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BOOK REVIEW #47 UNSCRIPTED: THE EPIC BATTLE FOR A MEDIA EMPIRE AND THE REDSTONE FAMILY LEGACY Book ReviewPosted on 09 May 2023 |
SYNOPSIS: After years of hiding out in the Alaskan wilderness, a deadly assassin returns to rescue the daughter she loved from afar.
MOVIE REVIEW:
The Mother follows a familiar pattern whereby a parent figure (regardless of gender) tries their very best to protect or rescue a child from very bad people.
In one of her rare action oriented action roles, Jennifer Lopez plays the said mother, an ex-soldier who got herself embroiled with two unscrupulous weapon dealer and child traffickers, ex-SAS marine Adrian Lovell (Joseph Fiennes) and Hector Alvarez (Gael Garcia Bernal).
In order to ensure the safety of her newborn baby girl, Lopez’s character agrees to put her up for adoption. But 12 years later, the bad guys managed to somehow tracked down the now teenage Zoe (Lucy Paez). And now it’s up to FBI agent, Cruise (Omari Hardwick) and Zoe’s biological mother to save the day.
There’s apparently a lack of distinguishable factor between this and the many revenge thrillers out there with the plotting generally undercooked and characters remain mostly an enigma. There’s a brief scene that showcases the menacing Lovell and Alvarez in a meetup. Perhaps Zoe’s biological father is either one of those two. You never get a definite answer in the end though the mother seems to be romancing both of them throughout as well.
Even the narrative fails to properly establish the motives and crimes of the bad guys. Brief mentions of arms dealing and something about child trafficking, nobody knows exactly what they are doing except a prologue showing Lovell and his team taking out an entire team of FBI agents in a safe house. They must be highly-trained military professionals we guessed so everyone please watch out.
The pacing is acceptable for an action flick. Bear in mind, the second act which largely involves the mother teaching Zoe some survival skills in Alaska does slows down the affair by a bit. At 53, Lopez is convincing enough as a military sniper though the action choreography on the whole lacks imaginative and excitement to make it memorable.
Despite having director Niki Caro (Whale Rider, Mulan) at the helm, The Mother is a generic, forgettable action flick of the month. Aside from the obvious paper-thin characters, there’s also the supposedly mother-daughter’s story which fails to tug at the heartstrings. Still, it’s a star-studded affair. Lopez being one of those stars that can make an average flick watchable.
MOVIE RATING:
Review by Linus Tee
Genre: Fantasy/Musical
Director: Rob Marshall
Cast: Halle Bailey, Jonah Hauer-King, Daveed Diggs, Awkwafina, Jacob Tremblay, Noma Dumezweni, Art Malik, Javier Bardem, Melissa McCarthy
Runtime: 2 hr 15 mins
Rating: PG (Some Intense Sequences)
Released By: Walt Disney
Official Website:
Opening Day: 25 May 2023
Synopsis: The Little Mermaid, visionary filmmaker Rob Marshall’s live-action reimagining of the studio’s Oscar® - winning animated musical classic, opens exclusively in theaters nationwide May 26, 2023. “The Little Mermaid” is the beloved story of Ariel, a beautiful and spirited young mermaid with a thirst for adventure. The youngest of King Triton’s daughters and the most defiant, Ariel longs to find out more about the world beyond the sea and while visiting the surface, falls for the dashing Prince Eric. While mermaids are forbidden to interact with humans, Ariel must follow her heart. She makes a deal with the evil sea witch, Ursula, which gives her a chance to experience life on land but ultimately places her life – and her father’s crown – in jeopardy.
Movie Review:
Filmed at the Pinewood Studios in England and in the island of Sardinia, the live-action adaptation of the 1989 blockbuster animated classic that boasts a stellar cast ensemble, unfurls with a Hans Christian Andersen’s elegiac quote on mermaids against an irately frothy ocean. The cream of the crop is on board The Little Mermaid with names like Rob Marshall, the man behind Chicago, Memoirs of Geisha and Mary Poppins Returns along with Broadway legend Alan Menken and David Magee whose screen adaptation of the novel, Life of Pi, won a Satellite Award for Best Adapted Screenplay to helm the musical fantasy co- produced by Walt Disney Pictures.
Halle Bailey whom we got screen-acquainted to on Grown-ish, plays the titular mermaid. Still fairly new to acting, Bailey plays it safe. Nevertheless, the 23-year-old puts her best fin forward with her soft yet full-blooded, princess-like energy. We will be seeing more of Bailey make a splash in Tinseltown in time to come, especially with the upcoming period drama film, The Colour Purple!
Where do we begin when it comes to Jonah Hauer-King whom you may recall from BBC’s television drama, Little Women? Is it the fact that he’s an absolute dead ringer of the animated Prince Eric or the on-screen chemistry he shares with Bailey that is too hot to handle? Jonah’s rendition of Prince Eric isn’t just about a dashing prince who is looking for a siren who saved his life. Beneath that blue-blood demeanour lies a deep, kind soul that longs to experience the ordinary. Thanks to the team of genius writers that allowed the debonair 27-year-old who stole the show when he belted out a tune with his poignant song debut as Prince Eric.
And it’s hard not to fall in love with Ursula, especially with Melissa McCarthy tackling the role of the treacherous sea witch who craftily strikes the deal with a love-bound Ariel, all while exuding a devilishly comical streak. If you are curious about who plays the temptress also known as Ursula’s human alter ego, it is none other than Jessica Alexander. Academy Award winner, Javier Bardem appears as King Triton, who is also the brother of Ursula and Ariel’s dad. In the midst of juggling too many hats, the King of Atlantica still holds his little one dear! Aww! In the same vein, let’s not forget Ariel’s sea squad that has her best interests at heart.
Daveed Diggs is the man behind King Triton’s most trusted servant and court composer, Horatio Thelonious Ignacious Crustaceous Sebastian. Phew! Yes, we are talking about Sebastian, the crustacean, who’s one of the main protagonists in the show. Awkwafina totally nails it as she brings the dim-witted diving bird, Scuttle, to life with her animated vocals while bringing a great sense of timely humour to the table. If you recall, Scuttle in the 1989 classic is a male seagull and it has been gender-and-breed-swapped for a female northern gannet in this live-action entertainer that is masterfully captured by Dion Beebe with his splendid cinematography. Kudos to the tale that is retold in a fascinating way, promising a huge shift with diminutive changes. Jacob Tremblay does a remarkable job in being the voice of Flounder. The comical trio that watches over the young princess, bolsters the plot’s succession. And yes, Max, Prince Eric’s loyal Old English sheepdog is on board the nautical escapade too!
In a world very much driven by aesthetic values, it's not hard to believe that the loyal fan following is triflingly divided over Ariel's locks and its shade of red that seem somewhat inconsistent throughout the film. Many opine that the siren’s tresses should have been a vibrant and fiery hue of red. And to intensify the discontent, they did Flounder and Sebastian dirty beyond doubt! The yellow bubbly angelfish-inspired, Flounder, that we all grew up with looked as though he saw success in fad diets. Pathetic aesthetic much? Let’s have a moment of silence for Sebastian, the rambunctious ruby red crab. His compound eyes could have been more expressive. This could have very well thwarted a sense of disconnect. The duo’s features are barely there and the only connection established through the screen is sadly via their glorious vocals. When the Rob Marshall direction is a magical fairy-tale in its own right where birds, fish and crustaceans can jolly well talk, sing and dance (oh, the main antagonist, Ursula, comes splish- splashing with bioluminescent tentacles), why pick hyper-realism as an overriding notion? The grandeur that was highly anticipated is sadly negotiated with a devoid of colours. Our waking world is bleak enough. We adults too deserve some preposterous splash of colours in our motion pictures and we secretly desire our retinas to be scorched every once in a while and that's pardonable, particularly if it's a Disney adventure.
Unlike the 1989 original that had bagged an Oscar, the latest Disney live-action flick may not follow suit as a film but it may win in secondary categories such as cinematography, costume design, production designs, VFX (which may not be of Avatar: The Way of Water level but clearly on par with Aquaman) and soundtrack nominations.
Speaking of which, although a couple of new catchy numbers were thrown into the mix, Les Poisson and Daughters of Trident were cancelled, much to our chagrin. The Little Mermaid film is 50 minutes longer or thereabouts than the animated classic and the aforesaid tracks were omitted and replaced with some new numbers, perhaps to leave a mark in the history of Disney soundtracks. It isn't exactly a deal-breaker, but then again, it leaves a niggling thought. It sure is befuddling for the rapper of Guns and Ships, Diggs, to sound prosaic for the most part of the Oscar-winning number, Under the Sea. Perhaps it is merely nostalgia that sets the bar so high.
To play fair, a side-by-side comparison of the 1989 version and the latest version of Under the Sea was made. The latter has a lacklustre start that seems to have zapped the familiar booming resonance out of the original by Samuel E Wright, thus failing to dethrone the ’89 version. Alternatively, brand new numbers that soulfully capture the myriad of emotions that Ariel experiences when her fins are replaced with feet and when Prince Eric looks for the lady that rules his heart, seem like added gems to the latest live-action film. The latest rendition of The Little Mermaid has Ariel’s sisters renamed, hence, exuding a regal air of novelty where the new feels familiar yet fresh. That being said, it insinuates a celebratory milestone to have such an on-screen representation, while upholding the original legacy.
**A LITTLE SPOILER ALERT (without the spoilers actually)** If you are hyper-sensitive to clues and hints that may mar the experience for you, skip along. Never go in with a beluga- sized expectation for the live-action remake of the enchanting musical to be EXACTLY the same, scene-for-scene. And thank the Good Lord of the Ocean, it isn't! Occasional yet legit switch ups like this especially after decades are much needed. For all Disney fans who have allowed the characters to live rent-free in their hearts and minds and lived long enough to catch the live-action remake, it is categorically child-friendly. The only racy element that one needs to worry about is Prince Eric soaked to the skin in his white tunic. The rest is entirely maintained as PG. Interestingly, Queen Selina, the mother of Prince Eric (who is of European descent), is embodied by an actress of colour and she’s an entirely new character in the plot. If you listened closely to the dialogues, you will have an insight on the brief backstory and thankfully it jettisons the reasons for us to go down the rabbit hole to diffuse the situation.
Some teas are best left un-spilled if you are wondering whether a grand wedding awaits us at the end. On a frank note, this absolutely charming number deserves to be enjoyed in IMAX.
Was the vivacious magic of the 1989 original recaptured? Nah! The pomp and opulence are somewhat kept at bay. But did they reimagine the fun, the colours, the characters, the music, and the conventional happily-ever-after that we all grew up with? A hands-down yes! Dive deep into the unchartered waters and relish a fresh take on one of Disney’s most beloved classics that have withstood the test of time.
Movie Rating:
(Indisputably a laudable endeavour of a live-action remake that is engineered to be a crowd- pleaser)
Review by Asha Gizelle Mariadas
Genre: Sci-Fi/Thriller
Director: April Mullen
Cast: Sam Worthington, Simu Liu, Jordana Brewster, Robbie Amell
Runtime: 1 hr 36 mins
Rating: M18 (Sexual Scenes)
Released By: Shaw Organisation
Official Website:
Opening Day: 25 May 2023
Synopsis: The laws governing androids dictate that owners must deactivate unwanted Simulants (SIMS). But since FAYE (Jordana Brewster) already pulled the plug on her late husband, she can’t bring herself to do the same to EVAN (Robbie Amell), his android counterpart–even after she realizes her relationship with him is only prolonging her grief. Instead of deactivating Evan, Faye sets him up in an apartment to live illegally on his own. While there he meets Casey (Simu Liu), a brilliant programmer who helps him become more human in order to win Faye back. Unbeknownst to Evan, his new friend is wanted for questioning by a determined Artificial Intelligence Compliance Enforcement (AICE) agent Kessler (Sam Worthington). Evan has to win over Faye’s heart before they are both discovered and he loses everything.
Movie Review:
Simu Liu. Simu-lant. Get it?
Sadly, that is just about the only stroke of ingenuity in this otherwise derivative science-fiction thriller, which in true AI fashion, learns from its far superior genre predecessors (like ‘Blade Runner’, ‘Ex Machina’ and ‘A.I.’) and stitches elements together in a clumsy and haphazard manner.
In typical tell-than-show fashion, ‘Simulant’ begins with a voiceover setting out the near future in which AI have come to live amongst us, thanks to a synth company called Nexxera. These AI are known as ‘simulants’, and are bound by four key precepts – one, to not harm any human being; two, to not modify itself or any other simulate; three, to not commit crimes against local or international law; and four, to obey all commands from its master. Never mind if you missed the narration the first time around; these precepts are repeated at least thrice throughout the movie.
Despite a promising set-up, you’ll realise quickly that ‘Simulant’ hardly goes anywhere. One part of the story probes the marriage between Evan (Robbie Arnell) and Faye (Jordana Brewster) in the wake of a terrible car accident, especially after Faye reveals that the real Evan had died in the accident and the Evan before her now is just a simulant. Another part of the story follows the cat-and-mouse chase between rogue Nexxera computer engineer Casey (Simu Liu) and AI Compliance Enforcement agent Kessler (Sam Worthington), the latter suspecting the former of plotting an AI uprising that could change the balance of the world altogether. And last but not least, there is what Casey is planning, putting into motion a series of steps which will liberate the simulants from their precepts and allowing them to enjoy free will.
There is plenty to get through, but unfortunately writer Ryan Christopher Churchill does not have the necessary finesse to not only develop each one of these plot threads, but also engineer a finale where they can converge compellingly. Ditto for director April Cullen, who leans too heavily on exposition to explain every little bit that happens onscreen (as if afraid that his audience might lose track along the way) and yet not enough to give it sufficient heft whether as a conventional thriller, a tragic love story or a morality fable. Indeed, the pacing is inexplicably leaden, and what is a brief one-and-a-half hours ultimately feels like two.
To be fair to the actors, they try their best with their respective thinly written roles. Arnell (from Amazon’s ‘Upload’) exudes sincerity playing a devoted husband who wants only to be by his wife’s side, but cannot quite manage the shift to awakened simulant at the end. Brewster struggles to portray the moral dilemma her character is in, whether to treat Evan as a human or as an AI, but is given short shrift by the writing. Liu fares the best as the duplicitous Casey, but also because he is the subject of a twist you can probably guess way before it is revealed. Worthington’s grizzled cop is nothing to shout about, but the actor’s stoicism is always watchable.
Even if it couldn’t be completely original, we’d wish that ‘Simulant’ had taken more time to develop its themes further. In fact, the movie comes at a time when our fears about AI no longer seem that distant, which is as good an opportunity as any for a genre renaissance about how AI could change the very face of humanity and of the world as we know it. Yet, ‘Simulant’ is more missed opportunity than anything, and despite its title as well as seemingly clever wordplay with its lead star Simu Liu, hardly stimulating whether viscerally or intellectually.
Movie Rating:
(Less stimulating than enervating, this derivative science-fiction thriller wastes the opportunity at being a socially relevant cautionary tale)
Review by Gabriel Chong
Genre: Horror/Thriller
Director: Adrian Grunberg
Cast: Josh Lucas, Fernanda Urrejola, Julio Cesar Cedellio
Runtime: 1 hr 41 mins
Rating: PG13 (Some Disturbing Scenes)
Released By: Shaw Organisation
Official Website:
Opening Day: 1 June 2023
Synopsis: Oilman Paul Sturges (Josh Lucas) takes his family to Bahia Negra, the site of Paul’s best-performing rig, but the vibrant Mexican coastal town he once knew has mysteriously crumbled as the townsfolk believe the rig has awoken a shark of legend, known as The Black Demon. With his family scared to be left alone, they arrive on the rig only to have their boat ferociously attacked by the massive black shark. Laying claim to the local waters aggressively protecting mother nature against human threats, it destroys everything in its path. Paul and his family are now stranded with the few men who have survived. Under constant attack by the giant monster and with time ticking away, Paul must find a way to get his family back to shore alive.
Movie Review:
Why anyone would think we need yet another shark movie is anybody’s guess, but just how anyone could end up making such a dull shark movie is the real mystery.
The title refers to the hulking beast that turns up out of the blue to attack an oil rig off the Baja coast, a megalodon which the locals call ‘El Demonio Negro’. Unfortunately for oil executive Paul Sturges (Josh Lucas), he is none the wiser before this latest trip to inspect his company’s rig, or else he might have chosen not to bring his wife Ines (Fernanda Urrejola) and kids Audrey (Venus Ariel) and Tommy (Carlos Solórzano) with him. Yet as fate would have it, Paul and his family will arrive at the Mexican fishing village to find its community in bad shape.
After an unnecessary detour, all four of them end up on the rig, only to find that there are but two crew left. One of the two survivors, Chato (veteran Mexican actor Julio Cesar Cedillo), explains how the local god Tlaloc was angered by the wanton environmental destruction the drilling activities wrought, with the ‘El Demonio Negro’ being a manifestation of his wrath. Though Paul is quick to dismiss it as pure superstitition, Ines believes that there is truth to the tale.
You can probably guess that there is a cautionary eco-message embedded here, but the treatment is ultimately so clumsy it comes off less sobering than silly. For one, it sets off a whole chain of arguments with all sorts of over-acting by Lucas, first chiding Chato for scaring his family and then desperately trying to justify his actions to Ines when she finds out that he has known all along about the rig’s environmental violations. For another, there is no sense of how to balance the drama with the action, not least because the latter grinds to a halt when the characters are busy arguing amongst themselves whether to give any credence to the folklore of Tlaloc’s wrath.
Whether because of budgetary reasons or otherwise, the titular demon is woefully underused. B-movie director Adrian Grunberg has done solid work on such movies like ‘Get the Gringo’ and ‘Rambo Last Blood’, but is here unable to muster even the bare requisite man-versus-shark set-pieces to justify the movie’s existence. It doesn’t help that the CGI megalodon is terrible, and looks even worse than the animatronic shark that Steven Spielberg had used back in 1978 for ‘Jaws’. No wonder then that the shark barely appears for the duration of the movie, though that ironically renders this movie even more pointless.
So for even those who cannot get enough of shark movies, ‘The Black Demon’ will hardly satisfy. There is too little shark, too much talking, and certainly not enough action. Granted that it tries to be an eco-thriller than just another generic shark movie, but all that goodwill about how being mindful of our actions on the environment falls flat amidst the contrived human drama and some woeful over-acting. Our advice? Wait for ‘The Meg 2’ later this summer – at least you’ll get some decent shark entertainment.
Movie Rating:
(Whether as a shark movie or as an eco-thriller, 'The Black Demon' will leave you high and dry)
Review by Gabriel Chong
SYNOPSIS: The Woman King is the remarkable story of the Agojie, the all-female unit of warriors who protected the African Kingdom of Dahomey in the 1800s with skills and a fierceness unlike anything the world has ever seen. Inspired by true events, The Woman King follows the emotionally epic journey of General Nanisca (Oscar®-winner Viola Davis) as she trains the next generation of recruits and readies them for battle against an enemy determined to destroy their way of life. Some things are worth fighting for…
MOVIE REVIEW:
The success of Black Panther opens up the possibility of a diverse cast in a diverse narrative. The Woman King is one of those few titles that benefits from it and frankly it’s a crowd pleasing war epic that easily surpassed any of the CGI-heavy blockbusters playing in the theatres.
Academy award winning actress Viola Davis plays the lead character, General Nansica, a highly revered commander of Agojie, an elite force consisting of all woman soldiers tasked to protect the Dahomey Kingdom. Beside acting as an unofficial adviser and protector for the young King Ghezo (John Boyega), Nansica is also in charge of training the next generation of Agojie with the help of her confidante, Amenza (Shelia Atim) and Izogie (Lashana Lynch). In the meantime, a tough trainee named Nawi (Thuso Mbedu) is being recruited while Nansica’s biggest enemy, General Oba Ade (Jimmy Odukoya) returns to haunt her with the help of a group of colonizers.
From the get-go, Gina Prince-Bythewood (The Old Guard, The Secret Life of Bees) unleashes a truly remarkable viewing experience in the great grand tradition of Gladiator and Last of the Mohicans. The narrative easily transport viewers to 18th century Africa with its lush display of authentic costume design, production design and dance choreography. The actual on-location shooting in South Africa actually helps rather than shooting in the presence of greenscreen.
Nevertheless, it’s the powerhouse performances of the cast that greatly sells the intensity and intimacy of the story. Davis delivers an iconic, energetic portrayal of the suffering warrior, a character that hides a dark secret and her eventual conquering of her enemy. Along with her is Nawi, a young warrior that mirrors the equally tough Nansica played competently by Thuso Mbedu. Shelia Atim and Lashana Lynch also delivers excellent memorable supporting performances as well in their respective well-written roles.
The action choreography generally is impressive with many of the action scenes focusing on hand-to-hand combat between the female warriors and their enemies. While the editing and choreography is occasionally frenetic, the violence and gore factor for once should rises above the PG13 rating to enhance the chaotic affair.
The Woman King easily accomplished what Captain Marvel and Rey of Star Wars fails to do that is to come up with a believable female warrior. Nansica and Nawi demonstrates the journey of fighting their way through every obstacles in their life instead of simply granting the characters unlimited powers and wisdom. The characters here worked hard for their goals and displayed a huge amount of teamwork and girl power. Despite a flawed subplot involving Nawi and a forbidden romance, The Woman King is an amazing piece of cinematic treat. Pity it’s overlooked during awards season.
MOVIE RATING:
Review by Linus Tee
Genre: Action/Drama
Director: Jacky Ko
Cast: E.SO (Chen Yu-Rong), Ella Chen, Alan Ko, Ding Ning, Kenzy, MUTA, Yuna Lin, Chih Wei Chiang, Xavier Lin, Andy Lau, Karena Lam, Eric Tsang, Hsin Mei Lan, Mei-Hsiu Lin
Runtime: 1 hr 40 mins
Rating: NC16 (Some Coarse Language)
Released By: Golden Village Pictures
Official Website:
Opening Day: 1 June 2023
Synopsis: A thrilling scene unfolds as an ambulance and a mysterious sports car, the "Hellcat," engage in a fierce race from the harbor to the mountain roads, onto the highway and the city. It feels like a showdown between two masters. Who will emerge as the new generation's racing champion? If only one can survive, who will get the last laugh? The ambulance is driven by "Le" (E.SO), a former racing expert. Le accidentally caused the death of his brother, Chieh (Alan Kuo), during a competition. Devastated by guilt, he spiraled into despair until he met Hui (Ella), a doctor. With her help, he decided to become an ambulance driver, vowing to "save lives with speed." Alas, the owner of a mysterious race car "Hellcat" suddenly appears, he holds the list, the challenged racer is bound to die in the end. Underground racing is like a modern martial arts arena, where budding racers relentlessly pursue speed risking their lives; even then, it’s not enough to stop fanatics in the fatal pursuit of speed. Under the investigation of Le's three buddies (played by MUTA, Yuna Lin, Xavier Lin), the truth of each accident will gradually emerge...
Movie Review:
The year was 2005 and a certain Jay Chou made his acting debut in the live action adaptation of the Japanese Initial D manga series. The Hong Kongmovie directed by Andrew Lau and Alan Mak increased the fan base of street racing enthusiasts, and this genre of movies was a vehicle for actors to show off their coolness while they zip around in their fast and furious vehicles. The latest movie to hit the big screen is this Taiwanese production, and if Initial D or the ongoing Fast & Furious franchise comes to mind, you won’t be the only one.
What makes this movie different is how it’s marketed. It is the debut feature of Jacky Ko, the younger son of Blackie Ko, who is known for his death defying automotive stunt choreography. Older fans would remember that he drove a car over the Hukou Waterfall on the Yellow Riverin ShaanxiProvinceto celebrate the handover of Hong Kongin 1997. The celebrated filmmaker and stuntman died of blood poisoning in 2003. Twenty years later, a movie would be made by his younger son as a tribute.
You know it’s a movie to celebrate Blackie’s indomitable spirit just by looking at the A list celebrities who make cameo appearances and show up in supporting roles. The much publicised character is the movie’s antagonist played by Andy Lau, who has collaborated with Blackie in several movies. His wife Is played by Karena Lam, while Eric Tseng has some screen time as a bar owner. Elsewhere, familiar Taiwanese stars like Lan Hsin Mei is hilarious as a car repair shop owner, and Lin Mei Hsiu effortlessly plays a cleaning lady who receives assistance from the kind hearted protagonist.
The star of the show is rapper E.so in his film debut – the guy plays Le, a dude who lost his elder brother to a terrible accident caused by Lau’s grunting villain. The elder brother happens to be portrayed by Blackie’s elder son Alan Kuo, who was also responsible for co scripting the story. As you can tell, it is indeed a family affair. Dismayed and depressed, Le drinks and lives his life aimlessly.
One day, he helps to send a pregnant lady to the hospital and gets to know Hui, a doctor played by S.H.E.’s Ella Chen. He gets his life back together and takes on a job driving an ambulance, and manages to find time to fall in love with Hui. There are other supporting characters in his life played by fellow musicians Kenzy and MUTA, as well as award winning actress Ding Ning. But you know Lau’s shady character is up to no good as his looming presence is felt. And you also know that he has a sad back story to tell, because the superstar couldn’t possibly play a one dimensional bad guy.
The 100 minute movie works best when it showcases the adrenaline filled car (and ambulance) chase sequences. While it is not as (ridiculously) outrageous as the Fast & Furious flicks, the action scenes in this drama exhilarating enough to keep your eyes glued to the screen. With a substantial amount of review dedicated to the special appearances, the A list cameos are also a highlight – although some may argue that they are not essential to the plot. When the movie changes gear to showcase the romance between E.so and Chen’s characters, it can be unnecessarily mushy for viewers who just want to check out the fast paced action. The transition to the finale and how the movie eventually concludes also feel somewhat forced, but if you’re here to see a star studded ensemble and support Blackie’s legacy, it is an invigorating ride you can enjoy from the comfort of your cinema seat.
Movie Rating:
(An exhilirating movie about street racing that you can enjoy from the comfort of your cinema seat)
Review by John Li
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RAY STEVENSON (1964 - 2023)Posted on 23 May 2023 |
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BOOK REVIEW #48 OSCAR WARS: A HISTORY OF HOLLYWOOD IN GOLD, SWEAT AND TEARS Book ReviewPosted on 24 May 2023 |
Genre: Drama
Director: Kore-eda Hirokazu
Cast: Ando Sakura, Nagayama Eita, Kurokawa Soya, Hiiragi Hinata, Tanaka Yuko
Runtime: 2 hr 6 mins
Rating: M18 (Some Mature Content)
Released By: Golden Village Pictures
Official Website:
Opening Day: 22 June 2023
Synopsis: When her young son Minato starts to behave strangely, his mother feels that there is something wrong. Discovering that a teacher is responsible, she storms into the school demanding to know what’s going on. But as the story unfolds through the eyes of mother, teacher and child, the truth gradually emerges.
Movie Review:
The introductory scene sets off in pitch black darkness with faint cicada chirping in the background and an over-the-shoulder shot of what seems to be a child holding a lighter, setting the absolute tone for the rest of the intricately ominous plot. The scene that has everyone questioning gets interrupted by the siren wails piercing through the night, while Minato (Soya Kurokawa) and his mum, Saori (Sakura Ando), watches on from a safe distance.
Monster officially unfolds with the dramatic blaze of a sleazy hostess bar, which is also the starting point where the action is replayed later on throughout the movie. Rumours of Mr. Hori (Eita Nagayama), the local school teacher being present at the bar runs amok and widowed mum, Saori, who is perhaps predisposed to think ill of men who visit such places, hears it too. Their day-to-day life takes a sharp swerve with bizarre events that doesn't quite scream of anomaly but slowly builds up on the mystery when Minato starts acting strange.
The opening chapter features Saori a single mum who gives her all to be there for her pre- teen child, Minato. Saori’s quest for answers to her 11-year-old son’s peculiar behaviour is echoed with more questions when she barges into the principal’s office (which becomes an almost daily affair) as she is greeted with stonewalling and stilted apologies. The powerful, seethe-inducing scenes that play out at the school, makes one wonder if it is just a case of inexplicable bureaucratic politesse or the normalising of sinister events to be conveniently swept under the rug, especially in institutional bodies such as schools and professional environment.
While the institution goes big on damage control, feisty Saori acts on the contrary to seek answers to her son’s recent uncanny shift in behaviour. As the narrative peels away, we are led to the kernel of despairing truth. Each time the film takes us back to the fateful night of the blaze, it hits almost like a sigh of relief, after going back and forth with finger-pointing of ‘he did it, they did it’, which effectively blurs the truth.
Alleviating the parental urgency off the plot, the second chapter which is devoted to Mr. Hori and his life outside of school, surprisingly offers another dimension to his character as a teacher that was briefly villainised. Be forewarned as it might strike a chord of self-reproach for a split second since we did, at some point in time, believe that teachers were put on this earth exclusively to teach us and go back home straight to an abyss of grading papers before calling it a day. Eita Nagayama innocently yet elegiacally portrays the life of a teacher and how life is on the ‘other’ side, beyond classrooms. Mr Hori’s character is made to seen special in a way since it is introduced through word of mouth instead of a pleasantly direct introduction, which also means that the audience gets to know Mr Hori without actually knowing him.
We then get to see more of the boys’ relationship, or rather bromance, that is gestated in a secret abandoned railway carriage in the depths of a local wilderness where they live happily (ever after) in a bubble of their own. With themes such as self-harming, bullying, broken homes, abused children, and crimes of innocence, this thriller written by Yuji Sakamoto is more so about the monsters that live in each one of us and conditioned by inner turmoil triggered by external events.
As much as the retelling of events that takes us back to the night of arson replayed over and over again starts to feel a little humdrum, it allows the 126-minute film to organically progress at its own pace, with conflicting perspectives thrown in to bring about a necessary shift to the plot. Each version compels us to see the subject as a victim of life and its circumstances, thus offering textured standpoints.
With gradual accruing of the details, when the plot initially unfolds in Saori and Minato’s stance, Mr. Hori is easily seen as the titular monster. As the tale unravels through Mr. Hori’s eyes, Saori’s character is grimaced upon as the Monster. In the same vein, as the film hones in on Minato and his relationship with Yori, the plot is experienced with fresh eyes and a spanking new perspective is born. Now, that’s the underlying magic of Monster which is yet another representation of love, rejection, friendship and shame dwelling so often on the same continuum.
The soundtrack comprising of the late composer, Ryuchi Sakamoto’s new and older material, lends an added poignancy, especially with the ricocheting piano chords that symbolically implies that the scene isn’t over and there’s just more to it than meets the eye.
Monster may not be the best of Palme d’Or winner, Hirokazu Kore-eda ‘s works as it arguably seems contrived and it could have been a little less denser in adding layers of mystery. The easy-paced contemplative narrative takes a nosedive on the re-watchability factor, given the absence of shockers, twists and elements that will actually keep us inching closer to the edge of our seats.
Sadly enough, despite the narrative arc of a melodrama, certain scenes that potentially could be the set-pieces have been truncated. There’s this intensely poignant scene in which a conversation between the principal of the elementary school and Minato, the preteen in turmoil would transpire. And Fushimi Makiko (Yuko Tanaka) will teach him how to tap into the curative powers of the trumpet to ‘resolve’ his problems. “Whatever you can’t tell anyone, blow it away.” There are quite a number of powerful scenes in this convoluted portrait that could have been accentuated. Thankfully, the mitigating feature is the child-eye’s perspective that is made to be more prevailing and this, in turn, throws in a rich and rewarding contrast when compared to the tales and secrets revealed through the eyes of the adults involved. The sequence of the conflicting perspectives chosen to have the story told is somewhat commendable. Soya Kurokawa (Minato) and Hinata (Yori) Hiiragi deliver excellent performances as the affected kids in Monster, rousing us from a deep slumber to a worrying reality that there are countless other Minatos and Yoris out there who are actually deprived of a more deserving childhood.
Movie Rating:
(Another perpetrator-victim based plot that allows all to connect to the other side of the coin with this emotionally tender narrative of flawed authority, broken homes, bullying and homophobia that runs in a loop in Rashomon fashion)
Review by Asha Gizelle Mariadas
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