SYNOPSIS: In this fresh coming-of-age story, an 18th birthday mushroom trip brings free-spirited Elliott (Maisy Stella) face-to-face with her wisecracking 39-year-old self (Aubrey Plaza). But when Elliott’s “old ass” starts handing out warnings about what her younger self should and shouldn’t do, Elliott realizes she has to rethink everything about family, love, and what’s becoming a transformative summer.
MOVIE REVIEW:
People keep saying My Old Ass is the new Aubrey Plaza (Parks and Recreation, Agatha All Along) new comedy. Yes it is. But she is also not on screen for most of the time. The honour goes to Canadian singer Maisy Stella who puts in a pleasant performance as Elliott in this coming-of-age, feel-good comedy.
Elliott (Stella) is turning 18 and before she goes to college, she is going camping with her besties and getting high on psychedelic mushrooms. Shortly, she is visited by her older self (Plaza) who instead of advising her on which company to invest in after Apple advised her to stay away from anyone named Chad. It sounds cryptic and unreal. Maybe it’s just the shrooms. Anyway Elliot is gay so what’s the big deal.
Days after, she met a lanky, long-haired guy named Chad who happens to work as a summer worker at her dad’s cranberry farm. Chad is smart, wise and funny. And Elliott is slowly mesmerised by this mysterious guy whom her older self is asking to avoid. Why and what is happening in this comedy written and directed by Megan Park.
Forget about any time-travelling shenanigan or supernatural element because there are none. The older self gimmick is never explained but trust us, that is not really relevant here.
There are a couple of meaningful themes being discussed here liked the older Elliott advising young Elliott to spend more time with her family members aka her neglected parents, her golf-loving brother Max and as result of being a selfish, distanced teenager who cares less about her family, she is the last to know that her dad is actually selling away their family owned cranberry farm.
We also loved the heartfelt conversation Elliott had with her mother, the somewhat sombre reunion older Elliott had with Chad etc. My Old Ass can be easily categorised as a crude teens comedy about modern sexuality but the narrative hits one on many levels whether it’s emotional or funny liked the Justin Bieber music video spoof.
As mentioned prior, Maisy Stella is a delight as the bubbly teen while Plaza does her usual deadpan comedy with the limited screen time though she is rather impressive in the acting range especially in the finale scene. Running less than 90 minutes, My Old Ass is more about facing your own remorse and regrets rather than running away from it. It’s a cute and touching movie that even old asses will enjoy.
MOVIE RATING:
Review by Linus Tee
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STARRING ANGELINA JOLIE'S LIPSPosted on 13 Nov 2024 |
Genre: Musical/Fantasy
Director: Jon M. Chu
Cast: Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jeff Goldblum, Jonathan Bailey, Ethan Slater, Marissa Bode, Bowen Yang, Bronwyn James, Keala Settle, Peter Dinklage
Runtime: 2 hrs 40 mins
Rating: PG (Some Intense Sequences)
Released By: UIP
Official Website:
Opening Day: 21 November 2024
Synopsis: After two decades as one of the most beloved and enduring musicals on the stage, Wicked makes its long-awaited journey to the big screen as a spectacular, generation-defining cinematic event this holiday season. Wicked, the untold story of the witches of Oz, stars Emmy, Grammy and Tony winning powerhouse Cynthia Erivo (Harriet, Broadway’s The Color Purple) as Elphaba, a young woman, misunderstood because of her unusual green skin, who has yet to discover her true power, and Grammy-winning, multi-platinum recording artist and global superstar Ariana Grande as Glinda, a popular young woman, gilded by privilege and ambition, who has yet to discover her true heart. The two meet as students at Shiz University in the fantastical Land of Oz and forge an unlikely but profound friendship. Following an encounter with The Wonderful Wizard of Oz, their friendship reaches a crossroads and their lives take very different paths. Glinda's unflinching desire for popularity sees her seduced by power, while Elphaba's determination to remain true to herself, and to those around her, will have unexpected and shocking consequences on her future. Their extraordinary adventures in Oz will ultimately see them fulfill their destinies as Glinda the Good and the Wicked Witch of the West.
Movie Review:
It’s time for Wicked fans to rejoice, because the film adaptation of the beloved musical by Stephen Schwartz and Winnie Holzman has finally hit the big screen. If you haven’t already heard, this is the first instalment of a two part movie event. It has a whopping 160 minute runtime, and that’s about 10 minutes longer (excluding intermission, mind you) than the original stage musical which premiered on Broadway in 2003.
Should you put aside almost three hours to sit through this movie directed by Jon M Chu in the cinema? We are happy to report that whether you are a fan or not, this is going to be one immersive cinematic experience that you shouldn’t miss.
The stage musical was an adaptation of the 1995 Gregory Maguire novel Wicked: The Life and Times of the Wicked Witch of the West, which in turn is based on L Frank Baum's 1900 novel The Wonderful Wizard of Oz. The story is told from the perspective of two friends, Elphaba and Galinda, before and after Dorothy's arrival in Oz. It chronicles the events which results in Elphaba becoming the Wicked Witch of the West, and Galinda becoming Glinda the Good.
Viewers who have watched the award-winning musical (this writer watched the production more than two decades ago when it played in Singapore) will love every bit that is presented on screen. Films are not limited by the boundaries of the physical stage, and thanks to the story’s setting, this movie takes full advantage of the medium to bring fantastical Oz to life. You have to watch on the movie on the biggest screen possible (catch it in an IMAX theatre if you can) to witness the eye popping colours and enjoy the full glory of Munchkinland, Shiz University and Emerald City.
Even if you are unfamiliar with the musical, you will appreciate the awe inspiring production value of the movie. Besides that, the universal themes of good versus evil, as well as the dangers of power and propaganda are relayed in an engaging manner. You will feel for Elphaba as she faces alienation due to her green skin, and want to stand up for her when she is mocked by the bullies in school. You will celebrate the comradeship when Elphaba and Galinda become friends, and become torn when they are put in a difficult spot during the climax of the movie.
British actress and singer Cynthia Erivo, has won a Tony Award, Emmy Award, and a Grammy Award for starring in the Broadway revival of The Color Purple, takes on the role of Elphaba. Besides being able to croon the tunes with ease, Erivo’s performance doesn’t disappoint as she navigates the emotions of the protagonist effectively. Ariana Grande is perfectly cast as Galinda, as she gets to showcase her four octave vocal range in numerous songs. She is also brilliantly funny in the role, contributing to some of the most hilarious bits in the movie. We would love to see the pop icon get nominated during award season for her entertaining performance.
Elsewhere, Jonathan Bailey is charming as a seemingly himbo prince, while Michelle Yeoh and Jeff Goldblum lend weight to the ensemble as a university dean and the Wonderful Wizard of Oz respectively.
And then there are the songs. Whether you have watched the stage musical or not, you will be emotionally absorbed as the tunes play out on screen. It is reported that Erivo and Grande sang live on set, with the intention of immersing viewers in the experience. It has clearly worked, because you will be tapping your feet to “Popular” as Galinda teaches Elphaba how to fix her wardrobe, and have the urge to stand up and applause after Elphaba sings her heart out in “The Wizard and I”.
Thanks to the superb imagination from Chu and her team, the sets complement the songs. You will love the spinning library as the cast performs “Dancing Through Life”, and want to break out in song when Elphaba sings about breaking free in “Defying Gravity”. When the movie ends with a cliffhanger, you can’t wait to see how the second part releasing next November will bring the story to greater heights.
Movie Rating:
(A crowd-pleaser that deserves to be seen on the biggest screen possible, this film adaptation of the beloved stage musical is a cinematic spectacle that bursts with imagination and soaring tunes)
Review by John Li
SYNOPSIS: From the best-selling author of Wonder, the book that sparked a movement to “choose kind,” comes the inspirational next chapter. In White Bird, we follow Julian (Bryce Gheisar), who has struggled to belong ever since he was expelled from his former school for his treatment of Auggie Pullman. To transform his life, Julian’s grandmother (Helen Mirren) finally reveals to Julian her own story of courage — during her youth in Nazi-occupied France, a boy shelters her from mortal danger. They find first love in a stunning, magical world of their own creation, while the boy’s mother (Gillian Anderson) risks everything to keep her safe. From director Marc Forster (Finding Neverland and Christopher Robin), screenwriter Mark Bomback, and based on R.J. Palacio’s book, White Bird, like Wonder before it, is an uplifting movie about how one act of kindness can live on forever.
MOVIE REVIEW:
Marc Foster’s filmmaking career definitely has its ups and downs. From the much acclaimed Monster’s Ball and Finding Neverland to the troubled World War Z and Quantum of Solace to the forgettable Machine Gun Preacher. Certainly, he might not have a consistent output but you can’t deny his movies are incredibly watchable.
White Bird comes from the same world as Wonder (2017), you know the drama about a facially deformed boy, Auggie? This spinoff instead is about Julien (Bryce Gheisar), the boy who constantly bullies Auggie.
The movie opens after the events of Wonder. Julien has been expelled from his former school and is now studying in a private institute in New York City. Julien has been feeling down and remorse after his bullying antics and coincidentally his visiting grandmother, Sara Blum (Helen Mirren) a celebrated painter decides to tell him her own childhood story in the hope of changing the young man.
And that’s where the heart of the movie lies.
In the autumn of 1942 in a small French town, Sara (Ariella Glaser) and her parents are separated because of the invading Nazi army. Her polio-stricken classmate, Julien (Orlando Schwerdt ) shielded Sara from the danger by hiding her in his family barn. Eventually, their budding friendship turns to love and Julien promises even after the war, Sara will forever be part of his future.
The coming-of-age drama adapted to the screen by Mark Bomback (The Wolverine, War for the Planet of the Apes) reminisces one of Anne Frank, the German Jewish girl who kept a diary documenting her life in hiding. However, its clear that Sara at least has the nightly company of Julien. Together, their imaginary trips to Paris and New York in his parent’s broken down truck adds comfort to her despair and instilling a sense of hopefulness.
For a movie that was shot during the pandemic in 2021 and delayed till this year, White Bird is blessed with solid production values including top notch cinematography by Matthias Koenigswieser, a touching musical score by Thomas Newman and excellent performances by the young leads and Mirren.
With a Holocaust narrative thrown in and despite a two hours runtime, Foster delivers a relentless pacing with all the horror, action and drama elements perfectly coming together. The history lesson reminds one to be kind, to always forgive and even the weakest can be the strongest.
There’s so much to like here except probably that out of nowhere CGI wolves attack scene. White Bird definitely deserved more attention than the average theatre release.
MOVIE RATING:
Review by Linus Tee
Genre: Action/Thriller
Director: Donnie Yen
Cast: Donnie Yen, Julien Cheung, Michael Hui, Francis Ng, MC Cheung, Kent Cheng, Lau Kong, Yu Kang, Adam Pak, Mason Fung, Mark Cheng, Sisley Choi, Ray Lui, Liza Wang
Runtime: 1 hr 57 mins
Rating: NC16 (Violence and Some Drug Use)
Released By: Shaw Organisation
Official Website:
Opening Day: 21 December 2024
Synopsis: Donnie Yen takes on one of his most intense roles yet in THE PROSECUTOR. Portraying a brilliant, fearless prosecutor caught in a web of conspiracy, corruption, and danger, Yen’s character risks everything to expose the truth when a powerful criminal syndicate targets the legal system itself.
Movie Review:
He may not look the age, but Donnie Yen turns 61 this year. That is still slightly less than a decade younger than Jackie Chan, but he is still a good 16 years older than when he first assumed the role of ‘Ip Man’ in the eponymous quadrilogy. Why are we starting this review with that reality check? Because ‘The Prosecutor’ is as much a reflection of former cop turned Department of Justice prosecutor Fok Chi-ho’s circumstances as it is of Yen’s own as an action star.
Cynics will dismiss the premise as too much of a contrivance in order to justify Yen playing a public prosecutor, but to Yen’s credit, he demonstrates sufficient restraint not to overplay the setup. Pulling triple duties here as lead actor, producer and director, together with fellow ‘Ip Man’ producer Raymond Wong, Yen does an admirable job trying to establish himself as a respectable dramatic actor. Oh yes, there is by now absolutely no doubt of his fighting prowess, but those who still have doubts how he would fare as a serious actor would be suitably convinced that he can rely on more than his fists to do the acting.
The prologue sees Yen in a neck cast bristling after the court finds insufficient evidence to convict the mastermind of a criminal gang that he and his colleagues had busted in a raid on an abandoned building months earlier, which - for those who have seen the trailer - is the sequence filmed like a first-person shooter video game. Though it starts off with a bang, what adrenaline you might have had recalling Yen’s ‘Flashpoint’ days will quickly dissipate as you realise that the raid is less a set-piece in and of itself than a filler to set the stage for the events to come.
So seven years after going to law school, Fok re-emerges as a prosecutor for the DOJ, where he meets veteran colleague Bao Jing (Kent Cheng) and chief prosecutor Yeung (Francis Ng). Both are given reasonably significant supporting roles to justify the presence of these two heavyweight actors, and though there is a much touted fist fight between Yen and Ng in the last act, Yen has recruited Cheng and Ng primarily as verbal sparring partners to engage in ethical debates throughout the course of the movie about their role as public prosecutors in enforcing justice for society.
Fok’s first case involves a young man named Ma Ka-kit (Mason Fung), whom the police have arrested for drug possession. While Ma had initially claimed that he was only doing the bidding for Chan Kwok-wing (Lam Ka-hei), Ma retracts that testimony on advice from his two lawyers Au Bo-man (Julian Cheung) and Lee Sze-man (Shirley Chan), who persuade him that it is better to plead guilty and ask for leniency for a reduced sentence than to go to trial and potentially end up in prison for longer. As an erstwhile policeman, Fok quickly deduces that there is more to the case than meets the eye, and is driven out of his strong sense of righteousness to speak out of turn in court, much to the displeasure of the High Court judge (Michael Hui).
For much of the first hour, Yen commits to the beats of a legal thriller, and though it never quite reaches the same intensity as Dayo Wong’s ‘A Legal Conscience’, Yen weaves a fairly tight and tense narrative highlighting the loopholes in Ma’s case as well as the helplessness of both Fok and Ma’s elderly grandfather in the absence of further evidence to prove his innocence. As obvious as it may sound, it demonstrates how intertwined the investigation and legal process is, and in turn how the latter is hampered without a full and thorough probe on the part of the enforcement authorities.
Unfortunately, despite his best efforts, Yen is unable to overcome the weaknesses in the plotting to sustain an equally compelling second half. As prolific as he may be, Edmond Wong (son of producer Raymond) isn’t a strong writer; here, his script comes apart trying to weave in a regional drug trafficking syndicate led by Sang (Ray Lui) and Tung (Mark Cheng), who turn out to be manipulating Au for their bidding. We won’t go into the convoluted backstory that somehow also involves Fok, but suffice to say that it is too much of a stretch, even though it is clearly intended as excuse so that Fok can battle their right-hand (strongman) Jin (Kang Yu) in a climactic set-piece on board the Hong Kong MTR (that is thankfully not as absurd as the trailer had made it out to be).
Like we said, Yen tries his best to keep the movie from going off the rails, even as it becomes less a legal than action thriller by the third act. Indeed, while it will no doubt be disappointing that Yen’s 1-against-100 atop a rooftop isn’t the modern-day ‘Ip Man’ some might be hoping for, it is to his credit that Fok comes off a lot less invincible than the typical Yen hero. It is just as significant that Fok consistently shows restraint in his moves, never resorting to the all-out violence or rage that Yen embodied in his roles in ‘Flashpoint’ or ‘Kung Fu Jungle’ or even ‘SPL’. Oh yes, Yen keeps the whole set-up as credible as he could have, delicately balancing between authenticity and audience expectation.
That ‘The Prosecutor’ still remains somewhat unwieldy as an action and legal thriller is perhaps inevitable, but at least we dare say Yen is fully conscious of finding the right equilibrium. There is only so much longer that Yen can continue to be the all-out action star which his career has been defined on, and here, he displays sufficient chops to be regarded as a serious dramatic actor. Those simply looking for another contemporary action movie from Yen will go away dissatisfied, which is why we started off saying that this needs to be seen not just as a movie in and of itself, but as a deliberate attempt by Yen to have a change of pace and even genre as he goes into his 60s. For trying to be more than just a sock-them-all movie, we say ‘The Prosecutor’ deserves our support, or at the very least, an audience so we can walk away with an informed judgment of a commendable if still flawed effort.
Movie Rating:
(Balancing between a legal thriller and action movie, this engaging mix of genres is a commendable attempt by Donnie Yen at showcasing his dramatic chops alongside his traditional fighting prowess)
Review by Gabriel Chong
SYNOPSIS: An ex-homicide detective (Russell Crowe) with memory loss is forced to solve a brutal murder he can't recall. But as evidence uncovers secrets tied to his forgotten past, he is led to a chilling truth - sometimes, it's best to let sleeping dogs lie.
MOVIE REVIEW:
Russell Crowe’s star power has, for lack of a better word, waned since his days of churning out acclaimed hits like Gladiator, Cinderella Man, and Master and Commander. Nowadays, he finds himself relegated to dad or forgettable roles in Man of Steel and Thor: Love and Thunder, respectively.
In writer-turned-director Adam Cooper’s debut feature, Crowe plays Roy Freeman, a dementia-stricken ex-detective who has just undergone a trial operation meant to reverse his condition. Don’t ask why or how, as Sleeping Dogs is not the movie to offer any convincing explanation. Perhaps Romanian author E.O. Chirovici’s 2017 crime novel The Book of Mirrors, on which the film is based, might serve you better in that regard.
Anyway, while still in recovery, Freeman is approached by a human rights volunteer to look into an old murder case once handled by him and his partner, Jimmy (Tommy Flanagan). Apparently, a young man is about to be sent to the gallows for a murder he didn’t commit. Again, don’t ask why or how it took so long to track down Freeman. The point is, Freeman is intrigued by the crime. He seeks out his former partner, who tells him to forget about the case. Undeterred, Freeman revisits old case files, doing his best to uncover new clues and leads—assuming his memory cooperates.
More potential suspects emerge along the way, including Dr. Westlake (Karen Gillan), an assistant researcher to the murdered professor, Dr. Joseph Wieder (Marton Csokas), as well as his circle of patients.
Sleeping Dogs plays out as a serviceable noir detective affair, displaying many familiar traits of a typical crime mystery. In fact, Cooper’s film brings to mind one of Christopher Nolan’s early masterpieces, Memento—minus the confusing, non-linear structure. Despite its predictability and slow burn, the crime drama remains engaging throughout, with plenty of red herrings thrown in for good measure.
Those expecting Crowe to deliver a Maximus Decimus Meridius-style comeback will be sorely disappointed, as Sleeping Dogs is not an action outing—nor does it need to be. Crowe delivers a nuanced, layered performance as a tortured detective struggling to connect the dots with his fractured memory. Gillan is solid as well, portraying a crafty scientist so adept at manipulating the men around her that true evil never quite shows its face.
Admittedly, Crowe has slowly drifted into B-movie territory with recent outings like Unhinged and The Exorcism. Still, whatever one might say about the Australian star, he remains a magnetic onscreen presence, and this whodunit soars higher as a result of his contribution.
MOVIE RATING:
Review by Linus Tee
Genre: Action/Thriller
Director: Woo Min-ho
Cast: Hyun Bin, Lee Dong-wook, Jeon Yeo-been, Park Jeong-min, Jo Woo-jin
Runtime: 1 hr 53 mins
Rating: NC16 (Violence)
Released By: Shaw Organisation
Official Website:
Opening Day: 25 December 2024
Synopsis: Set in the 1900s, HARBIN promises to be a gripping tale of espionage, betrayal and heart-pounding action. Witness the journey of the Korean independence army in this year-end blockbuster, starring top stars Hyun Bin (as Ahn Jung-geun) and Lee Dong-wook (as Lee Chang-sup).
Movie Review:
Conflicts between North and South Korea are constantly being reported in the media. Be it scattered propaganda leaflets, flying drones or threats of nuclear strikes, the inter-Korean relations remain intense and perhaps escalating. However, little is mentioned that Japan formally annexed Korea following the Japan–Korea Treaty of 1905 and it was not until 1945 that Korea was liberated from 35 years of Japanese colonial rule.
The story of Harbin revolves around events that happened before the treaty. A Korean resistance fighter, Lt-General Ahn Jung-geun (Hyun Bin) and his group of fighters, Chang-sup (Lee Dong-wook), Woo (Park Jung-min), Kim (Jo Woo-jin) and Ms Gong (Jeong Yeo-bee) has to gather in Russia to plan to assassinate the first Prime Minister of Japan, ItÅ Hirobumi at the Harbin train station.
Hot on the heels of Ahn is a ruthless Japanese army officer, Tatsuo Mori (Park Hoon) whom Ahn has earlier made the mistake of letting the captured Mori and his surviving soldiers go free. Unfortunately, Mori and his men regroup and slaughtered the rest of Ahn’s compatriots and now, he is after Ahn who he believed in some ways have humiliated him for his defeat.
The narrative by director and writer Woo Min-ho is mostly straightforward except for a brief flashback detailing Ahn’s blunder. Woo’s movie is more of an espionage tale than an hardcore war actioner and even then, the pacing is leisurely notably with a huge detour included for the resistance fighters to head to Manchuria to acquire explosives from an ex-comrade turned bandit. There are indeed a couple of shootouts littered throughout but nothing that screams of gripping.
It wouldn’t be called a spy movie without the presence of a mole lurking in the team. The second half of the story details the discovery of a mole after an ambush led by Mori occurred after the team managed to secure the explosives. While Woo maintains a relatively tense atmosphere and equal attention to spectacle, there’s little to talk about the various characters that look no difference in terms of look and behaviour with their awkwardly done bushy facial hair.
Woo does little to the character of Ahn who is based on a real-life celebrated resistance fighter and in this case a man who holds family values and integrity close to his heart. Of course, the fault doesn’t lies in Hyun Bin or Park Hoon who does his best being the hated typical Japanese villain. Much of Harbin delves into the patriotism of the Koreans, a message that is clearly visible in any of Korea’s war movies. The subplot of flashing out the mole at times risk overshadowing the assassination of the target.
Even for the slight flaws, Harbin remains a solid piece of cinematic work. The cinematography by Hong Kyung-pyo (Parasite, Burning) is breathtaking especially the harsh wintry in which Ahn and his men first faced off Mori, the frozen Tumen river in which Ahn has to cross and a subsequent scene in the desert area of Mongolia. Even the score by Jo Yeong-wook is a pleasure to the ears. As a historical based event movie, Harbin is still an interesting watch.
Movie Rating:
(A minor history lesson in the form of a well-executed spy thriller)
Review by Linus Tee
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HARBIN AND THE PROSECUTOR IN THEATRES THIS DECEMBER!Posted on 20 Nov 2024 |
Genre: Animation/Fantasy
Director: Kenji Kamiyama
Cast: Brian Cox, Gaia Wise, Luke Pasqualino, Miranda Otto, Lorraine Ashbourne, Benjamin Wainwright, Laurence Ubong Williams, Shaun Dooley, Michael Wildman, Jude Akuwudike, Bilal Hasna, Janine Duvitski
Runtime: 2 hrs 14 mins
Rating: PG13 (Some Violence)
Released By: Warner Bros
Official Website:
Opening Day: 5 December 2024
Synopsis: Set 183 years before the events chronicled in the original trilogy of films, The Lord of the Rings: The War of the Rohirrim tells the fate of the House of Helm Hammerhand, the legendary King of Rohan. A sudden attack by Wulf, a clever and ruthless Dunlending lord seeking vengeance for the death of his father, forces Helm and his people to make a daring last stand in the ancient stronghold of the Hornburg—a mighty fortress that will later come to be known as Helm’s Deep. Finding herself in an increasingly desperate situation, Hera, the daughter of Helm, must summon the will to lead the resistance against a deadly enemy intent on their total destruction.
Movie Review:
Those familiar with the world of J.R.R. Tolkien will probably recall the Battle of Helm’s Deep, also called the Battle of the Hornburg, which saw the army of Rohan annihilate the forces of the wizard Saruman in the mountains of Middle Earth. This was the pivotal showdown in Peter Jackson’s ‘The Lord of the Rings: The Two Towers’, and those who grew up with his film trilogy as well as his subsequent ‘The Hobbit’ trilogy will recall with fondness just how seminal his vision of Middle Earth was for blockbuster filmmaking at that time.
Than try to replicate the same, Jackson and his collaborators on the trilogies, Fran Walsh and Philippa Boyens, have instead turned to animation to continue the legends of Middle Earth. Digging deep into Tolkien lore, they have instead turned to the appendices of his novel to fashion an origin story about Helm Hammerhand (Brian Cox), a legendary king of Rohan, who is forced to abandon his kingdom and to retreat into the Hornburg after being attacked by an army of Dunlendings bent on seeking revenge for the humiliation they had suffered years earlier.
Leading the charge for the Dunlendings is the vengeful Wulf (Luke Pasqualino), whose father Lord Freca (Shaun Dooley) was accidentally killed by Helm during a mano-a-mano fight that ensued following Helm’s rejection of Freca’s proposition for Wulf to marry Helm’s daughter Hera (Gaia Wise). As much as this was a plainly disguised attempt at claiming the throne, Helm’s disdain of Freca and his son Wulf, notwithstanding that they both also bear Rohirric blood, is all the more stinging for Wulf, who then vows for Helm to suffer the same heartbreak and disgrace.
Somewhat contrary to what you may expect though, the story is driven neither by Helm or Wulf, but rather by Hera, whose coming-of-age is the narrative which two sets of writers (Jeffrey Addiss and Will Matthews, before re-writes by Phoebe Gillins and Arty Papageorgiou) had devised. Like the typical patriarch, Helm clearly favours his two sons, Hama (Yazdan Qafouri) and Haleth (Benjamin Wainwright), over Hera, regarding her as rebellious and strong-willed; and it is no secret that Helm will come to see Hera for the brave, empathetic leader that she is over the course of the movie.
Though relatively short by Jackson’s standards, the film still runs a mighty two and a quarter hours, long by most animation standards. Still, fans of the earlier trilogies will relish the combination of epic action and intimate character moments that director Kenji Kamiyama emulates here. The former is gorgeously done in Japanese anime-style, with a mix of 2D and 3D animation that may take some getting used to at the start but is nonetheless both visceral and immersive; and the latter allows for some beautiful, even heart-breaking exchanges between father and daughter, as well as for Hera to come into her own as a heroine.
It is to Wise’s credit too that Hera is as established and real a character as she would have been in a live-action movie. Otherwise known as Emma Thompson’s daughter, the British actress brings grit, vulnerability and intensity to her voice-acting role. Ditto for Cox, who brings authority, gravitas and raw emotion as Helm, and is more than a worthy complement for veterans Ian McKellen and Christopher Lee in the live-action Jackson movies. On that note, it is deliberate that unlike previous antagonists, Wulf isn’t a wizard or dark lord but simply a human driven by bitterness and rage, and it is refreshing that despite hailing from Tolkien’s fantasy world, this is ultimately a tale of human faults and frailties.
As an animation, ‘The Lord of the Rings: The War of the Rohirrim’ would naturally struggle to convey the same sense of grandeur and magnificence of Middle-Earth that Jackson was able to portray through his use of the natural New Zealand landscapes. Yet, as an experiment to continue the big-screen adaptation of Tolkien’s novels (so that the studio would not lose its film rights), this is a sumptuous story of pride, vengeance and gallantry. It is even more significant that it is a female-driven story (of Hera), and a good harbinger of the other tales left of Middle-Earth yet to be told, even though they may not be as broad and encompassing as the main stories themselves.
Movie Rating:
(Packed with epic action and intimate character-driven moments, this continuation of the lore of Middle Earth is a sumptuous story of pride, vengeance and gallantry)
Review by Gabriel Chong
SYNOPSIS: After the death of his wife, Mit and his teenage daughter May relocate to a house in a suburban neighborhood. While digging into the ground to build a shrine, Mit unwittingly unleashes a raging djinn imprisoned during the founding of Bangkok, 200 years prior. After a Buddhist monk fails to calm the situation, Mit and May travel to Narathiwat, a province in Thailand’s deep south, a troubled area with heavy military presence, to seek the help of a Muslim witch doctor. Unbeknownst to them, the final exorcism will unlock many dark secrets about the land.
MOVIE REVIEW:
Two decades later, the Thai horror that started it all- Shutter returns recently to theatre for an exclusive one-night remastered 4K Atmos screening, its leading man, Ananda Everingham however appears in yet another horror piece on the small screen.
Due to his job, Mit (Everingham) and his teen daughter May (Jennis Oprasert) has to relocate to a Muslim-majority suburb of Bangkok. For lodging, the company arranged the father-and-daughter to stay in a massive dilapidated ancient wooden house. Rent free by the way. It doesn’t take long or as typical horror tropes tell you, there’s something eerie going on in the house. And Mit being the skeptical man he is, immediately took down all the protective talismans and threw out all the old belongings in the house despite being warned by his fellow factory worker not to do so.
Soon, Mit finds himself frequently hallucinating and unable to concentrate in his work. He hears sounds that bumps in the night. He hears his late wife’s voice over the phone. He saw an non-existent bloody wound on his leg. It doesn’t help that he is also kind of Islamophobic after the death of his pet dog and he finds an aloof, mysterious factory worker, Heem (Bront Palarae) threatening.
Frankly, The Cursed Land is kind of mild as compared to the usual offerings of Thai horrors. Directors Panu Aree and Kong Rithdee seem more keen in exploring the Muslim community and the political subtext of the violence and unrest happening in the south of Thailand. With Buddhism as the predominant religion in Thailand, the narrative touches on the minorities and Islamic, something that is unheard of in a Thai horror. We got to give the movie extra points for that.
With a measured pacing, the supposedly horror and jump scares appear sporadically onscreen and even then, it’s not that effectively staged to make much of an impact. An aged witch doctor is introduced midway into the mayhem to deal with the furious djinn or in simpler term, a house spirit. The finale is cheesy and the whole exorcism is cursed with 90’s style early CGI that probably most audiences will find it chuckling than thrilling.
Mit is a character that is haunted by his wife’s accidental death. There’s also an overdramatic arc of him that is irrelevant to the whole horror saga despite the filmmakers effort in trying to pull off an insightful look into him. In the end, the ghostly spectre happened to be an ancient Muslim slave which had a tedious backstory of his own making the movie almost 30 minutes too long.
The Cursed Land is a decent effort in telling a story about the Islamic supernatural world. The performances of Ananda, Jennis and Palarae is solid as well. But its potential is squandered by the less than convincing CG, a lacklustre pacing and exhausting emotionally aspects.
MOVIE RATING:
Review by Linus Tee
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