Four of the most exciting movie stars in the world are currently appearing in two of the least interesting new movies, taking a back seat to less interesting stars. Jackie Chan and Jet Li are master martial artists, Chan with a comedian's touch and Li with an appealing stoic quality. They team up for the first time in The Forbidden Kingdom (105 screens), a movie about a white kid and his attempt to beat up some bullies. Chow Yun-fat and Michelle Yeoh team up for the second time in The Children of Huang Shi (43 screens), about a British journalist (not played by Chow) and an Australian nurse (not played by Yeoh) saving some orphans.

Chow had a suave, cool quality that could have turned him into the next James Bond or Cary Grant, and Yeoh is a beautiful martial artist who could have become a groundbreaking feminist action star. It's a sad state of affairs, but I guess these films are the final proof of the cold, dead corpse of the Hong Kong New Wave.

Don't get me wrong, I'm all for movie-production blogging; what could be better than getting the information from the horse's mouth? That is unless they spend most of the time rambling about everything else. Unfortunately this is the case with Emmy Rossum's contribution to her MySpace page with news from the Dragonball set in Mexico. If you're looking for details, I wouldn't get too excited. There are a few hints, but for the most part the info you are going to get is that Rossum's character rides a motorcycle, and will have a lot of 'interaction' with Joon Park in the film, whatever that could mean.

Dragonball is based on the classic manga, Dragonball Z. Ben Ramsey's adaptation centers on "A young boy named Goku who seeks out upon his grandfather's dying request to find the great Master Roshi and gather all seven Dragon Balls (of which he has one) in order to prevent Piccolo from succeeding in his desire to use the Dragon Balls to take over the world". Rossum stars as Bulma, and is joined by Chow Yun Fat (Rossum's unlucky passenger on the motorcycle), James Marsters, Joon Park, and the hotly-debated Justin Chatwin as Goku.

The cast has been pretty chatty since the film started shooting in Mexico back in November. Just last week, Marsters, who plays Piccolo, gave a little pep-talk on the Dragonball blog about the film. Mainly it it was praise for director James Wong, which appears to be the opposite of most popular public opinion. Dragonball is still filming on location and is set to hit theaters on August 15th, 2009.

About seven hours into Pirates of the Caribbean: At World's End, someone stuffs a monkey into a cannon, lights the fuse and sends it shooting across the deck to crash into another character. That monkey is like us, the audience -- bruised, confused and unsure what it did to deserve this punishment. We have to endure a hurricane of hooey, a hydra-headed story with more subplots and pointless reversals than a Raymond Chandler tale and more doodad MacGuffins -- a compass that points to this, a key that unlocks that -- than even a parody could endure, all of which leads to a sort of white noise of confusion where a plot should be. Even if that monkey-cannon were pointed at my head, I couldn't explain to you why, for example, the key pirates from the previous two films are now introduced to us as 'pirate lords' -- leaders of some kind of pirate's union, which, judging by Captain Jack (Johnny Depp) and Captain Barbossa (Geoffrey Rush) does not offer dental. It's their lordship, and what that means for pirates everywhere, that this trilogy capper is supposedly about.

You'll remember that at the end of the last film, Dead Man's Chest, Depp's swishy swashbuckler was betrayed by Keira Knightley's colonial babe Elizabeth Swann, left manacled to the deck of his ship as it was being eaten by a steroid-squid, in the hopes that a sticky pirate curse would drown with him and his ship. The audience wasn't fooled -- even the most casual moviegoer knew Depp would be returning for part three -- but films that include an easy-breezy transition between life and afterlife often find themselves having to paddle twice as hard to get dramatic tension going, which is one of the problems that most plagues At World's End. After all, if no one can really die, what's the worst thing that can happen? (One of the reasons I've never bothered to read a comic book in my life, by the way) Somewhere around the thirty-minute mark of this one, we're re-introduced to Captain Jack, who is stuck in some kind of Looney Tunes purgatory, commanding a ship sitting in the middle of a desert, and crewed only by multiple Jack Sparrows.

In the course of Hollywood history, movie genres have grown from the the lower regions, among the ticket buyers and popcorn munchers, in the Saturday matinees and with the dime store, penny-a-word trash classics. The Western was the first of these, making its movie debut as early as the movies themselves, with The Great Train Robbery (1903). Not fifty years had gone by before some wise guy had the idea to take this ground-level idea and turn it into an impressive, blue-ribbon pageant, a noble, tasteful new object worthy of respect. These came in the form of High Noon (1952) and Shane (1953), praised through word of mouth, as Westerns for people who don't ordinarily like Westerns. Critics ate them up. And, if you'll notice, the Western genre is more or less gone.

The same thing happened to musicals. As soon as pictures learned to talk and all through the 1950s, musicals ruled, and plenty of great, small ones crooned and tapped their way across screens, much to the unfettered joy of fans. But in the 1960s, the graceless, inflated, gargantuan West Side Story (1961) -- a musical for people who don't ordinarily like musicals -- came along. And now the musical is more or less gone (and, I'm sorry, but Dreamgirls doesn't count).

The names in the title of this post kinda sound like they're from some sort of funky international law firm or something, don't they? Or maybe, instead of a law firm, a relief agency for orphaned children specializing in Asia? That would actually make more sense considering the true nature of this post. What the heck am I talking about? Glad you asked.

According to Production Weekly, Jonathan Rhys Meyers (of Bend It Like Beckham and the underrated Ang Lee film Ride With The Devil), Radha Mitchell (of High Art and Man on Fire), master of swords and two-handed pistol shooting Chow Yun Fat and former Chow co-star Michelle Yeoh are booked to be in the period drama The Children of Huang Shi for director Roger Spottiswoode.

The film, which tells the story of young British Journalist Gregg Hogg (played by Myers) who saves a group of orphaned children during the 1937 Japanese invasion of China by taking them on a 1000 mile journey to safety, is being written by Jane Hawksley. Mitchell will play the brave Australian nurse who helps Hogg save the children.

This new film covers similar ground explored before by Steven Spielberg in his film Empire of the Sun . In that film, a very young and pre-Batman Begins, Christian Bale is forced to flee his home when the Japanese invade China. He ends up separated from his parents and living at an abandoned airfield with other refugees -- including John Malkovich, Joe Pantoliano and a young Ben Stiller in one of his first movie roles . Empire of the Sun is a great movie that if you haven't seen lately, or at all, deserves a look.

If The Children of Huang Shi, which while obviously dealing with similar subject matter tells a different story, turns out to be half as good as Empire of the Sun, I will definitely be interested in seeing it. Even if Chow Yun Fat doesn't fly through the air, pistols blazing away in both hands, taking out bad guys.

Filming on The Children of Huang Shi is expected to begin mid-November in China with production moving later to Australia.

It might be hard to believe, but Quentin Tarantino's Reservoir Dogs turns 15 today. Now, before you haul out the abacus, you've probably noted that 1992 + 15 = 2007. Reservoir Dogs premiered in October of 1992 the last time we checked, and it seems like only yesterday there was much fanfare over the tenth anniversary edition of this film (which was released in 2002), complete with five different covers for the same DVD ... collect them all! Perhaps 14 just wasn't as sexy of a number, and of course Lionsgate wants you to double dip when the HD-DVD version comes out at some point, so that leaves us with a 15th anniversary edition a year early. Although if you want to get extremely technical with the dates, Tarantino actually workshopped some of the scenes from Dogs at Sundance in 1991, so is this the date they're shooting for?

At any rate, the packaging alone is pretty cool on this release. They've housed the DVD in a metal case that looks like a gas can, and when you slip the interior packaging out, it is in the shape of a huge matchbook from "Uncle Bob's Pancake House," which is where Steve Buscemi tells everyone "I don't tip" as Mr. Pink. The whole package is sort of a gruesome reminder from one of the scenes in the movie. When the tenth anniversary DVD came out, Lionsgate sent out fake foam rubber ears announcing the release, which have become highly collectible among fans. I guess they like reminding us how violent the torture scene in this movie really is.

Tarantino's now cult-classic film opened the door for ultra-realistic violence in films, but it also helped usher in a new era of non-linear storytelling. After this movie came out, writers and directors began to play with the concept of time a lot more often, using flashbacks and flash-fowards to help make a simple story a lot more interesting, to show it from different angles and perspectives, and to flesh out character development. Tarantino didn't pioneer this technique, but he made such extensive use of it that you can still the effects of it in movies today.

The film also helped establish Tarantino's visual "look," from the black suits with the skinny ties, to the minimal sets with dialogue-heavy scenes. It also showcased his love for vintage and 70s music through "K-Billy Super Sounds of the 70s," on the radio throughout the movie, and DJed by deadpan comedian Steven Wright. Additionally, he took chances on B- and sometime C-list movie stars who had either fallen from the limelight, or had not worked in quite some time, which is something he continues to do -- reviving the careers of John Travolta, Robert Forster, Pam Grier and others.

Tarantino is a self-proclaimed cinephile, and in this movie he has lifted several scenes and plot elements directly from other films, particularly from Ringo Lam's excellent City on Fire which stars Chow Yun-Fat. If you haven't seen it, rent it some time and you'll see how similar the two films are, down to exact scenes. They say that imitation is the sincerest form of flattery, and while Dogs isn't a direct ripoff, it comes close at times. Tarantino has claimed that he steals from all of his favorite movies, and if that's the case, then Dogs is no different.

Today also sees the release of the Reservoir Dogs video game (featuring the voice and likeness of Michael Madsen), which promises to bring the same ultra-violence to your home gaming systems. It seems an odd choice to make a game out of this film, given the extreme violence and open and closed plot, but we've also seen Scarface and The Godfather made into games as well recently, so stranger things have happened. Just don't look for Jackie Brown: The Game anytime soon. We hope. ...