Genre: Action/Thriller
Director: Gary McKendry
Cast: Jason Statham, Clive Owen, Robert De Niro, Dominic Purcell, Aden Young, Yvonne Strahovski, Ben Mendelsohn
RunTime: 1 hr 45 mins
Released By: Cathay-Keris Films & InnoForm Media
Rating: TBA
Official Website: http://www.killerelite.com/
Opening Day: 20 October 2011
Synopsis: Inspired by true events, Killer Elite is a new action-adventure spy film that follows Danny (Jason Statham), one of the world's most skilled special-ops agents. Lured out of self-imposed exile, Danny reassembles his crack team of operatives to execute a near-impossible mission of retribution- to rescue his former mentor and partner Hunter- (Robert De Niro). Together they must penetrate the highly feared and respected military unit, the British Special Air Service (SAS), to take down a rogue cell of soldier assassins and their leader Spike (Clive Owen) before their actions create a global crisis. Killer Elite’s whirlwind journey of action hurtles across the globe: from Mexico to Australia, from Paris and London to Oman and Wales. The film is based on Ranulph Fiennes’ controversial nonfiction bestseller “The Feather Men”.
Movie Review:
Jason Statham must probably be the most hardworking action star these days, though not all his works have arguably been worth his efforts. His latest, the ‘80s British espionage thriller ‘Killer Elite’, easily stands out among the crop- not simply because it boasts a dream cast of tough-guys including Clive Owen, Dominic Purcell, and Robert DeNiro, but also because it is one of the best Statham movies since the stylish ‘Bank Job’.
Inspired by the controversial memoir ‘The Feather Men’ from former SAS agent Ranulph Fiennes, it is similarly set against the backdrop of Britain’s secret involvement in the Oman War, motivated by control over the rich oil reserves that lie beneath the country’s deserts. Statham is the former kill-for-hire Danny forced out of his retirement when an Omani sheikh (Rodney Afif) takes his former mentor cum partner Hunter (DeNiro) hostage. The sheikh wants Danny to go after the SAS soldiers who murdered his three sons, and besides Hunter’s freedom, is willing to pay six million dollars.
A tense opening prologue in Mexico where Danny on a mission hesitates after seeing a young kid and almost loses his life as a result establishes the reason for his quitting, but like his agent tells him when he says he’s done with killing, ‘maybe killing isn’t done with you’. First-time screenwriter Matt Sherring does a surprisingly fine job painting Danny as the weary assassin drawn back into a world he has tried so hard to escape from; and though the frequent flashbacks to Danny’s tranquil farm life with the strikingly beautiful Anne (Yvonne Strahovski) aren’t always handled with enough finesse, Danny turns out to be much more complex than the usual one-dimensional character Statham ends up playing.
But any Statham movie would not be complete without the action, and rest assured there is plenty of that in store as Danny assembles two trusted aides- the reconnaissance man Davies (Purcell) and the tech-savvy Meier (Aden Young)- to help him in his assassinations. These murders, while grisly, possess greater ingenuity than the average shootouts- chiefly because the sheikh also has given Danny specific instructions to make each look like an accident. The meticulousness with which these ‘accidents’ are staged can’t match those in the Hong Kong thriller ‘Accident’- nonetheless, McKendry mounts the tension and suspense before each kill confidently, which makes for a thoroughly riveting watch.
Each successful hit also brings Danny closer to his most dangerous rival Spike (Owen), whose task is to protect these men Danny has been sent to kill. These two highly trained operatives are on a collision course simply because of their respective missions- though both of them are really just puppets on a string oblivious to the political machinery by which they have been played by. Danny however is fully aware of the vicious cycle violence perpetuates, his one wish to put a stop to the back-and-forth killings.
And indeed, Sherring’s screenplay boldly eschews the typical good guy-bad guy polemic in favour of something more multifaceted between Danny and Spike. There is a distinct sense that both assassins are really not much different from each other, and could possibly even have been great friends had circumstance not set them up as enemies. McKendry balances the film nicely without favouring either character, and the setup makes for an engrossing study into the shadowy world of Special Forces operatives who are at the behest of their government masters.
In Statham and Owen, McKendry has also found a pair of fine action stars with great rapport. Much of their face-to-face confrontation is reserved towards the end of the show, but there is a teaser midway into the film when both go mano-a-mano in an operating theatre. The raw energy emanating from both Statham and Owen is electric, and a perfect appetiser of how things sizzle when they are finally pitted against each other. But the film saves the best for last- and the most thrilling sequence of all is a three-way fight among Statham, Owen and another SAS agent sent to take out the both of them, one of the highlights a backflip by Statham on the third man while tied to a chair. Aside from Owen, Statham also shares palpable chemistry with DeNiro- though the veteran’s actor’s involvement here is really no more than an extended cameo.
Yet ‘Killer Elite’ is a movie that rests on the charismatic bald-headed action star, who rewards one of his most well-drawn roles in recent years with an enigmatic performance built upon a rugged tough-guy persona that fits him like a glove. It is also an impressive feature debut for commercials director McKendry, demonstrating his assured grasp of storytelling and pacing. Add to that some gripping political drama, and you have an elite action thriller that’s as classy and exciting as them ‘80s spy thrillers get.
Movie Rating:
(Gripping at every turn, this is every bit the elite spy thriller you would expect from such an assembly of great actors)
Review by Gabriel Chong
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AVATAR coming to Disney Parks!Posted on 21 Sep 2011 |
Genre: Documentary
Director: Morgan Spurlock
Cast: J.J. Abrams, Peter Berg, Paul Brennan, Brett Ratner, Antonio Reid, Quentin Tarantino, Donald Trump, Morgan Spurlock
RunTime: 1 hr 29 mins
Released By: GV
Rating: PG13
Official Website: http://www.sonyclassics.com/
Opening Day: 6 October 2011
Synopsis: Boundary-pushing Oscar-nominated filmmaker Morgan Spurlock explores the world of product placement, marketing and advertising in POM Wonderful Presents: The Greatest Movie Ever Sold, a film that was fully financed through product placement from various brands, all of which are integrated transparently into the film. While using brands in film promotion is not new for Hollywood, it certainly is new territory for the documentary format. Spurlock exploits the phenomenon to new heights, with everything from branded pizza boxes and in-flight film promotions to branded-everything in-film. With humor and insight, POM Wonderful Presents: The Greatest Movie Ever Sold unmasks the marketing process to bring audiences behind closed doors directly into the pitch meetings and marketing presentations which ultimately inform our everyday entertainment decisions. Sponsors were provided with brand category exclusivity. The brands that agreed to sponsor the film placed Spurlock front and center in their brand campaigns and advertisements, both on and off-line. Partners have the unique right to promote themselves in association with Spurlock and the film as “The Greatest.” The agreements also stipulate that Spurlock maintains creative control of the film’s content and final edit..
Movie Review:
Dear Mr. Spurlock,
The team at Moviexclusive.com is deeply saddened by the fact that you had not contacted us during the production of your latest documentary. We would very much have loved to be involved in the film. After all, it explores product placements, marketing and advertising in movies and TV shows, a topic which we feel strongly for. And, being one of Singapore’s (we thought an Asian flavour would have added that edge to your documentary) most recognised movie websites, the collaboration could have been one that benefited both parties.
To further illustrate how your creations have inspired us, we would like to tell you how your 2004 docudrama Super Size Me has made us decrease the consumption of fast food. Your second feature documentary Where in the World Is Osama Bin Laden (2008) reminded us how terrorism will forever be a relevant issue for decades to come. We are, in fact, most impressed by the segment you directed in Freakanomics (2010) where names play a significant role in personal development and social advancement.
If that’s not selling out, we don’t know what is.
Oh, we realised that while you were making this documentary, you were not “selling out”, but “buying in” (at least that’s what the slogan on the movie poster tells us) – maybe that’s the reason why you didn’t hunt us down to discuss how we can play a part in your 88 minute film. Essentially, you were going around looking for sponsors to finance your film, and we follow you on your journey as the managements of companies like Hyatt, Merrell, JetBlue and Mini agreed to pay for your production - as long as you feature their products and services in the documentary. In fact, we are glad that Pom Wonderful (a brand of beverages and fruit extracts which is unfamiliar to viewers residing in this part of the world) said yes to paying one million dollars for above the title billing.
The result? An official title that reads: POM Wonderful Presents: The Greatest Movie Ever Sold.
For an hour and a half, we were greatly entertained with your antics as you visited one company after another, proposing creatively outrageous ideas, hoping that they will finance your production. We were also impressed with how you managed to get filmmakers like J.J. Abrams, Brett Ratner and Quentin Tarantino to share their opinions about corporate branding in media productions. And it was really a treat to see the renowned Noam Chomsky being interviewed in the film.
Having rock band OK Go to create the theme song “The Greatest Song I Ever Heard” specially for the documentary? Genius.
However, amidst this flurry of activity, we couldn’t help but feel that there is a lack of focus. The viewpoints and perspectives presented in the film are not particularly new to those who are familiar with such issues. The interviewees’ sound bites, though amusingly at times, do not shed much new light on the implications of sponsorship in movies and TV programs. It just wasn’t the eye opener we hoped it would be,
However, your latest work is yet another testament how you are able to smartly capitalise ideas to yoru advantage, and is one documentary we would highly recommend to our readers. Heck, you know what? If we can somehow get involved in the movie’s DVD marketing, we will up movie rating to give it a perfect score.
Do consider that, Mr. Spurlock.
Movie Rating:
(A very entertaining documentary that looks at how selling out can actually get you far in the world of filmmaking)
Review by John Li
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1911 International TrailerPosted on 22 Sep 2011 |
Genre: Drama
Director: Wilson Chin
Cast: Jason Chan, Bonnie Sin, Jun Kung, Miki Yeung, Jeana Ho, Stephanie Cheng, DaDa, Gregory Wong, Emme Wong, Gary Cheng, Phat, Pal Sinn
RunTime: 1 hr 36 mins
Released By: GV
Rating: M18 (Sexual Scenes)
Official Website:
Opening Day: 29 September 2011
Synopsis: Lan Kwai Fong (LKF), a well-known party location in Hong Kong with loads of nightclubs and bars. Everyone likes to go LKF for fun, one night stand or even true love. LKF had captured joys and sorrows of many… One night, Steven – a regular of LKF met the flight attendant – Jennifer. They had sex on the first night they met but both could feel love comes along. They had another date on the New Year Eve again. Unfortunately, misunderstanding tore them apart and Jennifer decided disappear from LKF. After eight months, Steven met with Jennifer again and hoping to restart a relationship with her. However, Jennifer was no longer single, she’s now his boss, Leslie’s girlfriend. At the same time, Steven received a call that his close friend collapsed and had to be sent to hospital. His friend encouraged him to follow his hearts. When he finally decided to tell Jennifer about his feelings, Jennifer had already engaged to Leslie. Steven was heart-broken. He accepted the job promotion to stay in overseas’ branch office. His friends threw him a farewell party. He reunited with Jennifer again at the party. Will the two be together again after everything they’ve been through in this place with tons of One Night Stand happening every night?
Movie Review:
Hong Kong’s celluloid depiction of its nightlife has somehow been synonymous with its triads, immortalised in iconic films like the ‘Young and Dangerous’ series. It makes for gripping cinema, but the reality is that the triads have been fast disappearing from the scene, while the city’s nightlife has grown ever more colourful and interesting. ‘Lan Kwai Fong’ represents one of the few movies that dissociates the former from the latter, painting a relevant portrait of today’s clubbing landscape made up of young working adults who hit the bars and clubs around the titular district for booze, music, company- and perhaps even love.
Rather than being centred around any particular character, the film adopts a multi-character narrative built around the fictional Club Billion where the music is loud, the atmosphere is lively and most of all, the girls are hot. To die for is Cat (Dada Chan), the resident guy magnet surrounded by the opposite sex wherever she goes. She is also the apple of Sean’s (Wong Chung Yiu) eye, the lawyer harbouring a crush on her since their secondary school days. While Sean tries to win Cat’s heart, his two close friends, Steven (Zo) and Jacky (Jason Chan), have their sights on flight attendants Jennifer (Shiga Lin) and Jeana (Miki Yeung), both of them newbies at the start but take to partygoing like fish to water.
The sheer number of characters in the movie means that there is little time spent on each individually- and the most fully fleshed out of the lot is Steven and Jennifer, their mutual attraction and subsequent relationship chosen by writing duo Mark Wu and Lam Fung to begin and conclude the movie. Some may scoff at the substance of their affection for each other and dismiss it as no more than a convenient means for their hedonistic ways- but director Wilson Chin prefers not to glamorise or criticise, instead holding up a mirror to their lifestyle and reflecting it as it is to his audience, many of whom may likely have similar personal experiences of their own.
Most of the film unfolds through a series of parties within the span of two years, as the characters meet, separate and then unite once again to hugs and kisses and maybe even one-night stands. The latter should also serve as fair warning for those who think they may be offended by the fickleness and promiscuity of some of the younger generation today- there is ample on display here, and good reason why this is one of the rare Hong Kong movies to earn an M18 rating for sexual scenes. Nonetheless, it should also be said that those looking for some tease and/or to ogle at the hot young cast assembled here will definitely enjoy the amount of skin and action going on in the film.
And you’re right- the film often doesn’t go more than skin-deep to let the characters get to know each other, or for that matter, for its audience to know the characters. But it’s also a case of art imitating life, the same ambiguity and superficiality a very quality of the real-life interactions which go on in places like this. With 'Lan Kwai Fong', Wilson has fashioned a film that has its finger firmly on the pulse of the partygoing scene among young adults today- and we dare say that this lively, engaging and most of all authentic portrait is a Zeitgeist in itself.
Movie Rating:
(Lively, engaging and sexy- what more can you ask for from a portrait of today's partygoing scene?)
Genre: CG Animation
Director: George Miller
Cast: Elijah Wood, Robin Williams, Sofia Vergara, Hank Azaria, Matt Damon, Brad Pitt, Pink, Hugo Weaving, Common, John Goodman, Ray Winstone
RunTime: 1 hr 40 mins
Released By: GV
Rating: G
Official Website: http://www.happyfeetmovie.com/
Opening Day: 17 November 2011
Synopsis: The sequel to the Academy Award winning animated smash hit, "Happy Feet Two" returns audiences to the magnificent landscape of Antarctica in superb 3D. Mumble, The Master of Tap, has a problem because his tiny son Erik is choreo-phobic. Reluctant to dance, Erik runs away and encounters The Mighty Sven - a penguin who can fly!! Mumble has no hope of competing with this charismatic new role model. But things get worse when the world is shaken by powerful forces. Erik learns of his father's 'guts and grit' as Mumble brings together the penguin nations and all manner of fabulous creatures - from tiny Krill to giant Elephant Seals - to put things right.
Movie Review:
Content not to be left out in the cold (pun intended) while we party-animals dance and sing to the infectious beats of Justin Timberlake’s ‘Sexyback’, the toe-tapping Emperor penguins from George Miller’s 2006 animated hit ‘Happy Feet’ are back in the inevitable sequel- yes inevitable, since their maiden visit did make a whopping US$384mil worldwide and steal away the Oscar for Best Animated Film from Pixar. The sequel also sees Miller returning as co-writer and director, and that probably explains the retread of familiar themes from the predecessor.
The first movie celebrated difference through our hero Mumble, whose innate talent in tap-dancing and lack thereof in singing made him unlike his peers. Difference is once again the theme of this sequel, as Mumble finds that his son Erik (Elizabeth Daily, who voiced the young Mumble in the first film) is choreophobic and refuses to join the colony which has since embraced dance as a form of celebration. Erik sees no reason to dance, and after an attempt leaves him embarrassed, decides to leave the colony together with Ramon (Robin Williams) to find his place.
As with its predecessor, the sequel finds the eccentric Ramon taking the misfit Emperor penguin on a journey of discovery, a journey which leads them to a colony of Adele penguins led by returning Rockhopper penguin Lovelace (also the voice of Robin Williams) and The Mighty Sven (Hank Azaria). Sven’s ability to fly has the entire colony in awe, and that includes Erik, who becomes fascinated that penguins can indeed will the ability to take to the skies. We’re not quite sure why, but accepting that penguins can fly is somewhat more difficult than accepting penguins that can sing and dance- thankfully, Miller and his co-writers Gary Eck, Warren Coleman and Paul Livingston have a handy explanation for that unusual phenomenon.
Nonetheless, they aren’t so creative with resolution and once again it is through the fate of the colony that Erik finds his purpose. Food is yet again the colony’s problem, as a breakaway ice sheet seals the penguins in on all sides. If you’re guessing rescue means teaching the Emperors how to fly, let us reassure you that it is fortunately not so straightforward, but rather a multi-species effort which includes the Adeles, the walruses and the krill underneath the sea- the last of which are really unsuspecting allies in the rescue effort.
It’s a massive undertaking no doubt, even more so for the animators (led by animation director Rob Coleman) who have truly outdone themselves in terms of scope. One can only imagine the work that must have gone into every detail bringing together so many species and so many individual beings together in one frame, so kudos to the team for their exceptional work. Yet amidst the visual cornucopia, Miller seems to have forgotten about Erik and his supposed coming-of-age journey- and anyone looking for a similarly touching tale as that of Mumble’s in ‘Happy Feet’ will probably be disappointed.
Erik’s story comes at the expense of a more varied list of characters- besides Ramon and Lovelace, there’s also Ramon’s brown-eyed love interest Carmen (Sofia Vergara), a brown-skinned elephant seal Bryan (Richard Carter) whom Mumble saves along the way, and two bromantic krill Will (Brad Pitt) and Bill (Matt Damon) who have broken away from their school to find some higher meaning in their tiny existence. In fact, you’re likely to come off having a deeper impression of the pair of krill- who are also blessed with some of the best lines- than of our flurry protagonist Erik.
And if Erik takes a backseat to the sheer number of characters populating the film, then returning ones such as Gloria (singer Alecia Moore, better known as ‘Pink’, taking over from the late Brittany Murphy) and Noah the Elder (Hugo Weaving) get even shorter shrift. Ramon also gets less screen time than Williams’ other character Lovelace, whose friendship with Sven is explained in a perplexing black-and-white flashback that is told all too quickly and likely to leave one in bewilderment. Speaking of which, humans yet again feature in the sequel, though unlike before, their role here is largely ancillary to the penguins’ predicament.
But certainly we were never part of the appeal of ‘Happy Feet’ to begin with- which was undoubtedly the fun of seeing penguins sing and tap-dance. Save for Pink’s ‘Bridge of Light’ which gets a three-minute airing in the film, the former is surprisingly lacklustre- and the medleys of popular hits sung by the chorus of penguins mostly forgettable. Luckily, the tap-dancing (led once again by Savion Glover for Mumble) is just as delightful, especially to catchy tunes such as the Romanian hit song ‘Dragostea Din Tei’. Kudos once again to the animation team for their amazing rendition of the dance moves, especially for the finale, where- suffice to say- tap-dancing plays a significant role.
The outstanding animation is enough to warrant a recommend to family audiences, and it’s safe to say that tap-dancing penguins will still appeal to both adults and kids alike. Yes, if you’ve loved the first one, you’re likely to find much to like about this sequel. Pity however that director George Miller has decided to stick to the tried-and-tested formula of the first movie, which likely explains the similarity in themes and storytelling- though the latter admittedly pales in comparison no thanks to a less than compelling story arc for lead character Erik. It’s not likely to repeat the Oscar feat it scored six years ago, but this sequel is not without its charms and those looking for an enjoyable family-friendly animation with its own eco-message to boot will find some toe-tapping fun here.
Movie Rating:
(The toe-tapping penguins are back- what’s not to like?)
Review by Gabriel Chong
Genre: Action/Thriller
Director: Dante Lam
Cast: Jay Chou, Nicholas Tse, Lin Peng, Bai Bing, Andy On, Carl Ng, Elaine Jin, Liao Kai Chi, Sammy Hung
RunTime: 2 hrs 2 mins
Rating: PG13 (Some Violence)
Released By: GV & Clover Films
Official Website:
Opening Day: 19 January 2012
Synopsis: IDC Agent Jon (Jay Chou) sustains grave injuries on a mission and decides to spend his final days with his mother. She tells him a long-held secret. To fulfill her wishes, Jon goes to Southeast Asia. He befriends medical specialist Rachel (Lin Peng). When she is forced into the schemes of a criminal organization, Jon attempts rescue and becomes the target of the organization that includes his estranged brother Yang (Nicholas Tse)! When the organization betrays Yang and kidnaps his daughter Sheng, the brothers join forces to rescue Rachel and Sheng.
Movie Review:
There was a time not long ago when every Chinese New Year brought the release of a much-anticipated Jackie Chan vehicle, his combination of action and comedy perfect entertainment that was truly in a league of its own. Sadly, age has caught up with the actor, and since 2001’s ‘The Accidental Spy’, Jackie has been absent from the lineup of Chinese New Year movies. With ‘The Viral Factor’ however, Dante Lam has brought back the same kind of high-octane action we used to enjoy in Jackie Chan’s action movies- though in place of comedy, there is instead genuinely affecting human drama.
Forgive us if we wax lyrical about Dante’s latest film- it represents not only his best work to date (and mind you, he’s been on a winning streak since 2008’s ‘The Beast Stalker’), but it is also easily the most accomplished contemporary action thriller from Hong Kong/ China. Yes we kid you not- each one of the breathtaking action sequences that Dante stages with aplomb can rival the kind of stuff we’ve only seen so far in big-budget Hollywood movies, and to think that Dante has managed to accomplish it with only a fraction with what it would have cost in a Hollywood production is a triumphant feat in itself.
Dante’s ambitions for what is- at US$17 million- his most expensive production to date is clear right from the beginning, kicking off with an edge-of-your-seat gripping sequence in the heart of Jordan where a group of highly trained International DefenseCommission (IDC) operatives are ambushed while escorting a scientist who has just created a lethal biological weapon from mutating the smallpox virus. Besides orchestrating a jaw-dropping sequence where an RPG explodes under a tank and causes it to tumble off the road and down a cliff, the veteran man of action stages an intense street battle in the style of ‘Green Zone’ that leaves the entire team dead- save for Jon (Jay Chou) and his leader Sean (Andy Tien).
The latter is however alive for an entirely different reason- Sean was in fact behind the very ambush, just so he can sell the virus and its cure to a wealthy buyer halfway around the world. As for Jon, he has to live with a bullet lodged in his brain, which becomes the cause of the severe headaches he encounters from time to time. While recuperating, Jon finds out from his remorseful mother that he has an older brother living with his father in Malaysia, the separation a deliberate act by his mother some many years back to get away from his gambling addict of a dad.
En route to Malaysia, Jon meets Rachel (Lin Peng), a medical scientist tasked by the Asian Centre for Disease Control (ACDC) to study the newly created virus. Rachel also happens to be the target of a group of kidnappers led by Yang (Nicholas Tse), and Jon unwittingly gets dragged along when he tries to rescue her. Thus, with a bit of narrative convenience, Dante and his recent muse Jack Ng pits brother against brother on different sides of the law- though as you would expect, at some point the two long-lost brothers will eventually reconcile to defeat a common enemy.
Pretty much two-thirds of the movie is set in and around the streets of Kuala Lumpur, and the gleaming metropolis as well as its grittier outskirts prove to be an impressive backdrop for the unfolding action. From the crowded streets around the Kuala Lumpur City Centre (KLCC) to the bustling KL Sentral railway station, Dante keeps the adrenaline pumping and never lets the pace slip. Personally taking charge of the stunt design and entrusting the action direction to another of his frequent collaborators Chin Kar Lok, Dante ups the ante with every elaborate sequence he stages.
And trust us when we say that each one of them is as exhilarating as the next- from a shootout along a busy road packed with cars bumper to bumper, to a car chase right in the heart of KLCC, to a helicopter chase around the iconic buildings of the KL skyline, to a three-way battle at a construction site, and finally to a climactic showdown set on board a freighter, there is just so much for action fans to drool over. Thankfully, his d.p. Kenny Tse doesn’t adopt the shaky-cam style of Hollywood’s ‘Bourne’ trilogies and wannabes- he keeps the camera steady so the audience can take in every shot, and complements the rest of them with the occasional wide shot to give a panoramic perspective.
But this is not merely a collection of well-shot action sequences; rather, at its core, Dante has fashioned a moving story about the immutable bond of brotherhood. Beyond the guns and bullets, there are gripping moments of tense emotion as both Jon and Yang learn to stop blaming the other brother as well as their respective parent for their divergent fates and reconcile as flesh and blood. An especially poignant scene has their father (another Dante regular Liu Kai Chi) making the ultimate sacrifice for both of them, perfectly matched by another where Yang forgives his mother for abandoning him with his father back when he was only a little boy. Kudos to Dante for weaving in the human drama so adroitly amidst the action, alternating between intense action and intense drama seamlessly and delivering a riveting watch all the way through.
That the movie proves so captivating is also testament to the charisma of both its leading actors. This is undoubtedly the best role of Jay Chou’s acting career to date, his intense brooding performance neither fluffy like ‘Kung Fu Dunk’ or ‘Treasure Hunter’ nor overdramatic like ‘Curse of the Golden Flower’. Nicholas Tse once again demonstrates how his acting chops have matured under the watchful direction of Dante, and while it isn’t as groundbreaking as his ‘Beast Stalker’ or ‘Stool Pigeon’, the recent Hong Kong Film Awards Best Actor winner is still mesmerising in a complex good-bad role. Both Jay and Nicholas also gamely perform their own stunts in the movie, and the authenticity of watching them both run, leap and brawl just adds to the excitement.
With ‘The Viral Factor’, Dante has not only reached a new zenith in his career as a director, but also achieved a breakthrough for the Hong Kong/ China film industry as far as making Hollywood-style action thrillers are concerned. It is a white-knuckle adrenaline-pumping thrill ride from start to finish, accompanied with poignant human drama and top-notch performances by both Jay and Nicholas. Indeed, it is well-deserving of all the superlatives we have lavished on it thus far, and if you don’t remember all of them, then just remember to make this your must-see movie of this Chinese New Year.
Movie Rating:
(A perfect combination of high-octane action, poignant human drama and first-rate acting by both Jay and Nicholas, this big-budget action thriller is the first must-see movie of the year and a pure thrill of joy for action fans!)
Review by Gabriel Chong
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THE VIRAL FACTOR unveils character postersPosted on 26 Sep 2011 |
Genre: Drama/Romance
Director: Lin Shu Yu
Cast: Rene Liu, Josie Xu Jiao, Harlem Yu, Eric Lin, Kwai Lun Mei
RunTime: 1 hr 39 mins
Released By: GV
Rating: PG (Brief Nudity)
Official Website:
Opening Day: 1 December 2011
Synopsis: She will never forget the summer when she was 12 years old, the night with the most beautiful starry sky she has ever seen…. Mei, a twelve year old girl, used to live with her grandparents up in the mountains where the stars were most beautiful. After she was taken back to the city, she has been having a hard time both at home and at school. Her only escape is through her memory of those starry nights. One day, Mei meets the transfer student, Jay, who seems more detached from the world than she is. Together, they try to face their problems, but things only got worse when Mei’s parents announce their divorce and ask her to choose who to live with. Mei and Jay decide to run away from home to see the stars she missed so dearly. In the mountains, they get lost, they quarrel, they get caught in a storm, but they also find the most splendid night in their life…
Movie Review:
Pretty as they may be, the illustrated books by Taiwan’s Jimmy Liao don’t lend themselves easily to big-screen adaptations- chiefly because they often do not have a compelling narrative or characters to begin with. Rather, the often gorgeous illustrations are meant to evoke childlike sentiments on the part of their readers, transporting them on magical flights of fantasy drawn from imagination. The popular children’s book ‘Starry Starry Night’ that tells a bittersweet story between two teenagers who find solace in each other’s company is no different- and for better as well as for worse, this adaptation shares many of the book’s characteristics.
The central character is 13-year old schoolgirl Mei (played by Mainland actress Josie Xu), the only child caught in an unhappy marriage (her parents played by Harlem Yu and Rene Liu) who longs for the time she spent in the mountains with her ailing grandfather (Kenneth Tsang). Mei finds a fellow companion in her new schoolmate Jay (Eric Lin making his feature debut), the latter similarly hailing from a broken family. Despite an initial misunderstanding where Mei accidentally lets slip Jay’s sketchbook to their classmates, the pair become good friends after being assigned to decorate their classroom for a school competition.
Writer Tom Lin Shu-Yu grounds his film on their coming-of-age story, as both Mei and Jay find comfort in each other’s company and learn to deal with the difficult circumstances in their own lives. In between their gentle bonding, Lin also fills the screen with Mei’s imagination. The paper animals Mei and Jay fold for their classroom decoration competition come to life as they take a stroll along the street, while a train they take to the mountains to visit Mei’s grandfather flies into a CG-rendered dreamscape based on Van Gogh’s seminal ‘Starry Night’ painting. That visit also marks the culmination of their journey together, just so Mei can relive her childhood memories of gazing at the star-filled night sky up in the mountains.
As should be expected, the blend between the real and the fantastical is beautiful, and the intended adventure of childhood imagination comes alive vividly- complemented in no small measure by Jake Pollock’s fine cinematography. But whenever the film falls back to reality to portray the human drama between the leads, it also falls flat. One never gets to understand the reason for the unhappiness behind Mei’s parents’ marriage; nor the melancholy behind Jay’s equally despondent family- instead, we are asked to accept the discontent pair and the joy they discover with each other.
That’s a shame really, for the film seems to hint at some deeper societal malaise regarding broken families and the resultant fallout on their children- nonetheless, Tom largely glosses over these issues, and the film is therefore as shallow as a pretty picture book. His leads are also too dull to bring their respective characters to life- Xu, who once played the exuberant boy in Stephen Chow’s ‘ CJ7’ is muted and quite lifeless; while Lin mostly just lets his head down and talks curtly, conveying little beyond these physical expressions. They too lack the spark needed to make the budding romance between their characters come alive.
Without much by way of story and character, the movie only occasionally comes to life whenever our adolescent leads embark on their flights of fancy. These are unfortunately not enough to sustain a movie, especially not one which begs your indulgence for a ten-minute epilogue that sees Mei grown up as a young adult (Gwei Lun-Mei in a guest appearance) walking through the streets of Paris and chancing upon a jigsaw puzzle shop that bears special significance. The feelings it tries to impress upon its audience turn up ultimately hollow- and indeed, this is a film as good as the book it is based on, so you’re probably better off reading that instead.
Movie Rating:
(Pretty to look at, but emotionally hollow, this adaptation of Jimmy Liao’s illustrated book is nothing more than a visual feast)
Review by Gabriel Chong
Genre: Drama/Crime
Director: Johnnie To
Cast: Lau Ching Wan, Ritchie Jen, Denise Ho, Myolie Wu, Philip Keung, Lo Hoi Pang, Ken Lo, Felix Wong, Anson Leung
RunTime: 1 hr 47 mins
Released By: Shaw
Rating: PG (Some Violence)
Official Website: http://www.mediaasia.com/
Opening Day: 20 October 2011
Synopsis: An ordinary bank teller turned financial analyst is forced to sell high risk securities to her customers in order to meet her sales target. A small-time thug delves into the futures index hoping to earn easy money to post bail for a buddy in trouble with the law. A straight-arrow Police inspector who has always enjoyed his middle income lifestyle is suddenly desperate for money when his wife puts a down payment on a luxury flat she can’t afford and his dying father wants him to look after a young half-sister he never knew he had. Three little people who are in dire need of money for the predicaments in their respective lives have nothing in common until a bag of stolen money worth $5m pops up and lands them in an intricate situation that forces them into making soul searching decisions about right and wrong and everything in between on the morality scale. Expanding the parameters of the genre and boasting a stellar cast that includes Lau Ching-wan, Richie Jen, Denise Ho, Myolie Wu, Felix Wong and Cheung Siu-fai, Johnnie To’s “Life Without Principle” is a riveting thriller that examines the human components on the subject of money and its effects on people when the going gets tough.
Movie Review:
The long-gestating Johnnie To movie ‘Life Without Principle’ chooses as its theme the interminable greed of mankind, set against the backdrop of the current financial crisis. Taking almost three years for the auteur to get it off the page onto the screen, it is also his most narratively complex film since ‘Election’, intertwining the stories of a bank employee, a cop and two triad gangsters over the course of one fateful day when the Greek economy essentially goes ‘kaput’.
Unfolding quite independently of each other at first, To requests the patience of his audience as he slowly builds up each narrative thread to flesh out the key characters. First in line is bank employee Teresa (Denise Ho), who is under pressure from the team manager to meet her sales targets for a new complex financial product before the New Year. She makes cold calls from a list of bank customers, the derision she faces enough to make one think twice about being mean to the person on the other end of the line in similar real-life situations.
The focus of this segment is Teresa’s persuasion of an elderly woman (So Hang-Shuen) to invest her life savings into a high-risk fund, despite the mismatch between the investment product and the client’s risk appetite. The client laments about the bank’s low interest rates on deposits, and Teresa sees an opportunity to be less than scrupulous- despite her nagging conscience. This is certainly a parallel between this and our very own DBS ‘High Notes 5’ saga not too long ago- and To mines the realities of this sequence to highlight the pitfalls many ordinary citizens often fall into when making poorly informed investment decisions.
To also uses this segment to introduce two supporting characters- the balding loan shark Yuen (Lo Hoi-Pang) who gets robbed immediately after withdrawing five million from the bank; and the soon-to-be-married Connie (Myolie Wu) frustrated at her fiancee’s reluctance at buying an apartment for investment. Yuen will figure later in the second story thread led by triad runner Panther (Lau Ching Wan) and his buddy Lung (Philip Keung), who runs an illegal business operation dabbling in Internet stock trading.
Thanks to Lau’s fine turn playing the exceedingly righteous Panther with just the right balance of levity and gravity, this is easily the most colourfully entertaining segment- and because of the gangster milieu also the one which To’s fans will find most familiar. Using the first half to emphasise Panther’s servility as he tries to post bail for a fellow triad honcho (Eddie Cheung), To’s investment in character development pays off in understanding Panther’s loyalty to Lung and the extent he is willing to go to help Lung out of his financial doldrums.
The third, and perhaps least developed, story concerns Inspector Cheung (Ritchie Jen), whose dedication to his work is another reason for his fiancé Connie’s frustration. Though Cheung is seen earlier crossing paths with Panther, it is Cheung’s heroism saving another elderly man from committing suicide and his subsequent change in perspective that this segment is concerned with- though there Is a severely undercooked subplot involving Cheung’s father’s death from cancer and the fate of his young half-sister. This and the other two seemingly disparate plot threads only coalesce towards the last half hour of the film- but rest assured that To rewards your patience with a riveting conclusion that connects the various characters brilliantly, albeit with some degree of deus ex machina especially towards the end.
But beyond the plotting, To’s film is also extremely meaningful as a reflection of the interconnectedness of our livelihoods with the ups and downs of the world economy. Bearing great thematic relevance and prescience, the movie paints a stark picture of how the very wellbeing of ordinary and disparate folk can be affected so drastically by something happening on a different continent. It is also not afraid to expose the flaws within the growing complexities of our financial industries, which entraps the sweat-soaked dollars and cents of good hardworking people.
If the above discourse on the film’s themes isn’t yet clear enough, then let us also state categorically that those looking for To’s trademark shoot-em-up actioners will likely be disappointed. There is nary a shootout in sight, nor a bullet fired for that matter, but To’s gamble to attempt a multi-strand narrative built around pertinent social issues (think ‘Traffic’, ‘Crash’ or even this autumn’s ‘Contagion’) pays off handsomely- thanks also to solid acting from To’s usual band of regulars and some expert editing from David Richardson. As the fruit of To’s labour for the past three years, it also reaffirms his position as one of the best, if not the best, directors in Hong Kong today.
Movie Rating:
(Venturing away from his usual gangland milieu, Johnnie To’s latest is a riveting examination of modern-day greed that is immensely captivating and thought-provoking)
Review by Gabriel Chong
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