Genre: Comedy
Director: Han Yew Kwang
Cast: Ha Yu, Irene Ang, Mindee Ong, Stanly, Pamelyn Chee, Josh Lai, Michelle Yim
RunTime: 1 hr 35 mins
Released By: GV
Rating: PG
Official Website:
Opening Day: 17 March 2011
Synopsis: PERFECT RIVALS is a heart-warming story about two feuding families and how their relationships become funnily complicated because of an event that happened 28 years ago.
Movie Review:
Han Yew Kwang makes his first venture into mainstream territory with “Perfect Rivals”, and that alone should be news for fans of his indie gems “18 Grams of Love” and “When Hainan Meets Teochew” to cheer about. Despite their limited release, the latter two films have each found their appreciative (even sell-out) audience during their respective runs and positioned him as one of the most promising young filmmakers in Singapore.
“Perfect Rivals” sees Yew Kwang attempt to reach out to a wider audience, and he has here combined his trademark quirky sensibilities with broad ‘mo lei tau’ slapstick. The outcome of this is uneven to say the least, lurching between lowbrow humour that you would expect from a Jack Neo movie and Yew Kwang’s signature witty repartee. This makes for a disorienting viewing experience, and one gets a distinct sense that Yew Kwang is trying hard to straddle between commercial and arthouse inclinations- though most of the time, he doesn’t quite succeed.
The setup of two feuding families bound by history should already be familiar to viewers from countless adaptations of Romeo and Juliet and even our very own local movie “Chicken Rice War” from about a decade ago, and “Perfect Rivals” recycles this premise to establish the rivalry between two bak kwa stores- “Mei Mei Ruo Gan” and “Hao Han Ruo Gan”. Though located just next to each other, they couldn’t look more different- “Mei Mei” is sleekly refurbished in blue and white; while “Hao Han” still looks like what it had been thirty years ago.
Their respective owners, Mei Mei (Irene Ang) and Chen Hao (Ha Yu), share a love-hate relationship- the love hidden from sight, while the hate plainly evident- which goes back almost three decades ago and began as an illicit love affair between the two (Rebecca Lim and Alaric Tay as their younger selves, and with Marcus Chin in a hilarious supporting role as their bak kwa master). While Mei Mei and Chen Hao’s enmity is supposed to be at the heart of the story, Yew Kwang’s script doesn’t give them much to do except fight for the title of “King of Bak Kwa”- which is introduced at the start of the movie, and then pretty much forgotten till the last twenty mins.
Meanwhile, there are plenty of distractions in the form of Pamelyn Chee as Mei Mei’s icy elder daughter and Mindee Ong’s tomboyish younger daughter. The former gets a thankless side story as the single lady getting help from a dating service and meeting a pervert in the process; while the latter gets a thankfully meatier role going undercover as a guy to spy on Chen Hao. There is also Taiwanese singer Stanlyn Hsu as Chen Hao’s autistic elder son who believes he is Superman, and Malaysian actor Josh Lai as Chen Hao’s younger son with an alcohol addiction- either character failing to make much of an impression throughout the film.
You can probably guess that their paths will cross and sparks will fly, and sure enough it doesn’t take long before “Perfect Rivals” becomes “Romeo and Juliet-lite” with Mindee Ong falling in love with Josh Lai. The attraction by the former for the latter isn’t explained until the end, and even then fails to convince. Ditto the friendship that develops between Pamelyn Chee and Stanlyn Hsu, after he valiantly saves her from a vengeful blind date gone wrong.
Yew Kwang’s films have tended to focus rather singularly on the relationship between its two leading characters, with supporting characters kept to a minimum. The sheer number of characters in “Perfect Rivals”, and the need to balance screen time amongst the ensemble cast, seems to have gotten the better of him here. There isn’t much character development whether between the leading or the supporting characters, and these tend to be handled haphazardly- especially the late introduction of Mike, a 30-something year-old guy we are told Mei Mei took in some time ago and who becomes a romantic rival to Chen Hao.
While one may be apt to overlook these flaws with the perspective that this was meant to be a ‘he sui pian’ (before it was yanked from its Jan release date in favour of a less crowded marketplace), it’s quite hard to ignore the inconsistent tone and pacing of the movie. The gags range from the infantile (like Mindee’s excuse to Josh that the bras, panties and tampons in his/her suitcase are really because of his/her perversion), to the cringe-worthy (a cameo by Michelle Yim as masseur Monica Cheng or ’touch your ka cheng’ in Hokkien who is first seen squeezing Chen Hao’s ass), and to the mildly inspired (Chen Hao pretending to practise acupuncture when caught with a needle by Stanlyn whose shirt he was mending).
Its endeavour to tell a heartwarming story amidst the comic inanity is admirable, and recalls the earlier Raymond Wong “All’s Well Ends Well” films- but the jokes here never go beyond slightly amusing, and lack energy and verve. Hong Kong actor Ha Yu is the most hardworking of the lot, while the rest of the regional cast (except perhaps Mindee Ong) pale in comparison, never quite defining their characters even by the end of the film.
Besides being the first mainstream feature by Yew Kwang, this is also the first feature film by A.I. Pictures, a subsidiary of Irene Ang’s Fly Entertainment. While their effort to venture into the risky mainstream film business is commendable, there remains much to be desired with “Perfect Rivals”. One hopes that both Yew Kwang and A.I. Pictures will bounce back stronger soon, because it’s unlikely that this movie will leave the mark that both are certainly hoping it will.
Movie Rating:
(Less than perfect entertainment, no thanks to a half-baked script and silly gags)
Review by Gabriel Chong
Genre: Adventure/Drama
Director: Ethan Coen, Joel Coen
Cast: Hailee Steinfeld, Jeff Bridges, Matt Damon, Josh Brolin, Barry Pepper, Paul Rae
RunTime: 1 hr 50 mins
Released By: UIP
Rating: PG (Some Violence)
Official Website: http://www.truegritmovie.com/
Opening Day: 24 February 2011
Synopsis: Fourteen-year-old Mattie Ross's (Hailee Steinfeld) father has been shot in cold blood by the coward Tom Chaney (Josh Brolin), and she is determined to bring him to justice. Enlisting the help of a trigger-happy, drunken U.S. Marshal, Rooster Cogburn (Jeff Bridges), she sets out with him - over his objections - to hunt down Chaney. Her father's blood demands that she pursue the criminal into Indian territory and find him before a Texas Ranger named LeBoeuf (Matt Damon) catches him and brings him back to Texas for the murder of another man.
Movie Review:
The respected American Film Institute defines western films as those “set in the American West that embod[y] the spirit, the struggle and the demise of the new frontier”. That is one profound definition of a Western film, if you ask us. But being the ignorant contemporaries that we are, we may not realise that this film genre was a hit in classic Hollywood, where cowboys, gunslingers and bounty hunters dominated the screens and had every other boy wanting to wear a cowboy hat and use a revolver. Girls, of course, would be the ones swooning over the suave leading men of these Western films, regardless of how dirty they looked after riding through dusty towns and cattle ranches.
And it is with this Oscar nominated film by the Coen brothers that we are introduced to the thrills and spills of living life in the Wild, Wild West.
A second adaptation of Charles Portis’ 1968 novel of the same name, this version has a 14 year old farm girl setting out into the wild to hunt down her father’s killer. She engages the assistance of a US Marshal who has “true grit”. Against his will, she goes along on the hunt and is joined by a Texas Ranger who has ulterior motives to come on this trip. The trio then embarks on a treacherous journey made perfect by the ingenious filmmakers’ writing and directing.
You have to take your hats off Ethan Coen and Joel Coen, the award winning duo who gave the world inspired and clever films like Fargo (1996), Burn After Reading (2008) and A Serious Man (2009). In the process of bringing viewers into the glorious worlds of the splendid Western genre, the Coen brothers have injected their own brand of poetic splendour into their latest work. Viewers familiar with their writing can immediately identify with the signature language used in the screenplay. Charmingly quirky, the film’s 110 minute runtime is filled with elegantly written lines which will please those who appreciate good writing.
Forget the duo’s previous Western movie No Country for Old Men (2007), which was somewhat too modern for its own good, or worse still, Barry Sonnenfeld’s mess that was known as Wild Wild West (1999) starring Will Smith and Kevin Kline. Why? Because this is about the most faithful Western flick you can get from today’s filmmakers.
Kudos also go to the capable cast for effortlessly portraying the stock characters whose every action seem predictable in this day and age of irrelevant plot twists and turns. Jeff Bridges, who has earned another Best Actor nomination at the upcoming Oscars, is a joy to watch. His cranky and drunk portrayal as the US Marshal Reuben J. “Rooster” Cogburn demands your attention every second he appears on screen. His co star, Hailee Steinfeld, is surprisingly a natural at commanding screen presence. For her breakout role, she has been nominated at various international film awards, and is up against some very strong competition in the Best Supporting Actress category at the 83rd Academy Awards. Somewhat overlooked are Matt Damon who plays a very amusing Texas Ranger, Josh Brolin who takes on the role as a murderer and Barry Pepper who undergoes a transformation to become the film’s lead baddie. This fine ensemble is one of the biggest reason why this is one of the best American films in cinema history.
Besides the two acting nominations, the well produced film has also been nominated in eight other categories, including Best Picture, Best Director and Best Adapted Screenplay.
This is clearly the work of two guys who know what cinema is all about. From the hymns referenced in the score composed by Carter Burwell and the splendid Western backdrops captured by cinematographer Roger Deakins, to the witty biblical and religious references to reflect the way of life in the Wild, Wild West, this work should naturally come highly recommended – simply because it has got that old school appeal and heart.
Movie Rating:
(This charismatic work by two of today’s best directors showcases an ensemble of fine actors and a gracefully written script )
Review by John Li
In Thai with English Subtitles.
Genre: Drama
Director: Apichatpong Weerasethakul
Cast: Sakda Kaewbuadee, Matthieu Ly, Vien Pimdee, Jenjira Pongpas, Thanapat Saisaymar
RunTime: 1 hr 54 mins
Released By: Cathay-Keris Films & Lighthouse Pictures
Rating: PG
Official Website: http://www.LHP.com.sg/uncle
Opening Day: 27 January 2011
Synopsis:
Suffering from acute kidney failure, Uncle Boonmee has chosen to spend his final days surrounded by his loved ones in the countryside. Surprisingly, the ghost of his deceased wife appears to care for him, and his long lost son returns home in a non-human form. Contemplating the reasons for his illness, Boonmee treks through the jungle with his family to a mysterious hilltop cave -- the birthplace of his first life...
Movie Review:
In the 2010 Palme d'Or winning "Uncle Boonmee Who Can Recall His Past Lives", Thai director Apichatpong Weerasethakul has elevated himself into a true visionary of the medium. His oeuvre culminating here in what must be called his magnum opus. Twining politics and intellectualism together by holding his native land close to his heart, he explores history, memories and cinema itself as he treks deep into the humid northern jungles of Thailand, where decades back, citizens were forced to rise up against the invading Communist forces -- a site that holds tremendous pangs of death, guilt and sorrow.
Weerasethakul's follow-up to 2006's "Syndromes and a Century" follows the final days of Uncle Boonmee (Thanapat Saisaymar), an ailing old bee farmer, who returns to his countryside abode in the north-eastern jungles with his sister-in-law, Jen (Jenjira Pongpas) and a male caretaker, Tong (Sakda Kaewbuadee). Weerasethakul attributes Boonmee's ailment -- kidney failure -- with an autobiographical nod to details of his father's own passing. The narrative structure stands at its most absurd but also at its sturdiest when Boonmee's state of mind and body brings forth the ghosts of his demised family members: his lost son Boonsong, who is now part of the monkey spirits residing in the jungle and has transformed into a striking hirsute crimson-eyed ape-man; and his dead wife Huay (Natthakarn Aphaiwonk), who appears at the dinner table in a remarkable scene where the veil between the living and the dead come down in the gentlest way possible.
The main scope is limited to these characters, as we observe them in moments of gilded reticence as they navigate through this time of great personal revolutions, food and final thoughts are divulged, until the deep wisdom of the film and filmmaker bubbles up to the fore. Deeply meditative and gentle, it brings us on a journey without tugging us along to show us one point after another; its mien remains as organic and serene to the nature of the filmmaker and its characters' own journey. An intensely personal film, Weerasethakul has stated that the act of expiring from our physical plane is a constant in our existence that he was driven to explore through his inquiry into the "transmigration of souls".
Ostensibly a film about transition, transmutation and the ontology of our evolution -- who we once were, who we are now and who or what we will become -- Weerasethakul pulls together ancient mysticism and visual cues to form an amorphous narrative that speaks about existence of the living earth and its relationship within and of itself; and how environments shape its denizens as individuals. The film contemplates our cosmic existence and attempts as serenely as possible to reassure us that everything is in order, that it all makes sense and that we are where we were meant to be. Reconciling his belief in the spirituality infused into nature and its relationship with the human experience, his belief in the idea of animism captivates Weerasethakul who regards the reincarnation of the soul and spirit into different forms; life never ends and death feeds into the next plane -- the renascence of energy and spirit. By conflating the spiritual and temporal planes with the corporeal, Weerasethakul opens up the possibility of worlds beyond our purview and knowing -- a transcendence beyond an established, ephemeral identity.
The song ends but the melody continues to linger -- the easy friction between the film's human and spiritual realms, proffered by the use of magic-realism, is at once supremely stirring as it is assuredly calming. In an excursion by Boonmee into one of his past lives, a particularly resplendent vignette of an aging princess yearning to be young once again who offers up her physical self to a talking catfish who promises her the beauty she once possessed, the beauty she glimpsed at in the reflection of the lake -- another past life simmering below the surface of what is readily apparent. Entrenched with the otherworldliness of a ghostly folk tale from Weerasethakul's own youth and fanciful and erotically charged as Weerasethakul's own recent films, it points towards the filmmaker's syncretism of his own fractures memories and refined aesthetics.
There is a sense that Weerasethakul set out to make a film about his home and the vanishing spaces that his mind once occupied but along the way, stumbled upon the synthetic truth of cinema -- the film transforming into an earnest ode to the forgotten national cinema of his youth. He has described it as a way of preserving the memory -- the fabric of that point in the nation's cultural landscape -- through a hazy melange of related myths, idealised imagery and the shared experiences. He uses traditional techniques to create something new and revolutionary, eliciting a wonderful sense of exploring and pushing the boundaries of the medium by exploring the metaphysical through cinema and artistic fervour. By invoking the power of the screen and its abilities to meld its spatial and temporal realities with our reality beyond the projection, Weerasethakul observes the medium's propensity to not just reflect but alter history and the revision of certain truths.
The idea of keeping a record of the truth as well as the illusions remain a key point with Weerasethakul. Whether it is at the dinner table or when Boonmee recalls his days as a soldier against the Communists, photographs play a large part of Weerasethakul's ode to permanence and the sense of past lives lived but never forgotten. Time is evoked as a Moebius strip where the past, present and future are in concurrent unity when members of his lost family turn up to relive the past or when Boonmee comments on the state of how things were before describing a future existence that begins to look remarkably like a present-day portrait of oppression in the volatile political maladies plaguing Thailand. In a clever allusion to the political forces that attempted to repel his earlier works and who continue to keep a watchful eye over him as Thailand's most reputable and international film figure, Weerasethakul slyly alludes to political components inherent in his work -- a monk who finds ataraxic comfort in modernity rather than in the austerity of his robes or monkey spirits being led to torture by armed soldiers.
Touching on the dark history of the Nabua region it is set in and Boonmee recollecting his own role in the mutual slaughter of the Communists to Jen by invoking karma in considering his current illness, that he somehow deserves his fate. Jen responds that she was proud for having her father for serving the nation, yet resisted the violence by going into the jungle and hunting animals as well as communicating with them. This symbiosis of regret and avoidance signifying the suppression of violence as a natural impulse of humanity serves great purpose in looking through Weerasethakul's perspective of our natural internal states.
Weerasethakul was first inspired by the abbot near his house who published a book in 1983 called "A Man Who Can Recall Past Lives" who related that the old man in the story meditated until he started to envision his past lives playing behind his eyelids like a film. Cinema as the dreamscapes of our lives would be Weerasethakul's driving force as this film becomes a resonant fever dream redolent of love, acceptance, illusion and other kaleidoscopic themes. He has made a humble but deeply felt film about the vagaries of our soul's migration between realms but what emerges is a film that envisions in the cosmic canvas and the divinity inherent in nature and being.
Movie Rating:
(Remarkable and beguiling meditation on life, art and the soul)
Review by Justin Deimen
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SYNOPSIS:
Going bankrupt following the failure of his Mainland toy factory in the global financial crisis, Ng Shun has no choice but to bring his family back to the cheap public housing estate he left more than ten years ago. Shun has a lot of fond memory of the place he grew up in but it proves hard for his wife, son and daughters to settle down in grandpa's tiny apartment, forcing the family to face the problems they have long neglected. Meanwhile, Shun's childhood buddy Lung who conned a large amount of money from his neighbours many years ago suddenly shows up again in the estate with a plan that allegedly will make their estate lively and vibrant like in the good old days...
MOVIE REVIEW:
You know that feeling – the one where you remember seeing a face from some TV programme or movie, but isn’t sure where. Then you get into a conversation with your friend or family member, and before long, you are engaging yourself in a fun conversation about showbiz. After last year’s successful collaboration between Shaw and TVB that resulted in 72 Tenants of Prosperity, the famous Eric Tsang is back with this Lunar New Year movie where TVB fans can have hell of a time identifying their favourite TV stars throughout this 102 minute movie.
The story is simple: After a financial crisis, a businessman has to declare bankruptcy and move his entire family back to the public housing estate which he grew up in his younger days. There, we see flashbacks of the failed businessman’s happier past and before long, an old friend appears and what ensues is a property scam which may result in the jolly residents losing their homes.
Fret not, it is a New Year movie, and all things will end on a happy note. While we Singaporeans may not be able to appreciate the Hong Kong spirit portrayed in this star studded production, there is this unique neighbourliness which the last generation can identify with. After all, Singapore was a country with many kampungs (villages) where people led happier lives.
Despite the countless stars that appear in the movie (hold your breath, here we go: Tony Leung, Sandra Ng, Anita Yuen, Stanley Fung, Aarif Lee, Fala Chen, Bosco Wong, Wong Cho Lam, Kate Tsui, Patrick Tam, Lam Suet, Miu Kai Wai, Michael Tse, Liu Kai Chi, Patrick Tang, Ron Ng, Wu Ma), the message is clear. The social fabric built between the people of Hong Kong is one that boasts of indomitable spirit, and no amount of commercialisation and industrialisation can spoil it.
Now that we have gotten past that feel good aspect of the movie, we must admit that we somewhat enjoyed last year’s 72 Tenants of Prosperity more. Maybe it’s the fact that this non official sequel is no longer a novelty, maybe it’s the fact that Jacky Cheung does not return (who can forget his spoof of the Snow Wolf Lake theme song?), or maybe it’s the fact that there is a mould to this genre of movie which doesn’t excite us much.
This is definitely not the kind of movie you watch to commend acting skills, and you have to give it to Tseng and his co director Chung Shu Kai for managing to bring together this parade of stars for our enjoyment. Hence, despite its predictable plot and other minor shortcomings (can a movie get by without product placement or cross dressing?), this is still a recommended watch.
SPECIAL FEATURES:
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AUDIO/VISUAL:
The visual transfer of the movie looks fine on the TV screen. You can watch it in its original Cantonese track (highly recommended) or a badly dubbed Mandarin track (which audiences got to hear during the movie’s theatrical run here).
MOVIE RATING:
DVD RATING :
Review by John Li
Posted on 22 May 2011
We really didn’t see this one coming: Patrick Doyle scoring a Marvel superhero blockbuster? Sure, the Scottish musician and film score composer may be the man behind the music for fantasy movies like Harry Potter and the Goblet of Fire (2005) and Eragon (2006), but taking on the god who is exiled from his homeland of Asgard to Earth?
To put Thor’s hammer into context, that’s one piece of earth shattering news. But fret not, this is one highly recommended soundtrack album that truly deserves a place on any self respecting score collector’s shelf.
Things came into place when we realised this is the ninth time Doyle is working with director Kenneth Branagh, previously on films like Hamlet (1996), Love Labour’s Lost (2000) and As You Like It (2006). This is probably the Academy and Golden Globe nominated composer’s first foray in such a big budget Hollywood blockbuster, and we are glad to declare this a fantasy score that doesn’t fall into the cheap trap of pompous and ostentatious composing.
From the get go, Doyle’s boldness is evident in “Chasing the Storm”, a gallantly arranged cue which sets the mood for the album. Running at a generous 72 minutes, the tracks that follow, whether it’s the majestic “Sons of Odin”, the magnificent “A New King” or the glorious “Ride to Observatory”, the valiance depicted by Doyle’s music is evident.
When it gets to tracks like “Laufey” and “Crisis In Asgard”, things get a little dark and sinister, hinting a change in atmosphere. Doyle handles this with delicacy and manages his music arrangements well. Other tracks which display his versatility are the solemn “Odin Confesses”, the wondrous “Hammer Found” and the ominous “Urgent Matter”.
The standout track on this soundtrack is no doubt “The Compound”. Doyle infuses a contemporary touch (listen out for the percussive and electronica elements) to the seven odd minute cue and still manages paints a picture of splendour and grandeur which complements the movie’s themes.
Elsewhere, emotions are let loose in tracks like “Forgive Me” and “Letting Go”, while cues like “Thor Kills the Destroyer” and “Brothers Fight” are action packed with exhilaration.
While it takes repeated listens to fully appreciate the rich orchestrations of Doyle’s compositions (even the main themes require some time to ring in your head), we are assuring you that it is worth your time. When the album ends with the stoic “Earth to Asgard”, you’d be pleased that you had gone on this musically satisfying journey.
ALBUM RATING:
Recommended Track: (14) The Compound
Review by John Li
Posted on 22 May 2011
Hark! What’s that noise? It’s not Captain Jack Sparrow chasing his nemesis Captain Hector Barbossa around the waters of the Caribbean, is it? We don’t suppose it’s the witty pirate pursuing the Fountain of Youth with a swashbuckling motley crew?
Unfortunately, as much as we wished it’s the racket from Captain Jack Sparrow’s adventurous trails, it’s nothing more than 30 minutes of remixed tracks from this soundtrack album we were very much looking forward to.
When we first heard that there are 77 generous minutes of material on this disc, we were getting ready to blow the house down. After all, it is Hans Zimmer (we think his bombastic and pompous compositions are guilty pleasures) who has returned for the fourth time to write music for this successful Disney franchise. In fact, the first 40 odd minutes of the album are rather enjoyable, until “Guilty of Being Innocent of Being Jack Sparrow (remixed by DJ Earworm)” came along.
The next six cues featuring remixes from artistes like Super Smash Bros & Thieves, Adam Freeland and Static Avenger only proved to be rather painful to the ears. Sure, there may be a niche crowd (we imagine this group of people to be young and hip good lookers who frequent dance clubs) who can appreciate this genre of music, but please give us traditional movie music anytime.
Having gotten that off our chest, we are still glad that more than half of this album is dedicated to Zimmer’s score. To complement Penelope Cruz’ scorching hot female pirate in the movie, Mexican musical duo Rodrigo y Gabriela has come on board to provide that sensuous Latin flavour. Their performances in tracks like “Angelica”, “The Pirate That Should Not Be” and “South of Heaven’s Chanting Mermaids” can act as standalone tracks to sizzle up the evening.
Meanwhile, Zimmer delivers what’s expected of him, producing haughtily strident cues like “Guilty of Being Innocent”, “Mutiny” and “Palm Tree Escape”. Most of the compositions here are adaptations of the award winning composer’s previous works in the previous three films.
In terms of new material, “Mermaids” provides a sinister yet hypnotically ethereal mood that makes it a refreshing track on the otherwise lengthy album. Listen out for the spellbinding chorals that is clearly sinister, but still draw you in like a charm.
As the 11thtrack “End Credits” featuring the signature Jack Sparrow theme comes to a verbose end, you may want to hit the stop button before the remixes give you a headache.
ALBUM RATING:
Recommended Track: (5) Mermaids
Review by John Li
Posted on 23 May 2011
SYNOPSIS:
From Academy Award-nominated filmmaker Charles Ferguson ("No End in Sight") comes "Inside Job," the first film to expose the shocking truth behind the economic crisis of 2008. The global financial meltdown, at a cost of over $20 trillion, resulted in millions of people losing their homes and jobs. Through extensive research and interviews with major financial insiders, politicians and journalists, "Inside Job" traces the rise of a rogue industry and unveils the corrosive relationships which have corrupted politics, regulation and academia.
MOVIE REVIEW:
Little known fact: Our Prime Minister Lee Hsien Loong is featured in an Academy Award winning documentary.
Yes, you probably read it here first. One of the few Asian interviewees (we counted about five) in Charles Ferguson’s Oscar winning documentary film is none other than Singapore’s Prime Minister. Yes, you will also get to see snippets of our island’s sights in this 109 minute feature about the financial crisis that took place from 2007 to 2010.
The film is divided into five parts, chronicling how the 2008 financial crisis came about. This systemic corruption by the financial services industry of the United States led to terrible consequences, and this was done through changes in policy making and banking practices. Through interviews with financial experts, politicians and journalists, viewers are taken through the process and given a better understanding of how the episode worked out like a well planned scam.
The documentary features visually pleasing shots of cityscapes, archive footages of news recordings and a contemporary score composed by Alex Heffes. We are told of the account of events through Matt Damon’s agreeable narration. What should be noted though, that these are just elements used by Ferguson to tell the story. What’s really important here are the issues he is exploring.
Most of us laymen would not be in the know of the finance industry, especially when it comes to technical jargon and complicated terms. This, as you would find out, is exactly why the fraud worked to the antagonists’ (we can’t find a better word to describe them) advantage. This well researched film works because it brings audiences like us through a well mapped explanation of such a complex subject matter.
The first thing you’d probably feel after watching the documentary is anger – simply because of how the villains (we really think it is apt to use this expression to term these corporate scoundrels) have gotten away with their crimes. While millions of people suffered due to the financial crisis (loss of jobs, properties and probably large dosages happiness), most of these people who were responsible for the mishap got away scot free, with large amounts of compensation to boot.
Boo!
The well paced documentary is essential viewing for anyone who wishes to be aware of how the corporate world leeches onto common folks like us. It also gives us a better understanding of how something which happens elsewhere in the world can have an impact on our country.
You’d probably be wondering now: In what context is Singapore’s Prime Minister Lee Hsien Loong featured in the film? He talks about how we are impacted when such a global crisis happens because all economies are linked together. This, of course, is due to the effects of globalisation. What is more interesting (and what netizens may be more interested to know at this point in time, we are very sure) is what he said in a deleted scene from the movie. And what exactly is that?
Read on.
SPECIAL FEATURES:
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Nine Deleted Scenes of interviewees like Charles Morris (financial writer) and Eliot Spitzer (former governor of New York and New York State Attorney General) round up the platter.
What Singaporeans would be interested to hear, is probably the one odd minute scene where Prime Minister Lee Hsien Loong talks about his salary, as well as a minister’s salary (we’ll leave you to find out how much they earn). He states that this is “a scheme which is designed to make sure that the sacrifices for being in public service are not too great so that capable people can come in and serve”.
This comes rather timely, doesn’t it?
Considering that the interview was probably shot in the second half of 2009, and that a committee has just been set up to review the Singapore ministerial pay, we will leave you with this interesting clip (you must of course go get the
AUDIO/VISUAL:
There is nothing to complain about the movie’s visual transfer. You can watch it in either English or Spanish 5.1 Dolby Digital tracks.
MOVIE RATING:
DVD RATING :
Review by John Li
Posted on 23 May 2011
Bring us to a land far, far away – maybe somewhere over the rainbow, perhaps?
Even though we aren’t able to travel to Oz with English musical theatre composer Andrew Lloyd Webber’s latest production here in Singapore, we are blessed to go on this magical adventure by listening to the enchanting songs on this album.
Based on the 1939 film of the same name, Lloyd Webber has employed the delights and wonders of theatrics to captivate audiences with his adaptation of the well loved tale in London’s West End earlier this year. While we have no idea whether we will ever get to see this musical production, we will have to make do with this 25 track album of the London Palladium Recording.
The 60 minute album features songs written by Harold Arlen and E. Y. Harburg from the original film, as well as new songs and additional music by Lloyd Webber and his long time collaborator Tim Rice.
For those who have seen the original film, most of the songs on this disc will not be unfamiliar. From the affecting Academy Award winning “Over the Rainbow”, to the jolly ensemble piece “Ding! Dong! The Witch is Dead” and the catchy “Follow the Yellow Brick Road”, you may find yourself singing along to these classic tunes. The comical “If I Only Had a Brain”, “If I Only Had a Heart” and “If I Only Had the Nerve” will re introduce you to the loveable characters Scarecrow, Tin Man and Lion.
How can we forget Dorothy, the heroine of the story? Played by Danielle Hope, who was chosen from the many hopefuls in the
New numbers on this album written by Lloyd Webber and Rice include the folksy “Nobody Understands Me”, the hilarious “The Wonders of the World” and the heartfelt standout track “Already Home”.
By the time Dorothy reaches Kansas in “Finale”, it’s almost like you have gone on a thrilling Technicolour adventure without even leaving your home.
ALBUM RATING:
Recommended Track: (24) Already Home
Review by John Li
Posted on 23 May 2011
Get ready to enter the ever wonderful world of Disney magic.
It’s been a long while since we loved a Disney princess as adorable as Rapunzel. Her wide eyed smile and her golden locks charmed us to bits. And it’s also been a long while since we loved a Disney soundtrack as delightful as this 55 minute disc. Composer Alan Menken’s fascinating score is a joy to listen to, alongside five amazing songs from the studio’s 50th animated film.
The upbeat “When Will My Life Begin” performed by the underrated Mandy Moore introduces us to Rapunzel’s optimism and dreams in true Disney fashion – and you can imagine the energetic Rapunzel belting out this bouny tune as she prances and skips about in her tower. This song is reprised in two other tracks, where melancholy and hope are portrayed.
The villain song is represented by “Mother Knows Best”, a sinister tune which begins suspiciously warm and fuzzy before taking a turn towards the end. The looming wickedness comes full circle in its reprise track. Performed by Donna Murphy, this is also a classic Disney villain song which will have listeners rubbing their hands in glee.
The ensemble piece “I’ve Got A Dream” is an enjoyable tune that will have you tapping your feet to the catchy music and humming along with the chorus. This “merry men” song is another testament to Disney’s fine tradition of entertaining our senses. Elsewhere, there is also the obligatory love song “I See the Light” (performed by Moore and Zachary Levi) and a enchanting solo piece “Healing Incantation” which remind us of the good old days of Disney magic.
The score by multi award winning Menken also transports us to a world of action, romance, tension, adventure and enchantment. Brace yourself for an exciting ride with “Flynn Wanted”, be captivated with Rapunzel’s magic powers with “Prologue”, join in the royal celebration with “Kingdom Dance”, be captivated by the passion of love with “Waiting for the Lights” and round up the experience with a grand finale with “The Tear Heals”.
The end credits song “Something That I Want” performed by Grace Potter isn’t anything spectacular, but manages to stay abuzz with its lively melody.
If there’s anything we can wish for with Rapunzel’s magic powers, it would be for the songs and score to be recognised with a handful of nominations, and if it’s not too much, an Oscar statuette at next year’s Academy Awards.
ALBUM RATING:
Recommended Track: (1) When Will My Life Begin?
Review by John Li
Posted on 1 December 2010
Genre: Drama/History
Director: Tom Hooper
Cast: Colin Firth, Geoffrey Rush, Helena Bonham Carter, Jennifer Ehle, Guy Pearce, Derek Jacob, Timothy Spall, Michael Gambon, Claire Bloom, Eve Best, Anthony Andrews
RunTime: 1 hr 58 mins
Released By: Cathay-Keris Films
Rating: PG (Some Coarse Language)
Official Website: http://www.kingsspeech.com/
Opening Day: 10 February 2011
Synopsis: After the death of his father King George V (Michael Gambon) and the scandalous abdication of Prince Edward VII's (Guy Pearce), Bertie (Colin Firth) who has suffered from a debilitating speech impediment all his life, is suddenly crowned King George VI of England. With his country on the brink of war and in desperate need of a leader, his wife, Elizabeth (Helena Bonham Carter), the future Queen Mother, arranges for her husband to see an eccentric speech therapist, Lionel Logue (Geoffrey Rush). After a rough start, the two delve into an unorthodox course of treatment and eventually form an unbreakable bond. With the support of Logue, his family, his government and Winston Churchill (Timothy Spall), the King will overcome his stammer and deliver a radio-address that inspires his people and unites them in battle. Based on the true story of King George VI, THE KING'S SPEECH follows the Royal Monarch's quest to find his voice.
Movie Review:
With the big Oscar hype (12 Academy nominations, no less) surrounding it at the moment, The King’s Speech has found in its hands a big local audience expectation to fulfil. Fortunately, it does so with little stammer, largely and ironically thanks to Colin Firth’s Bertie. As if public speaking is not fearsome enough, the soon-to-be king has to overcome his speech impediment and the personal demons that led to it in order to speak to and for a few million British subjects.
The condition is portrayed with such heartbreaking anguish that it is quite impossible to not feel for the character. While the future King George VI or Bertie as known to his family, struggles through guttural sounds, open-mouthed silence and pained eyes, his own voice seems to literally choke rather than express him. Firth is also aided by shots and scenes that take time to magnify the frustration in his expression and project every vocal sound that he attempts to and successfully makes. One thing that the film is successful in is representing and relating to the audience the physical experience of a person who stammers not to invoke pity, but the compassion to root for the character.
And like all good dramas, it does not leave out character psyche. Enter Geoffrey Rush’s charming and warm character of speech therapist Lionel Logue and his unorthodox cures to help. As he searches for the mental root of the condition, layers are uncovered to reveal the man beneath the crown. Friendship between the two eventually blossoms, but not without the resistance of stifling subject-royalty protocols, the king’s own hopelessness for his lifelong condition and his anxiety towards ascending the throne. One particular moving scene sees the head of the British monarch breaking down in his wife’s arms because of his sudden kingship thanks to his elder brother’s free-spiritedness. As King Edward VII leaves the court to marry a twice-divorced American, one cannot help but feel slightly more informed about the sometimes tragic ways of royalty and notice that times have indeed changed. Prince Charles, anyone?
As not unexpected, The King’s Speech joins a handful line of films that attempt to reveal the private side of the public figure for the ever-curious common masses. It is indeed quite a treat to watch the Queen’s Mother as a supportive and loving wife and recognise other significant figures like William Churchill and Prince Harry’s granny as a young girl even if they are well, not really the real deal.
True to its historical genre, the wardrobe and setting are carefully created to give us a glimpse into the lives of rulers and royalty while at the same time evoking the mood of an era where change was happening as fast as the Second World War was approaching.
And as King George VI finally faces the wireless mic - the high-tech product of its time and symbol that appears regularly throughout the film, to boldly and fluently deliver his first wartime message for his people, one cannot help but wonder that underneath the simple heart-warming story of a man overcoming his odds, there might be a subtle social commentary on how much we, the internet/smartphone generation, have not really taken the time to appreciate the simple act of communication or use it for nobler purposes. And if so, I’m rooting for this one to win some Oscars.
Movie Rating:
(An inspiring story not about what a King says, but how he said it)
Reviewed by Siti Nursyafiqa
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