“This is the kind of thing it probably wouldn’t be wise to proclaim at a mainstream film festival. But this is a safe zone. There are few non-Asian people present, so it’s unlikely that an audience member will pop up with an ‘Um, actually’ response. Cheena encourages the irreverent atmosphere, jokingly asking whether there’s a developing ‘Asian Mafia’ within showbiz, ‘And if so, how can we join?'”
“Asian” is awfully broad. The term can be applied to more than half the Earth’s population, after all, which comes both from the specific geographical region it denotes and a global diaspora. The Los Angeles Asian Pacific Film Festival embraces the kaleidoscope of Asian identity. Which is evident from even the briefest glance at its programming. This was my first year attending the fest, and I wasn’t able to see nearly as many films as I would have liked (I didn’t even see as many as I’d planned to). But even that limited pool demonstrates the cinematic variety that a demographic often shunted aside as a “minority” has to offer.
The D Train takes the cinematic trend of the “bromance” to a new, strange, and intriguing place, and then fails to do anything new, strange, or intriguing with it. It’s the kind of movie that only would have worked if it were done real indie style (ie without Jack Black and James Marsden) or if we lived in a parallel universe with a more sexually open-minded American public.
Maggie might have gone completely under the radar, appreciated mainly at Fantastic Fest and by horror aficionados, were it not for the fact that it features Arnold Schwarzenegger. (As Wade, not Maggie. Obviously.) The hulking action star turning up in a low-budget, low-key drama has been a source of curiosity for many, and it’s an effective draw for the film. The most immediate question on potential viewers’ minds will be, “Is he any good in it?”