Genre: CG Animation
Director: John Lasseter and Brad Lewis
Cast: Owen Wilson, Larry the Cable Guy, Michael Caine, Emily Mortimer, Bonnie Hunt, Tony Shalhoub, Cheech Marin, Jason Isaacs, Joe Mantegna, Peter Jacobson, Thomas Kretschmann
RunTime: 1 hr 52 mins
Released By:  Walt Disney Studio Motion Pictures
Rating: G
Official Website: http://m.disney.go.com/m/car/t/index?n=QQ&d=OF&k=2

Opening Day: 25 August 2011

Synopsis: Star racecar Lightning McQueen (voice of Owen Wilson) and the incomparable tow truck Mater (voice of Larry the Cable Guy) take their friendship to exciting new places in “Cars 2” when they head overseas to compete in the first-ever World Grand Prix to determine the world’s fastest car. But the road to the championship is filled with plenty of potholes, detours and hilarious surprises when Mater gets caught up in an intriguing adventure of his own: international espionage. Torn between assisting Lightning McQueen in the high-profile race and towing the line in a top-secret spy mission, Mater’s action-packed journey leads him on an explosive chase through the streets of Japan and Europe, trailed by his friends and watched by the whole world. Adding to the fast-paced fun is a colorful new all-car cast that includes secret agents, menacing villains and international racing competitors.

Movie Review:

It seemed that Pixar could do no wrong. After all, Woody and Buzz’s third adventure as deemed by countless critics (this fan, err, reviewer included) as one of the most perfect films ever made. Earlier in June this year, Pixar fans in America followed Lightning McQueen and Mater on an around the world adventure in the sequel to the 2006 film. Lo and behold, for the first time in Pixar’s glorious history, what looked like a blemish appeared. The latest offering from the award winning animation studio now hold the title of Pixar’s worst reviewed feature film to date.

Two months later, the film directed by Pixar’s honcho John Lasseter gets its theatrical release in Singapore (this is probably another discussion topic for another day, but notice how Pixar’s films often get delayed releases here?). And fans can be assured of this: While the movie isn’t as poignantly affecting as Pixar’s previous works (you must be a mean old Scrooge if you didn’t feel anything during Toy Story 3’s last scene), it is still an entertaining affair that reminds us why the folks at Pixar are the best in the business.

Owen Wilson and Larry the Cable Guy return to voice Lightning McQueen and Mater in this colourful animated movie. They head out of Radiator Springs to compete in the World Grand Prix race. Throw in a couple of British spies, Italian mafia and a motley crew of illustrious vehicles, you’d get a tale of, hold your breath, international espionage that James Bond would be proud of.

Like the Toy Story series, it is evident from this animated feature that the budget to make Pixar movies has gone up. You can expect wondrously animated backdrops which transport you to the familiar sights and sounds of Japan, Italy and England. These countries, with the creative minds at Pixar of course, are “cars-fied” to fit the theme of the movie. It is easy to fall in love with the pop culture references scattered throughout the 106 minute film.

Like the first movie five years ago, this one features many, many, many cars (as well as vessels, jets and trains) that will allow the marketing folks to churn out lots of merchandise (by the time you are reading this, the limited edition vehicle from that crowd scene would probably have been snapped up by die hard toy collectors). Screen thespians Michael Caine and Emily Mortimer join the gang as agents on a mission, together with other recognisable names like John Turturro (as a self absorbed race car), Eddie Izzard (as an oil baron with a secret plan), Jason Issacs (as a spy in the sky – literally), Thomas Kretschmann (as an evil professor) and Vanessa Redgrave (as The Queen herself!).

Fans of Grand Prix races would also have fun spotting celebrities like Jeff Gordon, Lewis Hamilton, Darrell Waltrip and Brent Musburger. We are guessing that these cameos will be lost on many local audiences (not forgetting the kids who may lose interest after a while because all they are getting in this movie are talking vehicles).

Co directed by Brad Lewis, this automobile adventure may be coated with entertaining antics, but it isn’t as affecting as its predecessor. With Paul Newman’s Doc Hudson out of the picture (the veteran actor died three years ago), the theme of slowing down in life to appreciate the finer things is sorely missed too.    

Still, this is one movie well worth your time – especially when you get to see Woody, Buzz and the rest of the gang in the short “Hawaiian Vacation” which precedes the feature.

Movie Rating:

(Though not as affecting as its predecessor, this is still one fun, zippy and enjoyable ride)

Review by John Li
  

Genre: Fantasy/Adventure/Drama
Director: David Yates
Cast: Daniel Radcliffe, Rupert Grint, Emma Watson, Helena Bonham Carter, Ralph Fiennes, Rhys Ifans, Miranda Richardson, Jamie Campbell Bower, John Hurt, Ciarán Hinds, Robbie Coltrane, Warwick Davis, Clémence Poésy, Tom Felton, Michael Gambon, Matthew Lewis, Evanna Lynch, Brendan Gleeson, Alan Rickman, Maggie Smith, Julie Walters, David Thewlis, Bonnie Wright, Jason Isaacs, Timothy Spall
RunTime:  2 hrs 11 mins
Released By:  Warner Bros
Rating: PG (Some Violence and Disturbing Scenes)
Official Website: http://www.harrypotter.com

Opening Day: 14 July 2011

Synopsis: "Harry Potter and the Deathly Hallows – Part 2," is the final adventure in the Harry Potter film series. The much-anticipated motion picture event is the second of two full-length parts. In the epic finale, the battle between the good and evil forces of the wizarding world escalates into an all-out war. The stakes have never been higher and no one is safe. But it is Harry Potter who may be called upon to make the ultimate sacrifice as he draws closer to the climactic showdown with Lord Voldemort. It all ends here.

Movie Review:

An incredible journey that began a decade ago finally arrives at its close with David Yates’ “Harry Potter and the Deathly Hallows: Part II”, as ‘The Boy Who Lived’ comes face to face with ‘He Who Shall Not Be Named’ in an epic showdown between good and evil. And what a showdown it is- tense, thrilling, breathtaking, and fitting of just about any superlative you can think of. Years of waiting and agonising as we watched our beloved characters go through trial after another, separation after another, and yes even death have brought us to this point- and Yates doesn’t disappoint any and every expectation you bring to the door.

Whereas the first instalment of the ‘Deathly Hallows’ emphasised the profound sense of loss and isolation among Harry, Ron and Hermoine as they journeyed on their mission of locating and destroying the Horcruxes (accursed objects containing fragments of Voldemort’s soul), screenwriter Steve Kloves and director Yates leaves behind the moody atmosphere of the previous movie for newfound immediacy  and urgency. This is all about that final battle where only one can live, and from start to finish- for once in a Harry Potter movie- the action is swift and relentless.

Part II picks up right where the previous film left off- the dark Lord Voldemort smiles in evil triumph as he steals the most powerful wand in the world, i.e. the Elder Wand, from the tomb of beloved Hogwarts headmaster Professor Dumbledore (Michael Gambon). The next shot is equally ominous- students are marched rank-and-file through a Hogwarts courtyard, watched closely by cloaked Dementors hovering over the school grounds. If there was any need of a reminder of the danger facing our three protagonists, these opening sequences should just about refresh one’s memory of what is at stake.

There is precious little time to waste, and the first we get to see Harry, Ron and Hermione, they are already hatching a plan to break into Gringotts to retrieve a Horcrux. Their break-in settles upon a plan of deception that allows for some rare moments of levity in the film, as Helena Bonham Carter gets to ham it up as a polyjuice-disguised Hermoine impersonating Bellatrix Lestrange. This being the first ‘Harry Potter’ movie in 3D, Yates caters for some distinctive thrills in the additional dimension with a roller-coaster ride through the vault, culminating in a daring escape on the back of a dragon.

But as readers of the book will tell you, the last stand happens back at Hogwarts, and true enough, after this thrilling early set-piece at Gringotts, the trio head back to the School of Witchcraft and Wizardry to confront their foes. It is also where the last Horcruxes are supposed to be, and Harry’s return to the once sunny and cheery grounds now besieged by darkness and doom becomes a true test of allegiance as Voldemort forces the students and staff to take sides and choose wisely. Courage is ultimately a quality that can only be seen when the circumstance calls for it, and fans will be glad that Kloves gives room for otherwise supporting characters to step into the limelight- in particular, Neville Longbottom (Matthew Lewis) emerges as one of the unlikeliest but also truest heroes on the side of good.

The Hogwarts stalwarts also get a chance to show off their magic, led by the wonderful Professor Minerva McGonagall (Maggie Smith) who mobilises an army of stone warriors to ward off the Dementors. This is the last we’d see these Hogwarts professors- McGonagall, Flitwick (Warwick Davis), Slughorn (Jim Broadbent)- as well as the members of the Order of the Phoenix- Molly Weasley (Julie Walters), Remus Lupin (David Thewlis), Kingsley Shacklebolt (George Harris)- and Yates gives each largely enough screen time for the heroic send-off they deserve.

Yet he reserves the most emotional moment in the film for Severus Snape’s (Alan Rickman) vindication, long thought to be the Judas Iscariot-equivalent in the Order and the one who pushed Dumbledore to his death. With a flashback montage triggered by Harry’s viewing of Dumbledore’s Pensieve, Yates delivers a truly poignant and deeply heartfelt revelation of Snape’s true colours, and it is a farewell that even those who have read the book and can expect what is to come will be overwhelmed by its sheer emotional muscle. While Part II was always meant to be an action-packed spectacle, it is to Yates’ credit that there is still as much heart as before in the storytelling.

Though brief, this revelation also works brilliantly as a catalyst that propels Harry to come to terms with the sacrifice he has to make. This has something to do with the reason why Harry could see into Voldemort’s mind, and Harry’s realization of this leads up perfectly to the ultimate duel between him and Voldemort, one that is fierce, ferocious and- thanks to Yates’ imagination- more exhilarating than reading it off the page. Yes, the thrilling rush puts you on the edge of your seat, and more than ever, you worry about the fates of not just Harry, Ron and Hermoine, but also the rest of the wizarding world for whom this is a life-changing moment.

Indeed, we know it is no more than fiction, but faithful followers of the books and movies will tell you that this is also the pinnacle of a cultural touchstone- and as the posters have so rightly trotted out ‘it all ends here’. The outcome of that battle shouldn’t be a secret by now, and when the ‘happily-ever-after’ coda in Rowling’s book set 19 years later is also faithfully adapted here, you can’t quite help but be moved by how it so properly gives the series closure, coming full circle back to when Harry, Ron and Hermoine were no more than kids making the first of many train journeys at King’s Cross Station and Platform 9¾.

They are of course no longer kids here- Daniel Radcliffe, Rupert Grint and Emma Watson now young adults who have through the film series grown up right under our eyes. While Part I had greater emphasis on Ron and Hermoine, the focus here is squarely on Harry and Radcliffe truly shines in this instalment as his character steps forward to meet what was his destiny from day one. Radcliffe’s usual understated performance works superbly to his advantage here, allowing his audience to appreciate the enormities of the challenge before Harry- and it is an especially poignant sight when he takes in the destruction and the despair of Hogwarts and his friends held siege by Voldemort.

That we can be so fully immersed in Harry’s world is testament to the craft of each and every one of the technical team. Production designer Stuart Craig does a masterful job portraying the devastation around Hogwarts, complimented nicely by Eduardo Serra’s beautiful cinematography and Mark Day’s skilful editing. Alexandre Desplat’s evocative score, which combines his own elegiac work with both the John Williams theme as well as Nicholas Hooper’s mournful composition for the sixth movie, works magic with the visuals.

And most deserving of credit is none other than director Yates himself, who has matured movie after movie to deliver a crowning achievement for the series. This is as yet the most cohesive ‘Harry Potter’ movie yet- well-paced and confidently directed throughout- and perhaps the easiest to follow even for neophytes to the franchise (if there are still any out there who are curious to see this movie). As the producer right from the first movie, David Heyman deserves special mention for the consistency in quality that each of the films has exhibited through Chris Columbus, Alfonso Cuaron, Mike Newell and finally Yates.

Pardon us if we have also taken this opportunity to extol the merits of the ‘Harry Potter’ franchise- it’s really hard not to considering how this is the last time we will see the Potter-world in its current incarnation. It is this to which the movie is a farewell to, and it is as beautiful a farewell as it can be, packed with visual spectacle on a scale never before seen in any of the other films and fused with the same powerful emotion as Part I and the Yates films before. All good- even great- things have to come to an end, so there is really no better way to bid adieu than with this grand and glorious final chapter.

Movie Rating:

(What a way to go out! A culmination of every emotion invested in the series from the very first film, this final chapter is an exhilarating action-packed spectacle that delivers a magnificent finish to the beloved fantasy franchise)

Review by Gabriel Chong

Genre: Thriller
Director: Christian E. Christiansen
Cast: Leighton Meester, Alyson Michalka, Danneel Harris, Cam Gigandet, Minka Kelly, Matt Lanter, Frances Fisher, Billy Zane, Alex Meraz
RunTime: 1 hr 32 mins
Released By:  Sony Pictures Releasing International
Rating: NC-16 (Disturbing Content)
Official Website:  http://www.theroommate-movie.com/

Opening Day: 29 April 2011

Synopsis: "The Roommate" is a psychological thriller about a deranged college freshman, Rebecca (Meester), who becomes dangerously obsessed with her new roommate, Sara (Kelly).

Movie Review:

Sarah and Rebecca find themselves rooming together as they begin their freshman year in college. As they discover in each other mutual interests in art and fashion and share other normal college girl details of self-introduction, they quickly become fast friends. Much to the disadvantage of Sarah’s social life and physical safety, however, the similarities between the two can only end there. Things take a turn downwards when Rebecca forms an unhealthy attachment towards her newfound friend - to put it mildly. To put it horribly, she becomes, erm, plain crazy.

The main barriers that prevent this movie from transcending the forgettable teen thriller status are the typical flimsy teen thriller plot and its logic-deficient teen thriller characters. For one, the story does not seem to try to stop itself from laying out a red carpet for Rebecca to work her madness on as it stumbles from one predictable scene to another. On top of that, those around her seem to encourage her behaviour even more.

According to Hollywood gossip writers, those who do not try hard enough to stop a person from going on a self-indulgent rampage are coined as enablers. One can safely say that all of those people in Rebecca’s life are indeed, whether they realize it or not, enablers. Her super wealthy parents do not exactly keep a tight watch on their daughter’s condition. In fact, her mother could only wonder aloud to Sarah if she had been taking her meds during a Thanksgiving visit. The irresponsible party chick down the hall that left Sarah alone at a club without a ride home gets mentally and physically attacked by Rebecca as punishment, but simply takes her murder threat and slinks away to another college hall without pursuing justice or caring enough to save Sarah. And Sarah herself, seem to accept her roommate’s antics a little too late without listening to the early alarm bells ringing when those close to her – even her pet kitten, gets removed one by one.

Playing the mentally disturbed Rebecca is Leighton Meester – who not ironically, is the resident self-proclaimed crazy b*tch (metaphorically speaking) on television’s Gossip Girl. If there were a highlight throughout the whole movie, it would have to be her performance. She manages to act out normality with a subtle disengagement from reality while keeping her crazy episodes convincing without being over the top. What is missing however is a reason for the audience to sympathize with her. Further elaboration on her condition could have been helpful to make her character more three dimensional and complex.

It does attempt to do so when Rebecca brings Sarah home and they chance upon the former’s high school friend that is played by Nina Dobrev of Vampire Diaries, who hints at some old friendship mishap between the two. This is unfortunately left unexplored by the plot. For those who keep up with American adolescent tv, it should be obvious by now that the teen movie is banking on the cast (Sarah herself, is played by Minka Kelly of Friday Night Lights) to sell itself to the youth demographic. Why? Probably because the makers were not all that confident that audiences would watch it for reasons other than ‘fangirl-ing’ over their favourite pretty tv stars

Movie Rating:



(If dumb teen thriller characters don’t drive you nuts, then enjoy the cheap thrill of The Roommate)

Reviewed by Siti Nursyafiqa

Genre: Thriller
Director: Antti Jokinen
Cast: Hillary Swank, Jeffrey Dean Morgan, Lee Pace, Christopher Lee, Aunjanue Ellis
RunTime: 1 hr 31 mins
Released By:  InnoForm Media & GV
Rating: M18 (Sexual Scene & Some Violence)
Official Website:  www.theresidentthemovie.com

Opening Day: 29 April 2011

Synopsis: Every year, three million single women in America move into an apartment for the first time. They do not know who lived in the apartment before them, they do not know their landlords, and they don’t bother to change the locks. This is the story of one such woman…

After separating from her husband, pretty young doctor Juliet Dermer moves to Brooklyn, settling into a new life in a stunning and spacious loft apartment that seems too good to be true. Mysterious occurrences lead her to suspect that she is not alone in her home and quickly her fears become all too real. In a chilling revelation, she discovers that her seemingly charming, young landlord, Max, has developed a dangerous obsession with her. A terrifying game of cat and mouse ensues as Juliet fights to free herself from Max’s sinister intentions.

Movie Review:

It’s probably no more than coincidence, but still it’s interesting to note how the two movies that have boldly dared to open alongside Marvel’s summer superhero juggernaut “Thor” are both about a woman who becomes the target of someone else’s dangerous obsession within their place of stay. While the stalker is said woman’s new college roommate in the other movie, it is young doctor Juliet Devereau’s landlord here in “The Resident”- and a male at that, in contrast to “The Roommate’s” female.

Juliet is played by Oscar-winning actress Hilary Swank, and while this thriller could not be further from her “Million Dollar Baby”, the box-office reception to her movies in the years since (e.g. “The Reaping”, “Amelia” and most recently “Conviction”) hasn’t been exactly kind. Nevertheless, Swank is more than a competent actress, and she carries the movie skilfully with a nuanced performance as the victim of another person’s mania. Indeed, she lets her audience feel her character’s naivety, helplessness and desperation keenly, which makes the eventual denouement between victim and stalker much more engrossing.

The stalker is the landlord of the building in which she rents an apartment overlooking New York’s East River, having just separated from her boyfriend (Lee Pace). Max (Jeffrey Dean Morgan) at first appears to be the perfect proprietor, ever ready to attend to any problems in her apartment and hunky enough for Juliet to consider as a rebound guy- that is, until she gets cold feet and breaks it off. Big mistake- turns out Max ran into Juliet months ago at the hospital she works, decided he liked her, and deliberately set things up so she would come knocking to rent the apartment from him.

With the villain revealed within the first half-hour of the film, Finnish director Antti Jokinen- who makes her feature film debut- has an uphill task keeping her audience’s attention on Max’s increasingly intrusive and even violently obsessive ways. But Jokinen does an efficient job maintaining the suspense of the film, as we watch Max go from using her toothbrush and lying in the bathroom in the day to caressing her in bed at night after knocking her out with a drug mixture. If the film remains disturbingly riveting, it is because the film plays nicely on its audience’s own fears of home invasion.

Jokinen however reserves any action for the last 20 minutes of the film after Juliet discovers Max’s horrifying secret. It’s an appropriately exciting, and vicious even, finale that uses the labyrinth of hidden passageways behind the walls of the apartment from which Max hides to spy on Juliet to great claustrophobic effect. Despite the visceral thrills, the conclusion leaves something to be wanting- particularly because Jokinen and her co-writer Rober Orr fail to offer stronger motivation behind Max’s obsession.

There are some flashbacks and “Dracula” actor Christopher Lee’s brief supporting role as Max’s authoritarian granddad, but largely the story doesn’t offer enough for us to believe in Max’s lunacy. Morgan too doesn’t command enough menace, and seems more comfortable playing Mr Nice Guy at the start of the film than Mr Crazy Guy by its end. One wonders if it would have been better if the writers had simply left out Max and Juliet’s brief fling and cast someone more credible, like Morgan’s fellow “Watchmen” actor Jackie Earle Haley, as Max.

Yet in spite of its flaws, those looking for a little counter-programming opposite “Thor” should find this a effective thriller that has its moments of genuine suspense and excitement. This is also legendary horror studio Hammer’s third feature film since its recent comeback, and its first in 35 years with Christopher Lee- yet another solid effort after last year’s “Let Me In” and should bode well for their return to mainstream territory

Movie Rating:



(A solid, effective thriller with moments of genuine suspense and a tense, exciting finale)

Reviewed by Gabriel Chong

SYNOPSIS:

A small town singer, Ali (Christina Aguilera), moves to the big city for her chance at stardom where she is enchanted by Burlesque, a glamorous nightclub packed with dancers, sizzling music, and an owner (Cher) in need of a star. Jam-packed with visually stunning musical numbers and an all-star cast featuring Eric Dane, Kristen Bell and Stanley Tucci.

MOVIE REVIEW:

Barely minutes into writer/director Steven Antin’s “Burlesque”, Cher does a show-stopping number “Welcome to Burlesque”, a bold and brassy anthem that reminds us of the enduring presence of the 64-year-old star. It also marks her return to the big screen after a seven-year hiatus and throughout this number, as well as a more sentimental “The Last of Me”, she shows that her legacy in the music world and in cinema is here to stay.

Pity however that Steven gives far less emphasis in his movie to Cher than to the 29-year-old pop star Christina Aguilera. This is a movie built around Christina, and if you aren’t already aware, then Christina will blow you away with her powerful voice and stratospheric vocal range. But for those already familiar with her vocals, “Burlesque” does no favours for her, since the star proves far less impressive as an actress than as a singer.

Christina is the small-time Iowa waitress Ali who relocates to Los Angeles to build her musical career. The title of the movie is also the name of the Sunset Strip nightclub she arrives at, a place of tease where women dressed in lingerie perform show tunes on stage (without any striptease if that’s what’s on your mind) owned by Cher’s Tess. It is also strangely anachronistic, one which belongs more appropriately in the 1980s, and acknowledged as much in a plot thread that sees wealthy businessman Marcus (Eric Dane) trying to buy over the nightclub to build a gleaming high-rise condominium over it.

Marcus is also enamoured with Ali, and thus begins a tussle of affections with the club’s bartender Jack (Cam Gigandet) whose place Ali is staying at after her cheap hotel room gets burgled. Any rags-to-diva story wouldn’t be complete without the requisite threat from the reigning diva, and Kristen Bell’s Nikki completes that story arc. But whether is it the romance or the drama, Steven’s screenplay falls far short in every respect. There is no depth to the characters or the plot, and no attempt at developing either.

Steven is also guilty of under-using veteran supporting players like Alan Cumming and Stanley Tucci. The latter plays Tess’ able right-hand man, and while he gets to play counsellor to Tess when her club is facing imminent foreclosure, it is essentially a thankless role that is no more than a lazy attempt at duplicating his supporting part in “The Devil Wears Prada”. Cumming is given the even shorter end of the stick, utterly wasted as the flamboyant ticket seller of the nightclub stuck behind a booth sans for one dance number.

Cher is the bigger actress among the two, but Steven goes for a younger demographic by making his movie more about Christina than Cher. Unfortunately, both roles- be it Tess or Ali- are equally underwritten, and left up to the individual actresses, Christina pales in comparison. Sure she is amiable enough, but her essentially superficial performance doesn’t allow her audience to share in her struggles, let alone her triumph.

Of course, the inexperience of Steven Antin is all too clear, whether as a screenwriter or a director. “Burlesque” was- at US$55 mil- Screen Gems’ most expensive project to date, but a passion project for Steven who incidentally was Screen Gems chief Clint Culpepper’s boyfriend until budget, schedule and creative decisions led to their breakup after 20 years. That drama alone is more interesting than anything that “Burlesque” has to offer, ultimately amounting to a collection of music videos featuring Christina. But you could have seen those on MTV anyway.

SPECIAL FEATURES :

Writer/director Steven Antin does an Audio Commentary, but it’s hard to reconcile his praise for the project and what you see on screen. The novice filmmaker also reveals his inexperience, and his words aren’t particularly interesting or insightful. The Burlesque Jukebox offers uncut six of the song and dance numbers from the film- and especially enjoyable is Cumming’s number “That’s Life” that’s flamboyant and delightful. There is also a 6-min Alternate Opening reorders the first few minutes of the final cut of the film, but offers little else. The Blooper Reel is blah to say the least.

AUDIO/VISUAL:

Visuals are clean and sharp throughout, and the contrast is great especially during the dimly lit nightclub scenes. The Dolby Digital 5.1 audio however falls short- there isn’t as immersive an effect as should be during the song and dance numbers, and the dialogue is often much softer than during these sequences.

MOVIE RATING:

DVD RATING :

Review by Gabriel Chong

Posted on 7 May 2011

SYNOPSIS:

Greg Focker (Ben Stiller) has finally begun to earn the respect of his ex-CIA father-in-law, Jack Byrnes (Robert De Niro) but one important test still lies ahead: will Greg prove that he has what it takes to be the family’s next "Godfocker" ... or will the circle of trust be broken for good? Returning co-stars Owen Wilson, Blythe Danner, Teri Polo, Dustin Hoffman and Barbra Streisand are joined by newcomers Jessica Alba, Laura Dern and Harvey Keitel in this hysterical family affair.

MOVIE REVIEW:

"Little Fockers" marks the third entry in the successful "Meet The Parents" franchise and frankly speaking, it’s nothing substantial but functions as yet another easy paycheck for the studios behind it.

The decade feud (the first "Meet The Parents" was back in 2000, how time flies!) between ex-CIA agent Jack Byrnes (Robert De Niro) and his son-in-law, Greg Gaylord (Ben Stiller) continues when Jack suspects Greg to be having an affair with a nutty drug rep, Andi Garcia (Jessica Alba). Things escalate to a new high when Pam’s (Teri Polo) long-time admirer, Kevin (Owen Wilson) comes into the picture and Greg finding out the whole truth behind Jack’s ridiculous request of asking him to be the 'Godfocker'.

The original movie was a fun witty look between a nervous, overprotective father watching and examining closely at his prospective son-in-law. The sequel four years later while not exactly matches its predecessor at least manages to skim through. "Little Fockers" in this aspect play out pathetically, milking gags out of reproductive organs and vomit. Note our Board of Censors’ advisory warning: Sexual Humour. Other than a few scenes that induced slight sniggering particularly one at an elite preschool where Greg and Jack are mistaken as lovers by the headmaster, Prudence (Laura Dern), the rest are mostly misses and hardly left much impression.

Sometimes, it’s amazing when you checked out the production facts. A movie liked "Little Fockers" costs US$100 million to make while a much deserving movie liked the recent smartly-written sci-fi thriller, "Source Code" costs only a fraction and you go "What!". You might argue an effects-laden feature costs more and what did Fockers do to deserve such a hefty price tag. The production values such as costume designs, set deco, cinematography are nothing extraordinary except for one thing - the onslaught of inconsequential cast members. Jessica Alba is acting too cutesy for comfort, Harvey Keitel’s contractor role lasts like two minutes, Barbara Streisand and Blythe Danner deserves more screentime and Dustin Hoffman’s appearance here seems to be benefitted from last minute reshoots and contract re-negotiation.

The highlights of "Little Fockers" lie in Wilson’s straight-faced portrayal of the free-spirited Kevin who at least has a longer screentime this round and together with the two child actors playing the young Fockers, they compensate for the increasingly boring and irritable rivalry between De Niro and Stiller’s characters. It’s a pity director Paul Weitz (About A Boy) and original series writer John Hamburg (I Love You, Man) fails to resuscitate a flagging franchise and resort to lame jokes wasting the insane numbers of talent involved.

Despite the lackluster plotting and tiresome gags, "Little Fockers" still raked in three times the dough worldwide. Audience for the fact just loves to be focked. But apparently we don’t.

SPECIAL FEATURES:

7 minutes of Hilarious Gag Reel are at times funnier than the actual shots. The Alternate Opening, "Wedding Dream and Morning Wakeup" might be a funnier choice as compared to the final opening scene at the same time, you can also see why the Alternate Ending, "Treehouse" is smartly dropped. There are 10 Deleted Scenes right here though none really make the final cut. The Making of a Godfocker is the typical interviews and behind-the-scenes feature that last 15 minutes. Bout Time discusses the final fight between Jack and Greg. The Focker Foot Locker is a montage on the trilogy’s overused word, "Focker".

AUDIO/VISUAL:

The visual and audio of "Little Fockers" isn’t that exceptional for such a major production. Visual transfer is acceptable while the Dolby Digital 5.1 is hugely unused with little or non-obvious ambient effects and music score. Dialogue on the other hand remains strong and clear throughout.

MOVIE RATING:

DVD RATING :

Review by Linus Tee

Posted on 6 May 2011

SYNOPSIS:

China is plunged into strife as feuding warlords try to expand their power by warring over neighboring lands. Fuelled by his success on the battlefield, young and arrogant Hao Jie sneers at Shaolin's masters when he beats one of them in a duel. But pride comes before a fall. When his own family is wiped out by a rival warlord, Hao is forced to take refuge with the monks. As the civil unrest spreads and the people suffer, Hao and the Shaolin masters are forced to take a fiery stand against the evil warlords. They launch a daring plan of rescue and escape.

MOVIE REVIEW:

To Chinese audience, the word "Shaolin" is not a strange entity purely for the fact that many will associate Shaolin with Buddhism or Shaolin monks given that, Shaolin monks are frequently featured in martial-arts movies and drama serials on the gogglebox. Especially for the silver screen, a certain superstar called Jet Li will forever be remembered for his breakout role in the 1982 "Shaolin Si".

While this 2011 "Shaolin" has nothing to do with the 1982 original, it marks one of the rare occasions that the Shaolin Monastery has approved the rights of using the name and the making of this movie. Director Benny Chan and his team of writers have concocted a story with its foundation based on Buddhism beliefs and the inclusion of impressive action sequences is a bonus.

Instead of a popular action star in the lead, Heavenly King Andy Lau plays the protagonist, Hao Jie, an ambitious warlord who is bent on land domination. But his plan backfired when he is betrayed by his own subordinate, Cao Man (Nicholas Tse) and puts himself and his family in danger. In an ironic twist of fate, Jie finds solace in the Shaolin temple he once ridiculed though Cao in the meantime is still bent on killing Jie. Instead of a more subtle approach, the plotting showcases plenty of right-in-your-face Buddhism teachings such as karma, meditation and mantras just to name a few. For the less patience and audience who are not incline to Buddhism as a religion or belief might struggle to understand the emotional layers the various characters are facing. Lau’s Hou Jie is a great interpretation of what is karma, however Tse’s Cao lacks the depth and ended up as a mere typical villainous caricature. With no less than 100 movies under his belt, Lau’s performance as Hou Jie is as good as a bottle of fine red wine and proves his acting has matured tremendously for the past decade or so. Tse on the other hand who won accolades for his stints in "The Beast Stalker" and "The Stool Pigeon" turns in an unconvincing portrayal of the psychotic Cao Man. You know twitching eyebrows and cheesy laughter doesn’t equal a villain.

Fortunately, Chan knew where his strength lies and in addition to Lau and Tse, he assembled other great cast members such as the understated Wu Jing (SPL), Yan Neng (Flash Point) as Shaolin monks, Xiong Xin Xin from the "Once Upon A Time In China" series as Cao’s henchman and even Jackie Chan cameos as a cook who has no knowledge of martial-arts but provides most of the comic relief.

It’s definitely a sin not to have any martial-arts sequences given this is one of the aspects that Shaolin temple is famous for thus “Shaolin” obligingly stages quite a number of impressive spectacular sparring scenes (nicely choreographed by Corey Yuen and Nicky Li) showcasing the martial arts talents of Wu Jing and gang. Even at the ripe old age of 50, Andy Lau impresses in his duel with his younger co-star Tse. And for a million bucks, Benny Chan even blown up the authentic sets built instead of using scaled-down models. The production values such as set and costume designs are top-notch and even the Buddhism-influenced theme song "Enlightenment" sung by Andy Lau is catchy.

"Shaolin" on the whole is the perfect antidote for fans who have long craved for a respectable martial-arts movie and also proves that Benny Chan who has earlier embarrassed everyone with his sci-fi fiasco, "City of Siege" has still what it takes to make an entertaining though yet to be a thinking man’s movie. At least, “Shaolin” is what I called a decent apology gift.

SPECIAL FEATURES :

The 23 minutes Making Of feature covers interviews with the cast members including Andy Lau, Fan Bingbing, Nicholas Tse, Wu Jing, Xiong Xinxin, Yan Neng, director Benny Chan and it mainly discusses on the topic of Buddhism in the movie. The DVD is round up with the theatrical trailer.

AUDIO/VISUAL:

Audio is presented in Dolby Digital 5.1 which puts you right in the middle of the mayhem in this rather aggressive soundtrack. Visual quality while not exceptionally whelming is respectable.

MOVIE RATING:

DVD RATING :

Review by Linus Tee

Posted on 2 May 2011

In Spanish with English subtitles 
Genre: Drama
Director: Alejandro Gonzalez Inarritu 
Cast: Javier Bardem, Dianna Agron, Timothy Olyphant, Teresa Palmer, Jake Abel, Kevin Durand, Callan McAuliffe, Beau Mirchoff, Emily Wickersham 
RunTime: 2 hrs 28 mins
Released By: Shaw
Rating: M18 (Some Mature Content and Nudity)
Official Website: www.biutiful-themovie.com

Opening Day: 5 May 2011

Synopsis: Biutiful is a love story between a father and his children. This is the journey of Uxbal, a conflicted man who struggles to reconcile fatherhood, love, spirituality, crime, guilt and mortality amidst the dangerous underworld of modern Barcelona. His livelihood is earned out of bounds, his sacrifices for his children know no bounds. Like life itself, this is a circular tale that ends where it begins. As fate encircles him and thresholds are crossed, a dim, redemptive road brightens, illuminating the inheritances bestowed from father to child, and the paternal guiding hand that navigates life's corridors, whether bright, bad - or biutiful.

Movie Review:

If there’s one thing we cannot put a finger on, it’s this thing called life.

Sure, all of us have had some experiences in life, and if we put them together in a vault of some kind, we are pretty sure that each of us can have some sort of enlightenment learning about others’ life stories. Grim or beautiful, life is only as depressing or happy as we let it be. In other words, it’s all about a choice to dwell on the negatives and ignore the positives. And that is why, while many others will probably see this Alejandro Gonzalez Inarritu directed film indulging in the ugly and gloomy side of life, we chose to see illumination at the film’s 148th minute.

While it is rare that we are tolerant of any movie with a runtime more than two hours these days, this two and a half hour drama is one highly recommended piece of work which we believe should be experienced to learn about the undemanding yet thoughtful beauty we can find in life.  

Mexican director Inarritu directs Oscar winning actor Javier Bardem (No Country for Old Men) in this tale where a cancer ridden father has to deal with fatherhood, love, crime, guilt and morality before he dies. What makes things a little more straining is the complicated and dangerous underworld of Barcelona. 

Essentially, this is a story about what each and every one of us is going through – the struggles to find reconciliation. Of course, people have diverse backgrounds and different individual issues to deal with – but there is something universal about this quest to find balance. With this well made film comes reflection and hopefully, resolution which will make our lives more worthy.

Bardem gives the performance of his lifetime as Uxbal, a man whose days are ending, but continues to fight time to make things right. This is no doubt one of the most well written characters we have seen in cinema in recent times, a protagonist who finds peace amidst the muddling disorders of life. Bardem’s disheveled look and the weary eyes serve him well, as we empathise with Uxbal’s journey through the last days of his life, as he continually gets weighed down by unforeseen circumstances and dismal incidents. However, there is also this glimpse of hope which keeps Uxbal, as well as the viewers, going. And it is probably this masterful portrayal of a conflicted man which earned the Spaniard a Best Actor nomination at the 83rd Academy Awards. The Cannes jury has already recognised his work on the film at last year’s Cannes Film Festival.

He is joined by a capable cast including Dianna Agron, Timothy Olyphant, Teresa Palmer, who are largely unknown faces in our regions.

Inarritu returns to the limelight with a Best Foreign Language Film nomination at this year’s Oscars. This is the Mexican filmmaker’s fourth feature film, after 2006’s Babel. Those who are familiar with his works (2000’s Amores perros, 2003’s 21 Grams) will realise that there is always a rough and grimy undertone in his films. Handheld camera shots accentuate the city’s underbelly, and the lush but mucky urban colours heighten the viewer’s experience. Watch out for a few surrealistically shot scenes which are peculiarly serene. 

The auteur’s latest work also marks a departure with his scriptwriter Guillermo Arriaga after a fall out in 2006. The result is a film which elevates itself when compared to the previous three films. There is an unfathomable energy which brings about enlightenment. As the film ends with a calming white backdrop of snow, you also realise there is hope to be discovered in the disarray and chaos all around us.  

Movie Rating: 



(Discover the beauty of living in this story about a man’s courageous journey through life)

Review by John Li

Genre: Drama
Director: Francis Lawrence 
Cast: Reese Witherspoon, Robert Pattinson, Christoph Waltz, James Frain, Paul Schneider, Hal Holbrook, Tim Guinee 
RunTime: 2 hrs 2mins
Released By: 20th Century Fox
Rating: PG
Official Website: http://www.waterforelephants.com/

Opening Day: 5 May 2011

Synopsis: During the Great Depression, Jacob, a penniless 23-year-old veterinary school student, parlays his expertise with animals into a job with a second-rate traveling circus. He falls in love with Marlena, one of the show's star performers, but their romance is complicated by Marlena's husband, the charismatic but unbalanced circus boss. 

Movie Review:

No, you are not reading a review written by a Robert Pattinson fan. But yes, this columnist gives credit where it is due. And for the record, the man who has made the millions of girls crazy with his soulless portrayal of a charming (but frighteningly pale) vampire can actually deliver a decent performance.

At least that is what we can tell from this film adaptation based on Sara Gruen’s 2006 novel of the same name.

Here, Robert Pattinson discards the white foundation and plays a young man who finds himself on a rickety train after fate surprises him with an unkind twist of events. The train is home to a circus troupe and the veterinary student is put in charge of caring for the circus menagerie. He also meets the charismatic but violent owner of the circus, and his beautiful wife who happens to be the equestrian star of the traveling shows. It is also on this journey he meets an untrained elephant who will become the hope for the fading troupe.

If you ask us, the film does not do much justice to the title of Gruen’s award winning historical novel. Sure, we got the part about the elephants, but where’s the significance of water in the film? We understand (without having read the book) that water is a symbol of purification and self worth, and is portrayed many times in the novel, but we are guessing that director Francis Lawrence (I Am Legend, Constantine) was more concerned about how to make this 122 minute production look beautiful on screen.

Cinematographer Rodrigo Prieto (Babel, Brokeback Mountain) captures the splendour and magic of a bygone era on his lens. With the story taking place in the 1930s, the Great Depression never looked so good on film. With production design, art direction and set decoration by Jack Fisk, David Crank and Jim Erickson (the trio worked on 2007’s There Will Be Blood), and a wondrous score composed by James Newton Howard (The Last Airbender), it is evident that an elite team has been gathered to ensure that production values are top notch. The effort and talent from the production team is evident in the mesmerising and skillfully created scenes. Be prepared to be transported to a world of spectacle and adventure where circus animals and acrobatic acts enthrall.

We don’t mean to point fingers, but the problem does seem to lie with the somewhat unexciting storyline where the character development is predictably dull, and the story plays out in the most conventional way one can imagine (cue a white haired old man reminiscing about his glorious past). It may have helped if there was more chemistry amongst the protagonists too – Pattinson and leading lady Reese Witherspoon (Oscar winner for 2005’s Walk the Line) seem to be playing it safe as the couple embarking on a journey of forbidden love. The sparks between the two are minimal and as good looking as they are individually, the pairing just doesn’t seem to work.

Austria born actor Christoph Waltz (Oscar winner for 2009’s Inglourious Basterds) takes on another Hollywood role and manages to outshine his fellow cast members. His portrayal as Witherspoon’s husband is charming and brutal at the same time. The violent and abusive owner of the circus is a paranoid schizophrenic, and Waltz effortlessly portrays the role so well that audiences can fall in love with his charisma one moment, and loathe his offensive behaviour the next.

Unfortunately, the fine performance by the multi award winning actor isn’t enough to elevate the overstretched movie to a level of spectacle a traveling circus show promises. 

Movie Rating:



(The movie is pretty to look at, and Christoph Waltz delivers yet another fine performance – but that’s about it) 

Review by John Li

Genre: Comics/Action
Director: Martin Campbell
Cast: Ryan Reynolds, Blake Lively, Peter Sarsgaard, Mark Strong, Tim Robbins, Angela Bassett, Jon Tenney, Taika Waititi, Temuera Morrison, Gattlin Griffith, Jenna Craig, Geoffrey Rush, Michael Clark Duncan
RunTime: 1 hr 54 mins
Released By:  Warner Bros
Rating: PG (Some Violence)
Official Website: http://greenlanternmovie.warnerbros.com/

Opening Day: 16 June 2011

Synopsis: In a universe as vast as it is mysterious, a small but powerful force has existed for centuries. Protectors of peace and justice, they are called the Green Lantern Corps. A brotherhood of warriors sworn to keep intergalactic order, each Green Lantern wears a ring that grants him superpowers. But when a new enemy called Parallax threatens to destroy the balance of power in the Universe, their fate and the fate of Earth lie in the hands of their newest recruit, the first human ever selected: Hal Jordan. Hal is a gifted and cocky test pilot, but the Green Lanterns have little respect for humans, who have never harnessed the infinite powers of the ring before. But Hal is clearly the missing piece to the puzzle, and along with his determination and willpower, he has one thing no member of the Corps has ever had: humanity. With the encouragement of fellow pilot and childhood sweetheart Carol Ferris (Blake Lively), if Hal can quickly master his new powers and find the courage to overcome his fears, he may prove to be not only the key to defeating Parallax...he will become the greatest Green Lantern of all.

Movie Review:

After “Thor” and “X Men: First Class”, “Green Lantern” is the third superhero movie in merely six weeks to hit the big screen. But then again, such are the stuff of summer blockbusters, and there was no way DC Comics would let Marvel steal all the thunder without unleashing some of their own. The intergalactic league of superheroes known as the Green Lantern Corps is DC’s answer to Marvel’s dominance in the comic-book superhero genre, and given the 70 years of history that the Green Lanterns have, you’d think that they would stand a pretty good chance to give the incumbent a run for their money.

Alas that is sadly not to be, as Martin Campbell’s adaptation turns out to be at best a mediocre attempt to launch a major fantasy action hero franchise. To be sure, Campbell had the odds stacked up against him from the beginning. Like Iron Man or Thor, Green Lantern was a second-tier DC character- unlike Batman or Superman for instance- so there was the unenviable task of introducing the Green Lantern Corps to many (like this reviewer) who had not read a single page of the comic books.

This first movie was going to have to be an origin story, and that alone explains the lengthy exposition at the beginning explaining the origin of the power of the Lanterns, the planet Oa on which the Lanterns gather, as well as the Lanterns’ arch-enemy Parallax. Into this universe enters the first human, Hal Jordan (Ryan Reynolds), a cocky test-flight pilot following in the footsteps but still haunted from the death of his father during his childhood days. Hal has been chosen by the ring worn by one of the Lanterns’ top fighters Abin Sur (Temuera Morrison), unsure though he may be of his own abilities.

“I, Hal Jordan, pledge allegiance to a green lantern that I obtained from a dying purple alien,” Hal says in a dubious voice. He won’t be alone in his disbelief- you’ve got to admit the very premise sounds cheesy, especially in assuming that a person would so readily believe what an extraterrestrial creature tells him. And one suspects that it is the precise reason why the glib witty Ryan Reynolds was cast in the role- just so his own smart-alecky attitude would reassure the audience that Hal understands the absurdity of it all.

Its tongue-in-cheek sensibility reminds one of “Iron Man”, which so beautifully pulled it off for a rip-roaring adventure. The same however cannot be said of “Green Lantern”, which wavers uncertainly between irreverence and solemnity. The latter is apparent when the film emphasises the size of the threat a recharged Parallax poses not just to the Corps, but also the rest of the inhabitants of the universe. It is also especially sombre when elaborating on the difference between will (the power of the Lanterns) and its diametrical opposite, fear (the power of Parallax).

Campbell struggles to balance the tone of the film, but never quite succeeds either way. The result is a mixed bag that doesn’t quite convey the same gravity in the proceedings as “Thor” or “X Men: First Class”, and yet doesn’t quite achieve the cheeky fun that “Iron Man” and its sequel delivered. In fact, a lot of what takes place on the planet of Oa comes across as hammy, from the Lanterns’ leader Sinestro’s (Mark Strong) inspirational speeches to the rest of the Corps down to their supreme Guardians of the Universe with Martian-like oval-shaped heads and fishbowl helmets.

It’s not as though Campbell and his four writers (Greg Berlanti, Michael Green, Marc Guggenheim and Michael Goldenberg) are unaware. After an initial visit to Oa followed by some Lantern training 101 by the fishlike Tomar-Re (voiced by Geoffrey Rush) and the porcine-like Kilowog (voiced by Michael Clarke Duncan), they confine Hal to the planet Earth for pretty much the middle third of the movie pondering over whether to accept the fate before him. There is just one brief action sequence that we get to see the Green Lantern Corps in action, and the character of Sinestro is underwritten with little more to do than to express his skepticism of Hal’s recruitment into the Corps.

While on Earth, there is a tepid love story between Hal and his childhood friend cum wingman Carol Ferris (Blake Lively) livened only so slightly by Reynolds’ and Lively’s chemistry. There is also a human villain in the form of Hector Hammond (Peter Sarsgard), the son of a politician (Tim Robbins) and a brilliant and nerdy scientist called in to examine Abin’s body. The reason for Hammond’s madness is his exposure to the energy of fear left within Abin, giving him a gargantuan skull with bulging veins in addition to telepathic powers.

Sarsgard may play his villain role with gleeful menace, but that can’t disguise the fact that his character, as well as the strained relationship between him and Hammond Senior, is superfluous. Lively’s character is unfortunately confined to no more than a love interest, leaving Reynolds to do all the heavy-lifting himself as Hal Jordan. And despite the initial fan reaction to his casting, Reynolds is easily the best thing about the film- he has enough screen charisma to carry both the sober and droll aspects of his character.

Besides casting Reynolds in the lead role, Campbell also gets the action sequences right. He exploits Hal’s ability to conjure up any weapon or object to stage some inventive showdowns- especially the climax where Hal comes face to face with Parallax. Yet even this doesn’t go on long enough to satisfy audiences hungry for some loud large-scale action, and there are surprisingly few of these for a summer action blockbuster- the climax is also the first full-fledged battle Hal engages in after accepting his destiny as a member of the Green Lantern Corps.  

Thankfully, Campbell has on board Dion Beebe as cinematographer, and the latter is responsible for some jaw-dropping shots, such as Hal’s flight of exploration around Oa and Parallax’s takeover of downtown Connecticut. Dion also deserves credit for having the foresight to create shots where the post-converted 3D works, and while the extra dimension here certainly can’t measure up to films shot in the format, it definitely fares much better than its Warner predecessor “Clash of the Titans”.

But these are little consolation for a movie that can’t quite find the right balance in tone, and boasts a middling script with half-baked subplots. It lacks the awesome sense of adventure and thrills that a summer audience looks for in a superhero movie, as well as the depth that some have come to demand from such fare thanks to superior genre examples like “X Men: First Class” and yes DC’s own “Batman Begins” and “The Dark Knight”. Especially when it has to differentiate itself from a surfeit of comic-book superhero movies, “Green Lantern” just doesn’t shine brightly enough to make its presence felt.

Movie Rating:  

(Struggling to balance gravitas with self-conscious irreverence, this is an utterly mediocre comic-book superhero movie that fails to live up to its hype)

Review by Gabriel Chong