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JOHN CARTER TeaserPosted on 17 Jun 2011 |
Genre: Action/Adventure/Fantasy
Director: Marcus Nispel
Cast: Jason Momoa, Rachel Nichols, Rose McGowan, Ron Perlman, Leo Howard, Stephen Lang, Bob Sapp, Said Taghmaoui
RunTime: 1 hr 52 mins
Released By: GV & MVP
Rating: M18 (Violence & Nudity)
Official Website: http://www.conanthebarbarianin3d.com/
Opening Day: 18 August 2011
Synopsis: A quest that begins as a personal vendetta for the fierce Cimmerian warrior soon turns into an epic battle against hulking rivals, horrific monsters, and impossible odds, as Conan realizes he is the only hope of saving the great nations of Hyboria from an encroaching reign of supernatural evil.
Movie Review:
Forget the literary origins of this sword-and-sorcery epic- since Arnold Schwarzenegger immortalised the character on the big screen in John Milius’ cult classic back in 1982, the warrior from the ancient land of Cimmeria has secured its place in pop culture as a symbol of pure unfettered masculinity. But while Milius at least made an attempt to give the muscle-bound warrior gravity with some back story and purpose with a narrative quest, music video director Marcus Nispel in this latest reincarnation is simply content to let the character slay and slay some more.
Indeed, whatever dignity the voice of Morgan Freeman may have imbued in the film with his opening narration is quickly lost when the movie opens in the heat of battle and a grizzled Corin (Ron Perlman) slitting the womb of his wife to deliver his son who would be Conan. Nispel is single-minded- and unapologetically so- in making his film pulpy and downright trashy, so you’d be wasting your time trying to criticise it for the laughable dialogue, the simplistic plot, and the nonexistent character development. These are none of his concern, and neither should they be yours if you’re determined to enjoy this movie.
Instead, sit back and let your brains have a rest as screenwriters Thomas Dean Donnelly, Joshua Oppenheimer and Sean Hood take you through an extended prologue that follows the 1982 film by setting Conan up to avenge the death of his father and proving himself worthy of the sword he wields. There is some other plot about said murderer Khalar Zym (Stephen Lang) who is looking to restore the parts of a powerful ancient mask in order to resurrect his dead wife and gain control over the universe, but really it’s no more of an excuse to get Conan from point A to B and start his beheading all over again.
Speaking of action, there’s no doubt that the film is packed wall to wall with it. Yes, Nispel doesn’t allow more than five minutes in between each action sequence- and why not, Conan is after all a character who speaks with his actions, not with his words. Unfortunately, besides one halfway through the movie that sees Conan fighting against a band of shape-shifting sand warriors and the climactic sequence set within an underground fortress, there is little that impresses along the way.
Notwithstanding the uninspired fight choreography and Nispel’s inability to sustain excitement through extended action sequences, what’s most disappointing here is in fact Thomas Kloss’ cinematography whose messy shot composition throughout the film is an unmitigated distraction to the action on display- and we’d shudder to think of how our fellow audiences in the United States would watch it post-converted in 3D. Kloss also doesn’t do justice to the magnificent CGI vistas which production designer Chris August has created for the film, glossing over them with no more than an opening wide shot of each of the beautiful landscapes.
Still, it is likely that female audiences will be satisfied with the number of lingering shots over Jason Momoa’s rippling bod. Unlike Schwarzenegger, Momoa comes off less of a brute than a cunning deadly predator, and the change is a welcome improvement for a more savvy generation of viewers. Nonetheless, the script doesn’t trust him or his character with much dialogue or depth, and his Conan doesn’t go deeper than the archetype of a fearless warrior. Other characters don’t fare much better- whether go-to villain Stephen Lang’s badass warlord, Rose McGowan’s evil witch or Rachel Nichols’ princess maiden- so don’t bother looking for any of the other actors and actresses to do any serious acting.
But as we’ve said, that really was never the point of Marcus Nispel’s film, one which celebrates unabashedly its B-movie pedigree by sticking religiously to it. Sure, it is violent (yes, be prepared for multiple decapitations), loud, shallow, and quite probably dumb- but you can’t fault a movie for being all these things when it wanted to be all that and engage its audience purely on a visceral level. If you’re prepared for all that, and some brainless numbing gory action entertainment, then ‘Conan’ will satisfy your bloodlust for action- less so the lust though since a key sexual scene between Conan and Nichols’ Princess Tamara has been snipped off very obviously from this edited M18 version.
Movie Rating:
(Loud, violent, shallow and dumb- this ‘Conan’ is content to be no more than a glorified B-action movie)
Review by Gabriel Chong
Genre: Drama
Director: Tate Taylor
Cast: Emma Stone, Viola Davis, Bryce Dallas Howard, Mary Steenburgen, Octavia Spencer, Mike Vogel, Sissy Spacek
RunTime: 2 hrs 26 mins
Released By: Walt Disney Motion Pictures
Rating: PG
Official Website: http://thehelpmovie.com/
Opening Day: 20 October 2011
Synopsis: Based on one of the most talked about books in years and a #1 New York Times best-selling phenomenon, “The Help” stars Emma Stone (“Easy A”) as Skeeter, Academy Award®–nominated Viola Davis (“Doubt”) as Aibileen and Octavia Spencer as Minny—three very different, extraordinary women in Mississippi during the 1960s, who build an unlikely friendship around a secret writing project that breaks societal rules and puts them all at risk. From their improbable alliance a remarkable sisterhood emerges, instilling all of them with the courage to transcend the lines that define them, and the realization that sometimes those lines are made to be crossed—even if it means bringing everyone in town face-to-face with the changing times. Deeply moving, filled with poignancy, humor and hope, “The Help” is a timeless and universal story about the ability to create change.
Movie Review:
Adapted from the compulsively readable bestseller by Kathryn Stockett, The Help captures well the suffocating and parochial ambience of 1960's Jackson in Mississippi. Largely told through the eyes of quietly suffering black maids, the ubiquitous racism exhibited by the white masters can seem childish. Stifled and disgruntled, these maids finally find a willing confidante through the willful but upright Skeeter (Emma Stone), who kick-starts a project to novelise their grievances.
Clocking in at nearly two and a half hours, The Help neatly condenses the plotlines from an otherwise massive book. Its old-fashioned theme of blacks speaking out against racist whites isn't refreshing and the story hardly offers any big surprises. Its handling of the topic of white parochialism is simplistic and sometimes pompous as it occasionally slips into three-hankie-weepie territory. But those who manage to hold their tears will still find much to adore from the performances.
Expect a chick flick, full of catty nemeses and hunky dreamboats. But it is a well-acted one, anchored by a capable ensemble with Oscar-worthy performances from Viola Davis and Octavia Spencer. Gamely slipping into the shoes of two battered (physically and emotionally) maids, Davis and Spencer are extremely skilled actresses who can pull off restraint and animated equally well. The acclaimed Davis, who has appeared in supporting roles in Oscar bait movies, is impressive but that's no surprise as we've seen what she's capable of. This time, she gets more screen time and a more full-fledged character to work on. She can conjure a guffaw (at least from me) while delivering a corny line, about how coffee contributes to her skin colour. The revelation here is Spencer (who? what?), who with her trademark wide-eyed stare, can skillfully flit from comical to hostile in the bat of an eyelid. As the outcasted 'white trash' Celia Foote, Jessica Chastain casts a deep impression and takes the role on with a convincing Southern drawl. It also marks her as an actress to watch.
Movie Rating:
(Help yourself to melodrama and fine thespian performances)
Review by Adrian Sim
SYNOPSIS: Set during China’s Warring States Period (475 BC – 221 BC), "The Warring States" centers on the rivalry between military strategists Sun Bin (Honglei Sun) and Pang Juan (Francis Ng).
MOVIE REVIEW:
The deluge of made in China period war epics continues with director Chen Jin’s “The Warring States”, set during the Warring States period (circa 475-221 B.C.) and loosely based on the rivalry between the Qi and Wei states. But amidst the sound and fury of war, Chen’s film finds its focus instead from the complex relationship between two military strategists on opposite sides- one the naïve goofball Sun Bin (Sun Honglei), and the other the scheming Pang Jun (Francis Ng).
And thanks to writer Shen Jian’s character-driven narrative, the film stands out from its ilk by being an intriguing study of the lengths by which war and its intricate machinery of politics can lead a person to forgo his closest friends. Yes, we are referring here to Pang Jun, a trusted brother and best friend of Sun Bin, both of them students of the great Gui Guzhi. Sun is also a descendant of Sun Tsu, and is rumoured to have knowledge of the Art of War, a manual on which Pang and the Wei King he is under are desperate to get their hands on.
So when Sun writes them some generic words of wisdom, they resort to barbaric methods to force his hand- torturing, jailing him and finally turning him into a cripple- with director Chen making the horror of every one of their actions felt keenly. Just as captivating to watch is Sun’s transformation in the latter half of the movie, from carefree scholar to wiser and yet jaded tactician aiding the Qi kingdom to defeat the onslaught of the Wei army led by General Pang himself.
Fortunately for the audience, director Chen has found two wonderful leading actors in Sun Honglei and Francis Ng to portray the complexities of his two protagonists. Sun’s dopey performance may ingratiate at first, especially in his single-minded infatuation of a beautiful Qi warrior princess (Jing Tian), but contrasts nicely with his more stately portrayal in the second half of the movie. The standout however is Francis Ng, this among one of his meatier roles of late with which the Hong Kong actor turns in a bravura performance that doesn’t demonise his character but balances his character’s deep friendship and jealousy brilliantly.
Aside from these two characters, Shen Jian also weaves in two other subplots which cast a multifaceted look on both Sun and Pang. The romance between Sun and Jing Tian’s Tian Xi turns especially poignant towards the end of the movie, while Korean actress Kim Hee-Seon has a smaller supporting role as Pang Jun’s younger sister Wan-er devastated at the ambition and ruthlessness of the men around her. While essentially second fiddle to the male characters, Jing Tian and Hee-Seon give the movie a softer, gentler but no less powerful side by injecting some much-needed humanity amidst the inhumanity of war.
Of course, to justify its weight in budget (around 150mil RMB), Chen fills the screen with requisite battles choreographed by Hong Kong’s Yuen Bun and Xiong Xinxin (who has a bit role as an assassin). Nonetheless, in the charge of China’s period war epics, this strong character-driven study of two brilliant men and their divergent paths in the face of politics and war will likely be more interesting than the sight of more swords, more arrows and more charging soldiers.
SPECIAL FEATURES:
The Making Of gives you a peek into the sets on which Chen's epic film finds its canvas, as well as provides some background into the inspiration behind writer Shen Jian's story. Other extras include a trailer and a music video.
AUDIO/VISUAL:
The Dolby Digital 5.1 audio gives a robust surround mix during the action scenes. Visuals are clear and contrast is good. Non-English speaking viewers may however want to take note that there are no English subtitles offered in this Code 3 DVD.
MOVIE RATING:
DVD RATING :
Review by Gabriel Chong
Posted on 24 June 2011
SYNOPSIS: Based on a best-seller comic book by Harold Sakuishi filled with energy and excitement! An ordinary high school student Koyuki is bored of his life style and have nothing much of a future. One day, Koyuki meets a gifted guitar player Ryusuke Minami (Hiro MIZUSHIMA) who has just come back from New York City. Ryusuke forms a rock band BECK (named after his dog’s name) with other talented musicians. The band members became aware of Koyuki’s hidden talent as a singer and a guitar player. Maho, Ryusuke’s little sister was one of the first to discover his gifted talent, and she became the biggest supporter of Koyuki as they fall in love.
MOVIE REVIEW:
As he did with the ‘20th Century Boys’ trilogy, Yukihiko Tsutsumi adapts yet another manga for the big screen- this time, the Harold Sakuishi “Beck”, about a group of teenagers who form a rock band named after the guitarist’s dog. Tsutsumi follows the manga by telling the story from the perspective of a shy and soft-spoken high-school student Koyuki, beginning with their days as an indie band to their triumphant performance at the Grateful Sound outdoor music festival.
Yes, this is essentially an underdog story, and it’s easy to recognise the formulaic devices which screenwriter Tetsuya Oishi has employed to win you over. Nonetheless, despite its familiarity, Tsutsumi’s lively pacing and the sheer energy of each one of the cast members ensures that this is still a crowd-pleaser through and through and one that will have you cheering for Beck by the time it’s over.
But to get to that climax, Tsutsumi first delineates the struggles the individual band members face in their lives, as well as the difficulties they face as a band going up against the bigwigs in the music industry. Besides the unaccomplished Koyuki looking for a purpose in his life, there is also guitarist Ryusuke, bassist Taira, rapper Chiba and drummer Saku. In particular, Oishi’s screenplay spends most of its time on Ryusuke’s past, linked to his infamous bullet-ridden guitar named Lucille and another guitarist Eddie from the American rock band Dying Breed.
Collectively though Beck finds itself up against another teenage band Belle Ame with the financial backing of shady music producer Ran (Shido Nakamura). It is this battle between Belle Ame and Beck that frames the climax, as lead singer of Belle Ame Yoshito finds himself in a romantic tussle for the affections of Ryusuke’s sister Maho with Beck’s lead singer and occasional guitarist Koyuki.
Tsutsumi keeps you in anticipation for close to two hours, but don’t let the 145-min running time daunt you. Indeed, Tsutsumi’s storytelling is filled with much raw energy and verve, the very same attributes necessary for an indie band like Beck to strike it big in the music scene. Ditto for the excellent young cast he has assembled, each one of their performances distinctive andwith just as much vigour- whether is it the slightly edgy Ryusuke, the cool and composed Taira, or the ruminative Koyuki.
The soundtrack too is excellent, and rock tunes such as “Evolution” sung by Chiba have an infectious rhythm. If there is one gripe, it is that Tsutsumi has resolutely muted Koyuki’s voice, and replaced it with scenes of nature and gawking audience members- the decision is ingratiating especially since we are supposed to believe that Koyuki has an awesome voice that can immediately entrance anyone who listens to it.
Still, that doesn’t diminish the sheer pleasure that one will get from “Beck”, a well-told underdog story set in the tough-as-nails indie music business where passion abounds. Once again, Tsutsumi shows his ability to take a story set in the manga world and give it a real-world context and this is one sure-fire delightful crowd-pleaser that anyone and everyone who has a ear for music will appreciate.
SPECIAL FEATURES:
Just the trailer and a photo gallery.
AUDIO/VISUAL:
The Dolby Digital 2.0 audio hardly does justice to the solid rock tunes played in the movie. Visuals are clear and sharp, and colours look especially dynamic on screen.
MOVIE RATING:
DVD RATING :
Review by Gabriel Chong
Posted on 6 July 2011
SYNOPSIS: A romantic comedy usually involves a handsome man and a pretty woman. But what happens when it’s a 'manly' woman, and a 'womanly' man? One day, a brassiere drops on Teochew. He immediately wins the lottery and decides to keep it. Hainan begins an arduous search for her precious underwear, distributing hundreds of missing posters around her neighbourhood. Teochew sees one of the posters, and his curiosity is piqued. Bumping into Hainan one day, he asks about the brassiere, although he has no intention of returning it. Unfortunately, he lets slip more than he should, and Hainan becomes suspicious...
MOVIE REVIEW:
While “Perfect Rivals” was the movie which enjoyed a wide commercial release, we believe that the Han Yew Kwang film that should have deserved the same treatment instead is this little-seen gem “When Hainan Meets Teochew”. Shot before the former, and receiving only a limited big screen release at specialty locations, this is truly one of the most original and most hilarious local films we’ve seen in a while.
The premise like most of Yew Kwang’s earlier films is simple- an unlikely romance between a manly woman Hainan-boy (Lee Chau-Min) and a womanly man Ms Teochew (Tan Hong Chye) that blossoms after an incident involving a missing bra. Yes, you read that right, the two meet after Ms Teochew picks up Hainan-boy’s bra which fell off the clothes peg after she hung it out to dry.
If that doesn’t already raise a chuckle, we think you need to get your sense of humour checked. Yew Kwang, who also wrote the script, fashions the rest of the breezy if a little brief 81-min movie with the same quirky humour embodied in the film’s very premise, so don’t expect the usual rom-com tropes in what has been billed the “most un-romantic movie of the year”.
The hilarity goes up a notch further after Ms Teochew moves in with Hainan-boy following an incident with her- pardon me, his- landlord and both misfits grapple with the possibility that they may just found the ideal companion in each other. Indeed, even though they defy society’s conventions of man and woman, Yew Kwang’s message here is simple- every individual desires to have company, and also to be loved.
Certainly, the rather open definitions of sexuality may leave some a little discomforted at the start, but Yew Kwang handles the potential controversies with deftness- and it is to his credit that the introduction of Hainan-boy’s ex-lover Meihui (Yeo Yann Yann) halfway through the movie who returns after a failed relationship with a guy adds, rather than diminishes, the rich texture of relationships within the film. By grounding the story in universal themes of solitude and companionship, Yew Kwang makes his film accessible to one and all.
Of course, he has also found two great lead actors/ actresses in Chau Min and Hong Chye. Probably the most unlikely duo to be the leads in a rom-com, they defy expectation with spot-on performances that are the reason the gags are so enjoyable. In particular, Chau Min is truly wonderful as Hainan-boy- the actress surprisingly expressive with every frown, raised eyebrow and twitch perfectly timed for her scenes.
The combination of both Chau Min and Hong Chye’s pitch perfect acting, and Yew Kwang’s quirkily original and very funny script, makes for nothing less than one of the best local films we’ve seen of late. Indeed, this is the Han Yew Kwang film that deserves to be seen by a wider audience, and we recommend you to run out and grab a copy of this DVD especially if you haven’t yet seen it.
SPECIAL FEATURES:
There are two Audio Commentary tracks on this disc- the one in English with writer/director Han Yew Kwang and producer Lau Chee Nien; and the one in Chinese with Yew Kwang, Chee Nien as well as the cast members Chau Min and Hong Chye. Both tracks seem to be recorded impromptu, which means that you’ll have to put up with some rambling here and there- but by and large, both are informative and interesting listens especially for the amount of hard work and thought that went into such an independent passion project.
There are also a couple of other featurettes. “Learn How To Curse in Hainan” has Chau Min teaching you some Hainanese phrases to scold someone you dislike- no worries, parents, there are no swear words here. Yew Kwang does a brief 30-sec Director’s Introduction to say some words of greetings to his audience about the film. Finally, there is a Promo Video which features celebrities and other local directors like Boris Boo telling you why you should watch the film, as well as a Music Video which captures perfectly the mood of the film.
AUDIO/VISUAL:
The Dolby Digital 2.0 audio brings out the dialogue exchanges crisply and clearly. Visuals are clean and sharp, and colours are especially dynamic.
MOVIE RATING:
DVD RATING :
Review by Gabriel Chong
Posted on 26 June 2011
SYNOPSIS: Just prior to 18-year-old En’s mandatory enlistment into the Singaporean army, a series of events and disclosures threatens to alter his world view forever. The taste of his first romance, the death of his grandfather, his grandmother’s worsening Alzheimer’s disease, his schoolteacher mother’s affair with an uptight military commander, and En’s newfound awareness of his late father’s student activist past all contribute to his decision to reevaluate the pieces of his life before they are erased by the tides of time.
MOVIE REVIEW:
If it isn’t already clear enough for you, our loyal local reader, there are two distinct types of local (read: Singaporean) movies made by filmmakers on our little island. The ones that most people are familiar with (it also probably means that they are willing to pay to watch these) are the commercial flicks showcasing well known faces and polished production values. Accessible heartland themes are explored in these movies. On the other end, we have smaller scale films which appeal to the art house crowd. This type of productions may look at more intimate and personal messages which may leave viewers questioning the status quo of things. As you’ve probably known by now, not many people would pay to watch this genre in the cinema, hence the significantly less outreach.
Up and coming filmmaker Boo Junfeng’s first feature film clearly belongs to the second category. And despite a calculated and careful approach to telling a story of what seems to Singapore’s journey to independence, this is still a commendable effort by the recent recipient of the Singapore Youth Award in the Arts & Culture category.
Told in Mandarin, Hokkien and English, the film’s protagonist is an earnest 18 year old boy who is waiting to enlistment into the army. After losing his father to cancer, he has to stay at his grandparents’ place while his mother goes on a holiday with an army officer. The 92 minute film looks at how the boy explores and discovers what it means to grow up in a country where memories are constantly shaped by its ever changing ideologies and beliefs.
Seems like a heavy topic for a young filmmaker like Boo? If you are familiar with his previous shorts like Katong Fugue, Keluar Baris and Tanjong Rhu, then it comes as no surprise that this first feature (funded by the Singapore Film Commission, no less) is a serious drama which examines and studies seemingly academic themes like nationhood and identity.
The screenplay written by Boo smartly uses its characters to exemplify the messages the filmmaker wants to relay to its audiences. Besides the boy who is entering his next stage of adulthood (that’s national service for you), there are also other interestingly written personalities like the silently disciplined grandfather, the grandmother suffering dementia, the choir teacher who years for a new lease of life and a caricatured army officer. These characters are played convincingly by Joshua Tan, Elena Chia, Ng Jing Jing and Samuel Chong, amongst others. Boo manages to draw out the best performances from his cast (both young and old), and this is one trait worth noting from this young filmmaker.
Production values are notable too, with cinematography by Sharon Loh and a quietly affecting score by Darren Ng. The slow and assuring pace of the film allows viewers to absorb the undercurrents within the deceptively simple tale of growing up. This is one film which you will want to watch repeatedly to read between the lines.
SPECIAL FEATURES:
This Code 3 disc contains an insightful collection of special features which will have film enthusiasts cheering in joy. There is a discerning Audio Commentary with the Director & Producer where the filmmakers tell you more about what you may have missed on first viewing. The section Interviews with the Director & Cast consists of clips featuring Boo, Chia and Ng talking about the inspiration and the production of the film. In The Director’s Diary – Behind the Scenes of Sandcastle, you get to understand the significance of several elements in the film, including the wandering cats, the school choir and the dragonfly. Completing the platter is a thoughtfully printed Enclosed souvenir booklet with production notes & photos from the film.
AUDIO/VISUAL:
The movie's visual transfer is fine, and is presented in its original soundtrack of truly Singaporean languages of Mandarin, English and some dialects.
MOVIE RATING:
DVD RATING :
Review by John Li
SYNOPSIS: HOMECOMING is a series of stories about family and what it means to go home. The characters and their families in each of the stories, come from a diverse range of generations, races and social backgrounds. These characters are (or become) interlinked either through blood, friendship or geography. The film takes place on New Year's eve. The lead Mark Lee plays a demanding chef who cannot wield the same control over his daughter. Rebecca Lim plays one-half of a couple with Huang Weng Hong who is about to meet her in-laws from hell. Jack Neo plays Karen Neo while Ah Niu plays her son who goes on a hilarious journey across the Causeway for their yearly reunion dinner.
MOVIE REVIEW:
Long before Aunty Lucy, there’s already Liang Si Mei and Liang Po Po cemented in our memory. And one of the best female impersonators in the industry definitely goes to Jack Neo. After his much publicized scandal and the lukewarm response of his last directing gig, Neo is back to his acting roots in this Chinese New Year comedy, “Homecoming”. For a good reason apparently.
Disguised as a true-blue aunty with tonnes of makeup piled on, Jack’s character, Karen Neo and his onscreen son, Ah Meng (played by Malaysia singer/director Ah Niu) are among the many colourful people depicted in this movie. The main theme right here is about travelling from Singapore to Malaysia for reunion dinners. While it is typical to hear stories about fellow colleagues or friends doing that when it comes to the festive season, it is pretty refreshing to watch this theme being portrayed onscreen in a light and humourous manner.
There is no doubt “Homecoming” has slight imprints of a Jack Neo production though Neo only contributes as an actor and writer but director Lee Thean-Jeen who is relatively new to feature length productions certainly holds his ground. The Penang-born Lee balances his storytelling and humour with much aplomb, comparing with a usual J-Team production who can let a gag went on and on, Lee knew the right comic timing of his cast members and the results in the end is commendable.
Even the technicalities aspect of “Homecoming” such as the cinematography for instance is remarkably well executed. Note the opening long shot of Jacelyn Tay’s character walking into the kitchen. The editing is smoother with less abrupt cuts and jumps and this Singapore/Malaysia collaboration marks a vast improvement in the state of film-making in the region.
You might not spot the faces of J-Team regulars such as Henry Thia or John Cheng aka Ah Nan but then you get to witness the comeback of ex-Mediacorp actress Jacelyn Tay as Fei Fei, the gung-ho restaurant manager of cocky chef, Daniel Koh (Mark Lee). Lee on the other hand who is very much overexposed on television, movies and ads these days is a scene-stealer with his absolutely believable HK-accented Mandarin. Radio deejay Huang Wenhong pairs up with Fighting Spiders/The Pupil’s Rebecca Lim as a newly-wed couple who learnt the importance of family values. Not forgetting Malaysia’s comedian, Afdlin Shauki, Malaysia teen actress Koe Yeet and other familiar faces such as getai veteran Liu Ling Ling, Zhang Wei and Lin Ruping in various supporting roles.
The obvious winner is this ensemble comedy goes to the pairing of Jack Neo and Ah Niu. The duo banters effortlessly and showcases their perfect chemistry and comic timing with ease. “Homecoming” is not a vulgarity-laced, laugh-out-loud comedy but like a session of steamboat with close friends and relatives, it genuinely warms and touches the heart unlike the usual onslaught of Chinese New Year theme movies.
SPECIAL FEATURES:
There is the usual Making-of feature that consists mainly of interviews with Producer Daniel Yun, Director Lee, Jack Neo and Mark Lee. Theatrical Trailers round up the disc extras.
AUDIO/VISUAL:
Dialogue is clear while the overall audio quality is serviceable for this genre. Video transfer is passable too.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
Posted on 20 June 2011
SYNOPSIS: With a night time blizzard as cover, seven prisoners, caught up in Stalin’s Reign of Terror, escape a Soviet Gulag in 1940. They are now free men and almost certainly, dead men…for their impending trek to safety defies any reasonable chance of success and the landscape they must cross is unforgiving. With little food or equipment, and no certainty of their location or intended direction, they embark on a journey that will present unimaginable hardship and drama. Driven by base animal instincts—survival and fear—while relying on evolved human traits—compassion and trust—the group endures transformative experiences that are profound and abysmal, anguished and ecstatic. All the while, they abide by one unceasing mandate: keep moving, keep moving, keep moving…
MOVIE REVIEW:
The first thing that caught our attention is that this Peter Weir directed film is endorsed by National Geographic. This means that lots of breathtaking sights are in store for us, - images which are awe inspiring like those photographs we’ve seen on the pages of a National Geographic magazine. On top of that, an inspiring story of survival and hope makes this production a recommended watch.
The drama film tells the story about a group of prisoners who escape from a captive camp during World War II. On this 4000 mile walk to freedom from Tibet to India, three men will have their endurance and faith tested. As four others join this journey, they learn what it is like to stand strong in the face of nature’s harsh conditions and emerge survivors against all odds.
Characterisations are strong in this film based on The Long Walk, a 1955 book by Slawomir Rawicz, a Polish prisoner of war in the Soviet Gulang. You would be able to identify with the charismatic protagonist who is condemned by accusations secured by torturing his wife, a cynical American engineer, a hardened Russian thug, a Pole who suffers from night blindness, a comical accountant, a devoted Latvian priest and a cook who is an artist at heart. Weir and Keith Clarke’s screenplay paints an engaging picture of these characters, as you empathise and follow them as they trek through the wilderness in hope of liberation.
A star studded cast has been assembled for this film. Jim Sturgess (we were really hoping to see more of this underrated British actor after Julie Taymor’s Across the Universe) takes on the role of the Polish man whose strong belief to survive drives the pacing of the film. Ed Harris (Gone Baby Gone) plays the American whose unlikable personality gradually turns into one of compassion. Colin Farrell (The Imaginarium of Doctor Parnassus) delivers a surprisingly affecting performance as a tough criminal. Elsewhere, look out for Mark Strong (Robin Hood) and Saoirse Ronan (The Lovely Bones) who are also part of the triumphant ensemble cast.
The 128 minute production may not be the most original when it comes to plot development (you can see the inspiring conclusion coming early in the film), but this is easily overlooked as the impressive production values take over your senses.
Having helmed the high sea adventure Master and Commander: The Far Side of the World (2003), Australian director Weir clearly has an eye for magnificence here. The callous and ruthless conditions faced by the protagonists are transformed into glorious cinematic visuals as endless deserts, freezing nights and the mountainous Himalayas play backdrop to the human drama on screen. Whether it’s the lack of food and water, or the constant bugging of mosquitoes, you feel that you are part of this triumphant journey where morals and humanity are what matters most.
SPECIAL FEATURES:
The Code 3
AUDIO/VISUAL:
The movie’s visual transfer is clear and pristine, and is presented in its original English soundtrack.
MOVIE RATING:
DVD RATING :
Review by John Li
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