SYNOPSIS: From filmmaker Zack Snyder (300, Watchmen, Zack Snyder’s Justice League), ARMY OF THE DEAD takes place following a zombie outbreak that has left Las Vegas in ruins and walled off from the rest of the world. When Scott Ward (Dave Bautista), a former zombie war hero who’s now flipping burgers on the outskirts of the town he now calls home, is approached by casino boss Bly Tanaka (Hiroyuki Sanada), it’s with the ultimate proposition: break into the zombie-infested quarantine zone to retrieve $200 million sitting in a vault beneath the strip before the city is nuked by the government in 32 hours. With little left to lose, Ward takes on the challenge, assembling a ragtag team of experts for the heist. With a ticking clock, a notoriously impenetrable vault, and a smarter, faster horde of Alpha zombies closing in, only one thing’s for certain in the greatest heist ever attempted: survivors take all.
MOVIE REVIEW:
No offense to Zack Synder, but whilst he may have felt vindicated finally being able to showcase his cut of ‘Justice League’ to the world, we were not quite as enamoured with the four-hour long superhero noir. Indeed, so much had been said of that HBO Max special that we’d wish some of that attention were instead spent on his latest project, which was bankrolled by Netflix for close to $100 million with the luxury of complete creative control.
Oh yes, sitting through his two-and-a-half hour zombie thriller, there is no doubt Zack Synder had ultimate freedom as a filmmaker in ‘Army of the Dead’. Co-written, shot and directed by Synder, there is lots of plot in the movie, which is at once a zombie movie, heist caper and a sentimental father-daughter reconciliation drama. It isn’t surprising given what it tries to be all at the same time that the parts are stronger than the whole, but there is still plenty of gory fun to be had in this pastiche that hold up despite its obvious excesses.
The opening is particularly illustrative of this. A pre-credits sequence shows a newly wed groom getting a blowjob from his bride while driving in the Nevada desert, ramming into a top-secret military convoy and setting its bloodthirsty prisoner free. Then comes the smash-bang opening credits set to Richard Cleese’s cover of ‘Viva Las Vegas’, which sees zombie showgirls, pageant queens, Elvis impersonators and hotel maids overtake unsuspecting tourists on the Strip, before the United States Government decides to contain the threat by walling off the entire city with stacks of shipping containers.
What follows is typical of any heist flick: after accepting the offer by sly casino magnate Bly Tanaka (Hiroyuki Sanada), Scott Ward (Dave Bautista), a former decorated Vegas hero now working a grill in a dead-end diner, assembles a ragtag team to infiltrate Sin City and retrieve $200mil from the vault underneath Tanaka’s casino. The rough-and-tumble mechanic Maria Cruz (Ana de la Reguera) is Ward’s trusty lieutenant. The rest of the crew comprise the chainsaw-toting Vanderohe (Omari Hardwick), the crackerjack helicopter pilot Marianne (Tig Notaro), the zombie-hunting YouTube sensation Mikey Guzman (Raúl Castillo), his friend Chambers (Samantha Win), and meek German safe-cracker Dieter (Matthias Schweighöfer).
Ward is also joined by his estranged daughter Kate (Ella Purnell), who insists on tagging along to locate her friend Geeta (Huma Qureshi) after finding out that the latter had been lost in the city. Their guide is the French ‘coyote’ Lily (Nora Arnezeder), an experienced smuggler who explains how the giant piles of desiccated zombies will come back to ‘life’ when it rains or the difference between the shamblers and the Alphas; in particular, it is the Alphas whom the gang will have to confront after one of them commits an egregious act that breaks the peace, and let’s just say this class of the intelligent undead are one of Synder’s ingenuities.
Establishing the roster of characters does take a full hour and demand some patience on the part of his audience, but at least Synder makes the character introductions pay off later when the action kicks in. In between, there is some impressive world-building around the ruined kingdom of Las Vegas: from the imposing leader (Richard Cetrone) of the Alphas and its grinning queen (Athena Perample), to the Greek references such as the towers of Sodom and Gomorrah of the casino they have to rob, and to a zombie tiger named Valentine that was also the name of the feline of the late Siegfried & Roy’s signature Vegas stage show. Synder has vision all right, though these details are somewhat lost amidst an overstuffed plot.
Despite a promising first half, the latter half descends into generic action spectacle that unfolds within a predictable story of double-crosses and side missions. Nevertheless, those looking for blood and guts will not be disappointed once Synder unleashes the bullets, what with plenty of zombie flesh exploding in all directions and bad guys ending up as Strip steak in brutally satisfying ways. It is Synder for better and for worse, though you have to hand it for Synder for delivering such visual flourishes as Bautista shattering zombie heads with his ammunition while jumping from one roulette table to another. There are also a couple of well-crafted nail-biting sequences, like one where the gang has to make their way through a maze of hibernating flesh-eaters, or another where Scott and the Alpha king fight mano-a-mano in a helicopter careening over the Las Vegas skyscrapers.
Indeed, ‘Army of the Dead’ is undeniably the movie Synder had set out to make from the get-go, so you should know going in what to expect from the filmmaker of such blockbuster fare as ‘300’ and ‘Sucker Punch’. You can even tell from the movie’s key emotional arc between Scott and Kate that Synder intended for this to be a sincere movie for his fans. For that matter, despite its clearly indulgent runtime, we did enjoy this as a gleeful example of a Zack Synder film, so as long as you know what you’re in for, you’ll likewise not be disappointed.
MOVIE RATING:
Review by Gabriel Chong
Genre: Sci-Fi/Action
Director: Edward Drake
Cast: Frank Grillo, Bruce Willis, Brandon Thomas Lee, Perrey Reeves, Corey Large, Lochlyn Munro
Runtime: 1 hr 28 mins
Rating: NC16 (Coarse Language and Some Violence)
Released By: Shaw Organisation
Official Website:
Opening Day: 10 June 2021
Synopsis: Seven rogue soldiers launch a preemptive strike against a newly discovered alien civilization in the hopes of ending an interstellar war before it starts. After a mining crew on a far off planet makes a disastrous first contact with an alien civilization, General Eron Ryle (Frank Grillo) and the leaders of Earth’s Alliance of Government's debate if there can be peace between “us and them”. Notorious war-hero Gen. James Ford (Bruce Willis) is called upon to lead a squad of elite soldiers to an alien-infested Alliance Colony, Ellora, and find the coordinates of the invader’s homeworld in the hopes of launching a preemptive strike to end a war before it can begin. Along with ethnologist Dr. Lea Goss (Perrey Reeves), bull-headed Specialist Braxton Ryle (Brandon Thomas Lee), demolition expert Dash Wick (Corey Large), and quantum engineer Lt. Fiona Ardene (Adelaide Kane), Ford’s mission goes awry and the squad is forced to reckon with the idea that they could be colonized by the invading army. Goss–the original architect of Operation: Cosmic Sin, a –is captured and her body is hijacked, and she becomes a vessel for the aliens to communicate with the Alliance. But Lt. Ardene realizes the aliens have built a biological-portal connecting their homeworld. As the two civilizations face one another, Ford and Goss reckon with their past and realize they neither civilization was ever interested in peace. In a moment of clarity, Goss breaks free from her possession and guides a devastating Q-Bomb through the portal, sacrificing herself and destroying the alien’s homeworld.
Movie Review:
Just how many alien invasion sci-fi movies do we need in a lifetime?
Definitely not one starring Bruce Willis for sure.
Judging from the artwork, Cosmic Sin looks like a cross between Edge of Tomorrow and Battle: Los Angeles. Maybe even Die Hard in Space. The truth is the entire budget is probably a fraction of the entire catering cost of the above mentioned blockbusters. One word: Terrible.
Before the movie actually begins, we are treated to a prologue consisting of notes telling us that the first colony of Mars is founded in 2023. By 2519, the Alliance controls three colonies: Earth, Zafdie and Ellora but Zafdie attempts to secede from the alliance resulting in General James Ford (Willis) ordering a Quantum bomb to be dropped on the rebelling planet. Years later, an alien species infected and controlled two mining workers on a planet which results in a race against time to stop the alien invasion.
Cosmic Sin is an embarrassing low-budget sci-fi that attempts to say a lot by doing very little. For a slim runtime of 88 minutes, the audience are frequently treated to an endless amount of boring dialogue and exposition. There are obvious hints of world building but the screenplay is notoriously bland and emotionless to strike up any interest. As if to beef up the material, there are extensive mentions of complex political and social issues. Seriously, are we in the right movie?
We nearly forgot to mention the prolific Frank Grillo (Captain America: Civil War, The Purge: Anarchy) is also in the flick. He was on the poster if you recall. Well, the tough guy plays General Eron Ryle. Again, for a marquee star, he is not given much to do before he is purged out of the flick. At least you have Bruce Willis right? Nah. Willis continues to sell his half asleep, gruff persona in VOD titles. In between huffing and puffing a few lines and firing a few shots, the once Hollywood A-lister looks more boring than the paying audience. He is on auto-pilot mode and he doesn’t really care about his career let alone world crisis.
Although we are 500 years into the future, everyone rides a normal bike and drives a pickup truck. The highway looks like any highway in 2021. The weapons look typical army issued. The buildings look like abandoned dressed up warehouses. Even the so-called aliens are likely covered up stuntmen with creepy claws. Maybe they spent too much money on the robot bartender and engaging Bruce Willis.
Screenwriter Corey Large snagged a supporting role as Dash but he is better of crafting a more compelling script with director Edward Drake. The various characters feel hollow especially the love angle between Ford and scientist Dr. Lea Goss (Perrey Reeves). If there’s one thing the filmmakers got it right, it’s the aesthetic of space and flying spaceships. The clunky space armour by the way don’t really count.
Cosmic Sin simply looks bad on the big screen. There are plenty of well-made movies on streaming media to while away your time.
Movie Rating:
(Watching bargain-bin space dud is a sin)
Review by Linus Tee
Genre: Drama
Director: Thomas Vinterberg
Cast: Mads Mikkelsen, Thomas Bo Larsen, Magnus Millang, Lars Ranthe
Runtime: 1 hr 57 mins
Rating: PG13 (Some Coarse Language)
Released By: Encore Films
Official Website:
Opening Day: 10 June 2021
Synopsis: There’s a theory that we should be born with a small amount of alcohol in our blood, and that modest inebriation opens our minds to the world around us, diminishing our problems and increasing our creativity. Heartened by that theory, Martin and three of his friends, all weary high school teachers, embark on an experiment to maintain a constant level of intoxication throughout the workday. If Churchill won WW2 in a heavy daze of alcohol, who knows what a few drops might do for them and their students? Initial results are positive, and the teachers’ little project turns into a genuine academic study. Both their classes and their results continue to improve, and the group feels alive again! As the units are knocked back, some of the participants see further improvement and others go off the rails. It becomes increasingly clear that while alcohol may have fuelled great results in world history, some bold acts carry consequences.
Movie Review:
This writer has been wondering recently whether he is going through mid life crisis. With nothing particularly spectacular to shout about in his career and his personal life, he can’t help but wonder where life is headed towards. And in moments like this, a few sips of alcohol might just do the trick – there are articles stating that alcohol causes our body to release endorphins, making us feel relaxed and happy. But we also know that alcoholism, and the consequences of intoxication are dire.
And that is why this reviewer finds the protagonists in this foreign film directed by Thomas Vinterberg highly relatable. The four men are teachers who are not particularly excited about their lives. Their students do not seem to be motivated with lessons, and their private lives are not picture perfect either. When the group has a discussion about psychiatrist Finn Skårderud’s theory of how a blood alcohol content (
One thing leads to another, the men find that their lives have seemingly improved and decide to increase the daily
Based on a play written by Vinterberg, the 117 minute drama plays out in a realistic manner. You may have a certain perception of how drunk men behave on screen, but this film doesn’t overdo things with melodrama. You feel that the four men are people you know, and you want to participate in their supposedly experiment. When things go out of control, you empathise with the situation as the struggles and tensions are realistically depicted.
Credit goes to Mads Mikkelsen, Thomas Bo Larsen, Magnus Millang, Lars Ranthe, who portray the protagonists with heart. The characters are believably melancholic and depressed at one point, then hilariously high spirited the next. For guys, they are like the bros you’ve grown up with. For the ladies, they are like the husbands who have family responsibilities while trying to maintain sanity outside the household.
The spotlight is on Mikkelsen, whom most of us will recognise from Hollywood blockbusters like Casino Royale (2006), Doctor Strange (2016) and Rogue One: A Star Wars Story (2016). The last sequence of him dancing in the streets with a group of partygoers is the high point of the film. It is infectiously energetic and merry, and will make you want to let go of your inhibitions to join him.
The movie was a hit at the film award circuit. It won the Oscar for Best International Feature Film, and Vinterberg was nominated for Best Director. It also shone at the BAFTAs, taking home the prize for Best Film Not in the English Language. While we aren’t familiar with the Danish language, it speaks universally because there is no right answer to what you should make of life. The film is a celebration of the people you spend it with, and the things you do together.
Movie Rating:
(An honest film about four men facing life's challenges and celebrating its wonders)
Review by John Li
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TRAILER WATCH - GUNPOWDER MILKSHAKEPosted on 28 May 2021 |
Genre: Drama
Director: Craig Gillespie
Cast: Emma Stone, Emma Thompson, Mark Strong, Joel Fry, Paul Walter Hauser, John McCrea, Kirby Howell-Baptiste, Emily Beecham
Runtime: 2 hrs 24 mins
Rating: PG
Released By: Walt Disney
Official Website:
Opening Day: 27 May 2021
Synopsis: Academy Award® winner Emma Stone (“La La Land”) stars in Disney’s “Cruella,” an all-new live-action feature film about the rebellious early days of one of cinemas most notorious – and notoriously fashionable – villains, the legendary Cruella de Vil. “Cruella,” which is set in 1970s London amidst the punk rock revolution, follows a young grifter named Estella, a clever and creative girl determined to make a name for herself with her designs. She befriends a pair of young thieves who appreciate her appetite for mischief, and together they are able to build a life for themselves on the London streets. One day, Estella’s flair for fashion catches the eye of the Baroness von Hellman, a fashion legend who is devastatingly chic and terrifyingly haute, played by two-time Oscar® winner Emma Thompson (“Howards End,” “Sense & Sensibility”). But their relationship sets in motion a course of events and revelations that will cause Estella to embrace her wicked side and become the raucous, fashionable and revenge-bent Cruella.
Movie Review:
As the latest Disney animated character to get the live-action treatment, ‘Cruella’ feels fresher than most recent efforts. Thanks to director Craig Gillespie, who was responsible for the deliciously gonzo ‘I, Tonya’, this revisionist supervillain origin story of Cruella de Vil (spelt ‘Devil’ but pronounced ‘De Vil’) oozes with style, sass and suaveness as a crime-and-couture romp, anchored by utterly brilliant performances from its two lead Emmas.
Emma Stone stars as the iconic title character, whom we are introduced to as a likeably mischievous tot named Estella with a keen fashion sense, an unmissable black-and-white bob of hair, and a rebellious streak that eventually gets her expelled from the straight-laced primary school she is initially enrolled in. Without spoiling the plot, let’s just say a tragic turn of events leaves her orphaned on the streets of London, whereupon she hooks up with two street ruffians and settles in as a seasoned grifter for a life of petty crime.
It is the machinations of one of her partners that Estella lands a low-level job at Liberty’s, which sets the stage for her encounter with the revered fashion designer Baroness von Hellman (Emma Thompson). Estella is recruited by the Baroness herself to be an apprentice at the latter’s workshop, where she and other nameless designers silently endure the imperious queen’s narcissism (such as loudly reading her own rave reviews) and sadism (in one scene, after accidentally slashing Estella’s hand, she simply directs her fabric department to match that precise shade of red).
Indeed, it should come as no surprise that Estella will be matched against the Baroness, transforming into the titular alter-ego through disillusionment, grief and rage to take on an unambiguous monster. As conceived by a team of five writers, including ‘The Devil Wears Prada’s’ Aline Brosh McKenna, Estella turns into Cruella to crash the Baroness’ galas with a succession of stunning gowns and shock-the-runway theatrics, earning a reputation as a fashion rock star with a major punk streak that upstages the Baroness as the talk of the town.
Even as she embraces anarchism, Cruella never takes her villainy to any compelling extremes. While there are clear similarities to ‘Joker’ in how the movie grounds its antiheroine’s antisocial behaviour to psychological loss, this is ultimately still a Disney movie meant for family audiences, so don’t be expecting the sort of nihilism in other such misanthropic character-driven movies. Gone is her loathing towards dogs or for that matter her obsession with making fur coats out of helpless Dalmatian puppies; instead, Cruella is explained here as a victim of circumstance, and therefore worthy of empathy despite her extremities.
That the movie pops in spite of being constrained by demographic is credit to Stone and Thompson as we’ve said, both of whom are perfect complements as they aim to out-dress, outshine and outwit each other. Fluctuating accent notwithstanding, Stone nails her role’s inner Jekyll-and-Hyde dynamic, navigating the vagaries of Estella and Cruella with aplomb amidst the distracting theatricalities. Thompson is dazzling as the film’s true villain, oozing malice and menace with every scene she is in. And then there are the other supporting actors, including Joel Fry and Paul Walter Hauser who are good fun as Estella’s comrades-in-crime, and Mark Strong who is somewhat wasted as the Baroness’ stone-faced aide-de-camp.
Despite running at over two hours, ‘Cruella’ keeps the energy high throughout, in part from the needle drops of ‘60s and ‘70s hits of The Clash, Blondie and the Stooges, in part from the wildly imaginative costumes by Jenny Beavan, and in part from the brilliant production design of posh department stores, bohemian thrift shops and couture palaces by Fiona Crombie. There are also a couple of spectacular set-pieces, including a daring heist in the middle of one of the Baroness’ fashion shows, an appearance in a mile-long chiffon train from the back of a garbage truck, and a thrilling finale that caps Estella’s evolution into Cruella.
Lest there be any doubt, ‘Cruella’ is nothing like the character in Disney’s 1961 classic animation ‘101 Dalmatians’ or its 1996 and 2000 live-action cousins that starred Glenn Close. On the contrary, this is a complete reimagining that succeeds at being probably the hippest, most stylish and certainly most fashionable live-action reboot from the Disney stable. There is plenty of wicked, if harmless, fun to be had here, buoyed by the inimitable talents of our two lead Emmas and sheer visual and aural punch. Like we said, it feels a lot fresher than any of the recent Disney adaptations thus far, and for that reason, we’ll happily line up for the sequel teased in the mid-credit scene.
Movie Rating:
(Oozing with sass, style and suaveness, this revisionist supervillain origin story is an utter hoot from start to finish, especially with two perfectly matched Emmas)
Review by Gabriel Chong
Genre: Action/Crime
Director: Yu Ha
Cast: Seo In-guk, Lee Soo-hyuk, Eum Moon-suk, Yoo Seung-mok, Tae Hang-ho, Bae Da-bin, Bae Yoo-ram, Seo Dong-won, Ji Dae-han, Jung Jae-gwang
Runtime: 1 hr 48 mins
Rating: PG13 (Some Violence & Coarse Language)
Released By: Golden Village Pictures and Clover Films
Official Website:
Opening Day: 3 June 2021
Synopsis: Korea has over 1,200km of pipeline that acts as the country’s artery. There are several individuals who make the headlines by tapping into this network in order to siphon oil. Drill-bit is a drilling prodigy who is offered by Gun-woo, the head of an oil refining company, a large sum of money for completing the impossible heist to drill into the pipeline between Honam and Seoul-Busan highway within a month. To get the job done in time, he puts together a team of misfits: civil engineer ‘Mr. Na’, excavation expert ‘Big Shovel’, and welding expert ‘Folder’. And just as the cops get a wind of this oil heist, Drill-bit’s mine collapses, his team gets cornered from all sides. As the operation gets delayed from setbacks, Gun-woo threatens their lives. Drill-bit’s group promises to get the job done in 2 days but Gun-woo plans to blow up both the oil tank and Drill-bit’s group after the oil has been siphoned…
Movie Review:
Instead of fanciful diamonds and jewelleries, sunken treasure or simply lots of money, the heist in Pipeline involves siphoning oil. Not a bad idea considering we have yet associate a caper flick with a natural resource.
And instead of getting a prominent Korean superstar liked Lee Min-ho or Song Kang-ho to headline his latest big screen venture, Korean writer and director Yu Ha (Gangnam Blues, Howling) assembled a cast of relatively unknown TV stars for his heist movie. Yu Ha has dabbled anything from historical dramas to romance to crime thriller but one thing remains for sure, the man indeed has the talent to make a watchable popcorn movie.
The story focuses on Drill-bit (Seo In-guk), a smirking young man who is known for his exceptional drilling abilities. Drill-bit is then tasked by the scion of a oil refining company, Geon Woo (Lee Soo-hyuk) to siphon oil out of the pipeline between Honam and Seoul-Busan highway within a month. A ragtag group of misfits are assembled to assist Drill-bit and that includes welder (Eum Moon-suk), former civil servant, Mr Na (Yoo Seung-mok), Big Shovel (Tae Hang-ho) and counter (Bae-Da-bin).
As expected, rivalries ensued before the job even begins. Personal issues as well. Not forgetting one of the seven deadly sins, greed. Everyone it seems come with their own emotion baggage. And also a pair of fumbling cops who are hot on Drill-bit’s heels because Yu Ha is keeping things way busy and tricky at every sewer corner.
However, there’s no time for backstories so the audiences only get to know a slight history of each of the misfits. Welder has a son that is in need of medical treatment. Mr Na has a sick wife whom he has neglected over the years and he himself is stricken with cancer. There’s hint of Big Shovel and Counter having financial issues, nothing more nothing less. Even our leading man, Drill-bit has not much of a story to begin with, we are shown a photo of his mother and that’s about it.
Ironically, the most interesting of all is our antagonist, Geon Woo who apparently needs to repay loansharks a hefty sum of $30 million or risk turning over his family company which explains his ruthlessness and plan to blow up half the county for financial gains.
That’s probably the weakest part of this heist movie. To be fair, no one wants a full backstory of Danny Ocean from Ocean’s Eleven or Charlie from The Italian Job. We are here for the swagger, betrayal, silky-smooth execution of the operation. And frankly, Pipeline mostly delivers the goods. Likely due to budgetary reasons, Yu Ha eschews the high-octane action pieces (so don’t go in expecting a high speed chase through Busan or a shootout in busy Seoul city) in favour of humour, numerous double crossing, twist and turns to propel his story.
Even the death of a character midway which is kind of expected doesn’t derail the entire effort into anything other than a preposterous scheme which evolves into cartoony violence in the final act. Not to give the twist away, rest assured that every one of the misfits know what they are doing and they are ready to deliver a huge payoff in the end.
Yu Ha’s Pipeline is a slick, often entertaining and satisfying romp, never pretentious and easy to follow. The cast members might be unknown in this part of the world but they are charming enough to dominate the big screen. While there isn’t much elaboration about the siphoning of oil or an in depth dissection to the whole procedure, who cares when there’s so much ongoing urgency and fun.
Movie Rating:
(Despite a familiar setup, this is as satisfying as a bowl of hot steaming Shin ramen)
Review by Linus Tee
Genre: Horror/Thriller
Director: Bryan Bertino
Cast: Marin Ireland, Michael Abbott Jr., Julie Oliver-Touchstone, Lynn Andrews, Tom Nowicki, Michael Zagst
Runtime: 1 hr 35 mins
Rating: NC16 (Violence and Some Nudity)
Released By: Shaw Organisation
Official Website:
Opening Day: 3 June 2021
Synopsis: The Dark and The Wicked follows two siblings who are summoned back to the family farm to await the inevitability of their father's death. What initially appears to be a timeless ritual of loss and remembrance turns out to be something very different.
Movie Review:
There are no big name stars attached to ‘The Dark and the Wicked’, nor for that matter is its writer and director Bryan Bertino that well-known in the horror genre as his fellow auteurs Ari Aster or Mike Flanagan, but this tidy farmland-set possession tale is a surprisingly effective chiller built on strong atmosphere and then some.
Bertino, who filmed the movie on his own family farm, conjures a story set in an eerie old cabin style house where its comatose patriarch (Michael Zagst) lies bedridden with an undisclosed malady. The matriarch (Julie Oliver-Touchstone) is convinced that an evil entity is trying to harm her husband, and despite never been religious, has amassed a collection of miniature crucifixes in a bid to ward off the evil.
Into this setting arrives the couple’s adult children, Louise (Marin Ireland) and Michael (Michael Abbott Jr.), who have put their lives on hold to spend a week with their dying father. Strangely, their mother chastises them for coming; she had told them to stay away, presumably for their own sakes, and soon after, not only slices off her fingers while cutting up vegetables with a sharp knife, but also hangs herself from the roof of the barnyard.
As the intertitles mark the course of the week, things on the farm get even stranger, and it becomes eminently clear that whatever entity was possessing the family is also after both Louise and Michael. The latter in particular gets it worse, and from a light switch that turns itself on, to visions of his late mother, right down to the profile of the demonic entity itself, Michael will eventually be driven to all but suicide. Louise will also in time be attacked by the entity, and let’s just say its ending is as bleak as it gets.
To be sure, ‘The Dark and the Wicked’ doesn’t rely so much on a conventional storyline as it does on atmosphere to get by, and it is to Bertino’s credit that he manages to sustain a simmering tension from start to finish. Bertino proves himself a master of dread, suffusing his movie with a palpable sense of loss and regret whilst building the presence of a lurking, malevolent entity. That also means those expecting a satisfying mystery will certainly be disappointed, as the plot is secondary to the mood Bertino tries to build ever so assiduously.
On the other hand, the narrative thinness instead allows Ireland’s riveting performance to shine through even more. Better known for her stage acting than her big-screen roles, the New York based actress is thoroughly impressive portraying a guilt-ridden daughter whose grief and fear of her parent’s death leaves her emotionally fragile and vulnerable to otherworldly evil. Her real, emotive yet never gimmicky act elevates the film, especially as hell starts to break loose.
To be sure, none of the film’s scares are entirely unique, but Bertino redeems himself by executing them with flair and confidence: the sheep bleating in the barn, homemade glass bottle wind chimes rattling, haunting shapes lurking in dark shadows, and of course the actual devil. Like it’s said, it’s built largely on atmosphere than anything else, and if you let it get to you, you’ll find yourself suitably unsettled and perhaps even unexpectedly unnerved.
Movie Rating:
(Less startling than unsettling, this tale of the Devil relies heavily on atmosphere to deliver its chills)
Review by Gabriel Chong
Genre: Drama
Director: Andrew Levitas
Cast: Johnny Depp, Minami, Jun Kunimura, Ryo Kase, Tadanobu Asano, Hiroyuki Sanada, Bill Nighy
Runtime: 1 hr 55 mins
Rating: NC16 (Coarse Language)
Released By: Shaw Organisation
Official Website:
Opening Day: 20 May 2021
Synopsis: New York, 1971. Following his celebrated days as one of the most revered photojournalists of World War II, W. Eugene Smith (Johnny Depp) has become a recluse, disconnected from society and his career. But a secret commission from Life magazine editor Robert Hayes (Bill Nighy) sends him to the Japanese coastal city of Minamata, which has been ravaged by mercury poisoning; the result of decades of gross industrial negligence by the country’s Chisso Corporation. There, Smith immerses himself in the community, documenting their efforts to live with Minamata Disease and their passionate campaign to achieve recognition from Chisso and the Japanese government. Armed with only his trusted camera, Smith’s images from the toxic village give the disaster a heartbreaking human dimension, and his initial assignment turns into a life-changing experience. Based on the riveting true story, MINAMATA is a redemptive and emotional tale of triumph over adversity, and of how all of us have it within ourselves to make a difference.
Movie Review:
You can’t blame us for expecting Johnny Depp to act weird and quirky in his performance as William Eugene Smith, an American photojournalist is known for his photo essay on the pollution which damaged the health of the residents of Minamata in Japan. After all, the actor is one of the most commercially successful movie star who has made a name for himself by playing eccentric characters like Willy Wonka, Sweeney Todd, Mad Hatter and of course, Jack Sparrow.
As we sat through the end credits of this drama directed by Andrew Levitas, we see that Depp is credited as a producer, suggesting that the film is a passion project that he feels strongly for. Based on the book of the same name, the well meaning movie sees Smith, a world weary photographer going to Japanto unmask the terrible aftermath of a huge scale industrial pollution which has led to mercury poisoning on the citizens of Minamata in Kumamoto, Japan.
Those who are familiar with the incident would know that those affected have suffered from a neurological condition known as Minamata disease. First discovered in 1956, the disease was caused by the release of methylmercury in the industrial wastewater from a chemical factory owned by the Chisso Corporation, which continued from 1932 to 1968. The results are devastating - signs and symptoms include muscle weakness, loss of peripheral vision, and damage to hearing and speech. In extreme cases, it may cause insanity, paralysis, coma, and ultimately, death.
The somberness of the issue is felt throughout the 115 minute movie. Depp delivers a grounded performance that is heavy hearted. For an investigation to expose corporate greed, you can expect his character to go through several obstacles, which allows the actor to display anger, grief and desperation. If you know how the real life incident progressed, you can also expect Depp to shine in moments of inspiration.
The film has an impressive Japanese cast which includes Hiroyuki Sanada and Tadanobu Asano (both actors appeared in 2021’s Mortal Kombat), as well as Jun Kunimura (The Wailing) and Ryo Kase (To the Ends of the Earth). It is a joy to hear these actors speak in their native language. Minami, a Japanese actress with French descent, takes on the role of Aileen, the woman who would eventually become Smith’s wife. The actress model has enough screen presence not to be overshadowed by Depp’s star power. Bill Nighy (also from The Pirates of the Caribbeanfranchise like Depp) has a supporting role of the magazine editor who sends Smith on the overseas assisgnment.
The film is cautious not to play up the western aspect of this real life story. There are many scenes which show how the events were unfolding in Minamata, and you can feel the anger, determination and despair from the various parties. However, we wish that the emotions can be more focused as the screenplay spends time fleeting from one side plot to another. The love story between Smith and Aileen is an example, and Smith’s friendship with a young boy is another. Perhaps an investigative documentary approach to the story might have worked better.
The film ends on a charged note, with the capturing of the famous portrait of a woman bathing her weak and bent limbed child in a traditional Japanese bath. It will make you find out more about the atrocities that happened. With a montage of other industrial pollution disasters around the world durng the end credits, you will want to take action against environmental change.
Movie Rating:
(A well-meaning dramatisation of the Minamata disaster that brings out the ugliness of corporate greed and the devastating consequences still felt today)
Review by John Li
Genre: Drama
Director: Miwa Nishikawa
Cast: Kōji Yakusho, Taiga Nakano, Seiji Rokkaku, Yukiya Kitamura, Hakuryu, Midoriko Kimura, Masami Nagasawa, Narumi Yasuda, Meiko Kaji, Isao Hashizume
Runtime: 2 hrs 7 mins
Rating: M18 (Sexual Scene & Some Nudity)
Released By: Golden Village Pictures and Clover Films
Official Website:
Opening Day: 3 June 2021
Synopsis: Mikami, an ex yakuza of middle age with most of his life in prison, gets released after serving 13 years of sentence for murder. Hoping to find his long lost mother, from whom he was separated as a child, he applies for a TV show and meets a young TV director Tsunoda. Meanwhile, he struggles to get a proper job and fit into society. His impulsive, adamant nature and ingrained beliefs cause friction in his relationship with Tsunoda and those who want to help him.
Movie Review:
This Japanese film about an ex convict who is struggling to adapt to the society after his release almost feels like a Yellow Ribbon awareness project – except that it is heartbreakingly grounded in its portrayal about a released offender who is at a loss when he regains freedom.
When we first meet Masao Mikami (played flawlessly by veteran actor Kōji Yakusho), he just finished his 13 year prison sentence. The ex yakuza was convicted for murder. Known for their strict codes of conduct and extreme violence, yakuza are gangsters from organised crime syndicates who had their heyday in a bygone era. Naturally, he finds it difficult to integrate into a world that has changed drastically. It reminds you of how the characters from The Shawshank Redemption found life after leaving prison.
The man has to live on welfare, look for a proper job and familiarise himself with social norms. He also hopes to find his mother who was separated from him since he was a child. At his age, you’d think this is enough a burden to bear. The drama doesn’t stop there, as he finds himself involved in a TV production helmed by a seemingly sincere crew.
Directed by Miwa Nishikawa, the movie based on the 1990 novel “Mibuncho” (Inmate Files) is a poignantly realistic portrayal of an individual who is making great effort to be part of a society that has heartlessly moved on without him. Mikami has no financial ability to survive on his own, and has to unwillingly receive governmental support. He wants to stand on his own feet by finding a job, but we know how challenging that is going to be. Then there are two strangers who want to milk his story into a TV hit.
The 126 minute film takes its time to tell Mikami’s story. We feel his anger when he repeatedly fails his driving test, but can’t help chuckling at the situation. We feel heartened to see the friends he makes, including a retired lawyer and his wife (Isao Hashizume and Meiko Kaji), a supermarket employee (Seiji Rokkaku), and his case manager (Yukiya Kitamura) from the welfare office. These supporting characters add a human touch that warms your heart. Mikami also strikes up an unexpected friendship with the young TV show producer (Taiga Nakano) – an earnest exchange between the two men in the onsen is especially touching.
The film also sends Mikami to seek out some shady people from his past when he is at his lowest point. Unexpectedly, there are some affecting moments to look out for during those scenes. The story also has Minami befriending an intellectually challenged colleague at a nursing home, and there are sequences that will leave you questioning the goodness in human nature.
Unmistakably, this is Yakusho’s show. It is not a sentimental portrayal of a character that has no place in society, nor is it one that is anchored by melodrama. The actor delivers a beautiful and nuanced performance that makes the story achingly humane.
Movie Rating:
(A humane story that features a beautiful performance by Kōji Yakusho)
Review by John Li
Genre: Action/Crime
Director: Chan Kin Long
Cast: Lam Ka Tung, Bipin Karma , Michael Ning, Ben Yuen, Tai Bo, Chin Siu Ho, Chu Pak Him, To Yin Gor, Tony Ho, Aaron Chow, Andy Tse
Runtime: 1 hr 41 mins
Rating: NC16 (Some Violence & Coarse Language)
Released By: Golden Village Pictures and Clover Films
Official Website:
Opening Day: 17 June 2021
Synopsis: Actor Chan Kin-long (The Midnight After) makes his directorial debut with a gritty bromance drama born out of the much-lauded First Feature Film Initiative. In his finest performance to date, award-winning actor Gordon Lam Ka-Lung plays a former Hong Kong Military Service Corps officer who becomes caught in a triad manhunt when he takes in an ethnic South Asian man carrying a bag of stolen drugs. Forced to live under the same roof, the two men transcend their cultural and racial differences to form a beautiful friendship in this poignant tale of loyalty and brotherhood.
Movie Review:
The manly brotherhood between dudes can be as beautiful as a romantic relationship between a man and a woman. This film paints a sorrowful yet glorious picture of the friendship between two men, both seemingly marginalised by the society. This is the kind of bromance guys imagine themselves to be in, portrayed by movie stars on the big screen.
We are first introduced to Chiu (the ever reliable Lam Ka Tung) in a black and white sequence at the beginning of the film. He is a captain of the British army pre 1997. After Hong Kongis returned to the Chinese, he becomes of the many soldiers abandoned by the system. Once a man who is proud of what he does for a living, Chiu becomes debt ridden and constantly involved in shady deals with gangsters. He crosses paths with Mani (newcomer Bipin Karma), a South Asian man on the run with a bag of stolen drugs. The small time criminal is obviously an outsider in Hong Kong who is conveniently (and rudely) addressed as “Brownie”.
The two men are somehow on the run from the same bad guys (outlandishly played by Ben Yuen and Michael Ning), and in the mix are also baddies from Taiwan(To Yin Gor and Tai Bo). The 101 minute film takes us on a journey to the city’s underbellies and in a very forlorn way, shows us the two protagonists’ trials and tribulations. It is very gloomy, but the unlikely bond between them is admirable.
The film is supported by the Hong Kong First Feature Film Initiative and was the only film in production when the industry was hit by COVID-19. Like the themes of loyalty explored in the movie, Lam did not receive any salary to support the local film industry. This very commendable act makes the film one that is worth supporting. The film was nominated in seven categories at the 2020 Golden Horse Awards, including Best Picture, Best New Director and Best Actor.
Director Chan Kin Long is an actor turned filmmaker (he appeared in Fruit Chan’s The Midnight After and Philip Yung’s Port Of Call), and his debut feature film has a lot of style. The cinematography is moodily hypnotic, and every frame is oozing with beautiful melancholy. There is also a one take fight sequence at the end of the film that is poetically executed and brilliantly showcases the stunt choreographer’s skills.
We wish the film could have made us emotionally more invested in how the two men are ‘leftovers’ from Hong Kong’s colonial past. It’s also a shame that the dubbed version loses some of its authentic flavour. Thankfully, the all star cast (besides the abovementioned familiar names, veteran actors like Chin Siu Ho, Tony Ho and Chu Pak Hong also show up) deliver noteworthy performances, making the movie a worthy watch. This is a project that is worth celebrating, and we are definitely looking forward to Chan’s future films.
Movie Rating:
(Lam Ka Tung proves himself again to be one of Hong Kong's finest actors in this melancholically gorgeous film)
Review by John Li
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