Genre: Action/Sci-Fi
Director: James Mather, Stephen St. Leger
Cast: Guy Pearce, Maggie Grace, Peter Stormare, Vincent Regan, Lennie James, Tim Plester
Runtime: 1 hr 35 mins
Rating: PG13 (Some Action Violence And Disturbing Scene)
Released By: Golden Village Pictures & MVP
Official Website: 

Opening Day: 19 April 2012

Synopsis: A man wrongly convicted of conspiracy to commit espoionage against the US is offered his freedom if he can rescue the president's daughter from an outer space prison taken over by violent inmates.

Movie Review:

The somewhat intriguing sci-fi premise of this action thriller shouldn’t otherwise distract you from the fact that it hails from Luc Besson’s Europacorp, which has made its name in recent years with an unparalleled string of quick-and-dirty B-action movies- some of which like ‘Taken’ and ‘District 13’ are admittedly not without their guilty pleasures. Indeed, ‘Lockout’- from an original idea by Besson no less- fits squarely in the same category as the rest of his made-on-the-cheap flicks, offering some diversionary pleasures during its runtime but little else otherwise.  

Basically recycling John Carpenter’s cult classic ‘Escape from New York’ in an outer space setting, debuting writing/ directing pair Stephen St. Leger and James Mather are at least well aware of the derivativeness of their material, adopting from the outset a tongue-in-cheek approach to the proceedings. With brisk efficiency, they establish the requisite backstory to former CIA operative Snow (Guy Pearce) who is being questioned by a sinister-looking Secret Service Agent Langral (Peter Stormare) for allegedly killing his fellow CIA agent.

Even as Snow is being pummelled during questioning, he remains unflappable, returning instead each blow with a quick-witted quip and a devil-may-care attitude. Falsely convicted of the crime, he is arranged to be sent to the first-of-its-kind maximum-security prison MS-1 to begin a 30-year sentence. Yet before he is put into a cryogenic state like the 500 other prisoners on board MS-1, an interview between a humanitarian worker Emilie (Maggie Grace) and a crazed convict Hydell (Joseph Gilgun) that goes awry leads to a mass breakout by the rest of the inmates and the Government to turn conveniently to Snow for assistance.

There is little point in belabouring about why sending in one guy might be the best means of intervention- after all, if you are to enjoy the little pleasures that the film offers, you’d best keep your brains in a cryogenic state (pun intended). Snow’s mission is simple- rescue Emilie, who also happens to be the President’s daughter; and while he is at it, try to get intel from a former partner Mace in order to clear his name. The same can be said of the movie’s plot, which seems content at setting Snow and Emilie on the run from Hydell and his older brother Alex (Vincent Regan).

That simplicity would not have been as obvious if Leger and Mather went about with a clear sense of purpose, but most of the time, it appears that the duo are just busy running from one close encounter to another, so much so that when it finally becomes clear how they were planning to escape in the first place, it seems merely coincidental than premeditated. True to its B-movie style, there is a certain grunginess to the way the action scenes are shot, but it does get repetitive and less exciting as the movie wears on.

Pity the lack of attention paid to the action, for Pearce does cut an impressive muscular frame for the movie. Nonetheless, this is unlikely to do for him what ‘Taken’ did for Liam Neeson’s career, for the simple fact that his similar one-man show doesn’t reach the heights of exhilaration that Neeson accomplished. Instead, you’ll remember his verbal jousting more than his physical ones, and his deadpan sense of humour is probably livelier than any of the action he does in the movie. Pearce also shares an appealing chemistry with Maggie Grace, and their back-forth quibbling makes for some of the film’s best moments.

The amusing repartee and sharp one-liners end up saving the film, for otherwise its blatant leaps of both logic and coherence would have been even more evident. Not only is the plotting often absurd- whether the prisoners’ effortless breakout or Snow and Emilie’s climactic space jump- the individual scenes are stitched together with little attempt at continuity, so much so that you can’t help but wonder ‘now how did they get from here to there’ at times. 

Yet you could say that a movie like that- or for that matter any Luc Besson action movie- isn’t built to be held up to scrutiny, since all they wanted to do was to offer some unadulterated action thrills the way B-movies in the past used to. ‘Lockout’ sure achieves that, and if you’re willing to lower your expectations, you’ll find that there’s enough shooting and explosions going on to keep you occupied. Of course, we'd also like to think a premise like this could also have been much more in the hands of a different writer and producer- instead, we get a movie that will be soon join the ranks of other forgettable B(esson)-action movies.

Movie Rating:

(It’s got some unlikely deadpan humour, but most of the time, Luc Besson’s latest B-movie tries too hard to cover up its lazy plot and generic action with a frenetic pace)

Review by Gabriel Chong

SYNOPSIS: Inspired by the bestselling novel SNOW FLOWER AND THE SECRET FAN by Lisa See the film tells the story of seven‐year‐old girls Snow Flower and Lily, in 19th century China, who had their feet bound at the same age and on the same day, which sealed their fates together as laotongs - bound together for eternity. Isolated in their marriages, they furtively communicate by taking turns writing in a secret language, nu shu, between the folds of a white silk fan. In a parallel story in present day Shanghai, the laotong’s descendants, Nina and Sophia, struggle to maintain the intimacy of their own childhood friendship in the face of demanding careers, complicated love lives, and a relentlessly evolving Shanghai. Drawing on the lessons of the past, the two modern women must understand the story of their ancestral connection, hidden from them in the folds of the antique white silk fan, or risk losing one another forever. What unfolds are two stories, generations apart, but everlasting in their universal notion of love, hope and friendship.

MOVIE REVIEW:

Adapted from the bestselling novel by Lisa See, this exploration of the ancient Chinese tradition of ‘laotong’- or the friendship between two women united as sisters from young- juxtaposes two such stories, one set in the present and another set in the 1830s, to further show how Chinese society has grown over the decades. But despite director Wayne Wang and his trio of screenwriters’- Ron Bass, Angela Workman and Michael Ray- best intentions, the juxtaposition only dilutes both of these stories, to the extent that ‘Snow Flower’ becomes nothing more than a pretty movie to look at, as its name suggests.

To be sure, See’s book was only told from the tale of Snow Flower (Gianna Jun) and Lily (Li Bingbing) in the Hunan province in the 1930s. Then was the time of the cruel practice of foot-binding, of arranged marriages, and of female subservience, and during each of these points of both their lives, Wang emphasises the strong bond of friendship that gives them courage and strength to go through these trying times. While physically separate, the two women maintain contact by way of poems written in the silk fabric of ladies’ fans.

There is much to be told in this historical story, and occasionally when the movie isn’t trying too hard to identify similarities between the fates of these women and their modern-day counterparts, the dramatic weight of the story shines through. Unfortunately, these moments are far too few, and the parallel story of Sophia (Jun) and Nina (Li) undermines what could otherwise been a compelling tale on its own. Also ‘laotongs’, Sophia is the wild child whose abrupt accident one evening leaves Nina to cancel her impending business trip to America.

Little however is served with this two-tier narrative structure, with Wang unsure of the echoes and rhymes that tie the two threads together. Instead, jumping back and forth in time rather haphazardly causes the movie to ultimately lose its focus and narrative momentum either way, resulting in two cursorily told tales that do not have much impact whether individually or combined.

With little to work with, the pan-Asian cast flounder. Jun is forgettable as the domesticated Snow Flower, standing by her butcher (and we mean this literally) of a husband even after he physically abuses her following the death of their son from typhoid. Note for Jun- looking pitiful is not enough to earn sympathy points. Bingbing, on the other hand, fares slightly better, and comes off gently affecting whether as the stoic Lily trying to get Snow Flower out of her circumstance or as the tearful Nina trying to discover the last moments of Sophia’s life.

Not even an unbilled supporting turn by Hugh Jackman manages to save the movie- instead, the Australian actor with his irresistible charms proves ill-fitting for a role which required a more smarmy performance. Yes, despite its star pedigree (including a producer billing for Wendi Murdoch), as well as an acclaimed source, this supposedly moving portrait of friendship amongst women in two different periods of Chinese society ends up as flat as an oil painting. The period detail is admirable, and one only wishes that more attention were given to the character and story elements. 

AUDIO/VISUAL:

The Dolby Digital 2.0 audio track is surprisingly robust, clear and crisp in its delivery and packed with a strong bass at times. Visuals are just as rich and sharp as the cinematography in the film.

MOVIE RATING:

 

DVD RATING :

Review by Gabriel Chong

SYNOPSIS: A documentary about branding, advertising and product placement that is financed and made possible by brands, advertising and product placement.

MOVIE REVIEW:

Trust Morgan Spurlock to think of such a tongue-in-cheek approach to expose the ubiquitous nature of advertising and product placement- essentially by making a documentary financed entirely through product placement about the very subject. Sure it does sound gimmicky at first and perhaps even more so at certain points during the course of his film within a film, but there is no denying that Spurlock gets his message across- so pervasive and advanced is advertising these days that you might not even realise when you’re actually seeing it or being influenced by it.

Like his well-received debut ‘Super Size Me’, Spurlock once again finds an excuse to be front and centre of the camera all the time. Here, he spends the first half-hour of the movie trying to sell its concept to clueless brands, most of whom have probably never heard of Spurlock’s name- otherwise we’d can’t quite imagine why any of them would agree to have themselves featured in this. It’s essentially pitching, but you’ve got to hand it to Spurlock- he does such a charming job of it that you can’t quite help but be taken by him.

So following a series of rejections, Spurlock gets his first big break with POM Wonderful, the beverage company whose name is also featured in the title of the documentary. What do we on this little island know about the brand? Well, it’s apparently 100% pomegranate juice- unlike its ‘Minute Maid’ competitor with less than 1% of it. Anyhow, securing the brand sponsor is just part of the challenge- the other is really fulfilling the myriad terms and conditions within the contract.

With POM, Hyatt, Jetblue, Mini Cooper and Sheetz in the bag, Spurlock is made to drink only POM’s juices on camera (all other beverages will have their brands blurred out), stay only in Hyatt hotels, fly only Jetblue, drive from place in place in Mini Coopers and lastly conduct some impromptu interviews at Sheetz gas stations. Does that compromise the artistic integrity of the film? Of course it does, and Spurlock enlists the likes of Peter Berg, Brett Ratner and Quentin Tarantino to make his point.

It’s a risky gamble- at any point the film could very well be a victim of its own self-consciousness. But apart from the commercials for the aforementioned products that he has no choice but to include in the film, Spurlock is smart enough to ensure that he does not- in his terms- sell out the movie to the brands. This is also a film of many amusing details, as Spurlock primes his audience to look out for the placements- so you’d best be advised to pay attention to every inanimate object onscreen.

There isn’t however enough in his moviemaking stunt for a feature-length film, and so Spurlock changes tack during the second half to take on both advertising and marketing for the movie itself. With advice from industry veterans, Spurlock gets tips on both the poster and the trailer of his film, and a particularly revolutionary approach called neuro-advertising that has potentially ethical implications. These vignettes ultimately prove more substantial, as Spurlock talks less and allows the subject matter experts to take over in the more traditional documentary fashion.

Interesting too is his brief sojourn to the city of Sao Paulo, Brazil where the city authorities have taken the drastic step to ban all forms of outdoor advertising. Has that affected the businesses there? Not that anyone confesses, though we suspect it may have something to do with the fact that he interviewed smaller businesses than multi-national companies. What is the point Spurlock is driving at? We aren’t quite sure- for unlike Michael Moore, the more conciliatory Spurlock is content to poke fun at the reality out there without stating his point of view on it.

And that’s the main reason why this won’t be the greatest documentary ever made- it informs, but it doesn’t point out what is wrong nor what can be done about it. Spurlock isn’t of course the most insightful documentary filmmaker around, and like his previous films, it is often good entertainment and not so insightful education. But if anything, Spurlock succeeds in getting us to sit up and take notice- look around, he tells us, advertising is everywhere and you’re all captive in its presence. ‘What then?’ is a good question to ask Spurlock. 

AUDIO/VISUAL:

The Dolby Digital 2.0 audio reproduces the dialogue clearly, while visuals are clean and sharp.

MOVIE RATING:

 

DVD RATING :

Review by Gabriel Chong

SYNOPSIS: MAYDAY 3DNA combines live performances from the group's DNA concert tour in Taiwan, Hong Kong, Singapore and China 2010, integrating three fictional stories. The fictional sequences include a vignette about a Guangzhou father and daughter, another about a Taiwan taxi driver and passenger and a third about a Shanghai delivery boy. All are affected by the lure of a Mayday causing the three separate stories to intersect at one huge concert in Shanghai.

MOVIE REVIEW:

This reviewer knows it’s quite the thing to tell people how you’ve attended Taiwanese band Mayday’s concert. He has only gone for one of them, and finance being the issue, he was in the cheapest seats. But he can affirm how the alternative rock band can rouse the crowd with their stage presence. So it doesn’t come as a surprise that this movie was made. But what’s with the 3D element? So that lead singer Ashin can stretch his hands out at you? So that fellow band members Monster, Stone, Masa and Guan You can appear as eye popping musicians on your screen?

Unfortunately, this Wen Yen Kung directed concert movie is a letdown, if you consider the 3D effects as the primary source of enjoyment. It attempts to ride on the wave of other popular concert movies like Justin Bieber: Never Say Never (2011) and Jonas Brothers: The 3D Concert Experience (2009), and tries to do more by integrating three fictional stories to bring out the very popular band’s spirit.

There is the story about a doting father and his daughter who tries ways and means to get a ticket to Mayday’s concert. The second tale is about an earnest cab driver and the heartbroken passenger he picks up. The third snippet is about a delivery boy and the promise he made to a loved one. Through Mayday’s popular tunes, these three short stories are stringed together to form a 91 minute feature film.

Familiar faces like Lam Suet (as the father in the first segment), Richie Jen and Rene Liu (as the unlikely couple in the second segment) lend their star power to this already easily engaging movie. Though they deliver fine performances, it is clear that this is a money milking by product which will have unknowing fans lapping up the movie and its soundtrack album.

One also has to look past the fact that this DVD will not give you the full 3D experience. The thing is, there isn’t much in the first place. You can imagine the confetti flying towards you if this was the 3D version of the movie. Otherwise, most scenes do not bring out the depth of the visuals, and does not put the 3D technology to good use.

However, this one is still worth a look if you are a fan of Mayday’s music. You’ll find yourself humming (or even singing along while waving a light stick in the air) to the repertoire represented in this production. Song after song, you’ll wish that you were physically present at the concert. 

SPECIAL FEATURES:

NIL

AUDIO/VISUAL:

The movie’s visual transfer is decent. It is presented in a Mandarin soundtrack.

MOVIE RATING:

DVD RATING :

Review by John Li

SYNOPSIS: In a world where time has replaced money as the only currency, you can either live forever or die trying . Justin Timberlake and Amanda Seyfried star in this action-packed race against the clock where one man finds himself falsely accused of murder and tries to bring down a corrupt system fighting to stay alive when every second counts.

MOVIE REVIEW:

Acknowledged by many as one of the best sci-fi classics in contemporary cinema, director Andrew Niccol’s debut feature, “Gattaca” was very much a thinking man’s movie carrying a relevant message. 14 years later, the less than prolific writer and director returns to the genre with “In Time” pairing up Justin Timberlake with Amanda Seyfried, two of Hollywood’s current hottest young properties.

Set in the not-so-distance future, time has replaced money as a form of currency. Humans have been genetically modified not to age beyond 25 and they are given one more year to live unless they work for ‘time’ or else death will strike anyone, anytime if the time implant on their lower arms dropped to zero. Timberlake plays Will Salas, a blue-collar factory worker who happens to inherit 116 years worth of time from a 105-year-old man, Henry Hamilton after saving him from an assault in a bar. The morning after, Hamilton decides to end his life and Salas is being suspect of murder by the Timekeepers (aka the Police) led by Raymond Leon (Cillian Murphy). With Leon in hot pursuit and the daughter of a rich corporate bigwig in tow, Sylvia (Seyfried), Salas decides to bring down the current system with Sylvia that is to rob the rich and distribute them to the poor.

The time concept by Niccol is intriguing and thought provoking no less and I must say the first half of the story is pretty engaging. The premise is a reflection of the current state of economy where the rich will be richer whereas the poor can only get poorer. It’s chilly to see a man dropped dead in broad daylight onscreen though we all know in actual fact there are thousands of homeless being found dead in developed countries yearly. The movie stands out as a social statement especially with the increasingly disparity of our income level. The people in the ghetto is shown living day to day in hurried paces, with rents and bills to pay while the wealthy might pay up to 80 years of their time for a fancy sports car in the New Greenwich.

Unfortunately, Niccol fails to live up to the rich premise he concocts earlier and the pacing and plotting stumbles clumsily by the second half with pointless running around and the haphazard romance angle between Salas and Sylvia don’t help either. Timekeeper Leon seems to have a bad brush with Salas’ late dad that is never quite explained and it’s hardly logical for timekeepers to be paid by the day. A mobster dubbed minutemen led by Fortis (Alex Pettyfer from “Beastly”) is simply a tool to prolong the running time and deviate from the actual core of the story. There are other essential questions that needs to be answered liked how Salas is going to cripple the system besides being a modern day Robin Hood. Crucial yet dumbed down in the end.

Beautifully shot by renowned cinematography Roger Deakins (No Country for Old Men) and wrapped in a cool sci-fi noir mood, “In Time” is a wasted opportunity for Niccol to remind the world that he once gave them “Gattaca”. The cast on the whole is generally capable enough to pull off their characters but when time is money, you deserved a better-accomplished movie. 

SPECIAL FEATURES:

There are 6 short, unnecessary Deleted/Extended Scenes, one has both of the main characters dancing. Give me a break.

AUDIO/VISUAL:

The sound transfer is not exactly bombastic just serviceable enough for all the running and music mix heard onscreen. The images are sharp and colours are natural for the video presentation.  

MOVIE RATING:

DVD RATING :

Review by Linus Tee

SYNOPSIS: In The Twilight Saga: Breaking Dawn - Part 1, Bella and Edward plus those they love, must deal with the chain of consequences brought on by a marriage, honeymoon and the tumultuous birth of a child... which brings an unforseen and shocking development for Jacob Black. 

MOVIE REVIEW:

The most anticipated wedding of 2011 besides Prince William and Kate Middleton is none other than screen-couple, Edward and Bella from the ultra-successful franchise of all time, The Twilight Saga. Of course, the series which are adapted from a young adult novella has attracted more criticisms than praises but with the tremendous support from the fanbase dubbed the twi-hards, the reel version is almost ending its run, almost.

Like the Harry Potter finale, Breaking Dawn is split into two parts. Commercial reason aside, the original book is more than 700 pages long though this reviewer hasn’t read any of them and I’m assuming you have been following the movie series since 2008 for this DVD review. And for argument sake, why is there a need for me to read the books anyway simply because I’m not the targeted audience. The Twilight Saga at the end of the day is an unbashful literary attempt to play to a girl’s fantasy. A forbidden romance to an undead hero that glitters liked diamond with beyond human powers, incredibly good-looking and more devoted to a single girl than a regular Chihuahua not to mention he is rich and willing to spend on a lavish wedding and renting an island resort for a honeymoon. Wow! Even a handsome, rich chap isn’t going to stay with the same girl for more than two days in reality.  

Anyway, Breaking Dawn Part One begins with Edward and Bella going through the wedding and proceeding to Brazil to consummate their marriage. Two weeks later, Bella realizes she is actually pregnant and her foetus is growing rapidly eating into her own health. The wolf pack learnt of this happening and frighten at the prospect of the unborn child plans to destroy Bella and Jacob though heartbroken by Bella’s decision to wed Edward sworn to protect her. Will Bella on the other hand survive the birth of her child?

For a two hours movie, there isn’t much progression of the plot. The first half of the movie focused on the dreamy (or dreary depending where you are coming from) romance between Bella and Edward. The beautifully designed wedding scene in the forest, the skin dipping, the awkward PG13 sex scene and a repetitive of all the mundane stuff that happened in the earlier instalments. It’s only an hour later that things start to get interesting and engaging with Bella facing the danger of death when she insists on keeping her child. Where’s the Vulterie in this one? Not invited to the wedding of the year? Never mind, just don’t miss the closing credits.

Catherine Hardwicke is credited for bringing the novel to live in the first “Twilight”, Chris Weitz turned in a boring “New Moon” (sorry he bored me with his “The Golden Compass” too) and David Slade did his best to spice things a little with “Eclipse” and now Condon. Director Bill Condon (Kinsey, Dreamgirls) brought his own way of storytelling and sensitivity to the lagging material and I can say the second half owed much to him without detouring into unnecessary melodramatic territory.

At least Kristen Stewart should be complimented for her portrayal of Bella this time round given her role in this instalment requires her to do more than mere spouting and torn between two men. The last 20 minutes is pretty eventful with all the difficult birthing of the vampire child and Stewart delivers a wrenching performance together with Robert Pattinson. Taylor Lautner takes most of the potshots for his wooden screen presence and to be fair, his role as Jacob Black doesn’t require much acting muscles except the physical kind.

The set and costume design is flawless. Carter Burwell returns to provide the piano tunes based soundtrack. Every technical aspect about “Breaking Dawn Part 1” is commendable which explains why this movie alone needs a US$100 million budget. As a non Twi-hard, I still recommend this one even though it’s 30 minutes too long. But hey when the movie ends with an intriguing premise, it’s a strong indication that the concluding chapter might be worth waiting after all.  

SPECIAL FEATURES:

Director Bill Condon delivers an informative commentary track that discusses various aspects of making the movie including bits on Part 2 in Audio Commentary with Bill Condon.

You can choose to watch the 6 Part Making of Documentary at one go (runs around 90 minutes) or piece by piece starting with A New Beginning which talks about bringing director Bill Condon to the successful franchise. The Wedding no doubt focused on the set and costume design of the lavishly filmed sequence. The Honeymoon talks about filming on location in Brazil and the physical challenges of shooting in remote areas. The Wolf Pack discusses about the various characters and has the effects team talked about creating the digital wolves. The last two features, The Pregnancy and The Birth are two intriguing features that show viewers the complexity of achieving Bella’s pregnancy look and the birth of her child through the use of realistic physical and digital effects.

Taylor Lautner talks about the development of his character in Jacob’s Destiny.

Bella and Edward's Personal Wedding Video is supposedly the wedding video for Bella and Edward where attendees are filmed giving their wishes. Strictly for fans.

Lastly, the Jump To feature allows you to rewatch your favourite scenes over and over again.

AUDIO/VISUAL:

The Dolby Digital 5.1 allows fans and non-fans alike to engage in an active, sonic environment with a lush soundtrack as companion. The DVD transfer comes across as clean with stunning images and shots despite the occasional darker tones and lighting.

MOVIE RATING:

DVD RATING :

Review by Linus Tee

Genre: Action/Comedy
Director: Ning Hao
Cast: Lei Jia Yin, Tao Hong, Cheng Yuan Yuan, Yamazaki Keiichi, Guo Tao, Fan Wei, Sun Chun, Liu Hua, Huang Bo
RunTime: 1 hr 51 mins
Rating: PG13 (Violence)
Released By:  Shaw
Official Website: 
 
Opening Day: 14 June 2012

Synopsis: A small deceiver becomes a real hero story. In the dying Qing Dynasty, and Japanese invading China decade, an astonishing secret was dropped on our protagonist's hand. In a second, he shoulders the future of China. Baptized by the death bodies, crafty Japanese, love entranced girl, and undercover agents, he decided to drive a new legend.

Movie Review:

We don’t blame you if the only Mainland Chinese filmmaker that comes to your mind is Zhang Yimou. After all, in this part of the world where big budget Hollywood productions flood the cinemas, it is not every day we get Mainland Chinese productions screening in the theatres. Meanwhile, over in the land of opportunities, there are countless projects which make it to the big screen.

Director Ning Hao would probably just be another name if hadn’t made Crazy Stone (2006), a black comedy produced by Andy Lau. The immensely popular film was a box office hit. It starred a cast of unknowns, and was part of Lau’s “FOCUS: First Cuts” series. Thanks to the attention showered to the film which showcased a mishmash of dialects, Ning’s latest film is making its presence felt in local cinemas.

The heist movie set in 30s Manchuria under the Japanese rule tells the story of an impoverished thief and amateur magician who gets messed up in a conspiracy involving gold, weapons, revolutionaries, filmmakers and a pretty screen actress. In the midst of the cat and mouse game, there is also a touching story between a father and his son.

Granted that local viewers may not be familiar with names like Lei Jia Yin, Tao Hong, Cheng Yuan Yuan, Yamazaki Keiichi and Guo Tao, this film a decent job by doing away with a star studded cast (yes, we are referring to the Gong Lis and Zhang Ziyis in Zhang Yimou’s mega productions), and has you concentrating on the plot development instead. The 111 minute movie starts off on an engaging note, before it meanders into a directionless arena where it feels like the protagonist is simply relying on his antics to plod the story along. Fortunately, Lei, a good looking TV actor in his home country is likeable enough to anchor the show. His on screen presence is a nice contrast with the rougher (and sometimes, too showy) performances surrounding him.

Ning has also chosen to bank on the characters’ emotions in this movie, seeing how there are a number of scenes which have them breaking down affectionately. The scenes between Lei and his on screen father played by Guo Tao are especially fun to watch. They range from hilariously funny to movingly touching.

Viewers who remember being very impressed by Crazy Stone’s innovative story telling and originality may be a tad disappointed here. The script of Ning’s first film in three years (his last project No Man’s Land wasn’t screen in Singapore) is a safe one, pulling no surprises throughout. The predictable pacing of the screenplay may lose some audiences because one can guess the outcome of the heist.

Production values are evidently better in this moderately entertaining flick though. The cinematography by Zhao Fei (Let the Bullets Fly) is a visual feast, and you will also pay attention to the interesting choices of classical music (Khachaturian's Sabre Dance and Vivaldi's Four Seasons among them) which effectively heighten the emotions of the sequences they are played in.

Movie Rating:  

(Ning Hao’s latest project may not be as exciting as his breakout hit, but the heist movie is still an entertaining affair)

Review by John Li

Genre: Drama
Director: Tyler Perry 
Cast: Tyler Perry, Thandie Newton, Brian White, Rebecca Romijn, Jamie Kennedy, Gabrielle Union, Eddie Cibrian, Jordenn Thompson  
RunTime: 1 hr 50 mins
Rating: NC-16 (Sexual Scene)
Released By:  Cathay-Keris Films
Official Website: http://www.gooddeedsmovie.com/
 
Opening Day: 28 June 2012

Synopsis: A successful, wealthy businessman, Wesley Deeds (Tyler Perry) has always done what’s expected of him, whether it’s assuming the helm of his father’s company, tolerating his brother’s misbehaviour at the office or planning to marry his beautiful but restless fiancée, Natalie (Gabrielle Union). But Wesley is jolted out of his predictable routine when he meets Lindsey (Thandie Newton), a down-on-her-luck single mother who works on the cleaning crew in his office building. When he offers to help her get back on her feet, the chance encounter with someone so far outside his usual circle ignites something in Wesley. This one good deed may finally spark his courage to exchange the life that’s expected of him for the life he’s always really wanted.

Movie Review:

Owing to their racial specificity, Tyler Perry’s movies don’t often make it to our shores, let alone enjoy a release on the big screen- but for the uninitiated, the one-man writer, producer and director dynamo has made a name for himself among African-American audiences with his cross-dressing character called Madea. ‘Good Deeds’ doesn’t see him in drag, and continues his streak (that began with ‘For Colored Girls) of diversifying from his comedic roots to more serious territory, so don’t go in expecting much mirth.

Instead, the titular character- once again played by Perry- is a middle-aged man who’s somewhat stuck in a midlife crisis. Many may envy Wesley Deeds, but the CEO of a successful software business which he inherited from his father wants more than just wealth and status. Not only has his life become routine and monotonous, he has to look after his brother Walter (Brian White)- otherwise known as the black sheep of the family for his brash and irresponsible ways- and contend with an overbearing matriarch of a mother, Wilimena (Phylicia Rashad).

So when a straight-talking woman Lindsey (Thandie Newton) stumbles into his life like a gust of fresh air, he develops a predictable affinity for her, beginning with a casual conversation after hours and progressing to supper dates with her and her little daughter (Jordenn Thompson). Of course Lindsey isn’t your average office worker too- on the contrary, the single mother had recently been evicted from her rented apartment and is now working double shifts as a janitor at his office.

Though from different worlds- Deeds born and raised with a silver spoon in his mouth; while Lindsey born and bred in a working-class neighbourhood- the connection between them feels genuine. While Perry’s turn as Deeds is hardly a stretch for any actor, he brings a pleasant low-key charm to his character that complements the fiery yet nuanced turn by Newton. The role certainly calls for it, but Newton’s firecracker performance is nonetheless compelling to watch, and she is easily the very energy that sustains the otherwise slackly-paced movie.

Yes, if Perry isn’t particularly outstanding as an actor, he’s definitely not any better as either a writer or a director. The scenarios are hardly surprising, and the dialogue just as perfunctory- perhaps the best thing you could say about his writing is how he doesn’t turn Wesley’s fiancée, Natalie (Gabrielle Union), into some sort of a bitch vis-à-vis Lindsey. His direction is equally uninspired, going from scene to scene with little modulation in terms of both the tempo and the tone of the narrative.

But those interested to check out how the new iteration of ‘Alex Cross’ from the James Patterson novels can still give this a try- despite its obvious flaws, ‘Good Deeds’ remains watchable thanks to the earnest chemistry between Perry and Newton. The supporting performances by the primarily African-American cast are also just as stellar, especially Rashad’s scene-stealing cameo as the head of the Deeds family. It’s a pity then that the material fails to live up to the performances, even if Perry is probably the only filmmaker in Hollywood who has as much creative license to make movies directed at the African-American community- and even if his deeds are less than good, his intentions of being the voice of the community are most definitely laudable. 

Movie Rating:

(Good to great performances can’t lift up this otherwise dull and perfunctory feel-good African-American drama from one-man dynamo Tyler Perry)

Review by Gabriel Chong

SYNOPSIS: Two children living in a different countries are visited each night by a faceless intruder, a terrifying being who wants to take possession of them. Anxiety and tensions increase when their parents also witness these apparitions. From visionary filmmaker Juan Carlos Fresnadillo (28 Weeks Later), "Intruders" is a disturbing thriller where reality and imagination overlap.

MOVIE REVIEW:

You know with a lead actor like Clive Owen that ‘Intruders’ isn’t going to be your standard-issue horror film, and indeed, Juan Carlos Fresnadillo’ follow-up to his Hollywood debut ’28 Weeks Later’ is an atmospheric psychological horror-thriller that utilises all the familiar tricks in the genre’s playbook adroitly for some good old-fashioned scares. The nameless, faceless terror here is simply called Hollow Face, the kind of black hooded figure that’s usually the stuff of children’s nightmares- and Fresnadillo uses the same enigma for two separate stories set in two different territories.

The first set in Spain has young Juan (Izan Corchero) terrorised by the very character in his own bedtime story, a dark ghoul who lives in the shadows and desires to tear off the faces of children and wear them around his own. His mother Luisa (Pilar Lopez de Ayala) seeks help from the local priest, but religion proves to be little comfort for Juan as night after night the very dreaded figure of terror appears yet again in his bedroom. We never know why until the end of course, which makes the nightly terror slightly repetitive no matter how spine-chillingly they are staged by Fresnadillo.

The other story is set in London where a father, John Farrow (Clive Owen), sees the very apparition haunting his teenage daughter Mia (Ella Purnell), his favourite hiding place the dark recesses of her bedroom closet. After a failed attempt at purging the terror by burning a straw model of the figure in their backyard, Hollow Face returns more powerful than before, and that encounter leaves Mia speechless. Instead of religion, John and his wife Sue (Carice van Houten) turn to science, but Mia’s psychiatrist suspects something more when a video recording of one supposed encounter shows nothing in the image.

Despite their rather disparate nature, you’d probably have already guessed that both tales are in fact related, the twist a key reveal that gives meaning to both Juan and Mia’s haunting. Nonetheless, it seems the pair of writers Nico Casariego and Jaime Marques wrote the movie with very much the end in mind, so much so that the rest of the movie becomes little more than a slow but recurring buildup to that climax. The thin script is a disappointment, for Fresnadillo does his darnest to build tension and excitement in every scene.

Eschewing the obvious boo-scares, Fresnadillo opts for slow-burning scares, hinting at shadows in the corner, noises in the dark and the most terrifying of them all, our own imagination run wild. That makes ‘Intruders’ an unusually classy experience, complemented by solid acting by each one of the cast. Besides Owen and Houten, Purnell (who played young Keira Knightley’s character in ‘Never Let Me Go’) oozes terror in every riveting frame, and draws you in with her gripping portrayal of a young child in the grips of terror. Next to Purnell, Corchero is unfortunately sidelined- the young Spanish actor with more of his scenes set in the dark given less chance to shine (pun intended).

Yet in spite of a weaker than expected script, ‘Intruders’ is a surprisingly effective old-school horror that gets under your skin and unnerves you from within. Like Juan and Mia, Hollow Face remains pretty much unexplained and unknown to us throughout the movie, which only adds a sense of mystery and intrigue. And like ‘The Orphanage’ or ‘Pan’s Labyrinth’, ‘Intruders’ joins the league of Spanish thrillers that have successfully mixed horror and fantasy into one powerfully unsettling concoction. . 

SPECIAL FEATURES:

There are seven Deleted Scenes here, adding up to about ten mins of cut footage. Most substantial are the first three scenes, which show Mia's interaction with a fellow classmate Ella whom becomes a victim of Hollowface as well.

Two featurettes- 'Fantasy Vs Reality' and 'Two Worlds, Two Cities'- provide a brief perspective on different aspects of the movie. The first explains the fine line between fantasy and reality that director Juan Carlos Fresnadillo tried to achieve with the movie. The second talks about filming in Madrid and London, and how the specificities of each city's culture were reflected in the respective tales of religion and science.

'Who is Hollowface: The Making of Intruders' is a slightly longer 20 min behind-the-scenes look at the film. Interesting points to note are- Clive Owen's casting meant to invoke Gary Grant's in Hitchcockian thrillers, Fresnadillo' discomfort about terrorising young Izan Corchero in front of the camera during shooting, and the visual effects that went into the creation of Hollowface.

AUDIO/VISUAL:

The Dolby Digital 5.1 is a solid treat for horror fans, making use of the back speakers for maximum jolt effects. Visuals are sharp and clear, with the blacks nicely moderated especially for the night scenes.

MOVIE RATING:

  

DVD RATING :

Review by Gabriel Chong

SYNOPSIS: Based on the debut novel by Hunter S. Thompson, "The Rum Diary" tells the increasingly unhinged story of itinerant journalist Paul Kemp (Johnny Depp). Tiring of the noise and madness of New York and the crushing conventions of late Eisenhower-era America, Kemp travels to the pristine island of Puerto Rico to write for a local newspaper, The San Juan Star, run by downtrodden editor Lotterman (Richard Jenkins). Adopting the rum-soaked life of the island, Paul soon becomes obsessed with Chenault (Amber Heard), the wildly attractive Connecticut-born fiancée of Sanderson (Aaron Eckhart). Sanderson, a businessman involved in shady property development deals, is one of a growing number of American entrepreneurs who are determined to convert Puerto Rico into a capitalist paradise in service of the wealthy. When Kemp is recruited by Sanderson to write favorably about his latest unsavory scheme, the journalist is presented with a choice: to use his words for the corrupt businessmen's financial benefit, or use them to take the bastards down. 

MOVIE REVIEW:

Johnny Depp can do no wrong, can he? The versatile actor behind the faces of Captain Jack Sparrow, Mad Hatter and Sweeny Todd can play any character you ask him to. Heck, he can even be the voice of a lizard in Rango if he wants to. What made the popular Hollywood actor take on the role of a hard drinking journalist who lives life on the edge?

It’s clearly Depp’s kind of role, as you find out from the somewhat quirky screenplay written by Bruce Robinson, based on a novel by Hunter S Thompson. The protagonist is American journalist Paul Kemp, who takes on a freelance job in Puerto Rico for a local newspaper. He tries to find a balance between reality and stupor on the picturesque island.

Robinson also directs this 120 minute film, bringing together a versatile cast which includes Aaron Eckhart (Battle Los Angeles), Michael Rispoli (Kick Ass), Amber Heard (Drive Angry), Richard Jenkins (Friends with Benefits) and Giovanni Ribisi (Contraband). The names will appeal to any film lover, because they are some of the most underrated stars in today’s industry. Like Depp, they play an interesting array of supporting characters in this offbeat drama.

There is the volatile editor (Jenkins) who assigns Kemp to boring jobs, the aging but equally alcoholic reporter (Rispoli), the wealthy but sneaky entrepreneur (Eckhart) and his mysteriously beautiful girlfriend (Heard) who seems to have something up her sleeves. Each cast member delivers an engaging performance. Also, watch out for the scene stealing Ribisi as a deadbeat reporter who can’t be dismissed.

Depp holds his own ground as the journalist torn between idealism and disillusionment. The enigmatic star slips into the role comfortably, and it is evident he enjoys playing such difficult roles. It is no surprise he does it well too.

That said, the tone of the film is somewhat awkward, and may not appeal to the mainstream audience (you must admit the selling point of this film is Depp, but that’s merely a marketing tool to earn box office dollars). The pacing is uneven, and not every minute of the film is your usual entertaining fare. There are bizarre setups which has the entire scene smoked out, and like the protagonist, you feel intoxicated. It may be the intention of the director to bring his viewers into Kemp’s world, but this may alienate some impatient audiences instead.

Shot in San Juan, Puerto Rico, expect breathtaking backdrops and culturally interesting scenes involving cockfights and sandy beaches. This is one film wants you to experience, rather ask a series of questions involving logic and rationality. 

AUDIO/VISUAL:

There is nothing to complain about the movie’s visual transfer. It is presented in an English Dolby Digital 2.0 audio track.   

MOVIE RATING:

DVD RATING :

Review by John Li