The East (2013) intriguingly downbeat and non-clichéd thriller about a young female corporate spy who gets too deeply embedded (in all senses) for comfort with an earnest eco-anarchist collective who might just be taking direct action a bit too far. Some pretty subtle and shaded acting from leads Britt Marling (even though I normally can't stand her) and Alexander Skarsgard (who starts off the movie looking like a shambolic bearded schizophrenic, but is soon smartened up into the same dreamboat as always). It has some nice montaging/use of 'cyber' visual texturing to get across some of the feel of 21st century activism and its heart might be in a more radical place than the usual US movie. Has some good moments of unease tension but sadly, overall, just not that exciting - and definitely not as nerve shredding as it might be.
Marco Polo (Netflix) series 2. Gets more and more lavish and more and more confused, although there's some quality large-scale battling and one-one-one wuxia displays. Still no real sense whatsoever of Mongol (or Mongolian) culture in particular - it's all just some vague conception of 'Asia', boiling all the clichés about anywhere east of Lebanon together in a large hotpot while somehow leaching out all the flavour. Worst of all is how our token white boy hero (Lorenzo Richelmy, still mostly charisma-free) has to be shoehorned into the middle of every possible even to make a mostly-white US audience relate and stay interested. Netflix is also I guess trying not to offend Chinese audiences/financiers so the inter-Asian dynamics of the 13th-century world are kept discreetly blurry.
So, when Kublai has to finish off the last hopes of the deposed Song dynasty by doing an especially ethically-questionable murder, and take a decisive fork in world history, guess who just HAS to be in that very room, watching from the shadows? Yeah, you guessed it, our boy from Venice. Nothing can ever be done - even by the world's effective emperors - without a white hero to bear witness. Argh....
Still, amazing art direction, some striking images / shots / cinematography, and some really fine acting from rather older, more character actors (Joan Chen, Michelle Yeoh and Benedict Wong in particular) who can draw real feelings out of a mostly dire script and execution. (The younger ones are almost all completely wooden.) It is not a complete waste of your time, but don't expect to be gripped or educated. Just mildly entertained.