SYNOPSIS: While gathering evidence to support closing a tropical U.S. Air Force base, a by-the-book congressional aide warms to its big-hearted captain.
MOVIE REVIEW:
Just a week ago we reviewed Holidate, the sort of Christmassy festive formulaic romantic comedy which you encounter year after year. And now Netflix has come up with Operation Christmas Drop, yet another Christmassy festive formulaic romantic comedy.
Erica (Kat Graham from The Vampire Diaires), a high achiever, congressional aide is tasked by Congresswoman Bradford (Virginia Madsen) to go to Guam to report whether is it feasible to close down the air base for budgetary reasons. Air Force Captain “Klaus” (played by former child actor and Vikings star Alexander Ludwig) is thus assigned by his commander to bring Erica around the base hoping that she will put in some favourable words in her report. You know what to expect when the man has a charming wide smile that is hot enough to melt half of Antarctica.
Of course, the strong-willed Erica will see herself melting soon under the charm of “Klaus” when she sees that the man actually has a big heart and Operation Christmas Drop actually has more meaning than mere wasting of army logistics and manpower. Oh let’s not forget a beautiful snorkelling session and a makeshift Christmas party which brought back to mind Erica’s Christmas spirits.
Beneath all the expected sweetness and bickering, Operation Christmas Drop is actually inspired by a real humanitarian effort which brings supplies to residents on the many tiny islands of Micronesia. The tradition started way back in 1952 and is still a continuing effort by the US, Japanese and Australian armies. It’s a humanitarian effort and also serves as training exercise for the airmen and women. Does Erica and Congresswoman Bradford has a chance of shutting it down? Nah not a chance. We will always have the magical Christmas miracle and handsome hunky Captain “Klaus” to thank for.
This is very much a picturesque romantic flick set in tropical Guam. Blue sunny sky, warm blue sea, eye candy in the forms of Graham and Ludwig. There isn’t much left in the cinematography department because the location and the leads already did half the job.
Because there is an actual inspiring story behind the not so actual love story, we are going to generously give it a star more if you want to compare this to Holidate. In the end, Operation Christmas Drop is a traditional holiday rom com that can be enjoyed by everyone while you devour your turkey and indulge in your red wine selection. Once a while, we wouldn’t mind a predicable happy ending love story.
MOVIE RATING:
Review by Linus Tee
Genre: Drama/Romance
Director: Hong Khaou
Cast: Henry Golding, Parker Sawyers, David Tran, Molly Harris
Runtime: 1 hr 26 mins
Rating: M18 (Some Homosexual Content)
Released By: Shaw Organisation
Official Website:
Opening Day: 12 November 2020
Synopsis: Kit (Henry Golding, CRAZY RICH ASIANS) returns to Ho Chi Minh City for the first time since he was six years old when his family fled the country in the aftermath of the Vietnam-American war. Struggling to make sense of himself in a city he’s no longer familiar with, he embarks on a personal journey across the country that opens up the possibility for friendship, love and happiness.
Movie Review:
‘Monsoon’ is as far from the breezy ‘Crazy Rich Asians’ as it gets, so those expecting its star Henry Golding to reprise a similar role as the sleek plutocrat Nick Young from the latter will likely be sorely disappointed. Instead, Golding is here playing a somewhat disillusioned immigrant named Kit, who returns to Saigon where he had lived as a child to rediscover his past, his identity and his next steps.
Unfolding at a very deliberate pace, writer/director Hong Khaou’s sophomore feature (after his 2014 debut ‘Lilting’) aims for a thoughtful and meditative piece which demands that you pay close attention to its subtleties in order to understand what is being conveyed. You’ll have to be observant to catch Kit’s discomfort when he finds himself unable to communicate with his aunt because he no longer speaks Vietnamese; just as well, you’ll have to discern why Kit’s aunt frowns when he gifts them a water bottle that has a filtration device attached.
Helping Kit on his voyage is his second cousin Lee (David Tran), whose family had stayed in Vietnam all this while and who now runs a modest mobile phone business. That latter detail is important later on to understand why the reunion between them is somewhat fraught throughout, as if Lee is both curious yet resentful to welcome Kit back. It is only at the end that we find out why Lee is behaving that way, so like we said, you’ll have to have the patience to sit through many slightly awkward exchanges before finding out why they were that way.
Much less ambiguous, though handled with the same minimalism, is Kit’s sexuality – primarily through his hookup with Lewis (Parker Sawyers), who had moved to Saigon just months ago to set up his clothing business. Lewis’ father had fought in the Vietnam War, and like Kit, his unacknowledged baggage continues to weigh on him. In time, both will come to challenge each other to come to terms with their personal demons, and the relationship forged between them is quietly affecting.
‘Monsoon’ plays out largely as a three-hander between Kit and Lee, as well as between Kit and Lewis. Most of the other supporting characters are fleeting, with the exception of Linh (Molly Harris), a local art curator who steadfastly refuses to follow in her parents’ footsteps in the tea scenting business; there is a fascinating scene which sees Kit being invited to a scenting session with Linh and her folks, surrounded by flowers at their feet.
Contrary to what its title may suggest, there is no tempest of emotions or any sort of outpouring throughout the entire 86-minute duration; indeed, it can feel much longer if you’re not in the right frame of mind, given how measured it is paced. It also refuses to dramatise the internal struggle within its characters, which can therefore feel vague and sometimes frustrating to get. But if you’re willing to accept it on its terms, ‘Monsoon’ can be lyrical, nuanced and even beautifully resonant, each of which can also describe Golding’s change of pace but no less compelling leading turn here.
Movie Rating:
(As far from 'Crazy Rich Asians' as you can imagine, 'Monsoon' sees Henry Golding in a wholly understated, yet nuanced and poignant turn, as a gay Vietnamese immigrant returning home to do some soul searching)
Review by Gabriel Chong
Genre: Sci-Fi/Drama
Director: Justin Benson, Aaron Moorhead
Cast: Anthony Mackie, Jamie Dornan, Katie Aselton, Ally Ioannides
Runtime: 1 hr 42 mins
Rating: NC16 (Drug Use and Coarse Language)
Released By: Shaw Organisation
Official Website: https://www.facebook.com/synchronicmovie
Opening Day: 19 November 2020
Synopsis: Anthony Mackie (AVENGERS: ENDGAME, CAPTAIN AMERICA) and Jamie Dornan (FIFTY SHADES OF GREY) star as New Orleans paramedics who encounter a series of horrific deaths linked to a designer drug. In a perfect storm of personal crises, their friendship and families are ripped apart by the mysterious pill’s bizarre effects.
Movie Review:
Just liked the recent Project Power and Limitless, the premise of Synchronic revolves around a mysterious designer drug that has the possibility of either leaving you dead, burnt, stabbed or confused once consumed. It sounds promising and cool for an indie sci-fi thriller though the end result is frustratingly inadequate.
Ambulance paramedics Steve (Anthony Mackie) and Dennis (Jamie Dornan) are both buddies at work and off work. While on duty, the duo discovered a new drug is on the loose causing gruesome deaths and injuries to those involved. Soon, Steve incidentally discovers the pill dubbed Synchronic is sort of a “time-travel” drug from the creator himself.
But wait before any excitement kicks in, we get to know that ladies man Steve is actually dying from a brain tumour. His white man buddy on the other hand, is facing some marital issues with his wife and his rebellious teenage daughter, Brianna is supposedly missing after taking Synchronic at a party.
It’s not the science or drug that is crucial here but the dynamism of the characters and sometimes thought-provoking ideas. Mackie and Dornan are solid in their performances. Their exchanges are genuinely effortless given that more than half of the story is dedicated to their characters development.
Mackie gets the jackpot however as he is given the chance to shine in a challenging role that is comparable to the one in Altered Carbon. Steve Dannelly is a lonely man at heart, seemingly unable to commit fully to a relationship. He is also kind of envious of Dennis having a perfect family, loving wife and kids. When his sickness brings him to the brink of death, he realised he can make use of Synchronic to save the life of Brianna whom he believed is trapped in a time warp.
Instead of blessing the user with unlimited superpowers or intelligence, Synchronic brings one to a specific point in the past. It can be the civil war, ice age or a crocodile infested swamp in New Orleans. A different spot in the same house can transport you to a different timeline. And you can’t choose where you want to go and you need to back in the same spot in a specific amount of time or risk being trapped forever. In any other movies, this might be an opportunity for the filmmakers to deliver a frenetic action thriller. Indie filmmakers Justin Benson and Aaron Moorhead prefers to indulge the viewers in an intriguing experience rather than mere adrenalin rush.
The time travelling allow our African-American protagonist to learn and experience about culture, racism and hostility. This is definitely not on the level of back-to-the-future kind of goofiness. Rest assured Justin Benson and Aaron Moorhead are bent on delivering a far more unique, creative vision and perspective on time travel.
Like any other Hollywood movies be it indie or blockbusters, Synchronic is big on mind-bending ideas but the end product fails to deliver anything remarkable or sensational. The finale does delivered a righteous ending to the character Steve and perhaps a subtle message about abusing drugs. While the flick does have some interesting moments, it doesn’t quite live up to the hype of time-travelling on a pill.
Movie Rating:
(If you are in a mood for a taxing, moody sci-fi, try Synchronic today)
Review by Linus Tee
Genre: Drama
Director: Jessica Swale
Cast: Gemma Arterton, Gugu Mbatha-Raw, Penelope Wilton, Tom Courtenay, Lucas Bond, Dixie Egerickx
Runtime: 1 hr 39 mins
Rating: R21 (Some Homosexual Content)
Released By: Shaw Organisation
Official Website:
Opening Day: 19 November 2020
Synopsis: SUMMERLAND follows the story of fiercely independent folklore investigator, Alice (Gemma Arterton, HANSEL & GRETEL: WITCH HUNTERS) who secludes herself in her clifftop study, debunking myths using science to disprove the existence of magic. Consumed by her work, but also profoundly lonely, she is haunted by a love affair from her past. When spirited young Frank (Lucas Bond), an evacuee from the London Blitz, is dumped into her irritable care, his innocence and curiosity awaken Alice’s deeply buried emotions. Bravely embracing life’s miraculous unpredictability, Alice learns that wounds may be healed, second chances do occur, and that, just perhaps - magic really does exist.
Movie Review:
‘Summerland’ rests entirely on the shoulders of its lead actress Gemma Arterton, and as long as you don’t mind an all-too-neat British picture, you’ll find playwright-turned-filmmaker Jessica Swale’s debut an amiably sentimental World War II drama.
Arterton plays the cantankerous scholar Alice Lamb, who lives in a picturesque cottage on the Kent coast as she writes about myths and legends, including the one from which the movie draws its title. Alice makes no attempt to hide her disdain of children in general or the other locals from the country village where she goes to for her groceries, and in turn, she is both greeted with disapproval as she makes her way around the village or worse called a “witch”.
As fate would have it, Alice is compelled to billet an adolescent boy named Frank (Lucas Bond) who has been evacuated from London; and though she doesn’t want him, Alice takes him in on account that she would be relieved of him in a week’s time. Of course, there is much more to that than meets the eye, which is the subject of the latter half of the film.
But the inevitable bond which forms between Alice and Frank is the focus of the first half, one which brings on flashbacks to an inter-racial, same-sex relationship between Alice and Vera (Gugu Mbatha-Raw) many years back. Those hoping for a more passionate account of the latter will no doubt be disappointed – not only is Raw woefully underused here, Alice’s ill-fated romance with Vera is handled in a surprisingly timid fashion.
What is clearer and more compelling though is the surrogate maternal bonding that occurs amidst Alice’s reintegration into the community, which happens in parallel with Frank’s budding friendship with the offbeat tomboy Edie (Dixie Egerickx). These scenes unfold with their own sense of pace and rhythm, and as prettified as it may be, there is an undeniable appeal to the bucolic portrait of rural England in wartime.
Swale though goes heavy on the plotting in the third act, throwing in tragedy, revelation, a runway attempt and even a bombing as secrets are unearthed and pasts are confronted. It is more than a little too convenient to be convincing, but as we said from the beginning, Arterton holds it all together with a perfectly nuanced turn balanced between vulnerability and resilience. Thanks to her grounded performance, the movie never quite becomes too cloying for comfort, even as it is ultimately too artificial to be historically plausible.
Credit though must be given to DP Laurie Rose, whose lush cinematography bathes the movie in seablown watercolours and makes it look as pretty as you can imagine. Indeed, if it isn’t yet obvious, ‘Summerland’ is intended to be heartwarming and soothing, the sort of British drama which brims with genteel sentiment; and don’t get us wrong, there is absolutely nothing wrong with such a picture, not least in these trying times.
Like its title therefore, ‘Summerland’ comes off less gritty than airy-fairy, but as long as you know you’re going into a somewhat soapy war drama, you probably won’t mind the ride. Arterton is wonderful in the movie, which is enough for you to overlook the cliches and contrivances that threaten to undermine its plotting. Without being a fairy tale, ‘Summerland’ tries to come as close as it can, and we suspect some won’t mind its sweet picture-book charms.
Movie Rating:
(True to its title, 'Summerland' is a fairytale-like WWII drama bathed in genteel sentiment that rests squarely on the shoulders of its lead star Gemma Arterton)
Review by Gabriel Chong
Genre: Romance/Comedy
Director: Chen Yu-hsun
Cast: Liu Kuan-ting, Patty Lee, Duncan Lai
Runtime: 2 hrs
Rating: PG
Released By: Shaw Organisation
Official Website:
Opening Day: 12 November 2020
Synopsis: Hsiao-chi (Patty Lee) is a young woman who always rushes and gets things done quickly. However, she has made no progress in her love life and remains single in her late twenties. Every day, Hsiao-chi repeats the same work at the counter in the post office. Amongst all sorts of customers who Hsiao-chi has to deal with is a bus driver called Tai (Liu Kuan-ting); Tai is as slow as a sloth and comes to Hsiao-chi in the post office to send a letter by ordinary delivery every day. Longing for a romance, Hsiao-chi cannot believe that handsome Wenson (Duncan Chou) chats her up and asks her out. As Valentine’s Day is approaching, Hsiao-chi looks so much forward to going on a date she has dreamt of, but to her astonishment, Valentine’s Day has disappeared when she wakes up from sleep!
Movie Review:
It is easy to see why Taiwanese filmmaker Chen Yu Hsun’s latest work is a crowd favourite. The comedy drama features quirky characters (a girl who reacts to everything faster than others, and a boy who reacts to everything slower than others), a delightful time warp storyline (a girl who has seemingly lost a day in her life, and a boy who seemingly gained a day in his life), likeable leads (Patty Lee and Liu Kuan Ting deliver winsome performances) and last but not least, a bittersweet romance (will the two protagonists get the happy ending they deserve?)
The movie’s Chinese title means “The Missing Valentine’s Day”. The film starts off by presenting one perspective and through the clever removal of one Chinese character, presents the first segment as “The Missing Person”. The second portion of the movie is seen through the eyes of another character, and again, through a clever word play of the Chinese movie title, we see the story of “The Missing Storyline”.
Without giving away too much, the movie follows the lives of a young woman who works in a post office. She is making no progress in her love life despite being fast in everything. A dashing fitness coach appears in her life and it seems like love will blossom between the two, as they agree to take part in a Valentine’s Day relay. Elsewhere, there is a young man who repeatedly appears in the post office to sends letters. He carries a camera and one wonders why he doesn’t just drop his letters in a postal box.
Things get interesting with the titular missing Valentine’s Day, strange sunburns, a bashed up face and a mysterious photo taken by a beach.
The 120 minute movie engages you from start to finish, as the story unravels in a fantasy like manner. Lighthearted and easy to watch, the film also gets in touch with your emotions to think about all the possible relationships you might have lost and gained in your life. You’d be smiling when a whimsical song titled “Lost and Found” plays over the film’s end credits after two hours.
While Lee is not your usual gorgeous female lead, she is adorable for this role. When the character calls in to her favourite radio show to talk about how she may have finally found the love of her life in a handsome man (you can tell Duncan Chou is going to be douche bag the moment he appears on screen), you want to root for this girl.
Liu, who has been appearing in many well received Taiwanese movies (Silent Forest, Classmate Minus) after his win in the Best Supporting Actor category (for his performance in A Sun) at last year’s Golden Horse Awards, is perfect as the guy you’d want to rely on. When the story reveals why his character has been religiously appearing at the post office, you’d want this dude to be your best buddy.
Chen, who gained recognition for his 1995 comedy drama Tropical Fish, has helmed other charming titles like Zone Pro Site (2013) and The Forgotten Village (2017) which leave viewers reflecting on larger issues than the apparent laughs and entertainment from the movies. With this film which has garnered 11 nominations at the 57th Golden Horse Awards, Chen has delivered another commercially and critically successful hit.
Movie Rating:
(A delightful comedy drama that will win you with its affectionate charm)
Review by John Li
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57TH GOLDEN HORSE AWARDSPosted on 22 Nov 2020 |
SYNOPSIS: Tianhuo Island is as beautiful as a paradise. It almost makes people forget that it is located in the "Ring of Fire" the world-famous Pacific Rim volcanic belt. The volcano erupted, and the fate of the people in the island was entangled.
MOVIE REVIEW:
Simon West who is known for helming mega action blockbusters such as Con Air and Tomb Raider followed the footsteps of Renny Harlin to venture to China to carve out another career opportunity. Skyfire marks his debut feature in the Chinese Kingdom after suffering a string of flops in Hollywood.
Starring Hannah Quinlivan or better known as Mrs Jay Chou and Wang Xueqi, the story of Skyfire can be roughly summarised as Jurassic World meets Volcano just minus the dinosaurs of course. Wang Xueqi’s Li Wen Tao is a volcanologist who lost his wife on a volcanic island named Tianhuo decades ago. Her daughter, Xiao Meng (now played by Quinlivan) has an estranged relationship with his father as a result. Hoping to make her late mother proud, Xiao Meng who grows up to be a volcanologist as well is now working as part of a hired crew on Tianhuo to investigate the now dormant volcano.
Because businessman Harris (Jason Isaacs) is too busy to catch Jurassic World: Fallen Kingdom, he feels it’s a brilliant idea to build a luxury resort on Tianhuo which he proudly declared to potential investors is run on geothermal energy. Equipped with a state-of-the-art cable car system to bring guests to experience the picturesque view of the island and volcano, Harris is more interested to expand his resort than listening to experts that the volcano is going to erupt anytime. And we are pretty sure you know the drill.
Skyfire plays out liked a typical Hollywood blockbuster, lean on character development but generous on CGI and explosions. Once the larva starts spewing, the action goes full throttle as Xiao Meng and her gang has to get from one point to another across the island on a seemingly indestructible jeep. But before that, there is a somewhat thrilling cable car sequence mar by less than decent visual effects although frankly speaking, the effects on the whole are rather eye popping for a non-Hollywood title.
West and scriptwriter Bu Wei dishes out the minimum to keep the story moving to its expected finishing line. There is obviously the father-and-daughter story arc which veteran Wang Xueqi portrays a man who is out to take charge of things and making sure his only daughter is safe from danger. Then there is Shawn Dou’s Zhengnan, the hunky young man who can get everyone out of any sticky situation and a gung-ho Xiao Meng who has no qualms climbing out of a moving vehicle to remove some obstacle.
Skyfire is a standard disaster movie moulded in the same form as Volcano and Dante’s Peak. It boasts nothing except sprawling action sequences and a serviceable plotting. This is pure escapism courtesy of the Oriental. Another worthy fact, Jay Chou appears in the end credits singing the movie’s theme song. At least you know you know you are getting a bonus feature.
MOVIE RATING:
Review by Linus Tee
Genre: Drama
Director: Cheng Yu-chieh
Cast: Mo Tzu-yi, Chen Shu-fang, Bai Run-yin, Yao Chun-Yao, Jay Shih, Wu Pong Fong, Nelson Shen, Wang Ko-Yuan
Runtime: 1 hr 46 mins
Rating: R21 (Homosexual Theme)
Released By: Clover Films and Golden Village Pictures
Official Website: https://www.facebook.com/DearTenant/
Opening Day: 3 December 2020
Synopsis: Yo-yu is a nine-year-old orphan who lives with his grandma and Mr. LIN, the tenant in their rooftop flat. LIN looks after Yo-yu and tends to the daily needs of Grandma, who suffers from late-stage diabetes. In everyone’s eyes, LIN is a kindhearted gentleman. But when Grandma passes away, everything changes. Yo-yu’s uncle, Li-gang, returns to Taiwan only to discover that ownership of Grandma’s apartment was transferred to Yo-yu, who has been legally adopted by LIN. In other words, the property is now effectively under LIN’s control. Li-gang contacts the police with his suspicions. An autopsy finds narcotics in Grandma’s system at the time of her death, prompting an investigation that reveals a very different side to LIN. Police recover a deleted gay sex app on LIN’s cell phone, and one of his hookups turns out to be a drug dealer. Just as he is about to be arrested for Grandma’s murder, LIN takes Yo-yu and flees deep into the mountains…
Movie Review:
Taiwan is known for its progressive LGBT rights. Both male and female same sex activity are legal and in a historical moment, same sex marriage was legalised on 24 May 2019. With that, many films depicting LGBT themes have emerged, and the topics explored are often poignant and relevant. While these are not mainstream titles we get to watch in Singapore, we are heartened to see some of them (usually the award winning ones) screened in local theatres. This film from Cheng Yu Chieh is a nice welcome to the slate of Asian films we have been getting on our big screens.
The story’s protagonist is Lin, a gay man who is selflessly caring for his dead lover’s elderly mother and young son born by his ex wife. He cooks meals, attends to the diabetic lady’s wounds and medication and brings the boy to school. This is an individual who isn’t directly related to the family (he is the titular tenant of the apartment), but is unconditionally attending to a grumpy woman who is resenting Lin for the death of her son, and a boy who isn’t exactly clear about the relationship between his deceased father and Lin.
The 106 minute drama isn’t exactly the happiest film you’d see this year. It is a slow burner, and here is much despair and sorrow. Lin still faces prejudice from a misunderstanding society, and he takes it all. Granted, he isn’t a saint (we see him meeting a drug peddler for sex through a dating app, which ultimately results in a tragedy), but the story paints him as a character who is often at the receiving end of things, and he is going through a great deal of pain.
Furthermore, Lin is portrayed by Mo Tzu Yi (whom you may remember from Wee Li Lin’s 2010 movie Forever also starring Joanna Dong), who delivers a quiet but powerful performance as a long suffering gay man facing discrimination from people around him. Veteran actress Chen Shu Fang plays the old woman, and aces the role with her limited screen time. The character’s initial angst slowly turns to acceptance and forgiveness, and Chen commands the screen in every scene she’s in. The two of them deservingly received the Best Actor and Best Supporting Actress at the recent Golden Horse Awards. Mo was also recognised in the same category at the Taipei Film Festival.
Lin is a piano teacher, which gives the film an opportunity to move viewers with many minimal but touching piano scores. They all hit the right emotions - the main theme will stay in your head as the film ends with a version sung by the boy played by Bai Run Yin. Fran, the movie’s composer, took home the prize for Best Original Film Score at the Golden Horse Awards.
The movie takes its time to tell its story, and there are several flashbacks which may tire the impatient viewer. There is also a plot twist which isn’t surprising, but heartbreaking to see it happening on screen. Our advice: settle yourself down before watching this tenderly melancholic film about love in a non traditional setting.
Movie Rating:
(A tender and emotional film that features strong performances by Mo Tzu-yi and Chen Shu-fang)
Review by John Li
Genre: Fantasy
Director: Song Haolin, Yi Liqi
Cast: Li Xian, Chen Li-nung, Hani Kyzy, Pei Kuishan, Jiang Chao, Zhang Chenguang, Li Xiaochuan
Runtime: 2 hrs 5 mins
Rating: PG13 (Some Violence)
Released By: Clover Films and Golden Village Pictures
Official Website:
Opening Day: 10 December 2020
Synopsis: A story of friendship follows a scholar and a fox demon who both have to undergo their own trials. Upon realizing that the key to immortality is right in front of his eyes, what kind of choice will the fox demon make? Poor scholar Wang Zijin (Chen Li-nung) is on the way to the capital for the civil examinations when he draws the attention of young fox demon Bai Shisan (Li Xian). As a rite of passage, Bai Shisan has travelled to the human world to obtain the soul bead of his target in order to achieve immortality. When he finds Wang Zijin, he is but a curious scholar who is fascinated by stories of ghosts and demons. The two become travel companions as they embark on a magical adventure.
Movie Review:
In the myth-rich troves of China folklore, there are likely a million entities written about to bless, curse, scare or just remind us what it means to be human. At this intersection of the godly, demonic and human natures, storytellers have been seeking to investigate ethics and morals, while offering up philosophical revelations. They are like the fables of the A Thousand and One Nights, Hans Christian Anderson, or the Brothers Grimm - stories show up our humanity, but are often coloured by fantastical elements.
For Soul Snatcher, the protagonist is a fox spirit named Bai Shisan (Li Xian) - a rascally if good-natured demon who is hoping to attain immortality. His mission? To obtain a soul bead from his assigned victim. And if that bead happens to be the rare white kind that appears only once every 800 years, then he catapults himself into the ranks of the most powerful of his kind - a nine-tailed white fox.
Gullible and naive, his subject is the goofy scholar Wang Zijin (Chen Li-nung), and given his pliable nature, seems to be easy bait. If it were any other fox spirit candidate, the poor Zijin would have been hoodwinked within a day (they are masterful tricksters, you see) and we would have a movie lasting only 30 minutes long. But because Shisan is just as kind-hearted, he struggles to find a way to extract the bead without destroying his growing friendship with his target.
Luckily for us, directors Song Haolin and Yi Liqi pepper the film with an unctuous amount of scenic visuals. Misty mountains, haunted study halls, even a whimsical brothel with a lotus spirit, the settings here are drenched with lavish CGI and gorgeous art direction. Even simple scenes of the two floating on a boat while on their way to the imperial examination town is painfully picturesque. But therein is part of the problem.
Soul Snatcher is soaked in its purpose to astound with its visuals, a common application in commercial titles coming out from China in the last few years. And while by itself, that is a plus, the heightened state actually turns on itself, hitting a plateau halfway through the film. Yes it’s pretty, but we saw that already.
And this preoccupation on the visuals has affected the story somewhat. Because the two don’t actually seem to be on a real journey, but moving through a script designed to make them step into the next big special effects showcase.
Even if the bright-eyed Li does manage to charm with his impish expressions, his co-stars fail to provide any chemistry with their flat characters. Especially for Chen, his Zijin is simple to the point of being unlikeable, alternating between wailing or being petulant for most parts. A pity, because when that rare scene comes and he actually speaks beyond a few lines and goes into a monologue, he finally begins to resemble what he was meant to represent - a human.
Soul Snatcher is beautiful no doubt, and even dips its toes a little into the BL (boys’ love) territory (“my second wish is for you to get better,” Zijin said to Shisan on their boat), currently trending in global entertainment, but this tale of sacrifice and friendship needs more emotional currency with better story development to make that happen.
Movie Rating:
(A mythic fantasy that pours on the visuals but loses out on plot)
Review by Morgan Awyong
SYNOPSIS: A musical adventure and a visual spectacle for the ages, Jingle Jangle: A Christmas Journey is a wholly fresh and spirited family holiday event.
Set in the gloriously vibrant town of Cobbleton, the film follows legendary toymaker Jeronicus Jangle (Academy Award winner Forest Whitaker) whose fanciful inventions burst with whimsy and wonder. But when his trusted apprentice (Emmy winner Keegan-Michael Key) steals his most prized creation, it’s up to his equally bright and inventive granddaughter (newcomer Madalen Mills) — and a long-forgotten invention — to heal old wounds and reawaken the magic within.
From the imagination of writer-director David E. Talbert, Jingle Jangle: A Christmas Journey reminds us of the strength of family and the power of possibility. Featuring original songs by John Legend, Philip Lawrence, Davy Nathan, and "This Day" performed by Usher and Kiana Ledé.
MOVIE REVIEW:
‘Jingle Jangle: A Christmas Journey’ is among one of Netflix’s big-budget seasonal offerings, and no matter what reservations you may have over its candy-coloured overstuffed revelry, it is a sprawling musical-fantasy that stands to join the ranks of holiday movie classics.
The invention belongs to writer-director David E. Talbert, a prolific playwright who reportedly envisioned the concept for the stage before translating it into film courtesy of a generous budget from the aforementioned streaming giant. Framed as a 19th-century bedtime story by narrator Phylicia Rashad, whom you can guess will be related to one of the characters in the story, it tells of the toymaker Jeronicus Jangle, who owns a whimsical toy store called ‘Jangles and Things’ in the quaint, imaginary town of Cobbleton.
Played briefly by Justin Cornwell and then by Forest Whitaker, Jeronicus was ‘the greatest inventor in all the land’ until his impatient young assistant Gustafson (Miles Barrow, followed by Keegan-Michael Key) steals his treasured book of inventions. To be fair, Gustafson wasn’t acting alone; instead, he was egged on by Jeronicus’ prize creation, a self-centred matador doll named Don Juan Diego (voiced with absolute flamboyance by Ricky Martin).
Their betrayal crushes Jeronicus; and 30 years later, we find that ‘Jangles and Things’ has become a dusty pawnshop and is at risk of being repossessed by the bank. As coincidence would have it, Jeronicus’ equally inventive tween granddaughter Journey (Maladen Mills) decides to pay him a visit, setting the stage for his eventual reunion with his daughter Jessica (Anika Noni Rose) and him to rediscover his belief; in particular, Journey will team up with her grandpa’s eager if klutzy apprentice Edison (Kieron Dyer) to revive a father-daughter forgotten creation in the form of a flying, talking robot called Buddy 3000 (think a mechanical version of E.T.).
Needless to say, Gustafson will return to threaten their journey (pun intended) to happily-ever-after: not only has Gustafson finished pilfering from the book he had stolen from Jeronicus, he desperately needs a new idea in order to preserve his reputation and his business. So Gustafson aims to steal the Buddy 3000 and claim it as his own, which gives reason for a number of exhilarating action set-pieces, including a death-defying race through a twisty, fiery tunnel.
Though running at a little over two hours, ‘Jingle Jangle’ moves swiftly through thrilling sequences and rousing song-and-dance numbers; the latter, written by Philip Lawrence, Davy Nathan and Michael Diskint (plus one by John Legend, also a producer here) and exuberantly choreographed by Ashley Wallen, includes toe-tapping showstoppers like ‘Magic Man G’ performed by Key, quieter duets like ‘Make It Work’ by Whitaker and Rose, and memorable standouts like ‘Square Root of Possible’ (equivalent to the film’s ‘Let It Go’.
Parts of the film no doubt veer on cliché, but there is delightful fun to be had in this Yuletide celebration bursting with boundless energy and joie de verve. From the costumes designed by Michael Wilkinson, to the production design by ‘Star Wars’ alumni Gavin Bocquet, to the enlivening visuals from Talbert’s imagination, there is sheer holiday escapism to be had with ‘Jingle Jangle’, alongside a surprisingly poignant story that champions hope, belief and inclusion.
Packed with both joy and sentiment, it is a beautiful embodiment of the Christmas spirit, and just the panacea for a year that could do with a lot more cheer.
MOVIE RATING:
Review by Gabriel Chong
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