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5 ASIAN FILMS TO CATCH AT SGIFF 2018Posted on 26 Nov 2018 |
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5 INTERNATIONAL FILMS TO CATCH AT SGIFF 2018Posted on 27 Nov 2018 |
Genre: Drama
Director: Jia Zhangke
Cast: Zhao Tao, Liao Fan, Xu Zheng
RunTime: 2 hrs 21 mins
Rating: PG13 (Some Coarse Language)
Opening Day: 29 November 2018 (Singapore premiere at the 29th Singapore International Film Festival)
Synopsis: Told in three distinct chapters that span almost two decades, the film chronicles the relationship between Qiao and small-time gangster Bin, whose life she saves—an act which lands her in prison for five years. Upon release, Qiao tries to begin where she left off, only to realise that the world around her has irrevocably changed.
Movie Review:
The Chinese title of this film is “Jianghu Er Nv”, which literally translates to “Sons and daughters of Jianghu”. For cinema goers (especially those who are fans of Chinese movies), “jianghu” is an affectionately familiar term. Traditionally used in classical literature to describe the martial arts universe, it is now often used to describe a world with people (usually men) honoring brotherhood and righteousness. The bros in Golden Job come to mind.
At first glance, this Mainland Chinese production seems like a straightforward film. The title and synopsis suggest that this is merely a story about a man and a woman caught in a world of loyal mobsters and shady criminals. Seeing that this is the work of Jia Zhangke, a prominent filmmaker of the "Sixth Generation" movement of Chinese cinema, you can expect anything but a conventional movie.
We first see the protagonists in 2001 and they are wildly in love. Then the guy gets involved in a gang fight and his girlfriend puts a stop to the ruckus by firing shots into the air. When questioned by the police, she takes the blame for her boyfriend says the gun belongs to her. Five years later, she realises that he has moved on with life and has a new girlfriend. Thus begins a journey of tracking him down to find closure. Spanning more than 15 years, the story ends on a melancholic note during a New Year’s Eve that ushers in 2018.
Like Jia’s previous films, there are many elements worth discussing. We hear The Village People’s “YMCA” and Cantopop singer Sally Yeh’s theme songs from Hong Kongmovies. We also see the female protagonist looking at the villages along the Yangtze River, a landmark that has sunk because of the Three Gorges Dam. Then there is a strange conversation between her and a man about UFOs, and her eventual experience with what may have been an extraterrestrial sighting. These reflect the shifting cultures and dynamism that is occurring in China over the past decade. While we aren’t in the position to put a value judgement to how things have changed, it is nonetheless an insightful observation.
Needless to say, the performances from the actors are first rate. Playing the female protagonist with the right amount of gusto and vulnerability, Zhao Tao (who is Jia's wife in real life) has been recognised with numerous awards. Her leading man is Liao Fan (If You Are The One II), who channels a nonchalant yet charismatic authority into his character. It’s almost heartbreaking for a man to see his ego rise and fall as the film progresses. There are also cameo appearances by fellow filmmakers and actors like Xu Zheng (Lost in Hong Kong), Feng Xiaogang (Mr Six), Zhang Yi (Operation Red Sea) and Dong Zijian (Dude's Manual).
If you are already a fan of Jia’s works, this is a must watch. If not, it is a recommended film that will have you checking out his past works which explore similar social themes.
Movie Rating:
(Powerful performances and pertinent social issues make this film a relevant piece of work)
Reviewed by John Li at the 29th Singapore International Film Festival
Genre: Comics/Action
Director: Anna Boden and Ryan Fleck
Cast: Brie Larson, Samuel L. Jackson, Ben Mendelsohn, Djimon Hounsou, Lee Pace, Lashana Lynch, Gemma Chan, Algenis Perez Soto, Rune Temte, McKenna Grace, Clark Gregg, Jude Law
Runtime: 2 hrs 4 mins
Rating: PG13 (Some Violence)
Released By: The Walt Disney Company
Official Website: www.marvel.com/captainmarvel
Opening Day: 7 March 2019
Synopsis: Set in the 1990s, Marvel Studios Captain Marvel is an all-new adventure from a previously unseen period in the history of the Marvel Cinematic Universe that follows the journey of Carol Danvers as she becomes one of the universes most powerful heroes. While a galactic war between two alien races reaches Earth, Danvers finds herself and a small cadre of allies at the center of the maelstrom.
Movie Review:
This reviewer almost feels guilty for regarding the latest entry in the Marvel Cinematic Universe (MCU) for being a lead in to the highly anticipated Avengers: Endgame. If you haven’t already heard, an Infinity War happened and that culminated in Thanos gaining all six infinity stones, snapping his fingers, and eliminating half of the universe.
This movie is obviously more than that.
Just like how Black Panther (2018) made an unprecedented cultural impact by celebrating black culture, this blockbuster is supposed to be a groundbreaker – it is Marvel’s first superhero flick to be driven by a female protagonist. We’d like to think Elektra (2005) didn’t count.
The titular Captain Marvel is part of a galactic military team that keeps out invaders and protects the Kree race. When a bunch of alien (but of course) baddies escape to Earth, she gives chase and is introduced to the cool things we had during the 1990s (video rental stores, retro Nirvana and Garbage songs, as well as computers that took forever to load a CD). A familiar agent named Nick Fury from a particular enforcement entity known as S.H.I.E.D. enters the picture and they form an unlikely bond.
Yup, this is an origin story like Iron Man (2008), Thor (2011) and Captain America: The First Avenger (2011). Kudos to directors Anna Boden and Ryan Fleck (Half Nelson) for making an effort to tweak the formulaic approach. When the 124 minute movie starts, we already see Captain Marvel. The story then creatively reveals the character’s true identity, before heading towards the climatic showdown between good and bad.
Other than that, this is pretty much what you’d expect from a superhero movie. The good guys are fighting for a cause. The bad guys have a reason for antangonising others. The world will face dire consequences if the good guys don’t put a stop to the bad guys evil plans. And yes, there are action sequences and sky battle scenes which somewhat feel like they are from the Star Wars universe (ahem, Disney does own both franchises).
Not that we are complaining though, because it is easy to watch Brie Larson (she caught our attention after winning a Best Actress Oscar for portraying a young mother held in captivity in Room) play a superhero. She exudes the girl power that the movie wants to shout about, and young female viewers should leave the theatre feeling empowered by Captain Marvel. She also has chemistry with Samuel L Jackson (the two were co stars in Kong: Skull Island), and they actually manage to pull off corny lines.
After Rogue One: A Star Wars Story (2016) and Ready Player One (2018), Ben Mendelsohn again shows us what a fine actor he is. Wearing prosthetics, the Australian actor plays the head of the alien race and the character is surprisingly the emotional punch of the movie. Without giving away too much, Annette Bening (Life Itself) and Jude Law (Fantastic Beasts: The Crimes of Grindelwald) are great fun to watch as always, and Gemma Chan (Crazy Rich Asians) has a bit role to kick some butt. Other familiar actors like Djimon Hounsou, Lee Pace and Clark Gregg reprise characters (Korath, Ronan and Agent Phil Coulson) in the MCU.
Essentially, this movie provides answers to the missing pieces of the larger jigsaw puzzle that the MCU has meticulously developed. Why does Nick Fury wear an eye patch? Why wasn’t Captain Marvel around during the Infinity War? What are the origins of the Tesseract? Oh, and do stay around for two credits scenes before getting hyped up for the final entry of the MCU’s Phase Three.
Movie Rating:
(The superhero movie formula still works here, and it is boosted by strong performances from a capable cast)
Review by John Li
Genre: Drama
Director: Brady Corbet
Cast: Natalie Portman, Jude Law, Stacy Martin, Jennifer Ehle, Raffey Cassidy
RunTime: 1 hr 55 mins
Rating: NC16 (Coarse Language and Some Violence)
Released By: Shaw Organisation
Opening Day: 28 February 2019
Synopsis: VOX LUX begins in 1999 when teenage sisters Celeste (Raffey Cassidy) and Eleanor (Stacy Martin) survive a seismic, violent tragedy. The sisters compose and perform a song about their experience, making something lovely and cathartic out of catastrophe - while also catapulting Celeste to stardom. By 2017, the now 31-year-old Celeste (Academy Award winner Natalie Portman) is mother to a teenage daughter of her own and struggling to navigate a career fraught with scandals when another act of terrifying violence demands her attention.
Movie Review:
You thought you’ve seen Natalie Portman give it her all in Black Swan (2010) and Jackie (2016). Then this film comes along and shows you what the multi award winning actress (her countless accolades include one Oscar and two Golden Globes) is truly capable of.
The film startles you from the beginning with a truly shocking sequence. In 1999, a troubled boy shows up at a music lesson, kills the teacher and sprays bullets throughout the compound. One girl is shot in the neck and survives the horrific incident. And this is how we are introduced to Celeste (Raffey Cassidy), the protagonist of the story.
At a memorial for the victims, she sings a self penned song that becomes an anthem for the grieving community. Before the 14 year old knows it, she finds herself in showbiz and living what seems like the time of her life. She goes on tours with her sister, and the two seek companionship in each other. Then something happens on September 11, 2011. Other than the internationally known tragedy, an incident between the two sisters takes the film in a different direction during its second half.
This is where we meet Portman, who plays Celeste as a 30 something year old celebrity. She is tired, cynical and giving the world what it wants. Caught in a world where fame and fortune call the shots, she performs seemingly soulless pop songs and pleases her fans at sell out concerts.
Things don’t become any easier. A mass shooting where gunmen disguise themselves with masks from Celeste’s music video happens. Celeste has to address the issue at a press conference before her concert. Her daughter and estranged sister are in town. Just how much does a celebrity has to deal with, you wonder.
Told in chapters with a deadpan narration by Willem Dafoe (Murder on the Orient Express), the film directed by Brady Corbet is unlike anything you have seen. Yet, it speaks to you in volumes. Celeste tells her daughter how her videos are becoming worse over the years, but are somehow becoming more popular. She also says she can make more money by voicing a computer game character, but she is providing jobs for the people who are producing albums and concerts for her.
Ah, the cruel truth of showbiz.
The camera loves Cassidy (The Killing of a Sacred Deer) who plays young Celeste and elder Celeste’s daughter (smart move, in our opinion). Jude Law (Fantastic Beasts: The Crimes of Grindelwald) portrays a sleazy manager whom you just can’t trust and want to get far away from. But the show is clearly Portman’s. Her superstar diva exudes so much energy and ferociousness, it seems like a peek into a real life celebrity’s much admired but tiring life. She sings to original songs composed by Australian musician Sia. Could there be a fourth Academy Award nomination for the talented actress?
Clearly, this is an appropriate companion piece to Bradley Cooper’s A Star is Born starring Lady Gaga. This 110 minute film may not be as polished, but it is a more painful and poignant look at the world we live in today. What do we seek in the entertainment industry these days? Is the radio friendly pop music a form of art? Just how tainted and commercialised is showbiz now? One thing for sure – most celebrities, as exhausted as they are, will get themselves together for the show to go on. What happens after the curtains fall may be very heartbreaking.
Movie Rating:
(We may live in pain, but the show has to go on. This poignant takeaway makes this film a relevant piece of work in today's world.)
Reviewed by John Li at the 29th Singapore International Film Festival
Genre: Drama
Director: Ho Wi Ding
Cast: Jack Kao, Lee Hong Chi, Louise Grinberg, Ding Ning, Stone
RunTime: 1 hrs 47 mins
Rating: R21 (Sexual Scene)
Released By: mm2 Entertainment
Opening Day: 20 December 2018
Synopsis: Shot on expired 35mm film stock, this devastating portrait of a man unfolds—in reverse—via three women who each play a pivotal role in his identity.
Movie Review:
Seven years have passed since we saw Ho Wi Ding’s Pinoy Sunday, a charming film about foreign workers in Taipei. The Malaysiaborn Taiwanese filmmaker is back with his most ambitious project yet. The 107 film is split into three sections. A retired law enforcer’s story is told in reverse chronology, and we see how the future, the present and the past each made him the person he is.
In a society that reminds us of Ridley Scott’s Blade Runner 2049, we see the protagonist (sullenly portrayed by veteran actor Jack Kao) moping his way round the city. He is obviously an unhappy man, as you will find out through the exchanges with his ex wife, his estranged daughter and a foreign prostitute. It doesn’t help that the world has become technologically driven but terrifyingly bleak.
The second section sees the protagonist (played by the earnest Lee Hong Chi) as a hardworking cop whose world is shattered when he finds out that his wife is cheating with a superior from work (Taiwanese rock band Mayday’s Stone in a deliciously villainous role). Heartbroken, he finds solace in a foreign shoplifter.
The concluding chapter (which is chronologically the first chapter of the protagonist’s story) sheds light on how his teenage years aren’t the happiest. An episode in the police station sees Hsieh Chang Ying’s juvenile delinquent chatting up a female mobster boss (Ding Ning with a bravura performance), and finding out what the two broken souls have in common.
It is an irony that the Chinese title of this film translates to “FortunateCity” because it doesn’t look like a place where people are happy. Cheating, betrayal, violence and abandonment are just some of the things happening to the characters. Characters look tired, the sex scenes are pleasurable, and the slight hint of joy occurs during the last sequence of the 107 minute film. Bliss was there right at the beginning, but one wonders what happened as the decades passed?
The cinematography also reflects the moody atmosphere of the urban landscapes. The filmmakers’ choice of expired 35mm stock is an innovative one. With most of the events taking place at night, the grainy look adds a stylistic touch to the devastation and hopelessness experienced by the characters.
The cast members did good jobs with their characters. The three actors playing the protagonist are perfectly cast, each bringing a different kind of energy to the same man who is getting increasingly exhausted with the world. Stone will get viewers talking with his near naked screen appearance, while Ding’s emotional turn as a regretful woman won her the Best Supporting Actress prize at the 55th Golden Horse Awards.
Unlike Pinoy Sunday, this film is a gloomy look at human relationships. Our advice: don’t watch it on a depressing day.
Movie Rating:
(Betrayal, regret and all things gloomy make this gritty film a depressing viewing experience)
Reviewed by John Li at the 29th Singapore International Film Festival
Genre: Drama
Director: Mag Hsu, Hsu Chih-yen
Cast: Roy Chiu, Hsieh Ying-xuan, Spark Chen, Joseph Huang
RunTime: 1 hr 39 mins
Rating: R21 (Homosexual Theme)
Opening Day: 2 December 2018 (Southeast Asian premiere at the 29th Singapore International Film Festival)
Synopsis: Song (Taiwanese rocker and composer Spark Chen) dies of cancer, leaving in his wake a son, a wife and a male lover—Jay (Roy Chiu), who has been named the sole beneficiary of Song’s life insurance policy. A battle ensues between Song’s enraged and neurotic widow, San-lian (Hsieh Ying-xuan), and the cantankerous Jay over who is more deserving of the money—in other words, which of them was more loved by Song. Driven away by his overbearing mother, Song’s adolescent son, Cheng-xi, moves in with Jay and ends up as an unwilling mediator between the two warring adults. Together, the trio embark upon the difficult path of grieving: a journey they can only traverse with compassion and respect for each other’s memories of their beloved.
Movie Review:
There is no gratuitous violence in this movie. The characters do not use coarse language. And there are no explicit sex scenes either. Back at home in Taiwan, the film was given a G rating, which means that general audiences could enter the cinema to watch the debut feature of directing collaborators Mag Hsu and Hsu Chih Yen.
However, the film is rated R21 in Singaporewith the consumer advice of Homosexual Theme. The first thing that came to mind – why the huge disparity? A check with the film classification website states according to local guidelines, the comedy drama contains ““stronger and more explicit portrayal and exploration of mature themes”.
Seen through the eyes of a young boy (a nonchalant Joseph Huang), the story is about his overbearing mother (Hsieh Ying Xuan in an unglamorous but entertaining role) who is terribly upset about her late husband’s insurance money going to his gay lover (Roy Chiu channeling his ‘uncle’ qualities).
Caught the gist yet? Yup, this is a tale about dysfunctional relationships. Man marries woman. Man falls in love with another man. Man dies. Woman becomes very, very angry.
The 99 minute film is clearly about acceptance. Instead of presenting it as a sombre and sullen package filled with stifled repression, the filmmakers use bright colours (check out Chiu’s rainbow shirts and his messily interesting apartment), hilarious dialogue (Huang gets the best lines, simply because kids can say the darndest things and still come off as cute) and a believable characters to tell a moving story of human relationships.
With Mag Hsu’s experience in directing plays and managing a theatre company, you understand why this film does feel like a stage production. In fact, a substantial portion of the story takes place in a theatre. Hsu Chih Yen’s experience in directing music videos probably came in handy in giving the film its appealingly snazzy look.
The actors deliver commendable performances. Hsieh, who won Golden Horse Award’s Best Actress prize, is a fine example of a woman you don’t want to mess with. One standout scene sees her character pondering over her marriage with her husband (Taiwanese musician Spark Chen) – it is the kind of acting that juries would vote for. Chiu, whom we remember as a dashing idol, shows cynics he has got what it takes to be an established actor (he missed out the Best Actor accolade at the Golden Horse Awards but managed to snag the prize in the same category at the Taipei Film Awards).
The film is a hit in Taiwan, and rightfully so. The story is a touching one that celebrates love and connection. It has nothing new to tell, but it is always good to remind ourselves that at the end of the day, humans only have each other to count on.
(The crowd pleaser features entertaining performances while telling a universal story of human emotions)
Reviewed by John Li at the 29th Singapore International Film Festival
Read our interview with the filmmakers and cast of the Dear Ex
Genre: Drama
Director: Stanley Kwan
Cast: Sammi Cheng, Gigi Leung, Bai Baihe
RunTime: 1 hr 40 mins
Rating: NC16 (Some Mature Content)
Opening Day: 7 December 2018 (Southeast Asian premiere at the 29th Singapore International Film Festival)
Synopsis: Yuan Xiuling, a star past her prime, plans a return to the spotlight a year after her philandering husband passes away. An opportunity arises when she is cast as the lead in a theatre production titled Two Sisters. However, her co-lead is her biggest rival, He Yuwen, a rising actress making her theatrical debut. In the week before opening night, tensions rise and tempers flare. The actresses struggle to cope with artistic expectations, jostle for media attention, and let past resentments and grievances rise to the surface.
Movie Review:
Everyone loves a good catfight. In showbiz, rivaling actors and actresses are probably very common. Seeing this drama get translated on screen is a sure way to get viewers interested. With his latest work, Hong Kong director Stanley Kwan (Everlasting Regret) not only made us sit up and watch the characters bicker, he also made a film that showcases the layered personalities of these characters.
Taking place over seven days during the rehearsals before the opening night of a highly publicised play, the film looks at how eight women’s lives intertwine. There is gossip, there is ambition, and there is definitely lots of jealousy going on around during the 100 minute film.
The literal Chinese translation of the movie title is “eight women and one show”, and it shows Kwan’s bold goal to squeeze eight characters’ stories into one film. The stars of the play are a former star (Sammi Cheng) stepping out of semi retirement for a theatre role, and her arch enemy (Gigi Leung) who is up and coming with her modern attitude. In the mix is also a Shanghai millionaire funding the production (Angie Chiu), the play’s transgender writer director (Kam Kwok Leung), a gossipy theatre manager (Kiki Sheung), a very cool and loaded lesbian bachelorette (Bai Baihe), and the two capable assistants of the actresses (Catherine Chau and Qi Xi).
While not all eight characters are given the same weightage in the film (it is headlined by Cheng and Leung, two Hong Kongsinger actresses who champed the industry during 1990s and 2000s), the screenplay by Jimmy Ngai still manages to make viewers empathise with most of them. Chiu’s intention to stage the play at Hong Kong’s iconic City Hall is a good reason to feel nostalgic, Kam’s campy theatre practitioner has some of the film’s funniest lines, while Chau and Xi’s supporting roles will have you appreciating the people around you more.
There are also spot on cameo appearances by familiar faces like Bowie Lam (S Storm), as well as directors Matt Chow (12 Golden Ducks) and Felix Chong (Project Gutenberg).
Of course, all eyes will be on Cheng and Leung. Cheng exudes an exquisite charm which comes with her years of experience in showbiz. No longer an actress acing romantic comedies (Blind Detective, Love Contractually), the actress has earned her own standing in dramas. Leung (Aberdeen, Monkey King Part 3) has the more expressive role here, and she takes every opportunity to show viewers she is not just a pretty face. We hope the two actresses get some recognition at film awards.
The film is also gorgeous to look at, thanks to Wang Boxue’s cinematography. Many scenes take place inside the theatre, which is a good location to use mirrors, stage effects and good looking actresses rehearsing their lines. Attentive viewers will also spot some similarities between this film and Kwan’s beloved Rogue (1988) starring the late Leslie Cheung and Anita Mui, two dearly missed Hong Kongicons.
This is a love letter to Hong Kong, with some scenes showcasing the city’s beautiful VictoriaHarbouras a backdrop. It is a reflection of Hong Kong’s showbiz where drama is all around, and as long as the curtains don’t drop, the show will go on.
Movie Rating:
(Sammi Cheng and Gigi Leung shine and deliver their career best in this love letter to Hong Kong)
Review by John Li
Read our interview with Sammi Cheng and Stanley Kwan
Genre: Drama
Director: Alice Rohrwacher
Cast: Adriano Tardiolo, Luca Chikovani, Alba Rohrwacher
RunTime: 2 hrs 5 mins
Rating: PG (Some Violence)
Opening Day: 2 December 2018 (Singapore premiere at the 29th Singapore International Film Festival)
Synopsis: On a rural plantation in Italy, the gentle Lazzaro lives with his family in permanent debt to a wealthy marchesa. Just as the marchesa exploits her sharecroppers, so the other sharecroppers in turn take advantage of simple-minded Lazzaro. His gullible nature draws the attention of the marchesa’s son Tancredi—who is orchestrating his own kidnapping, for reasons beyond Lazzaro’s understanding.
Movie Review:
In this increasingly cynical world we live in, is there still a place for fairy tales? We are guessing Hollywoodhas no place for such fables anymore (how many of you really indulged yourselves in the silliness and magic of Mary Poppins Returns without any bit of cynicism?), but mainstream audiences can still turn to world cinema for that dose of idealistic enchantment.
Enter Alice Rohrwacher’s latest film which won the award for Best Screenplay at the 71st Cannes Film Festival. It tells the story of a Lazzaro, the titular character who is ever naïve and optimistic. The farmer crosses paths with a young man from an upper class who is planning to stage his own kidnap. The two form an unexpected friendship (nope, this not a repressed gay drama), and the story unfolds into a charming tale about growing up and always keeping your imagination alive.
We are given a glimpse into an unfamiliar way of life, where farmhands work based on a sharecropping arrangement. This form of agriculture has the landowner getting his tenants to use the land in return for a share of the crops produced on their portion of land. Yup, no pay is involved and this doesn’t go down too well with us urbanites, does it? The 125 minute film also sheds light on the contrast between a slowly disappearing rural Italy and its modern counterpart which is being consumed by corruption. Both landscapes are marked by beautiful cinematography.
Rohrwacher, who first caught international attention with the Grand Prix winner The Wonders (2014), has delivered a pleasing film that is easy to watch. You will follow the protagonist has he goes about his simple yet fulfilling life. His earnest character is something you once had, or wished you had experienced. There is simply nothing skeptical about his worldview, and you know this is impossible to achieve in our society.
Adriano Tardiolo is perfect in his portrayal as Lazzaro. His wide eyes and ever sincere look of wonderment anchors the film. He is someone you want to root for, and someone you wish will never lose his innocence. His friend is played Luca Chikovani in his younger days, and Tommaso Ragno in his older days (without giving away too much, there is an element of magic in the story written by Rohrwacher), while Nicoletta Braschi takes on the showy role of a notorious landlord.
The ending sequence is a memorable depiction of how someone’s innocence can be terrifying jarred by the harshness of human nature. Because where we are now is a point of no return, we can only watch this film and be filled with bittersweet melancholy.
Movie Rating:
(A pleasing and likeable fable that reminds us that innocence and optimism is very much missing from our lives)
Review by John Li
Genre: Adventure/ Animation/ Comedy
Director: Benjamin Renner, Patrick Imbert
Cast: Bill Bailey, Adrian Edmondson, Matthew Goode, Celia Imrie, Giles New
RunTime: 1 hr 23 mins
Rating: PG
Released By: Shaw Organisation
Official Website:
Opening Day: 6 December 2018
Synopsis: The countryside isn’t always as calm and peaceful as it’s made out to be, and the animals on this farm are particularly agitated: a fox who mothers a family of chicks, a rabbit who plays the stork, and a duck who wants to be Santa Claus. If you think life in the country is a walk in the park, think again!
Movie Review:
Three lively stories involving a bunch of farmyard animals make up this French-Belgian co-production adapted by director Benjamin Renner from his bestselling comic book, which a fine ensemble of British actors has dubbed into English from the original French language. Like Renner’s Oscar-nominated debut ‘Ernest and Celestine’ a few years back, his sophomore film that sees him working with animator Patrick Imbert is hand-drawn, and the old-school technique proves a good fit for the loose and playful tone of the narrative.
The titular story sees a bungling fox (Giles New) being instigated by a wily wolf (Matthew Goode) into stealing one of the farm hen’s eggs, which then hatch into a brood of chicks who mistake the fox for their mother. Though at first alarmed by his unexpected parental responsibilities, the fox comes to develop affections for the chicks, which complicate his dynamic with the wolf that only wishes for them to grow up faster to be fit for consumption. Meanwhile, back on the farm, their angry mother is frustrated by the farm dog’s inaction, deciding to take matters into their own hands by teaching the rest of the hens and chicks self-defence.
There are plenty of chuckles to be had with the fox’s bewilderment, the chicks’ confusion that they were born to eat other chicks, and the wolf’s eventual denouement in the hands of the farm hens. But as the film’s centrepiece, you’ll probably find it just a little underwhelming. Yet that is less because Renner’s segment needs more oomph than because the first and last story are put together with equal aplomb by Imbert; oh yes, there is also much delight to be found in the other two stories, both of which feature a meddlesome duck (Bill Bailey), a controlling pig (Justin Edwards) and a dozy rabbit (Adrian Edmondson).
The first entitled ‘A Baby to Deliver’ sees a feckless stork sweet-talking the trio into delivering a human baby to its expectant parents in Avignon. Their road trip consists of many amusing misadventures, no thanks to the clumsiness and immaturity of the duck and rabbit, and recalls the best of the Looney Tunes cartoons. Ditto the last story ‘The Perfect Christmas’, which has the same trio teaming up yet again to try to replace Santa Claus, after the duck and rabbit mistakenly think that they have killed him and therefore ruined Christmas for the rest of the world. While the big slapstick gags are often hilarious, there are also lots of sweet moments in between, which make for a fun and heartwarming time.
Compared to the computer-generated 3D animations from Hollywood, ‘The Big Bad Fox and Other Tales’ exudes a deceptively simple and minimalist feel that may take a little getting used to at the start. Nonetheless, these drawings are not without their own ingenuous charm, and are perfectly suited to the film’s loose yet dynamic escapades. Besides providing big laughs, the fables are also both warm and witty, with due credit to the British voice cast that do a fantastic job keeping to the tone of the French original. If you’re looking for something both quaint and entertaining for the whole family, then we urge you to give this hand-drawn animated film a go.
Movie Rating:
(Warm, witty and with its own quaint charms, this hand-drawn French-Belgian animated tale finds big laughs in its wacky farmyard fables)
Review by Gabriel Chong
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