Genre: Comedy
Director: Rawson Marshall Thurber
Cast: Jennifer Aniston, Jason Sudeikis, Emma Roberts, Nick Offerman, Kathryn Hahn, Will Poulter, Ed Helms
RunTime: 1 hr 50 mins
Rating: M18 (Sexual References and Some Nudity)
Released By: Warner Bros
Official Website: http://www.werethemillers.com/
Opening Day: 5 September 2013
Synopsis: David Clark (Sudeikis) is a small-time pot dealer whose clientele includes chefs and soccer moms, but no kids—after all, he has his scruples. So what could go wrong? Plenty. Preferring to keep a low profile for obvious reasons, he learns the hard way that no good deed goes unpunished when he tries to help out some local teens and winds up getting jumped by a trio of gutter punks. Stealing his stash and his cash, they leave him in major debt to his supplier, Brad (Ed Helms). In order to wipe the slate clean—and maintain a clean bill of health—David must now become a big-time drug smuggler by bringing Brad’s latest shipment in from Mexico. Twisting the arms of his neighbors, cynical stripper Rose (Aniston) and wannabe customer Kenny (Will Poulter), as well as streetwise teen Casey (Emma Roberts), he devises a foolproof plan. One fake wife, two pretend kids and a huge, shiny RV later, the “Millers” are headed south of the border for a Fourth of July weekend that is sure to end with a bang.
Movie Review:
Ever since “The Hangover” and “Bridesmaids” convinced Hollywood that there was an audience hungry for R-rated comedies, it’s been one profanity-laced affair after another, the latest addition to the line this loosely scripted but well-acted raunch-com ‘We’re the Millers’. Foul-mouthed though it may be, this is like those earlier two movies a slice of vulgar vanilla - and by that we mean a movie that will in the end stick to formula to deliver a crowd-pleasingly safe happily-ever-after ending.
Coined by the team behind the very funny “Wedding Crashers” - Bob Fisher and Steve Faber - and polished by the duo who crafted “Hot Tub Time Machine” - Sean Anders and John Morris, there’s no denying that its premise has comic promise. The joke here is that “the Millers” are but an invention of the small-time middle-aged pot dealer David (Jason Sudeikis) - consisting of a stripper named Rose (Jennifer Aniston), a local runaway named Casey (Emma Roberts) and his young neighbour named Kenny (Will Poulter) - who hatch a plan to recruit a fake family as cover for one major score.
David owes money to his supplier Brad (Ed Helms), and in return for erasing his debt, he is forced to drive to Mexico to smuggle a whole shipment of marijuana over the border. Playing obviously to stereotypes, David’s plan rests on the assumption that a wholesome-looking white-bread family in an RV is less likely to be stopped and inspected for drugs. That’s the setup for a twisted road trip made up of episodic misadventures, consistent bickering and finally of course the obligatory sentimental uplift - is it any surprise that by the end of the movie, the bunch of misfits actually become the all-American family they spend most of their time before mocking?
But such is a movie where the destination is probably less important than the journey itself, and “Dodgeball” director Rawson Marshall Thurber manages enough fitfully amusing gags to make taking this trip worthwhile. A recurring one which the four writers and Thurber milk for maximum hilarity has the Millers running into fellow RV-ers Don and Edie Fitzgerald (Nick Offerman and Kathryn Hahn) along with their teenage daughter Melissa (Molly Quinn), whom are the exact sort of family the Millers are pretending to be - not only do the adults end up almost having a foursie, Kenny is also caught “kissing” his sister and then his mother by the very girl (i.e. Melissa) that he is taking such lessons for in the first place.
The rest of the best bits are unfortunately already in the trailer, though seeing Kenny demonstrate his way around TLC’s “Waterfalls” and getting bit where it matters by an errant tarantula still is pretty amusing. That should probably also clue you in that there are quite a number of jokes that miss their mark - in particular, one where David asks Kenny to perform sexual favours on a corrupt Mexican cop (Luis Guzman in a cameo) to avoid arrest just feels wrong. A subplot that sees two double-crossed Mexicans - One-Eye (Matthew Willig) and Pablo (Tomer Sisley) - hot on the trail of the Millers also offers little payoff even after they finally confront the Millers.
What the material lacks, the cast however try their darnest to make it for it. Sudeikis strikes a nice balance between being appealing and obnoxious, while Aniston puts her 44-year-old-but-not-looking-any-of-it hot bod to good use especially in showcasing the stripper moves she picked up for this movie. Poulter is surprisingly sweet and likeable as the shy virgin, though Roberts looks too demure to be a runaway rebel. Deserving of special mention here are Offerman and Hahn, the two veterans quite nearly stealing the show with their square-seeming behaviour that one only sees through when the Millers decide to pay them an unannounced visit in their tent in the middle of the night.
And thanks to the game cast, what is in fact an utterly mediocre script for an inspired high-concept comedy turns out passably entertaining. At no point does it reach the comedic heights of ‘The Hangover’ or ‘Bridesmaids’ - or for that matter even ‘Wedding Crashers’ and ‘Hot Tub Time Machine’; instead, it offers occasional laughs for those looking for some naughty fun, but will most likely disappoint those hoping for anything more. If you happen to be catching it though, make sure you stay for the outtakes - there’s a bit which references Aniston’s time in F.R.I.E.N.D.S. that makes for the perfect sendoff.
Movie Rating:
(Yet another raunch-com that tries to be vulgar and sweet at the same time, this fitfully amusing road trip movie has some laugh-out-loud parts that make up for an otherwise mediocre whole)
Review by Gabriel Chong
Genre: Drama
Director: Yoji Yamada
Cast: Yû Aoi, Satoshi Tsumabuki, Yui Natsukawa, Kazuko Yoshiyuki, Masahiko Nishimura, Jun Fubuki, Nenji Kobayashi, Isao Hashizume
RunTime: 2 hrs 26 mins
Rating: PG
Released By: Lighthouse Pictures
Official Website: http://www.tokyo-kazoku.jp/
Opening Day: 10 October 2013
Synopsis: An old married couple Shukichi HIRAYAMA (Isao HASHIZUME) and Tomiko (Kazuko YOSHIYUKI) live on a small island in Seto-Island Sea. They go to Tokyo to meet their 3 children. The eldest son Koichi (Masahiko Nishimura) runs a hospital. The first daughter Shigeko (Tomoko NAKAJIMA) runs a beauty salon. The second son Shuji (Satoshi TSUMABUKI) works in stage art. The families want Shukichi and Tomiko to have a good time in Tokyo, but they do not really like staying in Tokyo. One day, Tomiko visits Shuji's apartment. There, Tomiko is introduced to Shuji's fiance Noriko (Yu AOI), but soon Tomiko collapses at Koichi's house ....
Movie Review:
Cinephiles will tell you about the greatness of Tokyo Story, a 1953 Japanese film directed by Yasujiro Ozu. The story about an aging couple who travel to Tokyo to visit their grown children, only to have them being too busy to pay them much attention, is regarded as one of the most poignant tales ever told on screen. And as with every remarkable piece of work, there is a need to introduce it to a wider audience, hence the contemporary filmmakers’ decision to produce Tokyo Family, an interpretation which you can either define as a remake, a tribute or an update.
Yoji Yamada (The Twilight Samurai, The Hidden Blade) takes on this story and gives it a relatable angle to today’s viewers. The plot is identical to the classic: An old couple from an isolated part of
Made 60 years after the premiere of Tokyo Story and celebrating the 50th anniversary of the respected Ozu’s death, this 146 minute film serves as a kind reminder of the importance of family ties. This is especially current in today’s society, considering how new media and social expectations have changed how family members interact with each other.
With that said, Yamada’s latest work does not seem to offer anything refreshing. That is nothing surprising though, considering how Yamada was an assistant director of the earlier film. The 1954 graduate of
Those who have watched the original (a large group would probably be film students) may find this version uninspiring, and the younger ones may find their patience being tested with the unhurried storytelling. However, do not let this make you feel that this is an unimportant piece of work. There are still pertinent themes which we as children ought to understand in this evergreen tale. There are times you know how things should work, but nothing works better than a screen visualisation to remind you of how things should be.
There is strong acting from the cast here – Isao Hashizume and Kazuko Yoshiyuki shine in their roles as the unassuming parents who travel to bustling Tokyo from their quiet home on a small island, Masahiko Nishimura’s unassuming screen presence gets to you as he plays a GP who runs a clinic from his home, Tomoko Nakajima flaunts her chops as a busy beauty parlour manager, while the charismatic Satoshi Tsumabuki takes on the role of the youngest son who is a freelance stagehand. Each member of the ensemble cast plays his or her character without outshining each other, and gives ample room for performance in the film’s many key scenes.
While Tokyo Family may not go down film history as a classic, it is still a commendable piece of work worth your time – if you are willing to sit down and appreciate life’s slower moments.
Movie Rating:
(Showcasing a strong ensemble cast, Yoji Yamada speaks to the modern audience with his homage to the great Tokyo Story)
Review by John Li
SYNOPSIS: A peculiar girl transforms into a cat to catch her crush's attention. But before she realizes it, the line between human and animal starts to blur.
MOVIE REVIEW:
Our main character Miyo Sasaki nicknamed Muge is a loud, obnoxious high school student who has a crush on her smart, introvert classmate, Hinode. The exact opposite of Muge you might think. But deep down, Muge is struggling with the divorce of her parents and she yearns for the attention of her love ones. Until one day, a mysterious “mask seller” in the form of a big fat cat offers her a chance to adopt the identity of a cute kitten so that she can spend some alone time with Hinode who named her Taro after his former dog companion.
As time goes with Hinode’s increasing distancing from the human Muge, the latter decides to remain a cat forever under the persuade of the “mask seller”. Will Muge able to return to her human form in the end or risk turning into a feline that no longer possess the ability to communicate with her beloved Hinode?
A Whisker Away is a highly imaginative anime in the vein of Spirited Away. It’s a fantasy drama filled with both whimsical elements and complicated family issues that even general audiences will appreciate. Muge in general is a complex character. Undeniably, she is irritable in the beginning but as the story unfolds, there is a brilliant display of emotion and also an appealing side of her being showcased. To many, Muge is a happy-go-lucky girl who is not afraid to voice out her feelings but, in the end, she has the same trait as Hinode, the quiet matured kid who aims to take over his family pottery business from his aged grandfather but is afraid to tell his mom. Similar to Hinode, Muge is suppressing her dislike for staying with her father and girlfriend and pretends to be carefree on the other hand. Ultimately, both characters suffered from being unable to open up their true feelings to the world.
Despite being occasional talky, the anime kicks into high gear during the last 30 minutes with Hinode venturing into “Cat Island” to rescue Muge. “Cat Island” is a huge tree inhibited by cats and also former humans who chose to be turned into cats. It’s interesting to learn of this group of former humans who voluntarily surrendered their human souls to the “mask seller” in exchange for being a cat probably to escape difficult life issues. There’s not much further plot development of this group of cats to pack an emotional wallop but you can’t deny it should be heart wrenching to see.
There’s no doubt A Whisker Away is a fine rich hand-drawn animation. It’s always a joy to watch beautiful, “handcraft” drawings instead of precision engineered CG animation for a change. Coming from Junichi Satoh (known for Sailor Moon) and Mari Okada who wrote last year’s Her Blue Sky, the anime hits the right emotion notes and is genuinely moving. Those hoping for a wildly imaginative tale won’t be disappointed by the unravel of the mask seller’s evil intentions. Packed with fun, lots of heart and a solid script, A Whisker Away comes highly recommended.
MOVIE RATING:
Review by Linus Tee
SYNOPSIS: Working as an apartment block concierge, Cesar takes full advantage of his position, sneaking into the flat of beautiful tenant Clara almost nightly- with the unsuspecting victim having absolutely no idea. We begin with the image of Cesar contemplating suicide, professing his deep unhappiness in what is a fruitless livelihood. You wake day after day to the comfort and security of your home. But how safe is it really?
MOVIE REVIEW:
Taking a break from his enormously successful found-footage [REC] franchise, Spanish director Jaume Balaguero returns to more classical horror with the gripping thriller ‘Sleep Tight’. Like the first two [REC] films, this one is mostly set in an apartment building, but the horror here lies not in flesh-biting zombies but rather in a deceptively charming middle-aged man working as the building’s concierge.
Cesar (Luis Tosar), we learn from his monologue at the start, is a deeply unhappy man, so much so that he questions what happiness really means in life - a fact you won’t be able to guess from his crisply cordial manner in which he greets the residents in the building. One particular resident though, Clara (Marta Etura), has him fascinated; while he grapples with despondency, she seems to radiate just the opposite from within, perpetually smiley and cheery, a perfect complement to her stunning good looks.
Adapting from his own novel, Alberto Manni unfolds the extent of his obsession over the course of two weeks. Cesar isn’t some guy pining for Clara’s attention; rather, he seeks to thoroughly disrupt Clara’s seemingly perfect life, and in doing so, crush her particularly adamant optimism. Yes, Cesar’s cure to his own unhappiness to make others miserable, and as twisted as that may sound, it’s not hard to find such people in real life who delight in others’ misery.
Thankfully, not everyone is as empowered as Cesar is, who makes full use of his position to gain access to Clara’s apartment nightly, lying in wait for her underneath her bed for her to fall asleep and then knocking her out with chloroform. He starts by injecting a liquid into her skin cream to give her rashes, but when that - and the disturbing anonymous letters and text messages he sends doesn’t work - he infests her apartment with roaches. But the extent of his terror only begins evident much later on, when it is becomes clear that Cesar does more than just lie naked next to her in bed at night.
There’s no doubt Cesar is a monster, and the brilliance in Tosar’s performance is how easily his audience - together with the many residents in the apartment - are swept up by his affable veneer. This isn’t your typical psycho with the crooked smile and the sullen demeanour; rather, he comes off friendly and helpful even, greeting the residents on their way in and out the building, striking up casual everyday conversations with elderly resident Veronica (Petra Martinez) and offering to assist Clara to clear her choked sink and fumigate her apartment (no matter that he was responsible for both). Tosar is disturbingly good in the role, his malevolence so masterfully hidden you can’t quite decide whether to be impressed or be revolted by his character.
His compelling perf is beautifully complemented by Balaguero’s excellent grasp of pacing and atmosphere. Using the levers in Manni’s tightly coiled screenplay, he keeps the mood intensely disquieting - and one of the best sequences that sees Cesar trapped in the apartment with Clara and Marcos trying to avoid being seen is an exercise in pure suspense. Clearly inspired by the old-school genre masters like Hitchcock, Balaguero strives for the same kind of white-knuckle tension as “Psycho” - particularly since there is something Norman Bates-like about Cesar - and succeeds impressively.
Unlike [REC] or its sequel however, ‘Sleep Tight’ doesn’t quite have the same shock and awe effect - which is probably why our local distributors have opted not to give it a theatrical release. Don’t let that fool you into thinking this is some B-grade horror though - instead, Balaguero proves with this taut psychological thriller that he is just as comfortable with slow-building horror as in-your-face terror. It is also very artfully done, which explains why it has been as well received critically as it has been commercially in its home country.
AUDIO/VISUAL:
The Dolby Digital 2.0 audio is decent, though not particularly outstanding for a movie which would clearly have benefited from a nice 5.1 surround track. Visuals are similarly passable - at least the contrast in the dimly lit scenes at night is well balanced.
MOVIE RATING:
DVD RATING :
Review by Gabriel Chong
SYNOPSIS: MASQUERADE (Gwang-hae: The Man Who Became King) is a South Korean historical film starring Lee Byung-hun in dual roles as the bizarre King Gwang-hae and the humble acrobat Ha-sun, who stands in for the monarch when he faces the threat of being poisoned. The paranoid 15th ruler of Korea's Joseon Dynasty, King Gwanghae (LEE Byung-hun), orders his chief secretary Heo Gyun (RYOO Seung-ryong) to find him a double in order to evade the constant threat of assassination. Heo Gyun finds Ha-seon, a performer of satirical farces who bears a remarkable resemblance to the king. Just as feared, Gwanghae is poisoned shortly thereafter. The chief secretary proposes Ha-seon fill the role of the king until the bed-ridden monarch recovers fully, and grooms Ha-seon to act every bit the part. While assuming the role of ruler at his first official appearance, Ha-seon begins to ponder the intricacies of the problems debated in his court. Being fundamentally more humanitarian than Gwanghae, Ha-seon’s affection and appreciation of even the most minor servants slowly changes morale in the palace for the better. Over time he finds his voice and takes control of governing the country with real insight and fair judgments. Even the chief secretary is moved by Ha-seon’s genuine concern for the people, and realizes he is an infinitely better ruler than Gwanghae. However, the king's chief opposition, Park Chung-seo (KIM Myung-gon), notices the sudden shift in the king’s behavior and starts to ask questions. The queen (HAN Hyo-joo) is also conflicted between the real king and the fake king’s secret.
MOVIE REVIEW:
Before the Western world knows him as Dark Shadow, Lee Byung-hun is already a bankable name in Asia. Given his busy schedule, the Korean superstar juggling between Hollywood and his native land managed to pull in another mesmerising performance in one of Korean’s biggest hits, Masquerade.
Lee plays double roles, a lowly jester named Ha-seon and King Gwang-hae in this The Prince and the Pauper inspired story which is set in 17th century Joseon Dynasty. Ha-seon is summoned by the Chief Secretary to stand in for the King as the paranoid ruler is drugged and left in a coma one day. Ha-seon becomes the stand-in King only to realise political rivalry, the commoners’ sufferings and the Queen’s love is no comic matters.
Choo Chang-Min’s directing and scripting allows much accessibility if you are not a fan of longwinded, excruciatingly slow period dramas. Masquerade is never that for that matter. In fact there are some comedic elements liked Ha-seon taking a dump in front of his hordes of palace helpers and the revelation of his true identity by Captain Do, the King’s personal bodyguard that are peppered in the otherwise stoic, no-nonsense story. Choo’s tackling of heavy subjects such as the sensitive tax reform law, identification system and the strict rules of the palace are weaved effortlessly into the plotting. By using the stand-in King’s point of view, Choo’s story becomes a fictional yet absorbing tale that sort of explain a fifteen-day span of Gwang-hae’s reign that is missing from the annals.
Ha-seon soon becomes the voice of the commoners behind the façade. He is empathetic to the poor, the long neglected Queen Consort even to this personal food taster, a fifteen year old Sawol whose family has suffered tremendously under corrupted officials. Like the daily man on the street who suddenly wields tremendous power, the fake King begins to see a better picture of the state of his country than the real one. This is definitely an interesting turn of events which makes one wonders if Choo is indeed sending a message to the contemporary political arena.
In Masquerade, Lee certainly is a tour de force and no doubt deserved the Best Actor award in the 49th Grand Bell Awards, Korea’s answer to the Oscars. Together with veterans Ryu Seung-Ryong (War of the Arrows) as the Chief Secretary, Jang Gwang (Confession of Murder) as Chief Eunuch Jo and comedian Kim In-kwon (The Tower) as Captain Do, the movie alone is filled with superb onscreen performances. Add to the lavish setting and production design, Masquerade is a historical drama that is worth every minute of the 131 running time. Forget about G.I. Joe: Retaliation, catch Lee Byung-hun here instead.
SPECIAL FEATURES:
NIL
AUDIO/VISUAL:
Visual is rich with brimming details and colours while the Dolby Digital 2.0 delivers clear, concise Korean dialogue.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
SYNOPSIS: Small-town detective Noah Cordin is called to solve a juvenile homicide that occurred during a home burglary in his affluent town of Hilliard. The dead boy's mother, Allison Connor, is a member of the Meskada County Board of Commissioners, and a powerful woman in Hilliard; and the entire township rallies together in solidarity - to support her and Detective Cordin's efforts to find the killers.
MOVIE REVIEW:
Filmed on a tight budget (obvious from the poor editing and nonexistent production design), Meskada is one of those American indie productions that you probably never heard of unless you are a loyal indie fan that scour the internet daily.
Made almost three years ago, the flick opens with a burglary taking place in a small-town. Unaware that there is someone at home, the two criminals Shane (Jonathan Tucker) and Eddie (Kellan Lutz) accidentally killed the young occupant, an eight year old boy. Thus begins the tedious police investigation by detective Noah Cordin (Nick Stahl) and his newly assigned partner, Leslie (Rachel Nichols) which leads them right to Noah’s hometown, Caswell based on a piece of evidence they recovered from a trash bin.
At first glance, the script by director Josh Sternfield himself is a competent detective title capable of killing a mere 88 minutes. Slow boiler as it is, the direction is at least decent and gritty for the first half but the effort is mangled by Sternfield’s ambitiousness by the third act. While it is ok to delve into the desperation of the killers and their immediate family members, including a subplot that involves a decaying small town in need of a manufacturing plant to secure jobs for the locals is suicide meaning it takes away the urgency of the investigation onhand given Sternfield has not much duration to play with.
Despite the questionable script, credit has to be given to Sternfield for assembling a few notable names. Firstly, Nick Stahl, the actor from Sin City and Terminator 3 who lends a realistic presence as always. Norman Reedus from Walking Dead as Shane’s roughneck brother-in-law, award-winning Meryl Streep’s daughter Grace Gummer as Eddie’s squeeze (Gummer is going to have a hard time in Hollywood if she carries on with such forgettable parts) with Razzie of the day goes to Twilight actor Kellan Lutz for his badly-lit and framed sex scene and laughable after sex-quote.
With hastily, clumsy detective work abounds and lots of talks, Meskada plods along without a single bullet fired or a car flipped (I can vouch for a few overturned trash cans and bottles smashed though). Noah and Leslie indeed need a better crime to work on at the same time Sternfield needs to brush up on his writing and his funding.
SPECIAL FEATURES:
NIL
AUDIO/VISUAL:
The DVD transfer is gritty at times intended or not and the Dolby Digital 2.0 soundtrack is serviceable for the overall not-so-exciting experience.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
Genre: Drama/Fantasy/Comedy
Director: Ben Stiller
Cast: Ben Stiller, Kristen Wiig, Shirley MacLaine, Adam Scott, Kathryn Hahn, Patton Oswalt, Sean Penn
RunTime: 1 hr 55 mins
Rating: PG
Released By: 20th Century Fox
Official Website: http://www.waltermitty.com/index.html
Opening Day: 25 December 2013
Synopsis: In his secret life, Walter Mitty (Ben Stiller, who also directs) dreams big…really, really big. There’s no challenge beyond his grasp, be it climbing a massive glacier or rescuing a senior citizen from an exploding building. When he’s not daydreaming, the not-so-secret life of Walter Mitty is the opposite of his heroic alter-ego’s; he’s just an everyday guy facing imminent career downsizing, who’s too timid to ask out his pretty co-worker (Kristen Wiig). But when Walter faces his ultimate real-world test, he springs into action on a global adventure exceeding anything even he could have dreamed of.
Movie Review:
This writer is no prophet, but this much he is sure - one day, our cynicism will be our downfall. And we will have no one to blame but ourselves. In this generation where everyone tries to outsmart each other by all means possible, it is rare to see something uncomplicated and straightforwardly positive. So when a movie with a simple message comes along, we embrace it. We hold on to it so tightly because we miss the good ol’ days when movies made us feel good.
This Ben Stiller directed movie does just that. Based on James Thurber’s 1939 short story of the same name, this second film adaptation (the first was in 1947, directed by Norman Z McLeod) places its protagonist Walter Mitty in Life magazine, where he frequently daydreams of fantastic adventures amidst the fast paced environment. When the magazine’s final issue decides to feature a special photograph by renowned photojournalist Sean O’ Connell, Walter Mitty’s life is changed forever when negative 25 goes missing. This is the first time he loses something in his 16 years working for the famed magazine, and it may be the first time he actually experiences life.
You may have heard some mixed reviews about this movie (that’s probably the reason why our write-up has been embargoed till Christmas Day), but we are advising you to disregard the naysayers and give this cinematic experience a go. Remember how this reviewer mentioned how cynicism will get the better of us? It is because of human nature’s need to question, to demand for all things logical, that we miss out on the simple beauties that will give us that extra spurt to move on in life.
This is Stiller’s sixth directorial work, and it is easily one of this writer’s favourite films of 2013. The 48 year old Hollywoodcelebrity has come a long way from 1994’s Reality Bites, 2001’s Zoolander, 2008’s Tropic Thunder, to this adventure fantasy comedy drama film. Coupled with some very rousing spectacle shot in Iceland, this film will make the traveler in you all inspired to pack up and go see the world. The soundtrack featuring Swedish folk pop singer Jose Gonzalez’s performance is also stirringly moving.
Stiller’s cast ensemble includes the rather underused Kristen Wigg (Despicable Me, Bridesmaids) as Walter Mitty’s love interest, Adam Scott (Piranha 3D, Bachelorette) as his mean boss, screen legend Shirley MacLaine (Valentine’s Day, Bernie) as his wise mother, and the reliable Sean Penn (The Tree of Life, Gangster Squad) as the photojournalist who inspired Walter Mitty to embark on a life changing adventure. Penn’s limited but memorable screen time is something you’d remember down the road, and the pivotal scene he appears in will have you pondering what memories mean to people in this day and age.
While this may not be 2013’s Life of Pi, you have to give credit to the filmmakers who have effectively used computer generated imagery to tell a simple story. If you have 115 minutes to spare, we’d highly recommend that you leave your skepticism elsewhere, step into the cinema to experience Walter Mitty’s world. Hopefully, when you leave the theatre, your worldview will be changed for the better as well.
Movie Rating:
(For inspiring us to see the world in a better light, this feel good movie is easily one of the year’s best films)
Review by John Li
Genre: Action/Fantasy
Director: Gareth Edwards
Cast: Aaron Taylor-Johnson, Ken Watanabe, Elizabeth Olsen, Juliette Binoche, David Strathairn, Bryan Cranston, Sally Hawkins
RunTime: 2 hrs 3 mins
Rating: PG (Some Intense Sequences)
Released By: Warner Bros
Official Website: http://www.godzillamovie.com
Opening Day: 15 May 2014
Synopsis: In Summer 2014, the world’s most revered monster is reborn as Warner Bros. Pictures and Legendary Pictures unleash the epic action adventure “Godzilla.” From visionary new director Gareth Edwards (“Monsters”) comes a powerful story of human courage and reconciliation in the face of titanic forces of nature, when the awe-inspiring Godzilla rises to restore balance as humanity stands defenseless.
Movie Review:
We don’t blame the Japanese for their ambivalence towards another Hollywood rendition of ‘Godzilla’; after all, Roland Emmerich did a pretty bad botched job back in 1998, treating the monster as just another creature bent on devastation and missing the point entirely why it is such an enduring icon in pop culture. And so even as some begin to diss this latest attempt at reviving the franchise by criticising it for having gotten ‘fat’, we don’t blame the initial cynicism, especially since Hollywood already has its ‘Jurassic Park’, ‘Cloverfield’ and even last summer’s ‘Pacific Rim’.
Uncharacteristically, the person at the helm of this $150-million production is a certain Gareth Edwards, a Nuneaton boy who has only had one other feature-length film to his name - the micro-budgeted ‘Monsters’. It’s a daring choice to say the least, but also one that ultimately proves inspired. Edwards eschews the elements of a conventional Hollywood crowdpleaser for something more grounded in myth and pathos, charting a smart middle ground that respects the origins of the creature from its atomic age roots while being entirely in tandem with the modern zeitgeist.
In filmic terms, Edwards tries to honour the character B-movie conceit while delivering a Dark Knight-esque blockbuster steeped in family tragedy, government cover-ups and Post-War on Terrorism sensibilities. So for the first hour, he presents eerie stock footage of Pacific nuclear tests in a title sequence, a nailbiting opening set in 1999 at a Fukushima-style power plant, and then a touching story of estrangement in present day between a father and son pair (Bryan Cranston and Aaron Taylor-Johnson respectively) that results from the disaster at the said nuclear station.
Besides Cranston and Johnson, Edwards has also assembled a formidable group of actors to handle the dramatic weightlifting. Ken Watanabe and Sally Hawkins are a pair of scientists working with a secret research group that has been studying Godzilla since the 1950s, while David Strathairn is the Admiral coordinating the United States’ response to the emergence of the creature. But mostly, screenwriter Max Borenstein emphasises the displacement - and reconciliation - between Cranston’s nuclear plant engineer and Johnson’s explosive ordinance disposal jockey in the U.S. Navy after the death of the former’s wife and the latter’s mother (played by Oscar winner Juliette Binoche).
On the creature front, Edwards and Borenstein slowly unveil an alpha-predator referred to as MUTO — or “Massive Unidentified Terrestrial Organism” - which in Godzilla lore is really a mechanised version of the Mothra. Those who expect a humans-versus-Godzilla showdown the way Emmerich’s version had played it out will be quite surprised at the turn of events here, and we’re keeping mum here so we don’t spoil the surprise for anyone. What we will say is that Edwards really knows how to play things out, baiting and tantalising his audience as he teases the creatures slowly and with increasing attention to detail.
Admittedly, that does take a while before we get the chance to see Godzilla - or for that matter, the MUTOs - in their full majesty, but the wait is more than worth it. Indeed, Edwards reins in the destruction till right at the end, so be prepared for cutaways at certain critical scenes (especially one in Honolulu where a monster-versus-monster showdown takes place offscreen) which may be pretty frustrating for the less patient viewer; but let us reassure you that you won’t be disappointed by the epic finale that totally annihilates downtown San Francisco on a scale rarely witnessed. It is here that we get to witness the beast’s display of bulk and power, and Edwards nails the sheer thrill of watching these monsters rip through buildings with their sheer size and physicality that turns the Bay Area into rubble.
Unfortunately, it is also during the last hour of spectacle that we realise more clearly the shortcomings of Edwards’ film. Try though he may, there’s no denying that the character beats grind to a halt once the action takes over, what dramatic momentum the movie had earlier reduced to a simple rescue mission whereby Johnson tries desperately to get to his wife (Elizabeth Olsen) and child trapped somewhere within the city. You could even go so far as to say that the B-movie clichés emerge all too clearly as soon as the monster is in play, with the scientist (Watanabe) at odds with military brass and the latter proving once again their hubris by thinking that their might is greater than that of nature. At once, it is also apparent that Edwards does not quite manage to conceive the ‘Dark Knight’ of monster movies, settling instead for nothing more - or less - than a well-made engaging creature feature.
So no matter how Edwards or his actors tries to spin it, there’s no denying that it is the monster action that counts at the very end. As the human characters get reduced to moving from location to location chasing the beasts, ‘Godzilla’ rightly becomes the monster blockbuster that summer-going movie viewers will love. The creature effects are terrific, even more so than in ‘Pacific Rim’ if you must know, and the ‘kaiju action’ is certainly where it delivers by the motherload. We dare to say even that it will not disappoint fans of Ishiro Honda’s 1954 Toho release, nor fans who have grown up with the evolution of the beast in pop culture over the past six decades. It may not accomplish its ambition of being the character-driven feature it aspires to be, but as a sock-em-up monster movie, this one is certainly worthy of the creature’s title ‘King of all Monsters’.
Movie Rating:
(Monster movies don't get any more thrilling, or pulse-pounding, or adrenaline-pumping, or jawdropping than this epic display of size and ferocity)
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"WORLD WAR Z" BECOMES BRAD PITT'S HIGHEST GROSSING WORLDWIDE RELEASE AND HIS BIGGEST EVER DOMESTIC GROSSING FILM OF ALL TIMEPosted on 13 Aug 2013 |
Genre: Drama/Comedy
Director: Woody Allen
Cast: Alec Baldwin, Cate Blanchett, Bobby Cannavale, Louis C.K., Andrew Dice Clay, Sally Hawkins, Peter Sarsgaard, Michael Stuhlbarg
RunTime: 1 hr 39 mins
Rating: PG13 (Some Coarse Language)
Released By: Shaw
Official Website:
Opening Day: 10 October 2013
Synopsis: A life crisis causes a woman to head to San Francisco, where she reconnects with her sister.
Movie Review:
We know how life can crumble into pieces, but does it really have to look so devastating, as depicted in Woody Allen’s latest piece of work? The critically acclaimed filmmaker is know for his satire on life, through lighter and sometimes surreal moments in more films like Vicky Cristina Barcelona (2008), Midnight in Paris (2011) and To Rome with Love (2012). With Blue Jasmine, his latest big screen effort written and directed by the 77 year old himself, it is one of the emotionally devastating films we’ve seen this year.
The story’s protagonist is Jasmine, a New Yorksocialite who arrives in San Franciscoto impose on her sister Ginger. Jasmine, who is evidently troubled and in denial, will find her worldview clashing with Ginger. The two very different women will come together to experience things they’ve never expected before.
Academy Award winning Cate Blanchett (The Aviator, The Curious Case of Benjamin Button) takes on the role of the deeply distressed Jasmine, and gives one of her best on screen performance yet. The Australian actress talks a lot in this movie, and it’s obvious that the character is trying to cover up for her insecurities by looking a million, flaunting her riches and possessions. What’s even more bothering is, this is one character who we’ve seen around, and worse, in ourselves. The stark and naked characterisation of Jasmine is spot on, and it takes a great actress like Blanchett to have us identifying with her rather sorry state.
Playing Ginger is Sally Hawkins (Never Let Me Go, Made in Dagenham), whose brashness and frank attitude in life makes us a little envious, being the sheltered urbanites we are. The English actress is one performer we’d like to see recognised at the upcoming award season. Her unassuming and grounded performance is one of the best we’ve seen from a supporting character in recent years, and it will really be a foul up if her brilliant acting goes unnoticed.
Elsewhere, we have Alec Baldwin (Rock of Ages, It’s Complicated) and Peter Sarsgaad (Green Lantern, Orphan) playing token male characters in Jasmine’s life. As caricatured as they may seem, you can’t help but think to yourself, aren’t the people in your life as manufactured as these men sometimes? Less familiar faces like Andrew Dice Clay and Bobby Canavale also deliver commendable performances to make this film a must watch for cinema goers who want something more than big budgeted blockbuster movies.
Allen, who has been nominated at the Oscars 23 times and won four of them, sure knows how to tell an engaging story. The 98 minute film paces itself nicely, and never once does it come across as self important and preachy. The use of flashbacks makes viewers more interested in Jasmine’s past, and how she eventually came to be. Like Allen’s other films, there is no fancy post production here. Javier Aguirresarobe’s cinematography and Alisa Lespselter’s editing serve their basic purpose to progress the story and comfortably fits itself into Allen’s assured direction.
What you’d take away when the credits roll is how life may be a total mess, but there are fronts we have to put up, if anything, to protect ourselves. How we break down thereafter is, unfortunately, how disillusioning life can be.
Movie Rating:
(A stark and true reflection on life, Woody Allen’s latest work is highly recommended for both its script and cast’s performance)
Review by John Li
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