|
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
SYNOPSIS: Set in an English coastal town in the early 1980s, EMPIRE OF LIGHT is a compelling and poignant drama about the power of human connection during turbulent times, from Academy Award® winning director Sam Mendes.
MOVIE REVIEW:
Starting from his first big screen directorial debut, American Beauty, Sam Mendes seldom disappoints his fans. With a vast range of experience working on movies liked Road to Perdition to Skyfall to 1917, Mendes has proven he is a genius filmmaker. His latest being his first solo written piece, Empire of Light however is more of a disappointment than a flick worth visit or revisiting again.
It’s no doubt Mendes’ passion project is an ode to cinema but there’s too little to speak of it in the entire affair unlike Cinema Paradiso or the recent Spielberg’s The Fabelmans. The drama deals with a lot of things. Racism, mental illness and a May-September romance just to name a few. It definitely makes for a compelling serious drama except adding a layer of poignancy and love to the art of cinema in which the movie is supposed to be.
The year is 1980 and the Empire cinema located on a beautiful English coast is manned by Hilary Small (Olivia Coleman), a lady who lives alone, suffers from bipolar disorder and is also having an affair with her boss (played by Colin Firth). In comes a handsome young man, Stephen (Michael Ward) who is studying to become an architect. Ward soon hooks up with Hilary as they enjoy some casual sex and company in an abandoned level of the Empire.
But happy times soon came to a halt when Hilary suffers a major relapse right in front of the regional premier of Chariots of Fire. With Hilary’s health deteriorating, the unlikely pair has to finally make a heart-breaking decision in the crossroad of their lives.
Instead of a celebration of cinema in a very nicely art-deco location, we are treated to a somewhat tedious fling between two completely different individuals. Obviously not in the league of Revolutionary Road, Hilary is a mental patient that is in need of help. Stephen on the other hand is stuck in a dangerous era where skinheads loom at every corner ready to serve him a beating. There is nothing common in the both of them except emptiness, insecurity and uncertain about the road ahead.
The narrative paints them as lost souls who somehow ended up together. There are indeed some touching moments but it never comes across earned and justifiable in the end. Toby Jones plays a projectionist named Norman who is an absolutely perfectionist and expert in his craft. Rather than a mesmerising tale between an old white man and his black protégé (Stephen develops an interest in projectionist as the story goes), Empire of Light turns into an unfocused puddle of boredom.
Despite acclaimed Roger Deakins’ almost picture perfect lensing and the incredible performances from Coleman and Ward, Empire of Light is a missed opportunity through and through. There’s so much wonder and magic that you expect to see in the Empire that perhaps certain reels are misplaced in transition.
MOVIE RATING:
Review by Linus Tee
Genre: CG Animation
Director: Joaquim Dos Santos, Kemp Powers, Justin K. Thompson
Cast: Shameik Moore, Hailee Steinfeld, Jake Johnson, Issa Rae, Daniel Kaluuya, Jason Schwartzman, Brian Tyree Henry
Runtime: 2 hr 20 mins
Rating: PG (Some Violence)
Released By: Sony Pictures
Official Website:
Opening Day: 1 June 2023
Synopsis: Miles Morales returns for the next chapter of the Oscar®-winning Spider-Verse saga, Spider-Man: Across the Spider-Verse. After reuniting with Gwen Stacy, Brooklyn’s full-time, friendly neighborhood Spider-Man is catapulted across the Multiverse, where he encounters a team of Spider-People charged with protecting its very existence. But when the heroes clash on how to handle a new threat, Miles finds himself pitted against the other Spiders and must redefine what it means to be a hero so he can save the people he loves most.
Movie Review:
Is that such a thing as too much Spidey? We didn’t used to think so, not even when we journeyed ‘Into the Spider-Verse’, but we sure felt a sense of Spidey fatigue when we traversed ‘Across the Spider-Verse’.
Five years back, ‘Spider-Man: Into the Spider-Verse’ dazzled with its unique brand of sheer, breathless inventiveness, channelling the look and spirit of the comic books into a Pop-Art extravaganza that redefined mainstream animated movies. Its Best Animated Feature win at the Academy Awards the following year was a testament to its bold ambition and wild achievement.
Any sequel would need to be bigger, bolder and perhaps even darker; and to be fair, that is exactly what the new directing trio of Joaquim Dos Santos, Kemp Powers and Justin K. Thompson have done with ‘Spider-Man: Across the Spider-Verse’. Whereas its predecessor was content with about five Spidey characters including Brooklyn teenager Miles Morales (voiced by Shameik Moore), Peter Parker (Jake Johnson), Gwen Stacy (Hailee Steinfeld), a Looney Tunes-style pig called Spider-Ham (John Mulaney), and a brooding 1930s vigilante, Spider-Man Noir (Nicolas Cage), the sequel now boasts hundreds of Spider-people that are all part of a Spider Society.
In case you’re wondering, only Miles and Gwen remain from the previous movie; the supporting players here are a pregnant, motorcycle-riding Spider-woman named Jessica Drew (Issa Rae), a preening, Bollywood-fabulous Spider-man named Pavitr Prabhakar (Karan Soni), a guitar-toting, Mohawked Spider-punk named Hobie Brown (Daniel Kaluuya), and a gruff Spider-Man of the year 2099 named Miguel O’ Hara (Oscar Isaac). Though the plot is ostensibly about how these Spider-heroes team up against a super-villain known as The Spot (Jason Schwartzmann), it is in fact a much more complicated reality, not least because Miles’ fundamental objection to the canons of the Spider-man story puts him at odds with Miguel and the rest of the Spider society.
This is also where the screenwriting team of Phil Lord, Christopher Miller and ‘Shang-Chi’ scribe Dave Callaham gets bolder. From the watercolour environments of Gwen’s Earth-65, to Miles’ Earth-1610 (which we would be used to from the previous movie), to the India-inspired Mumbattan, and to the futuristic Nueva York, the team unfurls a sprawling story dealing with such weighty themes as fate, free will and sacrifice. Most intriguingly, it does so with complete self-awareness, and is prepared to confront its very canon to teach us a thing or two about not being afraid to challenge the status quo.
And yes, it does get much darker along the way. Sure, Miles and Gwen still share a will-they-or-won’t-they-romance; and for that matter, both Spideys also have to grapple with the decision as well as the consequences of letting their respective parents know about their superhero identities. Yet we also see the over-zealousness and self-righteousness of the Spider Society taken to discomforting extremes, blinded by their conviction over what they need to do to preserve the greater good. Without giving too much away, the last 15 minutes also show a shocking alternate reality that will leave us on a cliffhanger (for the uninitiated, this is the first of a two-part sequel, with ‘Beyond the Spider-Verse’ due next year).
Sadly, as noble as all that ambition may be up on the big screen, the movie ends up drowning itself in its own excess. There are in-jokes galore, the callbacks and audience-pleasing cameos rife to the point of being overbearing, and sometimes even at the expense of story and narrative logic. But the visuals are what truly prove disorienting, strangely uninvolving, and eventually exasperating. There is no measure of restraint or nuance to the animation, playing with colour, composition and texture as if every palette, mode and mash-up were at its disposal. Where others see an extravaganza, we see only disarray, with little method to the madness.
Like we said, it wasn’t until ‘Across the Spider-Verse’ that we realised that there was such a thing as too much Spidey. Maybe we ain’t hardcore fans enough to lap up all the winkingly playful Easter Eggs, but we suspect that we won’t be the only ones that find the self-indulgence more exhausting than exhilarating; and at two hours and 20 minutes, it is quite frankly overstuffed. It is bigger, bolder and darker all right, but also louder, messier and more excessive. It might be pure nirvana for some, but this journey across the Spidey multi-verse will ultimately prove an unremitting assault on the senses for many others.
Movie Rating:
(As exhausting as it is exhilarating, this bigger, bolder but darker sequel is also louder, messier and more excessive)
Review by Gabriel Chong
Genre: CG Animation
Director: Peter Sohn
Cast: Leah Lewis, Mamoudou Athie, Ronnie Del Carmen, Shila Ommi, Wendi McLendon-Covey, Catherine O'Hara, Mason Wertheimer, Joe Pera, Matthew Yang King
Runtime: 1 hr 49 mins
Rating: PG13 (Some Mature References)
Released By: Walt Disney Studios
Official Website:
Opening Day: 15 June 2023
Synopsis: Disney and Pixar’s “Elemental” is an all - new, original feature film set in Element City, where fire, water, land and air residents live together. The story introduces Ember, a tough, quick-witted and fiery young woman, whose friendship with a fun, sappy, go-with-the-flow guy named Wade challenges her beliefs about the world they live in.
Movie Review:
Every time this reviewer steps out of the cinema after watching a Pixar movie, he would think, “It isn’t that difficult to come up with a simple concept and tell an awesome story with it, right?” There were toys that came alive when their owner isn’t looking, talking cars that travelled the highways of life, marine animals that helped a micromanaging clownfish find his lost son, and colourful beings inside your mind that represent different emotions.
The animation studio’s latest movie features talking elements of nature (now why didn’t we think of that?) who come together to live in a place called Element City. This is a Pixar production, so there is definitely a bigger story to tell.
The protagonists are Ember (a fire resident) and Wade (a water resident) and the very different lives they lead. Ember is the daughter of an immigrant couple who is facing xenophobia as they are not the majority element. The father of the family owns a convenience store and Ember is expected (of course) to take over the family business. You can already see a story exploring race, identity and culture emerging. Wade is a city inspector who lives a sheltered life, and he finds himself in the store’s basement one day when a water pipe leak happens. Sounds weird? This is really part of Pixar’s inventive storytelling, and you really just have to go along for the ride.
As the story progresses, Ember and Wade get to know each other better and you realise this is also a movie about forbidden love. Fire and water falling in love? That’s really a simple but genius concept. Elsewhere in the story, there is also a plot about the duo trying to save the store from being shut down.
Prior to helming this movie, Peter Sohn directed The Good Dinosaur (2015), a very straightforward Pixar film that didn’t exactly soar at the box office. The animator has also worked on other Pixar titles like Finding Nemo (2003) and The Incredibles (2004), and done voice acting in movies like Ratatouille (2007) and Monsters University (2013). His second full length directorial effort is a visual delight, and features delightfully imaginative animated sequences that will have you smiling. As a filmmaker raised in New York by Korean immigrants, we can sense that Sohn is genuinely interested in telling a story about finding your place in a city where you feel you don’t belong.
It doesn’t take long for you to realise that the fire residents represent Indian immigrants. There are several sequences in the movie that have Asian influence, and viewers in this part of the world may find them relatable.
While there are a few themes to unpack in this 109 minute movie, the visuals are enchanting enough to keep you engaged from beginning to end. Even if you had wished that certain story plots could do with more depth, you would be captivated by how the elements are visualised on screen with vibrancy and energy. Thomas Newman’s score is an absolute pleasure with its ethnic flavour, and we are really hoping that the composer would be recognised for this wonderful work.
There are also evidently kid friendly elements (pardon the pun) in the movie. The land resident featured in the marketing materials is a kid who grows flowers from his armpits. It’s funny, but definitely not in the smartest sense. The air residents have some air (pardon the pun again) time in a sports tournament sequence. Other than that, the movie is really about fire and water, two very different elements who figure out how opposites attract.
Movie Rating:
(Fire, water, land and air come together in a story of forbidden love and culture clash, featuring a delightful showcase of light, colours and music)
Review by John Li
Genre: Action/Crime
Director: Lee Sang-yong
Cast: Don Lee, Lee Jun-hyuk, Aoki Munetaka, Lee Beom-soo, Kim Min-jae, Lee Ji-hoon-II, Jun Suk-ho, Ko Kyu-pil, Park Ji-hwan
Runtime: 1 hr 45 mins
Rating: NC16 (Coarse Language & Some Drug Use)
Released By: Golden Village Pictures
Official Website:
Opening Day: 22 June 2023
Synopsis: Detective Ma (Don LEE) is back again, now as part of the regional investigation unit. With a new team, he has to catch a new villain (LEE Jun-hyuk). On the other hand, Riki (Aoki MUNETAKA), the Japanese gangster, adds suspense by joining this fierce battle. Just after “THE ROUNDUP” became the biggest blockbuster of 2022 in Korea, the director LEE Sang-yong and Don LEE team up again to keep up the momentum.
Movie Review:
Amidst the excess of superhero movies and special-effects driven extravaganzas, last year’s Korean box office domestic champion ‘The Roundup’ stood out as a glorious throwback to the sock-em-up crime actioners from the past. Its success had everything to do with its lead star Ma Dong-seok (also known as Don Lee), whose self-deprecating charm, understated comic delivery and tree-trunk-like biceps proved to be an irresistible winning formula in himself.
‘The Roundup: No Way Out’ sticks closely to the tried-and-tested formula of its predecessor, and while that may be disappointing for some, we suspect many – us included – wouldn’t mind the familiarity. Ma reprises his role as hard-hitting detective Ma Seok-do, whose latest target is the Japanese yakuza and their thieving Korean partners. An apparent suicide of a young woman found with high levels of narcotics in her blood leads Ma to investigate those responsible for peddling the addictive new club drug named Hiper, unravelling a web of double-dealings, betrayals and corruption within the police force itself.
There isn’t anything particularly sophisticated about the plotting, which like the previous movie, is intended to set up different groups of baddies for Ma to pummel in succession. That list includes the local gangsters running the nightclub which the woman had visited just before her death, the local syndicate in charge of distributing the drugs to various nightclubs in the Cheongdam district, the yakuza fixer Ricky (Munetaka Aoki) and his henchmen sent from Tokyo to retrieve a missing bag of Hiper worth US$30 million, and last but not least the corrupt Guryong district cops led by Captain Joo (Lee Jun-hyuk) in cahoots with the yakuza.
To his credit, writer Kim Min-sung stuffs the narrative with just enough complications to keep the wheels spinning throughout the movie, so there never is a dull moment even in between the fights. Credit for that also goes to the colourful opponents which director Lee Sang-yong has lined up for Seok-do’s signature bruising; and in particular, both Aoki and Lee inject plenty of menace and swagger into their respective roles to make their eventual ass-whopping (by Seok-do) all the more satisfying.
Speaking of the whopping, let’s just say that each of the set-pieces packs more than a couple of rewarding punches. Though in his 50s, age has not slowed the former aspiring boxer one bit. Indeed, Ma still moves with impressive speed and agility for someone of his size, and it is guilty pleasure watching him toss around large, physically imposing heavies as if they were man-sized beachballs. Ma is front and centre in each and every one of the scenes, and the deft camera work tracks his movements closely so you can appreciate his physical work in its full glory.
Oh yes, Ma is through and through the star of this ‘Crime City’ franchise, and this latest entry re-affirms just why. Not only is it great fun to watch him dish out some literally hard-hitting justice, Ma carries the movie with a gruff, understated charisma that is utterly endearing. Like we said, some may be disappointed that ‘No Way Out’ is content to stick to the formula of its predecessor, but those who enjoyed last year’s banger will for that same reason find this the perfect sequel to Ma’s unique brand of cops-versus-thugs caper.
Movie Rating:
(Familiar but no less fun, this sequel to last year's Korean box office champion rests yet again on the massive shoulders of Ma Dong-seok)
Review by Gabriel Chong
|
DONNIE YEN PROTECTS USERS' PRIVACYPosted on 01 Jun 2023 |
Genre: Drama
Director: Paul Schrader
Cast: Joel Edgerton, Sigourney Weaver, Quintessa Swindell
Runtime: 1 hr 51 mins
Rating: M18 (Sexual Scene)
Released By: Shaw Organisation
Official Website:
Opening Day: 22 June 2023
Synopsis: Narvel Roth (Joel Edgerton) is the meticulous horticulturist of Gracewood Gardens. He is as much devoted to tending the grounds of this beautiful and historic estate, as he is to pandering to his employer, the wealthy dowager Mrs Haverhill (Sigourney Weaver). However, chaos enters Narvel's spartan existence when Mrs Haverhill demands that he take on her wayward and troubled great-niece Maya (Quintessa Swindell) as a new apprentice, unlocking dark secrets from a buried violent past that threaten them all.
Movie Review:
American filmmaker Paul Schrader’s works often feature troubled men going through an existential crisis. The protagonist in First Reformed (2017) is a Protestant minister (Ethan Hawke) struggling with his faith while serving as the pastor in a church. In The Card Counter (2021), Oscar Isaac plays a gambler who tries to reform a young man seeking revenge on a mutual enemy from their past. And Schrader’s latest work, which is supposedly the third movie in a loose trilogy described by the Oscar nominated director, stars Joel Edgerton as a former White supremacist working in a beautiful garden, and as expected – is haunted by some dark secrets.
If you ask us, the first thing that came to our mind are the ‘Daddy’ status of these actors. The sexy older man persona, coupled with the characters’ moodiness and the troubled past, may be a draw for certain demographics. That said, we can totally see Pedro Pascal in a Paul Schrader movie.
If you have watched Schrader’s past films, you’d know they are driven by dialogues between characters (that, and long moments of contemplation which you wish you can have the luxury of doing in real life). The pacing is unrushed and the plot takes its time to develop slowly. Impatient viewers may feel the dreariness, especially when the story usually moves towards a predictable direction. But it is really about appreciating the stylistic yet unfancy framing, and taking in all the broodiness from the protagonist.
In this film written and directed by Schrader, Edgerton displays his talent for taking care of plants as a horticulturist in a luscious garden owned by an older woman (Sigourney Weaver, breezing through the role with grace). He also happens to be having a fair with her, which isn’t unexpected. The former White supremacist isn’t all bad after all, as we find out that he refused to kill a black preacher’s wife and daughter. Besides gardening, the man now involves himself in spiritual activities to cleanse his soul. We also learn that underneath his clothes, his body is covered in White supremacist tattoos – yup, you can expect scenes of a shirtless Edgerton looking remorseful.
When the woman’s grandniece (Quintessa Swindell, in a role that Schrader originally had for Zendeya in mind) shows up, things take a dramatic turn. The gardener and the young girl’s lives become closely intertwined, and they eventually open up to each other. For a movie about a horticulturist, the garden definitely plays an important role, and it is there the film will have its conclusion.
Needless to say, the cast delivers impressive performances and the movie is perfect if you are in the mood to slowly unpack the story development. Nothing too surprising shows up during the 111 minute runtime, and you are likely to be engrossed in the intensity of the characters’ expressions. Amidst the beauty you see in the garden, you can also feel the strained personalities of the characters, and that is masterfully translated on screen by Schrader and his team. It’s a great movie to sit through while slowly sipping a cup of hot black coffee - without sugar.
Movie Rating:
(A film that takes its time to tell a story of redemption, featuring an engagingly brooding performance by its leading man Joel Edgerton)
Review by John Li
Genre: CG Animationm
Director: Kirk DeMicco
Cast: Toni Collette, Jane Fonda, Annie Murphy, Sam Richardson, Lana Condor, Will Forte, Colman Domingo, Liza Koshy, Ramona Young
Runtime: 1 hr 35 mins
Rating: PG13 (Some Mature References)
Released By: UIP
Official Website:
Opening Day: 29 June 2023
Synopsis: A shy adolescent learns that she comes from a fabled royal family of legendary sea krakens and that her destiny lies in the depths of the waters, which is bigger than she could have ever imagined.
Movie Review:
Since the acquisition by Universal, DreamWorks Animation has somehow become a shadow of its former self. Under then CEO and founder Jeffrey Katzenberg, the animation outfit was once a strong competitor to Disney. Remember Shrek, Kung Fu Panda and How to Train Your Dragon. In recent years however, Illumination, the guys behind the ultra-successful Minions franchise has took over the spot. And things isn’t looking all that good for DreamWorks given Ruby Gillman, Teenage Kraken has sunk into the depth of the ocean.
Ruby Gillman (Lana Condor) is an ordinary, socially-awkward teenager with a bunch of equally weird friends except Ruby is no ordinary teenager. She is in fact a kraken living on land and she is the heir to the kraken throne. It’s just that she doesn’t know about the part on the throne yet. For now, she is trying to summon enough courage to convince her overprotective mom, Agatha (Toni Colette) to let her go to junior prom which is schedule to take place on a boat and her mom forbids her to go anywhere near the water even though they live in a seaside town.
When an accident involving her crush, Connor left her turning into a gigantic glowing kraken, Ruby discovers she has a grandmother, Grandmamah (Jane Fonda) in this case and also happens to be the Warrior of the Seven Seas. Shortly, we learned that Agatha herself is estranged from her controlling mother for 15 years and also there’s a conflict that has been brewing between mermaids and krakens.
Despite being a respectable coming-of-age animation, Ruby Gillman, Teenage Kraken comes at the wrong time especially after the much superior Luca and Turning Red. Ruby and Luca both involved mythical sea creatures that transforms into human forms. While Luca focused heavily on the theme of friendship, Ruby adhere more towards family. There’s of course Ruby’s stoic father (Colman Domingo), her wacky younger brother, Sam and a fumbling Uncle Brill (Sam Richardson) that adds to all the mayhem.
Most importantly, Ruby also touches on teenage angst, adolescence years and girl power issues, stuff that Turning Red has done far more successfully and with more heart. The story by Pam Brady does has its fair share of wicked humour especially when it introduced a mermaid as Ruby’s bestie. Just like Shrek is mocking Disney’s trademark Princess animations, Ruby on the other hand turns the usually beloved, kind mermaids into some sort of narcissistic monsters. We give her points for that.
Unfortunately, Ruby relies too much of visual madness and the obligatory massive CGI battle finale to tell a good heartwarming story. Director Kirk DeMicco (Vivo, The Croods) piles on the action to make up for the lack of narrative and characterizations between Ruby, Agatha and Grandmmamah. If the filmmakers’ attempt is to win over the younger audiences then they are on the right track. Teenagers who are supposed to be the targeted audience might find this less appealing comparing to Turning Red.
Ruby Gillman, Teenage Kraken is kind of a mixed bag. It has a cute, mesmerizing plot and lovable characters. Making krakens as the good guys is pretty creative. The animation is a blast. The voice cast is amazing. But given the current economic climate, these factors are no longer enough to warrant a purchased ticket in an airconditioned hall.
Movie Rating:
(Enjoyable but mediocre family animation)
Review by Linus Tee
Genre: Drama
Director: Anthony Pun
Cast: Chow Yun Fat, Anita Yuen, Will Or, Alex Fong, Liu Kai Chi, Andy On, Kenny Wong, Michael Ning, Calvin Choy, Amy Lo
Runtime: 1 hr 55 mins
Rating: PG13 (Some Violence)
Released By: mm2 Entertainment and Cathay Cineplexes
Official Website:
Opening Day: 6 July 2023
Synopsis: Water Ng (Chow Yun Fat), a typical loser who likes to gamble and takes no responsibility is asked to take care of his ex-girlfriend Jik’s son, Yeung (Will Or). With Jik (Anita Yuen) telling him that Yeung is his son, and promised 100 thousand dollars, Water Ng agrees to be a father for one month. Soon he notices his son has Autism. He gets to understand the difficulties of raising a child with special needs. With Jik's absence on the agreed date, Water Ng realizes why she brought him his blood. He finds his life goal while discovering Yeung’s talent on the racing field, then decides to get rid of the dissipated life and accompany his son to achieve his dream.
Movie Review:
Do not be misled by the Chinese title of this movie, which literally translates as “Don’t Call Me God of Gamblers”. With Chow Yun Fat as its leading man, the drama will have most viewers expecting impressive gambling sequences where Chow’s character will display his wit and emerge victorious. This is because Chow is known for his role in Wong Jing’s God of Gamblers (1989), a comedy drama that spawned a successful franchise.
Nope, this movie helmed by Anthony Pun, a veteran cinematographer making his solo directorial debut, is not about a suave gambler with slicked back hair charming the casino in his tailored tuxedo suit. On the contrary, the story is about a middle aged man who doesn’t have luck on his side when it comes to gambling, and the relationship with his autistic son. Yup, you can expect quite a bit of melodrama in this 115 minute movie.
After portraying serious characters in crime thrillers like Cold War 2 (2016) and Project Gutenberg (2018), Chow returns to one of his most beloved personas – a happy go lucky guy who seemingly has nothing to lose. He plays Water Ng, a barber and habitual gambler who has clocked a substantial amount of debt. He resides in Macau, where he spends his days without any goal or long term plan in mind. Together with his friends played by Alex Fong, Michael Ning and the late Liu Kai Chi (in one of his final film roles), Water is quite happy with his life, has not much worries except for the occasional appearances by his debtors.
Things stay pretty much the same until his old flame Lee Xi (Anita Yuen) shows up, telling him that he will receive money If he takes care of Yeung (Will Or) for a month. The autistic teenager is apparently Water’s son, but why he took up the offer. With debts to clear, it is obviously the monetary reward that is the catch. As expected, the movie then features a series of incidents where the father and son progressively grow closer to each other. The only sequence involving gambling sees Yeung bringing an unbelievably amount of luck for Water at the casino. We were expecting the plot to head towards the direction of Yeung becoming a God of Gambler, but it goes on to see how Water adjusts his lifestyle and mindset to live with the son he never had.
The draw of the movie is seeing Hong Kongstars like Chow and Yuen grace the big screen. The nostalgia is real when the two actors appear in the same scene. They effortlessly pull off the right emotions, and you feel the joy, desperation, frustration and sadness of the characters. With other familiar faces like Andy On, Kenny Wong, Calvin Choi and an amusing cameo appearance by Ivana Wong, the movie is enjoyable to sit through.
With its Macau setting, the movie also works like a tourism ad for the former Portuguese colony. Expect glamorous shots of the city, and a gorgeous palette of dense colours in Water’s barber shop. Of course, there are the obligatory scenes featuring the towering casinos.
When a tragedy expectedly happens, the movie takes on a melodramatic approach and features a rather lengthy finale that goes on for a quite a while. Viewers who like storylines that go all out to make you teary eyed will find this welcoming, and especially if you are Chow’s long time fan.
The movie is reportedly filmed in 2019 and was known as “Be Water, My Friend”, a title inspired by Bruce Lee. Besides the name of Chow’s character, we also see Water worshipping Bruce Lee like a deity. One can only wonder what prompted the change of the movie title.
Movie Rating:
(Definitely not about the God of Gamblers, this movie serves up a considerable amount of melodrama and nostalgia, and should satisfy fans of Chow Yun Fat and Anita Yuen)
Review by John Li
| « Prev | 485 | 486 | 487 | 488 | 489 | 490 | 491 | 492 | 493 | 494 | 495 | Next » |
Most Viewed
No content.