Problem: positive
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Answer: I am not a huge fan of camp kitsch and the "so bad it's good" type of viewing. However, I really like this film for its fun factor and - believe it or not - it's innovation.

The whole thing has a ring of John Waters and is boundlessly enthusiastic, but with some superb actors and considered direction making the most of the slapstick and styalised movements. Billy Zane moves with incredible expression (see the scene on the bus for a text-book lesson in how to use movement) and is framed by some unexpected stars.

You may not like this film, you may not enjoy it, but if you get the chance to watch it, then spare the time because chances are you will end the film with a confused smile on your face, and a new perspective on the sense of humour of some big stars. Highly reccomended.

Problem: positive
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Answer:

So, not being a poet myself, I have no real way to convey the beauty and simplicity of this documentary. The effortless motion of Goldsworthy, as he molds natures beauty into his own work is captivating. Watch him stick reeds together in a web hanging from a tree in a close up for a few minutes while he speaks of his work, and then receive the payoff when the camera cuts to the wide shot. Be amazed by the ease with which he operates and then realize the futility when a slight breeze knocks down the entire web.

The genius of Goldsworthy seemingly knows no bounds as his inspiration is nature itself. It is in the essential change of nature where his work, though complete in its own sphere, is made whole.

Problem: positive
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Answer:
Tsui Hark's visual artistry is at its peek in this movie. Unfortunately the terrible acting by Ekin Cheng and especially Cecilia Cheung (I felt the urge to strangle her while watching this, it's that bad :) made it difficult to watch at times.

This movie is a real breakthrough in the visual department. When I first saw this, my jaw dropped repeatedly and I thought to myself that I've never seen anything remotely like it but this is how it should be done in order to do full justice to the mythical world of Chinese historical kung-fu novels! Without a doubt this is one of the best-looking Chinese historical kung-fu epic ever made.

But alas, Tsui Hark hasn't improved much in the writing department, and the story and dialog are rather juvenile (his apparent obsession with the silly and overly-long depiction of the evil guys didn't help either). To make it worse, this movie is very badly cast. They decided to use the "hot" popular Hong Kong idols as lead characters, but unfortunately both Ekin Cheng and especially Cecilia Cheung are totally unsuited for historical kung-fu dramas because they lack the nobility and mystique that such characters are supposed to embody. Adam Cheng Siu-Chow and Brigitte Lin in the 1983 version are infinitely better.

I wish that someday Zhang Yi-Mou and Tsui Hark can join forces and produce a movie that has the visual artistry of Tsui but with the maturity and story-telling poetry of Zhang...