Genre: Horror/Thriller
Director: Yoo Sung-dong
Cast: Jung Eun-ji, Lee Sung-yeol, Choi Yoon-young, Shin Joo-hwan, Jung Won-chang
Runtime: 1 hr 41 mins
Rating: NC16 (Horror)
Released By: Golden Village Pictures
Official Website:
Opening Day: 13 June 2019
Synopsis: The members of 0.0MHz, a club that analyzes supernatural mysteries, head to a haunted house in Wooha-ri to experiment on a frequency that calls on ghosts and encounter eerie events.
Movie Review:
0.0MHz is based on a webcomic of the same name. It follows the story of the members of the supernatural exploration club at a university. It is said that when the frequency drops to 0.0MHz, it’s when you could communicate with the dead. As part of their club activities, they decided to go on a trip to an abandoned house, where a mysterious ghost was spotted. There was a suicide case in that house and when the local villagers tried to drive out the ghost out years ago, the witch who performed the ceremony fell to her death. Determined to see it for themselves, they ignored warnings from a local and went on to have a stayover at the house. Geared up with all the necessary equipment, they begin their summon of the dead…
The movie begins with the ritual to exorcise the ghost in the house, which left the witch dead and villagers stunned. The key characters of the movie, So-Hee (played by Jung Eun-Ji of Apink) and Sang-Yeob (played by Lee Sung-Yeol of INFINITE) were also quickly introduced. They are both freshmen at the university, and have joined club 0.0MHz. What’s peculiar about So-Hee is that it appears that she is often ‘seeing things’, which is later unveiled in the film later as to why.
The scare factors of this film are similar to other horror films; having a mixture of jump scares, body mutilation, blood, ‘unseen force’ etc. As the film progresses, tension intensifies with the appearance of a sinister ghost but then takes a dip when a twist is introduced to the story, somewhat bringing you on a rollercoaster ride. Halfway through the movie, there seems to be an intentional steer to make the story meaningful. However, it was lacklustre as the sub-story is not directly linked to the main narrative and did not value add to the main story.
In terms of cast, it is both Lee Sung-Yeol and Jung Eun-Ji’s debut roles in a movie. Eun-Ji nailed her role as the icy queen, giving off chilly vibes from time to time. Sung-Yeol also supported well in his role, and stood out as his side story arc came in focus.
Overall, the movie seemed to have been set out to accomplish too many things - cleverly designed CGI ghost, sophisticated story, moral teaching, tension build-up - in too little time and budget. The lackingness in various aspects do make the film come forth as a cheap, low-budget flick. But thankfully, it’s saved by some decent acting by the key cast. Perhaps what really haunts is not the spirits in the supernatural realm, but the ghosts of your past.
Movie Rating:
(While the movie is highly anticipated by the original webtoon fans, I’m not sure about the rest of us…)
Review by Tho Shu Ling
SYNOPSIS: A minister who researches religious cults turns to his Buddhist monk friend for help investigating a new group of mysterious origins.
MOVIE REVIEW:
You should know right from the start that ‘Svaha: The Sixth Finger’ isn’t for everyone, not least if you like your stories clear, straightforward and unambiguous. For its first two acts, writer-director Jang Jae-hyun keeps his cards very close to his chest, revealing crucial details bit by bit to join what starts out as three parallel plotlines. At the same time, you’ll find yourself questioning what has been established before – which to be sure is exactly Jang’s intention – wondering if indeed your preconceived notions of who is good and who is evil are founded.
Without giving too much away, let’s just say that ‘Svaha’ is at its core an occult thriller which examines how religions and believers are created and cultivated. That may not be immediately apparent from its first subplot, which opens the movie in a small rural village town in 1999 where a woman has given birth to twin girls, the younger one of whom we are told is evil incarnate. Fast-forward 14 years later, the girls are in the care of their grandparents, except that the older one Geun-hwa (Lee Jae-in) has her own room in the main house and the younger one is locked away in the shed behind the stables behind a door marked with a giant cross.
Another subplot has the body of an adolescent girl being found in a remote hillside, sparking an investigation led by Chief Hwang (Jung Jin-young) that reveals the existence of a group which has been committing similar murders in different towns across Korea and even overseas. From four, the group is down to just Na-han (Park Jung-min), but as dedicated as he is to his mission, we learn too that he is haunted by the ghosts of the girls whom he had murdered in the name of religion. In time, we learn that Na-han’s leader is a mysterious figure who is born with the gift of immortality, but whose Godly figure requires the destruction of its evil opposite.
The central arc around which the subplots revolve concern Pastor Park (Lee Jung-jae), a Protestant minister who runs an agency that specialises in exposing charlatan religious groups. His latest subject is a small Buddhist cult group called the Deer Mount, which comes on assignment from a prominent monk Haean (Jin Seon-kyu) who is one of the three top figures of the largest Buddhist sect in Korea and wants to clamp down on deviant strands of the religion. It is no surprise that Pastor Park’s digging, together with his loyal assistant Yo-sub (David Lee), will lead him to cross paths with Na-han and Geun-hwa, culminating in a race against time to stop an impending murder.
To Jang’s credit, the mise en scène of his film is absolutely perfect. Much of the action takes place in the wintry countryside, that itself lends an immediate air of ominous intrigue. Then there is the depiction of religion itself, which depicts the power (and danger) of belief/ conviction, as well as the use of tropes, including scripture and religious symbols, in maintaining that aura of sacredness. For the most part, Jang refrains from criticising any particular religion, or even religion per se, but uses the story to shine a light on the very fundamentals of religion itself.
And we must say, the combination of a procedural and religious-themed thriller, mixed with some horror elements, makes for an absolutely riveting watch from start to finish. Like we said, Jang paces the film deftly, building up an intricate narrative of various moving parts slowly, surely and confidently. As with his previous ‘The Priests’, there are well-placed spooky moments here, so consider that as fair warning for the faint-hearted. Amidst the twisty plot and its weighty themes, there is perhaps less emphasis on the characters, but the excellent cast more than compensates for that.
Because of its subject, ‘Svaha: The Sixth Finger’ will not be an easy watch, nor a comfortable one, especially for those who hold on strongly to their religious beliefs. We’ll reiterate that the film itself has nothing against any particular religion or religion itself, but forces us to critically assess and be cognisant of what drives our beliefs, lest we fall victim to blind faith. For that reason too, it probably won’t resonate with everyone, but we must say we were thoroughly captivated and impressed by the movie. At the very least, it is a satisfying mystery thriller, and if that sounds good enough for you, we’d urge you to keep an open mind and let it speak to you.
MOVIE RATING:
Review by Gabriel Chong
Genre: Horror/Thriller
Director: Sittisiri Mongkolsiri
Cast: Oabnithi Wiwattanawarang, Panthira Pipitthayakorn, Sapol Assawamankong, Surasak Wongthai
Runtime: 2 hrs 2 mins
Rating: NC16 (Some Violence)
Released By: mm2 Entertainment
Official Website:
Opening Day: 13 June 2019
Synopsis: A teenage village girl SAI inherits the curse of the Krasue, forcing her to live as a bloodthirsty demon by night and as an ordinary human by day. The terrified villagers organise nightly Krasue hunts to protect their loved ones, not knowing that the demon is one of their own. Only Sai's childhood friend NOI who has fallen in love with her, knows the terrible secret. As he falls more deeply in love, Noi's selflessness may have consequences beyond his imagination.
Movie Review:
You are not wrong if you thought this Thai movie is a romance flick. The poster, which shows a man kissing a floating head, does evoke a dreamy, passionate sense of affection. By the end of this 122 minute movie, the bittersweet conclusion may leave you teary eyed.
Based on a Southeast Asian folklore, the spirit in question here is a “krasue”, a female flesh-eating ghost. In the day, she lives like a human. When the moon comes up, her head comes off from her body and floats around looking for flesh and blood.
Kudos to director Sittisiri Mongkolsiri and writer Chookiat Sakveerakul for not turning this tale into an all out horror. Considering how the premise can become cheesy and laughable, this film takes on a different approach and explores the fable through a love triangle.
The female protagonist is a young nurse who lives in a village where the inhabitants are living in fear because the krasue has been devouring their livestock. She is friends with a young man who is hoping that they can become a couple. However, her heart is yearning for their childhood buddy, a smart teenager who is studying in Bangkok. When he returns with a group of krasue hunters, strange things begin occurring and a bloody battle between humans and monsters ensues.
Thai movies are known for featuring good looking people. Panthira Pipitthayakorn is the female lead, and her sweet look is perfect for the role. We love the scene when she first saw traces of blood on her bed. The slight smile on her face is a nice touch to the story. When it turns out that she may be the krasue that is wreaking havoc in the village, Pipitthayakorn grasps the emotions of fear and horror nicely.
The actress’s male co leads are expectedly handsome. Oabnithi Wiwattanawarang puts his boyish looks to good use as he expresses wide eyed wonder upon his return from Bangkok. The filmmakers make use of Sapol Assawamankong’s nice bod by having him go shirtless in several scenes. One of the most heartbreaking things about the story is seeing Assawamankong’s one sided love taking a tragic turn.
Unless many other horror flicks which moves at a frantic pace, this movie takes its time to flesh out the characters’ dynamics and motivation. The movie is also beautiful to look at. Watch out for the sequence where Pipitthayakorn and Wiwattanawarang enter what looks like an enchanted forest to look for antidotes to the monster curse. The art direction is brilliant: you see light draped over the grass patches and there is a sense of fascination. Of course, when this gets destroyed by the bad guys later in the story, the devastation can be felt.
The only jarring aspect of the movie takes place towards the end when the man versus monster battle takes place. While the computer effects are decently pulled off, the tone is drastically different. It offers the action, but the sequence still feels out of place.
Thankfully, the movie ends on a bittersweet and melancholic note. And you will be left thinking about whether monsters are indeed the scariest beings on earth.
Movie Rating:
(Packaged as a horror movie, this is essentially a bittersweet love story about a girl and her two childhood friends)
Review by John Li
Genre: Action/Thriller
Director: Luc Besson
Cast: Sasha Luss, Luke Evans, Cillian Murphy, Helen Mirren
Runtime: 1 hr 58 mins
Rating: M18 (Sexual Scenes and Violence)
Released By: Golden Village Pictures
Official Website: www.facebook.com/AnnaMovie
Opening Day: 20 June 2019
Synopsis: Beneath Anna Poliatova’s striking beauty lies a secret that will unleash her indelible strength and skill to become one of the world’s most feared government assassins. An electrifying thrill ride unfolding with propulsive energy, startling twists and breathtaking action, ANNA introduces Sasha Luss in the title role with a star-studded cast including Academy Award Winner Helen Mirren, Cillian Murphy, and Luke Evans.
Movie Review:
From ‘La Femme Nikita’, to ‘The Professional’, to ‘The Fifth Element’ and to ‘Lucy’, Luc Besson has been lauded for crafting strong female characters in his movies, so it is no surprise that after 2017’s expensive space opera ‘Valerian and the City of a Thousand Planets’ flopped, Besson would once again retreat to his comfort zone to re-establish himself as a dominant filmmaker. Oh yes, ‘Anna’ will come across awfully familiar to Besson completists: not only does it again feature in the leading role a relatively unknown actress (this time, in up-and-rising Russian model Sasha Luss), it also is one of those shoot-em-up espionage tales which were the mould of his early career-defining hits.
Yet, familiarity aside, ‘Anna’ is unlikely to jumpstart his flailing box-office track record in recent years. On the surface, it boasts many of the elements which made his similar movies in the past successful, including an enigmatic lead whose loyalties/ motivations are indeterminate, a top-notch list of supporting actors/ actresses (including Cillian Murphy, Luke Evans and Helen Mirren), and a twisty plot of double-crosses and even triple-crosses meant to keep you guessing till the very end; alas, this time round, these narrative traits come across less authentic than gimmicky, seemingly employed in order to mask what is otherwise a simple and straightforward story that you would probably have lost interest in.
In fact, it doesn’t take too long for you to get frustrated with it for its herky-jerky timeline, which begins with Anna as a street urchin selling wares at a Moscow market, who is talent-spotted by a scout for a modelling agency in Paris. Quickly gaining in favour, Anna is introduced by the agency’s co-owner at an event to one of its investors, a Russian businessman named Oleg (Andrew Howard). After a whirlwind romance of two months, Anna finds herself alone in a hotel suite in Paris with Oleg, whereupon she promptly shoots him dead after emerging from the bathroom. Cue the first of many flash-backs, where we learn that Anna had in fact been recruited by the KGB two years ago, and was in fact placed on assignment at the market to catch the scout’s attention.
Her recruitment episode involves a no-good boyfriend whose botched attempt to rob an American businessman would end up in the both of them on the run from the police, and an unexpected offer by KGB handler Alex Tchenkov (Luke Evans) to honour the life she has been given and make a fresh start. At the end of that episode, we are brought back to the point where she had murdered Oleg, and is facing interrogation by CIA agent Lenny Miller (Cillian Murphy) in a station room. There, the narrative rewinds six months earlier to show how Anna had proved herself to the strict KGB overseer Olga (Helen Mirren) by overcoming a whole restaurant full of armed bodyguards and assassinating her target, and with that initiation, was entrusted with the mission to kill Oleg, albeit with help with fellow KGB agents.
If that sounded like a dizzying chain of events to go back and forth between, you should know that writer-director Besson is hardly done; oh no, in fact, his unnecessarily twisty storytelling will see her being played like a pawn by the CIA and KGB alternately, before she proves to be smarter than the agencies she had seemingly been at the mercy of. While his intention may have been to keep up the suspense by surprising you at many turns, Besson’s tactic of pulling the rug from under your feet quickly becomes tiresome and frustrating, given how you’d probably think him disingenuous to tell you only part of what is really going on before springing an ‘a-ha!’ moment at you.
It doesn’t help that Anna’s motivations are less defined than they need to be, in order that we be both empathetic and empowered by her as Besson intends. Indeed, it isn’t hard to guess that Besson wants us to feel for Anna at the start as she is manipulated by powers beyond her control, and therefore to cheer for her as she takes decisive charge of her circumstances in order to reclaim her will to live by her own choices. Yet, Besson seems more taken by the need to outsmart his audience than to construct a fully formed individual whose spirit and tenacity we can relate to; unfortunately, as stunning as she looks, Luss still has some way to go as an actress, and fails to bring much heft to an otherwise vapid central character.
What pleasures ‘Anna’ offers are therefore skin-deep at best, including a couple of well-staged action sequences that offer Luss the opportunity to showcase the fruits of her physical training in jujitsu grappling and Muay Thai kickboxing – in particular, the aforementioned scene where she discovers her own wits and will to take out about 20 or so bodyguards in a restaurant is both intense and thrilling, though unfortunately unmatched by anything else the film offers subsequently. It also has a scene-chewing performance by Mirren, whose veteran KGB agent comes across as tenacious, wily and yet comforting, thanks to the actress’ scene-stealing supporting act that is probably more powerful a statement of female empowerment than Anna herself.
As far as restoring Besson’s standing, ‘Anna’ doesn’t punch as hard as it needs to. Not only is Anna not compelling enough as a character in and of herself, she also lacks a strong enough performer for us to rally around (as compared to say Scarlett Johannson in ‘Lucy’). Perhaps more fundamentally, Besson’s technique of showing things one way and then rewinding to invert our assumptions happens just too many times, leaving us less intrigued than frustrated at his apparent need to demonstrate how he is always one step ahead of us. That said, if you don’t mind an ultimately forgettable espionage thriller with a pretty lead, then you’ll probably find ‘Anna’ just slick and glib enough for an entertaining two-hour diversion.
Movie Rating:
(Not quite as ridiculously entertaining as 'Lucy', or as intriguing as 'La Femme Nikita' and 'The Professional', Luc Besson's return to female-centric action thrillers has a pretty superficial lead in Sasha Luss and a narrative that thinks itself too smart for its own good)
Review by Gabriel Chong
Genre: Drama
Director: Bong Joon Ho
Cast: Song Kang Ho, Lee Sun Kyun, Cho Yeo Jeong, Choi Woo Shik, Park So Dam, Lee Jung Eun, Chang Hyae Jin
Runtime: 2 hrs 11 mins
Rating: M18 (Sexual Scene)
Released By: Golden Village Pictures & Clover Films
Official Website:
Opening Day: 27 June 2019
Synopsis: Ki-taek's family of four is close, but fully unemployed, with a bleak future ahead of them. The son Ki-woo is recommended by his friend, a student at a prestigious university, for a well-paid tutoring job, spawning hopes of a regular income. Carrying the expectations of all his family, Ki-woo heads to the Park family home for an interview. Arriving at the house of Mr. Park, the owner of a global IT firm, Ki-woo meets Yeon-kyo, the beautiful young lady of the house. But following this first meeting between the two families, an unstoppable string of mishaps lies in wait.
Movie Review:
There’s a “landscape rock” gift that gets featured early in the Parasite that sits very nicely as a metaphor for the film. It’s a harbinger of prosperity as much as a burdensome weight; physically, an elegant decoration that can also turn deadly. It never changes its state and doesn’t presume to be anything but a rock, but it is the people who hold it that gives it its value, meaning and purpose.
This mutable perspective is what gives Parasite its allure. Bong Joon-Ho’s seventh feature is a genre-defying opus, with plot turns that leaves one breathless and anxious, like rogue waves at the edge of a cliff. It is a sobering commentary on the tenuous relationships we have, as live deals us different hands.
Surprisingly, this narrative doesn’t emerge fully until fairly late in the film, and though peppered with deft script punchlines - Chang Hyae-Jin as the impoverished mother-turned-housekeeper Chung Sook sagely dispenses, “Money is an iron. It smooths out all the creases.” - Parasite never becomes a preach machine, but allows us an uncomfortably front-seat examination through a beautifully voyeuristic camera.
And how gorgeous the scenes play out on camera, handled by Hong Kyung-Po, cradled by an understated but outstanding soundtrack of pulled strings and piano. Tracking shots make the rich Park family’s house look like a stage on which their perfect life unfolds, while generous close-ups let us in on every character’s inner world and shows us their emotional transfiguration and deterioration. This is best seen in the featured impoverished family that manipulates their way into the Park household, and each member brings something to the table. It’s easy to see them as scoundrels and yes - parasites - but their fierce loyalty and unfair circumstances provide room for empathy.
Song Kang-Ho as Ki-Taek, head of the household, is rich with complexity and his festering is a class act to watch. His daughter Ki-Jung (Park So-Dam) adds an icy sassiness that unexpectedly drives many of the motivations, and Chung Sook is a heavyweight in honesty. But Ki-Woo is a delight to watch. The impish and willowy Choi Woo-Shik evolves his character with such tenderness, it can best be described like someone ascending a spiral staircase - slow but glorious. As talented instigator and ruptured youth, Choi’s performance will leave many heartbroken, as someone who justs wants to make good his role as a useful son and future caretaker to his family.
Special mention also goes to Lee Jung-Eun as the fired housekeeper Moon-Gwang. Her limited screen time doesn’t dampen her charisma, and her agenda pivots Parasite on its heels and rapidly unfrays well-laid plans.
Bong’s writing is cutting and cunning, and pulling double-duty hasn’t distracted him in any way. In fact, it’s given him unique access to skillfully balance his storytelling both visually and verbally. Reducing the plot to just “a destitute family schemes their way into a rich household to make a living” would be a disservice, because this is one extravagent and nuanced vehicle. His other titles (Snowpiercer, Okja) have crushed the indigent under the heels of the rich, but Parasite evens out the field somewhat but is clear on its classism. How will this recalibration play out? One can only guess when it comes to the trickster Bong, but what a joy it is to be taken for a ride with him.
Just as it was introduced, our metaphor-rich rock finds itself left in presumably a stream near the end, where running waters will once again reshape the form over an arduous length of time. It is clear though with Parasite’s artful anger that Bong hopes our widening social gaps can be more quickly restored.
Movie Rating:
(Poignant and incisive masterpiece from Bong. The class divide tale is as grim as it comes, and as unexpected a creature as it comes, and lingers under the skin)
Review by Morgan Awyong
If you, like this reviewer, has been a fan of the original Aladdin soundtrack since its release in 1992, you may be skeptical about this updated version. The animated classic is a winner in so many ways, you wonder whether the live action movie will do any injustice to it.
We are happy to report that this is one album you’d want to own if you are a bona fide Disney fan.
The soundtrack features five songs from the animated film, a new tune (cheers to Princess Jasmine), as well as several reprises. Kicking off the lineup is a revised version of “Arabian Nights” performed by Will Smith. The context is quite different from the original. Here, he is a human with his family sailing on a boat and singing about the streets of Agrabah. Mena Massoud then takes over as Aladdin as he runs and pants with “One Jump Ahead”.
Naomi Scott’s female protagonist is put in the spotlight with “Speechless”, the new song that celebrates girl power. Written by Pasek & Paul, the songwriting duo behind the music for La La Land, this fiercely feministic song reminds us of “This Is Us” from The Greatest Showman. Of course, the duet “A Whole New World” is as magical as ever (ZAYN and Zhavia Ward perform the end credits version).
The highlights of the soundtrack are Smith’s rendition of the tunes performed by the late Will Smith in the animated film. “Friend Like Me” is highly infectious, thanks to the Smith’s Fresh Prince influence. You’d tap your toes to the energetic number (there is also an end credits version featuring DJ Khaled). “Prince Ali” is a huge number infusing Middle Eastern flavours and Bollywood elements. It is a sequence we want to watch over and over again.
It is also a good thing that Disney brought back Alan Menken, who composed the score and co-wrote songs for the animated film, for this live action movie. There are 25 score tracks that remind fans of the original music, with new elements incorporated.
This is a delightful soundtrack that deserves a place beside the 1992 album.
ALBUM RATING:
Recommended Track: (5) Friend Like Me
Review by John Li
Genre: Action
Director: John Herzfeld
Cast: Sylvester Stallone, Dave Bautista, Max Zhang, 50 Cent, Jamie King, Devon Sawa, Harry Shum Jr., Russell Wong
Runtime: 1 hr 36 mins
Rating: NC16 (Violence and Some Coarse Language)
Released By: Golden Village Pictures
Official Website:
Opening Day: 4 July 2019
Synopsis:
Movie Review:
If you’ve seen ‘Escape Plan 2: Hades’, you’ll know why this movie is being sold simply as ‘The Extractors’, rather than being associated as the third chapter of the franchise. Yet ironically, its merits are most apparent when compared against its predecessor, which literally lost the plot amidst a frenetic patchwork of half-baked ideas and poorly executed set-pieces. Indeed, to director and co-writer John Herzfeld’s credit, his film is a noteworthy improvement in almost every respect, even though it is really at best a serviceable direct-to-video title.
Series stalwart Sylvester Stallone returns as Ray Breslin, the head of a security firm which specialises in maximum-security prisons, who is forced to confront the sins of his past when the son of his former business partner comes looking for revenge. Those who remember the first ‘Escape Plan’ will know that Breslin had locked said partner in a container on board a MSC cargo ship, and his aggrieved son Lester Clark Jr. (Devon Sawa) has now kidnapped Ray’s girlfriend Abigail (Jaime King). So, as he did in ‘Escape Plan 2’, Ray calls upon his former associate Trent DeRosa (Dave Bautista) for help, this time in breaking into an old prison in Latvia where Abby is being held.
Wait, doesn’t that sound like Ray is breaking in, instead of breaking out, of the prison? Oh yes, there is no escape plan so to speak, given how Ray isn’t the one being imprisoned unlike in the last two movies; in fact, besides Abby, the one who actually needs an escape plan is Daya (Melise), the daughter of tech billionaire Wu (Russell Wong) whose company technology was used by Lester’s father to design the illegal black-site facilities. Lester and his associates (Daniel Bernhardt and Jeff Chase) have also kidnapped Daya, and are demanding a hefty ransom for her return. Luckily for Daya, she has her former head of security Lu (Max Zhang) and her current one Bao (Harry Shum Jr) to come to her rescue.
That is plenty of setup to get through, and the first half doesn’t see much action while Herzfeld assembles the various pieces of the plot in place; notwithstanding, Herzfeld keeps things humming along efficiently, building up the anticipation surely and steadily till Breslin, Lu and Trent actually hit the ground. The other half of the movie is essentially structured around three extended fight scenes – one with Bautista versus Chase, one with Zhang versus Bernhardt, and one with Stallone versus Sawa – that allow each one of the actors to showcase his respective moves; and of them, it is probably not much of a surprise that Zhang’s mano-a-mano is the most impressive of them all.
While it may have started as a vehicle for Stallone to team up with Arnold Schwarzenegger, Stallone was hardly the draw for the previous sequel, and the same can be said here. Granted that Stallone is much more involved in this movie than he was in the previous, the real star here is undoubtedly Zhang, whose agility, ferocity and precision is exhilarating to watch. We wish Zhang were given more time to kick butt, but his introductory scene, as well as that which he goes up against Bernhardt, will leave you in awe. On the other hand, Stallone gets a knife-fight and a punch-fest at best, both of which are clearly designed with the actor’s age in mind.
Frankly, the ‘Escape Plan’ movies were never intended to be more than well-made B-action thrillers, although the last sequel was probably an F-grade movie for that matter. Even with a long (and we mean, really long) list of producers, ‘The Extractors’ was made on a smaller budget than the first movie was, and that is pretty apparent in the choice of locations as well as the settings themselves. And while we’re hoping for more Zhang action, there is no denying it delivers some satisfyingly hard-hitting fights for its fans. This is as good a note as any to end the series, so let it be notice to the producers that there is absolutely no need to go about making a fourth ‘Escape Plan’.
Movie Rating:
(Max Zhang steals the show from Sylvester Stallone in a sequel that redeems the series from its risible second instalment, but is really no more than a well-made B-action movie)
Review by Gabriel Chong
SYNOPSIS: After a car accident kills his loving family, a daring neuroscientist (Keanu Reeves) will stop at nothing to bring them back, even if it means pitting himself against a government-controlled laboratory, a police task force, and the physical laws of science themselves.
MOVIE REVIEW:
Replicas is such a cheap imitation of other superior to average sci-fi movies that we genuinely feel bad for Keanu Reeves who starred in and produced this flick.
With the help of fellow colleague, clone expert Ed (Thomas Middleditch), scientist Will Foster (Reeves) is on the verge of transferring human consciousness from a dead body to a synthetic one though the prologue tells us that the algorithm still needs further tweaking to the displeasure of Will’s boss (John Ortiz).
But time and tide waits for no man as Will decides to take matters into his own hands after a car crash killed his beloved wife Mona (Alice Eve) and their three kids. With time running short, Will and Ed decides to make use of company properties to bring Mona and the kids back to life (not a surprise) by copying out their consciousness and creating clones of his loved ones.
Obviously at this point, as audiences who are fed on sci-fi clone and other similar-themed thrillers liked The Island, I, Robot, Transcendence and Ex Machina, things are bound to go awry in Replicas. Is Mona and the kids going to turn into something sinister? Why is Will saving up his own consciousness?
However, writer Chad St. John and director Jeffrey Nachmanoff has nothing remotely interesting to say despite Will’s frequent mouthing of scientific mumbo-jumbo and blatant display of hi-tech technology on a shoe-string budget. Without much happenings for at least half of the movie, the last act attempts to deliver a half-baked action sequence with Will and family running away from his boss and henchmen. Why? Because apparently the research company is shady and now Will’s loved ones are company properties.
And suddenly out of nowhere, there’s a knock off version of the robot from Will Smith’s I, Robot that appears in the climax that is going to leave you scratching your head or laugh your ass off. Replicas is such a convoluting mess of sci-fi and philosophical drama that not even John Wick can bring it to life.
SPECIAL FEATURES:
The DVD comes with an Audio Commentary with Director Jeffrey Nachmanoff and Executive Producer James Dodson, a 25 minutes worth of The Making of Replicas and 8 minutes of Deleted Scenes.
AUDIO/VISUAL:
Dialogue is clear and there’s a generous amount of surround sound and audio mix. Visual presentation is great if you are a fan of neon colours.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
Genre: Action/Comedy
Director: Kenji Tanigaki
Cast: Donnie Yen, Wong Jing, Niki Chow, Teresa Mo, Louis Cheung, Naoto Takenaka
Runtime: 1 hr 37 mins
Rating: PG13 (Some Violence and Drug References)
Released By: Shaw Organisation
Official Website:
Opening Day: 23 January 2020
Synopsis: Fallon Zhu (Donnie Yen) is a Hong Kong police officer – an agile fighter with a high crime detection rate. Dumped by his fiancée Chloe (Niki Chow), Fallon was heartbroken and started indulging in food. In six months, he became 200+ pounds. His superior, Superintendent Huang, puts him in charge of escorting a convict to Japan. A series of mishaps befall him in Japan; not only did he lose all of his belongings; he also lost the convict in his custody. His luck overturned when he met Thor (Wong Jing), another Hong Kong citizen. The both of them join forces to solve the mystery behind Fallon’s convict’s strange and sudden death.
Movie Review:
If it is indeed true that ‘Ip Man 4: The Finale’ is Donnie Yen’s last Kungfu movie, then ‘Enter the Fat Dragon’ is as promising an entry into the action comedy genre as it gets. Like the classic 1978 Sammo Hung movie of the same name, it is an unabashed tribute to Bruce Lee and his martial arts, which should be apparent from its poster of Yen in Lee’s signature yellow jumpsuit while wielding the nunchaku; oh yes, if that isn’t clear, Yen’s overweight Hong Kong police officer Fallon Zhu openly references that classic Lee film, making no apologies for behaving like the legendary actor in front of the Japanese yakuza while taking them on in the heart of Tokyo.
Besides sharing the same title though, there is little to no similarity between Hung’s earlier movie and Yen’s latest. Whereas Hung was an apprentice pig farmer sent to the big city to help his family, Yen is a 200-plus pound officer who is sent by his good friend and colleague Shing (Louis Cheung) to escort a suspect back to Japan to stand trial for a traffic offence. While Hung’s farmer has to stand up against a gang of thugs causing trouble at the grocery stand where he works, Yen’s officer does so against the yakuza to whom Shing’s friend Thor (Wong Jing) and his lover Christina (Teresa Mo), who operates a Chinese hotpot restaurant in Kabuki-cho, owes money to.
In fact, the over-eager police officer Fallon Zhu is caught up in a lot more than that. The suspect of his assignment, an AV director named Yuji (Hiro Hayama), so happens to be a witness and possess evidence of mob boss Shimakura’s (Lawrence Chou) cocaine smuggling operation at Tsujiki Market, and after escaping from custody, is found beaten and dead in the Tokyo River. Refusing to simply let the case rest, Fallon takes it upon himself to investigate Yuji’s death, incurring not just the wrath of Shimakura’s gang but also that of his corrupt Japanese counterpart Inspector Endo (Naoto Takenaka). To make matters worse, his former fiancée/ actress Chloe (Niki Chow) becomes implicated in it too.
It isn’t surprising that Fallon will make things right both professionally and personally in the same stroke, ensuring that justice is served on Shimakura and patching things up with Chloe by the dramatic finale within the restaurant of and on the stairs of the Tokyo Tower. What is surprising is how beautifully it comes together not just plot-wise but also character-wise, thanks to a polished script co-written by Wong Jing, Philip Lui and Ronald Chan – oh yes, it isn’t just how the series of events leading to Fallon’s depressive binge eating, his encounters with Endo, Thor and Christina, and finally to Chloe’s involvement with Shimakura are plotted nicely, but also how Fallon goes from self-confidence to self-doubt to self-determination.
None of that is handled with a heavy hand; instead, Wong Jing, who co-directs the movie with Kenji Tanigaki, keeps the tone deftly balanced between comedy and drama. There are plenty of hilarious moments, such as how Fallon comments casually during their pre-breakup quarrel how the latter has only one acting expression, or how Fallon celebrates his birthday alone with a candle stuck on top of a polo bun, or how Yuji escapes with literally his pants down on the back of a truck, or how Thor gets high after stealing one of the cocaine-stuffed tuna at Tsujiki for sashimi. Oh yes, it is often laugh-out-loud funny, and Wong Jing does so without ever needing to resort to repetition or exaggeration.
Though ably assisted by supporting players such as Chow, Wong and Mo, the movie belongs through and through to Yen himself, who acts and fights through heavy facial prosthetics and fatsuit as you’ve never seen him done so before. Yen is absolutely and effortlessly endearing as the earnest but unlucky Fallon, who despite the setbacks he has to endure, is down but never out. Yen also brings a heretofore unseen playfulness to the role that is utterly infectious, and you’ll probably be restraining yourself from cheering out loud as he channels his inner Bruce Lee with the yakuza on the streets of and the rooftops over downtown Tokyo.
Speaking of action, Yen himself serves as action director, and together with his regular collaborator Tanigaki as choreographer, devises a couple of inventive sequences both comical and exciting. Among the highlights are a foot dash through the narrow alleys of Tsujiki, a rooftop cat-and-mouse chase in the Kabuki-cho, and an intense mano-a-mano fight between Fallon and Shimakura; in particular, the last, though admittedly indulgent, is deliberately designed to allow Fallon to go full Bruce Lee over his opponent. While brief, you’ll also certainly enjoy Yen’s spiritedness to spoof his own cop movies of the past, with iconic scenes from ‘SPL’ and ‘Flash Point’ re-enacted for some good nostalgic laughs.
Frankly, we’d never expected to enjoy ‘Enter the Fat Dragon’ as much as we did – for one, Wong Jing’s involvement is always cause for caution; and for another, Yen is new to the action comedy genre. And yet, their collaboration here is probably the most inspired you’ve seen from either of them in some time, with Wong regaining the comedic mojo he has arguably lost and Yen in one of his most surprisingly entertaining roles. Not only is it perfect to put you in a jolly mood for the Lunar New Year season, it is also simply one of the best examples of the genre. We’ll gladly enter the fat dragon with this comic ensemble any time of the year.
Movie Rating:
(Hilariously and infectiously entertaining, 'Enter the Fat Dragon' sees Wong Jing at his comedic best and Donnie Yen demonstrate a heretofore unseen flair for action comedy)
Review by Gabriel Chong
Genre: Mystery/Comedy
Director: Chen Sicheng
Cast: Wang Baoqiang, Liu Haoran, Tony Jaa, Satoshi Tsumabuki, Masami Nagasawa, Tadanobu Asano, Tomokazu Miura, Shang Yuxian, Wendy Zhang
Runtime: 2 hrs 15 mins
Rating: PG13 (Some Violence)
Released By: mm2 Entertainment, Shaw Organisation, MCC International, Cathay Cineplexes
Official Website:
Opening Day: 13 February 2021
Synopsis: Following the excitement of first Bangkok and then New York, a big murder case takes place in Tokyo. Chinatown master detectives Tangren (Wang Baoqiang) and Qinfeng (Liu Haoren) are invited to take up the mystery. Adding to the excitement are the other detectives on the CRIMASTER international detective list as well as the current top rank, Q. Yet another hilarious battle of wits is set to take place...
Movie Review:
As with many titles that occur around the lunar new year, Chinatown Detective 3 is a film that is just going for the entertainment jugular. There’s sprawling chase scenes, enough costume changes for a Victoria Secret show, and the involvement of extras the size of a small country.
Not that it’s all bad. This third chapter brings detectives Tang Ren (Wang Baoqiang) and Qin Feng (Liu Haoran), who’s his nephew but really the lead, to Tokyo. It seems the crime lord Noda Hiroshi (Satoshi Tsumabuki) has been falsely accused of murder, but it’s all the more dire because the victim is leader to a Thai triad group.
This lends itself to a script that milks the two cultures for what it’s worth. We get sumo wrestlers and cosplay parades weaved in with moments of Thai appearances, such as the Detective Jack Jaa (Tony Jaa). Some will find enough appropriation in there to start a protest - not to mention Tang Ren’s overt bumpkin accent as a Chinese mainlander - but the audience isn’t really here to be offended, and so it all slides.
Like an extended ad for Japan’s tourism board, Chinatown Detective 3 is rife with scenes and locations from the country. From festival chariots and Mario karts, to an onsen encounter with the yakuza, you’ll be forgiven for forgetting about the story.
Chen Sicheng attempts to string the action-mystery plot together, and to give him credit, the pace is relentless. But sometimes the non-stop visual effect wizardry and OTT acting from his characters is more distracting than what it’s worth. Tang Ren and Jack are almost never really funny, and their slapstick tropes really push beyond their expiry dates.
Luckily, the boyish Qin Feng and frilly local Japanese detective relief us from the antics, and the district police chief portrayed by veteran Tadanobu Asano, is a joy to watch. His simmering performance gives the counter-weight to all the shenanigans the group gets into.
Also enjoyable are some side characters, such as the henchmen of Hiroshi. In perhaps one of the better scenes in the morgue, a giant switcheroo results in a fantastic sequence, helped by the commitment of the goons.
Within this story are sequences that are all about the gimmick. The camera work here moves non-stop, swirling and swooping to give us the feeling of being on a 2-hour rollercoaster ride. CGI comes in spades, sometimes disregarding script logic to just bring in a fancy idea. Again, it is fun to watch, giving visual pleasure if nothing else, but perhaps Chen should have focused more on his decent cast members and given them a better chance to shine, without zooming in and out of their eyeballs.
In the midst, the plot thickens of course, to include twists and surprises. It gets a little too convoluted at times, but again, we are here really not to sit down to a suspenseful expert whodunnit, but a vehicle for a China-made production to go big in scale and laughs. It’s impressive for sure, but it sometimes feels like a pomeranian - all hair, little dog.
Movie Rating:
(If you’re looking for mindless entertainment with plenty of scenic Japan icons, this is it. There’s decent material there, underneath all the fluff, but it often doesn’t surface enough)
Review by Morgan Awyong
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