Genre: Fantasy/Action
Director: Tony Ching Siu-Tung
Cast: Jet Li, Eva Huang, Raymond Lam, Charlene Choi, Vivian Hsu, Wen Zhang, Miriam Yeung, Sonja Kwok
RunTime: 1 hr 43 mins
Released By: Scorpio East Pictures & Shaw & Cathay-Keris Films
Rating: PG (Some Frightening Scenes)
Official Website:
Opening Day: 6 October 2011
Synopsis: According to legend, there lived a horde of goblins and monsters in the depths of the primeval forest. Among these evil spirits were two snakes, one white and one green, loitering in the mountains, leading a carefree life.
One day, a young herbalist Xu Xian (Raymond Lam) came to the mountains and accidentally fell into a lake. White Snake (Eva Huang), in the incarnation of a beautiful lady, the form she acquired after a thousand years of practice and cultivation, came to his rescue. White Snake’s passion for this young man could not be contained, and with the help of Green Snake (Charlene Choi), she ventured into the human world and got married to Xu Xian.
Not long after their marriage, a strange disease started plaguing their town. As a physician, Xu Xian was very anxious. In order to help her husband, White Snake was willing to use up most of her supernatural power to concoct medicine for the disease, undermining her body and her vital energy.
Fa Hai (Jet Li), a sorcerer from Jinshan Temple, whose mission was to travel the world to subdue demons and slay monsters, arrived in time to save the town from the plague. But at the same time, from the medicine provided by Xu Xian, the sorcerer detected a touch of evil.
Then came Dragon Boat Festival when Chinese families drink wine to drive away evil spirits. In celebration, Xu Xian made White Snake drink some wine, and she immediately turned into a big white snake. Meanwhile Fa Hai came to the house in order to subdue White Snake. In confusion, Xu Xian used the sacred sword given to him by Fa Hai and wounded the large white python. White Snake escaped with serious injury.
Xu Xian was grief-stricken and tried to make remedy by risking his life to obtain a potent medicinal herb for his wife. Xu Xian got the herb but during the course was possessed by demons. In order to save him, Fa hai kept him in Jinshan Temple.
After taking the herbal dose, White Snake regained her strength and power and rushed to Jinshan Temple for her husband. She was overcome with rage after the failure to enter the Temple. In extreme frenzy, she summoned up a flood over the Temple causing a catastrophe.
Movie Review:
We’re pretty sure many of you will agree that seeing Jet Li’s name on the poster of this action fantasy epic is enough to convince you to catch this movie- after all, besides Donnie Yen, we can’t think of a bigger martial arts actor in Asia today. What’s more, ever since announcing that ‘Fearless’ would be his last ‘wushu’ movie back in 2006, Jet Li hasn’t been as prolific as before- his previous leading role was in the tearjerker ‘Ocean Heaven’- so this latest represents a return of sorts to the kind of movie that we love to see him in.
The tale here is a familiar Chinese fable about the forbidden romance between a simple kind-hearted man and a snake demon who takes the form of a beautiful woman (previous screen incarnations include the Shaw Bros’ ‘Madam White Snake’ and Tsui Hark’s ‘Green Snake’). And like action maestro and sometimes-director Tony Ching Siu-Tong’s directorial debut ‘A Chinese Ghost Story’, it is set amidst a fantasy world where both humans and demons roam, with the latter taking on human form to deceive the former.
An action-packed opening sequence where Jet Li’s sorcerer-monk Fahai- together with his protégé Neng Ren (Wen Zhang)- defeats the dangerously alluring Ice Witch (Vivian Hsu) establishes the malevolent nature of the demons, as well as Fahai’s mission to vanquish those who threaten the lives of humans. It also serves as fair warning that this latest adaptation of the ‘White Snake’ legend is not simply an ‘80s-throwback (a la Wilson Yip’s remake of ‘A Chinese Ghost Story’ earlier this year), but rather a 21st- century treatment using the latest advances in CGI to create some lavish backdrops for the multiple elaborate action sequences.
And warning indeed it is, for you’d best be advised to temper your expectations about the visual effects on display. Yes, while the booming China film industry can now easily rival its Hollywood counterpart on scale and spectacle, it still has a long way to go when it comes to CG imagery- and the amateurish special effects within the very first sequence will tell you as much. Thankfully, it gets better- and we mean much better- as the movie progresses, even managing to impress by the time it reaches the climactic showdown between Fahai and the White Snake.
Still, the strength in Tony Ching’s film lies not in its showcase of modern-day CG techniques, but rather in its old-fashioned love story between ‘White Snake’ Bai Suzhen (Eva Huang) and young herbalist Xu Xian (Raymond Lam). This is the equivalent of ‘Romeo and Juliet’ for the Chinese audience, and Tony knows how to push the right buttons to engender a sweet affecting romance between the two leads. Much of the credit also goes to William Chang’s vivid costume design and Zhai Tao’s rich production design, which successfully create a fantastically beautiful landscape to evoke the passion behind the human-snake coupling.
There is also a surprisingly potent dose of humour in the screenplay by Zhang Tan, Tsan Kan-cheong and Szeto Cheuk-hon. Rather than let the film drown in its own seriousness, the trio inject some playfulness into their treatment of the fantasy. Neng Ren’s transformation into a bat demon after being poisoned by one brings much levity to the proceedings, and Xu Xian’s encounter with Suzhen’s animal-turned-human ‘parents’ (Chapman To, Miriam Yeung and Lam Suet gleefully hamming it for broad laughs) is particularly campy but hilarious. Despite the slapstick, Tony maintains a firm grasp of the film’s tone, and alternates between comedy, romance and drama with ease and confidence.
The same dexterity can also be said of his work as action director on the film, especially in his ability at integrating rather seamlessly the movements of his cast and the special effects added post-production. A battle between Fahai and Neng Ren against the bat-demon on Mid-Autumn night is an excellent case-in-point- ditto for the extended climax between Fahai and the White Snake set in the middle of the ocean. Admittedly however, none of the action sequences are particularly memorable- mostly because Jet Li only gets to spar against either a green screen or against ‘green’ martial arts actors like Eva Huang and Charlene Choi.
Still, Jet Li’s stately presence shines through despite the CG distractions, and his undimmed screen charisma overcomes the shortcomings of the slightly underwritten role. The surprise here is however Eva’s spirited (pardon the pun) performance, lively, vivacious and genuinely affecting in her demonstration of the White Snake’s deep love for Xu Xian. Her Hong Kong counterparts Charlene and Raymond however pale far in comparison- their ho-hum performances of their essentially one-note characters easily forgettable.
But in spite of these shortcomings, this remains a richly entertaining brew of fantasy, romance and CGI- the supernatural world is vividly realised, the romance is surprisingly affecting and the CGI is also commendable by the standards of Chinese cinema. Much better than this year’s ‘Chinese Ghost Story’ attempt at resurrecting the once-flourishing supernatural action genre, Tony Ching’s latest is a sumptuous treat for the imagination. And of course, given the rarity of watching Jet Li in action on the big screen these days, 'The Sorcerer and the White Snake' deserves to be seen by his fans- even if it may not be his best work.
Movie Rating:
(Richly entertaining brew of fantasy, romance and CGI reminiscient of the best supernatural action extravanganzas of the '80s and '90s)
Review by Gabriel Chong
Genre: Sci-Fi/Thriller
Director: Kim Ji-Hoon
Cast: Ha Ji-won, Oh Ji-ho, Ahn Sung-ki, Lee Han-wi, Park Cheol-min, Song Sae-byeok
RunTime: 1 hr 41 mins
Released By: Scorpio East Pictures & Cathay-Keris Films
Rating: PG13 (Some Intense Sequences and Disturbing Scenes)
Official Website: http://www.2011sector7.co.kr/
Opening Day: 3 November 2011
Synopsis: 1985. In “Sector 7”, an underwater oil field located south of Jeju Island, Hae-jun’s father goes missing in an unfortunate accident on the job. 25 years passed and Hae-jun is now working as a marine equipment manager on an old oil prospecting ship called Eclipse. Also on board are Hae-jun’s boyfriend and marine biologist Dong-su, fun-loving Sang-gu,a clueless new recruit, Hyun-wu and captain, Jeong-man Jeong-man suggests conducting some drilling one last time before withdrawal of the ship. One day, Hae-jun takes Hyun-wu underwater, but he sinks to the bottom of the sea when the equipment fails. Evidence suggests that it was not an accident but sabotage. Shortly crew members begin to turn up dead, one by one, their bodies viciously mutilated to make matters worse, the ship is isolated in a typhoon. What the few survivors soon discover is a transparent underwater creature. The viral monster infiltrated the ship through the drilling pipe and has been feeding on the crew to survive. Hae-jun and her colleagues’ frantic fight for their lives begin.
Movie Review:
Bong Joon-ho’s critical and commercial success ‘The Host’ set a gold standard for creature features in South Korea, but it isn’t simply because of this genre predecessor that ‘Sector 7’ rode on a tidal wave of expectations prior to its release. The big-budget movie was also the first home-grown IMAX 3D film, though it won’t be playing in the format when it opens in cinemas here. Nonetheless, that wave crashed before it even reached shore- overwhelmingly negative critical reception and soon after audience reception all but ensured that ‘Sector 7’ never became the monster box-office hit it was supposed to be back in its home territory.
It’s unfortunate that the bar was already set unrealistically high for the movie even before it opened, which could only mean disappointment when it came to light that ‘Sector 7’ wasn’t going to be the genre classic that ‘The Host’ was. Indeed, director Kim Ji-hoon’s followup to his well-received 2007 historical epic ‘May 18’ is really just a well-made B-monster movie, without the kind of smart scriptwriting needed for it to meet critic and audience expectations. Sure it doesn’t have what it takes to be outstanding, but those looking for some good old straightforward thrills will find that ‘Sector 7’ delivers those just fine.
In case you’re wondering, the title of the movie refers to a continental shelf off Jeju Islands that was thought to hold massive oil and natural gas reserves. Its sovereignty was the focus of diplomatic relations between South Korea and Japan in the 1970s, with both nations eager to exploit it for its resources. The history behind the stretch of ocean may add a dose of reality for those who have lived long enough through the tenacious two-party negotiations, but any hopes that this may make for some intelligent social commentary in the movie- especially considering the energy crisis facing the world today- should quickly be set aside.
Instead, screenwriters Kim Hwi and JK Youn opt for a standard bare-bones character setup before unleashing the monster. The most developed character among the lot is Hae-jun (Ha Ji-won), a headstrong female engineer atop an offshore oil rig at loggerheads with her captain who believes their expedition is a fruitless one. Next to Hae-jun is that of her mentor Master (Ahn Sung-ki), who arrives on the rig after the order to vacate and convinces the captain it might be worthwhile to persevere. Other than Hae-jun and Master, the others are no more than prey - including Hae-jun’s boyfriend Dong-su (Oh Ji-ho), best buddies Sang-gu and Jong-yun (Park Chul-min and Song Sae-byeok) and socially awkward Chi-sun.
It takes about half an hour before things start to go awry, and by that point, besides confirming the audience’s suspicion that Master isn’t as worthy as he seems to be, Ji-hoon is content to let the action take centre-stage. So one by one, these characters will find themselves hunted by the monster and eventually meet their demise, until of course just Dong-su, Master and Hae-joon are left standing. Ji-hoon reserves the film’s single longest climactic sequence for them, substituting the narrow passageways beneath the rig where most of the earlier action takes place for the wide open expanse on the platform. Logic and reason are not required from the start of the unrelenting action up till the end- all Ji-hoon demands of his audience is to sit back and let the adrenaline kick in.
At least in this regard, Ji-hoon delivers where it counts, aided by no less than his lead actress Ji-won, who has been dubbed Korea’s Angelina Jolie after performing all her own stunts in this film. Seeing Ji-won in the thick of the action, especially when she gets on a motorbike and zips along the platform with the beast fast behind her, is thrilling to say the least- though that very standout sequence is somewhat marred by some not-so-good CGI betraying the green screen against which it was shot. Nonetheless, she is more than convincing as a female action hero, and one only hopes that the writers had spent more time with her character to make it equally memorable.
Certainly, if even Hae-joon comes off one-dimensional, you can be sure that the monster will only fare worse. The purpose behind the monster’s pursuit of its prey is never clearly defined, since it neither seems to devour them or bring them back to its nest where its embryos lay cocooned in some gooey mess. The latter’s reference is also pointless, since the film makes no attempt to weave it into the story after only a brief scene. And even if it isn’t meant to make much sense, the leap of logic the film demands from its audience when the monster is explained to be from the chemo-synthetic (read: deep-sea) ecosystem but spends so much of its time out of the water is just too glaring to ignore.
It doesn’t help too that Ji-hoon reveals the monster in its entirety too early into the film, abandoning any attempt at building audience anticipation all too quickly. The decision to rely on a homegrown effects studio (as opposed to a foreign one like ‘The Host’ did) might be worth touting for their local audience, but you’re likely to come off thinking that the CG work is nothing remarkable. The same can also be said of the 3D in the movie, which lends depth to certain scenes, but arguably not in the action-heavy ones that matter,
You’ll understand why then the disappointment that ‘Sector 7’ was met with when it was released back in its home territory, since it lacks the smart scriptwriting and sharp direction needed for it to become another classic like ‘The Host’. Instead, it is a perfectly generic creature feature, offering nothing more than B-grade movie thrills that would probably still satisfy an undemanding audience. But since it probably doesn’t have to live up to such lofty expectations here, ‘Sector 7’ will do just fine as a no-frills action adventure- forgettable ultimately but thrilling and entertaining enough while it lasts.
Movie Rating:
(Generic creature feature that still packs enough thrills for an unfussy audience- just don't expect another genre classic like 'The Host')
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4 CAPTAIN AMERICA Featurettes to whet your appetitePosted on 28 Jul 2011 |
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'The Sorcerer and the White Snake' joins Venice's line-upPosted on 29 Jul 2011 |
Genre: Drama
Director: Denis Villeneuve
Cast: Lubna Azabal, Mélissa Désormeaux-Poulin, Maxim Gaudette, Rémy Girard, Abdelghafour Elaaziz, Allen Altman, Mohamed Majd, Nabil Sawalha, Baya Belal
RunTime: 2 hrs 10 mins
Released By: Festive Films & GV
Rating: M18 (Some Mature Content & Violence)
Official Website: www.incendiesmovie.com
Opening Day: 18 August 2011
Synopsis: When notary Lebel (Rémy Girard) sits down with Jeanne and Simon Marwan (Mélissa Désormeaux Poulin, Maxim Gaudette) to read them their mother Nawal’s will (Lubna Azabal), the twins are stunned to receive a pair of envelopes – one for the father they thought was dead and another for a brother they didn’t know existed. In this enigmatic inheritance, Jeanne sees the key to Nawal’s retreat into unexplained silence during the final weeks of her life. She immediately decides to go to the Middle East to dig into a family history of which she knows next to nothing. Simon is unmoved by their mother’s posthumous mind games. However, the love he has for his sister is strong, and he soon joins her in combing their ancestral homeland in search of a Nawal who is very different from the mother they knew. With Lebel’s help, the twins piece together the story of the woman who brought them into the world, discovering a tragic fate as well as the courage of an exceptional woman. An adaptation of Wajdi Mouawad’s hit play, INCENDIES is a deeply moving story that brings the extremism and violence of today’s world to a starkly personal level, delivering a powerful and poetic testament to the uncanny power of the will to survive.
Movie Review:
There are films which you throw out of your mind the moment you step out of the cinema. Then there are films which stay with you long after the end credits roll – especially if the ending is poignantly unforgettable. This is what this Quebec film has in store for its viewers, and we are pretty sure that the impact it leaves behind will have you speechless.
Adapted from Lebanon born writer Wajdi Mouawad’s play, the film chronicles the journey of two siblings as they go on a road trip to uncover the mystery of their mother’s life. After their mother’s death, the pair of twins is left with two letters, and what follows is a journey to the Middle East to discover a devastating family history, where a father and a brother are still very much alive.
While we have never watched the source material (the play, Scorched, has been produced all over the world, and has won several awards), the gradual unraveling of the jigsaw puzzle’s different pieces does feel theatrical at times. In fact, the film has moments of melodrama where the protagonists go through some very emotional scenes. The constant switch between past and present is also indicative that this would have been a very impressive theatre production.
Despite the sometimes confusing plot pacing, you will still find yourself fully engaged in the story. Credit has to go to writer Denis Villeneuve and script consultant Valerie Beaugrand Champagne as they adapt Mouawad’s original material into a riveting and compelling screenplay. Villeneuve also takes on the role of the director to tell this intriguing tale.
Headlined by Lubnal Azabal, Melissa Desormeaux Poulin and Maxim Gaudette (who are unfamiliar names in this part of the world), the film is also a wonderful human drama where the central characters’ personalities are fully fleshed out in the 131 minute film. Azbal’s portrayal of the mother who has gone through a life of never ending wars is an affecting one, as she displays her angst and anguish from a angry activist to a heartbroken woman. Desormeaux Poulin and Gaudette endearingly play the two young adults whose lives are just beginning after their mother’s ends. Supporting characters played by Remy Girard, Abdelghafour Elaaziz and Allen Altman are also well developed in Villeneuve’s script.
A critically acclaimed hit back at home, the film won eight awards at the 31st Genie Award, including the accolades for Best Motion Picture, Best Actress (Azabal), Best Director and Best Adapted Screenplay. It was also chosen to represent Canada at the 83rd Academy Awards in the Best Foreign Language Film, but eventually lost the prize to Denmark’s In A Better World. It is no surprise to see the awards the well produced film has garnered, considering the lasting impression it has on viewers.
At the heart of this mission to find out the truth about a mystery shrouded past is a universally moving story of fulfilling a loved one’s last wishes. Impressively acted by a capable cast and remarkably directed by a talented filmmaker, this highly recommended foreign film is one story that translates the power of enduring love on screen.
Movie Rating:
(A must-watch powerful and moving human drama)
Review by John Li
Genre: Drama/Comedy
Director: Jonathan Levine
Cast: Joseph Gordon-Levitt, Seth Rogen, Anna Kendrick, Bryce Dallas Howard, Anjelica Huston, Julia Benson, Philip Baker Hall
RunTime: 1 hr 40 mins
Released By: Cathay-Keris Films
Rating: M18 (Sexual Scene and Coarse Language)
Official Website: http://www.50-50themovie.com/
Opening Day: 1 December 2011
Synopsis: Inspired by personal experiences, "50/50" is an original story about friendship, love, survival and finding humor in unlikely places. Joseph Gordon-Levitt and Seth Rogen star as best friends whose lives are changed by a cancer diagnosis.
Movie Review:
Points go to whoever came up with the idea to feature the charismatic Joseph Gordon-Levitt shaving his own hair on the movie poster of this Jonathan Levine directed production. In the background, we have funnyman Seth Rogen staring at Gordon-Levitt in disbelief. What just happened? Was it a childish dare between two friends? Did bubble gum get caught in Gordon-Levitt’s floppy getup? Was Rogen too late in stopping the rash decision?
It is indeed a promotional poster that effectively captures your attention.
If you hadn’t read the film’s synopsis beforehand, you wouldn’t know this is a comedy drama about one of the gravest topics ever discussed in movies. Cancer, death and all those depressing stuff – what, you were expecting someone else, err, more serious, to headline this movie? With Rogen starring (and producing!) the 100 minute movie, you can expect something different. And to those who detested Rogen’s previous movies Knocked Up (2007) and Zack and Miri Make a Porno (2008), we mean the above statement in a good way.
Loosely based on the life of screenwriter Will Reisner (Rogen’s good friend in real life), the story’s protagonist is a young man whose life takes a different course after he is diagnosed with cancer. The film chronicles his journey to battle the cancerous cells, which are met with unexpected happenings. The incidents will eventually make him realise that friendship, love and family are what will eventually heal him.
Pardon us while we stereotype, but if this script landed in the hands of Japanese or Koreans, there is a high possibility that the end product is a melodrama featuring lots of crying, wailing, sobbing and screaming. Fortunately, here we have a truly affecting experience which makes one reflect about what matters most at the end of the day.
The filmmakers know how to keep their viewers’ attention by avoiding exaggerated and over the top moments. After the initial down and out announcement that the protagonist is suffering from cancer (you will actually learn what type of cancer neurofibrosarcoma is), we see Gordon-Levitt’s central character gradually coming to terms with the reality. He is aided by his best friend (Rogen) who tries ways and means to make things easier. The film never falls into the predictable trap of creating pity for the lead character. Instead, through refreshingly real scenarios, we care for the otherwise unspectacularly developed personalities.
It helps that the duo are played by Gordon-Levitt and Rogen. The man boy who every guy wants to be portrays a believable character here. Although it is somewhat similar to his persona in (500) Days of Summer (2009), we are not complaining. Rogen, on the other hand, turns in a surprisingly touching performance. We are guessing that the similar situation helped him to play his role well.
Elsewhere, Anna Kendrick (Up in the Air) and Bryce Dallas Howard (Terminator Salvation) meet again after the bore fest The Twilight Saga: Eclipse (2010) to take on the roles of the women in the sick man’s life. Veterans Anjelica Huston, Philip Baker Hall and Matt Frewer add credibility to the capable cast of this highly recommended movie.
At the end of the day, it isn’t death, but life you watch unfold on screen.
Movie Rating:
(No melodrama here – just an affecting portrayal of what life really is about)
Review by John Li
Genre: CG Animation
Director: Steven Spielberg
Cast: Jamie Bell, Andy Serkis, Daniel Craig, Simon Pegg, Nick Frost, Gad Elmaleh, Toby Jones, Mackenzie Crook
RunTime: 1 hr 50 mins
Released By: UIP
Rating: PG (Violence)
Official Website: http://www.tintin.com/
Opening Day: 10 November 2011
Synopsis: Paramount Pictures and Columbia Pictures Present a 3D Motion Capture Film “The Adventures of Tintin” directed by Steven Spielberg from a screenplay by Steven Moffat and Edgar Wright & Joe Cornish. Starring Jamie Bell (“Billy Elliot,” “Defiance”) as Tintin, the intrepid young reporter whose relentless pursuit of a good story thrusts him into a world of high adventure, and Daniel Craig (“Quantum of Solace,” “Defiance”) as the nefarious Red Rackham. Based on the series of books The Adventures of Tintin by Hergé, the film is produced by Steven Spielberg, Peter Jackson and Kathleen Kennedy.
Movie Review:
Following the somewhat disappointing ‘Indiana Jones and the Kingdom of the Crystal Skull’, Steven Spielberg makes a rip-roaring comeback to action adventure territory with his 3D motion-capture adaptation of the legendary comic book series by Belgian artist Herge. The platform couldn’t be more befitting- after all, Herge had thought Spielberg to be the only director capable of filming Tintin before his death in 1983. What however took Spielberg so long to realise his vision may not be immediately apparent, but once you see the jaw-dropping action on display, you’ll realise that the wait was worth the while.
The first in a planned trilogy, the British screenwriting trio of Steven Moffat, Edgar Wright and Joe Cornish have drawn largely from the comic ‘The Secret of the Unicorn’- with bits from ‘The Crab with the Golden Claws’ and ‘Red Rackham’s Treasure’ weaved in- to fashion an old-school romp that sees Tintin (Jamie Bell) setting off around the world to uncover some ancient treasure, while staying ahead of his Russian rival Sakharine (Daniel Craig). Except for some 17th century intrigue that explains the origin of the treasure, the straight-forward storytelling saves Spielberg from navigating potential narrative complexities to focus instead on the visual spectacle.
And what a spectacle it is, starting from the lovingly rendered photorealistic landscape of what may be 1930s Paris. The re-creation of this olden-day Paris is amazingly detailed- of cobbled streets, outdoor flea markets, men wearing bowler hats, well-coiffed ladies, and even the occasional pickpocket. Spielberg draws from old-school cinema’s romanticisms of Paris, and thanks to modern-day CG wizardry from Peter Jackson’s Weta Digital, the result is nothing less than an absolute gorgeous feast for the eyes. Younger auds may not appreciate these details, but those who grew up with the comic and the animated series will certainly relish the painstaking effort that has gone into each vivid frame.
Our advice is to enjoy these minutiae while you can, because once the whiz-bang action starts, you probably won’t have the mental capacity to notice them. Unleashing his inner-child taste for adventure, Spielberg conjures up some of the most thrilling action sequences you’ll see this year. The first major setpiece takes place against Tintin’s daring escape from a steamer after being abducted by Sakharine. Together with a Captain Archibald Haddock (Andy Serkis), whose ancestry can be traced back to the ancient fortune, Tintin pilots a seaplane right into an electric storm- and you can guess how exhilarating it gets when the Captain climbs out of the plane midflight to top up the tank located on the nose of the plane with his own whisky-infused breath.
But probably nothing can prepare you for the next elaborate sequence set in Morocco where the last and final clue to locate the treasure is hidden. In pursuit of the nefarious Sekharine, Tintin sets off on a bike chase through the narrow streets, with water with a broken dam gushing down the alleys and passageways. Most awe-inspiring is how Spielberg films the entire ten-minute sequence in just one single shot (the logistics of this alone worth checking out the extras once the DVD is released), and the relentless pace at which this unfolds will keep you on the edge of your seat to say the least. If the climactic sequence between two dock cranes controlled by Haddock and Sakharine comes off slightly less exciting, it is only because topping the earlier breathtaking setpiece would likely be quite an insurmountable feat, but not for a lack of the same visual bravado- the beautifully composed shots weaving in and out and between the cranes just as awesome.
These shots are testament to Spielberg’s prowess as a visual storyteller, and besides the splendid action, other quieter moments also stand out- in particular, a scene where Haddock while walking through the scorching desert relays his family history that unfolds with a galleon emerging and disappearing from the sand dunes as if sailing up and down the crashing waves of the sea. It’s hard to imagine how Spielberg would have been able to accomplish this live-action, and it becomes immediately clear why he had chosen to film this mo-cap style- despite the criticisms that have accompanied the format.
In the hands of such a great filmmaker however, the technology liberates rather than constraints- and thanks to the impressive work by the folks at Weta, gone too are the dead-eyes problem that plagued earlier efforts like ‘The Polar Express’ and ‘A Christmas Carol’. Spielberg also gets a leg-up from the great character work of Jamie Bell, Daniel Craig and especially Andy Serkis- quite probably the king of performance-capture work following ‘Lord of the Rings’, ‘King Kong’ and this summer’s ‘Rise of the Planet of the Apes’. There is no doubt this is the best mo-cap work ever done, and a definitive giant leap forward for the medium.
Certainly, technology alone doesn’t make a great film, but Spielberg has employed it in service of a rollicking old-school Indiana Jones-type action adventure with pulse-pounding action, some generous sprinkling of wit and humour (courtesy of the bumbling detective duo Thompson and Thompson played by hit comedian pair Nick Frost and Simon Pegg), and not forgetting a glorious score by John Williams that evokes both noir-mystery and a grand sense of adventure at the right moments. Indeed, Herge didn’t get it wrong when he thought Spielberg capable of bringing the sleuthing boy reporter to the big screen- and with a stylish Saul Bass-type animated credit sequence and a nod to the original comic strip of Tintin right at the very beginning, Spielberg undoubtedly has his heart in the right place.
Movie Rating:
(A rip-roaring old-school action adventure in the vein of his earlier Indiana Jones movies, Steven Spielberg’s ‘Tintin’ mixes action, humour and mystery into one thoroughly enjoyable ride from start to finish)
Review by Gabriel Chong
Genre: Romance
Director: Wing Shya and Tony Chan
Cast: Aaron Kwok, René Liu, Eason Chan, Kwai Lun Mei, Angelababy, Jing Boran, Xu Fan
RunTime: 1 hr 44 mins
Released By: 20th Century Fox
Rating: PG
Official Website: www.foxmovies.com.sg
Opening Day: 8 September 2011
Synopsis: An ensemble romantic comedy, LOVE IN SPACE is the follow up to the directing team’s box office hit, HOT SUMMER DAYS. The story follows a mother and her three grown daughters as they juggle their assorted love lives. Each woman is successful in everything except love – until they unexpectedly encounter new romances in Beijing, Sydney and even on the moon.
Movie Review:
It seems that one good turn deserves another, with the filmmakers Tony Chan and Wing Shya returning to helm yet another anthology of love short stories assembled into a feature film. The formula's not unique with almost every film industry out there having put out similar works, featuring an ensemble of stars to draw in the crowds, sometimes having leads paired up for the first time to see if their chemistry works. To up the ante this film features spatial distances in which the stories are set in, from Beijing to Sydney and to the piece de la resistance in Outer Space, giving opportunities for the effects crew to simulate weightlessness for the actors.
Collectively the stories all deal with different aspects of love, that for the romantic die hard will find something familiar, yet wanting to see if new spins could be put to what normally worked. In a single mother household with three daughters named after flowers in Rose (Rene Liu), Lily (Kwai Lun Mei) and Peony (Angelababy), Love in Space tackles the love lives of all three sisters in separate narrative threads until a mini convergence occurs for the final act, which you know must happen because formula dictated it to be so. And as three sisters, each of their romantic experiences couldn't be more different, that play on their personalities and how they shape the development and outcome of their relationships.
The anchor story to marquee and headline the film is of course the one set in space, this segment features Rose and her estranged beau Michael (Aaron Kwok) being the only team of two astronauts sent on some frivolous mission, only for the close proximity and anti-gravity environment forcing them to think about their relationship before and why they broke off, and the chance of a reconciliation in the future. It's perhaps unfortunate that it's the one with the emptiest of emotions in its story, where both Liu and Kwok had no chance of resuscitating the rather bland plot that featured more kitsch bickering between the two parties than real heartfelt feelings, where both their characters' egos stand in the way of their declaration of love.
Its gimmick also compelled you to discover any loopholes in its simulation of weightlessness, drawing too much attention to the filmmaking detail when normally one would gloss over especially if this is a Hollywood film; not being so somehow caused it to be under intense scrutiny whether the weightlessness on display matched what we have seen before in other films that deal with space missions. At times it looked rather unpolished, but on the whole it's still one heck of an achievement as far as Pan-Asian films go.
Between the three main narrative threads, Lily's story seemed to be the strongest of the lot, perhaps because of Eason Chan's charismatic presence playing the son of a garbage collector (cameo by the legendary Gordon Liu). It's a tale of opposites attracting, with one suffering from OCD and has a compulsiveness for cleanliness, and you'll see the obstacles set forth in itself. Both Eason Chan and Kwai Lun Mei paired opposite each other well, with quirky characters put into quirky situations, with some of the most subtle gestures bringing out loads of meaning with so little being done. Chapman To also has a short, comical scene as Lily's psychologist.
And for a film co-funded by Chinese money, you can bet your last dollar that a segment shot in Beijing, and featuring its current bevy of stars, will make it to the plot. In this one, actor Jing Boran plays a down and out writer who has to cut his losses when his career makes no headway, taking up a job at a cafe which his friend recommended and assisted him to snag. Along the way he meets Angelababy's Peony, arguably one of the worst actresses in China whom we see getting awarded the equivalent of the Razzie. In order to research her new role as a waitress, she temps at the very same cafe under disguise, and the story builds upon a relationship whose foundation is a lie. Obviously dealing with the gulf in social status and standing, this segment is perhaps the most back to basics and simplest in approach, saccharine sweet in the way romance develops, on the back of a watermelon cart.
It's a pity that the centerpiece of the entire film turned out to be its weakest narrative link, complete with unnecessary melodrama and somewhat unintentional comedy especially during what was supposed to be a moving scene. If not for the star presence in the other two segments and being stronger stories, this film, with its smattering of Mandarin, English and Cantonese, would have risked becoming a vacuous void once its space setting novelty was over, sucking whatever heart the stories tried so hard to put on display.
Movie Rating:
(An emotional vacuum)
Review by Stefan Shih
Genre: Drama
Director: George Clooney
Cast: George Clooney, Ryan Gosling, Evan Rachel Wood, Paul Giamatti, Philip Seymour Hoffman, Marisa Tomei, Jeffrey Wright, Max Minghella
RunTime: 1 hr 41 mins
Released By: Cathay-Keris Films
Rating: M18 (Coarse Language)
Official Website: http://www.idesofmarch-movie.com/
Opening Day: 3 November 2011
Synopsis: Stephen is a wunderkind press secretary who has built a career that men twice his age would envy. During a tight presidential primary race, however, Stephen's meteoric rise falls prey to the backroom politics of more seasoned operatives, and his one night stand with a teenage staffer proves to be more complicated than casual. Farragut North is a classic tale of hubris set against a contemporary landscape - about the lust for power and the costs one will endure to achieve it.
Movie Review:
It is quite clear, isn’t it? That this American political drama thriller film is an Oscar bait that will bag a few nominations at next year’s Academy Awards. If the story of an idealistic campaign manager for a presidential candidate getting a lowdown on dirty politics isn’t enough to hook the folks behind the prestigious awards, the stars headlining this movie will.
The ensemble cast is made up of stars who have either won, or been nominated for an Oscar. Ryan Gosling (Half Nelson) plays the optimistic staffer running a campaign for George Clooney’s (Syriana) Democratic presidential candidate. The senior campaign manager portrayed by Capote’s (2005) Phillip Seymour Hoffman goes head on with Cinderella Man’s (2006) Paul Giamatti. Elsewhere, there is a nosey New York Times reporter played by Marisa Tomei (My Cousin Vinny) to make the political drama more interesting. Other familiar faces include Jeffrey Wright and Evan Rachel Wood, who take on the roles of a senator and a sexy intern respectively.
Based on Beau Williamson’s 2008 play Farragut North, this adaptation sees Gosling’s central character experiencing a roller coaster ride of twists and turns as a political scandal threatens to upset a campaign he once strongly believed in. With conspiracy themes and sneaky plots abound, this 101 minute film will go down well with viewers who get a kick out of dramas which uncover politics’ deepest and darkest secrets.
After Confessions of a Dangerous Mind (2002), Good Night, and Good Luck (2005) and Leatherheads (2008), Clooney’s sure handed direction is evident in his fourth feature film effort. Because this screenplay is based on a stage play, there isn’t much visual flair to entice the audience. However, Phedon Papamichael’s (3:10 to Yuma, The Pursuit of Happyness) cinematography is engaging enough to have you paying attention to what’s happening on screen. Complemented by Stephen Morrione’s (Biutiful, The Informant!) crisp editing and Alexandre Desplat’s (Harry Potter and the Deathly Hallows: Part 2, The King’s Speech) aptly tense score, the production values of this highly recommended movie is top notch.
Of course, this wouldn’t have been possible by the perfect ensemble which the filmmakers have gathered for this otherwise atypical political drama. Gosling once again proves that he is the star to look out for with his seamless portrayal of an idealistic man who gradually realises the filth he is involved in. Clooney doesn’t provide much surprise here, with his signature suave image (nicely fitted suit and all) as the presidential candidate with a secret to hide.
Seymour Hoffman and Giamatti are wonderfully unassuming in the movie, playing campaign managers from opposite camps. Tomei is also unexpectedly commendable here (come on, which one of you out there actually think she deserved that Best Supporting Actress Oscar statuette?), especially when she has limited screen time as the inquisitively curious writer. Also, watch out for Rachel Wood’s seductive performance as the intern who changes the political game.
While this may not be the cleverest political movie you’ve seen, its heavyweight cast and solid performances are enough to grip your senses from start to finish. When the film ends with an expectedly dark tone, you’d be suitably impressed with Clooney’s sleek production, and begin to predict which categories this dark drama would be nominated in at the upcoming Academy Awards.
Movie Rating:
(A sleek political drama which boasts of a solid cast and perfect performances)
Review by John Li
The first track of this 57 minute soundtrack album, “Lily Meets Snow Flower”, sets the mood for a sweeping drama set in the Oriental East. The moment you hear the beautiful main theme, you can imagine beautiful landscapes, beautiful people and beautiful costumes unfolding before your eyes.
Based on the best selling novel by Lisa See, the Wayne Wang directed film tells the story of two Chinese women who go through thick and thin as their friendship sustains them for life. Starring the beautiful Li Bingbing and Gianna Jun, this film set in 19th century China boasts of a gorgeous soundtrack score composed by Oscar winning Rachel Portman (Emma).
While not as prolific as her American counterparts, the British composer is known for her delicate compositions which have added a lovely touch to films like The Joy Luck Club (1993) and The Cider House Rules (1999). Here, she makes full use of oriental instruments like the erhu, pipa and ethnic flute to paint a luscious picture of splendour and exquisiteness.
The easily identifiable main theme is repeated throughout the soundtrack, and through other instruments like the violin, cello and harp, you do not feel that the theme is overused. Each cue has its own unique identify which does not seem repetitive.
Tracks like “The Secret Fan”, “Nina Passes Note” and “Letters at the Airport” are soothing and comforting to listen to, and they do a great job at calming down your nerves. Several moods are explored in Portman’s compositions here, like the darker moments in tracks like “Forbidden to See”, “Snowflower’s Bad Fortune” and “I Cannot Be What You Wish”, but she still manages to instill a restrainedly gorgeous atmosphere into each of these cues.
As the album ends on a charming note in “We Will Be Laotong”, you will be swept away by the striking orchestrations conjured by the female composer (a very apt choice to score an intimate drama like this). If you are a fan of beautiful music, we are pretty sure you will be revisiting this album very often.
ALBUM RATING:
Recommended Track: (18) We Will Be Laotong
Review by John Li
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