Genre: Horror/Thriller
Director: Gonzalo López-Gallego
Cast: Warren Christie, Erica Carroll, Lloyd Owen, Ryan Robbins
RunTime: 1 hr 26 mins
Released By:  GV
Rating: PG13
Official Website: http://apollo18movie.net/

Opening Day: 29 September 2011

Synopsis: Officially, Apollo 17, launched December 17th, 1972 was the last manned mission to the moon. But a year later, in December of 1973, two American astronauts were sent on a secret mission to the moon funded by the US Department of Defense. What you are about to see is the actual footage which the astronauts captured on that mission. While NASA denies its authenticity, others say it’s the real reason we’ve never gone back to the moon.

Movie Review:

Haven’t they had enough of found footage films? At this rate, i think we may have to come up with a new genre. Yes, it’s a style of filming which it all started from that damn witch, or perhaps even something even older but unfortunately didn’t make it to the main stream, but the fad of which a certain flair that extended its stay has much to evolve as much it has to to sustain. In another words, STOP IT. Played as gimmicky as 3D in the theaters, Found footage film has become a part and parcel of the new cinematic horizon. From zombie flicks to ghost, such genre has spread it wings but not quite stretched out as yet. can you imagine a drama or a comedy done in this style? That will be interesting actually. Alas, The way its filmed has never changed except for a few variation for which only one such ground breaker comes to mind where surveillance cameras were used throughout the film.

Apollo 18, in a nutshell, can be clearly summaries (without much spoilers) of what is to come in this haunting event. 3 astronauts sent on a secret mission to the moon where their impending doom awaits. No second guessing what is to come but its what the build-up that is what matters. Now, there isn’t a hard and fast rule on how such film works on most level to become a favourite among the audience but fortunately for us, Apollo 18 manage to hit the sweet spot. Yes, after all that ranting, i not only gave in to the fact that such genre will stay for us for a long time (just how 3D has and will be) but upon readily acceptance and criticising such phenomenon and dealing it of itself, one can indulge and actually enjoy when it’s done right. So what made it work you may ask?

Setting greatly covers a majority of what makes and what breaks. Tip for future found footage film-maker, get a carefully constructed confined claustrophobic space. And what better location than a tight enclosed space shuttle and the endless dead matter of outer space. The sense of dread and despair mixed with loneliness and abandonment is easily taken in and engulf our senses as the film starts. Also to the fact that it reduces the number of stars to just who is needed for the audience to feel and invest their emotions with.

Most of the stars are rather unknowns perhaps if you’re a fan of the Syfy channel, you’ll recognise the sharpshooter, Warren Christie from the much popular series Alphas. This pretty boy has the potential jock look so no guessing needed on seeing who the saviour of the damn doom ship is steering towards. Or does he? It’s a comfortable all rounder performance among the three astronauts. Nothing groundbreaking even from the English directorial debut of Gonzalo López-Gallego who has mostly done short films and TV series. Surprisingly though, there are a few gasp moment when the credit ends to find out that the co-writer of this film was no other than Cory Goodman who helmed Priest previously and produced by Timur Bekmambetov, the director or uber action flick like Night Watch and Wanted. I guess that where the high value pieces thrown around for such an indie film came about.

Watching this film, i reckon there will be extremist on refusing to acknowledge the existence of this horror. true, acting was no where near Oscar worthy, The beginning was rather stretched out and draggy but i went in with my expectation of nothing but what it’s worth and that's how everyone should be. On the flip-side, among the high praises of such production, there were some down fall of it which was rather negligible in the long run, except one for which, where and how in the bloody hell did they retrieve all the footage which had different sources at different places. I guess no one will know, very much like what happen to Apollo 18.

Movie Rating:  

(There’s a reason sometimes an overused concept can be done and make audience come back again and again. Apollo 18 has it)

Review by Lokman B S

Genre: CG Animation
Director: Steve Martino, Mike Thurmeier
Cast: Ray Romano, John Leguizamo, Denis Leary, Queen Latifah, Chris Wedge, Jeremy Renner, Nick Frost, Jennifer Lopez, Seann William Scott, Alan Tudyk
RunTime: 1 hr 33 mins
Released By: 20th Century Fox
Rating: G
Official Website: http://www.iceagemovie.com/

Opening Day: 12 July 2012

Synopsis:  One of filmdom's most beloved trios - "Ice Age's" Manny, Diego, and Sid - embark upon their greatest adventure after cataclysm sets an entire continent adrift. Separated from the rest of the herd, they use an iceberg as a makeshift ship, which launches them on an epic seafaring quest. Manny and the gang are challenged like never before to become heroes and do the impossible, as they encounter exotic sea creatures, explore a brave new world, and battle ruthless pirates.  And Scrat's reunion with his cursed nut catapults him to places no prehistoric squirrel has gone before.

Movie Review:

You can’t blame franchise newcomers Steve Martino and Mike Thurmeier for sticking with formula- after all, the past three entries have grown increasingly successful on the back of a similar template. So fans of the prehistoric toon series will be comforted to know that once more, the unlikely trio of Manny the woolly mammoth, Sid the sloth and Diego the tiger are forced to rely on each other as some cataclysmic event forces them to migrate from their homely habitats for safer territory. And oh yes, there’s always Scrat’s pursuit of his prized acorn thrown in for good measure. 

In fact, from the occasional diversion, Scrat’s ceaseless quest now sets in motion the chain of events in the story- though keener audiences might recognise the familiarity of this sequence with that of ‘Scrat’s Continental Crack-up’, a short which Fox attached to ‘Gulliver’s Travels’ back in 2010. Nonetheless, it’s amusing all the same, and culminates in the separation of Pangaea, the huge land mass from which the various continents originated from. No thanks to Scrat, Manny gets separated from his wife Ellie (Queen Latifah) and teenage daughter Peaches (Keke Palmer), and spend the rest of the movie trying to get back to them. 

It’s by far their most action-packed adventure yet- even more so than their previous encounter with the dinosaurs- and therefore fully poised to exploit the possibilities offered by 3D. Indeed those hesitant at shelling out the extra bucks for the additional dimension will find this a worthy investment, as directors Martino and Thurmeier are not shy to turn their adventure into a glorified rollercoaster ride- especially in the numerous POV shots when one character or another slides across the ice, glides down the glaciers and flies through the air. Scoff at the cheap thrills if you must, but there’s no denying that it makes for great fun particularly for the kids. 

To get into action mode, recurrent series writer Michael Berg and his newbie partner Jason Fuchs (working from a story by Berg and Lori Forte) create an irascible villain in the form of mangy ape Captain Gutt (Peter Dinklage)- the leader of a motley band of pirates including an elephant seal named Mr Flynn (Nick Frost) and a white sabre-toothed tiger named Shira (Jennifer Lopez). While Diego gets a love interest in Shira, Manny gets to show off his masculine side with a mano-a-mano fight against Gutt, whose paths he inadvertently cross when he destroys the latter’s ship-berg (that’s the best name we could come up with for their icebergs turned ships) and then makes off with the latter’s replacement. 

Alongside the main act of Manny and Gutt, other characters also get their own stories- Sid is visited by his cantankerous granny (Wanda Sykes) similarly abandoned by his family; and Peaches distances herself from her best friend Louis (Josh Gad) in an attempt to keep up with the in-crowd (voiced in celebrity cameos by Drake, Nicki Minaj and Glee cheerleader Heather Morris) while going against the expressed wishes of her overprotective father Manny. It all comes to a neat closure of course, and even though none of these story arcs are inventive, they at least succeed in keeping the comic energy up throughout the movie. 

And certainly, both Martino and Thurmeier deserve credit for sustaining a brisk snappy pace all the way, avoiding the stretches of dull that plagued the first two ‘Ice Age’ films. More than any of the previous instalments, this fourth entry confidently rests on the charms of its lead characters Manny, Sid and Diego and less on the zaniness of Scrat. It’s a surest sign yet that the franchise is truly coming into its own, further exemplified by the leaps and bounds by which Fox’s Blue Sky Studios has improved its technical standards, and you can bet that as formulaic as it is, this franchise isn’t quite going the way of the ice age anytime soon.

Movie Rating:

(The franchise’s most action-packed instalment yet, this is a fast-paced adventure packed with thrills and laughs- and of course Scrat)

Review by Gabriel Chong 

Genre: Thriller
Director: David Fincher
Cast: Daniel Craig, Rooney Mara, Christopher Plummer, Stellan Skarsgård, Steven Berkoff, Robin Wright, Yorick Van Wageningen, Joely Richardson
RunTime: 2 hrs 38 mins
Released By:  Sony Pictures Releasing International
Rating: R21 (Sexual Violence)
Official Website: http://www.dragontattoo.com/

Opening Day: 5 January 2012

Synopsis: Based on Stieg Larsson's posthumously published crime thriller trilogy, "The Millennium Series." Describes the mystery surrounding the long-unsolved disappearance of an heiress. A journalist recently dinged by a libel case and a young female hacker try to resolve it, stirring up bundles of personal and industrial corruption along the way.

Movie Review:

Why the venerable David Fincher would attempt a Hollywood remake of the first-rate Swedish thriller ‘The Girl with the Dragon Tattoo’ may seem perplexing at first, but just wait till you see what Fincher has brought to his adaptation of the popular Stieg Larsson pulp novel. Indeed, though Niels Arden Oplev's film may have been the first out of the gate, it is Fincher’s that proves to be the superior one, for the auteur’s return to twisted serial-killer territory is an even more heart-stopping, gripping and altogether exhilarating edge-of-your-seat movie than its predecessor.

As his work with ‘Se7en’ and ‘Zodiac’ will attest, Fincher is no stranger to dark, disturbing material, both of which dealt with acts of ghastly violence committed in grisly circumstances.  ‘Tattoo’ is no different; here is a bleak and brutal story of crime and punishment that features scenes of sadistic rape, twisted torture, and grotesque religiously-inclined murders. It is a tale of uncompromising savagery, and Fincher seems right at home, combining the lurid elements inherent within Larsson’s tale with the sharp procedural rigour of his earlier ‘Zodiac’.

Following an edgy and utterly mesmerising title sequence set to Trent Reznor’s rip of Led Zeppelin’s ‘The Immigrant Song’, the remake opens with Stockholm-based magazine journalist Mikael Bolmkvist (Daniel Craig) losing a high-profile libel suit filed by corrupt businessman Hans-Erik Wennerstrom (Ulf Friberg). Facing bankruptcy and the reputational ruin of the magazine Millennium he co-publishes with his married on-again/ off-again lover Erika Berger (Robin Wright), Mikael accepts an unusual offer from industrial magnate Henrik Vanger (Christopher Plummer) to investigate the unsolved murder of his beloved niece Harriet 40 years ago.

Henrik is convinced that Harriet’s disappearance was an act of murder by a member of his sprawling family, which he describes as a collection of “thieves, misers, bullies, and basically the most detestable collection of people that you will ever meet”.  Enticed by Vanger’s reward of a hefty paycheck and payback against Wennerstrom down the road, Mikael moves into a cottage on Henrik’s vast estate and meets with his various family members under the guise of being tasked with writing their family biography- among them, Harriet’s brother Martin (Stellan Skarsgard) who has since taken over the family business from Henrik; as well as Harriet’s estranged cousin Anita (Joely Richardson) now staying in London.  

Whereas the Swedish original wasted little time bringing together Mikael and the computer punk-goth genius Lisbeth Salander (Rooney Mara), Hollywood veteran screenwriter Steven Zaillian keeps them apart for pretty much the first half of the movie. The parallel narratives allow their audience to delve deeper into the Millennnium trilogy’s most compelling character, whose startling physical appearance (pale visage, multiple body piercings, and black Mohawk) is simply an extension of her troubled inner persona. That personality is amply expressed through two of the film’s most unsettling scenes- the first, a brutal rape by her legally assigned guardian Bjurman (Yorick van Wageningen); and the second, her coolly calculated act of revenge against Bjurman. If those scenes left you squirming the first time round, you may want to cover your eyes here, for Fincher stages them unflinchingly for maximum shock value.

Perhaps even more than Oplev managed to, Fincher evokes empathy from his audience for Lisbeth. It is no easy task- how does one identify with a teenage girl who lives on Happy Meals and caffeine and wears a T-shirt that reads “F**k You, You F**king F**k”? But beyond her tough-girl hard-as-nails exterior, Fincher guides Mara to tone down her character’s feral nature and draw out Lisbeth’s vulnerabilities. There is a fragility to Mara’s spellbinding portrayal of Lisbeth that is missing from Noomi Rapace’s in the original, so even though Mara doesn’t succeed in topping Rapace’s star-making turn, she too disappears just as convincingly into the role. It is a fearless turn that is alternately alluring and menacing and every bit as formidable, deserving of every accolade that the heretofore-supporting star has received in a breakout leading performance.

Mara also shares great rapport with her co-star Craig, and though both hold their own on their own, the film truly sizzles after the latter’s Mikael tracks her down to be his research assistant. Despite the sombreness of the material, Zaillian injects some brief moments of levity through Mikael and Lisbeth’s wry chemistry, bouncing theories off each other like offbeat detectives while sifting through Biblical clues and old photographs. Fincher has been infamous for being extremely meticulous in his filmmaking, and that discipline pays off with a crystal clarity he brings to the investigative procedural. More so than the original, there is both paceyness and coherence to the storytelling- with due credit to Zaillian for adroitly paring the excesses of the novel into a lean and efficient cinematic adaptation. Fans also need not worry about the liberty Zaillian has taken with Harriet’s fate- it makes perfect sense, and dare we say, may even be more logical than Larsson’s original conclusion.

Yet the ‘Millennium’ novels were never about some wealth industrialist and his fractious family, but rather the fascinating pop-culture character Lisbeth. And while getting to the truth of the mystery might have detracted somewhat from Lisbeth’s own tortured existence, Fincher restores the rightful focus in the film’s last 20 mins where she flies to be Switzerland and pretends to be Wennerstrom’s associate to entrap him and clear Mikael’s name. The epilogue rightfully emphasises Lisbeth’s connection to Mikael, a connection that is as close to love as she would understand, which of course sets the events in motion for the subsequent two instalments.

But if they come as good as Fincher’s work here, then the additional time Fincher requests from his audience is something we’re more than willing to give. After all, despite the almost two-and-a-half-hour duration, you’ll find yourself hooked the entire time, unable to pull yourself away from the arrestingly intense atmosphere permeating the whole movie. Assembling once again his ‘Social Network’ team- made up of composers Trent Reznor and Atticus Ross, cinematographer Jeff Cronenweth, as well as editors Kirk Baxter and Angus Wall- Fincher uses their considerable talents to construct a sense of forebodingness with a haunting score and evocative cinematography of the frosty Scandinavian landscape.

If there is one quibble, it is that the actors’ accents (English with a Swedish inflection) don’t always ring true- especially Craig, who thankfully drops his sometimes indecipherable Swedish intonation early on in the film in favour for a straight-out British one. And yes, it is but a minor flaw in an otherwise pitch-perfect thriller, where everything- from atmosphere to storytelling to casting to characterisation- is done to a T and coheres so flawlessly to create a taut, riveting and adrenaline-pumping movie experience. It’s not often we say this- but even if you’ve read the books, and seen the Swedish original, this superior first-rate Hollywood adaptation is a must-see. 

Movie Rating:

(The rare Hollywood remake that’s even better than the Swedish original, this is a first-rate edge-of-your-seat thriller that’s exceedingly gripping from start to finish)

Review by Gabriel Chong 

Genre: Horror/Thriller/Mystery
Director: Jim Sheridan
Cast: Daniel Craig, Naomi Watts, Rachel Weisz, Claire Geare, Gregory Smith, Taylor Geare, Rachel G. Fox, Mark Wilson, Jonathan Potts, Lynne Griffin
RunTime: 1 hr 31 mins
Released By: Encore Films
Rating: PG13 (Brief Coarse Language and Some Violence)
Official Website: http://www.dreamhousemovie.net/

Opening Day: 13 October 2011

Synopsis: Some say that all houses have memories. For one man, his home is the place he would kill to forget. Daniel Craig, Naomi Watts and Rachel Weisz star in Dream House, a suspense thriller about a family that unknowingly moves into a home where grisly murders were committed...only to find themselves the killer's next target. Successful publisher Will Atenton (Craig) quit a high power job in Manhattan to relocate his wife, Libby (Weisz), and two girls to a quaint New England town. But as they settle into their new life, they discover their perfect home was the murder scene of a mother and her children. And the entire city believes it was at the hands of the husband who survived. When Will investigates, he's not sure if he's starting to see ghosts or if the tragic story is just hitting too close to home. His only clues come from Ann Paterson (Watts), a mysterious neighbor who knew those who were shot. And as Will and Ann piece together the haunting puzzle, they must find out who murdered the family in Will's dream house before he returns to kill again.

Movie Review:

Known as the movie that brought now-married Daniel Craig and Rachel Weisz together, ‘Dream House’ is the kind of horror thriller that boasts a to-die-for pedigree- including one Oscar winner (Weisz), two Oscar nominees (director Jim Sheridan and supporting actress Naomi Watts) and one 007 hot property (Craig). How then did this film, which was not screened in advance for critics in the US, come to be met with almost universal derision when it opened?

Frankly, we’re not quite sure as well, for the movie we saw was more than decent. Sure, it wasn’t a classic by any measure- but for the most part, it was intriguing and suspenseful, subverting your genre expectations along the way. Indeed, there is much promise in David Loucka’s screenplay, which presumably was what attracted the likes of Craig, Weisz, Watts and Sheridan- though it is also because of Sheridan that the finished product doesn’t quite live up to that promise.

Horror is thus far unexplored territory for the six-time Oscar nominee better known for his Irish dramas ‘My Left Foot’, ‘In the Name of the Father’ and ‘The Boxer’, and his lack of experience is apparent from the pedestrian approach he takes with the material. Sheridan displays little flair with the story’s horror elements and psychological themes, never fully exploiting either’s potential to its fullest. Nonetheless, thanks to Loucka, the film remains engaging because it is never quite what it seems.

Beginning as if it is another perfunctory haunted house story, the film paints Will as the editor of a Manhattan publishing company who quits his job to move with his wife, Libby, and two small daughters to a newly bought suburban home in a quiet New England town. It’s the very exemplification of the perfect family life, and up to this point, Sheridan does a fine job painting the minutiae of their day-to-day lives.

But Sheridan starts to lose his footing when Will discovers their idyllic abode hides a dark past, beginning with sightings of figures outside the house, footsteps in the snow, and strange candlelight rituals by Goth teenagers in the basement at night. These individual sequences still pack a thrill thanks to seasoned cinematographer Caleb Deschanel’s good use of light and shadows to build atmosphere- but instead of building up the tension to a crescendo, Sheridan deflates it when he botches the midway twist.

Since the producers didn’t think much of keeping it hidden in the trailer, you’d probably know by now that what began as a variation of ‘The Amityville Horror’ will eventually turn into something closer to ‘Shutter Island’ with a little ‘Sixth Sense’ thrown in for good measure. The ideas in the film aren’t anything new, but Loucka manages to recycle them into something interesting by mashing them up into one movie.

That ingenuity is somewhat lost by Sheridan’s subsequent misguided emphasis on the dynamics between Will and his family, instead of Will’s mental state. What was supposed to take the movie in a dramatically different direction ends up rendering it inert, so much so that the action-packed climax where the truth of the brutal murders that took place in the house five years ago comes to light seems jarring. This may also be a result of studio meddling (which resulted in a public disagreement between Sheridan and production house Morgan Creek), but arguably the distinct lack of tension in the second half of the movie makes a weak case for retaining Sheridan’s artistic vision.

The mismatch between director and material is the film’s greatest flaw, but casting is one of its bright spots. Craig is never less than compelling as the lead character who discovers his perfect life is nothing like what it seems, and he handles his character’s transformation deftly. Weisz is affable as ever, and her scenes with Craig brim with genuine chemistry. The rest of the supporting roles are mostly underwritten, but you can’t quite go wrong casting veterans like Watts, Elias Koteas and Marton Csokas in them.

It’s inevitable that one has high expectations for a thriller with such an A-list cast and director, but the overwhelmingly negative reviews thus far should probably be fair warning that this is not going to be anywhere near classic. Still, this is definitely not as dire as some reviewers have made it out to be, packing a neat mystery at its heart complete with a nifty midway twist. If you’re in the mood for some suspense, there should be enough taut moments in here to keep your attention rapt.  

Movie Rating:

(It doesn't live up to the promise of its A-list cast and director, but it serves up enough mystery and suspense for some diversionary pleasures)

Review by Gabriel Chong 
 

PUSS IN BOOTS "No Pants Pants" Posted on 25 Sep 2011 Way before he ever met Shrek, the legendary Puss In Boots goes on a heroic journey, teaming up with mastermind Humpty Dumpty and the street-savvy Kitty Softpaws to steal the famed Goose that lays the Golden Eggs. Before the movie opens on24 November, here's some funny clips from the furry feline... ... more

Genre: Horror/Thriller
Director: Gilbert Chan
Cast: Mark Lee, Henley Hll, Josh Lai, Tedd Chan, Lawrence Koh, Tommy Kuan
RunTime: 1 hr 18 mins
Released By:  GV, InnoForm Media & Clover Films
Rating: PG13 (Horror Theme & Disturbing Scenes)
Official Website: 

Opening Day: 3 November 2011

Synopsis: A rumor had been circulating like wild fire amongst the soldiers. A mad woman living on the island had died at the exact hour of 23:59, and it is believed that her spirit had returned to haunt the soldiers at the exact same time.

One of the recruits, Tan, the introverted platoon outcast, is adamant that he will be the next victim of the mad woman's spirit. He tries to convince his buddy Jeremy that the woman's spirit has been visiting him every night. Jeremy laughs it off and claims that there are no such things as ghosts in this world. They only exist because of Tan's overactive imagination.

However, during the 24 km road march for the platoon in the forest, Tan was found dead by the river, with his limbs contorted in a strange way and an expression of deep fear on his face. Overwhelmed with guilt, Jeremy decides to investigate Tan's death, convinced that it was not an accident as what the military officers believe.

Little does he know that the truth behind Tan's death will unearth a terrible dark secret of the island and he will have to confront his deepest fears in order to find the truth.

Movie Review:

One wonders why it has taken so long for a local filmmaker to make a horror film out of the ghost stories we used to hear out of Pulau Tekong during Basic Military Training- after all, almost every Singaporean male who has been through National Service can probably share these stories, making it one of the most well-known urban legends ripe for cinematic picking. The fact that director Gilbert Chan has denied any relation between his film and the infamous Tekong stories we’ve heard- despite the obvious similarities- might provide some clue to this very mystery, especially given the fact that his ’23:59’ was shot across the Causeway and not where it matters.

Written by Chan himself, from a story by him and Ng Say Yong, it begins by recounting the legend of a woman who had died at the precise time of 23:59 and whose spirit has returned to haunt the island. One recruit, the quiet outcast Tan (Tedd Chan) is particularly spooked, because he has encountered a similar spooky encounter involving a woman and her young boy just a few nights before. The fact that another similarly timid recruit three years before him had the same encounter before hanging himself in the very bunk only amplifies his fears. 

Besides Tan, writer/director Gilbert Chan uses the first half-hour before the actual haunting to bring three other characters into focus- Tan’s best buddy Jeremy (Henley Hii), the arrogant bully Dragon (Lawrence Koh in a scene-stealing performance) and the obligatory fat kid Lim (Tommy Kua) meant as comic fodder. But the truly standout amusing moments belong to Mark Lee’s veteran platoon sergeant Quah, the actor’s improvised Singlish delivery of the all-too familiar army lingo a gem in itself and easily the most entertaining aspect of the entire film. 

Enjoyable it may be, the hilarity stands out in stark contrast to the rest of the proceedings, which are unfortunately too humourless for their own good. It’s obvious that Chan is trying hard to make a serious self-respecting horror film, but it’s also apparent that between the joviality of Lee and the sobriety of the rest of the actors, he is struggling hard to find the right tone for the movie. Eventually, he abandons the former for the latter as the recruits embark on their all-important passing-out route march, setting off a chain of events that will lead to Tan’s disappearance as well as his unfortunate demise later on. 

Veering away from the familiar Tekong folklore, Chan instead borrows elements from ‘The Ring’ to weave a story about a local bomoh on the island and her disfigured daughter with unusual powers who becomes the object of ostracism by the other village kids. Some demonic possession also comes into play through Chester (Josh Lai), an introvert who isn’t as innocent as he seems at first sight- and indeed, what may have been a uniquely Singaporean army ghost story at the start turns into a hotchpotch of ideas taken from other horror classics both Asian and Western. 

At least Chan knows how to build suspense where it matters, with some scenes- like one set in an old quiet toilet and another in the bunk where Tan gets locked by Dragon in his own cupboard- bound to raise some chills by evoking familiar fears of our own Tekong days. For a newcomer to the horror genre, director Gilbert Chan displays surprising flair in unnerving his audience- though he does betray his inexperience as a first-time solo director through inattention to other details especially glaring for those who have been through National Service. 

Thankfully, he has a credible lead in the form of Henley Hii, the Malaysian actor who shot to fame after winning the equivalent of Project Superstar across the Causeway surprisingly affecting in his portrayal of anguish and frustration reconciling both his buddy’s mysterious death and his own troubled childhood. Besides Hii and Koh, the rest of the young cast are however lacklustre- especially Josh Lai’s flat and uninspired acting as the one with a guilty conscience, his handicap as an actor ever apparent now as in this year’s ‘Perfect Rivals’. 

The fact that this first horror feature to be inspired by our local Tekong folklore has turned out only middling is all the more surprising considering the pedigree behind it, which includes Eric Khoo and Mike Wiluan of ‘Gorylah Pictures’. Both executive producers were behind the gory slasher ‘Macabre’, that has become somewhat of a cult classic overseas, but it is unlikely that ’23:59’ will be held in the same regard. Those wishing to relive some of their more spine-chilling memories of Basic Military Training may just get a kick out of it- just don’t go expecting a uniquely Singaporean horror classic. 

Movie Rating:

(Not quite the uniquely Singaporean army horror it is supposed to be, ’23:59’ still packs its fair share of chills but borrows too heavily from other genre classics for its own good)

Review by Gabriel Chong
  

Genre: Romance/Comedy
Director: Giddens Ko
Cast: Chen-Tung Ko, Michelle Chen, Ao-Chuan, Steven Hao, Chang-Hsien Tsai, Wan Wan, Sheng Yu Yen
RunTime: 1 hr 50 mins
Released By:  20th Century Fox
Rating: NC-16 (Coarse Language And Sexual References)
Official Website: www.foxmovies.com.sg

Opening Day: 10 November 2011

Synopsis: Adolescence is like a heavy rain. Even though you catch a cold from it, you still look forward to experiencing it once again. Ko-Teng has several close friends who had a crush on Shen Chia-Yi. Those friends of Ko's thus moved in unison from Ching Cheng’s junior high school straight into the senior high school division in pursuit of her. Naughty in nature, Ko was ordered by their homeroom teacher to sit in front of honor student Shen for her to keep close tabs on him. The two hadn't hit it off at first but Ko gradually fell for Shen, who was always pressuring him to study hard. On the other hand, Shen became impressed by the contrasting values Ko represented. Ko started pursuing Shen but Shen remained hesitant. After graduation from senior high, Ko and Shen almost became a couple but the deal was spoilt by a dukeout competition organized by Ko. Growing up together to witness their beloved Shen walking down the aisle to become someone else’s wife, these boys have learned their coming-of-age lessons and continue to pursue each’s happiness..

Movie Review:

Nostalgia’s a bitch, and this columnist is pretty sure each and every one of you reading this review is guilty of indulging in memories – as much as you know it’s the present that really matters. How else would you explain the sudden emergence of movies (Smurfs and Transformers come to mind) which remind us of the good ol’ days?

(Ed’s note: Michael Bay’s pompous ‘bots simply serves as a stark reminder of how good things from the past should be left alone.)

Closer to home, Taiwanese novelist Giddens Ko capitalises on this innate human nature and turns his creative talent into box-office gold by directing his first feature film. The prolific and popular author has translated one of his well loved works into an accessible movie you will find no problems falling in love with. How else would you explain the phenomenal success of the 110 minute production back in Taiwan, where it beat Monga (2010) and Cape No. 7 (2008) to become the local film with the biggest ever opening day and weekend box office earnings?    

The story may have been a chapter of your younger days: The school prankster and the perfect student become the most unlikely friends. A relationship blossoms between the two, and before one realises it, years past and what’s left are bittersweet memories of what could have been. Along the way, you also get introduced to the protagonists’ friends who are familiar characters from your past – the loyal sidekick, the overweight but studious goodie two shoes and the goofy and unassuming dude amongst others.

We are also introduced to thematic memories which seem to have flown past us during these hurried years of growing up. Be it the pursuit of the perfect future, the hopelessly romantic crush on a fellow classmate, or the steadfast allegiance between friends, there will be many sequences in the movie that will strike a chord with you.

 Producer Angie Chai sure knows her audiences well – the experiences on successful TV series like 2001’s Meteor Garden (the show that launched boyband F4’s career) and 2003’s Love Storm have made this movie an unabashedly likeable idol drama. It has all the ingredients of a crowd pleaser: Besides the nostalgic storyline, the stars are pleasing and charismatic. Good lookers Ko Chen Tung and Michelle Chen take on the lead roles in this adolescent tale, and relatively unknown artistes are now stars in their own rights. Other unfamiliar but pleasant stars like Ao Chuan, Steven Hao (you may recognise him as the butt baring kid in many infamous Kung Fu slapstick movies from the yesteryears), Tsai Chang Hsien, Wan Wan and Yen Sheng Yu make up the ensemble cast.

Complement the young actors’ decent performances with a refreshing touch of humour (watch out for a hilarious scene which involves synchronised masturbation), eye pleasing cinematography, a soothing piano score and some recognisably retro songs. The emotionally fulfilling theme song “Na Xie Nian” (literal translation: “Those Years) performed by Hu Xia deserves a place in your music device.      

The film has earned several nominations at the 48^thGolden Horse Awards, and this is further proof that viewers are lapping this shamelessly nostalgic movie up. Yes, this increasingly cynical columnist is a fan of this affectingly moving movie as well – simply because nostalgia’s a feeling no one can shake off.

Movie Rating:  

(Definitely one of the year’s best, this Taiwanese film is a must watch for anyone with a heart)

Review by John Li

Genre: Romance/Drama|
Director: Naoto Kumazawa  
Cast: Mikako Tabe, Haruma Miura, Misako Renbutsu, Haru Aoyama, Masanobu Katsumura, Mirei Kiritani, Natsuna, Yasuko Tomita
RunTime: 2 hrs 8 mins
Released By:  Encrore Films
Rating: PG
Official Website:

Opening Day: 6 October 2011

Synopsis: With her long, black hair and gloomy appearance, Sawako Kuronuma's (Mikako Tabe), classmates made sure they stayed as far away from her as they can and nicknamed her "Sadako" (a character from the horror film "Ring"). Sawako's life begins to change, however, when she started high > school and ended up in the same class as Shota Kazehaya (Haruma Miura), an open and friendly student, idolized by everyone. From Me To You, also known as Kimi ni Todoke, is based on Karuho Shiina's hugely popular shojo manga (girls' comic)...

Movie Review:

There is a very specific demographic that ‘Kimi ni Todoke', adapted from the shōjo manga of the same name, appeals to- and unless you fit right in there, you’re not likely to enjoy this romance, as we found out just 15 minutes into the film. Centred on the unlikely high-school love story between the popular Kazehaya and the socially awkward Sawako, it unfolds at an almost glacial pace, made even more unbearable by how plainly evident its ending is. 

Indeed, it is clear right from the start that the two leads will eventually get together, so all that matters is the journey to that familiar destination. Unfortunately, this journey, which clocks in at slightly more than two hours, is as ponderous as it gets. Working off his own screenplay co-written by Rika Nezu, director Naoto Kumazawa is intent on milking tears from every possible scene in the film, so get ready for some major waterworks like you’re never seen before. 

Yes, if one could win an Oscar just for the amount of times you could shed tears onscreen, then Mikako Tabe would probably win the award hands down. As Sawako, she cries when she decides to abandon her two close friends so she won’t affect their reputation in school. Then she cries again when her friends reaffirm that they are better than to let some rumours get in the way of their friendship. And she does it again when she finds out another girl in school likes Kazehaya, and yet again when she rebuffs him after he asks her out. Tabe does an excellent job looking sad and heartbroken, but boy oh boy does it get ingratiating when you have to see her tear every few minutes. 

It doesn’t help that despite Tabe’s best efforts, Sawako is not an easily likeable character. At the start, Sawako earns sympathy for being the loner in the class that everyone else ignores or otherwise picks on. But this goodwill is put to the test as the movie plods on, especially since Sawako proves not only to be daft, but also annoyingly ignorant. It is with disbelief that we greet a scene where Sawako so easily buys into love rival Kurumi’s insinuation that her liking for Kazehaya is no different from her liking for another fellow classmate. And it is with greater disbelief and even derision that we react to the numerous scenes where Sawako is so dumb to the obvious hints that Kazehaya fancies her. 

The absurdity of it all is unfortunate, for the first of the three acts in the movie actually sets it up quite nicely. Here, with some narration from Sawako herself, we learn how her long black hair and generally gloomy appearance had led her classmates to give her the name ‘Sadako’ after the ghost in the infamous horror ‘The Ring’, as well as how Kazehaya comes to become her first true friend in school. There is a generous dose of humour and playfulness that is sadly lost in the latter two acts, which are content to be melodramatic and lethargic. 

Of course, the ‘woes’ that Sawako face could mean something for teenage girls, who can identify with the feeling of liking someone so much but never mustering enough courage to confess one’s feelings. Ditto for the intended romance between Sawako and Kazehaya, which again could definitely be moving and affecting for some. But it’s one thing to be young and innocent and quite another to be young and ignorant- and because our protagonist seems to be the latter than the former, this adolescent love story remains strictly for adolescent females only.

Movie Rating:

(A juvenile love story that is as juvenile as it gets)

Review by Gabriel Chong
  

Genre: Sports/Drama
Director: Fumihiko Sori  
Cast: Tomohisa Yamashita, Yusuke Iseya, Karina, Teruyuki Kagawa, Mitsuko Baishô, Rina Hatakeyama, Katsuya
RunTime: 2 hrs 11 mins
Released By:  Encore Films
Rating: TBA
Official Website: http://www.ashitano-joe.com/index.html

Opening Day: 20 October 2011

Synopsis: Adapted from a critically acclaimed boxing manga masterpiece (Ashita No Joe), Joe Yabuki (Tomohisa Yamashita) meets Danpei Tange (Teruyuki Kagawa) and then Rikiishi (Yusuke Iseya), both of whom motivate him to take his first steps into the world of boxing. As a person, and as a man, Joe finds his purpose in life. Through facing the tough realities of his destiny, the character of Joe Yabuki moves audiences and gives them courage, winning the love of millions of fans both young and old

Movie Review:

Ashita no Joe is a movie adapted from the manga of the same name. The story is set in the 1960s and 70s, with its story centred around a distraught young man, Joe, played by Tomohisa Yamashita. His character is pretty close to the manga’s depiction, of him growing up to be a wayward child due to the abandonment by his parents when he was younger. He meets Danpei Tange, played by Teruyuki Kagawa, who spotted his talent in boxing and expressed much eagerness to groom him into a pro-boxer. He rejected him over several occasions but eventually accepted his proposal after encountering Rikiishi, played by Yusuke Iseya.

The choice of Yamashita, one of the more recognizable idols from Japan, is probably crucial to the movie. He sparks enough conversation and curiosity about the movie among crowds which are not that familiar or akin to the manga. Contrary to belief that porcelain faced idols simply can’t act, Yamashita might have just set a new standard. He has set up the character Joe well, and displayed great emotional depth and left immense visual impact on subsequent emotional scenes. Both Iseya and Yamashita deserve the same amount of recognition with regards to the extravagant amount of effort put in even before filming. The training they went through were tough, such that their sparring scenes were nowhere close to amateurish. In fact, their professionalism and moves were highly praised by pro-boxers who watched their movie. In addition to that, to achieve a toned body, Yamashita even followed a strict diet over the course of filming, and lost 8 kg. Kudos to their great dedication and professionalism! 

For a boxing movie, good fight choreography is definitely important. In this respect, the movie has scored well too. The portrayal of the sport itself is unlike what we commonly think of, that boxing is brutal and sheer violent. Instead, the sport was portrayed to have a profound impact on the sportsmen, and each scene was elegantly shot. By that it means it recreates the impression of the sport for the viewers, where not only fists and violence triumph. Creative angles and new technology are employed to make such visual impacts possible, but they were not too high tech and fitted well into the set-up of the movie (recall: set in the 60s/70s). Strong symbolism was also appropriately used to convey the boxer’s innermost passion.

Apart from the action sequences, there was also a great deal of balance in the depiction of the strong bonds within the relationship network. Be it between Rikiishi and Joe, or Joe and the villagers at the slum, or Joe and his trainer Tange, there were clearly strong emotional tugs. At first, Joe lived without purpose, and was avoided by villagers who had virtually no hope for a better tomorrow. However once his passion for boxing was evoked by Rikiishi, he ignited the same hope in the villagers, as well as his trainer, tearing down the barriers in between. The representation of the transformation and intricate relational ties were outstanding and for the most, really affective. 

Overall, the movie has more to offer than expected. The adaptation of this manga into a real-life form is exceedingly well done. For fan or non-fan alike, there is probably a thought or two that will cling on to you as you watch this movie. 

Movie Rating:

(130 min can be a pain to some, but as long as you sit through it, you will gain in ways you least expect from this piece which is worked to perfection)

Review by Tho Shu Ling

Genre: Comedy
Director: Michelle Chong
Cast: Michelle Chong, Alien Huang, Li Teng, Pornsak, Kumar, Chua Enlai, Cynthia Koh, Patricia Mok, Nat Ho, Romeo Tan, David Gan
RunTime: 1 hr 58 mins
Released By:  Scorpio East Pictures & Cathay-Keris Films
Rating: PG
Official Website: http://www.facebook.com/alreadyfamousthemovie

Opening Day: 1 December 2011

Synopsis:  The place, Yong Peng, a small town in Malaysia. The girl, Lim Ka Kiao, aka Ah Kiao. Ah Kiao sells televisions, but she wants to be on television. Ah Kiao lives and breathes Singapore-made Chinese drama serials. She knows the lines of every Channel 8 drama serial and the walls (including the ceiling) of her small spartan room are covered by entertainment magazine cut-outs of stars. Ah Kiao can’t tell Brad Pitt from Leonardo DiCaprio, but she especially loves Christopher Lee and Chen Hanwei. Because they are fellow Malaysians. This year, Ah Kiao has made a decision. She is going to join the stars. We follow Ah Kiao's journey across the causeway as she sets out to fulfill her dreams of becoming a star in Singapore, or at least getting close to them. Her adventures range from trying to become a model to becoming an extra in a TCS drama serial. Along the way, she gets side-tracked by a a handsome but shy coffeeshop helper, Ah Seng, who understands her dreams without her having to utter a single word. With local celebrities and personalities making guest appearances as themselves, Already Famous is a homegrown comedy that will appeal to anyone who's grown up watching local television. The movie also offers a rare insight into the local entertainment industry, and will have audiences everywhere rooting for the innocent and determined Ah Kiao, who unwittingly becomes the underdog in the complicated world of Showbiz. With a nuanced script and characters so realistic, Already Famous will leave you in stitches and is the Asian Underdog Made Good movie that Singaporeans (and Malaysians) will be proud to call their own. A story of hopes and dreams, seemingly light-hearted but not without moments of vulnerability and emotion, Already Famous is not just about the trials and tribulations of making it in showbiz, but also a message of truth and heart to anyone who's ever wished upon a star.

Movie Review:

It was like a strange disease: Just a few months ago, this reviewer was religiously visiting YouTube to hunt down video clips of local TV star Michelle Chong’s impersonations of a Filipino maid, a Sarong Party Girl (more affectionately known as SPG-er) and a Mainland Chinese KTV bar hostess. Yes, if you hadn’t been living in a cave, you’d be familiar with Leticia Bongnino’s hilarious encounters with her “boi boi”, Barbarella “something something”’s stories as the president of the SPG-ers, and Lulu’s advice to Singaporeans to “hei sio hei sio” like the pandas in China. Oh, how can we forget Adrianna Wow’s pretentious newscaster’s accent?

This was how wildly successful Chong was in the weekly parody news bulletin The Noose – she got the island talking about her side splitting performances on the small screen. Viewers had to wait for seven painful days before seeing what she had in store. In the meantime, they (at least that was the case for this, err, very free columnist) could only survive on what YouTube had to offer.

So it is without a doubt that this movie is highly anticipated. Some time ago, Chong announced that she was going to take some time off to be the scriptwriter, the director, as well as the main lead for this production. Could this be the funniest local movie of the year? Would fans be hungry for more after first viewings? Are Singaporeans going to lap this up like how they tracked down Chong’s YouTube clips?

The story itself sounds promising enough: A girl from a small town in Malaysia yearns to be a TV star in Singapore. She comes to our little island against all odds and finds herself in the not so kind situation called showbiz. What’s a movie without a love story? Here, she meets a kopi boy (who somehow happens to be from Taiwan to accommodate Taiwanese host Alien Huang’s casting) and, well, sparks fly between the two. You can also bet a happy ending is in store for the girl from, of all places, Yong Peng.

Chong playing a girl with a Malaysian accent? We are sold. There are lots of potential in the movie, with sly references to the trend of actors from across the causeway enjoying success in Singapore. One would expect a commentary on local showbiz, with laugh a minute gags to have you in stitches. However, due to a probable case of mismatched expectations, the 118 minute movie wasn’t a hoot as we thought it would be.

Chong’s movie starts off earnestly enough, but eventually meanders into a predictable and sometimes directionless tale about a small town girl making it big in an unkind city. There are the occasional jokes which manage to make audiences chuckle (thanks to performances by who we assume are Chong’s good friends in the industry), but they seem somewhat incoherent and rambling in the bigger scheme of things. A likeable Huang tries his best to portray the boy next door, but ends up appearing bland and uninteresting next to his more entertaining co stars.

Watch out for appearances by a slew of familiar faces and some behind the scene celebrities. Of course, like many other local productions, expect product placement to be blatantly thrown in your face.

To be fair, viewers who are familiar with local TV would have an enjoyable time catching the crafty jokes littered throughout the movie. Gossips and scandals on Caldecott Hill, anyone? The picture would also appeal to those who have tried their hands at being an extra on a local drama serial. If we were to take a step back to empathise with their woes, we would probably appreciate this movie more.    

Chong’s efforts are apparent from the decent production values of the movie, and the hard work put into producing her labour of love can be felt, which may just be the point of what the story is trying to tell us.  

Movie Rating:

(Not as hilarious as one would expect it to be, this earnest production is still an enjoyable peek into what local showbiz is like)

Review by John Li