Genre: Action
Director: Keishi Ōtomo
Cast: Takeru Satoh, Emi Takei, Yu Aoi, Go Ayano, Taketo Tanaka, Munetaka Aoki, Genki Sudo, Eiji Okuda, Koji Kikkawa, Yosuke Eguchi
RunTime: 2 hrs 14 mins
Rating: NC-16 (Some Violence)
Released By: Encore Films and Filmgarde
Official Website: http://www.encorefilms.com/kenshin

Opening Day: 29 November 2012

Synopsis:  Nearly 140 years ago, in the last days of the Shoguns, there was a man known as “Battosai the Killer,” feared as the most powerful assassin. He was faster than a god, stronger than a demon, and had a leading spirit of the Meiji Restoration. In a flash he downs any number of opponents. Once he pulled out his sword, nobody survived against him. As the war ended and the new Meiji era came, Battosai vanished from the world. The only thing that remained was his legend. 10 years later, a man appeared in a world still in disarray. His name is Kenshin Himura, a wanderer who saves people with a back-blade sword that cannot kill. This is Battosai the Killer, who has taken a pledge never to kill again. In order to bring peace to the world so that his loved ones can live safely, Now Kenshin’s battle begins!

Movie Review:

Relying on the familiar narrative of a warrior who tries to shed his violent past in pursuit of a peaceful existence, this live-action adaptation of the highly popular manga and anime series (sometimes known as ‘Samurai X’) based on the well-known Civil War hero Himura Kenshin makes one wonder why there aren’t more of such films coming out of Japan. To say it is good is an understatement, because director Keishi Otomo’s film really is a rip-roaringly entertaining samurai movie that packs a riveting punch.

We’d have to admit that we aren’t acquainted with Nobuhiro Watsuki's original shonen manga nor the anime series that followed, so we won’t be able to inform fans of the former or the latter if this adaptation stays close to its source material. From what we have gathered though, Otomo – who co-wrote the screenplay with Kiyomi Fujii – has taken from the first two story arcs of the series, namely Kenshin’s vendetta with an opium dealer during the early years of the Meiji Restoration as well as his harrowing past during the Civil War that led to the cross-shaped scar on his face.

When we are first introduced to Kenshin, it is already the deciding battle of the revolution - the battle of Toba-Fushima in 1868 – and amid stark sobering scenes of bloodshed and death, Kenshin, better known as the fearsome ‘Battosai the Killer’, slices the last remaining cohorts of the Shogunate. As news spreads of the Emperor’s victory, Kenshin is content to ditch his sword for the solitary life of a wanderer – even as his fellow samurai, Jin'e (Koji Kikkawa), warns him that a samurai lives and dies by the blade.

Ten years later, Kenshin has pretty much managed to live his choice of seclusion, before running one day into Kaoru (Emi Takei). Kaoru runs the fencing school left to her by  her father, a school whose name has however been vilified for being that of ‘Battosai’ widely believed to be responsible for a string of murders around Tokyo. A psychopathic warrior who manages to escape death from Kenshin’s blade in the battle has assumed the name of ‘Battosai’ and now goes about doing the bidding for the ruthless businessman Kanryu (Teruyuki Kagawa).

Rapacious for power, Kanryu amasses his own private army of ex-samurai, most of them he wills into his service by getting them hooked on a special brand of opium he develops with reluctant pharmacist Megumi (Yu Aoi). Kenshin is forced to revisit his deadly ways when Kaoru, whom he develops an affection to, is threatened first by a sudden run-in with Battosai and later on when Megumi seeks refuge from Kanryu’s men at the dojo. The only difference? Kenshin now fights with a ‘reverse sword’, or simply one with the sharp edge reversed.

Truth is, you can pretty much guess where the story is headed, but what makes the movie so enjoyable is the exhilarating fight choreography from action director Kenji Tanigaki. Indeed, the best parts are when we see Kenshin wielding his sword against numerous other opponents, even without the benefit of a lethal blade. Tanigaki ensures that the action is never repetitive, and each sequence boasts its own balletic rhythm to keep you engrossed. Unlike some wuxia films, Tanigaki also opts for a realistic style even with the requisite wirework, offering his audience the spectacle of fluid and furious swordplay without the exaggerated embellishments.

In between the clashing of swords, Otomo stages confidently the bond that develops between Kenshin and Kaoru. Rather than conforming their relationship to some formulaic romance, both characters are allowed to play out a more complex relationship that is entwined with Kenshin’s own demons from the past. And in that regard, it is fortunate that both Sato and Takei are better actors than to resort to the melodramatic trappings of TV romances where both hail from, with both performers also sharing a graceful chemistry with each other.

That they are able to deliver such nuanced performances is also to Otomo’s credit, who directs the movie with an assured hand. Rather than the slapstick humour we are told is part and parcel of Kenshin’s character in the manga, Otomo opts for a more down to earth portrayal, so even the light heartedness is never overplayed. Similarly, Otomo drops the exposition on the various schools and techniques of kenjitsu, and keeps to having some other character name the cool-sounding move that Kenshin executes whenever it is expedient.

It is inevitable given its origins that fans of the manga and anime will bring their expectations to bear on this live-action version. Nonetheless, in going for a more true-to-life feel, this adaptation is, in our opinion, all the better for it. It’s not one of those Yoji Yamada samurai movies, nor is it anywhere close to Takashi Miike’s ’13 Assassins’, but this is solid blockbuster entertainment with universal themes of pacifism, vengeance and love packed with a distinct Nippon flavour. 

Movie Rating:

(Opting for a more down-to-earth feel than the original manga or the anime, this live-action adaptation is as cool and exciting as samurai movies get)

Review by Gabriel Chong
  

Genre: Comedy/Romance
Director: Hou Jiran
Cast: Kai Ko, Jian Shu-Man, Guo Shuyao, Nikkie Shie, Bryan Chang, Peggy Tseng
RunTime: 1 hr 25 mins
Rating: PG13 (Brief Coarse Language)
Released By: Festive Films & Cathay-Keris Films
Official Website:

Opening Day: 6 December 2012

Synopsis:  This is a cute romantic love story which takes place in a neighbourhood where there are many "cram schools". A young man works at a copy shop and is stuck in the daily boring routine of making copies for test papers. On one of these monotonous days, he finds a drawing of a sheep on the back of a piece of test paper, which leads him to an unexpected journey.

Movie Review:

Your appetite for whimsy will ultimately determine how much you enjoy this latest Taiwanese rom-com, a cute but questionably lightweight story of the boy-meets-girl scenario that plays out against the backdrop of the famous cram school district of Nanyang Street in Taipei. For the uninitiated, that street boasts a conglomeration of innumerable cram schools (the equivalent of ‘tuition centres’ in Singapore) – though what lessons that might have about the pressures facing today’s youth are largely glossed over.

Instead, writer/director Hou Chi-Jan’s sophomore feature is singularly focused on the blossoming romance between Tung (Ko Chen-Tung) and Yang (Jian Man-Shu). The former is nursing a broken heart after his girlfriend (Nikki Hsieh) dumps him with a Post-It note that reads ‘I’m off to cram school’, so after days of staring dumbly at the note, he packs his bags for Nanyang Street in the hope of seeing her – and finds himself working at a photocopying shop preparing test papers for the cram schools in the district.

The latter is a budding artist working as a teaching assistant at one of the schools called ‘Sure Win’, who sketches little cartoons of sheep on the test papers before they are sent to print. Coincidentally, she’s also waiting to be reunited with a lost love, and the pair of jilted lovers begins to forge a connection when Tung draws a wolf on one of the test papers with Yang’s sheep and mistakenly sends it to print. Because the photocopied papers are subsequently distributed, their wolf-sheep cartoons catch like wildfire among the students enrolled at the school Yang works and almost instantaneously gain a rabid following.

In the process, Tung and Yang also get to know and enjoy each other’s company better – and though the tone is generally light and frothy, Hou does venture into slightly more melancholic territory when he depicts Yang’s obsessive-compulsive rituals as a consequence of her mother’s early death. But in order to reach that foregone point where both our leading characters pledge their love for one another, there’s still that baggage from their past relationships they need to leave behind.

Here is where Hou tries to get philosophical about love and letting go, using several metaphors to put across his point. So as Tung goes about looking for someone he has lost, he also takes on a personal mission to reunite others with that someone or something they have lost – even if it means dredging up unpleasant memories from the past. On the other hand, Yang adopts a much more down-to-earth attitude – if what she has lost isn’t back by the time she counts to a hundred, she simply moves on.

Yet what is supposed to be ruminative is in fact much less profound than it wants to be, and Hou’s musings about moving on in life tend to be more superficial than thought provoking. Still, if anything, its triviality is matched by the frivolous tone of the movie, as the live-action story is interrupted time and again with cutesy animations with their own quirky appeal. Hou also uses other visual techniques like split-screens, slo- and fast-motion, and even stop-motion to give the movie a distinctively wry flavour – and like we said earlier, if you like whimsy, then this will definitely tickle your fancy.

It’s also not hard to like the film when the leads are as appealing as Ko Chen-Tung and Jian Man-Shu. Fresh off his win as Best New Performer at the 2011 Golden Horse Awards for his role in ‘You Are the Apple of My Eye’, Ko displays the same laid-back charm here and shares a winning chemistry with the bubbly Jian. But it is Jian who steals the show, the TV actress in her first big-screen feature bringing a delightfully idiosyncratic appeal to her character. Unfortunately, none of the other characters make much of an impression – not even Guo Shu Yao as a shrewd and calculative employee of ‘Sure Win’ or Tsai Chen Nan as the school’s self-confident boss.

Neither for that matter are Tung and Yang fully sketched out, as Hou seems more content on dishing out lessons on love that are frankly inconsequential to say the least. There’s more style than any substance here – even if its deliberately whimsical style manages to be mildly beguiling. If that’s enough for you, then you have come to the right farm; otherwise you’d be better off grazing in some other greener pastures. 

Movie Rating:

(Good only if you are looking for something light-hearted and whimsical)

Review by Gabriel Chong
  

SYNOPSIS: America. Liberty. Freedom. Candidates Cam Brady and Marty Higgins care about none of these as they race for the North Carolina congressional seat in this "big, broad, laugh-out-loud farce". When four-term incumbent Brady finds himself involved in a scandal. the wealthy powers that be decide to back newcomer Higgins as their pawn against him. As voting day approaches, the two literally pull no punches in the dirtiest and funniest political fight of all time... or at least until the next election.

MOVIE REVIEW:

Released during the U.S. Presidential election, “The Campaign” is a laugh-out-loud satire piece which is so politically incorrect that it’s probably qualifies as one of Will Ferrell’s funniest movies in recent times.  

Helmed by Jay Roach (of Meet the Parents and Austin Powers fame) who is no stranger to comedies, the movie centers on Cam Brady (Ferrell), a long-time unopposed congressman in North Carolina. Brady apparently not the wisest man on earth got himself embroiled in a sex scandal as voting day approaches and the rich powers behind him decides to focus their resources on an unknown, dimwitted local owner of a tourism agency, Marty Huggins (Zach Galifianakis). The fight for America and liberty begins as the two men resort to the dirtiest of tricks and stunts.

The slim 85 minutes runtime successfully pull off some fast and furious gags. There is simply too much material to make fun of in a game of politics, the usual baby kissing becomes a punching sandbag segment and reciting the Lord’s prayer to show he is a man of God turns into a crude game of charade for Brady. “The Campaign” works because it is outrageously raunchy and the humour hits out at every mechanisms of an election. Political ads become sort of liked mini porn clips and Cam Brady who has no sense of any shame even went on to seduce the wife of Huggins.

The movie’s only weak point is when it attempts to turn serious and bring in the rich Motch Brothers’ (John Lithgow and Dan Aykroyd) scheme to profit from illegal dealings with Chinese companies and bringing in cheap labour from China to North Carolina to replace the local workers. The idea is high concept but unfortunately it works against the abundance lowbrow, comedic elements and barely scratches the surface of the problem it’s trying to take a shot at.  

The pairing of Ferrell and Galifianakis is a joy to watch. We haven’t seen the two of them headlining a production before and “The Campaign” is often funny as a result of the duo’s chemistry. Other familiar faces you might spot are Jason Sudeikis (Horrible Bosses) as Brady’s advisor and Dylan McDermott as a ruthless campaign manager. If you think politics is nothing more than badmouthing, backstabbing and sleeping with other women other than your own wife then get ready for “The Campaign” which offers an over-the-top look at politics and election.   

SPECIAL FEATURES:

The extra feature consists of 9 (mostly hilarious) Deleted Scenes.

AUDIO/VISUAL:

“The Campaign” looks good on DVD with natural, sharp images. Sound is clear with the occasional ambient sound effects to fill up the rear speakers.

MOVIE RATING:

DVD RATING :

Review by Linus Tee

SYNOPSIS: Eight years ago after assuming the blame for D.A. Harvey Dent's death, a disgraced Batman mysteriously vanished. But everything changes with the appearance of a cunning cat burglar and the arrival of Bane, a ruthless madman. Bane's reign of terror forces Bruce out of his self-imposed exile and into the ultimate battle for Gotham City's survival...and his own.

MOVIE REVIEW:

With the release of “The Dark Knight Rises”, it marks the closing chapter of Christopher Nolan’s acclaimed Batman trilogy. Much has been said about the money-raking franchise but all I can add is no matter how chaotic or bloated the last instalment may be, it remains one of the most powerful live-action adaptations of the beloved comic character created by the late Bob Kane over 70 years ago.

The story by Nolan, his younger brother Jonathan and David S. Goyer continues from “The Dark Knight” with Batman aka Bruce Wayne (Christian Bale) living in recluse after assuming the blame for Harvey Dent’s death eight years ago. However when a mysterious ruthless mercenary, Bane (Tom Hardy) starts to terrorize Gotham City and captured Commissioner Gordon (Gary Oldman), Batman finally moves on from his sadness and vowed to take on Bane with the help of a cat burglar, Selina (Anne Hathaway).

Instead of a simple good vs evil superhero tale, Nolan and company bite off more than they could chew in this instalment. Introducing Bane as the villain who matches Batman’s intellect and twice his physicality seems to be the perfect choice to end the trilogy with a bang. Unfortunately, Hardy’s Bane is nowhere as satisfying as Ledger’s Joker or should I say compelling enough. The introduction of more new characters such as Catwoman, a young rookie cop John Blake (Joseph Gordon-Levitt) and a suspiciously-looking love interest of Wayne, Miranda Tate (Marion Cotillard) muddled the story further. Add to the usual cast members, that include Wayne’s loyal butler, Alfred (Michael Caine) and gadget man Lucius Fox (Morgan Freeman), “The Dark Knight Rises” becomes a busy affair filled with a capable cast.     

All is not lost however under the hands of a great storyteller liked Nolan as he manages to pull off nearly every single details to form a complete circle despite several pratfalls. Still remember the League of Shadows and Ra’s al Ghul from “Batman Begins” anyone? The movie expectedly offers plenty of jaw-dropping, awesome moments whenever Batman or Bane turned up. The breath-taking opening aerial sequence, the fight between Batman and Bane in front of New York stock exchange, the explosion at the stadium and Batman’s latest vehicle dubbed The Bat are just some of the highlights. Nolan and his team had conceived the major set pieces with plenty of hardworking physical effects put in, something that is seldom seen in today’s blockbusters and movie making process. 

In terms of tension, the last 30 minutes of the movie scored a higher point than the conclusion of both “Batman Begins” and “The Dark Knight” with a dazzling display of bombastic action and weaving an ending that will leave you guessing, same as what Nolan did for “Inception”. Did he or did he not? For the most part, it is smartly written and paced yet again comparing with the second one, “The Dark Knight Rises” occasionally misses the mark with its suffocating second act that tries hard to sell Bane’s backstory. Despite that, Nolan’s treatment of the Batman character will forever remain a tough act to surpass. A commercial entity that marries popcorn cinema with sincere storytelling, well only “The Dark Knight” trilogy can accomplished that. Definitely one title to match another superheroes caper called “The Avengers” in 2012.

SPECIAL FEATURES:

The Batmobile is an hour long documentary on the ever-evolving history of the batmobiles, from the Adam West’s classic version to the tumbler. Containing lots of interviews with the original engineers and designers of the iconic vehicles, this feature alone is worth the price of the DVD.     

Ending The Knight is divided into three sections: Production, Characters and Reflections.

Production lasts 68 minutes and broken into 12 smaller segments covering the various aspects of making the movie such as the stunts, special effects, set design, sound design, music and more. It’s amazing to watch the extent Nolan and his crew emphasised on practical effects in such a big scale movie.

Characters consist of “The Journey of Bruce Wayne”, “Gotham's Reckoning” and “A Girl's Gotta Eat” detailing the character development, costume design and casting of Batman, Bane and Catwoman.

Reflections have cinematographer Wally Pfister talking about shooting in IMAX and location shooting and director Christopher Nolan’s and his main crew members share their feelings on closing the epic trilogy.

The Special Features DVD also contains 4 trailers in the Trailers Archive and a Print Campaign Art Gallery.

AUDIO/VISUAL:

“The Dark Knight Rises” looks striking on DVD with clear deep black level and natural skintones. Visual images are lovely and the Dolby Digital 5.1 is both robust and immersive all thanks to Hans Zimmer’s sometimes overwhelming score and the terrific sound design of the tumbler and The Bat when they are in action on screen.

MOVIE RATING:

DVD RATING :

Review by Linus Tee

SYNOPSIS: Sparkle is a timeless story of the bonds of family, the trials of success and the power of music. In her feature film debut, "American Idol" sensation Jordin Sparks stars as Sparkle, a young woman whose big dreams seem almost impossible. She's been warned against the pitfalls of the music industry by her protective mother (Whitney Houston), yet encouraged by the handsome and ambitious Stix (Derek Luke), Sparkle forms a trio with her sisters (Tika Sumpter and Carmen Ejogo). Together, they perform the soul-stirring songs that Sparkle pens. But as their fame grows, so does the risk of jealousy, self-doubt and insidious temptation. This sweeping drama is brought to life with a powerful cast including Mike Epps, Omari Hardwick and CeeLo Green.

MOVIE REVIEW:

‘Sparkle’ was supposed to have been American idol winner Jordin Sparks’ movie debut, but that milestone has been all but replaced by the fact that it will be the final screen appearance of Whitney Houston. In addition to playing Sparks’ onscreen mother, Houston also executive produces the film, which is now even more notable for having parallels with Houston’s own life story.

It is in fact a remake of a 1976 film starring Irene Cara and Lonette McKee (and featuring the music of Curtis Mayfield), and here Houston’s Emma is a former singer in late 1960s Detroit who has since eschewed her previous lifestyle of excess to become a prim and proper church-loving lady. Most fearful of her three daughters following in her shadows, she disapproves of them chasing after the glitz and glamour of showbusiness – but of course, that’s just what Sister (Carmen Ejojo), Delores (Tika Sumpter) and Sparkle (Sparks) will do.

Armed with Sister’s sultry and magnetic stage presence and Sparkle’s gift for songwriting,  the all-girl band who call themselves ‘Sister and Her Sisters’ begin harmlessly enough one night at an open-mic singing competition. Instantly wowing the audience over, the trio are thrust from obscurity to fame under the management of Stix (Derek Luke), who hasn’t had much experience being a manager but knows talent when he sees it.

Their meteoric rise hits a bump when the ambitious Sister looking for a fast way out of her working-class Detroit life ditches her lover Levi (Omari Hardwick) and moves in with the smooth but dangerous sweet-talking millionaire Satin (Mike Epps). A downward spiral of physical abuse and drugs ensue, the latter of which is the reason why the film has been compared to a cautionary tale of Houston’s own life.

Indeed, the late singer’s own demons haunt the film in more ways than one, as what was supposed to be her powerful solo (‘His Eye is on the Sparrow’) turns out underwhelming, her clear lyrical voice now sounding coarse and strained. But Houston remains a consummate performer, and in her pained eyes as she belts out that gospel standard, we sense not just her character’s despair as well as possibly her own personal regrets – though no matter the inferences, it is still one of the genuinely emotional parts of the movie.

The rest of the supposedly moving bits are otherwise familiar clichés, and even if writer Mara Brock Alil doesn’t transcend the familiar, director Salim Akil still infuses the movie with an infectious energy and spirit that you can’t quite resist. In particular, the musical numbers are always engrossing to watch, with ‘Sister and Her Sisters’ making a wonderfully appealing group with Sister’s sultriness, Dolores’ sass and Sparkle’s spunk. Akil also balances the myriad elements of the film – family, fame, fortune, talent, romance, hopes, fears, doubts and last but not least, spirituality – competently, while keeping the narrative moving along at an engaging pace.

Of course, three key reasons why the film is always an interesting watch are its three lead actresses. Sparks, Ejojo and Sumpter all deliver committed performances and share great chemistry with one another – but the true standout here is Ejojo, the British actress thoroughly convincing as her character cycles through hope and despair watching the life she had always dreamt of crashing right down on her. This is unfortunately a ladies’ show, and not even Luke or Epps can manage to steal any of their star power.

Just as important in a musical film like this is the singing, and the cast truly knock it out of the park. Sparks truly – pardon the pun – sparkles when she is called upon to emote her feelings by belting out a musical number, and though the advantage already exists in her being a talented singer, her solo renditions prove she has what it takes to be an actress as well. R&B singer R. Kelly served as executive music consultant on the movie, and his experience with retro music of the 60s and 70s shows in the classy reproductions of Mayfield’s original tunes.

For a mid-budget film that never had the Oscar ambitions of its flashier cousin ‘Dreamgirls’, ‘Sparkle’ manages to pull off quite a feat with terrific singing and impressive acting pulled together in a more conventional narrative package that is nonetheless directed with enough flair. If you’ve enjoyed ‘Dreamgirls’, you will enjoy ‘Sparkle’ as much – at the very least, it is a befitting sendoff for Houston, who at the height of her stardom, was both a singer and an actress to be reckoned with. 

SPECIAL FEATURES:

Akil does a commendable Director's Commentary here, sharing interesting insights into the music, the mood he was trying to accomplish, the character design and various other aspects of the production. The man has done his research, and it shows. 

A Tribute to Whitney Houston is done surprisingly respectfully, as cast and crew take turns to share what it was like working on the set with her as well as their fondest memories of the gifted singer/ actress. 

Finally, A Dream Come True chronicles the production difficulties of the movie, right from its genesis as a star vehicle for the late Aaliyah back on the Warner Bros lot, how it came to Sony, and then the creative challenges remaking the 1976 cult movie for a modern day audience. 

AUDIO/VISUAL:

The Dolby Digital 5.1 is a masterful package that gives a good surround to the musical numbers in addition to delivering vocal clarity, good bass and crystal clear accompaniment. Picture is delivered with sharp clarity, with vivid colours and contrast no matter whether outdoors or in the myriad indoor luminescent scenes.

MOVIE RATING:

DVD RATING :

Review by Gabriel Chong
 

Genre: Action
Director: John Stockwell
Cast: Cam Gigandet, Freddy Rodriguez, Anson Mount, Xzibit, William Fichtner
RunTime: 1 hr 41 mins
Rating: M18 (Nudity)
Released By: Shaw
Official Website: http://channel.nationalgeographic.com/channel/seal-team-six-the-raid-on-osama-bin-laden/

Opening Day: 3 January 2013

Synopsis:  "Code Name Geronimo" is based on the military incursion into Bin Laden's compound from the perspective of a small contingent of Navy SEALS. The film takes a look inside their lives as tensions rise between them until they learn the identity of their latest target, whose code name is Geronimo.

Movie Review:

Shamelessly cashing in on the assassination of the world’s most wanted terrorist Osama bin Laden is this made-for-TV movie ‘Code Name Geronimo’, which was in fact named ‘Seal Team Six: The Hunt for Osama bin Laden’ when it was first telecast in the United States on the National Geographic Channel no less. Don’t be fooled that it therefore must be credible though; rather, director John Stockwell and writer Kempall Lemkin have just taken the barest of truths to hatch a tired and tedious piece of docu-drama that does neither the event nor the heroes whom made it happen justice.

The film begins ten years back in Guantanamo Bay, where an unnamed prisoner is threatened to have his skin peeled back by the Saudis unless he gives up the name of Osama’s courier. So he does, and in present-day Pakistan two local CIA operatives have apparently tracked him down to a compound in Abbottabad where he is suspected to be holed up with Osama himself. The operatives set up surveillance in a building opposite, where they convey intel back to Langley to decide on the next course of action.

That debate is the second perspective from which the story unfolds, where a female analyst Vivian Hollins (Kathleen Robertson) is fighting to convince her immediate supervisor (William Fitchner) to authorise a raid on the compound with the firm belief that Osama is in there. Her adversary in that regard is a smart-alecky tech-wiz Christian (Eddie Kaye Thomas), who pooh-poohs her hunch until some photographic evidence late into the film convinces him otherwise.

In the meantime, an elite Seal Team is mobilised to get ready for the impending operation. No thanks to some terrible character development, little is known about their individual personalities – be it their team leader Stunner (Cam Gigadnet) or fellow members Cherry (Anson Mount), Trench (Freddy Rodriguez) and Mule (Xzibit). What passes for story is that they each have families they miss back home, and Stunner’s wife is cheating with Stunner because the former has been too emotionally distant.

If that doesn’t make for very gripping storytelling, it is already the best that this lame movie can offer. All we get from Hollins’ side of the story is some juvenile bickering whether or not the intel they have is solid and whether or not to act on it – frankly, we sympathise neither with Hollins because we see none of that so-called intel, nor with Christian because all he comes across is whiny, egotistic and downright infantile. It is thus laughable when Hollins insists on getting on the phone with Defense Secretary Leon Panetta, since we see no reason why he should buy her story.

Neither does the perspective of the two Pakistani CIA operatives make for gripping viewing. More than half the time, we see them in a jeep tailing someone who’s just left the compound – but not only can we tell that they are definitely following their target too closely, it just makes little sense when we can see that they have the backup of Langley from satellite cameras that can see everything on the ground. Worse still, the dialogue given to actors Rajesh Shringarpore and Maninder Singh (both of whom are uncredited) is appalling,  and not something we’d expect from any intelligent intelligence officer at all.

If all that buildup is naught, then the climax is equally forgettable. Alternately between first-person footage from the head cameras of the SEAL team and third-person footage, the raid is shot with little suspense or excitement. We see not the precision of the SEALs, nor their heroics going deep into enemy territory; instead, most of what we get are shots of them rescuing the women and children in the compound – however politically correct that must be.

In the end, Stockwell’s film fails whether as a dramatization of the events leading up to the assassination of Osama or a factual recount of the research, planning and execution that must have taken place – simply because it is neither accurate nor compelling to qualify as a docu-drama. Though it was accused as being pro-Obama propaganda due to the timing of its airing (i.e. just two days before the election), the references to Obama in the form of his official announcement is kept right at the back; instead, it has no more ambition than to be the first out of the gate (before what we are sure is Kathryn Bigelow’s superior ‘Zero Dark Thirty’) to capitalise on intense public interest on the subject. Our advice? Wait for Bigelow’s movie; this one is a plain misfire. 

Movie Rating:

(Neither insightful enough as a documentary nor compelling enough as a dramatization, this poorly conceived story of the raid that led to Osama’s death is boring and tedious)

Review by Gabriel Chong
  

Genre: Horror/Comedy
Director: Jon Wright
Cast: Richard Coyle, Ruth Bradley, Russell Tove
RunTime: 1 hr 33 mins
Released By: Shaw
Rating: NC-16 (Some Coarse Language and Gore)
Official Website:

Opening Day: 29 November 2012

Synopsis: On Erin Island, an idyllic fishing village off the coast of Ireland, charming but somewhat work-shy Ciaran O’Shea, is tasked with greeting Lisa Nolan, a straightlaced young officer who has arrived from the mainland. Not that there is much for them to do, aside from dealing with the occasional drunk, and that’s usually O’Shea himself. But strange doings are afoot: the crew of a fishing boat disappears, whales start appearing dead on the shore, a local lobsterman catches a strange tentacled creature in his trap. Soon it becomes clear to O’Shea and Nolan that there’s something big out there, and that it’s hungry. It’s time to rally the villagers, arm the troops…and head to the pub.

Movie Review:

The Irish love their alcohol. And what better way to celebrate that national pastime than to make a creature horror where getting drunk is the only way to survive? A premise like that just refuses to be taken seriously, and fortunately director Jon Wright and writer Kevin Lehane are savvy enough to recognise that. Nonetheless, despite a deliberately tongue-in-cheek approach to the material, the effect of their mildly subversive film is pretty much like drinking alcohol – great while it lasts but hollow afterwards.

Set entirely on the fictional Erin Island where a small tightly knit fishing community lives, Wright’s film pretty much uses its first hour to establish the place and the characters within. That means a slow buildup, as we are introduced to local cop O’Shea (Richard Coyle), his new Dublin partner named Nolan (Ruth Bradley) whom he regards with wariness, and marine biologist Smith (Russell Tovey) with the hots for Nolan.

The first sign of trouble for the island is when one of its shores is inexplicably littered with beached whales that have slash marks on their bodies. On that same day, one of the villagers (Lalor Roddy) with a reputation for being perpetually inebriated finds a squid-like creature in his daily catch, which turns out to have a literally bloodthirsty appetite. It also happens to be female, and its capture leads to an imminent clash with the significantly larger-sized male of the species which desperately wants to fertilise her ostrich-sized eggs.

That showdown between man and beast happens one stormy night at the village bar, where O’Shea, Nolan and Smith have congregated the entire community under the guise of free liquor just so they can stay alive when the sun rises the next morning. Alcohol is apparently toxic to the creature, and so if it sniffs enough alcohol under your breath, it knows better than to eat you alive and spit out your head. Besides the fact that it hates alcohol, the creature is also apparently in need of water – hence their plan to hold the village up for the night until dawn.

Wright too holds out until that last stand in the film’s last half hour to reveal the creature in its entirety - which truth be told, looks like a mutant-sized giant octopus. For the shoestring budget the filmmakers had clearly been given, the CG effects are pretty decent. Better still is what Wright manages to do with the finale, which turns out more exciting than you would expect it to. With the help of some sharply scripted lines from Lehane, that extended sequence is surprisingly packed with laughs and thrills – and most of the fun comes from watching our intoxicated lead and supporting characters stagger and fumble as they attempt to be physically drunk yet mentally alert.

But the journey to the best bits is a little too sedated for its own good. Besides a sequence where a couple living in an isolated house on the hill gets attacked by the gargantuan male, there isn’t much exciting going on. Wright tries to develop the chemistry between O’Shea and Nolan, but while the pair do share an easy chemistry, it isn’t quite enough to make up for a lack of anything else happening. We should also warn you that it does take some effort to get past the accents, especially for some of the characters who speak in thick slurs.

Yet that’s inevitable considering how culture-specific its premise is, which considering its potential could definitely have been more. Indeed, those hoping for some fast-paced comedy like ‘Shaun of the Dead’ – as we did – will likely be disappointed by Wright’s deliberate pacing and low-key approach. There is still fun to be had here though, just not quite nearly enough for you to remember it when it is over. Our advice? Get some alcohol of your own while catching it – it’s a perfect accompaniment to this mildly amusing piece of Irish humour.

Movie Rating:

(Great premise but so-so execution - this horror comedy won't grab your attention, but it is amusing enough to tickle your sides)

Review by Gabriel Chong

Genre: Comedy
Director: Andy Fickman
Cast: Billy Crystal, Bette Midler, Marisa Tomei, Tom Everett Scott, Bailee Madison, Joshua Rush, Brad James, Kyle Harrison Breitkopf
Runtime: 1 hr 45 mins
Rating: PG
Released By: 20th Century Fox
Official Website: http://www.parentalguidancemovie.com/

Opening Day: 3 January 2013

Synopsis: When Artie Decker (Billy Crystal) and his wife Diane (Bette Midler) are left alone to care for their grandkids, Grandpa’s old-school methods collide with their modern ways of “teachable moments,” no punishments, and overall lack of fun. Even as the once-orderly household begins to spin out of control, the grandparents employ some unexpected tactics to win them over and teach them to be… kids.

Movie Review:

A clash of parenting styles forms the premise of the formulaic but funny family comedy ‘Parental Guidance’, which sees grandparents Artie (Billy Crystal) and Diane (Bette Midler) pitted against their only daughter Alice (Marisa Tomei) and her husband Phil (Tom Everett Scott) in the upbringing of the latter’s three kids Harper, Turner and Barker. Actually the conflict is really between Artie/ Diane and Alice; whilst the former believe in play and the occasional indulging and chiding, the latter believes in accomplishments, a controlled parenting and the use of encouraging words.

Their collision begins with Diane engages her parents Artie and Diane to look after her kids while she and Phil take the opportunity of a work-related trip to spend some alone time with each other. Though Artie is none too excited about spending a week with his grandchildren he thinks doesn’t like him, Diane is elated at the chance of connecting with them, especially since her daughter Alice and consequently her grandchildren have grown increasingly distant with who they term “the other set of grandparents”.

You can pretty much see where the story is headed – parent and grandparents will argue and bicker with one another before finally reaching that happily-ever-after ending where each realizes that he or she has not always been right. Along the way of course, each character gets his or her own personal issues to be resolved by the time Artie, Diane and Alice come to that common understanding that none of them has all the right answers to the best form of parenting. Rest assured, both writers – Lisa Addario and Joe Syracuse – know the formula down to a pat and are content to just stick with the familiar.

Two things however make this predictably schmaltzy outing work – one, the stars, in particular the veterans Crystal and Midler; and two, director Andy Fickman. Crystal, who drew on his own grandparenting experience for the story, is undoubtedly the best thing that the movie has going for it. Proving his comedic timing to be just as sharp despite a decade’s hiatus from the big screen (his last was the lackluster 2002 sequel ‘Analyze That’), Crystal is witty and lively as ever whether quibbling with the kids or quipping about baseball – the latter of which, we are told right from the start of the movie, was his longtime gig until management decided to go with someone who tweets and pokes.

Crystal’s wisecracking act is matched by a warm performance from Midler, whom he shares great chemistry with. More than a sequence depends on the vivacious repartee between the two veterans, and the pair even share a short dance sequence that allows Midler to demonstrate her vocal prowess. Between them, they have more than enough energy to deal with Harper’s incessant worries about her violin auditions, Turner’s insecurities manifested in his stuttering speech, and Barker’s whims expressed through an imaginary kangaroo friend named Carl.

All that shtick is directed with snap by Andy Fickman, who has proven with the Disney comedies ‘The Game Plan’ and ‘Race to Witch Mountain’ that he understands the language of broad family comedies. He knows the punchline in every scene, and never lets one drag on past its welcome. He also manages the tempo of his child actors properly, so that neither of their idiosyncrasies cross the line from being endearing to annoying. And above all, he never overplays the schmaltz, so that the emotional beats of the movie are never overdone.

Sure it does get predictably sentimental especially at the end when differences are embraced and familial bonds are reaffirmed, but such family fare works as comfort food that young and old can easily identify and enjoy. At least the jokes hit more than miss, the actors look genuinely in the game, and even the mawkish parts do get to you – so if you’re looking for something the kind of classic Hollywood comedy the whole family can enjoy, ‘Parental Guidance’ is your safe bet. 

Movie Rating:

(Lively performances from Billy Crystal and Bette Midler redeem this predictable holiday schmaltz to be something enjoyable and entertaining enough for the whole family)

Review by Gabriel Chong

SYNOPSIS: Project X follows three seemingly anonymous high school seniors as they attempt to finally make a name for themselves. Their idea is innocent enough - Let's throw a party that no one will forget - but nothing could prepare them for this party. Word spreads quickly as dreams are ruined, records are blemished and legends are born.

MOVIE REVIEW:

You know what it feels like to party your heart out, get wasted and not remember anything at all the next morning except the fact that you’ve just had an awesome night? Well that about sums up the kind of experience “Project X” aims to deliver. As far as shallow movies go, this pretty much takes the cake; but if you’re just looking to have a smashing good party, then well you won’t get any more epic than this movie.

The plotting is simple – under the guise of celebrating Thomas’ 17^th year-old birthday, his friends Costa and JB decide to organise a party and invite the whole school. The only problem is that they aren’t exactly the most popular kids around, so Costa basically issues an open invite to anyone and everyone out there (including blasting a notice on Craig’s List) to come to Thomas’ residence and have the most epic party of their lives.

Of course it just so happens that Thomas was born on the same day as his parents’ wedding anniversary, so instead of celebrating with Thomas, they have taken the weekend off to celebrate their own occasion. Instead of the fifty-plus people Thomas had intended, attendance swells into the hundreds, with almost every young and hot-blooded male and female teenager in the neighbourhood turning up under the promise of booze, drugs and music.

Predictably, things go south very quick. First, their sheer numbers means that the backyard isn’t enough space for all of them, so they start spilling into the house. Then the two 13-year old guards Costa hires to manage entry into the party start getting over-enthusiastic about their job, going to the extent of breaking and entering the house of one of the neighbours who have called the police about the noise.

But all of that seems trivial when a true anarchist turns up in the normally quiet Pasadena neighbourhood looking for Costa - after the latter steals his Christmas gnome while buying weed from him – and uses his blowtorch to set fire to trees and cars along the road. Soon the damage isn’t just to Thomas’ house but to each and every one of the houses in the neighbourhood which are plummeted by water bombs dropped by helicopters to put out the raging blaze.

It’s utter chaos we warn you – but if you are going to start nit-picking on Matt Drake and Michael Bacall’s script about just how realistic all that mayhem really is, then you’re already barking up the wrong tree. Indeed, all they and producer Todd Phillips intend to do is to let you see just how memorable the party of your life can be, and all you are called to do is just to sit back and enjoy it vicariously – especially since law and order officials are not going to see it kindly if they do it for real.

If you see it in that light, then first-time director Nima Nourizadeh guarantees that you’ll have a great time. Besides the endless flow of booze you wish you have, there are also the plentiful boob sightings whether in the pool where a ‘Naked Girls Only’ sign has been affixed or in the inflatable bounce house where you can watch them literally (ahem) bouncing. And oh did we mention our lead character Thomas also gets a free hookup with the supposedly hottest girl in school?

What happens after the night is over? Well certainly such reckless abandon cannot be without its consequences, and if the movie kind of whitewashes it all, it’s because it was only constructed with that kind of responsibility in the first place. All it promises is a heady night of fun you’d wish you’d had – for many, we suspect, that’s enough; and for everyone else, you’re better off finding another Project. 

SPECIAL FEATURES:

The 5-min long featurette ‘The Pasadena Three’ explains how the actors were chosen among unknown hopefuls for their respective roles. Wisely, the actors very much resemble their roles, so any knowledge of acting need be minimal.

AUDIO/VISUAL:

The audio aspect on the whole fairs much better than the visual presentation. The latter featuring plenty of night scenes proves to be quite a hindrance and without the sonic ambient effects, you can’t really make up the action happening on the screen.

MOVIE RATING:

DVD RATING :

Review by Gabriel Chong

SYNOPSIS: How can Santa deliver billions of presents to the whole world in just one night? With an army of million combat-style Field Elves and a vast state-of-the-art control center under the ice of the North Pole! So how could this incredible operation have MISSED one child?! To Santa's young son, Arthur, it threatens to end the magic of Christmas. With retired Grandsanta, a rebellious young elf, an old sleigh and some untrained reindeer, Arthur sets out on a crazy mission to deliver the last present! 

MOVIE REVIEW:

The Santa Claus we know of is a pudgy old man that travels on a sleigh pulled by eight reindeers and has the ability to deliver presents to all the little kids around the globe on Christmas Eve.

This Aardman and Sony Pictures Animation co-production introduces audience to a brand new Santa Claus. What if Santa Claus (Jim Broadbent) is aided by an army of Elves and now travels on a supersonic, gigantic spaceship dubbed the S-1? What if our favourite senior citizen decked in red actually has two sons, the technological-driven Steve (Hugh Laurie) and a fumbling Arthur (James McAvoy) waiting in line to his throne? And what if one child’s present is missed from Santa’s giveaway?

The opening sequence of “Arthur Christmas” is a clever mix of humor and excitement as an army of one million Elves descend on Denmark, Mission-Impossible style delivering their packages to every household without a flaw or glitch as everything is coordinated perfectly by their ultra-sophisticated control center and headed by Santa’s elder son, Steve. It’s an absolute brilliant sequence worthy of the DVD alone.

Another fascinating thing with “Arthur Christmas” is the script by Peter Baynham and director Sarah Smith which took a clever dig at how fast modern society has revolved thus in the process neglected the good old human spirit. The dazzling gizmos might be a thing of the future but sometimes it just can’t be a replacement for the heart as Arthur and his Grandsanta (Bill Nighy) sets out in his trusty old sleigh and reindeers to deliver a bicycle to a young girl in a remote town in England.

There’s always some delicious British humor in-between the dialogues and you probably need to on the subtitles to catch them which of course hidden beneath the heavy Brit accents. Unfortunately, the story becomes too repetitive and tiresome in the middle with Arthur, Grandsanta and a stowaway wrapping Elf (Ashley Jensen) getting all lost in Africa and Mexico, bickering in jest. Things start to pick up in the last 30 minutes and the feel of Christmas charm is back (some tears as well) as everyone realized the importance of Santa.

“Arthur Christmas” while not perfect scores purely because of some heartwarming and witty moments, Aardman’s production design and a rich voicework. It’s contemporary enough for the younger generation and offers substantial old school fun for the parents.   

SPECIAL FEATURES:

If the name Justin Bieber can push the sales of this DVD then this is what Behind The Scenes of Justin Bieber's "Santa Claus is Comin' To Town" music video and full music video 
is here for.

Un-Wrapping Arthur Christmas 
is a brief 13 minutes featurette that includes cast interviews and a little behind-the-scenes footage, nothing more.

Progression Reels dissect how the conceptual art becomes the final CG outlook.  

Elf Recruitment Video is a tongue-in-cheek short for Elves recruitment. 

AUDIO/VISUAL:

 “Arthur Christmas” looks wonderful on DVD. Colours are vibrant and images are detailed and stunning. Dialogue is crisp and the Dolby Digital 5.1 offers thrilling sound effects and rich atmospheric ambience.

MOVIE RATING:

DVD RATING :

Review by Linus Tee