Genre: Drama
Director: Dan Fogelman
Cast: Olivia Cooke, Olivia Wilde, Antonio Banderas, Oscar Isaac, Laia Costa, Annette Bening, Mandy Patinkin
Runtime: 1 hr 58 mins
Rating: NC16 (Coarse Language And Some Violence)
Released By: Shaw Organisation
Official Website:
Opening Day: 6 December 2018
Synopsis: As a young New York couple goes from college romance to marriage and the birth of their first child, the unexpected twists of their journey create reverberations that echo over continents and through lifetimes in LIFE ITSELF. Director and writer Dan Fogelman (“This Is Us”) examines the perils and rewards of everyday life in a multigenerational saga featuring an international ensemble including Oscar Isaac, Olivia Wilde, Antonio Banderas, Annette Bening, Olivia Cooke, Sergio Peris- Mencheta, Laia Costa, Alex Monner and Mandy Patinkin. Set in New York City and Carmona, Spain, LIFE ITSELF celebrates the human condition and all of its complications with humor, poignancy and love.
Movie Review:
‘Life Itself’ is probably one of the worst-reviewed Hollywood films this year, but contrary to what you may fear, this multi-generational ensemble drama isn’t at all that awful; in fact, as much as we agree that it is flawed, writer-director Dan Fogelman’s sophomore film is a lot more poignant than we were expecting it to be.
Like his hit NBC TV series ‘This Is Us’, Fogelman interweaves separate but connected stories about family that are laced with a generous dose of sentimentality and coincidence. Structured as five chapters of different lengths, the twisty, tangled narrative which intertwines the fates of two sprawling families are built around his usual themes of loss, coping and love.
Each chapter is named after its central character(s), and the first titled ‘The Hero’ sees Fogelman stumbling out of the gate. Narrated by Samuel L. Jackson, it spends a good 10 minutes trying to show off how it can pull a rug from right under your feet – one minute we think the story might be about the handsome gay man sitting across from his therapist Dr Cait Morris (Annette Bening); yet another, we are left horrified as Dr Morris is hit by a bus right after saying hi to Will Dempsey (Oscar Isaac), who says he is her fan; and then another, we see a much more dishevelled Will making a public nuisance of himself while ordering coffee at a café.
You’ll probably figure out later on that it is all part of Fogelman’s conceit that perhaps life itself is the most unreliable narrator, but the entire device itself is in fact unnecessary and superfluous. Still, by the end of the first chapter, you’ll have acquainted yourself with Will and his late wife Abby (Olivia Wilde), a pair of ‘Pulp Fiction’-loving college sweethearts whose relationship comprised an impromptu marriage proposal at a Halloween party where they were dressed as Vincent Vega and Mia Wallace, arguing about Bob Dylan in bed, a sweet little dog named Fuckface, and a baby on the way before tragedy strikes one of them.
It isn’t hard to guess just what happened to Abby that left Will so distraught that he ended up spending months at a mental institution before landing in Dr Morris’ office, but you’ll probably not be prepared by what happens at the end of the chapter, which unfortunates just reiterates how misbegotten it is. Thankfully, things pick up from there, with the second chapter titled ‘Dylan Dempsey’ devoted to Will and Abby’s daughter in her teenage years. Not surprisingly for someone whose life is marked by tragedy from the very start, Dylan grows up into a brooding young woman with plenty of pent-up angst that she expresses in her punk-rock music.
Chapters three and four follow the fates of the Spanish couple Javier Gonzalez (Sergio Peris-Mencheta) and his wife Isabel Diaz (Laia Costa), as well as that of their son Rodrigo (Adrian Marrero). Javier and Isabel’s story is essentially a love triangle which involves the wealthy Mr Vincent Saccione (Antonio Banderas), who is the owner of the olive grove where Javier works as foreman. At some point, the paths of Javier, Isabel and Rodrigo will intersect with that of Will, Abby and Dylan, and just as it does for Dylan, that pivotal moment will also have repercussions on Rodrigo’s teenage life. Without giving away too much, let’s just say Rodrigo will visit New York City twice – once when he is just a boy on holiday, and another when he is a teenage student.
To say anything about the brief concluding chapter that definitively ties the Dempseys and the Gonzalezs by no less than (yes, we had to say it) life itself would be giving away too much, but as shamelessly manipulative as it is, the ending is both elegiac and elegant at the same time. If the portrayals in the earlier chapters seem contrived, the finale that reflects on everything past makes it clear that tragedy can indeed happen in life when you least expect it, change the course of life for all those involved, but somehow still bring opportunities for hope, love and peace if we allow or choose it for ourselves.
Oh yes, Fogelman could certainly have approached his own material with a lot more subtlety and nuance, but it is undeniable that the motivation comes from a heartfelt place (he was inspired by the sudden death of his mother to write this movie). Though overused, Bob Dylan’s ‘Make You Feel My Love’ is ultimately an inspired addition to the movie, perfectly capturing the mood and melancholy that pervades all five chapters. Needless to say, the performances here are all excellent, and that itself has been acknowledged by even critics of the film. Like we said, you’ll know Fogelman was pulling the strings all along, but that doesn’t mean you won’t still be moved to tears by an earnest climax that reminds you of how much and what of life itself you may actually be in control of.
Movie Rating:
(It's manipulative, messy and unsubtle all right, but 'Life Itself' still manages to paint a resonant, poignant and heartfelt message about the unpredictabilities of life itself)
Review by Gabriel Chong
Genre: Drama
Director: Koichiro Miki
Cast: Sôta Fukushi, Mitsuki Takahata (voice), Yuko Takeuchi, Alice Hirose, Takuro Ohno, Ryosuke Yamamoto, Tomoya Maeno
RunTime: 1 hr 58 mins
Rating: PG
Released By: Filmgarde
Official Website:
Opening Day: 26 October 2018
Synopsis: Adapted from the international bestselling novel by Hiro Arikawa. A cat isn’t just a pet – it’s family. Satoru (Sôta Fukushi – from BLEACH, LAUGHING UNDER THE CLOUDS and LAPLACE’S WITCH) has known this since childhood when he had a kitten Hachi who was always by his side through good times and bad. As an adult, Satoru then adopted a stray he named Nana (the voice of Mitsuki Takahata – from DESTINY: THE TALE OF KAMAKURA) after the poor cat was hit by a car but miraculously survived. However, Satoru must now unfortunately give his beloved cat Nana away. So, he travels to meet various important people in his life who may be able to take in Nana; his childhood best friend, a couple he knew in high school, and his favourite aunt.
Movie Review:
It's not the journey that counts but who is at your side - Quote from The Travelling Cat Chronicles (Book)
Based on the best-selling book of the same name by Hiro Arikawa and translated to English by Philip Gabriel, The Travelling Cat Chronicles is a heartfelt movie narrated by a cat named Nana but deservedly made for busy, mortal human beings liked you and me.
The prologue tells us how Nana, a stray feline ends up being adopted by a young man, Satoru (Sota Fukushi from Bleach and Laplace’s Witch) after being involved in an accident while on the way to a “cat meeting”. Shortly after, we learnt that Satoru and Nana is going on a road trip as Satoru tries to find a new home for his beloved cat.
Why is Satoru giving up on Nana? Is he going abroad to work? Did he somehow develop a chronic allergic to cats? Well, it’s not a difficult question to answer if you are a seasoned movie-goer or you have actually finished reading the book yet it’s definitely a well-worth journey to tag along to find out why.
Their first stop is at a photo studio run by Satoru’s childhood best friend, Kosuke (Ryosuke Yamamoto). Although Kosuke on the surface looks like the best choice to adopt his cat since they both shared a liking for cats since young, his marriage at the moment is strained with his ill-tempered, cats-hating father not helping with the situation. But the biggest takeaway in this reunion is learning about Satoru’s tragic past. His doting parents were tragically killed in a traffic accident while the two were away on a field trip to Kyoto years ago. And this is the point where the entire story starts to unravel as we see a different side to our seemingly cheerful young man and protagonist, Satoru.
As they arrived next in an animals-friendly B&B in the mountainous region, we learnt that the place is run by a couple, Sugi (Takuro Ohno) and Chikako (Alice Hirose), both of them being former high school classmates of Satoru. Again, a touching flashback tells us that a teenage Chikako once had feelings for Satoru but the latter somehow decides to give up pursuing the relationship further upon knowing that Sugi also has feelings for Chikako. It’s another bittersweet meetup and unfruitful match for Nana (as she has trouble getting along with Sugi’s dog) as we continue our journey with Satoru and his furry friend.
Although Nana serves as the “voice” and narrator, she is more or less the comedic sidekick that provides the occasional laugh with her cynicism look at the world and the human companions around her. Always ready with some choice words, sarcastic and not easily bribed, Nana is the typical cocky feline who treasured her freedom though her love for her owner is never a doubt.
After exhausting all possibilities and travelling past the majestic Mt Fuji and lush canola field, their final stop happened to be at the house of Satoru’s aunt, Noriko (Yuko Takeuchi), the only selfless relative who adopted young Satoru after the death of his parents. By then, you probably had shed a couple of tears though not surprisingly the worst is yet to come as we learnt yet another piece of devasting truth about Satoru’s childhood.
Despite a never-ending list of sadness and negativities, The Travelling Cat Chronicles is at no time a movie about being despair or throwing in the towel in life. In fact, there is an immensely powerful message lying in the character of Satoru in which you need to watch this flick to believe in. Shockingly with a cat as a central character, this is actually not the typical pet movie but one enlightening movie that is filled to the brim with themes about friendship, family, love and life.
Movie Rating:
(Easily the contender for best movie of the year, The Travelling Cat Chronicles is ironically a dark movie that spreads positive messages while the cat provides comic relief)
Review by Linus Tee
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SHADOW won a total of 4 GOLDEN HORSE AWARDS!Posted on 19 Nov 2018 |
Genre: Horror/Comedy
Director: Jacen Tan
Cast: Alaric Tay, Benjamin Heng, Joey Pink Lai, Chen Xiuhuan, Richard Low
RunTime: 1 hr 22 mins
Rating: PG13 (Violence)
Released By: mm2 Entertainment & Clover Films and JAB Films
Official Website: https://www.facebook.com/zombiepura/
Opening Day: 25 October 2018
Synopsis: The movie depicts a zombie outbreak in an isolated army camp. Corporal Tan Kayu (Alaric) is a lazy soldier doing guard duty during his mandatory reservist when a mysterious virus breaks out and turns his campmates into rabid zombies. Trapped together, Kayu must team up with his arch-rival, the tough Sergeant Lee Siao On (Benjamin Heng), to survive. Cut off from the outside world, their military training is put to the test and they must find out what it means to be real soldiers.
Movie Review:
So Singapore finally has a zombie movie to call its own, and we’re proud to say that ‘Zombiepura’ is a hilariously entertaining horror comedy that is uniquely Singaporean. No other genre entry has had the inspiration to unfold a zombie outbreak within the confines of an army camp, but then again, there are few countries within which military life is such a keystone of its national identity. It was while serving his duty to nation that first-time feature film director Jacen Tan got the inspiration for this movie, which probably explains how steeped in National Service (NS) routines, archetypes and customs it is, aside from being a movie where a bunch of people try to outrun, outlive and outwit a horde of flesh-eating zombies.
The pre-opening credits scene sets the tone for what is to come – an overweight soldier is squatting in a clearing in a forest, taking a dump in the middle of the night, when he is scared shitless (pun intended) by rustling in the undergrowth that turns out to be a zombie in army fatigues. Oh yes, those who have been through NS will immediately recognise that familiar scene from outfield; ditto the weariness of meeting a ‘siao on’ regular who thinks that In-Camp Trainings should be as ‘garang’ as full-time serviceman (NSF) days, that is captured ever so sharply and succinctly in the subsequent scenes which establish our two simply-named main characters – Corporal Tan Kayu (Alaric Tay) and Sergeant Lee Siao On (Benjamin Heng).
It is with complete respect to the ins and outs of our NS life that Tan has conceived this movie, but with tongue firmly in cheek that he pokes fun at certain familiarities – whether the common malingering excuses that Corporal Tan encounters at the medical centre while there to ‘report sick’; or the commonly bandied maxims of surviving NS like ‘act blur live longer, act stupid live forever’; or even the classic personas within the army camp, exemplified here by the fierce Regimental Sergeant Major ‘Mad Dog’ Lee (Richard Low), the ‘white horse’ medical doctor Captain Yap (Edward Choy), the ‘old chio’ canteen auntie Susie (Chen Xiuhuan), and her attractive daughter Xiaoling (Joeypink Lai).
Within these established settings, Tan imagines what would happen in the face of something as unprecedented as a zombie attack. Wisely, Tan confines the backdrop to a single army camp and the events to within a single day, whereupon Corporal Tan, Sergeant Lee and Xiaoling are challenged to exercise ingenuity, wit and courage to escape the rest of the soldiers-turned-zombies. Both Corporal Tan and Sergeant Lee will be tested in their own ways – whereas Corporal Tan has to overcome his cowardly tendencies, Sergeant Lee will have to get in front of the army SOPs that he is familiar and comfortable with. At the same time, the trio will also have to confront the usual selfish suspects, typified here by Captain Yap and his associate Corporal Chua (Rayve Zen), who have no qualms sacrificing who they need to in order to survive.
Frankly, at slightly less than one and a half hours, there is little plot in the movie to speak of; in fact, the movie comprises largely of four extended sequences – first, the medical centre where Patient Zero is brought in from outfield and spreads the zombie virus; second, a storage facility behind roller shutters holding zombies at bay where our trio engages in a tense confrontation with Corporal Chua and Captain Yap; three, a room with army stores where they share a pivotal emotional moment and prepare for a showdown with the zombies; and four, the do-or-die showdown dubbed ‘Operation Crazies’ in full battle order on the camp’s parade square. But the script, co-written by Tan and Nash Siow, has just enough detail and character definition to sustain the film, which is ultimately anchored by the spot-on performances of its leads Tay and Heng.
Tan has described how both actors were involved in scripting the movie with him, and it shows in how well Tay and Heng grasp their respective characters, even if the character arcs in the story could be sharper. There is an infectious verve in their back-and-forth, especially in how Heng’s domineering Sergeant Lee struggles to assert his authority over Tay’s nonchalant Corporal Tan when things go south and his consequent exasperation. Lai plays her role as complement to Corporal Tan and Sergeant Lee nicely, and holds her own as the resourceful female who proves to be even braver than her two male companions. The rest of the veteran supporting cast are expectedly solid, but the extras playing the flesh-hungry zombies deserve special mention for their admirable commitment in keeping the horror real and present.
If at first the idea of a zombie movie set in an army camp seemed odd, we have to say that Tan has made it work surprisingly well; probably most inspired is how he gently satirises the strict adherence to NS routines through the habits of the zombies, due to so-called ‘muscle memory’. Tan also carefully balances the level of self-awareness in his movie, avoiding going completely self-aware as a spoof would but with occasional ‘wink-wink’ references (e.g., ’28 hours later’). Like we said, this is a Uniquely Singaporean take on the genre, such that some of the references to NS life will be lost on someone unfamiliar with it. But we were genuinely amused and entertained by its unique blend of NS and ‘zombie movie’ tropes, and let’s just say we’re more than thrilled for another helping of ‘Zombiepura’ that the epilogue teases.
Movie Rating:
(Blending NS and ‘zombie movie’ tropes into a Uniquely Singaporean take on the zombie genre, ‘Zombiepura’ is a rib-tickling horror comedy that every Singaporean son – and possibly daughter – will enjoy)
Review by Gabriel Chong
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'HALLOWEEN' RE-WRITES FORTY YEARS OF LEGACYPosted on 07 Oct 2018 |
Genre: Art
Director: John Clang
Cast: Beon Kan, Boon Hock Lim, Doreen Toh, Joavien Ng
RunTime: 1 hr 41 minutes
Rating: M18 (Nudity and sexual scenes)
Released By: Screened at Painting with Light: Festival of International Films on Art
Official Website: https://www.nationalgallery.sg/festivals/painting-with-light-2018
Opening Day: 5 October 2018
Synopsis: Their Remaining Journey weaves together three different stories: a theatre actress meets an untimely death and awaits reincarnation while her soul is trapped with an unknown family in Singapore; a pilates instructor travels to New York, unable to escape from the memory of a dead-end relationship; and a Singapore immigrant in Taiwan desperately tries to muster the courage to tell his wife of his illness and remorse. Connected through their loneliness, the protagonists attempt to negotiate personal loss and displacement.
Movie Review:
Movie Rating:
(A meditative and reflective piece of art that may give you a new perspective of life, and in this instance - death)
Review by John Li
SYNOPSIS: In the grim Alaskan winter, a naturalist hunts for wolves blamed for killing a local boy, but he soon finds himself swept into a chilling mystery.
MOVIE REVIEW:
No matter what you had thought about ‘Hold the Dark’, you’d probably end up surprised, even shocked, by the places that this bleak Alaska-set thriller goes.
On the surface – and what is the movie’s first act – you might be fooled into thinking that it is a man-versus-wolves survivalist thriller. The man in this case is wolf expert Russell Core (Jeffrey Wright), who journeys to the isolated Alaskan outpost of Keelut after receiving a letter from lonely military wife Medora Sloane (Riley Keough) that asks for his help in locating her missing boy she believes has been seized by wolves.
There is something off about Medora right from the start: on the first evening that Russell spends at her home, he catches her muttering to herself in the bath, and later on in the night, appears to him wearing only a tribal wooden wolf mask. Notwithstanding, Russell agrees to track the wolves the next day, and after trekking hours in the wilderness, chances upon a bloodied wolf pack gnawing at one of their own in the snow. It’s not that unusual, we later learn, that the wolves would sacrifice one of their younger ones if food is scarce.
But by the time Russell returns to Medora’s home for the evening, you’d already know that the movie is headed in a very different direction. Medora is gone, and in her basement, Russell discovers to his horror her son’s lifeless body. Just as well, an earlier sequence that shows Medora’s husband Vernon (Alexander Skarsgard) bleeding profusely from the neck after being hit by a stray bullet portends a potential showdown between the two men, as Vernon returns home wounded physically and psychologically, after receiving word on the way back of his son’s death.
Yet this is also not a mano-a-mano between two men caught in the crosshairs of Medora’s inexplicable deeds; oh no, as adapted by director Jeremy Saulnier and his co-writer Macon Blair from William Giraldi’s 2014 novel, the movie becomes a protracted cat-and-mouse chase which sees Vernon pursue Medora with a vengeance, seeking revenge for the death of his beloved son. The cost of that retribution is appalling to say the very least, as Vernon’s Native ally Cheeon (Julian Black Antelope) unleashes a bloodbath upon local law enforcement in order to buy Vernon more time to hunt down Medora without interference.
It is violent all right, and those searching for reason why someone would show no compunction towards such senseless acts of violence will find themselves frustrated. Indeed, there are few rational answers to be found in the movie for the savagery that these denizens living on the outskirts of civilisation are disposed to, and within the labyrinthe mystery which unfolds are elements of indigenous folklore, Greek tragedy and rural revenge flicks.
As you may expect, Russell is our surrogate at the centre of all that craziness, dealing with the incomprehensible in a mix of astonishment, curiosity and fear. He becomes allies with the local sheriff Donald Marium (James Badge Dale), both of them unsure whether they are tracking Medora down for the murder of her son, or Vernon before he metes out his own brand of justice upon her, or both. Consider it fair warning that the ending is no neat resolution, so don’t hope for the sort of closure that will leave you feeling easy.
At its core, this is a mood piece through and through, one that hooks you in with his portrayal of the depths of evil that those living on the fringes can be capable of. Saulnier has crafted here a wintry harvest of madness, utterly evocative from its stunning locations to cinematographer Magnus Nordenhof Jønck’s haunting imagery. It is immersive all right, riveting to watch from start to finish, and gripping in its twists and turns that keep you unsettled. Wright and Skarsgard are also top-notch performers, and the former’s picture of vulnerability with the latter’s portrait of muted dysfunction is an intoxicating combination.
Precisely because it doesn’t adhere much to convention, ‘Hold the Dark’ won’t endear itself to the casual viewer; but we must admit that this atmospheric thriller held our attention throughout its two-hour duration. Even though we’re not quite sure at the end of its deeper meaning, or of the coherence of its unorthodox detours, there is definitely ambition, vision and imagination in this dark tale of the beast within. It is a potboiler of the highest regard, and even though there are no ghosts or otherworldly depictions here, there is enough darkness to leave you genuinely spooked.
MOVIE RATING:
Review by Gabriel Chong
SYNOPSIS: From the producers of Kelly Reichardt's "Certain Women" and Jeremy Saulnier's "Green Room" comes the story of Ruth (Melanie Lynskey), a nursing assistant suffering through a crisis of existential despair. But when her house is burglarized, Ruth discovers a renewed sense of purpose in tracking down the thieves. Accompanied by her obnoxious martial-arts-enthusiast neighbor Tony (Elijah Wood), they soon find themselves dangerously out of their depth against a pack of degenerate criminals.
MOVIE REVIEW:
I Don’t Feel At Home In This World Anymore is that unknown quirky title that occasionally dropped in without much of an attention to it. If this is the past, it might be sitting in some deserted corner on the DVD rental shelves filled with cobwebs. However, with streaming giant Netflix picking this up, this indie title ought to be on your playlist next because it’s just too fun to miss.
New Zealand actress Melanie Lynskey (Two and a Half Men) plays a soft-spoken, mild-mannered nursing assistant Ruth who is slowly turning ballistic after finding her home being burgled. With the local police force not exactly helping, she enlisted the help of her weird ninja-loving neighbor, Tony (Elijah Wood) and begins her journey of finding back her stolen valuables liked her laptop, silverware and medication not knowing that a trio of dangerous criminals are lurking around the corner.
The movie begins as a harmless (even mundane) vigilante tale with two dysfunctional individuals who probably have difficulties fighting back anyone who jump queues in a supermarket. Ruth seems to be a nice lady stuck in an ugly world populated by selfish people while Tony’s only companions seem to be his shuriken and grizzly dog. But after the duo successfully retrieve Ruth’s stolen laptop from a bunch of rowdy teenagers (cue in Tony’s hilarious ninja-fighting skill), the entire flick seems to pick up its pacing and transform itself into a delightful dark violent comedy.
The drastic turn involved a lanky pale young man, Christian who is teaming up with two other shady characters to rob his rich father. How in the world did Ruth and Tony get themselves into a hot mess with this bunch of creeps? That is one interesting setup you need to watch and this could also be the reason why some audiences might find it hard to stomach.
It’s difficult to pair comedy with violence and it’s even more challenging to tell a good story. At the same time, you also need the audiences to root for your lead characters. Despite a last act which is surprisingly filled with all sorts of stomach-churning blood splat and wicked comedy, writer-director Macon Blair not only fulfilled all the above requirements with ease, the end results are actually ridiculously rewarding. For once, the subtle digs at the deteriorating modern American culture and society works flawlessly!
I Don’t Feel At Home In This World Anymore won the Grand Jury prize at the 2017 Sundance Film Festival. It boasts great performances from indie darling Melanie Lynskey, Elijah Wood and a bunch of dedicated relatively unknown cast. Preferably, the less you know the more you are going to enjoy this quirky crime flick.
MOVIE RATING:
Review by Linus Tee
SYNOPSIS: This thrilling true story follows the 1960 covert mission of legendary Mossad agent Peter Malkin as he infiltrates Argentina and captures Adolf Eichmann, the Nazi officer who masterminded the transportation logistics that brought millions of innocent Jews to their deaths in concentration camps.
MOVIE REVIEW:
Adolf Eichmann was a high-ranking Nazi leader responsible for the logistics involved in the mass transportation of Jews to concentration camps. But with the end of World War II, Eichmann managed to live for years under a false name in Buenos Aires only to be captured by Mossad agents in 1960 and brought back to stand trial in Israel for his war crimes.
Operation Finale tells the heroic story of how a bunch of brave Mossad agents planned, kidnapped and sneaked out Eichmann on a commercial aircraft bound for Israel. The end result is a low-key historical based war drama which is definitely worth visiting despite the known outcome.
Star Wars and Ex Machina actor Oscar Isaac (who also donned a producer hat here) plays Peter Malkin, one of the key personnel sent to extract Eichmann. Malkin is setup to be an interesting figure. He lost her loving sister in the Holocaust, botched an operation earlier and has a love interest in the form of a doctor (played by French actress Melanie Laurent) who is later revealed to be recruited for the operation as well.
Together with Israeli actors Lior Raz, Ohad Knoller, American comedian Nick Kroll (a surprise departure) and a few others playing the rest of the team members, the agents set out to capture Eichmann who has been living under the radar as a mechanic working for Mercedes Benz and stayed in a modest house with his wife and sons in the countryside. Since it’s almost a prerequisite for a powerful actor to play the role of Adolf Eichmann, the “honour” goes to award-winning Brit thespian Ben Kingsley who did an excellent job portraying a real-life, manipulating devil.
While not in the league of similar real-life thrillers such as Argo, Valkyrie and Munich when it comes to riveting set pieces, Operation Finale has enough tension for the first hour to sustain the storytelling and mission. It’s only when everyone seems to stuck in the safe house waiting for Eichmann to sign off on a document that the movie starts to flounder. Despite Eichmann and Malkin’s best attempts to out-wit each other with mental and ahem.. toilet routine, the interrogation process simply don’t measure up in terms of intensity and complexity.
Well, we can blame that on first-time screenwriter Matthew Orton or director Chris Weitz who has done everything from American Pie to The Golden Compass to The Twilight Saga. But in all fairness, for a historical-based movie, without resorting to fancy explosions or too many unnecessary subplots, Operation Finale is still a reasonably well-conceived piece of work.
MOVIE RATING:
Review by Linus Tee
Genre: Horror
Director: Michael David Pate
Cast: Nilam Farooq, Tim Oliver Schultz, Lisa-Marie Koroll, Sonja Gerhardt
RunTime: 1 hr 29 mins
Rating: NC16 (Violence and Coarse Language)
Released By: Shaw Organisation
Official Website:
Opening Day: 11 October 2018
Synopsis: In HEILSTÄTTEN, a remote and gloomy sanctuary near Berlin with a history full of horror and crimes against humanity, a group of YouTubers illegally access the ominous surgery block for a 24-hour challenge they hope will go viral. Equipped with night vision and thermal cameras, the adolescent adrenaline junkies chase the rumors of paranormal activity in the rotting building, only to learn too soon that they are not alone... and not welcome.
Movie Review:
Say what you will, but the market for horror movies is definitely still booming. Whether or not we are in the midst of the Halloween period, serviceably scary flicks are all the rage. Just a few months ago, we reviewed Gonjiam: Haunted Asylum and The Whispering, two very similar horror films from Korea. Now we have this German production upon our sunny shores, ready to earn some quick bucks.
The premise is expectedly uninspiring. A group of YouTube video bloggers and their friends dare each other to challenge their wits in Heilstätten of Beelitz. Those who do not already know, this was a military hospital of the Imperial German Army during World War I. Originally designed as a sanatorium for tuberculosis patients, you can expect the dilapidated grounds to be chockfull of scary stories from the past. The fact that Adolf Hitler recuperated at this location after being wounded in a battle adds to the creepiness. Naturally, it is a destination for inquisitive tourists and visitors like the movie’s protagonists.
No prizes for guessing the fates of these silly kids at the end of the movie.
While the film’s runtime is 89 minutes, it sure feels like a two hour movie with the obligatory jump scares, gory makeup, running and screaming that you’d expect from a horror film made up of ‘found footage’. Just like the genre, the approach of ‘found footage’ must still be popular after so many years. A respectable movie fan would have no problems listing some notable titles using this style to tell a scary story.
Not surprisingly, the movie directed by Michael David Pate also makes a statement about social media. The extent people are willing to go to get more likes and views? The predictable plot incorporates that. The sacrifices people are willing to make to become online celebrities? Yup, the story shows that too. The ugly side of human nature surfacing in times of adversity? Check.
The movie does an okay job in the scare department. The dark and gloomy rooms and corridors are fantastic sets to hide monsters and trap doors. Watching this flick is like going through a haunted house at a Halloween event – it helps to level up the atmosphere in the theatre if fellow members in the audience scream or gasp at the right junctures. There is even an unexpected plot twist, which some may deem unnecessary, during the movie’s last 20 minutes.
The cast members are no one we know in this part of the world. Anyone heard of names like Sonja Gerhardt, Emilio Sakraya, Timmi Trinks and Nilam Farooq? They do their job of acting haughty at first, then begin to get unglamorous and dirty as their characters continue their misadventure in the hellhole. Whether these young actors will head on to bigger projects after this movie will probably be something we may never know about.
What we would know is, that we will be expecting more horror movies showcasing shaky camera shots crusading as ‘found footage’ coming our way.
Movie Rating:
(Another day, another serviceable horror flick made up of 'found footage')
Review by John Li
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