Genre: Crime/Drama
Director: Michaël Roskam
Cast: Tom Hardy, Noomi Rapace, James Gandolfini, Matthias Schoenaerts, John Ortiz, Ann Dowd, James Frecheville
RunTime: 1 hr 47 mins
Rating: NC-16 (Coarse language and some violence)
Released By: 20th Century Fox
Official Website: 

Opening Day: 16 October 2014

Synopsis: THE DROP is a new crime drama from Michaël R. Roskam, the Academy Award nominated director of BULLHEAD. Based on a screenplay from Dennis Lehane (MYSTIC RIVER, GONE BABY GONE), THE DROP follows lonely bartender Bob Saginowski (Tom Hardy) through a covert scheme of funneling cash to local gangsters – “money drops” – in the underworld of Brooklyn bars. Under the heavy hand of his employer and cousin Marv (James Gandolfini), Bob finds himself at the center of a robbery gone awry and entwined in an investigation that digs deep into the neighborhood’s past where friends, families, and foes all work together to make a living – no matter the cost.

Movie Review:

Nobody messes with Tony Soprano. Yup, anyone who dares to upstage the American mafia crime boss from the critically acclaimed TV series The Sopranos will probably not live long to know the regret. So powerful is the late James Gandolfini’s portrayal of this fictional character that you want him to be Tony Soprano after the series wrapped in 2007. From the earlier The Mexican (2001) to the recent Killing Them Softly (2012), you expect to see a Tony Soprano in Gandolfini’s performance. In fact, even when he’s playing a mayor in The Taking of Pelham 123 (2009) or a CIAdirector in Zero Dark Thirty (2012), you want to see a badass side of him emerge.

And that is why for Gandolfini’s final appearance in a feature film (go check out his romantic side in 2013’s Enough Said, a rare heartfelt romance flick co starring Julia Louis Dreyfus), we were expecting nothing less, especially when he plays a tough ex owner of a shady bar.

Gandolfini plays Marv, who runs a bar in Brooklynwith Bob (Tom Hardy). The bar used to belong to Marv, and it still carries his name, but it is manipulated by Chechen mobsters. This is a “drop bar” (hence the film title), which means it’s one of the places where the mob collects all of its booking money. This is a story of the two men - when Bob and Marv get wind that they might be the target for robberies, they try to find a way to stay safe and keep the bar operational. 

We are glad to report that Gandolfini delivers a first-rate performance in a subtlety layered character you don’t fully know until the final moments. His passing was a great tragedy for movie fans everywhere, but his final role as Marv is a great way to remember him by.

While we know Gandolfini would be first rate, it was Hardy’s impressive turn as the seemingly introverted Bob that blew us away. The 37 year old English actor is quietly carving out an impressive career for himself. Hardy has the looks of a leading man, but the soul of a character actor who takes smaller, more interesting parts just because they're of interest to him. Hardy can bounce from Bane in The Dark Knight Rises (2012) to smaller films like Locke (2013), and he feels equally at home in both of them. In his latest role, Hardy is perfect by softly playing a man who just wants to make a living tending a bar. However, when pushed, he has to take extraordinary measures to protect himself. That’s when he shines as an actor.

Belgian director Michaël R. Roskam (whose previous film was the much acclaimed Bullhead) works with a screenplay based on Dennis Lehane’s short story “Animal Rescue” (there’s an abandoned dog in the plot), and brings out the grittiness of a world with gangsters and street crime in a Brooklyn setting. The 107 minute movie has a most unexpected yet satisfying third act. Characters, schemes and back stories converge with a bang. While it is a twisty thriller, it’s also a good piece of character study. You find out new things about characters (supporting actors Noomi Rapace, Matthias Schoenaerts and John Ortiz turn in commendable performances as well), and the movie maintains a suspenseful grip on you while moving you in a lingering way. 

Movie Rating:

(It may have been sold as a crime thriller, but this must watch movie is actually a slow burning drama and character study boasting superb performances)

Review by John Li

Genre: Horror/Thriller
Director: Chun Mong-Hong
Cast: Jimmy Wong Yu, Joseph Chang Hsiao-Quan, Vincent Liang, Chen Shiang-Chyi, Tou Chung-Hua, Leon Dai, Chen Yu-Hsun
RunTime: 1 hr 52 mins
Rating: NC-16 (Some Violence and Coarse Language)
Released By: Cathay-Keris Films
Official Website: 

Opening Day: 17 July 2014

Synopsis: From the Director of FOURTH PORTRAIT and PARKING, SOUL is an unsettling thriller which takes an unflinching look at demonic possession. A-chuan is a quiet 30-year-old chef working in a Japanese restaurant. One day he abruptly collapses unconscious and is rushed to a hospital. He is then sent back to his father’s home in the mountain to recuperate, where he remains catatonic and mute, until one day…

Movie Review:

Here’s an intriguing premise - a Taipei sushi restaurant chef collapses one day while at work, is diagnosed as having had a nervous breakdown, sent to live with his father up in an isolated mountain, and then murders his sister while claiming that his body is now being inhabited by a stranger. There are many ways writer-director Chung Mung-hong could have sliced such a setup, but his choice ultimately proves vacuous and alienating, offering little answers in a meandering psychodrama that isn’t as smart as it wants to be.

Consider this fair warning for those looking for some straightforward thrills - there isn’t any to be found here, despite some pretty gory scenes. Instead, Chung mounts a psychological thriller that attempts to meditate on life, death, and family, based not only on the aforementioned character of A-chuan (Joseph Chang), but also the effect that A-chuan’s actions have on his elderly father Wang (Jimmy Wong). Yes, this is as much A-chuan’s story as it is Wang’s, though the motivations of either one of them are left frustratingly ambiguous in Chung’s attempt to be arthouse cool.

Instead of reporting his son’s heinous deed to the police, Wang proceeds to cover up his daughter Aya’s murder, burying her beneath his orchid garden high up in the Lishan mountains. Wang also decides to keep A-chuan under lock and key in a shed near the garden, while lying to those who come poking around just where Aya is - including her husband (Leon Dai) whom he offs on the spot, A-chuan’s classmate-turned-policeman Hsiao Wu (Vincent Liang), and Hsiao Wu’s superior Yang (Tou Chung-hwa). It’s telling from Wang’s actions alone that he isn’t as simple as he may seem to be, and true enough, Chung saves that as a pivotal revelation which changes the nature of the relationship between father and son.

Those familiar with Chung’s previous works ‘The Fourth Portrait’ and ‘Doctor’ will recognise the filmmaker’s affinity for such father-son relationships, but his latest goes one step further by treading on the line between fantasy and reality. We’ll leave you to decide just what is which, including whether A-chuan is indeed demonically possessed or if he is simply repeating the sins of his father; it is apparent that Chung’s intention was never to paint the answers to these questions in clear strokes, but his deliberate lack of clarity here undermines what could have been a tense and engaging character study of psychosis.

What Chung does well though is to dress his movie up prettily. Doubling as cinematographer under the pseudonym Nagao Nakashima, Chung evokes a haunting atmosphere through his lensing of the mist-covered hills, deep vibrant colours of the vegetation within and tactful use of shadows in the night scenes. Chung’s control of the mise-en-scene is impressive, and probably why the film was chosen as Taiwan’s official entry for the Best Foreign Language Film at the Oscars last year.

If only then he had exercised the same grasp over his own script, which as it is, remains elusive and hazy. Wang exudes a chilly menace throughout, while Chang remains too clean-cut to convince, but ‘Soul’ isn’t made or broken by their performances; rather, as both writer and director, Chung bears the responsibility for a deliberately obtuse movie that borders on arty pretension. We warn you again - don’t go in expecting a mainstream horror; if you’re going to try to appreciate it, the best advice we can give is to go in with an open mind. 

Movie Rating:

(Beautifully filmed but frustratingly obtuse psychodrama that fails to offer any compelling character study with its arty pretensions)

Review by Gabriel Chong

SYNOPSIS: Based on Frank Miller's graphic novel Xerxes, and told in the breathtaking visual style of the blockbuster "300," this new chapter of the epic saga takes the action to a fresh battlefield - on the sea - as Greek general Themistokles attempts to unite all of Greece by leading the charge that will change the course of the war. "300: Rise of an Empire" pits Themistokles against the massive invading Persian forces led by mortal-turned-god Xerxes, and Artemisia, vengeful commander of the Persian navy.

MOVIE REVIEW:

The film is inspired by the story of Noah. While artistic license has been taken, we believe that this film is true to the essence, values and integrity of a story that is a cornerstone of faith for millions of people worldwide. The biblical story of Noah can be found in the book of Genesis.

The above warning was issued by Paramount during its theatrical release. In other words, Noah is not based on the story told in the book of Genesis but director and writer Darren Aronofsky’s version of it.

It’s always tricky to attempt a religious movie, just ask Martin Scorsese who helmed The Last Temptation of Christ (still banned in Singapore by the way) and Mel Gibson who did The Passion of the Christ. While both certainly have its fair share of detractors, the two titles in essence can’t escape the labeling of being a religious movie. Noah on the other hand can. There’s never any significant or in-your-face reference and basically it’s a movie about a man tasked by the Creator to build Noah’s Ark. In short, it’s a movie about humans’ faith and it’s up to individual interpretation of what Aronofsky is trying to convey in the end. 

You can even describe Noah as a movie that contains an eco-friendly message. Yes it preaches environmentalism besides issues of sacrifice, temptation, persistence and morality seen through the eyes of Noah and his family of five including his two sons, Shem (Douglas Booth), Ham (Logan Lerman), Japheth (Leo McHugh), his wife Naameh (Jennifer Connelly) and a young adopted girl who later becomes his daughter-in-law, Ila (Emma Watson). His grandfather Methuselah played by Anthony Hopkins adds much greatness to the epic while Ray Winstone plays Tubal-cain, a selfish bastard who in turn represents the evilness of humans.    

If religious philosophical is too much for you to bear, Aronofsky with the help of ILM create the climatic moment of the arrival of the floodwater with huge realism. Even the many animals seen onscreen are reimagined and tweaked by the digital artistes and the battle between the Watchers (fallen angels) and Tubal-cain’s army will definitely set your heart pounding.

It doesn’t matter whether you are a firm believer of the gospel, Noah can be treated as any Hollywood blockbuster albeit one with hidden meaningful messages. It’s debatable when you talked about the treatment of the source material but cinematically it’s a triumph after all.    

SPECIAL FEATURES:

NIL

AUDIO/VISUAL:

The sound of torrent rain and crashing waves are dynamic and thunderous just of the few examples why the Dolby Digital 5.1 soundtrack is impressive. Visually, details and textures are stunning though the overall palette is dark and bleak.

MOVIE RATING:

DVD RATING :

Review by Linus Tee

Genre: Adventure/Action
Director: Ridley Scott
Cast: Christian Bale, Joel Edgerton, Aaron Paul, John Turturro, Sigourney Weaver, Ben Kingsley
RunTime: 2 hrs 30 mins
Rating: PG13 (Some Violence)
Released By: 20th Century Fox
Official Website: 

Opening Day: 11 December 2014

Synopsis: From acclaimed director Ridley Scott (Gladiator, Prometheus) comes the epic adventure “Exodus: Gods and Kings,” the story of one man’s daring courage to take on the might of an empire. Using state of the art visual effects and 3D immersion, Scott brings new life to the story of the defiant leader Moses (Christian Bale) as he rises up against the Egyptian Pharaoh Ramses (Joel Edgerton), setting 600,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues.

Movie Review:

How do you get people to listen to you tell a story that they already know the ending to, or worse, have heard countless times before? Ridley Scott’s answer to that, in the case of his swords-and-scandals epic based upon the well-known Biblical tale, is spectacle. Indeed, in ‘Exodus: Gods and Kings’, Scott has spared no expense to make sure that Egypt comes vividly to life, or that the ten plagues are given as much luscious detail as necessary, or that the parting of the Red Sea is a truly humbling sight to behold – so much so that even the most imaginative mind will probably be awed over by the sheer spectacle that he has conjured.

Not since Cecil B. DeMille’s ‘The Ten Commandments’ has such budget gone into a live-action retelling of how Moses led the Israelites out of slavery from Egypt to the promised land, and those who are old enough to remember that 1956 classic will no doubt be astounded at how modern-day computer-generated graphics and the use of 3D have transformed the experience of a big-screen motion picture event. Yes, if there’s one thing that Scott has succeeded in doing with his Old Testament blockbuster, it is in reminding both believers and non-believers alike just how remarkable and awe-inspiring the mighty hand and power God wields over the elements of nature and the fates of men.

Against such gargantuan forces, the question remains: is there room for the individual to matter? God’s plan certainly did – as believers will tell you, his plans of salvation through the ages have always rested on the faiths of individual men and women who were willing to put aside their doubts and trust wholeheartedly in the providence of their almighty Creator. So it is with this tale, that God’s plan of salvation for the Israelites would rest on one man, Moses – a logical thinker and in Scott’s interpretation here, an agnostic – who would be challenged through visions to recognise his Hebrew identity, and in doing so, embrace his role in that grand plan as the leader of God’s people.

Unfortunately, not even a quartet of writers (Adam Cooper, Bill Collage, Jeffrey Caine and Oscar winner Steven Zaillian) have been able to ensure that the man isn’t drowned out in Scott’s show of spectacle. Not enough attention is paid to developing the brotherly bond between Moses and his half-brother Ramses, or their simmering rivalry arising from the aging Pharaoh’s (John Turturro) favour of the former. Ditto for Moses’ subsequent awakening to his lineage and to God’s call through the ‘burning bush’ – neither of these turning points feel that they matter as much as they should. Most sorely however is how the screenplay fails to portray Moses’ ambivalence towards God’s methods, reduced simply to a couple of lines delivered with perfunctory angst by Christian Bale – “You don’t always agree with me,” is as far as a response that the writers have managed to come up with.

Lamentably so therefore, this fails to be – as it should – a story of one man as much as it is a story about God. Moses never quite comes to life despite being front and centre no thanks to an underdeveloped script that doesn’t make the character as compelling as he should be, and worse, feeds him cringe-worthy lines from time to time that border on caricature. Bale is best when he is given a complex character to play, but since he isn’t afforded that here, hardly cracks the surface of what could have been an intriguing and multi-faceted personality. The same in fact can be said of every other actor in Scott’s ensemble – from Joel Edgerton as the eyeliner-drawn Ramses, to Ben Kingsley as a wise Jewish elder, and even to a barely-present Sigourney Weaver as the scheming pharaoh’s wife Tuya, each one of the notable cast members struggles to rise above his or her thinly drawn role.

Though the script lets him down, Scott’s strengths as a director remain undiminished. An early attack by the Egyptians on the rival Hittites tribe camped outside the gates of Egypt showcases Scott’s grasp of scale, thrillingly lensed by his regular d.p. Dariusz Wolski with a combination of soaring overhead shots and up close combat footage. Scott takes artistic license to interpret the ten plagues as a series of interconnected events, rather than as discrete happenings, which in turn allows him to not only build a smooth elegant narrative but also maintain a palpable feeling of tension throughout God’s ‘punishment’ of the Israelites.

His boldest choice as helmer however has to be his depiction of God, whom Moses first meets at the ‘bush’ and thereafter in the wilderness just before every major calamity. Scott cannot be ignorant of the implications of portraying God as a small young boy, but whether this is meant to represent the kind of disposition which God expects of his followers or to signify the capricious nature of God is left up to the viewer’s interpretation. What is clear is that Scott keeps to an Old Testament God of wrath, so don’t go expecting this God to be nice, calm or benign for that matter – and you’ll probably do well to keep in mind that this is the God that has watched his people suffer in pain, blood and death the indignities that the Egyptians have lashed on them for the past 400 years.

Unlike ‘Noah’ however, you can rest assured that Scott largely takes a much more conventional reading to the Biblical story; instead, Scott’s intention is really to fashion a swords-and-scandals saga in the mould of ‘Gladiator’ by way of a well-known story with ostensible religious overtones. And in that regard, ‘Exodus: Gods and Kings’ is an unvarnished triumph that will leave you awe-struck. Those who know the story will also recognise it as Moses’ faith formation, and whether Scott’s telling has that same transformative effect on his audience is necessarily suspect. But up till the very last frame where an elderly Moses finally arrives near the land of Canaan, you can be sure that there is never a dull moment to be found in this lavish, extravagant and yet oddly alienating epic that could do with a much more humanly centre.

Movie Rating:

(Epic in sheer spectacle, Scott’s Biblical retelling of the story of the Exodus lacks a compelling focus on its lead character Moses)

Review by Gabriel Chong

So emotionally shaken this reviewer was after watching The Lion King 20 years ago, he pestered his parents to buy him the soundtrack immediately he stepped out of the cinema. For someone who grew up in an average family, music existed in the form of cassette tapes.

So began his wonderment listening to songs like the grandiose “Circle of Life”, the jolly “I Can’t Wait To Be King”, the slapstick “Hakuna Matata” and the romantic “Can You Feel The Love Tonight”. That was on side A of the cassette tape. If he wanted to re-listen to Jeremy Irons threatening to take over the world in the sinister “Be Prepared”, he had to press the rewind button on his player and somehow gauge where the song was.

Turning over to side B he re-lived the tragic moments of Mufasa’s death in “…To Die For” and Simba’s triumphant return in “King of Pride Rock”. These edited score tracks by Hans Zimmer were brief but satisfying – till now (okay, things got a little better when this reviewer bought the CD edition of the soundtrack with his first army pay).

Over the next two years, Disney will re-release the soundtracks to classic films as part of The Legacy Collection, each featuring new liner notes, documentaries, artwork and previously unreleased music. Kicking off the series is this two disc edition soundtrack of the very much loved classic to celebrate its 20^th anniversary.

On disc one (runtime: 74 minutes) you get 30 minutes of Zimmer’s score which hasn’t been released elsewhere. What a treat! You get to re-visit the film’s best moments through the playful “Didn’t Your Mother Tell You Not To Play With Your Food”, the dramatic “We Are All Connected”, the scary “Simba, It’s To Die For” and the frenzied “Stampede”. Then, get your tissues ready for the heartbreaking “Mufasa Dies”, before picking up your spirits in the nostalgic “Kings of the Past” and the rousing “Remember Who You Are”. It all culminates with “The Rightful King”, a glorious 12 minute track which captures the dynamic storytelling of Roger Allers and Rob Minkoff’s 1994 commercial and critical success. Interspersed within these splendid score cues are the songs you are familiar with.

Over at disc two (runtime: 47 minutes), there’s “The Morning Report” and “Warthog Rhapsody”, two songs omitted from the original theatrical release. Score demo tracks then follow, before Elton John’s renditions of “Circle of Life”, “I Just Wait To Be King” and “Can You Feel The Love Tonight”.

Fans will also be pleased to read producer Don Hahn’s liner notes and enjoy Lorelay Bove’s lush new artwork in the CD booklet. This new edition of the beloved soundtrack is a must own, and we are definitely looking forward to upcoming releases of other Disney favourites like Mary Poppins, Lady and the Tramp, Cinderella and Pocahontas. 

ALBUM RATING:

Recommended Track: (21) The Rightful King – Disc One

Review by John Li

Genre: Dance/Drama
Director: Trish Sie
Cast: Briana Evigan, Ryan Guzman, Adam Sevani, Alyson Stoner, Stephen “tWitch” Boss, Misha Gabriel
RunTime: 1 hr 52 mins
Rating: TBA
Released By: Shaw
Official Website: 

Opening Day: 4 September 2014

Synopsis: The newest chapter in the smash hit STEP UP franchise reunites an all-star cast in glittering Las Vegas. After struggling in Hollywood for over a year, Sean's (Ryan Guzman) crew disbands and moves back to Miami without him. Refusing to give up the dream, Sean stays in LA. When he hears about an upcoming dance competition in Las Vegas that could be the opportunity of a lifetime, he teams up with dance phenoms Moose (Adam Sevani) and Andie (Briana Evigan) to assemble a new dance crew. Reuniting with STEP UP favorites including the Santiago Twins, Jenny Kido and Madd Chadd (aka Robot guy) and a few new faces, the crew must band together in the finale in order to beat the contest at its own game.

Movie Review:

At this point in the ‘Step Up’ franchise, you would think the makers would try to shake things up by breaking from formula; and yet, the best they could come up with was to reunite the stars from the previous four entries for a fifth – and possibly final hoo-rah – in none other than glitzy Las Vegas. Unfortunately, anyone expecting for its most notable star Channing Tatum to reprise his role will be sorely disappointed, for the actor has obviously moved far beyond the series that arguably launched his Hollywood career. 

So if anyone has been taking note, Briana Evigan from ‘Step Up 2 The Streets’ and Ryan Guzman from ‘Step Up Revolution’ are the leads here. As the opening credits roll, we learn that the latter and his crew known as ‘The Mob’ have moved from Miami to Los Angeles to shoot a Nike commercial, where facing one dispiriting go-nowhere audition after another, Sean (Guzman) is now left on his own. Feeling abandoned and betrayed, Sean approaches Moose (Adam Sevani) for a job at his elderly grandparents’ dance studio, whereupon he chances on a dance contest known as ‘The Vortex’ hosted by VH1 host Alexxa Brava (Polish dancer Izabella Miko obviously channelling Elizabeth Games’ emcee role in ‘The Hunger Games’).

The prize is a three-year gig in Las Vegas, so Sean wastes no time in assembling a new cadre of dancers. Well, we mean new in the relative sense of the word. The crew whom Sean assembles is mostly a host of familiar faces that ‘Step Up’ fans will immediately recognise – besides Evigan’s Andie and fan favourite Moose, there’s the South American twins (Facundo and Martin Lombard), the token Asian girl (Mari Koda) and that tall dude who does the killer robot (Chadd Smith) – with a few notable additions like foxtrot teacher Chad (David "Kid David" Shreibman) who has a hidden step-dancing talent. Together, they dub themselves ‘LMNTRIX’, for no other reason other than the fact that it sounds cool.

With the setup over and done with, new director Trish Sie and her team of choreographers Jamal Sims, Christopher Scott and Dondraico Johnson dispense largely with the plot machinery and let the dancing – which is after all the star of all the movies – do the heavy lifting.  Instead of the flash mobs of the previous film, the sequences here largely unfold in the context of an epic dance battle set to contemporary club music, and Sie, a choreographer best known for her work on OK Go's super-viral treadmill-assisted video ”Here It Goes Again”, provides enough buoyancy and thrill within these sequences to keep her core audience entertained.

Forget about the redundant storylines scripted by ‘Into the Storm’s’ John Swetnam about choosing love over friendship or passion over career – whenever the music stops, the movie becomes a drag; though to be fair, the plot here feels even more threadbare than any of its predecessors. But it’s not likely that fans will mind, as Sie reserves the imagination for the movie’s dance scenes, including an imaginative Frankenstein-themed sequence set in the engineering lab Moose has his day job in, as well as (our personal favourite) a charming dance duet between Sean and Andie in the middle of a carnival ride. 

The latter, in our opinion, trumps the gaudy show-stoppers which bookend the film. In particular, the climax with steam punks dancing in the sand and Barbarian girls twirling spears of fire stretches credulity even by the standards of this franchise, especially since none of the moves which we see them rehearsing for actually seem to hint at how they could have prepared for such a Cirque Du Soleil-inspired item. And yet, if it’s spectacle you want, it’s spectacle you’ll get, which seems to be the main purpose of this latest outing.

You can’t blame the actors for being less than expressive; as the movie does, they seem to reserve themselves for the physically demanding sequences and otherwise remain square-jawed and/or blank-eyed. Even the romance between Guzman and Evigan fails to pop, the former especially making you wish even more that the producers had tried harder for Tatum to reprise his role in this one. The rest of the actors offer little assistance outside of the dance floor, leaving only Sevani to prove why he has been the one consistent actor/ character to appear in each and every one of the ‘Step Up’ films sans the first one.

Indeed, ‘Step Up: All In’ is one made with and for the fans in mind. If you aren’t already a convert, you’re not likely to find anything that will make you change your mind; and if you’re already a convert, then well this film delivers exactly what you’ve come to expect. Yes, besides assembling an all-star line-up of the performers from the earlier ‘Step Up’ films, there is nothing new that this latest instalment offers – and to some we suspect, that may be nothing less than an irony especially   if you consider just how important inspiration and imagination is to dance itself. 

Movie Rating:

(More of what you’ve come to expect from the ‘Step Up’ films – great dancing, bad plotting and little-to-no characterisation – this one is made strictly for the fans)

Review by Gabriel Chong

SYNOPSIS: Chinese Feng Shiu master, Carson (Chapman To) was a real ladies‘ man, he had never been in a stable relationship .Carson was a "Natural Born Player”, taking names and breaking hearts. Fate had it that he would meet his match, the hot veterinarian, Chi-Ling (Chrissie Chau). It was love at first sight, but neither could stand the other`s fickle nature lest the affair might have ended as soon as it began. So Chi-Ling invite Carson to move in with her and make him promise to have no sexual contact with any girls for 100 days.

MOVIE REVIEW:

Depending on your tolerance for toilet humour, this might be a good thing or the worst since Mr and Mrs Player marks the third Wong Jing-related DVD review on our site in a short span of a month.

If you are a fan of lurid jokes and bountiful amount of cleavages then you will love this Wong Jing flick that stars Chapman To as a womanizing Feng Shui master, Carson. To win the love of veterinarian Chi-Ling (Chrissie Chau), Carson has to abstain from sex for 100 days despite staying at her place and sleeping together on the same bed. Consider that Carson needs to have sex at least 3 times a day, will he win the bet in the end or succumb to his lustful desires?  

Nobody in the right mind will catch a Wong Jing flick for the romance or the narrative and especially in this case, Mr and Mrs Player which exudes zero societal norms and values to learn from. What do you expect from a tale of two hardcore players who are attracted to each other? Wong Jing will pulled out everything under the sun to make you laugh thus the movie is basically 80 minutes of random sight gags with a seriously funny poop joke in-between, a staunch reminder that Wong still has what it takes to make an entertainment movie.  

While this is just an in-name sequel to Mr and Mrs Gambler and likely cashing on Chapman To’s fifteen minutes of fame, Wong ropes in To’s usual collaborators, Vulgaria director Pang Ho Cheung and Matt Chow (SDU: Sex Duties Unit) as Carson’s equally horny buddies. Both obviously having a good time improvising with Chapman To while Wong Jing finds time to nap in front of the camera. Of course, there are countless boob and cleavage shots courtesy of Chrissie Chau, Jeanette Leung, Iris Chung and many other ladies whom this reviewer has no knowledge of.  

Consider the subject of this movie, gratuitous nudity and sex are inexplicably missing. But that doesn’t stop our protective censors from excluding from what I heard a very funny scene for the DVD. If you appreciate Chapman To’s brand of adult humour and Wong Jing’s crowd pleasing touch then Mr and Mrs Player is neat enough to warrant some laughs.  

SPECIAL FEATURES:

NIL

AUDIO/VISUAL:

Equipped with serviceable visual and audio, the DVD comes with Mandarin and Cantonese dual tracks. 

MOVIE RATING:

DVD RATING :

Review by Linus Tee

Genre: Comedy/Romance
Director: Cheuk Wan Chi
Cast: Nick Cheung, Sammi Cheng, Angelababy, Oho, Dayo Wong, Jiang Wu, Myolie Wu, He Sui, Jacky Cheung, Ivana Wong, Fruit Chan, Regina Ip Lau Suk Yee
RunTime: 1 hr 40 mins
Rating: PG13 (Some Sexual References)
Released By: Shaw
Official Website: 

Opening Day: 21 August 2014

Synopsis: Real estate agent Hong Siu Lung (Nick Cheung) has been dumped by his fiancé. The reason? His house is too small. Determined to win his fiancé back, Hong Siu Lung buys a cheap penthouse, intending to resell it for a high price in a year’s time. Joining him in the deal are wealthy divorcee Kam Fung (Sammi Cheng), stepdaughter Ah Hak (Angelababy), and Mainland rich kid Very (Oho). But when estate prices plummet, these most unlikely of partners are forced to live together.

Movie Review:

Hong Kong actor Nick Cheung has come a long way. You know the actor for his serious roles in recent dramas like The Stool Pigeon (2010), Nightfall (2012) and That Demon Within (2014). And we haven’t even mentioned that to die for body which the 49 year old trained to get in shape for his role in Unbeatable (2013). The dedication to acting has gotten the ex police officer several awards. But did you know that the actor, who is married to Hong Kongactress Esther Kwan, had his “roots” in slapstick comedy?

Yup, older viewers would know him Wong Jing directed or produced movies like Prince Charming, The Conmen in Vegas and My Name is Nobody. One of our favourite performances has to be Cheung’s spoof of singer Leon Lai’s ridiculously hilarious song “Sugar in the Marmalade” in The Tricky Master. You have to see it for yourself on YouTube to believe us. After a less than impressive performance in Hungry Ghost Ritual (Cheung took on the role of a director for the first time, and his turn as a brooding man who returns to a haunted getai was nothing groundbreaking), he returns to the big screen with this very commercial work directed by new director Cheuk Wan Chi.

Cheung plays Lung, a property agent told by his air stewardess girlfriend that she will only marry him if they can live as a couple in a 1000 square feet flat within a year of his having proposed to her. In desperation, he concocts a scheme that sees him become co-owner of a luxury penthouse from which he hopes to turn a quick profit. Of the property's three other co-owners, there is a working-class girl who decides to be part of the deal because she trusts Lung, the closest thing to a father in her life. There is a gullible rich mainland intern of Lung's, eager to show his wealthy dad that he can make money too. Lastly there is an unhappy recent divorcee who Lung turned from potential client into fellow property speculator. The four end up having to live as a temporary family – hence the movie title.

There is comedy and drama in this 100 minute movie from Cheuk, who is known for her screenplays like Merry Go Round (2002), 20 30 40 (2004) and Exodus (2007). She may have exaggerated the property craze in Hong Kongto a large extent, but therein lies the reflection of how the urbanised society is obsessed with owning a space, whether or not it serves the fundamental purpose of providing a home for the people living under its roof. Cheuk’s strength shows in her thoughtful script – you’ll grasp many of the film’s quotable quotes which will make you think about your approach to living life.

The film clearly wants to be a commercial flick, with its side jokes (without giving too much away, let’s just say the stray pubic hair joke made us guffaw quite a bit), sub plots (each of the four tenants has a back story to tell) and celebrity cameos. Watch out for Jacky Cheung, Ivana Wong, Dayo Wong, Myolie Wu, Fruit Chan and Hong Kongpolitician Regina Ip playing herself. These may be gimmicks which cause distractions to audiences who are hell bent on wanting to focus on the plot, but the filmmakers obviously thought otherwise. It is also evident that the production sold to Mainland China (let’s face it, that’s where the market is), with participation from acclaimed actor Jiang Wu and the good looking Oho, who takes on the rather meaty role of the rich man’s son who bunks in with the movie’s protagonists.

Leading man Cheung ditches his all too serious persona to play a likeable property agent in the movie, and his performance is surprisingly matched up by Angelababy who portrays the street wise kid who may know a thing or two more in life than Lung, whom she looks up to. The starlet may not have impressed us much in her previous movies (The First Time, Young Detective Dee: Rise of the Sea Dragon), but her performance here is grounded and pleasing. Rounding up the ensemble cast is Sammi Cheng, who has it easy with her character who still harbours hopes of reuniting with her husband of 10 years for whom she previously had sacrificed much. Yup, it’s a role she can easily play, considering her past performances in Needing You (2000), My Left Eye Sees Ghosts (2002) and Romancing in Thin Air (2012), but you have to admit she does it well.

The movie may not carry a serious tone, but it’s an entertaining affair that makes you think and reflect about what life has in store as we continue with our journey. 

Movie Rating:

(A thoughtful script, coupled with a blend of comedy and drama makes this commercial flick highly enjoyable)

Review by John Li

We can’t think of a better way to travel back in time than through the music medium. Here we have the soundtrack to Clint Eastwood’s latest directorial work, and it’s the perfect companion to enjoy what the 1960s and 1970s had to offer.

An adaptation of the Tony Award winning musical Jersey Boys, Eastwood’s film version tells the story of how four young men (Tommy DeVito, Bob Gaudio, Nick Massi and Frankie Valli) came together to form the iconic rock group The Four Seasons. In this 61 minute album, you get some of the best songs recorded by the group (just listen out for the different recording quality), as well as recordings by cast members from both the movie and stage musical.

Kicking off the 25 track CD is the 20 second instrumental “Prelude”. The soundtrack wastes no time in introducing Frankie Valli & The Four Seasons with “December, 1963 (Oh, What A Night)”. Valli then takes on the solo track “My Mother’s Eyes”, before we hear John Llyod Young’s (best known for winning the Tony Award for Best Leading Actor in a Musical for his role as Valli in the Broadway production of Jersey Boys) emotional rendition of “I Can’t Give You Anything But Love”. His performance in tracks like “My Eyes Adored You” and “Can’t Take My Eyes Off You” are also a joy to listen to. He further showcases his prowess in the five minute medley made up of “Stay”, “Let’s Hang On (To What We Got)”, “Opus 17 (Don’t You Worry ‘Bout Me)” and “Bye, Bye, Baby (Baby, Goodbye)”.

Elsewhere, you’ll be enthralled by familiar tunes like “Sherry”, “Big Girls Don’t Cry” and “Walk Like A Man”. These ensemble tracks are soulfully sung by Lloyd Young, together with Erich Bergen, Michael Lomenda and Vincent Piazza.

This soundtrack is a must own for those who loved the stage musical, enjoyed the feature film and adored The Four Seasons’ music. It is perfect for both old fans who want to own a great compilation, as well as new fans who have just discovered the music of the well loved quartet. 

ALBUM RATING:

Recommended Track: (8) Sherry

Review by John Li

Genre: Drama
Director: Doze Niu
Cast: Ethan Ruan, Chen Jian-bin, Regina Wan Qian, Ivy Chen, Wang Po-Chieh
RunTime: 2 hrs 14 mins
Rating: M18 (Sexual Scenes and Coarse Language)
Released By: Encore Films
Official Website: www.encorefilms.com/paradise

Opening Day: 6 November 2014

Synopsis: Set in the island Kinmen, often seen as the most dangerous military base because it is geographically close to China, Paradise In Service follows the adventure of a boy who serves his military service in Unit 831 from 1969 to 1972, in preparation for a war that could erupt anytime. Through an unlucky lottery draw result, Pao, a twenty-something young man from Southern Taiwan has to serve the military in the remote and perilous Kinmen. Moreover, he is assigned to the Sea Dragon (ARB), a unit known for the toughest physical training. It never occurs to Pao that the greatest challenge is not his military training but a special task he is later appointed to. In this peculiar assignment, Pao vows to keep his virginity against all odds.

Movie Review:

For playing a gangster with a heart of gold in Monga (2010), 31 year old Taiwanese good looker Ethan Ruan took home the Best Leading Actor prize at the 47^th Golden Horse Awards. While we do not have not have much qualms about his acting, we thought such accolades were meant for more veteran actors. The Taichungborn actor rose to fame in the Taiwanese drama Fated To Love You, and has a steady fanbase made up of, yes, nothing surprising here – teenage girls.

From a business point of view, it makes perfect sense to cast him as an army conscript from southern Taiwanwho's selected shortly after arriving on Kinmen to be a part of the elite Sea Dragons amphibious force by a tough sergeant major. Alas, our protagonist cannot swim and is promptly transferred to the infamous "831" unit, also known as "Paradisein Service." There, soldiers are serviced by comfort women and our leading man works through the administration side of things, never once touching the girls. But how long does that last, you ask?

Appearing in his third film directed by Doze Niu (after 2010's Monga and 2012's Love), Ruan delivers a decent performance here.  We empathise with him as his friendship with one of the ladies blossoms into full-blown love. We feel for him as he fights his own demons and the conflicts of interest he faces. He questions his own promise of celibacy and the promise to his country.

But the character who tugs at our heartstrings in this Golden Horse nominated film is Chen Jian Bin’s strict sergeant major. His haunting performance as an illiterate northerner who is struggling to learn the Taiwanese dialect is almost heartbreaking, as the fierce character often intimidates soldiers with his tough front. It is his story that highlights the true tragedy of the screenplay. A man who is forced to fight against the country he once called home is stationed on an island where he feels like an alien, forced to fight the people whose accent seems more familiar, he encounters a personal war. Displaced, disillusioned by propaganda, demonised by the destruction and a pending tragedy with a prostitute, Chen’s wonderful performance embodies the Taiwanese struggle (for those of you who know Taiwan’s history well).

The film has streaks of brutality in Niu's previous gangster picture Monga, but the 134 minute movie is anchored by a large dose of melodrama. Men desperately declare love and marriage while others vie to have every woman available. Larger than life characters from both sides create moments of humour and pathos to get your attention. There could have been more effort put into fleshing out the supporting characters, including a bespectacled conscript (Wang Po Chieh) subjected to bullying by his fellow soldiers, a prostitute (Regina Wan Qian) who is selling her body to reduce prison time and an alluring woman (Iven Chen) who dreams of a better future while seducing men with empty promises.

Technically polished, the film is a joy to look at. It benefits from cinematographer Charlie Lam’s beautiful lensing and auteur Hou Hsiao-hsien who takes on the role of editing director and co producer. At the end of the two odd hours, you’ll walk out of the cinema pondering how a war can impact life in so many different ways.

Movie Rating:

(The achingly beautiful film is lushly produced, and features a hauntingly heartfelt performance by Chen Jian Bin)

Review by John Li