: Arvin Chen)
  Brokenhearted Kai yearns to be with his girlfriend, who’s left for Paris. Accepting a dubious offer from a local gangster to deliver a mysterious package, he embarks on a wild night with Susie, a sweet but lonely girl from the local bookstore.
  Cast: Jack Yao, Amber Kuo
• Robogeisha (Japan – Director: Noboru Iguchi)
  Sibling rivalry turns to mechanized mayhem as two sisters are kidnapped and transformed into murderous cyborg assassins. Naturally, an evil CEO is to be blamed for the mess.
  Cast: Yoshihiro Nishimura, Asami, Kiguchi Aya
• I Corrupt All Cops (Hong Kong – Director: Jing Wong)
  Cleverly titled with the abbreviation “ICAC,” “I Corrupt All Cops” is partly about the establishment of Hong Kong’s anti-corruption force, the Independent Commission Against Corruption. Spanning roughly a decade with three parallel plot threads, this gripping crime drama unfurls in the 1960s and 1970s, when the heroic Commission swept in and began systematically driving out all of the corruption in the Hong Kong police force.
  Cast: Eason Chan, Tony Leung Ka Fai, Anthony Wong