|
mm2 ANNOUNCES SLATE OF NEW MOVIE PRODUCTIONS AT HONG KONG FILMARTPosted on 14 Mar 2016 |
Genre: Action/Thriller
Director: Benny Chan
Cast: Sean Lau Ching Wan, Louis Koo, Eddie Peng, Yuan Quan, Liu Kai Chi, Jiang Shu Ying, Sammy Hung, Berg Ng, Philip Keung, Jacky Wu
Runtime: 1 hr 40 mins
Rating: NC-16 (Some Violence)
Released By: Clover Films Pte Ltd, mm2 Entertainment Pte Ltd and Shaw Organisation
Official Website:
Opening Day: 18 August 2016
Synopsis: IIn the early Republic of China, the whole country was trodden by incessant civil wars. The new ruling warlord Cao Ying sent his son Cao Shaolun to take over the remote village Pucheng. Cold-blooded and temperamental, Shaoun killed the innocents and orphans. The guardians of Pucheng arrested him and the guardian commander Yang Kenan planned to execute him after the trial. Zhang Yi, a colonel under warlord Cao Ying, learnt of what happened and came to Pucheng demanding the release of Shaolun. Zhang came across Ma Feng, who learnt martial arts from his mentor. Ma witnessed the outrageous behaviour of Shalolun and refused to take Zhang’s side. He was determined to assist Yang to keep Shaolun behind bars. Zhang failed to rescue Shaolun. Cao’s army invaded Pucheng and caused numerous casualties and deaths. The brave heroes swore to fight the battle to protect their homeland.
Movie Review:
With China’s film industry in the throes of a CGI craze (think the most recent ‘League of Gods’ or ‘The Monkey King 2’), it is almost refreshing to see a traditional martial arts blockbuster like ‘Call of Heroes’ that doesn’t substitute the authenticity of real sets or props for computer-generated ones. That means the whip you see Lau Ching Wan crack onscreen as the commander of a small group of guardians for the besieged city of Pucheng is every inch real, for which Lau went through a month of rigorous training to prepare for. It also means the city Pucheng where most of the action is set is also filmed against an actual set, which took its director Benny Chan almost five months to build. Even more comforting is the fact that Chan (who takes top screenwriting credit here among four other co-writers) understands the importance of a good story and strong characters, and uses both to craft a compelling Western about justice and its enforcement.
Oh yes, lest it doesn’t seem apparent from the grave expressions of its lead cast on the poster or its action-packed trailers, Chan has modelled his film firmly on the genre tropes of the classic Western. The opening scene establishes Eddie Peng’s Ma Feng as the mysterious wanderer with a tongue-in-cheek sense of humour, awoken from his post-lunch stupor at a secluded diner by a stuttering bandit in the midst of robbing its owners as well as the other patrons. Ma Feng is introduced from the point of view of a group of children on the run with their school teacher Miss Bai, who refer to the bearded stranger first as ‘Pigsy’ and after as no less than ‘Sun Wukong’ – and in between subduing them and betraying his own handy set of martial arts skills, Ma Feng admonishes the robbers for their lack of professionalism and antisocial behavior. If you’re familiar with the Western, you’ll know he’s the wild card whose past will come to reckon later on.
True enough, after the requisite character introduction to Lau’s Sheriff Yang Kenan, Ma Feng rides into the town of Pucheng claiming to have no purpose other than follow wherever his horse (which he names ‘Taiping’ or ‘world peace’ in Chinese) takes him. Though sequestered in a deep valley, Pucheng is under threat of invasion by a ruthless warlord Cao Ying, whose equally cold-blooded son General Cao Shaolun (Louis Koo) had mercilessly slaughtered the villagers where Miss Bai and her students had fled from and is preparing to repeat the deed. The army protecting their village has been called into battle with General Cao’s men at the frontlines, leaving the security of Pucheng to Sheriff Yang and his band of guardians. That is scant comfort for its richest citizen Boss Liu, who hires a group of protectors (led by Shi Yanneng) to first and foremost secure the safety of his family and his sizeable wealth.
It is these protectors whom Sheriff Yang confronts at the start upon their arrival in Pucheng, and further down when the opportunistic Boss Liu ambushes the former using his sub-commander Liao (Liu Kai Chi) as bait to release Shaolun from jail. In fact, it is all but clear to Sheriff Yang that Shaolun – who rides into town alone dressed entirely in white at the crack of dawn and proceeds to shoot Miss Bai, her cousin Tieniu (Philip Keung) and one of her students in cold blood – intends to be caught, and is only playing on the minds of Pucheng’s ordinary citizens as well as its law enforcement to see how far they would go to save their own skins. His general Zhang Yi (Wu Jing) interrupts his trial in open court to demand as much, with the ultimatum that he will lead their junior commandant Shaolun’s army to invade the village and rescue him if he is not released by daybreak the very next morning.
To Sheriff Yang, the choice is clear – there can be no justice if it is not enforced – so threat or no threat, Shaolun will hang for his crimes. Yet after an attempted prison break led by two of General Zhang Yi’s subordinates leaves two of Sheriff Yang’s guardians dead, the villagers are left even more cowed by the threat of complete annihilation, turning up en masse to petition Sheriff Yang to release the prisoner in the hope of avoiding war. Therein lies Sheriff Yang’s moral and professional dilemma as well as the movie’s central theme – justice at what costs and to what extents – which is fleshed out poignantly thanks to Chan’s compelling storytelling and his actor Lau’s commanding multi-layered performance - in particular, Lau brings across not just his character’s sense of duty and strict code of law with conviction but also his genuine compassion for the people he is meant to protect.
In the same vein, Ma Feng’s choice will also be ethical (and perhaps much more straightforward) – stay and defend Pucheng alongside Sheriff Yang or simply leave and let them fend by their own defences? Bearing in mind the titular call, it isn’t hard to guess which Ma Feng eventually chooses, especially after we learn of his past with General Zhang Yi as fellow disciples turned bodyguards-for-hire before falling out over the kind of company they are paid to protect. That history also adds texture and depth to their one-on-one showdown at the end – more than just a battle of Eddie’s twin swords and Wu Jing’s spear, it is their ‘brotherhood’ which is also put to the test.
That the clash between the two martial-arts trained actors bristles with ferocity and nail-biting tension is testament to Sammo Hung’s action direction, which complements the robust character drama with four thrilling set-pieces. Eddie’s opening one-against-many fight with the group of robbers is a pleasant appetizer, followed by the much more elaborate and arguably more high-stakes night-time raid (conceived with a none-too subtle emphasis for Sammo’s own son Sammy Hung, who plays one of Sheriff Yang’s fellow guardians). Lau gets to show off his dexterity with his character’s signature whip in a sequence set on a narrow bridge where he is ambushed by Boss Liu’s protectors, but pretty much sits out the extended finale which sees the typically non-violent villagers take up arms to rebel against the tyranny of Shaolun’s troops. It isn’t Hung’s best work for sure, but nonetheless exciting and at times exhilarating to watch.
As its title suggests, ‘Call of Heroes’ is a team effort where the whole is much bigger and better than the sum of its individual parts. Neither the story of a righteous law enforcer who stands up to the oppression of his more powerful enemy or the central theme around the execution of justice is new, but Chan has fashioned a gripping period drama that reinforces the virtue of staying true to one’s morals. As with his previous ‘The White Storm’, Chan’s ensemble cast also deserves credit for the strength of their acting – and even Koo turns out a surprisingly inspired choice sneering and smarming as the heartless villain at the heart of the story. Like we said at the start, this is a refreshingly solid old-fashioned action-packed blockbuster that is also likely to be one of the best Chinese movies you’ll see this year.
Movie Rating:
![](\"http://www.moviexclusive.com/image/mx%20star.gif\")
(Strong character drama and compelling performances by Lau Ching Wan and Eddie Peng make this refreshingly old-school martial-arts blockbuster of heroism amidst oppression gripping, poignant and resonant)
Review by Gabriel Chong
Genre: Documentary
Director: Eva Tang
Runtime: 2 hrs 8 mins
Rating: PG
Released By: Golden Village Pictures
Official Website: http://www.thesongswesang.com
Opening Day: 24 March 2016
Synopsis: In the 1980s, a powerful artistic movement was born in Singapore, flourishing amongst the Mandarin-speaking community throughout the island and beyond our shores, leaving an indelible mark on the culture of a young nation. The Songs We Sang, a documentary by Singapore filmmaker Eva Tang, is a vivid and in-depth look into the journey of xinyao (literally “songs of Singapore” in Mandarin) since its birth. Steeped in history and authenticity, this detailed documentary captures the spirit of a Singapore culture that has since become a significant part of a nation’s collective cultural heritage. Xinyao emerged from the hearts of students across campuses in Singapore, and soon found its way into the heartlands, capturing the attention of a nation with its tuneful melodies and elegant and meaningful lyrics about family, friendship and everyday life. Taking its title from a pivotal seminar on xinyao held by the Mandarin student publication Nanyang Students in 1982, The Songs We Sang is infused with the energy, enthusiasm and creative courage of xinyao and its artists, and looks towards future generations of artists who will colour Singapore’s cultural tapestry.
Movie Review:
This is a true blue Singaporean film that we are really, really proud of.
Being a local Chinese born in the 1980s, this reviewer had the privilege to get a glimpse of the pure form of xinyao. The term, literally meaning “Singapore songs”, is a termed aptly coined for the grassroots movement where hopeful young locals wrote and sang their own songs.
Yes, before Kit Chan, Stefanie Sun, JJ Lin, the local Mandopop scene was much alive, albeit less glittery and commercialised. Yes, there was a time when people made music for the love of the art, and not with the hope of being talent spotted by performing in hipster bars and pubs. Yes, there was a time when we were less complicated people, when ideals could materialise if you are willing to go the distance.
Sounds too warm and fuzzy for comfort in this day and age where practical concerns take precedence over living life? It’s heartening to know the campus music movement known as xinyao did exist in the 1980s – but how much do you now about its association with the closing of Nanyang University, and the end of Chinese as a formal language of instruction in educational institutions?
Eva Tang, who is better known for her work on short films like Old Places (2010) and Old Romances (2012), gives viewers a deeper understanding of the xinyao movement with this highly recommended local documentary. She features well known personalities like Liang Wern Fook, Billy Koh and Eric Moo, and also candid interviews with lesser known but equally noteworthy industry players like Dawn Gan, Xu Nan Sheng and Lim Cher Hui. The latter group of interviewees should not be unfamiliar faces for those who grew up in the 1980s.
And that is the magic of this 128 minute documentary. One can imagine that putting this film together is a logistical nightmare, considering the arrangements, scheduling and music copyrights clearances that are in the way of the filmmakers. Plus, wait till you see the amount of rare and precious archival materials in the film. Yet, you can feel the passion of each and every crew member behind the scenes. In front of the camera, you also feel that every interviewee wants this story to be heard.
In fact, after the movie’s only sold out session at last year’s Singapore International Film Festival, it was unknown whether there will be a commercial screening. Fortunately, the production supported by the National Heritage Board has found its way into cinemas here, fighting the box office battle alongside Hollywood blockbusters.
What we knew about xinyao may be from the recent Channel 8 drama Crescendo, as well as 2013’s The Girl in Pinafore directed by Chai Yee Wei. This documentary gives you the real deal, as you get to hear from the folks who were personally involved in the landmark movement that has paved way for the Singapore’s pop industry.
Through the many personal anecdotes (plus scenes captured from the one off concert at Bras Basah Complex in 2014), it is heartwarming to see how people came together before xinyao eventually took on a life of its own – a fact of life that proves that if there’s something you truly believed in, pursuing it will only bring about fruits of labour.
Movie Rating:
(We repeat: The Songs We Sang is a true blue Singaporean film that we are really, really proud of)
Review by John Li
Genre: Romance/Drama
Director: Luo Dong
Cast: Ethan Juan, Du Juan, Michael Miu, Cecilia Yip, Yang Xuwe
Runtime: 105 minutes
Rating: PG 13 (Scene Of Intimacy)
Released By: Shaw & Clover Films
Official Website:
Opening Day: 14 April 2016
Synopsis: In the 1990s, Shanghai is a land of golden opportunity. Lu Tu (Ethan Juan), the best hotel head concierge in Shanghai falls in love with A-Juan (Du Juan), a girl who is materialistic and desperate to go abroad. Lu’s work is noticed by Mr. Mi (Michael Miu), the head of a service that charges a premium to help Chinese citizens attain American visas. He asks Lu Tu to find prospective clients for the service and also offers him a chance to go to America with him, but Lu Tu decides to stay in Shanghai and gives the opportunity to A-Juan instead……
Movie Review:
Ethan Juan, 33, is a good looking guy from Taiwan. After clinching a Best Leading Actor prize at the 47th Golden Horse Awards, he went on to charm audiences in 2012’s The Guillotines, 2014’s Paradise in Service and 2015’s The Assassin.
Du Juan, also 33, is a good looking girl from China. A fashion model and a former ballet dancer, she got our attention when by starring in 2013’s American Dreams in China and 2015’s Lost in Hong Kong.
When two good looking people come together to star in a movie, you can be sure the result is pure eye candy. What makes a pretty film even greater would be a good story. Alas, first time director Luo Dong may have missed the memo that an engaging storyline is still a fundamental filmmakers cannot run away from. Throwing in thousands of computer generated shots, shooting the film against gorgeously scenic backdrops and distracting viewers by pretty faces just doesn't do the trick these days. What needs to stand out? A story which people can identify with, and maybe most importantly, characters that are relatable to common folks like you and me.
Exploring how people yearn the American Dream which isn’t exactly new in the cinematic world, but here’s another shot at the topic. Juan and Du play ill fated lovers in 1990s’ Shanghai. He is a bell captain at a grand hotel, while she is a dreamy eyed girl who wants a better life. That’s about it, really. How he gets her a job to an entertainment entrepreneur (Cecilia Yip plays this role effortlessly well), and how a favours are being received by a wealthy businessman (the always reliable Michael Miu lends some gravitas to the film) are really just plot devices to keep the film running till its end credits at the 105th minute.
The film is stylishly shot, with cinematography that will entice people who love all things visually attractive. But there is nothing we haven’t seen before - what comes to mind are definitely Hong Kong auteur Wong Kar Wai’s works (In the Mood for Love, anyone?) Characters don’t speak much, and there are the occasional philosophical dialogue which, again, reminds us of Wong’s films. What we also get is a narrative that goes backwards and then jumps forward, which does nothing other than making us think: Is this really necessary? Are we supposed to feel the pain the two good lookers are going through in life?
Let’s give credit where credit is due. Juan and Du look the role. One’s a handsome hotel staff who fits into his uniform so well, you’d wonder whether there’s anything you can fault him with at all. The other is a flighty female who wears her lipsticks so well, you’d wonder whether it’s even possible to grasp what her priorities in life are. This couple is pleasant to watch on screen, and their somewhat melancholic nonchalance is apt for the story. Unfortunately, other than that (oh, and old timers like this reviewer would sit up whenever Yip and Miu’s characters appear), there isn’t really much else to say about this film.
Movie Rating:
(The leading stars score in the looks department, but the same can’t be said for the film’s lack of substance)
Review by John Li
|
SAMMO THE BODYGUARDPosted on 18 Mar 2016 |
Genre: Thriller
Director: Jaume Collet-Serra
Cast: Blake Lively, Oscar Jaenada, Sedona Legge
Runtime: 1 hr 26 mins
Rating: PG13 (Some Violence and Some Intense Sequences)
Released By: Sony Pictures Releasing International (Singapore)
Official Website: https://www.facebook.com/ShallowsMovie/
Opening Day: 11 August 2016
Synopsis: In the taut thriller "The Shallows," Nancy (Blake Lively) is surfing alone on a secluded beach when she is attacked by a great white shark and stranded just a short distance from shore. Though she is only 200 yards from her survival, getting there proves the ultimate contest of wills. It’s "Jaws" for a new generation.
Movie Review:
‘The Shallows’ won’t be the first to pit man against shark, and its Spanish director Jaume Collet-Serra is keenly aware of this. Since ‘Jaws’, countless man-versus-shark thrillers have almost turned the genre into cliché, so much so that more recent entries have either come with superfluous additions such as genetic modified sharks (a la ‘Deep Blue Sea’) or flashy gimmicks (like the first-person perspective in ‘Adrift’). It is somewhat comforting therefore that Collet-Serra’s movie doesn’t try to top what has come; oh no, he and his writer Anthony Jaswinski have instead opted to go back to basics with a minimalist survival thriller that operates essentially as a one-person show.
That person happens to be a young female med school dropout Nancy, who makes the journey all by herself to a secluded Mexican beach as a means of seeking closure over the recent death of her mother (the location being one of the places her mother had visited while pregnant with her). To be sure, other than being carrying the trauma of her mother’s passing, Nancy as a character isn’t particularly well-defined whether at the start or during the course of the movie, especially since most of her dialogue consists of screaming in agony. Rather, if we come to root for her presence, it is because her star Blake Lively has made makes her both believable and sympathetic.
Indeed, it’s no secret that the movie is meant as a star-making vehicle for the attractive and statuesque Lively (still best known for TV’s ‘Gossip Girls’), whose attire for her first lead performance in a feature film consists of a neoprene wet suit jacket with a plunging décolletage coupled with a tight peach-coloured bikini bottom – and let’s just say in that regard Lively sure doesn’t disappoint. Yet much as she ably manages to look good against Flavio Labiano’s voyeuristic camera from every possible angle, Lively also acquits herself with a confident performance built on equal parts vulnerability and grit.
Suddenly bitten by a great white and left with a gashing wound on her left thigh, Lively writes her character’s fear and panic keenly on every facial expression and frantic bodily twitch, clambering atop a large rock to take refuge from the bloodthirsty creature. The nasty turn of events will ultimately prove to be a test of Nancy’s will to survive, and appropriately Lively transforms her character’s picture of distress during the course of the blissfully short 85-minute movie into a portrait of resourcefulness and determination.
Not only will she have to constantly fend off the ravages of hunger, thirst and exhaustion, Nancy will also come to suture her own shark-bite wound with a couple of earrings and fend off the unexpected advances of her predator while trying to find her way to a buoy before the outcrop she is on becomes completely submerged at high tide. Let it be known too that she doesn’t manage to get any help despite the brief appearances of a thieving drunk (who gets his comeuppance) at the break of dawn as well as two Mexican surfing brothers who try to rescue her later that same morning; in fact, the only company she has is a stranded seagull with a broken wing she names ‘Steven’ (after the now over-the-hill action star).
On his part, Collet-Serra keeps up the suspense with a couple of spare but serviceable set-pieces that emphasize the minutiae that matter: re-tying her ‘wet suit’ tourniquet in order to keep warm and slow down the onset of gangrene; calculating the distance to the buoy versus the time it takes for the shark to make a lap around its feeding zone; using a school of jellyfish to buy time against the shark; and the mechanics of the bobbing metal beacon to outwit the shark. If it all sounds pretty thin to hang a whole movie around, you’re right, but that’s also because ‘The Shallows’ doesn’t aspire to be more.
Oh yes, this is no less and no more than a well-made B-movie that isn’t meant to be the sort of high-concept survivalist drama like ‘127 Hours’ or ‘All Is Lost’. The thrills here are meant to be plain and simple, taken with a small dose of logic suspension, so it’s really pointless asking why for instance the shark is so hell-bent on eating her when it has already chomped away three other people and has a whole rotting whale carcass a short distance away. Like its title suggests, this is trivial summer popcorn fare, good only if all you’re looking for is some quick and satisfying shlock to sink your teeth into.
Movie Rating:
(As spare and minimalist as a man-versus-shark survival thriller can get, this star vehicle for Blake Lively offers passing B-movie thrills that go no deeper than its titular lagoon)
Review by Gabriel Chong
Genre: Action/Adventure
Director: Timur Bekmambetov
Cast: Jack Huston, Morgan Freeman, Rodrigo Santoro, Tory Kebbell, Nazanin Boniadi, Ayelet Zorer, Sofia Black-D'Elia
Runtime: 2 hrs 5 mins
Rating: PG13 (Some Violence)
Released By: UIP
Official Website: http://www.benhurmovie.com
Opening Day: 18 August 2016
Synopsis: BEN-HUR is the epic story of Judah Ben-Hur (Jack Huston), a prince falsely accused of treason by his adopted brother Messala (Toby Kebbell), an officer in the Roman army. Stripped of his title, separated from his family and the woman he loves (Nazanin Boniadi), Judah is forced into slavery. After years at sea, Judah returns to his homeland to seek revenge, but an encounter with Jesus (Rodrigo Santoro) leads him to the Crucifixion, where he discovers forgiveness and finds redemption. Based on Lew Wallace’s timeless novel, Ben-Hur: A Tale of the Christ.
Movie Review:
The issue with doing a remake of a beloved classic is that comparison with the original classic will be inevitable and more often than not, that stacks you up against high odds that generally see you ending up on the losing end. While there are exceptions to this general rule, the 2016 version of Ben Hur is not one of these exceptions.
Unlike the 1959 classic which shares a record with Titanic and Lord of the Rings: Return of the King for the most number of Academy Awards won by a motion picture, no one will be calling this 2016 remake (even if you frame it as a retelling of the same story, it is still a remake) an epic anytime soon.
It is clear that director Timur Bekmambetov’s forte is not in drama. Tension and emotions don’t build up in a scene to create a sense of suspension or anticipation and the political undertone that bubbles simply fizzles out. Layers to characters are not drawn out and what we end up with are bland cardboard characters and meh scenes. Bekmambetov’s lack of direction is not helped by a music score that, while powerful, comes across more like passable elevator music than a resounding grand symphony next to the 1959 score.
The acting is not terrible but it fails to lift you. You don’t find yourself rooting for the protagonist Judah Ben-Hur, sympathising or even come close to understanding the motivations of his adoptive brother turned enemy Messala. The director’s attempt to lend some gravitas to the movie by having Morgan Freeman serve as narrator with his majestic voice backfires and is somewhat jarring when you see the Morgan Freeman on screen, playing a character yet speaking with the narrator’s voice.
Bekmambetov does bring to the table a few interesting visuals, particularly during the chaotic slave galley sequence. In the dimly lit galley which Judah is sentenced to, we are confined to his point of view and see only what he can glimpse of the outside world through tiny holes as he rows his life away. The small details which we do not see but can hear create tension, striking viewers as we hear the war drum repeatedly being banged upon and feel the impending clash yet are limited to the incomplete view that Ben-Hur is subjected to.
Unfortunately, Bekmambetov’s visual chops are not applied evenly throughout the movie. The climatic chariot race came across as one shot on a tight budget with sloppily framing and uneven editing. While close-ups and tight shots worked for the galley sequence, here, they are overused and viewers are unable to follow the action thanks to the lack of wide shots. The computer-generated special effects of gravel and dirt flying into your face thanks to 3D magic are unnatural and look like they require another few rounds of rendering or editing to make them more natural. Instead of 10 minutes of epic action where you watch racers outwit and outmanoeuvre each other for the race of their lives, you end up going through a sequence where half the time dirt is flying in your face and you have no idea what exactly is happening.
Unfortunately beyond the galley sequence, the rest of the movie can sometimes leave you feeling like you have no idea what happened except you felt like dirt was simply thrown in your face.
Movie Rating:
(While not absolutely terrible, this remake is much better packaged as a direct-to-TV movie or two part miniseries)
Review by Katrina Tee
|
MARVEL'S CAPTAIN AMERICA: CIVIL WAR'S CAST AND DIRECTOR IN SINGAPOREPosted on 28 Mar 2016 |
Genre: Music/Romance
Director: Michael Damian
Cast: Ian Eastwood, Jane Seymour, Sonoya Mizuno, David Lipper
Runtime: 1 hr 37 mins
Rating: PG
Released By: Shaw
Official Website:
Opening Day: 14 April 2016
Synopsis: When a hip hop violinist busking in the New York subway encounters a classical dancer on scholarship at the Manhattan Conservatory of the Arts, sparks fly. With the help of a hip hop dance crew they must find a common ground while preparing for a competition that could change their lives forever.
Movie Review:
High Strung is yet another dance movie out in the market. It attempts to cut through the noise by combining classical music and dance elements with the contemporary parts. The idea is kind of appealing and fresh, but unfortunately it was not fleshed out to the best it could be.
The story follows Johnnie (played by Nicholas Galitzine), a thriving violinist who is trying to break out of classical conventions to make a living on his own in New York. He does so by basking regularly at the New York subway. Thanks to fate and serendipity, he crossed paths with Ruby (played by Keenan Kampa), a talented dancer who is about to start her new life and pursuit of dance at the Manhattan Conservatory of the Arts.
As we all know, it is often a fool-proof and sure-win formula to assemble an attractive male lead, with an equally charming female lead, and have them fall in love passionately. Predictably, High Strung uses this formula as well. While it’s nice to watch a good looking like them, there was not much thought in the romantic sequences. They are so cheesy and awkward that it makes you squirm in your seat and laugh embarrassingly for what’s being put on screen.
Nonetheless, the cast of the movie was reasonably well selected. Nicholas Galitzine fit in to the emo, moody and melancholic look, while Keenan Kampa, a professional ballerina, nailed it as the female lead. Not forgetting Sonoya Mizuno who played the role of Ruby’s roommate, who is very pretty and pleasing to the eye too. With regards to the dance sequences, there is not much to nitpick at as Keenan Kampa charms you immensely with her moves. It’s a pity though, that the cuts and angles do not do the dance moves credit. For instance, the finale dance was supposed to be an electrifying and dramatic performance. However the not-so-impressive framing of the performance only hinder both the climax and the build up.
Whilst having a buff and attractive male lead and a slender and pretty female lead seem to be the undying recipe for a teen show such as High Strung, it will satiate your senses only if you’re looking for a passable, feel-good dance movie.
Movie Rating:
(Strictly for your viewing pleasure, and nothing more)
Review by Tho Shu Ling
Genre: Drama
Director: Luca Guadagnino
Cast: Ralph Fiennes, Dakota Johnson, Matthias Schoenaerts, Tilda Swinton, Aurore Clément, Lily McMenamy
Runtime: 2 hrs 5 mins
Rating: M18 (Nudity and Sexual Scenes)
Released By: Shaw
Official Website: https://www.facebook.com/abiggersplash/
Opening Day: 31 March 2016
Synopsis: Rock legend Marianne Lane is recuperating on the volcanic island of Pantelleria with her partner Paul when iconoclast record producer and old unexpectedly arrives with his daughter Penelope and interrupts their holiday, bringing with him an A-bomb blast of delirious nostalgia from which there can be no rescue. A Bigger Splash is a sensuous portrait of laughter, desire, and rock and roll detonating into violence under the Mediterranean sun.
Movie Review:
Damn those Westerners - they always seem to have all the time in the world to “chillax" (read: chill and relax) on vacations. If you’re an Asian (more poignant if you’re a Singaporean), you must have come across people like that while you’re on holiday. While you’re rushing from one place to another, trying to squeeze as many locations into your tight schedule, you speak to fellow vacationers who are so “yolo" (read: you only live once), you wonder why you even bothered going on a holiday.
That is, till you see the next scenic spot, and you frantically whip out your camera phone to snap a picture to upload it on Instagram. Yes, and you do not forget to add countless hashtags, in the hoping to see a staggering number of “likes” the next time you log in.
Wait, what is the point of the above paragraphs with regard to this film helmed by Italian director Luca Guadagnino? The first impression left after viewing this 124 minute Italian French production is: Damn, these Western folks sure know how to take a break from the hustles and bustles of the city!
The story begins with Tilda Swinton’s famous rock star character going on a holiday with her gorgeous photographer boyfriend played by Matthias Schoenaerts on the remote Italian island of Pantelleria. Why keep the fun to two people when you can have four? Along comes an old friend played by Ralph Fiennes and his daughter played by Dakota Johnson. What follows is, well, a group of Westerners having what seems like a really great holiday, and an eventual series of events so dramatic, you would think twice about sharing secrets with your dearest ones.
We’ve got a fine ensemble cast here - there’s the Anglo Scottish wonder Swinton never fails to surprise or impress (be it the devastated mother in 2011’s We Need to Talk About Kevin or the White Witch in the Chronicles of Narnia series), the classically trained Englishman Fiennes (before playing Lord Voldemort in the Harry Potter series, he charmed audiences as Amon Goeth in 1993’s Schindler’s List and Count Almasy in 1996’s The English Patient), the ridiculously good looking Belgian actor Schoenaerts (audiences from this part of the world probably took note of him after last year’s Far From The Madding Crowd and The Danish Girl) and the obligatory American represented by Johnson (yup, she has earned herself the title of “That Fifty Shades of Grey Girl”).
We know Guadagnino from his previous collaboration with Swinton, I Am Love (2010). Hence, we were not particularly surprised with the boldness of this film, which competed for the Golden Lion at the 72nd Venice International Film Festival (it took home the Soundtrack Stars and Best Innovative Budget Awards eventually). The actors are allowed to let themselves loose in this film, and you can expect to see sex and nudity (Fiennes appear naked in quite a number of scenes). You will also realise the storyline does meander quite a bit, but hey, that’s how the Westerners holiday - what’s the rush?
Movie Rating:
(The plot isn’t exactly arresting, but thanks to director Luca Guadagnino’s bold vision, the cast - especially Tilda Swinton and Ralph Fiennes - get to let loose their inhibitions in this dangerously compelling drama)
Review by John Li
| « Prev | 268 | 269 | 270 | 271 | 272 | 273 | 274 | 275 | 276 | 277 | 278 | Next » |
Most Viewed
No content.