Genre: Drama/ Crime
Director: Dong Yue
Cast: Duan Yihong, Jiang Yiyan, Du Yuan, Zheng Wei
Runtime: 1 hr 56 mins
Rating: PG13 (Some Coarse Language)
Screening Dates: 28 April 2018 (visit scff.sg/films/the-looming-storm/ for showtimes)
Synopsis: Yu, a self-assured factory guard who is laid off from a steel factory, fancies himself a detective and begins poking his nose into a murder investigation. Things become more complicated in this Chinese film noir dealing with love and destiny.
Movie Review:
China has undergone tremendous economic and social changes over the past two decades, and cinematographer-turned-filmmaker Dong Yue’s first feature reflects on that from the perspective of those “left behind”. Significantly, the movie is largely set in 1997, which not only saw the death of its leader Deng Xiaoping but also the handover of Hong Kong from the British back to the Chinese Government. It is therefore no coincidence that one of the key supporting characters, a kind-hearted prostitute named Yanzi (Jiang Yiyan), dreams of escaping her current life by moving to Hong Kong and starting a salon. It is also no coincidence that the events unfold in a dying industrial town of metal smelting factories, where hundreds of workers find their livelihoods in upheaval following the state-forced closure of unprofitable state-owned enterprises.
Indeed, an overwhelming sense of loss, despair and hopelessness pervades the film, which is almost entirely drenched in brackish, rain-soaked grays to emphasise the industrial alienation and small-town desolation. There is certainly nothing cheery about the string of murders that are occurring around the town, the victims young women left naked from the bottom down, struck by a blunt object at the back of their heads and with knife wounds all over their bodies. But even as its subject matter is a murder mystery, this is not a whodunnit or even a howdunnit; rather, Dong, who also wrote the screenplay, has crafted his movie as a character study of Yu Guowei (Duan Yihong), the chief of security of one of the factories in the town who is tangentially involved in the investigation of one of the murders and becomes obsessed with tracking down the murderer on his very own.
In fact, we first meet Yu spelling his name while applying for his new identification in the year 2008, ten years after serving time for an as-yet unexplained offence. Not once but twice does he explain how his surname is also the same word for “remnants” or “unnecessary”, thus setting the context for the ensuing narrative. Turning the clock ten years back, we see Yu at the scene of a woman’s gruesome murder, which happens to be just behind the factory where he is employed as the head of security. Right from the start, it is obvious that Yu is all too eager to play detective – not only does he round up the employees who were not at work that day to record their statements at the police station, he revisits the scene with his loyal assistant Xiao Liu (Zheng Wei) determined to find what the police chief Zhang (Du Yuan) and his men have missed.
At least for the first hour, it does appear that Yu may be onto something. He visits the open-air stadium where the workers from the neighbouring factories hang out to dance with the local prostitutes and then some. He posts a photo of a pair of keys he finds at one of the crime scenes on the notice boards outside the factories in a bid to lure the murderer out. And last but not least, Yu and Xiao Liu have a run-in with a hooded man who just might be the murderer, although that extended chase through a decrepit factory and the neighbouring railroad yard has cruel implications that further hardens his resolve to catch the suspect by himself. The subsequent hour explores just how far he is prepared to go, and that in turn has tragic consequences for the person he unknowingly manipulates to be part of his plan of ensnarement.
As much as it is a crime noir, those looking for the sort of payoff where Yu finally catches up to the killer or vice versa will undoubtedly be disappointed. There is still closure all right, but probably not in the way that you’re expecting. Like we said earlier, this is less a detective mystery than it is a character study, and let’s just say that Yu’s path actually brings him further away from the murderer, even as it is one marked by heartbreak and misfortune. Some may certainly wish that the plotting had intertwined the two more closely together, but in diverging the two, Dong actually makes it even clearer how much Yu as well as Yanzi are both searching for purpose and meaning in their respective lives amidst the inexorable progress of the larger society.
Thanks to Duan’s superb stripped-down performance of a man struggling to keep his reality from falling apart, Dong’s film remains riveting from start to finish even as it settles into a more deliberate pace in the latter hour. Duan and Jiang also share an understated chemistry in their scenes together, perfectly convincing in their mutual affection despite keeping it chaste, and we’d even go as far to say that Jiang’s candid portrayal turns her character into the heart and soul of the movie. This is especially as later events call into question the integrity of Duan’s narration of past events, somewhat undermining our sympathy for his character.
That said, it isn’t clear that Dong wants us to empathise with Yu – after all, his fate is as much a consequence of the system as it is of his own flawed choices. But in ‘The Looming Storm’, Dong has crafted a socio-political crime drama that speaks to the tumultuous changes that many of lower-income Chinese society found themselves struggling to keep up with, especially peasants who migrated to the factories for work and found themselves suddenly having to return back to their homeland. It’s depressing all right, and filmed in muddy shades of green, grey and yellow, Dong makes a movie entirely befitting in tone and atmosphere..
Movie Rating:
(Drenched in rain and greys, this dark, depressing but utterly riveting character study - under the guise of a crime noir - is potent socio-political commentary of those 'left behind' in Chinese society amidst economic and social upheaval)
Review by Gabriel Chong
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The 37TH HONG KONG FILM AWARDS 2018Posted on 16 Apr 2018 |
Genre: Horror/Thriller
Director: Rocky Soraya
Cast: Jessica Mila, Bianca Hello, Denny Sumargo, Citra Prima, Epy Kusnandar, Voke Victoria, Shofia Shireen, Derry Drajat, Anita Hara
Runtime: 1 hr 48 mins
Rating: NC16 (Some Violence and Horror)
Released By: mm2 Entertainment
Official Website:
Opening Day: 5 May 2018
Synopsis: Alia and Abel are sisters with a dark family secret. When their parents die in a tragic accident, the sisters are forced to move back into their childhood home. Abel is terrified, claiming visions of a dark presence in the old house – she can see the dead with her 'third' eye. In desperation, Alia seeks out the psychic Windu to open her 'third' eye too. But this only escalates the nightmarish terrors in the house. Now, the sisters have only each other to stop the evil that threatens more than just their sanity.
Movie Review:
While 2017 was a fast crop year for Indonesian horror, one can expect duds as well as hits in the buffet mix from our southern neighbour.
The Third Eyes its somewhere in between. It’s a project with ambitious goals - as one can certainly tell from its inspiration from western horror classics, but that is also what fails to elicit the right reaction. The team could benefit from an old wisdom - if you are to replicate a popular classic, you better do a damn fine job of it.
Director Rocky Soraya steers the project with an uneven hand. He is clearly trying, and his acumen lands a few good scares, thanks to the enthusiastic sound department headed by Khikmawan Santosa, but his overall effort lacks refinement (and maybe budget).
You see this not only in the CGI and make-up effects, where spooks come across like second-grade horror house actors, but also the delivery. This is most evident in the final astral world scene, where all the amount of tree roots and thematic lighting cannot hide the acting cheese and thin logic.
Perhaps worst of all is the fact that there’s no real central villain in The Third Eye. When Alia (Jessica Mila) and Abel (Bianca Hello) lose their parents and have to return to their old house, Abel’s frightening episodes convinces the elder sister Alia to approach a local spiritual adviser, Ms. Windu (Citra Prima) for help.
A skeptic, she challenges the witch to open her own third eye, based on the belief that when activated, allows one to see spirits around them. Yes, I know - terrible decision. Alia soon realises the error of her ways, but has to constantly fight between multiple spirits terrorizing her. But this shifts throughout the movie, and when the final villain is revealed, it’s not only dismally anticlimactic, but illogical as well. As for all the past harassers? Not a single loose string tied up.
While Mila and Prima do a decent performance of their roles, the former is plagued by poor character decisions, while the latter can’t act past her literal make-up. I’m not familiar with the pagan scene in Indonesia but are they all supposed to go gothic with their make-up?
Other than the underwhelming production values (someone needs a Steadicam badly) and the team’s obvious need to copy Insidious, Conjuring and The Exorcist, the biggest sore point has to be Davin (Denny Sumargo), who plays Alia’s boyfriend. Not only is his character the most superfluous trope I’ve ever seen, Sumargo’s acting is painfully stilted.
So while The Third Eye has their eyes on a successful formula, the lack of skillful execution makes for an awkward watch. This horror film is better unseen.
Movie Rating:
(Patchwork plot and no real central theme dilutes the horror piece, already hampered by poor production values and stilted acting)
Review by Morgan Awyong
Genre: Romance/Drama
Director: Mike Newell
Cast: Lily James, Michiel Huisman, Jessica Brown Findlay, Matthew Goode
Runtime: 2 hrs 4 mins
Rating: PG
Released By: Shaw Organisation
Official Website:
Opening Day: 26 April 2018
Synopsis: Based on the internationally bestselling novel of the same name, THE GUERNSEY LITERARY AND POTATO PEEL PIE SOCIETY tells the story of Juliet Ashton (Lily James), a free-spirited, successful writer living in post-war London. Despite the success of her recent novel and support from her dear friend and publisher Sidney (Matthew Goode), she struggles to find inspiration for her writing after the harsh experiences of the war. Poised to accept a proposal from Mark Reynolds (Glen Powell), a dashing American GI, she receives an unexpected letter from a Guernsey farmer named Dawsey Adams (Michiel Huisman). Juliet impulsively leaves for Guernsey, where she hopes to write about the curiously named book club that Dawsey has written to her about, formed by his fellow islanders under the German occupation in WW2. Juliet is charmed by the island and inspired by the members’ shared love of literature. As a lifelong bond forms between this unlikely group of friends, Juliet soon realises that the society is hiding a heartbreaking secret, which they are afraid she may bring to the surface. As Juliet and Dawsey become close, she begins to unravel what happened during the difficult years under the occupation and starts to understand why they are so afraid to tell her their story. Her fate now intertwined with the society, Juliet must decide how to help her new friends and follow her heart, knowing that her life may change in ways she had never expected.
Movie Review:
How far will you go to bring about a story that is not only dear to your heart, but dear to others’ hearts? Do stories have the abilities to change our views and lives?
The Guernsey Literary and Potato Peel Pie Society based on the novel of the same title, tells a story of a journey of an author who travels to Guernsey upon several correspondences with one of the members of the book society and not only learnt about the stories that the members have to tell, but also the livelihood, the aftermath of the war and the personal lives of the members.
The film takes you on a journey of varying emotions. You will feel excitement for the new journeys taken, the sadness of loss, the happiness through connections and many other scenes that are lively and vibrant in its way. Through the film, one would be able to see the change in Juliet and how she views the world, her newfound purpose and her new way of life, which is lovely to see.
Nature lovers will be spoilt by the cinematography that features endless amount of greenery and fields, coupled with wide oceans and scenic views that makes it worthy of National Geographic. The historical sights and architecture seem rather relevant for the film. The references made to the World War is slightly eye-opening, as not much is talk about of the treatment of the islanders of Guernsey.
The flow is, however, slightly choppy at times despite it being consistent at most times. The lack of closures or explanation at certain scenes made the film ‘undecided’. Open-ended thoughts could well be the intention of the director, however it may not be the best suited style for a film of this nature.
The stories told (and the plot in general) seems compelling enough to make you feel emotionally attached to the characters and their livelihoods, yet the invisible ‘distance’, made possible through the direction of the filming, makes the film strangely ‘cold’ at some point in time, thus making some parts slightly dry.
Despite that, the bond between each character is enduring enough to make you feel a connection to them. A connection that speaks of love, loss and life in general. A connection so strong and relevant to the relationships we have in our everyday lives.
It helped that the cast is natural in their delivery of the various characters portrayed in the film and are each outstandingly quirky in their own ways, which makes the film rather intriguing.
Overall, The Guernsey Literary and Potato Peel Pie Society is pleasant and well-paced and although it slightly suffers from unexplainable open-ended scenes and ‘dryness’, it is still enjoyable enough for one to be able to not only sit through the film but also reflect and relate.
Movie Rating:
(A delightful historical piece and adaption that speaks strongly of love and connections)
Review by Ron Tan
Genre: Drama
Director: Cheung King-Wai
Cast: Stephy Tang, Rachel Leung, Kyle Li, Baby Bo
Runtime: 1 hr 26 mins
Rating: TBA
Screening Dates: 28 April 2018 (visit scff.sg/films/somewhere-beyond-the-mist/ for showtimes)
Synopsis: Angela is a cop in charge of investigating the murder of a married couple. Her father, who suffers from dementia, has always been a nuisance. Sensitive from pregnancy, Angela discovers strange aspects of the murder while investigating Connie, a high school girl who has turned herself in. Connie, born with a heart defect, is close with Eric, her gay classmate. Upset by her violent, perverted father and indifferent mother, Connie conspires with Eric to commit the crime, as the details of the shocking murder are gradually revealed in Connie’s testimony.
Movie Review:
“In most cases, people – even wicked people – are far more naïve and simple-hearted than we generally assume. And so are we.”
So goes the Dostoevsky quote from ‘The Brothers Karamazov’ that opens the film, a plodding and pretentious crime drama that aims for socio-political commentary but fails spectacularly. The first fiction feature of documentary filmmaker Cheung King-Wai, who had won three Golden Horse awards for ‘KJ: Music and Life’ back in 2009, ‘Somewhere Beyond the Mist’ draws on true events to tell the parallel stories of a teenage girl who had murdered both her parents in cold blood and the female detective in charge of the case.
Employing a fractured chronology, Cheung introduces us first to the latter named Angela (Stephy Tang) struggling to cope with caring for her dementia-stricken father (Wong Shu Tong). Right from the start, it is clear that relations between father and daughter are fraught, although we are not told why. Notwithstanding, Angela grows more and more hostile towards her father further along the investigation, suggesting that something about the case itself that may be fueling her own familial sentiments. Alas, that is never adequately explained even at the end of the film, so don’t go expecting that your patience in that regard will be rewarded. That’s not the only issue we have with this arc of the film, but we’ll get to that later.
Juxtaposed with Angela’s escalating resentment is a whydunnit – not a whodunnit or howdunnit, mind you, since the 14-year-old Connie (Rachel Leung) readily confesses to the crime after being picked up by the police – that unfolds as a series of flashbacks leading up to the brutal strangulation of her misogynistic father (Chan Chit-man) and physically disabled mother (Baby Bo). Not only does Connie’s father openly watch pornography in front of her mother, he starts to play sugar daddy to one of her schoolmates, even bringing the latter home to have dinner with the entire family as if it were perfectly normal. There is no doubt that these scenes are designed to provoke your outrage, as it does Connie, who eventually cajoles her close friend Eric (Zeno Koo) to help murder both her parents.
As much as we do share Connie’s seething anger at her father’s appalling behavior, the film doesn’t build a compelling story for why her first resort would be to murder him, and more so her mother, whom we never learn why she turns a blind eye to his misdeeds and/or fails to protect Connie. Even less convincing is why Eric would so readily go from docility to murder most vengeful, or why the pair would readily let themselves be found by the police as well as confess their crimes at the first instance.
Oh yes, the logic gaps are aplenty here, which fundamentally undercuts the portrait of everyday evil that writer-director Cheung tries to paint, even as it is depicted against the more impoverished members of society whom we are supposed to assume have either little to lose or have an entirely different sense of morality. But then how would one explain the laughably hysterical scene involving Angela, her husband and her father in a public taxi, in which her father starts screaming after she rebuffs his offer of an egg tart with a slap?
In truth, the whole film reeks of pretension – from its ostensibly intense but detached observations of Connie’s life, to the supposed thematic links between Connie and Angela’s respective lives, and to the intended evocative shots of Hong Kong’s mountain countryside next to the suffocating atmosphere inside the homes of those who live on it. Even though it runs at less than one and a half hours, it also feels much, much longer, due to a perplexingly deliberate pace that is less meditative than frustrating. It doesn’t help that Cheung’s direction to his actresses Tang and Leung often seem to be to put on a stoic expression and nothing more, resulting in even duller moments.
Like its title suggests, ‘Somewhere Beyond the Mist’ is just as ambiguous about what it wants to say or what it wants its audience to take away. Its Chinese title of ‘blue skies and white clouds’ hints at innocence, which is probably meant as contrast to the evil we see onscreen, but such allusions to judgments of morality sit awkwardly in a film that refuses to take sides with or against its protagonists. You may be enticed by Cheung’s name on the film, or for that matter its producer Derek Yee and/or its artistic adviser Ann Hui, but chances are you’ll find yourself somewhere left in the cold by this hollow, pompous and ultimately fake meditation on evil, morality and socio-economic poverty.
Movie Rating:
(As muddled as its title suggests, this crime drama aiming for socio-political commentary is artificial, pretentious and ultimately hollow)
Review by Gabriel Chong
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Genre: Action/Crime/Thriller
Director: Gary Ross
Cast: Sandra Bullock, Cate Blanchett, Sarah Paulson, Rihanna, Anne Hathaway, Helena Bonham Carter, Mindy Kaling, Awkwafina, Richard Armitage, Olivia Munn, Jaime King, Dakota Fanning, Katie Holmes, James Corden
RunTime: 1 hr 50 mins
Rating: PG13 (Some Coarse Language)
Released By: Warner Bros
Official Website: http://www.oceans8movie.com
Opening Day: 14 June 2018
Synopsis: Five years, eight months, 12 days...and counting. That’s how long Debbie Ocean (Sandra Bullock) has been devising the biggest heist of her life. She knows what it’s going to take—a team of the best in their field, starting with her partner- in-crime Lou Miller (Cate Blanchett). Together, they recruit a crew of specialists: jeweler Amita (Kaling); street con Constance (Awkwafina); expert fence Tammy (Paulson); hacker Nine Ball (Rihanna); and fashion designer Rose (Bonham Carter). The target is a cool $150 million dollars in diamonds—diamonds that will be around the neck of world-famous actress Daphne Kluger (Hathaway), who will be centerstage at the event of the year, the Met Gala. The plan is rock solid, but everything will need to be flawless if the team is going to get in and get away with the ice. All in plain sight.
Movie Review:
If you thought that the Ocean Trilogy is long over, think again.
The series is back with Ocean’s 8, a spin-off featuring an all-female crew trying to execute a supposedly well-planned heist through the MET Gala.
Although it is uncertain if the all-female lead casting is intentional and meant to be a new addition to a well-known series or a politically bold statement leaning towards social justice, the choice is refreshing and shows a different, if not, maybe bolder perspective to criminal mind-sets and thought processes.
It helped that the casting itself was packed with a mixture of veterans (Sandra Bullock, Cate Blanchett, Helena Bonham Carter, Anne Hathaway) and [maybe] newer big screen faces (Mindy Kaling, Sarah Paulson, Awkwafina), so the energy is kept at a manageable level. Some of the actresses also spiced up the film with other languages they may know (or maybe only learn for the film), so do expect some colour and jest.
Using the MET Gala as a main focus for the heist is as current as “Ocean’s 8” can get to making the film more relatable and excitable, probably also a smart move by the producers. Fashionistas and fashion lovers around will be spoilt with what could be a mini exclusive array of stunning dresses, spectacular jewelleries of all sorts and cameos by beautiful famous people all around.
What is puzzling about the film is the process of acquiring the robbery crew members. It felt less smooth and more of a ‘rushed job’, which may be appropriate considering how quick they had to work to make it happen, but it failed to help develop the characters even more. It felt like getting the icing of the cake but not the rest of the cake itself.
Some parts of the film seem rather unrealistic, like Debbie Ocean’s (Sandra Bullock) heavy makeup in jail (so, who’s sponsoring the prison again?), Nine Ball’s (Rihanna) sudden appearance during the film as if she just shamelessly invited herself to the party and other parts that seems a bit strange, including slight loopholes in the plot.
The film, despite being a spin-off with little connection from the previous films in the series, strangely feels like one would at least need to invest time in one of the films from the series to at least understand the gist of the film’s structure and plot. If it’s the director’s aim is to make the viewer want to watch (or re-watch) Ocean’s Eleven and its sequel, then he definitely got what he wants.
Despite all of that, “Ocean’s 8” is still enjoyable, humorous and engaging. It is visually exhilarating with the right amount of energy, action and twists (yes, there are) to get one thrilled and entertained. The fear of the film jumping into the bandwagon of others (note: girl power) is conquered by the stellar cast who gave such strong delivery and conviction in their work.
Essentially in a way, the film does pay tribute to the 2001 remake of Ocean’s Eleven through an exciting style of storytelling and light-hearted approach to the genre.
And if there is any need for consolation, Debbie did her brother Danny proud with this heist.
Movie Rating:
(A pleasant serving of adventure, excitement and laughs. Keep the expectations slightly lower and enjoy the ride)
Review by Ron Tan
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TRAILER WATCH - JURASSIC WORLD: FALLEN KINGDOM (FINAL TRAILER)Posted on 19 Apr 2018 |
Genre: Action/Thriller
Director: J.A. Bayona
Cast: Chris Pratt, Bryce Dallas Howard, James Cromwell, Ted Levine, Justice Smith, Geraldine Chaplin, Daniella Pineda, Toby Jones, Rafe Spall and Isabella Sermon, BD Wong, Jeff Goldblum
RunTime: 2 hrs 8 mins
Rating: PG13 (Some Violence)
Released By: UIP
Official Website: https://www.jurassicworld.com
Opening Day: 7 June 2018
Synopsis: It’s been four years since theme park and luxury resort Jurassic World was destroyed by dinosaurs out of containment. Isla Nublar now sits abandoned by humans while the surviving dinosaurs fend for themselves in the jungles.When the island’s dormant volcano begins roaring to life, Owen (Chris Pratt) and Claire (Bryce Dallas Howard) mount a campaign to rescue the remaining dinosaurs from this extinction-level event. Owen is driven to find Blue, his lead raptor who’s still missing in the wild, and Claire has grown a respect for these creatures she now makes her mission. Arriving on the unstable island as lava begins raining down, their expedition uncovers a conspiracy that could return our entire planet to a perilous order not seen since prehistoric times. With all of the wonder, adventure and thrills synonymous with one of the most popular and successful series in cinema history, this all-new motion-picture event sees the return of favorite characters and dinosaurs—along with new breeds more awe-inspiring and terrifying than ever before. Welcome to Jurassic World: Fallen Kingdom
Movie Review:
How many times can you resurrect a theme park filled with dinosaurs, especially given the number of human casualties each iteration has incurred? So wisely, this latest instalment of the ‘Jurassic Park’ franchise doesn’t try to revive yet another park; instead, it decisively and definitely bids goodbye to its predecessor’s prehistoric attraction by obliterating it with a jaw-droppingly intense and realistic volcanic eruption. Not to worry though, to paraphrase two of the film’s taglines, “life finds a way” even though “the park is gone”.
Returning to pen the sequel’s script with his former writing partner Derek Connolly, ‘Jurassic World’ director Colin Trevorrow boldly choreographs a sequence of events that will see the dinosaurs transported off their isolated little island paradise of Isla Nublar to the mainland, which also sets the stage for an all-out man versus dinosaur showdown in the next chapter to follow. That journey will see park manager-turned-animal activist Claire Dearing (Bryce Dallas Howard) reunite with raptor expert Owen Grady (Chris Pratt), as the couple join an expedition to save the surviving dinosaurs that happens to be the former business partner Benjamin Lockwood (James Cromwell).of the original ‘Jurassic Park’s’ misguided entrepreneur John Hammond.
Not surprisingly, that expedition is but a façade for a more sinister business venture involving Lockwood’s right-hand man Eli Mills (Rafe Spall) and geneticist Dr. Henry Wu (B.D. Wong), precipitating a series of things-gone-awry that will result in the animals being unleashed on civilisation at large. Although most of the action is pretty much contained in one of two locations, namely Isla Nublar and Lockwood’s sprawling gothic mansion, there is plenty of creative space between them for director J.A. Bayona to pull off some genuinely white-knuckle edge-of-your-seat set pieces. Oh yes, more than the plotting per se, the ‘Jurassic Park’ movies were always about the scenes of tightly-wound tension, and we dare say Bayona not only equals Spielberg’s flair for such roller-coaster thrills, he even manages to top the first two movies from the latter.
The pre-opening is in itself demonstration of that – two pilots in an underwater pod in the cordoned-off seas around Isla Nublar run into the park’s Mosasaurus, while his counterparts on land are greeted by a T-rex. That is only but warm-up for the film’s piece de resistance, which sees a thunderous stampede down the slopes of the volcano as it blows up, threatening to crush Owen, Claire and her scaredy-cat tech nerd colleague Franklin (Justice Smith). Having depicted the horrifying 2004 Indian Ocean tsunami in his ‘The Impossible’, Bayona exercises the same disaster-movie sensibilities here, crafting a breath-taking sequence of genuine visual awe. It would have been difficult to top that, and wisely enough Bayona never tries; rather, he moves to a more confined playground, opting for intimate scenes of well-tuned dread and suspense.
Within the tight corridors and stony basement of Lockwood’s residence, Bayona plays to his strengths in his previous horror films ‘The Orphanage’ and ‘A Monster Calls’, unleashing the new genetically engineered Indoraptor on his lead couple and Lockwood’s bright young granddaughter Maisie (newcomer Isabella Sermon). There are plenty of nail-biting moments here, some of which like the tap-tap-tapping claw are in deliberate homage to Spielberg, while others like the romp through Lockwood’s private national history gallery of bones are bound to be classic. To be sure, this second half is on a much smaller scale than most audiences would expect the action in a ‘Jurassic Park’ movie to be, but equally it is precisely this change in tone, character and atmosphere that makes this entry more refreshing, engaging and stimulating than the other sequels.
Just as uncharacteristic is its intellectual musings about conservation and evolution. Now that mankind has brought the dinosaurs back to life from the dead, should we make an effort to conserve them given the impending extinction extent on Isla Nublar, as we would any other endangered species? Or should we accept our actions as an aberration of nature, and therefore let nature take its own course henceforth? That conundrum forms a running theme throughout the film, underlining the difficult choices that our heroes are faced with and bookending the brief but effective appearance of a bearded and greying Dr Ian Malcolm (Jeff Goldblum doing his signature staccato brainaic thing for the series).
Nevertheless, the ‘Jurassic Park’ movies have always been about taut human-versus-dino showdowns, and ‘Jurassic World: Fallen Kingdom’ has plenty of that to spare. Like we said, this is a masterclass in tension, suspense and dread, punctuated by moments of campy humour by Owen and Franklin and enlivened by the hearty chemistry between Owen and Claire. Just as significantly, this chapter finally takes the thrill out of the theme park, switching up the usual scenery and setting up a brave new world for the trilogy’s final chapter. Sure, it doesn’t have the same nostalgia as its predecessor did coming some twenty years after the last movie, but this one is actually even better, even more thrilling, thought-provoking and tense. It’s right on top with the first as the best of the series.
Movie Rating:
(A masterclass in tension, suspense and dread, this continuation of the ‘Jurassic World’ series takes the thrill ride out of the theme park and sets up a brave, new, exciting World for the trilogy)
Review by Gabriel Chong
Genre: Comedy
Director: Kay Cannon
Cast: John Cena, Ike Barinholtz, Kathryn Newton, Geraldine Viswanathan, Gideon Adlon
RunTime: 1 hr 42 mins
Rating: M18 (Sexual Content and Nudity)
Released By: UIP
Official Website: https://www.blockersmovie.com
Opening Day: 19 April 2018
Synopsis: When three parents discover their daughters’ pact to lose their virginity at prom, they launch a covert one-night operation to stop the teens from sealing the deal.
Movie Review:
Two generations of R-rated comedies – the teenage sex comedy best exemplified by 2001’s groundbreaking ‘American Pie’ and the more recent line of ‘adults behaving badly’ farces that started with 2009’s ‘The Hangover’ – collide with uproarious, irreverent and surprisingly poignant effect in ‘Pitch Perfect’ screenwriter Kay Cannon’s directorial debut. Both dynamics are at play here in ‘Blockers’, which sees a trio of parents set out on a frenzied mission to stop their daughters from fulfilling a pact to lose their virginity on prom night, otherwise known as ‘#sexpact2018’.
The titular blockers are made up of single mom Lisa (Leslie Mann), musclebound jock papa Mitchell (John Cena) and party-boy slob Hunter (Ike Barinholtz), nominal pals since their daughters bonded together in elementary school who happen to be together at Lisa’s house when their kids leave for prom. When Lisa’s daughter’s Julie’s (Kathryn Newton) computer pings with the emojis of eggplants, trees and yas queens, Hunter correctly deciphers that it has all got to do with sex, sending Lisa and Mitchell into a somewhat irrational panic over their respective children’s apparently misbegotten choices.
At least for a while, Hunter acts as the voice of reasonable opposition: simply put, he knows that intervening will certainly spoil what should be a memorable night for the girls, and he especially doesn’t want that to destroy his already fragile connection with his daughter Sam (Gideon Aldon). Unfortunately, Lisa and Mitchell are too caught up in their own insecurities to recognize Hunter’s logic – while Lisa is having extreme separation anxiety about Julie’s college plans, Mitchell just cannot help being coach (or cop) to his daughter Kayla (Geraldine Viswanathan).
And so begins a long night of further snooping, limo-tailing and eventually righteous barging-in, which not surprisingly, involves some outrageous shenanigans for these middle-age killjoys. In one, Mitchell reluctantly agrees to a ‘butt-chugging’ challenge with some high-school dudes in order to gain entry into a house party. In another, all three parents end up participating in a (very) sexually active couple’s (played by Gary Cole and Gina Gershon) blindfolded sex game at their house to avoid being detected. These slapstick sequences are designed as much for hilarity as they are for discomfort, but as always, it is the players themselves who make or break the jokes – or in this case, knock them out of the park.
Oh yes, the reliably outstanding Mann hasn’t been as delightful since ‘Knocked Up’, hurtling herself completely into the role to portray Lisa with equal parts ferocity and fear – most notably, a scene where she tries to sneak out after accidentally ending up under the bed in her daughter’s hotel room is classic screwball perfection. Cena plays up his macho archetype to great effect as the sentimental dad who still cries at ‘Frozen’, and his chiseled physique also turns out impeccably suited for his blocklike personality in the movie. And last but not least, Barinholtz is simply hilarious running interference against Mann and Cena’s respective overprotective parenting acts, before eventually finding pathos as the absentee dad trying to patch things up with his daughter.
But like we said earlier, it is as much about the parents as it is about their children, and each one of the teenage actresses playing the latter deserve to be breakout stars in their own right. Relative newcomer Viswanathan is a scene-stealer as the no-nonsense Kayla who more than holds her own against her dad Mitchell as well as her druggy prom date Connor (Miles Robbins); in particular, she and Robbins have a side-splitting exchange where both play it disarmingly cool when she tells him that she intends to sleep with him. Newton’s performance may seem no more like a dumb-blonde act at the start, but the ‘Big Little Lies’ actress turns Julie into an engaging combination of dreamy, bossy and tenacious as the movie progresses. And though Aldon may play wallflower to Viswanathan and Newton at first, she becomes a comedic force in her own right when her character lets herself loose with her official boy escort Chad (Jimmy Bellinger).
That their characters have their own well-defined personalities is also credit to first-time writers Brian and Jim Kehoe, whose script bothers to be more than just teen sex farce. Beyond the crude jokes lies a thoughtful exploration for parents of when to let go and trust our kids to make their own life decisions, especially for fathers whose natural instinct is to be overprotective of their daughters. It is no coincidence that all three kids here happen to be girls, and the fem-centric spin is especially heartening when it becomes clear that these teenagers have the capacity and perceptivity to make enlightened decisions for themselves. While it is true that the Kehoe brothers made sure that they have done right by the sexual politics of our times, that in no way diminishes how they have succeeded in ensuring that their movie doesn’t patronise either demographic between the generation gap.
For a first-time director, Cannon has done exceedingly well. She knows just how and when to go in for the punch, never letting any joke drag on too long or lose the human touch even as the physical comedy goes into hyperdrive. There is sheer exuberance in the crude hilarity on display here, balanced with a down-to-earth sweetness and sensibility that makes the obligatory heart-to-heart conversations between parent and child at the end heart-warming. By acknowledging both the fears of a parent and the aspirations of an adolescent at the same time, ‘Blockers’ speaks not just to the generation for whom teenage sex comedies were traditionally made for, but also to that for whom this latest wave of R-rated adult comedies speak to. It’s an unblocked comic delight all right, but also simultaneously much, much more than just whacking, smutty, in-your-face farce.
Movie Rating:
(About the most refreshing R-rated comedy we've seen in a long while, 'Blockers' is as much fun as a teen sex farce as it is irreverent as an adults-behaving-badly romp, and surprisingly heartfelt either way)
Review by Gabriel Chong
Genre: Comedy
Director: Taika Waititi
Cast: Scarlett Johansson, Sam Rockwell, Rebel Wilson, Thomasin McKenzie, Roman Griffin, Alfie Allen, Taika Waititi, Stephen Merchant
RunTime: 1 hr 48 mins
Rating: PG13 (Some Coarse Language and Violence)
Released By: Walt Disney Pictures
Official Website:
Opening Day: 2 January 2020
Synopsis: During WWII, JoJo Betzler (Roman Griffin Davis), an awkward 10-year-old boy, lives in Germany with his single mother, Rosie (Scarlett Johansson). As members of the Hitler Youth, Jojo and his friends have to learn war games and how to blow things up, but the kids aren't that adept and manage to stab themselves with the knives they're given and blow up buildings that are not meant to be blown up. When Jojo is asked to kill a rabbit but can't bring himself to do it, he earns himself the nickname "Jojo Rabbit." Discouraged, Jojo seeks solace in his imaginary friend, Adolf Hitler (Taika Waititi), who does his best to encourage the boy, while telling him stories of his own awkward youth. Meanwhile, Jojo discovers that his mother is hiding Elsa Korr (Thomasin McKenzie), a teenage Jewish girl, in their home. Jojo doesn't know any Jews, but has heard they have horns and scales and hang from the rafters like bats. He decides not to tell the authorities, because he knows that would put his mother in danger, so instead he tries to find out all he can about Elsa, in order to gather information about Jews for the Nazis. As he does so, he has to endure Elsa's teasing, who makes quips such as, "Obviously we are demons who love money."
Movie Review:
In today’s era of instant media and trigger-happy sensibilities, presenting a film about Nazis and their famed chancellor is like a game of dice… with razor blades. Fortunately under Taika Waititi’s treatment, Jojo Rabbit doesn’t draw blood, but instead, a mixture of laughs, shock, or indignance.
How you enjoy this film might be an indicator of where you sit in the subject matter spectrum. Given that most of our generation didn’t experience World War II, the laughs will come a bit more comfortably, from the antics of characters like Fraulein Rahm (Rebel Wilson at her usual, but with a hilarious butchered accent) to the madcap training in the Nazi Youth Camp. Indeed, the Fuhrer’s evil becomes but only a whiff, drowned out by the silliness of commanders more interested in dressing up, or an imaginary representation (played none other by Waititi himself) that spouts erratic solutions like a pinball machine.
Those who know their history a little better, will appreciate other references that gives an easter-egg layer of emotions. For example, the character Elsa (no, not that one) played delightfully by Tomasin McKenzie, easily echoes Anne Frank - and so adds an extra sting to those in the know. Or also, the queer tension between Captain Klenzendorf (Sam Rockwell) and Finkel (Alfie Allen), along with several scenes between the imagined war leader and little boys, is no doubt a nod to his suspected homosexuality.
So in short, everyone will come out of Jojo Rabbit with something a little different, and given that the topic is so controversial, a post-movie discussion should make for a very interesting evening. But one thing’s for sure, this is less so a piece on the atrocity of the Third Reich, but more a coming-of-age scenario put to the ultimate test, with absurd circumstances and extreme moral floundering.
We parachute in to the tail end of the war. Our titular character is Jojo Betzler (Roman Griffin Davis), who is excited to go to Youth Camp and be part of the Fuhrer’s personal army. A side accident - thanks to his imagined Hitler sidekick - leaves him with facial scars and a limp, and also a banal job as an office errand boy.
Things take a turn when he discovers a Jewish girl living in his sister’s room. Who hid her there? Why is she not scared of him? The answers seem to point at the impossible - his mother Rosie (Scarlett Johansson). Feeling betrayed but mostly confused, he works out his loyalties by extracting information from the girl, on account of documenting facts to help with theories about Germans being the supreme race. Needless to say, he is proven very wrong at the end.
Waititi’s farce has a wavering path. While mostly a comedy, it shuttles between different moods, and at times ineffectively. The initial campy OTT scenarios at the training grounds quickly disappears when the boy becomes injured, only returning in jolts when Captain Klen and his friends reappear. And so, Jojo Rabbit’s tone is dictated by the characters Jojo are interacting with, and as amazing as Davis is, he is not enough an engine to hold the core. That said, the kid is ADORABLE. He has a timid snarkiness that is more endearing than annoying, and his good heart never lets us see him as anything but a misguided and earnest child wanting validation from his idols - the adults.
Equally charming is his campmate Yorki (Archie Yates). One can feel the mood shift in the cinema every time the chubby kid appears, with tumbles of laughter as he spouts his many life-weary findings. Emerging from a battlefield, the boy just casually claims, “I guess I’m just one of those that just can’t die.” Hi-la-rious.
Jojo Rabbit is very much needed in this time and age. When the world is at its most connected and informed, and yet chaotic and sensitive as well. Waititi wants us to remember, sometimes, we just need to sit down and just laugh all our differences away.
Movie Rating:
(Full of punch at the start, Waititi’s film wavers throughout, but the brightest bits far outshine the awkward sappiness, and keeps things heartfelt and funny)
Review by Morgan Awyong
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