Genre: Crime/Drama
Director: Chase Palmer
Cast: John Boyega, Olivia Cooke, Bill Skarsgård, Ed Skrein, Tim Blake Nelson
Runtime: 1 hr 43 mins
Rating: NC16 (Coarse Language and Some Drug Use)
Released By: Shaw Organisation
Official Website:
Opening Day: 11 November 2021
Synopsis: Adapted from the epic, fierce, and hilarious PEN - prize-winning book, NAKED SINGULARITY tells the story of Casi (John Boyega), a cocky young public defender whose idealism and sense of self begins to crack under the daily injustices of the justice system he’s trying to make right, just as the very foundations of the universe might be cracking apart around him.
Movie Review:
We had not heard of Sergio De La Pava’s novel of the same time before this, but after sitting through one-and-a-half hours of writer-director Chase Palmer’s misshapen adaptation, we’re not quite sure what Palmer had intended or why he had even attempted this sci-fi crime caper.
The title itself refers to the collapse of the universe, when space and time will somehow rearrange themselves, but the reference ultimately proves to be such a non-event that you’d feel cheated waiting the whole movie for it to happen; instead, much of the movie revolves around the existential crisis of one cocky but rumpled young public defender named Casi (John Boyega), who is sickened by the criminal justice system he had initially set out with idealism to be a part of.
Casi’s unhappiness is exemplified by his testy exchanges with an apathetic judge (a wonderful Linda Lavin), who can hardly care about giving his clients the benefit of the doubt (and would rather that they simply accept the public prosecutor’s plea bargain). Things supposedly take a turn for the unpredictable when Casi is called to defend a recovering criminal Lea (Olivia Cooke), who gets herself caught up in some messy drug business involving a one-time fuck buddy Craig (Ed Skrein), the Mexican cartel, the Jewish mob and some crooked cops.
As intriguing as that may sound on paper, the execution is an utter and complete mess. There is little to no coherence to the heist subplot, which ties itself in knots it never knows how to get itself out of. Worse still, it further complicates the whole clash of competing interests by throwing in a parallel plot by fellow cokehead public defender Dave (Bill Skarsgård) to rob the drug dealers.
There is also little the sci-fi elements add to the story, most of which are lazily relegated to Casi’s reclusive stoner friend Angus (Tim Blake Nelson). It is less fascinating than frustrating to hear him spout such diatribe as “I’m telling you: things that used to have no mass, now suddenly do. Like punishments that don’t fit the crime”; and as critical as they are meant of the current justice system in the US, there are probably a million better ways that the same message can be delivered.
We won’t deny – we hated this film through and through; we hated the plotting; we hated the pretentious dialogue; and most of all, we hated how such credible actors as Boyega, Cooke and Skrein could have participated in such a farce. Here’s the naked truth about ‘Naked Singularity’: avoid it like it can crush the very life out of you.
Movie Rating:
(An utterly ridiculous and pointless mishmash of sci-fi and heist thriller, this crime caper belongs in the dumps)
Review by Gabriel Chong
SYNOPSIS: An Interpol-issued Red Notice is a global alert to hunt and capture the world’s most wanted. But when a daring heist brings together the FBI’s top profiler (Johnson) and two rival criminals (Gadot, Reynolds), there’s no telling what will happen.
MOVIE REVIEW:
At the time of reporting, Red Notice is the costliest original movie ever made by streaming giant Netflix. However, you are not going to see where the money goes to on your small screen as most of the budget had apparently gone to the pockets of Dwayne Johnson, Ryan Reynolds and Gal Gadot.
FBI agent/profiler John Hartley (Johnson) is hot on the heels of renowned international art thief Nolan Booth (Reynolds) who is currently after one of Cleopatra’s bejewelled eggs in Rome. As it turned out, it’s not just Booth who is after the eggs but also his main competitor dubbed “The Bishop” (Gadot). The only way to outsmart “The Bishop” is getting Booth to team up with Hartley as the former is keen on getting his hands on the second egg while the latter is desperate to capture “The Bishop”.
Despite the lavish budget and a glossy trailer, the finished product looks liked a budgeted shot-on-soundstages action flick. Directed and written by Rawson Marshall Thurber who gave you Skyscraper and Central Intelligence, Red Notice continues his penchant for easy laughs, convenience tropes and CGI. Lots and lots of CGI.
Rather than an original, clever cat-and-mouse action thriller, Thurber did a copy-and-paste, borrowing from much better flicks liked True Lies and Raiders of the Lost Ark. It’s more irritable than wink wink funny for sure. Given that Ryan Reynolds keeps playing the same character all over make things even worse than expected. The wise-cracking smug guy versus the straight, uptight action hero Dwayne Johnson? We have seen that countless times before. Throwing in a sexy Gal Gadot doesn’t spice things much as well.
With the exception of a well-choreographed fight sequence taking place on a museum scaffold, the rest of Red Notice features an awkward amount of CGI enhanced action scenes with questionable CG background and props. The climax is utterly dull despite supposedly a hair-raising car chase in a darkened tunnel. Why? Because it’s likely rendered on a computer. What happened to good old fashion car chases and fist fights? Even more problematic is Spain and South America which look exactly like a soundstage in Atlanta. That bullfight scene in particular is a good example.
Yes, we admit we have been complaining exceedingly long right from the start. You can’t really blame us as the expectation is high given the star-studded cast and a crazy bidding war among major studios. Surprisingly, Red Notice ends up as a “lite” version of a Michael Bay action flick. Less spectacle, dumb story with lots of double-crossing and a stale deadpanned Ryan Reynolds. We wanted so much to like the latest mega blockbuster from Netflix but this one only plays in the background as some sort of distraction. 10 minutes and you probably be scrolling Tik-tok or Instagram on your handphone.
MOVIE RATING:
Review by Linus Tee
Genre: Romance
Director: Kat Coiro
Cast: Jennifer Lopez, Owen Wilson, Maluma, John Bradley, Sarah Silverman
Runtime: 1 hr 54 mins
Rating: NC16 (Some Mature Content)
Released By: UIP
Official Website:
Opening Day: 10 February 2022
Synopsis: Packed with original songs by Jennifer Lopez and global Latin music star Maluma, Marry Me features Lopez starring as musical superstar Kat Valdez and Owen Wilson as Charlie Gilbert, a math teacher-total strangers who agree to marry and then get to know each other. An unlikely romance about two different people searching for something real in a world where value is based on likes and followers, Marry Me is a modern love story about celebrity, marriage and social media. Kat Valdez (Lopez) is half of the sexiest celebrity power couple on Earth with hot new music supernova Bastian (Maluma, making his feature-film debut). As Kat and Bastian's inescapable hit single, "Marry Me," climbs the charts, they are about to be wed before an audience of their fans in a ceremony that will streamed across multiple platforms. Divorced high-school math teacher Charlie Gilbert (Owen Wilson) has been dragged to the concert by his daughter Lou (Chloe Coleman, HBO's Big Little Lies) and his best friend (Sarah Silverman). When Kat learns, seconds before the ceremony, that Bastian has cheated on her with her assistant, her life turns left as she has a meltdown on stage, questioning love, truth and loyalty. As her gossamer world falls away, she locks eyes with a stranger-a face in the crowd. If what you know lets you down, then perhaps what you don't know is the answer, and so, in a moment of inspired insanity, Kat chooses to marry Charlie. What begins as an impulsive reaction evolves into an unexpected romance. But as forces conspire to separate them, the universal question arises: Can two people from such different worlds bridge the gulf between them and build a place where they both belong?
Movie Review:
In true ‘Notting Hill’ style, the equivalent of the English bookshop owner is math teacher Charlie Gilbert (Owen Wilson) and that of the ultra-famous glamour girl is pop diva Kat Valdez (Jennifer Lopez). Though based on the online graphic novel by Bobby Crosby, ‘Marry Me’ owes its debt more to the Hugh Grant-Julia Roberts classic rom-com, and whilst Kat Coiro’s movie doesn’t come close to the same escapist pleasures, there is more than enough charm and chemistry here to remind you just why rom-coms were the staple of Hollywood not quite so long ago.
As far as high-concept setups go, this one has Kat discovering just as she is about to give her wedding vows live to her equally famous fiancé Bastian (Maluma) that he had cheated on her with her assistant, leading her in a moment of madness to say yes to a face in the crowd holding a ‘Marry Me’ sign. That face happens to be Charlie, who was only there at the 20-million strong event because his gay colleague Parker (Sarah Silverman) had been dumped by her lover just hours before and asked him to bring his daughter Lou (Chloe Coleman) in their place.
It is an unbelievable meet-cute all right, but equally there is no harm going along with the flow, as Kat and Charlie spend the morning after as well as many subsequent days trying to get to know each other better. Whereas Charlie will accompany her to press interviews and photoshoots, Kat will visit him at school where he coaches the mathletes club. There should be no surprise that sparks will fly, and indeed the reason they truly do is JLo and Wilson, who make the unlikely couple seem utterly convincing and even winning.
Most of these are found within Charlie’s day-to-day settings – a scene where Kat pays an unannounced visit to Charlie’s mathletes class and ends up teaching Lou how to dance in order to overcome her stage fright is delightful; another where they go to the school’s semi-formal together is sweet, funny and lovely all the same time; and yet another where Kat surprises Charlie with a nostalgic visit to Coney Island to ride the Wonder Wheel is enthralling. In fact, it is the smaller, more intimate scenes that are truly endearing, even if it is as simple as Kat accompanying Charlie to walk his English bulldog along the Brooklyn neighbourhood.
Though there should never be any doubt that Kat will eventually come around to falling in love with Charlie, it is also just as predictable that Bastian will make an obligatory return in the third act of the film, just so Charlie will question the basis of his relationship with Kat and for Kat to sit on the question long enough (of whether she truly chooses to spend her life with Charlie). Yet without giving away any spoilers, let’s just say the climax is touching in unexpected ways, not just by how Kat and Charlie reconcile but also how Charlie demonstrates his fatherly love for Lou.
Some may be tempted to infer what Coiro is saying about fame in today’s age of live-streaming, or even how what Kat reflects on about her love life reflects that which JLo herself had been through in real life; yet at the end of the day, this is and should rightly be appreciated as a Hollywood escapist rom-com in spirit, structure and form. It may not be an instant classic as ‘Notting Hill’ was, but the combination of JLo’s glam and Wilson’s ‘aw-shucks’ charm will definitely put a smile on your face. Even if it doesn’t immediately make you say ‘I Do’, you’ll find it hard not to say ‘Why Not’ to this frothy, fun and fulfilling rom-com.
Movie Rating:
(JLo and Owen Wilson make a charming couple in this 'Notting Hill'-like rom-com that proves familiar can still be frothy, fun and fulfilling)
Review by Gabriel Chong
Genre: CG Animation
Director: Jared Bush, Byron Howard
Cast: Stephanie Beatriz, María Cecilia Botero, John Leguizamo, Mauro Castillo, Jessica Darrow, Angie Cepeda, Carolina Gaitán Diane Guerrero, Wilmer Valderrama, Rhenzy Feliz, Ravi Cabot-Conyers, Adassa
Runtime: 1 hr 49 mins
Rating: PG
Released By: Walt Disney Pictures
Official Website:
Opening Day: 25 November 2021
Synopsis: Walt Disney Animation Studios’ “Encanto” tells the tale of an extraordinary family, the Madrigals, who live hidden in the mountains of Colombia, in a magical house, in a vibrant town, in a wondrous, charmed place called an Encanto. The magic of the Encanto has blessed every child in the family with a unique gift from super strength to the power to heal — every child except one, Mirabel (voice of Stephanie Beatriz). But when she discovers that the magic surrounding the Encanto is in danger, Mirabel decides that she, the only ordinary Madrigal, might just be her exceptional family’s last hope.
Movie Review:
While merchandise donning Disney princesses are still flying off shelves, the animation studio behind beloved classics like Snow White and the Seven Dwarfs (1937), Cinderella (1950) and The Little Mermaid (1989) knows it cannot portray female protagonists as individuals who are waiting for Prince Charmings to give them their fairy tale happy endings. The efforts to incorporate empowerment in female characters have been evident. Elsa, Moana and Raya do not have boyfriends, and they fight (both literally and figuratively) to find their place in life. They don’t go gaga over men, and are strong independent women. There are even catchy theme songs which inspired millions of girls to let it go and venture into the unknown.
It is hence noteworthy that Walt Disney Animation Studios’ 60th film features yet another strong female character, Mirabel Madrigal. She does not waste time wondering when her prince will come. She is part of a large extended family, and the film is about her quest to save the magic that has kept her family together – even though she seemingly does not have a special gift like the rest of them.
The Madrigals are a well respected family who has helped the people in their Colombian village with their various magic powers. Mirabel is the only member of the family with no such powers. One day, she sees visions of a disaster that will make the Madrigal powers disappear, and she is determined to find out the truth behind her premonitions.
This is a delightful from beginning to end. The visuals are stunning (expect nothing less from Disney), and you’d be in awe with the exploding colours and magnificence in every frame. For us in this part of the world, it is an eye opener as the Colombian culture comes alive with its energetic music. The 109 minute movie works largely because of its songs written by the talented Lin Manuel Miranda. There is a brilliant song which introduces the members of the Madrigal family, and a hilarious but painfully poignant song about the stress faced by Mirabel’s elder sister. Elsewhere, there is a catchy tune about the outcast of the family, and the finale song which you’ll tap your feet to. We haven’t heard such an infectious soundtrack for some time.
The voice cast is headlined by Stephanie Beatriz (whom we last heard singing in Into The Heights). As she belts out the songs in this animated film, you empathise with Mirabel. She gets the obligatory Disney tune where she sings about her inner sentiments, of course. John Leguizamo voices the uncle who mysteriously disappeared due to unknown reasons, while other Colombian artistes take on the roles of other members in the family.
What’s also admirable about the film directed by Byron Howard and Jared Bush is its story. There is a pleasant departure from traditional titles. There is no antagonist who is threatening to destroy the world, and there are no cute animal sidekicks. The factors at play here are the themes related to family bonds. The movie explores the dynamics within the family, and what happens when some members are less regarded. This is something relatable in most families, if you ask us.
Movie Rating:
(Besides exploring relatable themes about family relationships, this Disney animated film also delivers wholesome entertainment, dazzling visuals and top notch songs)
Review by John Li
Genre: Drama/Fantasy
Director: Giddens Ko
Cast: Kai Ko, Vivian Sung, Gingle Wang
Runtime: 2 hrs 8 mins
Rating: NC16 (Sexual References & Some Nudity)
Released By: Clover Films
Official Website:
Opening Day: 2 December 2021
Synopsis: Ah-lun is struck dead by lightning, and when he goes to the underworld, he has no memory of his previous life. He has a choice to make: to reincarnate, or to become a god and share the workloads on the earth. After training, Ah-lun takes on the job of god of love. He teams up with Pink Lady and binds countless men and women together with red strings to pass on the love pollen while trying to find out what happened to him with the strong deja vu he has. Day by day, Ah-lun found out that his biggest task is to tie this red string on his best loving woman Xiao-mi with someone else and that will separate them for eternity.
Movie Review:
When Giddens Ko’s You Are The Apple Of My Eye (2011) was released, not only did the Taiwanese movie struck a chord with this reviewer, it was a hit with millions of viewers as they were fondly reminded of the first time they fell in love. Ten years on, Ko is back with another film that blew this writer away. It is easily one of the best movies he has seen recently, and he believes that it will be popular among the masses too.
The first thing that will draw you in is the romantic story. Based on Ko’s 2002 book which is also his first foray into the romance genre, it tells the tale of Ah Lun (Kai Ko), who is struck dead by lightning, and Pinky (Gigle Wang), who also died a traumatic death. To earn goodwill points so they can prevent themselves from reincarnating into pests like cockroaches and slugs, Ah Lun and Pinky take on the task of being love gods (which is the movie’s the Chinese title) who help the lonely and lovelorn find their other halves. They do so by tying the two individuals with a red string (Chinese viewers would be familiar with this folklore), and presto – love happens. Things get complicated when Ah Lun runs into his ex girlfriend Xiao Mi (Vivian Sung), and the dilemma of whether to find her another man kicks in.
While the plot sounds like a straightforward story, there is more than meets the eye. First, the imaginative approach of the film will leave you in awe. Trust Ko and his team of filmmakers to visualise the underworld as a bureaucratic environment where spirits have to complete tasks and submit reports. There is a system where internships and work placements are offered. The set design is eye catching and brilliant, and you will be engaged as Ah Lun and Pinky get themselves prepared to become love gods.
The film then sends the team of love gods onto Earth. The sequence where they breeze through an arcade (unbeknownst to humans) is one of the best scenes you’ll ever see on screen. Energetically edited to a punchy Japanese pop tune, the cast members display their best dance moves and give their most stylistic poses. Then you’ll see how the love gods do their work when couples are brought together in the most unexpected ways.
When it’s time for Ah Lun to get involved with Xiao Mi, the movie hits all the right emotional notes and may even make you shed a few tears when things get melodramatic (cynics may scorn at the manipulative storyline, but this should work well for most people). Another noteworthy character is the film’s supposed villain played by Umin Boya. He portrays a very angry spirit who has been wronged during his lifetime, and is out to get vengeance. There are a few standout scenes with poignant lines that will leave you thinking about the why we often feel disgruntled with life.
The 128 movie has all the right elements for it to be highly recommended. It tells a heartfelt story in an inventive way, and makes use of visual effects very well. It is no wonder the movie took home the Best Visual Effects prize, together with the accolades for Best Costume Design and Best Sound Effects at the recent Golden Horse Awards, where it was nominated in 11 categories. If you’re looking for a movie to perk up your dreary life, this is it.
Movie Rating:
(Get on your feet, head to the cinema and be invigorated by this eclectic film with a story that is told with imagination and heart)
Review by John Li
Genre: Action/Fantasy
Director: Yoon Jae-keun
Cast: Yoon Kye-sang, Lim Ji-yeon, Park Yong-woo, Park Ji-hwan
Runtime: 1 hr 48 mins
Rating: NC16 (Some Violence and Drug Use)
Released By: Clover Films
Official Website:
Opening Day: 25 November 2021
Synopsis: Ian wakes up in the middle of a car crash finding himself in the body of man he has never seen before. He doesn't remember his own name nor where he lives. What he only knows is that his spirit is suddenly brought to someone else's body, somewhere else, every twelve hours. Searching for clues and answers, he finally meets the mysterious woman, Jin-ah, who claims to recognise him. After revealing his identity, he's determined to find a way back to his own body before a secretive organisation gets their hands on him.
Movie Review:
What if you can be in someone else’s body every 12 hours? This interesting premise has a lot of potential for hilarious and slapstick scenarios, but this Korean drama uses it to concoct an exciting thriller that will leave viewers at the edge of their seats.
Directed by Yoon Jae Keun, the movie starts with a man waking up at the scene of a car accident. He has no memory of what happened and how he got to the location. To his horror, he finds that his face is not his own. A series of bewildering events happen and lots of action happen. Twelve hours later, he changes into yet another body and continues to be confused by what’s happening. One thing that’s common – he is chased by different people and everyone wants to know where a certain Ian is.
The 108 minute movie begins refreshingly, before audiences begin spotting a pattern that becomes predictable. However, that is not an issue because each episode will reveal different bits of the story. And trust the Koreans to make an exhilarating movie that involves cat and mouse chases, exciting car chases and over the top characters that dramatically shout at each other. As the story progresses, viewers will find that the screenplay gets complicated with drugs, betrayal and deceit.
Besides the body swap element, audiences may also be reminded of movies like Memento (2000) and The Bourne Identity (2002). The protagonist tries his best to remember what happened which led to this strange phenomena, and every time he enters a new body, a new clue surfaces. Other than the thugs he has to fight off, a mysterious female character seems to be central to his life. Cue the appearance of flashbacks, photographs and red herrings that are meant to throw viewers off balance.
The main lead is played by Yoon Kye Sang, and the filmmakers cleverly use different approaches so audiences can grasp the concept of the body swap, while allowing Yoon to shine with an intense performance that expresses puzzlement, fear, anguish and wrath. Supporting actors also hold their own ground and each one manages to leave an impression. Lim Ji Yeon takes on the role of the woman who may or may not be the key to the truth, while Park Ji Hwan is responsible for providing laughs as a homeless person who becomes the protagonist’s trusted companion. The production values are high, and the large scale action set pieces will please fans of the genre. The cinematography is gritty, and the dynamic camerawork will engage viewers from beginning to end.
This is a solid popcorn movie that does not disappoint. When the full picture finally comes to light, it is not particularly groundbreaking but audiences would have been adequately entertained by the fast paced story and action sequences to have much qualms. This is a spy movie, it has an interesting premise, the character has a strong personality, the antagonists are pure villains and there are plenty of action packed scenes – what’s there not to enjoy?
Movie Rating:
(A solid popcorn movie that is exhilarating from beginning to end)
Review by John Li
SYNOPSIS: Ten-year-old Max Mercer has been accidentally left behind while his family is in Japan for the holidays. So when a married couple attempting to retrieve a priceless heirloom set their sights on his family's home, it is up to Max to protect it from the trespassers...and he will do whatever it takes to keep them out.
MOVIE REVIEW:
Like Home Alone 3, 4 and 5, no one will remember Home Sweet Home Alone down the road, the latest reboot of a classic franchise to hit streaming service, Disney+. Taking over Chris Columbus in the director’s chair is Dan Mazer, the writer of Borat, Bruno and the director of Dirty Grandpa. Not exactly the right man to take on a family’s movie. On hindsight, no one can, not even Columbus himself.
A mischievous Brit kid, Max Mercer (Archie Yates) is left home alone while his entire family has fly off for a vacation in Tokyo. In the meantime, Jeff (Rob Delaney) and Pam McKenzie (Ellie Kemper) suspecting that Archie has stolen their precious antique doll earlier decides to break into his house to retrieve it. As expected, the McKenzies is going to face a hard time as Max has prepared a galore of booby traps awaiting their arrival.
The core of Home Sweet Home Alone remains unchanged despite more than three decades have passed since the original. But rather than the case of two dim-witted thieves, Home Sweet Home Alone features two good people suffering serious injury over a minor misunderstanding. Jeff has lost his job it seems and the family is planning to sell their home due to obvious financial issues. When they realised their heirloom aka creepy doll is worth at least $200K, the possibility of salvaging their home becomes a reality.
Well, it kind of feel bad watching the McKenzies being subjected to all sorts of painful pranks. Maybe it’s just a question of morality. Watching the two baddies played by Joe Pesci and Daniel Stern getting their much deserved comeuppance sounds more desirable. Even though the current version is filled with a series of slapstick gags and cartoonish violence, you feel strangely detached from the entire hodgepodge of ideas.
Rob Delaney and Ellie Kemper did a magnificent job in the physical comedy department but they are constantly let down by the poorly executed plotting. The only good thing that comes out of it is the return of an adult Buzz McCallister (Devin Ratray), the brother of Kevin in case you forgot. Buzz is now a cop while the movie hints of what an adult Kevin is doing. Though Macaulay Culkin never makes an appearance, it's still a good thing by the way.
Maybe Home Sweet Home Alone is not made for boomers who grown up on the originals. Perhaps the current generation of young kids and millennials will appreciate the reboot more. If you love a mean-spirited Christmas flick with occasional funny moments then this is a good choice for the entire family. The rest of us I assumed have better choices elsewhere.
MOVIE RATING:
Review by Linus Tee
Genre: Biography/Drama
Director: Martin Bourboulon
Cast: Romain Duris, Emma Mackey, Pierre Deladonchamps, Alexandre Steiger, Armande Boulanger, Bruno Raffaelli
Runtime: 1 hr 49 mins
Rating: M18 (Sexual Scenes)
Released By: Shaw Organisation
Official Website:
Opening Day: 25 November 2021
Synopsis: Having just finished his collaboration on the Statue of Liberty, celebrated engineer Gustave Eiffel (Romain Duris) is on top of the world. Now, the French government is pressuring him to design something spectacular for the 1889 Paris World Fair, but Eiffel simply wants to design the subway. Suddenly, everything changes when Eiffel crosses paths with a mysterious woman (Emma Mackey) from his past. Their long lost, forbidden passion inspires him to change the Paris skyline forever.
Movie Review:
When one mentioned ‘France’, the first thing that would come to the mind would most probably be Paris and that is coupled with an image of the Eiffel Tower. But what is the actual story of this iconic monument?
Based loosely on the life of engineer Gustave Eiffel, the film showcases Eiffel years before the 1889 Paris World Fair, where he has to decide between wanting to constructing a metro system and a metal structure for the World Fair itself and it was through his coincidental meeting with his ex-lover of the past that fuelled him to take on the colossal project and work towards its completion, powered by lost love.
Surely, a film that is named after the creator of what is possibly France’s biggest tourist attraction is compelling enough to make anyone want to watch the film, right? Well, not really.
The storyline is rather interesting and takes you through the early years of Eiffel’s engineering career and the manifestation of the idea of having a metal tower, centred around his love life. Even though what we know of Eiffel’s love life (or affairs) is not exactly known, watching this story unfold steadily into a lavish soap romance was rather intriguing. Yet, despite its effort to weave out a plausible plot to tie in with the main star of the film (aka the tower itself), it feels disconnected and the overall purpose of the film seems to be nearly lost, especially towards the end.
The pacing of the film is good and even out, with a smooth momentum and organic build-up, easing the viewer and not subjecting them to slowness equating to complete boredom or heightened acceleration equating to a hyper-speed rollercoaster with no brakes. Sadly, it seems like they forgot about time while filming and decided that rushing the last 15 minutes of the film was a good idea, leaving the viewers confused about the sudden escalation and leaving them hanging and wondering the rationale for speeding up.
Despite such a disruptive aftertaste, credit should still be given to the film, especially to the well assembled cast, consisting of actors and actresses of varying experiences, including veteran Romain Duris, who is well-known in the French film industry, and Emma MacKey, whom fans of the British Netflix series “Sex Education” might be delighted about.
Emma shines well in her portrayal of Adrienne Bourgès, the past and renewed love interest of Gustave Eiffel, moving from a youthful and excitable young adult to a refined and mature lady with a bit of zest. The contrast between the character shift is noticeable and evident in her style and it is definitely commendable, especially if one is familiar with her work on “Sex Education”. Even then, Romain and Emma does not steal too much of the limelight, but instead strengthens the film with their conviction, alongside the cast, all whom have made it believable.
Also believable was the setting, costume design and makeup, which proudly showcases the beauty and exquisiteness of the French style (in fashion) and France, maintaining and upholding the accuracies of its past. The colours and tone used makes the film generally fascinating and palatable to the eyes. Travel restrictions and lockdown fatigue makes the fantasy even more desirable than ever!
Overall, it is hard to place exactly where “Eiffel” should be in today’s world, where the catalogue of films seem more extensive and diverse and the possibility of works being lost and forgettable at a fast pace is possible.
It is not to say that “Eiffel” is unwatchable. It is still somewhat a marvel to see such dedication to the past of this iconic symbol,. However, it is uncertain if the romantic aspect of the film is meant to dictate and control the direction of the film or to supplement the film to ensure that it steers away from being possible a dry documentary, and that cause the film to lose its direction.
Then again, what is a film on the Eiffel Tower, located in a city known for romance and love, without a love story? Maybe a subdued dramatic story on forbidden love is needed to drive or justify its existence? Whatever one believes, it is certain that like in the past, where people would flock to see Eiffel Tower despite previous protests against the construction of the tower, the viewers will come to at least convince themselves that this film is worth the try, at least. And truly, it possibly could be. Somehow.
Movie Rating:
(A pleasantly comfortable film that will marginally satisfy the regular viewer’s appetite but sadly fails to spark inspiration or immerse joy. Go to the cinema without too much expectations)
Review by Ron Tan
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HYUNDAI & SPIDER-MAN: NO WAY HOMEPosted on 24 Nov 2021 |
Genre: Drama/Biography
Director: Longman Leung
Cast: Louise Wong, Louis Koo, Gordon Lam, Miriam Yeung, Ayumu Nakajima, Tony Yang, Fish Lew, Terrance Lau
Runtime: 2 hrs 17 mins
Rating: PG
Released By: Sony Pictures
Official Website:
Opening Day: 25 November 2021
Synopsis: A household name in Hong Kong, queen of Canto pop, Anita Mui was the very definition of a cultural icon during Hong Kong’s golden age in the eighties and nineties. With a career that began at the age of 4 in an amusement park, Mui dedicated almost her whole life to music. Behind stardom, her personal life, passion at work and the love for friends made her an irreplaceable role model of "The Daughter of Hong Kong". The film opens with her final concert and looks back on her life and legacy.
Movie Review:
‘Anita’ begins at the end, with the star, dressed in a stunning wedding gown, about to step on stage for the last time. Those who have had the privilege of experience what it was like when the late Cantopop icon dominated the Hong Kong entertainment scene would know that it was barely two months before she would succumb at a tender age of 40 to cervical cancer, triggering waves of sorrow among her fans all over the world, including in Singapore.
It would never have been easy to squeeze her entire life into a feature film, but over an engaging two-and-a-quarter hours, director Longman Leung and his co-writer Jack Ng do so with admirable nostalgia, restraint and poignancy. Indeed, it bears saying from the onset that Leung does not take her fans’ sentiments for granted; instead, he offers a dignified, vivid and sometimes piercing look at the much-revered singer, actress and philanthropist dubbed ‘Madonna of the East’ and ‘Daughter of Hong Kong’, aided by a spectacular lead performance by newcomer model Louise Wong.
In terms of narrative, the story covers the following moments in her life: first, as a six-year-old performing with her 10-year-old sister Ann in late-night bars, on the streets and then in the Lai Chi Kok Amusement Park, calling themselves ‘Yee-yee and Yee-na’; then, getting her big break after winning the inaugural ‘New Talent’ singing awards in 1982, while attracting the attention of top record producer Mr So (Gordon Lam) and stylist Eddie Lau (Louis Koo); and last but not least, her meteoric rise enjoying hit single after hit single before breaking out into acting with renowned Golden Harvest producer Leonard Ho (Waise Lee) as her godfather.
Amidst these discrete episodes in her life, the film also portrays her relationship with a number of key figures – Ann (Fish Liew), who graciously steps aside for Anita to enter the talent contest as a solo artist, a decision which will eventually spell the end of her singing career and her settling down into married life; her invaluable friendships with Eddie and Leslie Cheung (Terrance Lau), the latter of whom had starred with her in Stanley Kwan’s ‘Rouge’ which she won a Golden Horse Best Actress award for; and her doomed romance with fictional Japanese pop idol ‘Yuki Godo’ (Ayumu Nakajima), based upon that with 1980s J-pop idol Masahiko Kondo.
Much thought has gone into assembling the archival footage showcasing key highlights of Anita’s life, though both the selection and the plotting have been equally careful to avoid the more controversial stories in her life, including her political activism in the aftermath of the Tiananmen Square event crackdown and the legal tussle with her mother and other siblings who wanted a share of her profits and estate. It is understandable why the filmmakers have avoided these subjects, but equally those expecting a less sugar-coated account of Anita’s life will inevitably be disappointed.
Yet these omissions ultimately do not diminish what is a mesmerising biopic that counts as one of the best of the genre from Hong Kong cinema in recent years. Thanks to superb work by production designer Pater Wong, the re-construction of old-school Hong Kong looks absolutely breath-taking, with careful attention paid to the skyline, the neon lights and such venues as the LCK Amusement Park and Lee Theatre; just as stellar is the detailed re-creation of Anita’s stage outfits by costume designer Dora Ng, blending real and reel to brilliant effect.
Certainly, no amount of dressing can make up for an authentic performance, or the lack thereof; and in this regard, it is extremely fortuitous that the filmmakers had identified Wong for the role. Not only does she resemble Anita, she carries the role with suitable aplomb, dancing and singing with the sort of fearlessness and raw emotion which came to define her both onstage and off stage. Whilst she does not convey the same intensity of brazen insouciance which Anita came to embody, Wong does her darnest best with the role (and that is kudos to the late Liu Kai-chi, who was her acting coach on the set).
Frankly, we were skeptical when we heard that Leung, who is best known for co-directing the ‘Cold War’ movies, was chosen to helm this; yet, the filmmaker makes an impressive solo directorial debut here, channelling expectation and nostalgia into a lively yet elegiac portrait of the superstar. Without saying the obvious, ‘Anita’ is also a love letter to a very different era in Hong Kong’s history, and while the neon signboards may still be around, there is no doubt that Hong Kong has changed irrevocably in political, social and cultural terms. That, symbolic in the passing of Anita, makes the film even more profoundly moving and a must-see for those fortunate enough to live through such defining times.
Movie Rating:
(Told with restraint, nostalgia and poignancy, this biopic of the late superstar is a mesmerising recount of a once-in-a-lifetime icon and of a Hong Kong that has since changed irrevocably)
Review by Gabriel Chong
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