SYNOPSIS: In the competitive world of modern agriculture, ambitious Henry Whipple (Dennis Quaid) wants his rebellious son Dean (Zac Efron) to help expand his family’s farming empire. However, Dean has his sights set on becoming a professional race car driver. When a high-stakes investigation into their business is exposed, the father and son are pushed into an unexpected crisis that threatens their family’s entire livelihood.

MOVIE REVIEW:

At Any Price is a strange hybrid of family drama and the ruthless corporate world. It’s an ambitious tale that tries to say too much but nevertheless congested with unexplored ideas towards the end.

Set in Midwestern Iowa, Dennis Quaid (The Day After Tomorrow) plays Henry Whipple, a farm owner who is always looking into ways to expand his family empire. It has been four generations of passing the baton and Henry hopes that one day his two sons will take over the business. Unfortunately, his favourite eldest son, Grant has left home after college to seek new adventures and his second, Dean (Zac Efron) hopes to become a professional NASCAR racer in which Henry is fast against. Meanwhile, Henry is facing a huge crisis in his farming business. Inspectors are being sent to his land to check for signs of illegal seeds cleansing under a tip off. Will he lose everything in the end including his rebellious son, Dean?

Director and writer Ramin Bahrani indeed painted a complex picture of the agricultural scene especially crucial for a movie that is set with such a background. But then Bahrani prefers to showcase the ugly side of humanity. Henry Whipple is not just a simple farmer. He is aggressive, egoistic and has no qualms of expanding his acres of land through illegal means. Despite having a loyal, capable wife by his side, Henry is also having an affair with a pretty blonde, Meredith (Heather Graham).  

The first half of the movie is engaging enough with all that thrills of the cutthroat corporate world (you don’t really see much movies about seed companies and their tactics don’t you?) and the intense father-and-son relationship between Henry and Dean. There is even a racing sequence thrown in for good measure. Undeniably, it’s plain old soap opera in the making. Only towards the final act does the movie start to collapse with Dean committing a heinous mistake. Is Bahrani trying to tell us evil begets evil? Or is there a much more meaningful subtext we missed?

In addition to all the beautiful shots of corn fields, Quaid and Efron definitely deliver strong dramatic performances in At Any Price unlike the usual stuff they are often seen in. Same goes for Maika Monroe (The Bling Ring) who portray Dean’s love interest. Graham’s character is utterly pointless except for her brief onscreen sexual trysts with Henry and Dean. At least the hangover actress makes a convincing cougar. 

SPECIAL FEATURES:

NIL

AUDIO/VISUAL:

The DVD transfer looks reasonable well and the audio track is serviceable as best. Just don’t expect sonic listening experience during the race sequence.

MOVIE RATING:

DVD RATING :

Review by Linus Tee

SYNOPSIS: Four smart, gutsy young women become unlikely stars in the most unlikely of places, with the most unlikely of allies, in THE SAPPHIRES. Set in 1968, the film follows Gail (Deborah Mailman), Cynthia (Miranda Tapsell), Julie (Jessica Mauboy) and Kay (Shari Sebbens) as they seize a risky, but irresistible, chance to launch a professional career singing for U.S. troops in Vietnam. Under the guidance of an R&B-loving Irish musician, Dave Lovelace (Chris O’Dowd), the girls transform themselves into a sizzling soul act and set out to make a name for themselves hundreds of miles from home. Inspired by a true story, THE SAPPHIRES is a celebration of music, family and self-discovery.

MOVIE REVIEW:

The Sapphiresis one shiny looking gem that unfortunately overlooked by many.

Based on a true story and re-imagined for the big screen, four aboriginal young girls, Gail (Deborah Mailman), Julie (Jessica Mauboy), Cynthia (Miranda Tapsell) and Kay (Shari Sebbens) under the management of an Irish musician, Dave Lovelace (Chris O’Dowd) forms a singing group to go to Vietnam to sing for the U.S. war troops. Set in a time where aboriginals are being ridiculed in their native land, the girls in the hope for a better future managed to find the true meaning of love and family amidst quarrels, fights and looming deadly attacks from the enemies.

This Australian-made movie is not afraid to face it’s unglamorous past. For these groups of people who first set foot on the country, they for a long time are not accepted by the whites while the paler blacks are kidnapped by the government to turn them into whites. The story of The Sapphires cleverly set this as a backdrop for the aboriginal girls reminding audience of this sad tragic fact and the same time, promptly lead us to how talented the sisters and their cousin are in their vocals regardless of their colour.

The four relatively unknown main cast members brought to the table their A game, not a surprise considering Mailman hails from the original stage play while Mauboy is a runner-up in Australian Idol. The other two, newcomers Tapsell and Sebbens hardly falter at all and the four of them hit perfect notes in their coverage of old soul songs in absolute unison.

The off-stage antics covering Gail’s unhappiness with Kay (who has a rather special backstory), her unexpected romance with Dave and Cynthia’s on-and-off romance with a boy back home explore the dynamics and relationships between the various core people. Even if some of the issues come across as easily resolved and formulaic, director Wayne Blair and his writers, Keith Thompson and Tony Briggs has a way to convincingly tell a story with lots of heart and filled with incredibly fun.

Yet it’s Chris O’Dowd who stole the show with his goofy, endearing Dave Lovelace. The Apatow regular who appears in Bridesmaids and This is 40 finally has a leading role to shine on his own. Move over dreamgirls, make way for The Sapphires. 

SPECIAL FEATURES:

NIL

AUDIO/VISUAL:

The DVD visual transfer is detailed and natural-looking. Dialogue and the music segments come across as clear and vibrant except the war sequences are constrained by the provided 2.0 soundtrack.

MOVIE RATING:

DVD RATING :

Review by Linus Tee

Touted to be the next Twllight film series (read: countless cash cow movie installments that will send teenage girls into a state of frenzy), this adaptation of The Mortal Instruments series by author Cassandra Clare has to boast of a soundtrack compilation lining up music that will hopefully, well, send teenage girls a state of frenzy.

Kicking off the 42 minute album is a techno track that may not go down well with the older folks. Russian German DJ Zedd’s “Into the Lair” is a heart pounding dance floor friendly cue that goes on for a good two minutes. More soothing is “Almost is Never Enough (soundtrack version)”, a radio friendly romantic ballad performed by Ariana Grande and Nathan Skyes of The Wanted.  

Elsewhere, Demi Lovato (from Disney’s TV movie Camp Rock) croons the emotional “Heart by Heart”, and Colbie Caillat brings you the breezy “When the Darkness Comes”. “All About Us” performed by indie group He is We featuring Owl City is another tune that is included to please the lowest common denominator.

The party goers will enjoy tracks like “Strangers (featuring Tove Lo) by Seven Lions, Myon and Shane 4, and “Calling from Above (edit)” by freeform electronic music producer and DJ Bassnectar. The CD concludes with the strangely hypnotising “Strange Days” by Bryan Ellis.

Showbiz, despite its glitz and glamour, is a realistic and cruel industry. Because of a not so successful box office run for the movie directed by Harald Zwart, the production of the series’ second installment “City of Ashes” has been postponed indefinitely. Does that mean there won’t be another movie studio which will attempt to repeat the commercial success of the Twilight series? We can but await the next soundtrack compilation containing the latest radio friendly hits to be released in stores.  

ALBUM RATING:

Recommended Track: : (2) Almost is Never Enough (soundtrack version) – Ariana Grande and Nathan Skyes of The Wanted

Review by John Li

The pastel blue cover of this CD should make you feel all nostalgic. In fact, it may evoke the need to own a copy of it. Yes, this is a re release of the soundtrack to the beloved 1979 movie starring everyone’s favourite frog and his piggy girlfriend.

There’s quite a bit of history for the younger folks. Originally released as a LP, the album reached a phenomenal No. 25 on the Billboard Hot 100, No. 32 on Billboard’s Top LP’s and Tapes chart, and was certified Gold by the Recording Industry Association of America. For a family movie soundtrack album, this is really quite a big deal.

The 32 minute recording kicks off with the charming “Rainbow Connection”, a lovely tune crooned by Kermit (Jim Henson) and written by Paul Williams and Kenneth Ascher. One of the greatest songs ever in movie history, there has been countless covers performed by artistes like The Carpenters, Kenny Loggins and Sarah McLachlan. The Academy Award and Golden Globe nominated song is worth the price you paid for this album reissued to coincide with the movie’s release on blu ray.

Elsewhere, there are other equally delightful tunes like “Movin’ Right Along” performed by Kermit and Fozzie (Henson and Frank Oz, whose also voices the legendary Yoda in the Star Wars series), “Never Before, Never Again” sung by Miss Piggy (Oz) and “I’m Going Back There Someday” belted melancholically by Gonzo (Dave Goelz).

The soundtrack won the Grammy Award’s Best Children's Album and was also nominated for Best Score Soundtrack for Visual Media, the Golden Globe for Best Original Song, and two Academy Awards; Best Adaptation Score for the overall album and Best Original Song for "Rainbow Connection".

This soundtrack is a must own for Muppets fans, and is an apt initiation to the younger audiences, especially when this is the first time the album is available in print over 20 years. 

ALBUM RATING:

Recommended Track: (1) Rainbow Connection – Kermit (Jim Henson)

Review by John Li

This reviewer did not attend the Metallica concert held earlier in August, but he sure heard rave reviews about it. And he is taking a big risk by stating that he is no fan of Metallica, or any rock and roll band for that matter. Either he is not cool enough for this genre (check with your friends, anyone who adores Metallica is cool – on social media at least), or he just doesn’t appreciate good music. So why is he reviewing this concert movie soundtrack? Well, maybe, just maybe – it’s a good thing to hear things from another perspective.

The double disc set contains 16 live recordings from Metallica’s career, and is a companion soundtrack to the 3D movie directed by Nimrod Antal. There are 101 minutes of solid music spread over the two CDs, and from someone who has never been a huge fan of loud music, the listening experience is anything but serene.

Disc One kicks off with famed composer Ennio Morricone’s “The Ecstasy of Gold”, a familiar tune from the classic Sergio Leone film The Good, the Bad and the Ugly. It sets the mood for the tracks to come, which includes “Creeping Death”, “For Whom The Bell Tolls”, “Fuel” and “Ride The Lightning”. Fans of the band consisting of members James Hetfield, Lars Ulrich, Kirk Hammett and Robert Trujillo should identify with these tunes.

There are moments between tracks where you’d hear the members addressing the crowd, and as with any other concerts, you’ll hear cheers and screams, just that you are in the comfort of wherever you are.

Disc One continues with “One”, “The Memory Remains” and “Wherever I May Roam”, while Disc Two sustains the streak with “Cyanide”, “And Justice For All” and “Master of Puppets” amongst others. The second disc concludes with “Orion”, which was played in the film’s end credits in an empty arena, accentuating the band’s influence and impact in the music industry.

Listening to these songs on CD will never be the same as rocking out live with Metallica, but as a piece of memorabilia to the film (especially if you have seen it), this soundtrack is a must own. 

ALBUM RATING:

Recommended Track: Disc Two (8) Orion

Review by John Li

Genre: Action/Thriller
Director: Robert Rodriguez
Cast: Danny Trejo, Michelle Rodriguez, Sofia Vergara, Amber Heard, Carlos Estevez, Lady Gaga, Antonio Banderas, Jessica Alba, Demián Bichir, Alexa Vega, Vanessa Hudgens, Cuba Gooding, Jr., William Sadler, Marko Zaror, Mel Gibson
RunTime: 1 hr 47 mins
Rating: M18 (Violence and Coarse Language)
Released By: InnoForm Media and Cathay-Keris Films
Official Website: https://www.facebook.com/MacheteKills

Opening Day: 17 October 2013 

Synopsis: In MACHETE KILLS, Danny Trejo returns as ex-Federale agent MACHETE, who is recruited by the President of the United States for a mission which would be impossible for any mortal man - he must take down a madman revolutionary and an eccentric billionaire arms dealer who has hatched a plan to spread war and anarchy across the planet. From the director of SIN CITY, MACHETE KILLS promises over-the-top action and boasts a killer cast consisting of Danny Trejo, Michelle Rodriguez, Sofia Vergara, Amber Heard, Lady Gaga, Vanessa Hudgens, Alexa Vega, Antonio Banderas, Cuba Gooding, Jr., Jessica Alba, Charlie Sheen, Demián Bichir and Mel Gibson.

Movie Review:

Robert Rodriguez used to stand for so many things. Back in the 90s, his ‘Mexico Trilogy’ of ‘El Mariachi’, ‘Desperado’ and ‘Once Upon a Time in Mexico’ were hailed as the Mexicans’ answer to classic Spaghetti Westerns. Then he went on to prove his ingenuity and imagination as a filmmaker with the enormously entertaining ‘Spy Kids’ movies (at least the first two), as well as his comic book sensibilities with the visually definitive ‘Sin City’. No doubt, it was these qualities for which he was chosen to helm ‘Planet Terror’ opposite Quentin Tarantino, one-half of the double feature ‘Grindhouse’ which paid homage to made-on-the-fly 1970s exploitation flicks.

But where Tarantino has since moved on to critically acclaimed fare such as ‘Inglorious Bastards’ and ‘Django Unchained’, Rodriguez has unfortunately still got his head stuck in ‘Grindhouse’ territory. Building on cult reaction to one of the fake trailers attached to the double feature, Rodriguez filmed a full-length movie about a machete-wielding granite-faced assassin played by Danny Trejo that was simply titled ‘Machete’. And despite underwhelming box-office returns, the cartoonishly enjoyable one-note joke of a film was surprisingly well-received critically, undeniably allowing him to revive the character for one of two sequels teased in the ending.

If it seems we have spent an inordinate time in this review laying out the filmographic history of Rodriguez, that’s because it’s quite fascinating how someone of his calibre should ever see the reason for ‘Machete Kills’. What was once a tongue-in-cheek spoof of blood and guts spilling on the big screen has now become a joke in itself, so utterly tedious and pointless that you’re wondering just what Rodriguez thought could possibly make this into a franchise. Indeed, this is a film that sadly lives up to its billing as a ‘grindhouse’ flick, by virtue of the fact that watching it is no less than a grind.

There are but two inspired elements throughout the 107-minute torture. The first is Machete’s oft-repeated catchphrase ‘Machete don’t …’, a symbol of the times the old-school action hero is from - if Trejo’s matchlessly craggy face don’t already provide enough reminder; and our favourite here is the fact that the man doesn’t tweet. In a sequel with diminishing returns and too many familiar repetitions (How many times can you see a man’s head getting lopped off without getting bored? Or just about another roll of intestines being used as rope?), the rare display of wit is indeed a saving grace.

The second is the all-star celebrity cameos that Rodriguez has, by some stroke of a miracle, managed to assemble. Not all pay off equally, but we’ll start with the ones that work. Mel Gibson is riveting as a villainous arms dealer that Machete goes toe to toe with, clearly relishing the opportunity to take on an over-the-top role that doesn’t require him to play nice. Charlie Sheen (billed here by his birth name Carlos Estevez) is also surprisingly enjoyable as the President of the United States, who tempts Machete back into action with a shot at redemption as well as American citizenship.

Not so memorable however are the posse Rodriguez trots out to play the master of disguise hitman known simply as The Chameleon, played alternately by a who’s who list of Walt Goggins, Cuba Gooding Jr., Antonio Banderas and even Lady Gaga who frankly look as if they certainly wanted to be somewhere else quick. In comparison, Amber Heard and Sofia Vergara get much more memorable parts, the latter particularly as a man-hating dominatrix equipped with a machine-gun bra and strap-on dildo shotgun.

Apart from the occasional one-liner and playing ‘spot the celebrity’, there is pretty much nothing else the movie offers. Rodriguez’s penchant for over-the-top violence quickly wears out both its welcome and freshness, and Kyle Ward’s ill-conceived and undercooked screenplay gives the characters so little to do – well except acting and talking tough and waiting for the next hail of bullets and blood. We get that bad acting, a lack of narrative logic, choppy storytelling and illogical direction were all traits of the ‘grindhouse’ flicks, but there’s a difference between succumbing to the same flaws and being cleverly self-aware – unfortunately, ‘Machete Kills’ falls on the wrong end of the scale.

And with the movie, Rodriguez yet again confirms his audience’s worst fears that the filmmaker might have just stuck himself in his own rut of making bad movies out of the thrall of bad movies. This is as unnecessary a sequel as it gets, and for that matter, a homage to the 70s exploitation flicks that have clearly been lost on today’s audiences. The fact that Rodriguez teases out yet another sequel called ‘Machete Kills Again… In Space’ is further damning proof that he’s taken his own joke too far, much akin to taking a machete and stabbing his own franchise in the heart. 

Movie Rating:

(Heads lopped off, guts spilling forth, blood spurting forth - if 107 minutes of that sounds like your thing, then 'Machete Kills' will hit the sweet spot)  

Genre: Comedy
Director: Alex Gregory, Peter Huyck  
Cast: Jason Sudeikis, Leslie Bibb, Lake Bell, Michelle Borth, Nick Kroll, Tyler Labine, Angela Sarafyan, Lindsay Sloane, Will Forte, Lucy Punch
RunTime: 1 hr 35 mins
Rating: R21 (Sexual Content)
Released By: Shaw
Official Website: http://www.sonypictures.com/movies/agoodoldfashionedorgy/

Opening Day: 12 September 2013

Synopsis: Jason Sudeikis is Eric, a thirty-something party animal famous among his close circle of friends for his lavish summer theme parties at his father's swanky Hamptons pad. But when members of the crew start settling down, and Eric's dad announces plans to sell the beach house, Eric decides it's time for one last bash to go out with a proverbial bang—a good old-fashioned orgy. The only obstacles to overcome are actually convincing each of his reluctant friends to join in on the bacchanal, and an inconveniently blossoming romance with the real estate agent threatening to sell the house out from under him before the main event can even take place.

Movie Review:

Let’s be frank - exactly what did you expect out of a movie with a title like ‘A Good Old Fashioned Orgy’? Were you hoping for some vigorous multiple-partner action? Or some ‘Hangover’-type shenanigans? Well, if it was either or both, you’ll probably be quite disappointed - on the former, we might as well let you know that the sex romps are actually pretty meek, and because the persons involved are close friends, tend to be interrupted by frank conversations about the awkwardness of their situation; and on the latter, well let’s say there just isn’t much of that to begin with.

But of course, this isn’t some porno movie - otherwise it won’t even get past our censors - so here’s what this comedy with the tantalising title is all about. Basically, you have a thirty something guy named Eric (played by Jason Sudeikis of ‘Hall Pass’ and the most recent ‘We’re the Millers’) who wants to organise something big for a final Labour Day weekend holiday with his best pals - both male and female - and eventually settles on the idea of having an orgy. Ok, we’ll admit it’s not the most logical move; nonetheless, the best explanation the movie gives for this is how Eric just wants to do something they would have done in their teenage years.

So anyways, the trigger for this is Eric’s father's announcement that he intends to sell the beach house his son has been holding their wild drunken theme parties for the past few years - and if you need an example of one such party, look no further than the movie’s opening act entitled ‘White Trash Bash’, which among other things, has a bean dip served in a toilet bowl. Eric’s idea is obviously met with some resistance at first, particularly among the girls, though one by one each one of his friends gradually warm up to getting naked in front of and taking turns to get laid with each other.

Don’t for a second go off thinking that they are a group of deviants though - on the contrary, these are largely upwardly mobile New York professionals we are talking about. Sue (Michelle Borth), who has always had a thing for Eric, signs up quite readily. Then there’s the uptight lawyer Adam (Nick Kroll), the rock musician Duquez (Martin Starr) and his girlfriend Willow (Angela Sarafyan), the psychologist Alison (Lake Bell), and the de rigueur pudgy comic relief character Mike (Tyler Labine). Two last-minute additions come in the form of Glenn (Will Forte) and Kate (Lucy Punch), newlyweds and the group’s only married friends who were left out for obvious reasons at the start.

Saving the best for last, writer/ helmers Alex Gregory and Peter Huyck (who have written for ‘The Larry Sanders Show’, ‘Frasier’ and ‘King of the Hill’ on TV) spend the first hour planning the Kama Sutra-themed orgy. A particularly funny sequence has Eric and Mike seeking David Koechner’s kimono-wearing orgy expert’s sage advice at a mattress store doubling as a clandestine swingers’ party; but other than that, the rest of the hour unfolds at a rather amiable pace throughout, with moments of high hilarity few and far in between. Nonetheless, the cast is relatively engaging, and despite the rather bland material, are still a chummy bunch to hang out with.

Yet we suspect the highlight for most audiences is none other than the titular act itself. Like we said at the start, it is also for that reason we suspect the overall movie won't be very much satisfying. Indeed, when the softcore excitement does come around, it is in fact pretty tame. Sure there is nudity and some humping to go around, but if you’re expecting to see some of the bigger names in the cast go naked or anything that you might call explicit, you're probably better off going on the Internet.

And no, the fact that it ends on a sweet note with a group hug probably won't quite make up for its lack of. Because it isn't laugh-out-loud funny often enough, and isn't quite live up to its titillating name, we suspect many will find this R-rated version of Adam Sandler’s ‘Grown Ups’ quite the listless bore. Yes, you’ll probably step out feeling rather ‘meh’, but we emphathise - after all, when you hook your audiences in with the promise of a ‘good old fashioned orgy’, you’d better have the goods to back it up. 

Movie Rating:

(Neither funny or raunchy enough to satisfy, this bland sex comedy fails to arouse your comedic or more carnal senses)

Review by Gabriel Chong
  

Genre: Action/Sci-Fi
Director: Michael Bay
Cast: Mark Wahlberg, Jack Reynor, Nicola Peltz, Stanley Tucci, Kelsey Grammer, Sophia Myles, Li Bingbing, T.J. Miller, Han Geng, Titus Welliver
RunTime: 2 hrs 45 mins
Rating: PG13 (Action Violence And Brief Coarse Language)
Released By: UIP
Official Website: 

Opening Day: 26 June 2014

Synopsis: “TRANSFORMERS: AGE OF EXTINCTION” begins after an epic battle that left a great city torn, but with the world saved. As humanity picks up the pieces, a shadowy group reveals itself in an attempt to control the direction of history… while an ancient, powerful new menace sets Earth in its crosshairs. With help from a new cast of humans, Optimus Prime and the Autobots rise to meet their most fearsome challenge yet. In an incredible adventure, they are swept up in a war of good and evil, ultimately leading to a climactic battle across the world.

Movie Review:

We’ve had enough of Shia. Shia LaBeouf, that is. Thankfully, Michael Bay felt the same way. Which is why this fourth entry of the Paramount/ Hasbro live-action cartoon junks its lead actor for the past three instalments and instead sets Mark Wahlberg as its anchor. Better still, Bay has sent his entire franchise into reboot, retooling not only his cast but also his story and characters. And hey, for all you naysayers who thought Bay’s return meant more of the same, well we’re here to tell you that ‘Age of Extinction’ is more entertaining, more thrilling and more breathtaking than any of its predecessors - to put it simply, it’s the best ‘Transformers’ film so far.

Some will certainly scoff that the bar was not high to begin with, but we respectfully disagree. Say what you may about Bay-hem, but it is no small feat to top the scale and magnitude of the destruction which Bay had choreographed for ‘Revenge of the Fallen’ and ‘Dark of the Moon’. And yet Bay manages to do just that here, unfolding a robots-versus-robots battle that brings the action to Texas, then back to Chicago (which was ground zero of the last movie) and finally unleashes it right in the heart of Hong Kong. Few directors can sustain such wall-to-wall action for more than two hours (the whole film runs at a record 165 minutes for the franchise), let alone have the imagination or the derring-do to execute it with such flair that you’ll never feel bored or distracted throughout its entire duration.

On that count alone, we’d say Bay deserves kudos. Let’s face it - the reason why every ‘Transformers’ film has been scheduled in the summer moviegoing season is that it is meant as no more and no less than a perfect piece of popcorn entertainment packed with excess and spectacle. It’s not that we’ve stooped to the level of accepting that the franchise can and will only be an excuse for Hasbro to sell more of its toys; rather, it’s an appreciation of what the ‘Transformers’ movies have always been about as well as what they have never meant to be - which is also why our first words about this latest has been about its showcase of global destruction.

Indeed, there is no point faulting Ehren Kruger’s screenplay for being over-convoluted and under-developed at the same time. With the Decepticons destroyed, Kruger had to find a way to replace or resurrect them - hence the entry of two man-made robots, Galvatron and Stinger, both of which were manufactured by tech corp KSI founder Joshua Joyce (Stanley Tucci) using the fallen Megatron as a blueprint. But it isn’t just these synthetic Transformers that the Autobots led by Optimus Prime (voiced again by Peter Cullen) have to contend with; their creator has apparently sent a bounty hunter Lockdown (voiced by Jack Ryan) after Prime, the former of whom has forged a shaky alliance with the shady CIA official Harold Attinger (Kelsey Grammer) to capture Prime in exchange for an elemental device known as the Seed.

Caught in the middle are Texan Cade Yeager (Wahlberg), his 17-year-old daughter Tessa (Nicola Peltz) and her boyfriend Shane (Jack Reynor). Cade finds himself caught in the government conspiracy to destroy the Autobots when he brings home an old truck he finds inside a rundown movie theatre that he had intended to strip down to sell its parts for cash, but also becomes the one who nurses Optimus back to health to rendezvous with the rest of the Autobots - Bumblebee, Hound (John Goodman), Drift (Ken Watanabe) and Crosshairs (John DiMaggio). Of course, his intentions aren’t all altruistic – Tessa is unwittingly separated from her father when Lockdown sends Optimus packing for space, so Cade springs into action to save his daughter.

If you find yourself struggling to understand the intricacies of the plot, well you don’t necessarily need to try. Its purpose as always is to serve as narrative glue for the plentiful action sequences, which are undoubtedly the highlight of the whole enterprise, and boy do these really pop off the screen. The Autobots’ raid on the KSI Headquarters in Chicago at the 40-minute mark powers the film’s momentum like a locomotive that doesn’t stop, moving swiftly and seamlessly from within the futuristic building to the freeway where Galvatron and Stinger are first mobilised into battle and then over the skies of Chicago where Optimus – as well as Tessa – are taken on board Lockdown’s spacecraft.

Bay doesn’t quite do intimate, but even on his level, there is an undeniable ambition in the sheer scale of these sequences. More so than in any of his previous movies, his signature traits of wide panning shots and slo-mos work beautifully to give the audience a sense of the extent of the destruction going on all around – one particularly awesome sequence has Prime and Bumblebee juggling Cade, Tessa and Shane as they leap over a flyover to avoid Galvatron’s missiles. The folks at ILM have also truly outdone themselves this time; not only are the visual effects nothing short of stunning, the detail with which they manage to execute the ‘Transformations’ is doubly impressive, especially when seen up close on the IMAX screen. And on his part, Bay holds his camera steady most of the time, avoiding the jitters that marred the viewing experience especially on the first two movies.

You’re probably wondering why we haven’t yet mentioned the part of the action in Hong Kong, or more accurately parts of China, which feature more prominently than one would expect. Unfortunately, those expecting the action on this side of the globe to dazzle will probably come off a little disappointed. Compared to that which unfolds in the first two-thirds of the film, this last stretch feels significantly more uneven. In lively verisimilitude, Bay unfolds the action alongside both Hong Kong’s gleaming skyscrapers as well as its grimy tenement buildings; but the transition from one to the other lacks the fluency of the earlier sequences. Not that we don’t get a kick out of seeing familiar Hong Kong locales experiencing a touch of Bay-hem, but it isn’t quite so jaw-dropping as some of the ones that precede it. Nonetheless, this is also where the Dinobots first make their appearance, and Optimus’ riding into war atop a fire-breathing Gimlock still is a sight to behold.

And yes, like what we said before, the ‘Transformers’ movies have always been about excess and spectacle; on both counts, Bay delivers tremendously. You’ll feel right there in the heart of the action, and might we say, have your heart in your mouth more than half the time. Wahlberg is also a much more solid human anchor than LaBeouf ever was, though the same cannot be said of Peltz or Reynor. Optimus is even more compelling than in previous instalments, more jaded and simultaneously more decisive in both word and action; and though Bumblebee gets less of the spotlight this time round, the focus on Hound, Drift and Crosshairs makes for a slightly more ragtag but also more interesting dynamic between them. But as always, this is meant to be summer popcorn entertainment, and you’ll be glad to know that ‘Age of Extinction’ will probably leave you wowed.  

Movie Rating:

(The best ‘Transformers’ film yet, this reboot has a better lead actor in Mark Wahlberg, a more interesting character dynamic between the Autobots, and even more breathtaking excess and spectacle)

Genre: Comedy
Director: Edgar Wright  
Cast: Simon Pegg, Nick Frost, Martin Freeman, Paddy Considine, Eddie Marsan, Rosamund Pike, David Bradley, Michael Smiley, Bill Nighy
RunTime: 1 hr 49 mins
Rating: NC-16 (Coarse Language And Some Violence)
Released By: UIP
Official Website: http://www.focusfeatures.com/the_worlds_end

Opening Day: 19 September 2013

Synopsis: For Gary King (Simon Pegg) and Andy Knightley (Nick Frost) it was supposed to be the ultimate reunion - one night, five friends, twelve bars. A boozy quest to the ‘Worlds End’ pub on which only the strongest will survive. Having the time of their lives, they’re ready to take on the world.. but tonight they might just have to save it. From the creators of ‘Shaun of the Dead’ and ‘Hot Fuzz’ comes a wildly entertaining thrill ride of outrageous humour and explosive action that will raise a glass to the apocalypse.

Movie Review:

Five friends, 12 pubs, one night: the famed “Golden Mile” is a pub crawl consisting of hopping from one bar to the next downing pints, and Gary King (Simon Pegg, star and co-writer) is determined to complete it with his best buddies after failing to do so 20 years ago. That’s the basic premise for “The World’s End”, also the name of the final pub in the crawl. Director and co-writer Edgar Wright’s British sci-fi comedy is the third installment of the “Three Flavours Cornetto” trilogy, rounding up 2004’s “Shaun of the Dead” and 2007’s “Hot Fuzz”.

Back in 1990, when all-black leather outfits and Britpop were still cool, Gary was the breezy leader of a rat pack (consisting of Nick Frost, Paddy Considine, Martin Freeman and Eddie Marsan) in school, but now he’s a forty-plus alcoholic with nary a career. The only one in his clique still decked in the same get-up he wore back then, he even drives the same car with a cassette player. It’s all indicative of how little he’s progressed since, especially juxtaposed against his friends’ power suits and careers in real estate, law and sales. They’re all juggling family commitments and other adult responsibilities. Barging into their routine lives, Gary successfully convinces them to reunite for a single night in their sleepy hometown to complete the Golden Mile, going so far as to quiet the violent objections of his closest mate Andrew (Frost) with a white lie about his family.

The journey across town through the 12 pubs (with epic-sound names, too: The First Post, The Old Familiar, The Famous Cock, The Cross Hands, The Good Companions, The Trusty Servant, The Two Headed Dog, The Mermaid, The Beehive, The King's Head, The Hole in the Wall, and The World's End) starts off fairly innocently, with Andrew being the only one who initially refuses a single drop of alcohol amidst man-child Gary’s antics of trying to rekindle the nostalgic memories of his youth. So desperate is Gary to complete the crawl that when he’s willing to down half-drunk glasses of beer outside a pub he was banned from years ago. The rapidfire exchanges between the five buddies are entertainingly comical, while revealing that their bonds of friendship haven't aged as much as they have. In spite of that, minor conflict appears in the form of the beguiling Sam (Rosamund Pike), whom Gary and Steven (Considine) both loved at some point in their lives.

After the halfway point, things take a paranormal turn and the film ups its over-the-top hilarity. No spoilers here, but be prepared to be slack-jawed or just to laugh out loud at the fight scenes which are interesting permutations of a typical toilet-in-bar brawl. Audiences who’ve caught the previous two instalments will be none too surprised by the film’s tone. The action scenes unveil unexpected athleticism from the five main leads, in particular Frost’s physicality and ability to intimidate.

Yet all this apparent silliness is a veneer for more complex issues. There is more to this film than watching a few middle-aged men down pints. “Starbucking”, a term used to describe the erosion of individuality and novelty by convention and commerciality, is seen as a negative, an affront to Gary who is clearly obsessed with a perhaps over-glorified past. “The World’s End” also explores the issues surrounding the instinct to fight adulthood, highlighting the necessity of shedding one’s juvenile past – however tightly one may want to hold on to it – in exchange for personal growth and societal success.

Except for the somewhat uneven pacing, the story feels fresh, the script is smart, and for the most part, Pegg’s Gary is genuinely likeable despite his obnoxious immaturity. Pierce Brosnan makes a cameo as a high school teacher who reinforces the resentment that comes from ‘not knowing what you want to do with your life’. The ending will focus on exactly that, delivered in a way that is unexpectedly moving.

Movie Rating:  

(Mixing equal parts of laugh-out-loud comic action and sublime introspection, “The World’s End” is a thoroughly enjoyable take on the issues of adulthood and friendship)

Review by Wong Keng Hui
  

SYNOPSIS: Directed by Kenneth Branagh and based on the beloved book by Eoin Colfer, ARTEMIS FOWL follows 12-year-old genius Artemis Fowl, a descendant of a long line of criminal masterminds, as he finds himself in a battle of strength and cunning against a powerful, hidden race of fairies who may be behind his father’s disappearance.

MOVIE REVIEW:

Twenty years. That’s how long fans of Eoin Colfer’s fantasy novels have been waiting for their beloved villainous prodigy to hit the big screen. Yet that anticipation will likely be replaced by disappointment, for director Kenneth Branagh’s adaptation does little justice to its source material.

Those (like yours truly) who have read the books will know that it would have been impossible to retain all that detail in the space of a two-hour movie, but neither would you be expecting that screenwriters Conor McPherson and Hamish McColl condense two of the books - ‘Artemis Fowl’ and ‘Artemis Fowl and the Arctic Incident’ – to such extent, while taking significant liberties with the narrative along the way.

Opening with the interrogation of one Mulch Diggums (Josh Gad), whose account serves as a lazy exposition device, it recounts how the 12-year-old Artemis (Ferdia Shaw) was tossed into an adventure involving fairies, dwarves and magical artefacts after his father Artemis Senior (Colin Farrell) is nabbed by a shadowy figure named Opal Koboi. Unless you’ve read the books, you’ll be left wondering throughout the movie just what Opal wants with Artemis Senior.

The rest of the plot is equally a blur – there is the Lower Elements Police division LEPRecon, whose chief Commander Root (Judi Dench) is in a perpetually foul mood, and whose rookie officer Holly Short (Lara McDonnell) is all too willing to disobey orders to clear her father’s name; there is Artemis, his loyal bodyguard Domovoi Butler (Nonzo Anozie, a Branagh regular) and Butler’s whipsmart niece Juliet (Tamara Smart), whose plan to rescue Artemis Senior leads them to cross paths with Holly; and last but not least, there is Mulch, a kleptomaniac who is unleashed from prison to retrieve the artifact called the Aculos which Opal is likewise after.

It may read like a lot, but the storytelling is both too busy and too shallow at the same time. There is too little detail in each of these subplots, leaving you wondering what this Aculos is that is so precious yet dangerous, what Opal wants with it (and with Artemis Senior) and how it manages to save the day. There is also little character-building, so much so that you’ll be unsure what to make of Artemis Jr at the end of the film or of the unlikely alliance forged among Artemis, Holly and Mulch. And there is also hardly any world-building, so the entire hidden underground world of fairies feels utterly uncompelling.

Blame Branagh and his writers for reducing the rich source material to near-nothingness. Instead of a brilliant young criminal mastermind, we get a brilliant young kid who only wants to be reunited with his father. Instead of the fate of humanity at stake, the only real stakes here seem to be the Fowl Manor at the edge of the Irish coast and the guests at an Italian wedding party. As a result, instead of magic, we get pure mechanics in a by-the-numbers plotting which feels Disney-fied for worse.

For all these reasons, there is little relief that ‘Artemis Fowl’ is finally out of development hell after languishing for two decades. What could have been a fascinating new YA franchise is reduced to a film that is uninspiring, especially with Mulch coming off like a poor cousin of Hagrid and Butler coming off like a ‘Men in Black'. It’s a cluttered mess all right, complete with shoddy VFX that will make you wonder where all that budget went. By the time the sequel-baiting ending rolls around, you’ll be left doubting whether the producers were better off leaving the books alone in the first place.

MOVIE RATING:

Review by Gabriel Chong