SYNOPSIS:

From the director of "Calendar Girls" comes this extraordinary story based on true events. A dramatization of the 1968 strike at the Ford Dagenham car plant, where female workers walked out in protest against sexual discrimination. Dagenham, England 1968. At the town’s local Ford automobile plant, Rita O’Grady (Golden Globe® winner Sally Hawkins) is one of only 187 women in a workforce of 55,000 men. Facing overwhelming opposition in this “man's world,” Rita rallies her female co-workers to fight for equal pay — a stand that defies the corporate status quo, threatens her marriage, and ultimately exacts a tragic toll. But with the support of the shop's steward (Golden Globe® winner Bob Hoskins) and the government's Employment Secretary (two-time Golden Globe® winner Miranda Richardson), the women become the sensation of the nation — and the catalyst for a profound turning point in time.

MOVIE REVIEW:

Ask probably any woman today if she should be recognised as a ‘skilled’ worker and paid an equivalent wage to her male colleague doing the same job, and she will almost surely say yes. And why not really- after all, man or woman, as long as he or she gets the job done, and gets it done well, why shouldn’t she be paid the same wage he is? It’s the same reasoning behind the proverbial ‘black cat, white cat’ analogy.

But it wasn’t always this way- gender equality was endorsed up until the British Parliament passed the Equal Wage Act in 1970, ending wage discrimination between men and women. The impetus for that was the 1968 strike by 187 female workers of the Ford assembly plant in the London suburb of Dagenham. It was a three-week strike that saw the normally docile women fired up against their management, their union and even their husbands- though in the end, women today would probably proclaim that their struggle was worth every drop of tear and sweat.

British director Nigel Cole takes this slice of British history and turns it into an entertaining feel-good crowd-pleaser that will have you (male and female alike) cheering for the heroes of that age. The leader of the pack is an unassuming wife and mother Rita O’Grady (as played by “Happy Go Lucky’s” Sally Hawkins) who rises up to the occasion when Ford management moves to re-classify her and the rest of her fellow seamstresses from "semi-skilled" to "unskilled”.

At first intimidated, Rita’s indignation at the union meetings quickly grows into a force that will propel her to galvanise her colleagues into action. It will also give her perseverance, even as their strike puts the rest of the men out of work, and becomes a source of discontent within families. But it is ultimately all in the name for a greater cause, one that catches the attention and the sympathy of Britain’s sharp-tongued secretary of state for employment and productivity Barbara Castle (Miranda Richardson).

The outcome of that is already clear right from the start, but Cole’s film succeeds in allowing you to empathise with the odds that these women were facing. Admittedly, they could have just simply thrown in the towel and allowed someone else to make these sacrifices on behalf of them, but their spunkiness shines through every minute of their decision to go up against corporate and eventually the Government. There is much verve and heart in Cole’s direction, and for this reason, his film fully earns the inspiration from its audience that it aspires to.

Cole also has a wonderful cast to thank for this lively film. Hawkins is the heart of the film, and every minute she is onscreen, she lets her audience feel her resolve but also her apprehension at the cost of her actions. Richardson is also brilliant, her tart delivery of every retort absolutely delightful to watch. The male standout among the mostly-female cast is Bb Hoskins, who plays the sympathetic labour rep helping Rita along- Hoskins is all gleam-eyed and mischievous twinkle, and every bit of his performance enjoyable.

William Ivory’s screenplay handles the proceedings with a light touch, never letting it get too maudlin or too sombre. In fact, he finds cheeky humour in every conceivable manner- a banner which the girls unfurl is supposed to read “We Want Sex Equality” but improperly done just reads “We Want Sex” to a group of men driving by. And just like “Calendar Girls”, Nigel Cole does a fantastic job turning a slice of history into an uplifting movie about the things we often take for granted but which came at a price. So don’t be deterred by its subject matter- this is still an amusing crowd-pleaser male or female alike will enjoy

SPECIAL FEATURES:

NIL

AUDIO/VISUAL:

The Dolby Digital 5.1 audio lets you enjoy the retro late-60s radio hits on surround but little else. Visuals are clear and colours are well-defined despite their slightly dulled look to fit with the setting.

MOVIE RATING:

DVD RATING :

Review by Gabriel Chong

Posted on 17 June 2011

SYNOPSIS:

Kyoko Mochizuki is an 18 year old girl who dreams of becoming a police dog trainer. Kyoko is then admitted to a police dog training school and meets a young Labrador Retriever puppy named Kinako. An instructor at the training school informs Kyoto that Kinako is too weak to become a ploce dog but Kyoko charmed by the puppy tells him she will make Kinako into a police dog.

Kyoko starts her project to make Kinako into police dog. Unfortunately for the duo, Kinako fails his test every time and Kyoko eventually becomes disappointed in Kinako. Kyoko finally separates from Kinako and leaves the training camp. Will Kinako ever turn into a police dog?

MOVIE REVIEW:

While their Hollywood counterparts like to make Man’s best friend talk in family-friendly comedies, the Japanese prefer to have them in inspirational stories with popular themes of loyalty and commitment- think “Hachiko” and “10 Promises to My Dog”. This latest from director Yoshinori Kobayashi is no different, and uses the genre formula of an underdog story to get to his audience’s sentiments.

Well to be precise, there are actually two underdog stories here. The first is that of Kinako, a Labrador retriever which few believe to have the potential to be a police dog; and the other is that of Kinako’s trainer, Kyoko Mochizuki (Kaho), a young girl following in the footsteps of her reputed father in her aspirations to be a police dog trainer. Both are under the tutelage of Seijiro Bamba (Yasufumi Terawaki) whose unorthodox techniques of teaching both canine and trainer have received the derision of his colleagues.

Is it any surprise that by the end of the movie, both Kinako and Kyoko will prove their worth in a real-life search and rescue operation calibrated for maximum poignancy? Indeed, if there is any gripe to be made about the earnest “Kinako”, it’s that it makes no apologies about hitting all the familiar beats of a film whose chief aim is to tug at the heartstrings of its viewers no matter how predictable they may be- including the obligatory ‘aw-shucks’ moments of Kinako as a puppy.

Aside from that, there’s little else you can find fault with this sincere well-meaning movie about hope, believing in oneself and the courage to persevere for one’s ambitions. Kobayashi moves the film along at a steady pace, and allows for each scene to have its intended emotional impact on his audience. A subplot involving Bamba’s star pupil Wataro (Yusuke Yamamoto) may seem a little superfluous and even distracting to the central story at the start, but it adds a more human dimension to the often stern and demanding Bamba later on.

Performances are uniformly consistent, and Kaho and Terawaki share a nice rapport with each other on screen as trainee and trainer. Formulaic though it may be, this agreeable enough film will surely strike a chord with dog lovers out there- and one suspects that there are definitely many within this demographic, given that this, as well as the proverbial talking-dog Hollywood family comedy, are unlikely to be the last of its kind.

SPECIAL FEATURES:

NIL

AUDIO/VISUAL:

Audio is presented in Dolby Digital 2.0, but there’s admittedly little a surround sound track could have offered for this movie. Visuals are clean but presented in 4:3 standard TV format.

MOVIE RATING:

DVD RATING :

Review by Gabriel Chong

Posted on 17 June 2011

SYNOPSIS:

Ten people agree to take the same lucrative "job" find themselves locked in an underground complex and forced to play a murder game for seven days. The rules are simple. Everyone gets huddled into a huge facility and are free to do whatever they want except that there is a curfew each night at 10pm where everyone has to return to their rooms or be "eliminated" and each room comes with a weapon which they can utilize.

MOVIE REVIEW:

Tatsuya Fujiwara loves games, especially the ones where the stakes are between life and death. At least that’s what we gather watching him in Hideo Nakata’s “The Incite Mill: 7-Day Death Game”, which comes barely a year after his “Kaiji: The Ultimate Gambler”. Like the latter, Fujiwara finds himself as one of the participants in a game- ten to be exact in this case- where the rewards are lucrative, but the risks tremendous.  

Though adapted from the 2008 novel by Honobu Yonezawa, the premise bears resemblance too to the Agatha Christie novel “And Then There Were None”, where ten strangers are assembled on an island under false pretence and forced to participate in a game with rules they must follow in order to survive. Here the rules are deceptively simple- no one is allowed out of their rooms after 10 pm; and no one is allowed to quit the game until after seven days, or only two persons are left.

Yes, it’s an elimination game and with an instinctive ‘kill or be killed’ mentality, it’s no wonder that Fujiwara’s repetitive appeals for calm and reason fall on deaf ears. To up the ante, there are also bonuses given to whoever plays the detective when a murder is committed and manages to convince the rest of the culpability of one particular suspect. It doesn’t matter whether or not the person is guilty, so as long as the rest agree- and it doesn’t take a genius to figure out that groupthink will triumph over individual rationality.

Nakata and scriptwriter Satoshi Suzuki are keen to fashion a tense psychological thriller, and they succeed to a certain extent. Especially intriguing to watch is how suspicion falls all too easily on one candidate based simply on the insinuating words of one person, and how in such situations we can so easily distort what we know to fit what we want to believe. Good pacing ensures that the movie is kept taut throughout, with revelations dropped at different points in the film to keep you hooked.

While part of the fun is guessing the real murderer behind each one of the killings, Nakata and Suzuki also do well in finding motivation and purpose in every act of murder, and it is this why, more than just the who, which makes the film more gripping. There is also enough background to the characters to engage, and while there is hardly any character that really stands out, we are led to care for at least some of the ten people assembled.

Performances from the cast are uniformly adequate, but special mention must go to production designer Iwao Saito for designing the so-named ‘Paranoia House’ where the ten characters are trapped. The claustrophobic and metallic look of the place adds to the creepiness and unease around, even more so for a particular robot that prowls the grounds at night. Originality isn’t one of its strong suits, but if you’re looking for a decently thrilling movie, “The Incite Mill” will definitely be up your alley.

SPECIAL FEATURES:

NIL

AUDIO/VISUAL:

The Dolby Digital 5.1 enhances the atmospheric soundtrack to build a surround sound experience of dread. Visuals are clean and sharp. 

MOVIE RATING:

DVD RATING :

Review by Gabriel Chong

Posted on 21 May 2011

SYNOPSIS:

Jack Black is larger than life in this epic comedy-adventure based on the classic tale. When a shipwreck lands a lowly mailroom clerk named Gulliver (Black) on the fantastical island of Lilliput, he transforms into a giant--in size and ego. Gulliver's tall tales and heroic deeds win the hearts of the tiny Lilliputians. But when he loses it all and puts his newfound friends in peril, Gulliver must find a way to undo the damage. Through it all, Gulliver may just learn that it's how big you are on the inside that counts.

MOVIE REVIEW:

I’m a big fan of Jack Black, and not just when he’s hidden behind a rolly-polly kung fu panda, but also when he’s up front and centre doing his crude and crass shticks in “Year One” and “Tenacious D: The Pick of Destiny”. I genuinely believe that the guy’s a talented comedian, and so it pains me even more to see him in drivel such as this blatant cash-grab of a family film, “Gulliver’s Travels”.

Black plays the travel writer Lemuel Gulliver, who is sent by the editor (Amanda Peet) whom he has a crush on, to the Bermuda on a writing assignment. Gulliver however gets caught in a hurricane out at sea, and ends up shipwrecked on the island of Lilliput where- you guessed it- everyone is much smaller than him. Things are supposed to get interesting at this point, since the highlight of the movie is undoubtedly Gulliver’s interactions with the miniscule citizens of Lilliput.

Unfortunately it doesn’t- the screenplay by Joe Stillman and Nicholas Stoller is shockingly short of inspiration and laughs. Gulliver is first captured and imprisoned, but after he extinguishes a fire in the royal palace by- erm- urinating on it, he is suddenly hailed as a hero. And that means he’s allowed to put up posters of himself in “Avatar” and get the Lilliputians to stage live performances of his favourite shows and movies (“Star Wars”, “Titanic”), while lying that he’s the president from the country he hails from.

Most of these gags are mildly amusing at best, but a movie they do not make. Instead, Stillman and Stoller let Gulliver be matchmaker for one townsfolk Horatio (Jason Segel) and Princess Mary (Emily Blunt), daughter of King Theodore (Billy Connolly)- which in turn mirrors Gulliver’s own romantic pursuit of his editor Darcy Silverman. And just so there is a climax to speak of, they throw in a little romantic rivalry for good measure, which leads to a Transformers-like battle in the city.

Even so, it’s blatantly clear by the halfway mark that while they may have brought Gulliver to Lilliput, they certainly don’t know what to do with his time there. Equally clueless is director Rob Letterman, who makes his live-action film debut from a background in animated films like “Monsters and Aliens” and “Valiant”- Letterman lets the pace of the movie sag so considerably that despite its seemingly brief 85 min runtime, the movie feels much longer.

Black tries to make up for the thin material by doing his warm engaging best, but there’s only so much he can do to make up for the film’s glaring weaknesses. Ditto for the rest of the supporting cast, including Peet, Blunt, Segel and Conolly, all of whom deserve much better than this dull monotonous film. So too can be said of your time, which ought to be occupied much better than by this unnecessary and unfunny re-imagining of the classic Johnathan Swift satire.

The filmmakers also don’t bother to give credit to Swift’s book, although the references and allusions are clear. Nevertheless, it is for the better then, for I can’t imagine why the author would want himself to ever be associated with this dreck

SPECIAL FEATURES:

“I Don't Know With Lemuel Gulliver” has Black as Lemuel Gulliver interviewing Lemuel Gulliver about the Bermuda Triangle. Yes, Black plays two roles here- and even though you can tell that much of it was Black improvising, it says a lot about the main feature when this 5-min special ends up funnier.

“Little and Large” is a featurette on the special effects technology used to create the size differences between Gulliver and the Lilliputians, with a lot of praise reserved for Black and Letterman’s work. “Jack Black Thinks Big” talks about the production design of the island of Lilliput, and how it was styled as a miniature version of New York.

“Gulliver's Foosball Challenge” is a game which mimics Gulliver’s game of foosball against the Lilliputian soccer team- wholly unnecessary if you ask me.

Finally, the “Gag Reel” is just one single outtake and there are eight Deleted Scenes as inconsequential as the movie itself.

AUDIO/VISUAL:

The Dolby Digital 5.1 audio uses the back speakers for a robust surround effect throughout the movie. Visuals are clear and sharp and colours are dynamic. 

MOVIE RATING:

DVD RATING :

Review by Gabriel Chong

Posted on 26 May 2011

SYNOPSIS:

Harry, Ron and Hermione set out on their perilous mission to track down and destroy the secret to Voldemort's immortality and destruction – the Horcruxes. On their own and on the run, the three friends must now rely on one another more than ever…but Dark Forces in their midst threaten to tear them apart.

MOVIE REVIEW:

While many companies have tried to duplicate its success, many had foundered, never to return. After a decade of success, Warner Bros’ money-raking, wizard boy franchise finally comes to an end this summer. And instead of a three hour movie event, we have the final instalment being divided into two parts, the first aptly titled “Harry Potter and the Deathly Hallows Part 1”.

I guess there won’t be that many non-followers of the series that will harshly walk into the theatre or the video store to pick up this title without knowing the story. That will surely be classified as foolhardy no less. For a Harry Potter reader or a fan of the movie series, this seventh instalment by David Yates (who helmed the earlier Order of the Phoenix and Half Blood Prince) will surely be a treat for all.

First a very short summarisation, Part 1 of the Deathly Hallows begins with an exhilarating chase sequence involving the Order of the Phoenix escorting Harry out of Privet Drive while the rest of the movie follows the trio’s (Harry, Ron and Hermione who else) quest to find and destroy Lord Voldemort’s Horcruxes while invading the pursue of Death Eaters. Obviously this is unjustifiable to describe the 146 minutes movie but in reality this is a rather faithful adaptation of J.K. Rowling’s over 700 pages original novel.

David Yates’s treatment of the franchise appears more confident and every single shot onscreen is beautifully framed by cinematographer Eduardo Serra (What Dreams May Come, Girl With A Pearl Earring). With the luxury of running time, regular scriber Steve Kloves took his time to nurture the narrative and story instead of the rush-rush treatment seen in the earlier instalments. The tremendously-long road trip sequence in the middle where the young trio roam the vast, forestry landscape sitting around quibbling is a good example where they are given ample time to showcases their acting ability and the emotional turmoil of their characters.

More British thespians joined the series including Bill Nighy as Minister Rufus Scrimgeour, Rhys Ifans as Xenophilius Lovegood and John hurt as wandmaker, Ollivander making it yet another star-studded event even with their blink-of-an-eye appearances.

Gone are the cutesy magical spells, wondrous creatures and innocent puppy love. “Harry Potter and the Deathly Hallows Part 1” for sure is definitely not for the younger ones. It’s not just taxing of your patience but the Nagini’s (Voldemort’s pet snake) attack at Godrick’s Hollow reeks highly of suspense and peril, possibly one of the scariest in the series I must say. The overall bleak tone and continuous killing of the franchise’s favourite characters makes you reminiscent of their presence and with the companion of French composer Alexandre Desplat’s haunting score, the movie works like magic from the moment the WB logo evolves.

To be frank, I very much enjoyed “Harry Potter and the Deathly Hallows Part 1” as compared to Yates’ helmed earlier instalments despite it being very much a slow boiler for the most parts. However, everyone involved seems to be giving their very best to setup the concluding saga that we can’t help finding ourselves rooting for Harry to destroy He-Who-Must-Not-Be-Named in part 2 even after the credits rolled.

SPECIAL FEATURES:

Check out this cool featurette on how the advancement of technology helps to recreate the tedious sequence of The Seven Harrys.

On the Green with Rupert, Tom, Oliver and James takes viewersto the golf course with these four members from the cast as they discuss candidly about their friendship and on-screen characters over the years. 

Apparently cut due to pacing, these 11 minutes worth of Additional Scenes however plays a pivotal role in enhancing the overall story and narrative. Personal favourites include "The Dursley House," "Dudley and Harry," and "Ron and Hermione Skimming Stones".

Focus Points Featurettes include "The Last Days of Privet Drive," "Hagrid's Motorbike," "Magical Tents," "Death Eaters Attack Cafe," "Creating Dobby and Kreacher" and "The Return of Griphook."These mini documentaries run a total of 19 minutes and showcases behind-the-scenes snippets on how the filmmakers create the magic of wand fights and CG characters etc. 

It’s a bleak somber finale but at least the young cast has a great time filming it as we see the three stars having fun in Dan, Rupert and Emma’s Running Competition.

More mini-documentaries come in the form of The Frozen Lake and The Harry and Nagini Battle as we see Daniel Radcliffefilming one of the movie’s crucial scenes in an underwater tank and battling an unseen CG snake.

The Wizarding World of Harry Potter Grand Opening takes us to the spectacular star-grazing event at the Universal Studio Orlando in the summer of 2010.

We missed the comeback of John Williams but fortunately Alexandre Desplat turns in a respectable moving score as we take a brief look and interview with the French composer in the Behind the Soundtrack segment.

   AUDIO/VISUAL:  

Despite being shrouded in darkness and obvious gray shades all around, the visual look and details is fantastic to the eyes on DVD. Ambient effects are splendid and the action-oriented sequences though aren’t many are robust and active for the Dolby Digital 5.1 soundtrack.

MOVIE RATING:

DVD RATING :

Review by Linus Tee

Posted on 23 May 2011

Genre: Sci-Fi/Adventure
Director: J.J. Abrams
Cast: Kyle Chandler, Elle Fanning, Ron Eldard, Noah Emmerich, Gabriel Basso, Joel Courtney, Riley Griffiths, Ryan Lee, Zach Mills, Amanda Michalka
RunTime: 1 hr 55 mins
Released By:  UIP
Rating: PG (Some Intense Sequence)
Official Website: http://www.super8-movie.com/

Opening Day: 9 June 2011

Synopsis: In the summer of 1979, a group of friends in a small Ohio town witness a catastrophic train crash while making a super 8 movie and soon suspect that it was not an accident. Shortly after, unusual disappearances and inexplicable events begin to take place in town, and the local Deputy tries to uncover the truth - something more terrifying than any of them could have imagined.

Movie Review:

Amblin, Steven Spielberg, JJ Abrahams. These 3 words by the people who swear to movies and hold their lives responsible of how they live their life would agree that by the powers combined, there is no force that can deviate an do no wrong. It 1st sneaked into our visions in the summer of 2010 and totally took us off guard. A car speeding in the countryside. It swerves onto the train track. As soon as we saw it driving towards an oncoming train, all hell breaks loose. Mayhem ensures and total destruction in its epic proportion exploded on the screen, leaving us with our mouth gap wide open. Then all was quiet in the mangle of destruction followed by a bang of the metal containers beyond. It grew louder and violent and that is when we knew, this is going to be an adventure, i can’t wait to hop on. It is times like these, i measure up how good a film is. Call it old fashion and superstitious or even downright silly but, most of the film that dies well, i happen to get goose bumps immediately. Super 8, gave me all those and i was literally hyperventilating.

And now upon watching this masterpiece, let’s dissect why such simple formulaic film does so wall with many. Besides the obvious nature of the reviewer being a total fan-boy of JJ and Steven, it’s the small details that matters. Many film-makers keep in tab of the big picture. the story, set-piece, effects, stars and many more. What these 2 superstars are so good at are human characters, no matter what situation they fall into, no matter how unbelievable or extreme, the core value of human character emotion will always be the connect to the audience.  A likable personality goes a long way and what joy to follow then tagging along kids who has been best friends grouping together making film as a hobby. And it doesn’t need to have big blockbuster Hollywood actors to boost up interest. Super 8 hardly had any star status that hit the ‘A’ list, in fact most are unknowns, but somehow, proper chemistry just makes the whole ensemble give such a wonderful masterful, joy to watch and experience by its side. It’s hard to pin point who was better than the other as each had its spot light to stand in when it was time for them to shine. Truly remarkable acting all around especially the kids, who seemed like they knew each other forever. Or perhaps it’s what they call, acting. So kudos to them.

And as mention before, the storyline is nothing to shout about. It’s simple, genuine but always wrapped around some secrecy that will never be unveiled (that is just SO JJ). But the true genius comes from the film making and storytelling of not telling or showing. Did I just confuse you. You’ll know what I mean when you watch the film. Many scenes scattered around were a gem to discover even with its first frame of film. A single non-moving shot showing a sign showed so much emotion that it gave me a big lump in my throat. Yes, it was that powerful. And the fact that JJ always leaves us to play with our own imagination is such a piece of art. Watching the gas station attack scene unfold before our eyes without even showing the monster (smoke monster anyone? yes, I’m a Lost-ie) or even the major carnage like seeing the car being trashed in the background, out of focus is pure genius. Although the film has an almost spotless track record, there are several pointers that might have pulled it down for others who does not share the same sentiment as I do. By far, everything else that was done right, trumped all and evened out many bumps and made it into a fun ride. It’s definitely the case of the Mystery box where curiosity and wonderment mix with excitement are the main key to bring audience forward.

Children of the 80s has long surrounded it’s pure imagination with the likeness of ET, Close Encounters of the Forth Kind, The Goonies and such. It was the age of adventure, innocence and camaraderie. Those films had heart and full of life and even though it gathered around children and of younger age, you never feel superficial nor fake. Gone were the days since then did we garner such classic storytelling that earned its place in the video cupboard with its rewind and forward burned from repetition. This is where you might call such phenomenon, a classic timeless tale, enjoyed by young or old, any language or religion. Sadly nowadays, film churned and vomited out of theaters have prioritize their target audience and has forced us to mature and grow up to touch on topics that are new and current. But very little people know that even us working adults, we do yearn the adventure of a lifetime. The pure joy of exploration and wonderment. And yes ladies and gentlemen, Thank you JJ Abrams for rekindling that young sole out as I sat there in the dark cinema beside my 8 year old self, hands gripping the arm chair in terror, gasping in excitement and screaming in shock. All that rolled in one. I truly had an adventure of a lifetime. Well, close enough.

Movie Rating:

(Film making at its best. A fulfilling enjoyment of cinematic storytelling. Must watch!)

By Lokman B S

Genre: Sci-Fi/Action
Director: Jonathan Liebesman
Cast: Aaron Eckhart, Michelle Rodriguez, Michael Pena, Bridget Moynahan, Ne-Yo, Ramon Rodriguez, Taylor Handley, Cory Hardrict, Jadin Gould, Bryce Cass, Joey King
RunTime: 1 hr 55 mins
Released By: Sony Pictures Releasing International
Rating: PG (Violence And Some Intense Sequences)
Official Website: http://www.battlela.com/

Opening Day: 17 March 2011

Synopsis: For years, there have been documented cases of UFO sightings around the world - Buenos Aires, Seoul, France, Germany, China. But in 2011, what were once just sightings will become a terrifying reality when Earth is attacked by unknown forces. As people everywhere watch the world's great cities fall, Los Angeles becomes the last stand for mankind in a battle no one expected. It's up to a Marine staff sergeant (Aaron Eckhart) and his new platoon to draw a line in the sand as they take on an enemy unlike any they've ever encountered before.

Movie Review:

Think “Saving Private Ryan” crossed with “War of the Worlds” without any of their subtlety and you’ll get an idea of what kind of a movie “Battle Los Angeles” is. Indeed, Johnathan Liebesman’s sci-fi war movie hybrid is loud, frenetic, and offers no apologies for being in-your-face for a whole two hours. It is a movie that aspires to be nothing more than a well-made B-grade action movie- and on that count alone, it succeeds tremendously.

Liebesman and his screenwriter Chris Bertolini have little interest in character development and for that matter story, spending only a modicum of time sketching both out in bold and blunt outlines. Through news reports, we are told that what appeared at first to be a meteor shower across several major cities around the world quickly turned out to be an extraterrestrial invasion, and among the cities targeted is Los Angeles where the action- as the title of the movie clearly suggests- will be set.

Whereas the definitive movie of its genre “Independence Day” was concerned with the big-picture scenario, Liebesman’s film turns out to be much more intimate in scope, focusing resolutely on a group of Marines led by the grizzled battle-weary staff sergeant Michael Nantz (Aaron Eckhart) sent to rescue some civilians trapped in a local police station. As a sign of how much it cares about its characters, the film spends only the first fifteen minutes explaining its stock of stereotypical characters.

Among others, there is the young inexperienced lieutenant (Ramon Rodriguez), the Marine battling a psychological problem (Jim Parrack from HBO’s True Blood), the fish-out-of-water rookie (Noel Fisher), the Marine harbouring a grudge against Nantz for losing his brother overseas (Cory Hardrict) and the tough ethnic female (Michelle Rodriguez). These traits are all but token in nature, and throughout the film these characters remain essentially one-note and indistinguishable otherwise.

All is well perhaps, since war hardly has any favourites. Besides Nantz, it’s pretty much anyone’s guess in which order each one of them will be taken out in the name of some fierce battle against the invading species. Add to that list Michael Pena and Bridget Moynahan, the two adults among three other children whom Nantz and his men locate at the station. Besides extraction, their other order of task is to get to safety before the air force blows the shits out of the Santa Monica coastline.

So they run, shoot, hide, rinse and repeat while engaging in urban warfare, staged intensely and exhilaratingly by Liebesman along the streets of LA, inside its low-rise buildings and even on its freeway. Liebesman’s choice of shooting this faux-documentary style makes the movie seem like a first-person shooter game at times, but works brilliantly in placing you right in the heart of the action. Though it is a little too fond of close-ups (which make the occasional medium- or long-shot extremely gratifying), Lukas Ettlin’s gritty handheld cinematography knows when to stop moving and does a surprisingly competent job at keeping the action lucid for its viewer.

Credit also goes to production designer Peter Wenham and the special effects team behind the numerous apocalyptic shots of LA. Wenham strives for the utmost degree of realism here and mostly accomplishes in creating a terrifyingly plausible picture of the carnage and destruction of the city were such an attack to take place. The visuals go a long way in shoring up the credibility of the film’s relentless gung-ho combat action against which it is set- especially amidst Bertolini’s stilted and sometimes laughable dialogue.

But those looking for all-out action are not likely to mind, since Liebesman shows that he is perfectly capable in overcoming these flaws with the kind of gripping action more typically seen in war movies. As with that independent alien movie “District 9” which singlehandedly revived the genre, “Battle Los Angeles” aims for a high degree of realism and largely achieves it admirably. Of course, it isn’t even close to being as smart as that film, desiring to be no more than that shot of adrenaline action junkies crave for. In this respect, if you take it for what it’s worth, you’re bound to enjoy it.

Movie Rating:

(No less- and no more- than a solidly made B-action movie mishmash of “War of the Worlds” and “Saving Private Ryan”)

Review by Gabriel Chong

Genre: Fantasy/Thriller
Director: Catherine Hardwicke
Cast: Amanda Seyfried, Gary Oldman, Billy Burke, Shiloh Fernandez, Max Irons, Virginia Madsen, Julie Christie
RunTime: 1 hr 40 mins
Released By: Warner Bros
Rating: PG (Violence And Disturbing Scenes)
Official Website: http://redridinghood.warnerbros.com/

Opening Day: 10 March 2011

Synopsis: In “Red Riding Hood,” Seyfried plays Valerie, a beautiful young woman torn between two men.  She is in love with a brooding outsider, Peter (Shiloh Fernandez), but her parents have arranged for her to marry the wealthy Henry (Max Irons).  Unwilling to lose each other, Valerie and Peter are planning to run away together when they learn that Valerie’s older sister has been killed by the werewolf that prowls the dark forest surrounding their village. For years, the people have maintained an uneasy truce with the beast, offering the creature a monthly animal sacrifice.  But under a blood red moon, the wolf has upped the stakes by taking a human life.  Hungry for revenge, the people call on famed werewolf hunter, Father Solomon (Gary Oldman), to help them kill the wolf.  But Solomon’s arrival brings unintended consequences as he warns that the wolf, who takes human form by day, could be any one of them. As the death toll rises with each moon, Valerie begins to suspect that the werewolf could be someone she loves.  As panic grips the town, Valerie discovers that she has a unique connection to the beast—one that inexorably draws them together, making her both suspect…and bait.

Movie Review:

In Catherine Hardwicke's "Red Riding Hood", the tone goes darkly dreamy. Not that the fairy tale it's based on doesn't already have its fair share of undertones but the whiff of sexual earnestness gets angsty and its facade as a hip re-imagining of its innocuous source material gets revealed for what it is: "Twilight" in full-on werewolf mode. With a sexy soundtrack of Fever Ray punctuating rolls in the hay and make-out sessions, the film looks firmly onto a teenage audience to fill its coffers given how weak-kneed it is to actually confront any semblance of true horror.

Neil Jordan's 1984 re-telling of the fairy tale, "The Company of Wolves" approaches the psycho-sexual themes inherent in the material to better and haunting measure. And who can forget the truly unique and energetically fervent "Freeway" in which Kiefer Sutherland and Reese Witherspoon play the wolf and Little Red respectively -- how wonderfully crafted that film was in bringing into a modern world, showing how reworking it into a contemporary context isn't just all fluff. And you get a sense that "Red Riding Hood" initially attempted this sort of deep introspective look into the mythology and the foreboding milieu of a town deep within an enveloping wilderness but just loses itself in adhering to a formula of teenage love triangles, familial discords and shirtless hunks glistening in the moonlight.

In the medieval fantasy village of Daggerhorn, sacrifices of pigs and livestock are made each full moon to appease the werewolf that prowls the woods surrounding them. But when a young woman is killed, the men of the village decide to rebel, heading up onto a cave they believe the werewolf dwells and bringing home a wolf's head on a pike. Father Solomon (Gary Oldman), an expert werewolf slayer and overall puritan evil-hunter, tells them that the werewolf would return to human form when dead. The gorgeously red-lipped Valerie (Amanda Seyfried), sister of the slain woman, steps into the picture as a young woman caught between her betrothed fiance, the rich Henry (Max Irons) who her parents want her to marry and the woodcutter (Shiloh Fernandez), who she wants to be with. This burgeoning sexual awakening is short-lived however, when Valerie is given reason to suspect that one of her suitors might just be the werewolf in disguise.

Hardwicke juggles treacherously ludicrous red herrings to keep Valerie from finding out the true circumstances and identity of the murderer. She visits her dear demented grandmother (the fabulous Julie Christie) and learns deep dark family secrets, revealing her own connection to the plot. The essential elements of the fairy tale are here but it's a wholly whodunit and wholovesme affair. If there's one thing to be said for the film though, it's how lush and inviting it all looks on the big screen. Despite its many failings as a motion picture, Hardwicke hits the mark on that aspect. She creates a great atmosphere on a sound stage in the village scenes and splices that in with sweeping aerial shots of the breathtaking and isolating wilderness that sets the film up for so much more than it actually is.

There's a deep dissatisfaction in the film given how polished it looks and how much promise it holds. The lack of gore, sex and true tension is regrettable in how tepid and mediocre its aspirations ended up being but at least there's one thing to be gleaned from this relatively new sub-genre of films and books sexualising dangerous, feral men who survive on blood and flesh is that every girl just wants to be eaten.

Movie Rating:



(Tepid and unimpressive storytelling, but gorgeously shot)

Review by Justin Deimen

Genre: Drama
Director: Li Nanxing
Cast: Li Nanxing, Aaron Chen, Constance Song, Honey Ma, Rebecca Lim, Dai Yang Tian, Zheng Ge Ping, Datok Ong, Rayson Tan, Phyllis Quek, Huang Shi Nan
RunTime: 1 hr 40 mins
Released By: GV
Rating: PG (Gambling Theme)
Official Website:

Opening Day: 14 April 2011

Synopsis: Shin Tian Cai since young was very much influenced by his gambling addicted father. He was known among his peers to be the junior gambling king. When he was 8 years old, his father died in a fire leaving behind Tian Cai to fend for himself.

As years go by…

Tian Cai got married to Zhi Hui who is about to give birth. Tian Cai gambled to support his family and he believes that through gambling he would make himself rich. Tian Cai contacted Honey, who is a junket and has a deep admiration for Tian Cai, in hope that she will be able to introduce him into the high-rollers gambling circle. In order to impress and get closer to Tian Cai, Honey introduced him to high-stakes games. With Tian Cai’s innate gambling instinct and talent, he managed to make a huge windfall. Tian Cai’s talent in the gambling meets has generated envy and hatred from a Taiwanese tycoon Li Guan Jun. Each step that Tian Cai takes, is bringing him closer to his nemesis….

Movie Review:

Perhaps the most memorable role of veteran TV actor Li Nanxing’s career is that opposite Zoe Tay’s Luo Qifang as the professional gambler Yan Fei in “The Unbeatables”, and it seems befitting therefore that his big-screen acting and directorial debut would again revolve around the theme of gambling. The subject is also a deeply personal one for the star, given his revelations last year about his own difficulties with gambling and debt after a business venture went awry in the late 1990s.

This movie therefore comes even more eagerly anticipated especially for fans of Nanxing, who are raring to see him reprise his suave and debonair persona in the TV series. Nevertheless, it’s best to temper your expectations beforehand, for despite the thematic similarities, you won’t get to see Nanxing in full “Unbeatables” glory. For one, the stakes are much lower since there is no competition for some title; for another, this is yet another cautionary tale of gambling.

Like last year’s “Happy Go Lucky”- hands down the most god-awful local movie of the year- “The Ultimate Winner” arms itself with a social cause, that of casting light on the seemingly insidious lure of gambling for addicts and the subsequent ill consequences on family and other relationships- which by extension compels the film to downplay the glories of winning. The association between the two films isn’t in itself a bad thing, except that both movies are scripted by the same person- Harry Yap. While this latest is certainly much better than his previous, Yap’s writing still leaves much to be desired.

Those who have had the misfortune of seeing his former will recognise the same faults in both, beginning with an utter lack of character development. Supporting characters are uniformly one-note- Rebecca Lim’s Zhi Hui is the long-suffering wife of a gambling addict; Constance Song’s Honey Ma is the rich businesswoman who has an unrequited love for Nanxing’s Tian Cai; and Dai Yang Tian is the personal assistant to rich tycoon Champion Lee (Aaron Chan) with a knack for gambling. There’s little more to these characters beyond what has been described above, and little more you’ll know about them at the end of the movie than when they first appear.

But most unfortunate is the poor characterisation of even its lead, Tian Cai (yes, Nanxing’s character), who comes off equally shallow as little more than a good guy with a gambling habit inherited from his father. So decent is he that his worst indulgence appears to be buying a new sports car with his newfound gambling riches and almost knocking down his daughter while picking her up from kindergarten- perhaps the only message hardcore gamblers can glean from this is to drive slower along small roads?

If Tian Cai isn’t an interesting character to begin with, the same can also be said about the poorly fleshed out relationships that he has with the other characters. Why would Zhi Hui, given her aversion to gambling, marry a pervasive gambler like Tian Cai in the first place? Why would Honey Ma fall in love with someone as nondescript as Tian Cai and better still, persist in her love for him when men of her stature like Champion come knocking? Little explanation is given for either, and the failure of the former is especially fatal for the film’s attempt to portray the ill-effects of gambling on family- how are we to believe that Tian Cai’s gambling was what tore his and Zhi Hui’s marriage apart when we can’t be convinced of their love for each other?

Because it has somehow deluded itself that it is a character-driven drama, not enough thought has been given to its plot, which unfolds in three equally weak acts. A supposed emotional twist that leads to the conclusion of act one and the temporary reform of Tian Cai’s gambling habit is laughable; another supposed emotional twist in the second act (involving a suicidal Rayson Tan) strains credibility; and finally, the supposed showdown between Tian Cai and the tycoon Champion amounts to a storm in a teacup. As if fearful that the climactic gambling match may leave viewers wanting more, there is a- actually make that two- last-minute twists right before the end that are just plain dumb.

To be sure, Li Nanxing reveals a good ability at staging scenes- the first third of the movie before the plot and characterisation gives way trots along with a sure and steady hand; and the car racing sequences along the streets of Chinatown and the Esplanade Bridge look impressive. But even his best efforts can’t redeem the bad scriptwriting, and the faults of the movie become only more obvious as it plods to its end.

More disturbing however is Nanxing’s obvious attempt to turn this movie into an exercise in evangelism. There are far more Christian references here than this reviewer was comfortable with- including characters talking about “God and His love”, multiple shots of a huge cross that is part of the façade of a church Zhi Hui and her sister and brother-in-law attend, and also several shots of people clasping their hands in prayer. The unambiguous subtext here is that Tian Cai found his way out of gambling and back on the right path through Christianity (seeing as how Tian Cai is seen in the movie refusing to embrace the faith, sitting outside the Chapel while his wife and daughter are in service inside) and that is bound to be objectionable to some.

Had this movie been positioned as an evangelical movie like “Fireproof” or “Facing the Giants” in the United States, these overt references would probably be more palatable- but to sneak them up on a mainstream audience of different faiths is troubling. The last straw for this reviewer was when the movie concluded with Tian Cai reconciled with his wife Zhi Hui distributing flyers in front of the Toa Payoh Public Library to passers-by, inviting them to join their church. Not to be presumptuous, but it stands to reason if such proselytisation should be allowed in the first place.

It explains however the name of the production company behind this movie, a hitherto-unknown Cornerstone Pictures, the Biblical reference unmistakable. But Christian references aside, this is still a deeply flawed movie that wastes the potential of its actors (especially the renowned “Taiwan Ah Seng” and “Taiwan Thunderbolt Fire” actor Aaron Chen) as well as the expectations of its audience waiting to see an “Unbeatable” comeback from Li Nanxing. It’s no secret that local productions need support from local audiences and critics alike, but there needs to be reason for that support, and “The Ultimate Winner” ultimately offers little.

Movie Rating:

(Hardly a winner- no thanks to a laughable plot, poorly defined characters and a ill-advised attempt at Christian evangelism)

Review by Gabriel Chong

Genre: Comedy/Drama
Director: Jiang Wen
Cast: Chow Yun Fatt, Ge You, Jiang Wen, Carina Lau, Hu Jun, Chen Kun, Feng Xiaogang, Miao Pu, Zhou Yun
RunTime: 2 hrs 12 mins
Released By: GV & Scorpio East Pictures
Rating: NC-16 (Some Violence & Sexual Scenes)
Official Website:

Opening Day: 31 March 2011

Synopsis: Set in China during the warring 1920s, notorious bandit chief Zhang descends upon a remote provincial town posing as its new mayor, an identity that he had hijacked from Old Tang, himself a small-time imposter.

Movie Review:

We really can’t ask for anything more, can we?

Jiang Wen and Ge You, two of China’s greatest actors, have come together to star in this action comedy co produced by China and Hong Kong. Jiang, whose filmography includes Jasmine Women (2004) and Warriors of Heaven and Earth (2003) is a director himself, more identified with the “sixth generation” that emerged in the 1990s. His last film, The Sun Also Rises (2007), made us sit up and marvel at his refreshing filmmaking skills. Ge, recipient of the Best Actor Award at the Cannes Film Festival for his moving rendition of a father in Zhang Yimou’s To Live (1994), is an acclaimed artiste whose body of work includes A World Without Thieves (2004) and If You Are The One (2008).

So you can expect, pardon the pun here, more than flying bullets when these two highly regarded actors appear in the same production.

Next, we go on to gawk over the third leading man in this movie – Chow Yun Fatt. The highly versatile actor has impressed us with his wide range of roles including the raging emperor in Curse of the Golden Flower (2006), the pirate lord in Pirates of the Caribbean: At World’s End (2007) to, err, the master of Zen in Dragonball Evolution (2009).

We have spent a substantially large portion of the review on the three protagonists’ past works – what exactly are we avoiding here?

Well, first things first, we really do not want to spoil the fun by revealing too much of the plot. All we can say is that it involves a bandit chief who visits a provincial town, posing as its new mayor. The ingenious twists and turns in plot development is almost indescribable in words – viewers should expect nothing less than a smartly written script penned by Jiang and his team of writers, based on Ma Shitu’s novel “Ten Nighttime Stories”.

Second, film lovers will instantly identify Jiang as a capable filmmaker who knows his stuff inside out. The distinctively wacky approach to telling this dramatic tale brings to mind other ingenious directors like Quentin Tarantino and Sergio Leone. Couple that with very intelligent dialogue exchanges that bring out the best in Chinese culture. The many quotable quotes feature choice of words, idioms and expressions that will have the thinking viewer smiling from ear to ear. Be it Zhao Fei’s spectacular cinematography, William Chang’s lush costume design or Jiang Wei’s intricate artistic design, it is evident that Jiang is one sure handed and confident director who is capable of bringing out the best of cinema.

Of course, we wouldn’t miss out on the captivating performances of the cast here – it is the reason why we had our eyes glued to the screen from beginning to end. The film features many supporting characters played by both familiar (Carina Lau, Chen Kun, Feng Xiaogang, Hu Jun) and unfamiliar (Liao Fan, Miao Pu, Ma Ke, Wei Xiao amongst many others) faces, but you find yourself identifying each and every of their well developed personalities. 

And we haven’t even mentioned the sly political references Jiang has inserted into his commercial movie (just check out the number of computer generated effects and the large crowd scenes to get an idea of how much resources were pumped into this project) – clever viewers just need to pay extra attention to how the scenarios play out to get an idea of the commentary Jiang is making on Mainland China.
    
When the end credits roll for this 132 minute movie, you’d be overwhelmingly impressed with the entertainingly smart piece of work which you’ve just seen.

Movie Rating:



(A clever and well produced Chinese film which will fascinate and enthrall)

Review by John Li