Genre: Action/Drama/Sci-Fi
Director: Francis Lawrence
Cast: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Lenny Kravitz, Elizabeth Banks, Stanley Tucci, Donald Sutherland, Toby Jones, Woody Harrelson, Jena Malone, Philip Seymour Hoffman, Amanda Plummer, Lynn Cohen, Patrick St. Esprit, Meta Golding, Bruno Gunn, Alan Ritchson, E. Roger Mitchell, Maria Howell, Stephanie Leigh Schlund, Sam Claflin, Jeffrey Wright
RunTime: 2 hrs 26 mins
Rating: PG13 (Some Violence)
Released By: Cathay-Keris Films
Official Website: http://www.thehungergamesmovie.com/index.html
Opening Day: 21 November 2013
Synopsis: THE HUNGER GAMES: CATCHING FIRE begins as Katniss Everdeen has returned home safe after winning the 74th Annual Hunger Games along with fellow tribute Peeta Mellark. Winning means that they must turn around and leave their family and close friends, embarking on a "Victor's Tour" of the districts. Along the way Katniss senses that a rebellion is simmering, but the Capitol is still very much in control as President Snow prepares the 75th Annual Hunger Games (The Quarter Quell) - a competition that could change Panem forever. The novel on which the film is based is the second in a trilogy that has over 50 million copies in print in the U.S. alone.
Movie Review:
Despite being based on a young adult novel, Gary Ross’ ‘The Hunger Games’ belonged to one of the rare few which managed to attract a crossover audience from all quadrants, winning the praise of both critics and audiences alike. It did not pander to its core demographic of teenagers; rather, it played as a smart and gripping dystopian thriller set in a futuristic America called Panem which was run as a totalitarian state with one ‘Capitol’ and 12 districts. It was also a socio-political allegory on propaganda and violence as reality show entertainment, especially since the Games essentially pitted young boys and girls from the districts against each other in a fight to the last one standing.
‘Catching Fire’, the second instalment in Suzanne Collins’ hugely popular series, assumes right from the start that its audience is familiar with the context and the events from the first movie. The script by Simon Beaufoy and Michael deBruyn opens the same way as Collins’ book, and that is by continuing right where its predecessor stopped. Our heroine, Katniss Everdeen (Jennifer Lawrence) and her fellow tribute cum romantic interest in the area Peeta Mellack (Josh Hutcherson) are back in District 12 after successfully winning the sympathies of their televised audience and defeating the rules of the game, but President Snow (Donald Sutherland) is neither amused nor impressed by their sleight-of-hand.
Unbeknownst to Katniss, her act of ‘love’ for Peeta has given people in the districts hope, and with that the courage to rise up against their oppressors. Whereas at first she was fighting for herself and her loved ones, Katniss has since become so much more, a symbol to galvanise the masses - if she had the tenacity to do so. It takes guts and no lack of clarity to vision for a ‘Hunger Games’ movie to make its audience wait more than an hour before the said competition actually gets along, but by doing so, Beaufoy, deBruyn and director Francis Lawrence sets this second chapter by making it more meaningful - and we dare say heartfelt - than the first movie.
More than half the screen time is therefore devoted to a tense and riveting exploration of the allegory behind Collins’ books as parable about inequity and class warfare. From the sight of Peacekeepers enforcing harsh and brutal martial-like law on the citizens in the various districts to the indifference of the people in the Capitol, (Francis) Lawrence balances incident and exposition to stir up the indignation of his audience towards the sheer injustice of the totalitarian regime under Snow (which Sutherland, to his credit, portrays with chilling but never over-the-top menace). And yet, even though the scale on which the events unfold has grown much wider, Lawrence never loses the earlier picture’s intimate focus on Katniss.
Yes, the character beats are still there - and if we may add, stronger than before. As she realises just how things have changed and will change around her, the 17-year-old Katniss has to decide if she will choose to cower under Snow’s threat of her family or stand up for something more. That’s no easy decision to make, and right from the beginning with a scene where Katniss goes into an anxiety attack recalling a kill she made in the earlier Games, there is never any doubt that she is no more than an ordinary teenager thrust and called upon to be brave beyond belief in these extraordinary circumstances. Jennifer Lawrence is truly excellent here, equal parts vulnerable and steely, and only the hardest of hearts will not be stirred to empathy.
Just so because it is the 75th Hunger Games, Snow and his new games planner Plutarch Heavensbee (Philip Seymour Hoffman) get to hatch a plan to put Katniss back into a new arena. The third ‘Quarter Quell’ will draw its contestants from among the pool of victors from the district, and since Katniss is the only female victor from District 12, she is automatically chosen. As she finds herself back at the Capitol, Katniss also finds herself amongst a more idiosyncratic bunch - among them the pretty blond Finnick Odair (Sam Claflin) and his octogenarian mentor Mags (Lynn Cohen), the straight-talking rebel Johanna Mason (Jena Malone), and a pair of oddball inventor-types nicknamed Nuts and Volts (Amanda Plummer and Jeffrey Wright).
Alliances will once again need to be forged in the field in order to survive, but besides the constant suspicion of betrayal, Katniss and Peeta now have to contend with more than just their competitors - the environment is a rigged jungle arena with poison fogs and killer monkeys as ‘elements of nature’. It isn’t any of the filmmakers’ fault if the Games this time round lacks the earlier’s knife-edge sense of danger; compared to the first book, Collins’ doesn’t make the Games count for as much as it did, for the very reason that they are but a means to an end, which serves as probably the worst kept twist ending that lays the groundwork for the third and concluding instalment ‘Mockingjay’.
Indeed, those expecting a repeat of the earlier movie will likely find themselves disappointed. The straightforward thrills of Ross’ film are somewhat more muted this time round; ditto the heady romantic triangle of Katniss, Peeta and Katniss’ childhood sweetheart and best friend Gale (Liam Hemsworth). But in its place is a much meatier piece of sci-fi, built on compelling themes of tyranny, revolt and most of all personal fortitude, anchored in a fascinating lead performance by one of the best young adult actresses in Hollywood today. And all that pre-production trouble that saw Francis Lawrence stepping into Ross’ shoes? Well, there’s not even a hint of that here, and if anything, it’s surer in tone and pacing and devoid of the annoying shaky-cam stylistics Ross employed.
True to its title therefore, this middle instalment genuinely catches fire, igniting the stage for what promises to be an epic conclusion. And for anyone still clinging onto the notion that this is just YA-lit the way ‘Twilight’ was, well you really don’t know what you’re missing.
Movie Rating:
(Balancing taut emotion with tense action, this middle chapter of the ‘Hunger Games’ counts among some of the best dystopian fiction)
Review by Gabriel Chong
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Oz The Great and Powerful video release and "The Magical Road Show" at eXplorerkid@Downtown EastPosted on 14 Jun 2013 |
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CELEBRATE SUPER SMURF SUNDAY ON JULY 28 2013Posted on 26 Jul 2013 |
SYNOPSIS: Written and directed by Quentin Taratino and featuring an award-winning cast, Jamie Foxx stars as Django, a slave who teams up with bounty hunter Dr King Schultz to seek out the South's most wanted criminals with the promise of Django's freedom. Honing vital hunting skills. his one goal is to find and rescue the wife he lost to the slave trade long ago. When their search ultimately leads to Calvin Candie. the infamous and brutal proprietor of "Candyland", they arouse the suspicion of Stephen, Candie's trusted house slave. Now their moves are marked and Candie's trecherous organization closes in on them.
MOVIE REVIEW:
You don’t really get any Westerns in this part of the world probably the idea of cowboys and slavery exist only in America and to be frank they are not really a part of our culture but the Italians are so good with it that people called it Spaghetti Western.
Renowned filmmaker Quentin Tarantino’s latest feature after his successful WWII epic, Inglourious Basterds is a mixture of spaghetti western and America’s unsavoury past. Django Unchained marks another of Tarantino’s masterpieces (although Death Proof for the record was really a misfire) filled to the brim with his trademark humour, ultra-sadistic violence and a truly frightening Leonardo DiCaprio.
Rescued by a dentist cum bounty hunter, Dr King Schultz (Christoph Waltz) and his slavery status freed, Django (with the D silent) teams up with Schultz on bounty trips across the state and later on rescuing his wife, Broomhilda (Kerry Washington) from an evil plantation owner/salve master, Calvin Candie (Caprio) and his equally evil servant, Stephen (Samuel L. Jackson).
You can easily dismiss Tarantino for taking up 166 minutes to tell a simple story. For those who are used to his treatment will appreciate the efforts he put in to create an accessible, thoroughly enjoyable western. The first act promptly set up the relationship between master and apprentice and dispatching a bunch of evil-doers known as the Brittle Brothers. If you are waiting for DiCaprio’s grand entrance then you got to be slightly more patience as our main villain in the movie takes his time to appear. Trust us, it’s not going to be pretty seeing him for the first time with the man laughing hysterically at “Mandingo fights” which in layman terms, matches that require slaves to fight to their death.
Yes, the long pages of dialogue are still in existent. As always, there are gems littered around. The part where Schultz and Candie discussed about the works and impact of French writer Alexander Dumas is brilliant. The tension during the dinner table between Schultz, Django, Stephen and Candie is marvellously staged. Not forgetting some laugh-out-loud moments especially a Ku Klux Klan gag that has Jonah Hill doing a cameo and in the later part of the movie, Tarantino himself as well. But the part where a slave is fed to a dog seems too much to stomach and this is where the movie starts to lose a bit of momentum.
The production design by the late J. Michael Riva is breathtaking and realistic. The Western streets and the interior of Candie’s residence are just some of the highlights. The over-the-top violence is both funny with gruesome chunks of body parts flying across the screen in generous servings. Only Tarantino himself has the ability to tell an engaging story with his trademark humour and violence. The performances here are top notch especially DiCaprio who plays against type and Jackson playing a black who thinks he is white. Lastly, who can forget Q.T.’s message that slavery is bad and spaghetti western is good.
SPECIAL FEATURES:
Remembering J. Michael Riva: The Production Design of Django Unchained is a 12 minutes tribute to the late production designer who passed away during the production of the movie in June 2012.
20 Years In The Making: The Tarantino XX Blu-ray Collection and Django Unchained Soundtrack Spot are just short promotional spots.
AUDIO/VISUAL:
Brimming with excellent details and colors, Django Unchained looks brilliant on DVD. The English Dolby Digital 5.1 is robust when it comes to the gunplay and dialogue which constitutes a great deal here is cleanly presented.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
Genre: Action
Director: Keanu Reeves
Cast: Tiger Chen, Karen Mok, Keanu Reeves, Simon Yam, Yu Hai, Ye Qing, Iko Uwais
RunTime: 1 hr 45 mins
Rating: NC-16 (Violence)
Released By: GV
Official Website:
Opening Day: 11 July 2013
Synopsis: In bustling Beijing, China, ambitious young “Tiger” Chen Lin-Hu (Tiger Chen) works as a lowly courier; but after work, he is a young martial arts star, rising through the ranks representing the Ling Kong Tai Chi tradition. Though most associate Tai Chi with peaceful, yoga-like movements, Tiger has perfected the ancient art and started to make a name for himself in the prestigious Wulin Wang martial arts championship. Meanwhile, in Hong Kong, police investigator, Suen Jing-Si (Karen Mok), who works for the organized crime unit OCTB, has run into a wall in her pursuit of Donaka Mark (Keanu Reeves). Donaka is a powerful Hong Kong businessmen who runs a secret underground fighting ring, where cold hard cash is made by defeating one’s opponent in a no-holds barred fight privately broadcast to wealthy patrons. Looking for a new “star,” Donaka tries to lure Tiger with the promise of easy money. At first, Tiger declines, committed to the purity and integrity of his pursuit. But when his temple is threatened with redevelopment, Tiger relents so that he may protect the legacy of Ling Kong Tai Chi. Soon, Tiger is an underground sensation, defeating international opponents with reputations of deadly force. But the darker side of Tiger’s skill begins to emerge. His public fights in the Wulin Wang tournament become more aggressive, bringing Tiger unwanted attention and shame to his elderly master (Yu Hai) Seemingly unable to harness the darkness inside of himself, Tiger eventually agrees to work with Jing-Si to bring down Donaka’s deadly private game. But when every fight is the fight of his life, will Tiger be able to sustain his best intentions and manage the darkest and worst possibilities of his craft?
Movie Review:
Exactly a decade after the Matrix trilogy came to a close, Keanu Reeves reunites action director Yuen Woo-Ping and former stuntman Tiger Hu Chen for a modern-day martial arts picture set in the world of underground fighting. Given the pedigree (which also includes other notable international fighters such as Jeremy Marinas, Brahim Achabbakhe, Ocean Hou and even ‘The Raid’s’ Iko Uwais), it’s perhaps inevitable that many will expect a brutal smackfest that pits style against style in a fight to the death.
Yet it is precisely such expectations that Reeves, who makes his directorial debut here, seeks to confound. Much as his movie aims to capture the raw thrill and stimulation of mano-a-mano fighting, he is especially cautious that the depiction not be a visceral means of satisfying anyone’s thirst for blood or brutality. The most apparent display of this is in how he purposely denies a showy finale between Tiger Chen and Iko Uwais, using that match instead for the former to make an emphatic objection about the use of kung fu as an instrument of killing for entertainment, an undoubtedly noble intention on Reeves’ part that is unfortunately still likely to earn the chagrin of some audiences.
Indeed, one could almost say that Reeves has set out to make a philosophical movie that reflects on what it means to be a true pugilist, possessing not just the moves or the ferocity to execute them but also the right spirit that seeks peace and not violence. As is expected, the plot that sees Tiger being lured by the promise of money and recognition to participate in underground fighting is pretty straightforward; what surprises however is the character-driven approach that Reeves and his screenwriter Michael G. Cooney have chosen, which portrays with great attention the inner transformation within Tiger as his motivations for fighting turn askew.
A good part of the first half of the movie is therefore dedicated to illustrating the sort of person Tiger is - a nondescript job as a delivery man aside, he is the last disciple of the Ling Kong school of Tai Chi (whose master is played by Yu Hai) still struggling with the ability to empty himself in order to gain true enlightenment. Tiger is also passionate about the cause of spreading the knowledge of Ling Kong and participates in sporting competitions to demonstrate the art on national television. It is during one of these competitions that chief villain Mark Donaka (a rare baddie role for Reeves) notices him and lures him to become an underground fighter.
The road to hell is paved with good intentions, they say, and so despite Tiger’s naïve but sincere wish of promoting Ling Kong, he is slowly conditioned with every match to become more and more a ruthless fighter. Besides the very first audition match, the rest of these conditioning matches where Tiger takes on fighters of different styles are hardly shown in their entirety; in line with Reeves’ intention, each is presented long enough only to emphasise the consequences of all that fighting on Tiger’s own personality. Though some might be inclined to criticise Reeves for doing injustice to these sequences, Reeves at least deserves admiration for staying so singularly minded at his intent of not serving up fighting for its own sake.
Yes, that mentality pervades every single directorial decision - however much you may disagree with it - that Reeves makes, which will ultimately prove frustrating for some viewers. Most notably, what is likely to leave a sour taste is how he effectively ends what starts out as an exciting grudge match between Tiger and Mark for the finale with a game-changing move that literally knocks the wind out of the fight. It is a bold move nonetheless, and again just emphasises the clarity with which Reeves executes his directorial vision.
If it isn’t yet apparent by now, this is pretty much Tiger’s showcase through and through. You’ll spot some notable Hong Kong actors among the cast - including Karen Mok as a dogged OCTB inspector, Simon Yam as her boss and Sam Lee as her intelligence expert - but their roles are largely inconsequential to the movie. Ditto for Tiger’s love interest played by Ye Qing, which serves only as a beacon to him of just how far he has strayed from the path of right. Instead, Reeves keeps a tight focus on Tiger most of the time, who thankfully holds the screen with an intense performance that captures both his character’s restraint and lack thereof at different points.
The same can be said of Elliot Davis’ cinematography and Derek Hui’s editing, which combine to create a taut and tense pace throughout. It’s not as if ‘Man of Tai Chi’ isn’t exciting therefore - it is, and Reeves manages to make it gripping from start to finish. What you should bear in mind however is what this movie is not - and that is, a collection of brutal and vicious fights of different styles. As we said, Reeves’ aim is in meditating on the meaning of a true pugilist, defined not by the speed or force of his moves but by the heart and spirit by which he executes them.
Movie Rating:
(Far from a no-holds-barred smackfest some may be expecting this to be, Keanu Reeves fashions an unusually thoughtful but no less thrilling martial arts movie that focuses on the spirit behind the art)
Review by Gabriel Chong
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JAMES GANDOLFINI (1961 - 2013)Posted on 20 Jun 2013 |
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More UNBEATABLE Making-Of VideosPosted on 18 Aug 2013 |
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"THAT GIRL IN PINAFORE" HITS CINEMAS ON 1 AUGUST! SOUNDTRACK FEATURING COVERS OF "XINYAO" CLASSICS LAUNCHES ON 7 JULY!Posted on 05 Jul 2013 |
SYNOPSIS: After seven years of marriage, Doo-hyun is at the end of his rope. Jung-in, his wife, is beautiful, sexy and a fantastic cook but drives her husband crazy with her endless nagging and complaining. He can't even bring himself to ask for a divorce because of the fights that will follow. When Doo-hyun's company transfers him out of state, it seems like his dream of getting away is coming true. But to his horror, Jung-in surprises him by moving across the country to be with him. Desperate but too afraid to ask for a divorce, Doo-hyun recruits his next-door neighbor and legendary Casanova Seong-ki to seduce his wife and make her leave him first. After scoping her out, Seong-ki is intrigued by the challenge and confidently agrees to seduce Jung-in as a Casanova project. Veering away from the gauzy formula of romantic comedies. "All About My Wife" is a sexy and funny portrayal of how we fall in and out of love.
MOVIE REVIEW:
A lot of things can happen in seven years of marriage. In the case of Doo-hyun and Jung-in, the latter is driving the husband crazy with her non-stop rattling about everything under the sky. Behind her back, Doo-hyun is thinking to divorce her. However being too afraid to tell her on the face, Doo-hyun decides to engage a legendary Casanova, Seong-ki to seduce his wife and make her leave him instead. Will Doo-hyun succeeds in his scheme?
Though All About My Wife is a remake of an Argentine romance comedy, it plays very much liked any Korean rom-com except for some unusual touches. The first act is extremely well-done as director and co-writer Min Kyu-dong set up a beautiful sequence in Nagoya, Japan where our pair of lovebirds first met and fall in love. Then we are introduced us to the irritating ways of Jung-in and her henpecked husband, Doo-hyun during their married life years later.
The character of Jung-in might seems liked a complaint queen on the surface but getting a spot on a declining radio show later revealed that she is actually a person who hates hypocrisy in life which explains her obnoxious actions. The script by Min Kyu-dong is a nice balance of drama and comedy. There’s a serious message about the importance of communication in marriage hidden somewhere here amid the sometimes exaggerated comedy. The appearance of Seong-ki brought the wackiness to another level with the character being constantly swarmed by exotic women of all races, has a taste for refined gourmet cooking, milk a cow and even fluent in foreign languages.
Yet the last act tends to turn too emotional for its own good and largely a stark contrast to the light offbeat mood set up in the earlier hour. Jung-in starts to quiver under the company of the sexy Seong-ki while Doo-hyun develops jealousy when he chanced upon the duo on a romantic liaison in a closed amusement park. The initial slapstick moments are gone, in its place is a struggle of a couple who has to contemplate their relationship once again.
Lim Soo-jung (Finding Mr Destiny) is perfectly cast as the loud Jung-in and opposite Lee Sun-kyun’s equally gung-go performance as the meek husband, they are seriously an adorable pair to root for. Despite that, it’s Ryou Seung-ryong (Miracle In Cell No. 7) that steals the show as the mature Casanova, a sentimental almost too perfect a man to exist in this universe. Except for a clunky third act, All About My Wife is by far one of the more entertaining romantic comedies from Korea in recent times. Don’t miss the closing credit which is hilarious by the way.
SPECIAL FEATURES:
NIL
AUDIO/VISUAL:
The visual presentation is in general satisfying and since the movie on the whole is driven by dialogue, the soundtrack provided is ample to convey the emotions.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
SYNOPSIS: After almost a decade away from the big screen, veteran film director Walter Hill is back at the helm with this action thriller. Legendary movie star Sylvester Stallone plays Jimmy Bobo, a jaded hitman who reluctantly forms an alliance with a cop in order to exact revenge on the mercenary who murdered their respective partners. Full of non-stop explosive action, thrilling fight scenes and classic one-liners, BULLET TO THE HEAD is based on Alexis Nolent's graphic novel of the same name.
MOVIE REVIEW:
Bullet to the Head easily qualifies as a contender for Best-Gathering-for-Has-Beens of the year. Director Walter Hill’s heydays belong to the eighties when he served up gems such as 48 Hrs and Red Heat and Stallone of course hasn’t been on the A-list for the longest time.
Based on a French graphic novel and filmed on location in New Orleans, Stallone plays an aging hitman, Bobo whose partner, Louis is killed by a ruthless mercenary, Keegan (Jason Momoa from Conan the Barbarian) after an assassination job involving a corrupt cop. All you have to know subsequently is that Bobo have to team up with a Washington cop, Kwon (Fast & Furious’s Sung Kang) to avenge his partner’s death while the truth behind all the mayhem is bribery involving politicians and reputable businessmen.
It doesn’t break any new ground when it comes to the plotting. In fact for the most part, it’s a badly written and boring action thriller occasionally infused with some clever one-liners courtesy of Bobo. “Are we fucking Vikings?” mouthed Bobo when he is forced into an axe fight with Keegan in the end. I nearly choked with laughter at that to be honest. The rest of the movie in the mean time is filled with unnecessary, unexciting violence. Flinching is the word when it comes to the numerous scenes depicting people being shot in the head and face. I know the title is called Bullet to the Head but that doesn’t mean we need to justify that constantly on the screen.
Punisher’s Thomas Jane is originally cast in Sung Kang’s role though producer Joel Silver preferred an ethic actor and replaced him. Not that it matters, Stallone already has the much funnier Tango & Cash under his belt, honestly this buddy cop pair up never exactly redeem the material given both actors has almost zilch chemistry together to deliver a wham-bang experience. There are a few brutal fisticuffs thrown in and the sixty-seven years old Stallone still packed quite a punch when it comes to throwing his opponent against a wall or wielding an axe against his younger co-star. An unintended humor comes in the form of another has-been actor Christian Slater who delivers his first major role in a theatrical release since the disastrous Alone In The Dark.
Despite the anticipation for some old school action, Hill and Stallone team up for Bullet to the Head sad to say isn’t going to put them back in Hollywood’s good books anytime soon for sure. It’s a functional TV movie at best.
SPECIAL FEATURES:
NIL
AUDIO/VISUAL:
Bullet In The Head is mostly dark and gritty in the visual department. Dialogue is clear (though Stallone’s mumblings isn’t the transfer fault) and gunfires are loud and aggressive.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
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