Cao Liang’s The Royal Cat delivers a playful, mysterious blend of talking‑animal charm and Eastern folklore. A rare North American release, The Royal Cat colourful and whimsical but never quite scratches beneath its own magic.
Liang Cao’s The Royal Cat (金陵御猫, The Imperial Cat of Jinling) may be one of the few Chinese animated features in recent years to secure proper North American distribution—a rare catch for curious cinephiles who love a whisker of something different. While I’m happy that other animation studios can show off their style worldwide, Light Chaser Animation’s White Snake 3, Chang’an, and Curious Tales of a Temple remain hard to find on this continent. As for a physical home video release? That’s a mouse most likely to escape the kitchen.
This film offers a variation on the Puss in Boots formula rather than Kung Fu Panda. Zhan Ao (Tu-Te-Ha-Meng), a talking tabby cat, doesn’t wear shoes and lacks a tail—a bold fashion choice for a feline hero. He’s a skilled fighter who once loyally served General Kou. After his master’s death, however, he reinvented himself as a Robin Hood–like figure, prowling the streets with cause and cunning. That missing tail? It’s not just a style statement; it hints at something mystical. When Ao becomes a wanted fugitive, it raises the suspicion that there’s more to his nine lives than meets the eye. In this world, other animals can also converse with humans—which means the line between myth and reality is as slippery as a fish in a pond.
Fans of World Masterpiece Theatre will delight in Romeo’s Blue Skies, now available on Blu-ray from MedicOCD/Animeigo’s Ruined Childhoods label.
Fans of World Masterpiece Theatre’s series will find much to laugh, cry, and reflect on in Romeo’s Blue Skies. This second release from MedicOCD and Animeigo’s Ruined Childhoods label is a must-have for fans of Japanese adaptations of Western literary classics. After decades of hunting down VHS tapes or low-resolution downloads, I’m thrilled to finally have a clean, high-quality release. Early fan-subbed versions were incomplete or low fidelity, making this Blu-ray a long-awaited treasure.
Based on the 1941 novel Die Schwarzen Brüder (“The Black Brothers,” Amazon link) by Lisa Tetzner and Kurt Held, the story follows a kind-hearted boy growing up in 19th-century Switzerland. When his family falls into poverty, he is forced to sell himself to a man known as Luini, the “God of Death.” Instead of despair, his optimism and courage give the series a uniquely inspirational tone. Experiencing the story visually in full made it far more impactful than reading alone.
When Creation of the Gods 2: Demon Force is similar in scope to other classic pieces of epic literature far and wide, the set pieces are well earned!
Well GO USA Release Date: Jan 31, 2025 Please check local listings for screenings near you
All of Ancient China and Heaven are in danger when the Twelve Golden Immortals debate resurrecting Yin Jiao (Fei Xiang), the Crown Prince of Shang (also known as Yin). In the first film, he got killed in battle and now exists in limbo. With this prologue in Creation of the Gods 2: Demon Force in place, just what that means in the mortal world can be anything! When all he wants is revenge, he can’t ascend, and guardians can either turn him into a herald or help him move on.
As for how much of a role he has to play, it’s not as obvious.. This movie trilogy chronicling the mythical end of the Shang dynasty is more about the action than the soap opera. That’s because this individual’s father, King Yin (named Wu in the book; played by Kris Phillips), lost his way because one of his consorts, Daji (Naran), became possessed by a jiuweihu, a fox spirit. This trickster warped his mind. And when the Gods from Heaven send their own team to investigate, things get rather chaotic fast. There’s treachery afoot everywhere!
In this latest instalment, Deng Chanyu (Nashi), a local fighter, pledges to the Shang king that she can bring the hostage-son, Ji Fa (Yosh Yu) to face prosecution. He’s the son of King Wen of Zhou and the complex web of who is killing whom is just as convoluted as a Shakespearean play. Crib notes about the novel Investiture of the Gods are required to keep track on who is betraying whom, what the word ‘Zhou’ represents as a title, region or family connection (even I got confused!) and who are teaming up to bring Wu down.
In this world, a fair number of fantastic beasts are choosing sides. One group wants harmony back, the other is conspiring for the opposite. When Jiang Ziya (Huang Bo, pictured below) has the key that can control the gods he’s also a target! This magical list known as the Fengshen ba names all the Chinese gods in existence, and whoever knows the true identities can also control fate.
When this movie bounces back and forth between tracking down this macguffin and Ji Fa attempting to evade Chanyu, it’s easy to lose track of what’s going on. Anyone who knows the novel, The Investiture of the Gods, is in a better place. This adaptation never looked better in live-action. When the animated take is slow because the storytellers want to explore the backstories of the supporting characters, this cinematic presentation wastes no time with lengthy explanations.
Three movies are apparently enough to chronicle the transition from one dynasty to another. The presentation contains many scenes that rival the cinematic Lord of the Rings trilogy for action. And although the special effects are not up to WETA standards, the fights are still impressive. The best comes last (three post-credit scenes surpass the entire film), but regarding the main film, I believe the studios wanted to keep the look consistent rather than improve upon the former film.
Although those CGI moments are very obvious, the Four Great Heavenly Kings (giants) are not. This film uses the same technique found in Peter Jackson’s film to represent the characters’ varying heights. The inclusion of three conjoined upper torsos and arms on another body suggests a bit of Vedic lore in this tale. Although I missed catching his name, this entity has a significant role in the narrative. I’m fairly sure he wasn’t the storm god Leizhenzi in disguise–I’d have to rewatch this long film to confirm. Between all the folklore and daoism going on, director Wuershan downplays any morality lessons in favour of more action.
As for the fox spirit, what she’s doing is for something much worse! Hopefully that release will be scheduled for next year. Unlike other movies adapting Xu Zhonglin’s novel, this one promises to get to the huge climax that ends this story once and for all. It’s about time!
Angela’s Shadow is a mixed-genre piece that’ll satisfy not only people wondering what went on in Canada’s Colonial past, but also horror film enthusiasts.
Playing at the 2024 Vancouver International Film Festival
Remaining Screenings: Oct 05 International Village 8
By saying Angela’s Shadow is the perfect ghost story, I hope the expectations generated are not too much. That’s because this tale looking at aboriginal life effectively portrays spirits as only vengeful when they must. Although that was not Jules Koostachin’s intent when she wrote the screenplay with Steve Neufeld, the way her direction brought out the supernatural is just beautifully executed. These entities are not inherently evil but matter-of-fact entities who sometimes want to be noticed. But what this story is concerned about is the living, and how this character (Sera-Lys McArthur) wants to return to her roots. She was stolen by white men who believed indoctrinating indigenous youths to their society was important.
It’s tough to be original in Fly Me to the Saitama II, From Biwa Lake With Love. What’s added on top is a romantic triangle which only makes this work more llike a Broadway style spectacle than anything else.
Fly Me to the Saitama II, From Biwa Lake With Love is one of those mixed genre types of film where viewers will get to see Shōjo, fantasy, cosplay, rom-com all mixed into a vaudeville style stage show.
When I first saw the full title, I had thoughts of Macross running through my head (mostly because the word, “Love” is often used in many subtitles). And I had to remind myself about how the conflict began by looking at the first film again (movie review can be read here). It’s basically a story about the citizens from a specific prefecture wanting to be free from Tokyo’s political wrangling and Rei Asami (Gackt) led the party.
The choice isn’t hard on which version of Gekidan Shinkansen’s Fortress of Skulls is worth watching. The one now playing across Canada at select cinemas is shorter.
In select theatres Jan 26 and Jan 28 across Canada (ticket link)
Anyone who doesn’t want to watch the nearly three-hour version of Gekidan Shinkansen’s Fortress of Skulls (Wind mix) on Netflix now has an option! This gorgeous production has been edited down to a tighter work, and it’s now playing across Canada at select cinemas.
This theatre company delivers quite the experience when you can see one of their shows live. There, the seating moves with the action (more on this later), but for others going to see it at a movie theatre, the performance has a different feel. While we don’t get the sensation of the stage in motion, we will be assaulted with other terrific bits to make us feel like we’re in the play’s environment. Not only do we get a rousing score that blends rock and roll with traditional music, but also find the lighting design is straight out of a heavy metal concert.
Many cameras are used to track the action with this updated take. One is locked off to frame the entire stage, and the rest are located at strategic spots to nail specific instances, and rest roaming one to nail close-ups. Had this been aired live, the director has to be on his A game to call the camera change. With up to twenty that can be used in total, that’s a lot!
Well GO USA
Fans of World Masterpiece Theatre’s series will find much to laugh, cry, and reflect on in Romeo’s Blue Skies. This second release from 
Fly Me to the Saitama II, From Biwa Lake With Love is one of those mixed genre types of film where viewers will get to see Shōjo, fantasy, cosplay, rom-com all mixed into a vaudeville style stage show.
In select theatres Jan 26 and Jan 28 across Canada (ticket