Genre: Sci-fi/Thriller
Director: Ridley Scott
Cast: Michael Fassbender, Noomi Rapace, Charlize Theron, Idris Elba, Guy Pearce, Logan Marshall-Green, Sean Harris, Rafe Spall
RunTime: 2 hrs 5 mins
Rating: NC16 (Violence and Some Gore)
Released By:  20th Century Fox
Official Website: http://www.prometheus-movie.com/
 
Opening Day: 7 June 2012

Synopsis: Ridley Scott, director of “Alien” and “Blade Runner,” returns to the genre he helped define. With PROMETHEUS, he creates a groundbreaking mythology, in which a team of explorers discover a clue to the origins of mankind on Earth, leading them on a thrilling journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race.

Movie Review:

How thoroughly distressing it must be for Ridley Scott to watch one of his beloved creations desecrated by one filmmaker after another with each successively disappointing entry in the ‘Alien’ franchise, so much so that after a thirty-year hiatus from the science-fiction genre, Scott has decided once more to revisit the very series that has defined his entry into Hollywood. And what better way to return than to go all the way back, even before the point when the spaceship Nostromo first picked up that unknown signal from what seemed to be a desolate planetoid.

It should come as no surprise by now that ‘Prometheus’ is the first of a two-parter meant to explore the origins of the iconic extraterrestrial lifeform known simply as the ‘Alien’- but in doing so, Scott has also boldly attempted to uncover the very origins of human life. Where do we come from? Why are we here? Indeed, these are the big questions at the heart of the movie- though in the minds of ‘Alien’ fans, the more important question probably is this: How is the search for mankind’s beginnings related to the beginnings of another creature so far ahead in the chain of evolution?

Not many summer blockbusters have the gumption to play with such abstract ideas and concepts, so kudos to Jon Spaihts and Damon Lindelof for their ambition. Don’t expect however an easy answer at the end of the film- in fact, it’s likely that you’ll be left with even more questions than answers, a deliberate but undeniably effective ploy at whetting your appetite for the next one to come. Though not fully explored here, its thematic question of the nature of mankind’s creator- given our twin propensities for creation and destruction- is fascinating while it lasts and should serve well as intellectual fodder for the sci-fi geeks.

Nonetheless, it’s likely that they will be- like us- already geeking out at the similarities between this movie and ‘Alien’. In place of Sigourney Weaver is ‘The Girl with the Dragon Tattoo’s’ Noomi Rapace, the latter an archaeologist named Elizabeth Shaw whose discovery of similarities between ancient cave paintings from different parts of the world has led to the said life-finding expedition. Like Weaver, Rapace epitomises the strong-willed independent heroine- and nowhere is this more apparent than in a classic-in-the-making moment where Shaw climbs into an auto-surgery machine to remove a non-human foetus from inside her womb.

Similarly, Ian Holm’s Ash has found its equivalent here in Michael Fassbender’s android David, whose loyalties and humanness are just as necessarily suspect. Whereas Holm’s identity was kept hidden till halfway through the film, Fassbender’s is known right from the beginning- and that knowledge only makes you admire his class-act performance in human verisimilitude even more. Mirroring both his looks and diction after Peter O’ Toole’s in ‘Lawrence of Arabia’, Fassbender nails the portrayal of a half-human half-machine confused over its own identity, and is easily the standout among the ensemble cast.

Scott is fully aware that character is key for his audience to be invested in the adventure, so he avoids the obvious stereotypes in the rest of the supporting crew. Despite being Shaw’s academic and romantic other half, Charlie Holloway (Logan Marshall-Green) turns out to be on the opposite side of the fence in the debate between God and Darwinism. More than just another seen-it-all captain, Idris Elba’s world-weary Janek gets a nice heroic turn as things go from bad to bad-ass worse. And ice-queen Charlize Theron’s corporate rep Meredith Vickers turns out to be more than just another easy villainous target in a late twist that reveals much more to her background for Weyland Corporation, the company which had bankrolled the current voyage.

Just as in ‘Alien’, the dynamics between the various characters keep the pace humming and the tension rising- in particular when David’s agenda is finally revealed, together with the surprise appearance of Guy Pearce in almost unrecognisable makeup. Demonstrating his assuredness as a filmmaker, Scott juggles both the character dynamics and the story developments confidently. The first two-thirds of the movie basks in the same sense of eerie intrigue that made ‘Alien’ such a discomforting but utterly gripping watch, as Scott lets his audience acquaint themselves with the crew of the ‘Prometheus’ as well as the elaborately designed labyrinth of chambers and tunnels within which the imminent terror awaits.

The latter itself deserves special mention- Arthur Max’s set design is stunning, expanding H.R. Giger’s original designs of both the ‘Alien’ spacecraft to an entire subterranean world complete with a Mayan-temple like chamber that houses a humbling statue of a human head. Just as breathtaking are Dariusz Wolski’s epic vistas of the rugged planet, even more spectacular in 3D- demonstrating once again how the third dimension can be exploited to its full potential at the hands of filmmakers at the top of their craft. On top of it all is Scott, the once-commercials director continuing to impress as a visual storyteller, synthesising the cinematography, set design and art direction into one seamless and visually astounding whole.

Yet despite its strengths, it’s very likely that ‘Prometheus’ will still be greeted with some disappointment especially from fans looking for Scott’s return to the sci-fi genre to herald a seminal epic in the vein of ‘2001’. To be sure, it doesn’t reinvent the genre, even though its philosophical musings of creator and creation may suggest that it has something groundbreaking to offer. But it more than lives up to the legacy Scott had created with ‘Alien’, and this thoroughly gripping, edge-of-your-seat thrilling sci-fi horror breathes life once again into the ‘Alien’ mythology that no other entry since ‘Aliens’ has been able to.  

Movie Rating:

(It isn’t the groundbreaking sci-fi epic some fans are hoping for it to be, but Scott’s return to the genre is a visually astounding, grippingly-told horror that thrills and intrigues as brilliantly as his original ‘Alien’ does)

Review by Gabriel Chong

SYNOPSIS: A young girl is sent to live with her estranged father and his girlfriend at their new home. The father, Alex has plans to spruce up the home with the help of his interior decorator girlfriend, Kim. The previous owner of the home was a famous painter who mysteriously disappeared. Alex's daughter, Sally soon discovers the cause of the painter's disappearance.

MOVIE REVIEW:

Despite his last feature movie was “Hellboy II” in 2008, Guillermo del Toro remains a very busy man. He was once attached to “The Hobbit”. He is rumored to be rebooting Disney’s “Haunted Mansion” and he also serves as creative consultant on a number of DreamWorks Animation titles. Oh and he is also filming his aliens movie, “Pacific Rim”.

Serving as both producer and writer on “Don’t Be Afraid of the Dark”, the story is based on an old telemovie which scared the wits out of Del Toro when he was young. Of course, none of us here has seen the original and according to Toro, he has tweaked the script to be more plausible for the contemporary audience.

Strictly speaking, the plotting is nothing out of the box. We have a young girl by the name of Sally (Bailee Madison) who reluctantly has to move in with his father, Alex (Guy Pearce) and his girlfriend, Kim (Katie Holmes) to Blackwood Manor in Rhode Island. You see Daddy is an architect who is trying to restore the aged old manor in order to make a comeback of sorts. Predictably the old house has a terrifying secret. The original owner, Lord Blackwood was killed by mysterious creatures dwelling down an ash pit in the basement and now the creatures are unleashed by Sally and a live has to be taken to pacify them.

Troy Nixey who makes his feature movie debut did a marvelous job building up the tension and the mood without rushing to reveal the frightening creatures. The old manor set is beautifully crafted and add to the atmospheric spookiness of the movie which is a good thing considering much of the happenings took place within the house. Bailee Madison who was last seen in “Just Go With It” convincingly plays the damsel-in-distress and her pitch-perfect, frequent loud yells probably won over a lot of people during the audition. Guy Pearce is wasted in a role that doesn’t offer much opportunity for him to shine though Mrs Cruise aka Katie Holmes at least has some stabbing to attend to.

While I give a thumbs-up for the production design, I can’t really say so for the storytelling aspect. Every element here is very much predictable in a horror movie. The kid who has itchy fingers. The adults that don’t believe the kid. A guy who knew the secret but opt to keep his mouth shut. The escape that didn’t quite succeed. Yes, the list goes on endlessly and its a pity Del Toro conceived a fascinating setup of the creepy critters but fails to develop much of it except letting them going loose on a violent rampage against the owners.

Del Toro has the talent for coming up with weird-looking monsters, creatures and the insanely critters featured here is another one of his macabre pieces that really send shivers down the spine. While not the perfect horror movie, for people who believed things that go bump in the night, “Don’t Be Afraid of the Dark” is a serviceable old-fashioned horror title if you don’t mind the truckload of clichés. 

SPECIAL FEATURES:

Guillermo del Toro discusses how the script evolves from the original telemovie in the 6 minutes segment, The Story.

The production designer talks about dressing up a house in Melbourne to make it look more old and gothic in Blackwood’s Mansion.

Take a look at how the creatures are digitally created by the visual effects artistes in The Creatures.

AUDIO/VISUAL:

Both creepy ambient sound effects and dialogue are strong and despite a movie that features plenty of low-lit, night scenes, the visual transfer on this DVD handles it pretty well as much of the details can still be easily seen by the eyes.

MOVIE RATING:

DVD RATING :

Review by Linus Tee

SYNOPSIS: She will never forget the summer when she was 12 years old, the night with the most beautiful starry sky she has ever seen…. Mei, a twelve year old girl, used to live with her grandparents up in the mountains where the stars were most beautiful. After she was taken back to the city, she has been having a hard time both at home and at school. Her only escape is through her memory of those starry nights. One day, Mei meets the transfer student, Jay, who seems more detached from the world than she is. Together, they try to face their problems, but things only got worse when Mei’s parents announce their divorce and ask her to choose who to live with. Mei and Jay decide to run away from home to see the stars she missed so dearly. In the mountains, they get lost, they quarrel, they get caught in a storm, but they also find the most splendid night in their life…

MOVIE REVIEW:

In this day and age, no thanks to the convenience technology provides, imagination is often sorely lacking in our already mundane lives. And that is why we rely on books, and to make this argument more relevant in this case, movies, to escape to worlds which only the forces of imagination can conjure. Taiwanese author Jimmy Liao is known for his fantastical illustrated novels and it is no easy task to adapt them into movies. Here, after 2003’s Turn Left, Turn Right and Sound of Colours, Taiwan filmmaker Tom Lin is bringing this tale of growing up to screen.

To put it simply, this fantasy drama film tells the stories of two individuals who are detached from society. A young girl who is watching her parents’ loveless marriage crumble into divorce spends time with another loner, and the coming of age tale takes viewers on a journey filled with whimsical creatures and picturesque backdrops.

After 2008’s Winds of September (which unfortunately was never shown here), Lin again tackles the issues of growing up in an increasingly alienating world. In his second feature film project, he gathers child stars Josie Xu and Eric Lin to play the film’s protagonists. They deliver charismatically likeable performances which will have you reflecting on your imperfect childhood, those regrets you had to grow up with, the hollowness you have experienced, and ultimately, the possibility that you are not alone in this world.

Supporting characters played by Rene Liu, Harlem Yu and Kwai Lun Mei add the star factor to the 99 minute movie. The poignant theme song performed by popular rock band Mayday is also a smart and calculated marketing move to increase the film’s fan base.

Some viewers may not be satisfied with the story’s lack of answers and closures, but like life itself, Liao’s stories are never meant that way. To adapt that notion visually is a challenge for filmmakers, and Lin has produced a highly recommended piece of work here.

What really strikes you will be the director’s eye for beauty. Through perfectly rendered computer animation, you will be brought into a world which is visually and hypnotically stunning. Above all, when you see the giant origami animals, the large jigsaw puzzle pieces and the hand painted backdrops, you’ll be moved in a dreamlike way, and hopefully, you’ll come to the realisation that even though we have grown up in a sometimes unfeeling society, there is always room for imagination, to live in a world you can always call your own.

SPECIAL FEATURES:

NIL

 AUDIO/VISUAL:

There is nothing to complain about the film’s visual transfer on this disc which is presented in its original Mandarin soundtrack.

MOVIE RATING:

DVD RATING :

Review by John Li

Genre: Crime/Thriller/Suspense
Director: Roy Chow Hin Yeung  
Cast: Simon Yam, Nick Cheung, Janice Man, Kat Tse. Michael Wong, Yu On On, Cheung Kwok Keung, Felix Lok, Ken Lo, Tian Zhuangzhuang, Kung Jun, Gordon Liu
Runtime: 1 hr 47 mins
Rating: PG13 (Some Violence and Coarse Language)
Released By: Encore Films and Filmgarde
Official Website: http://www.facebook.com/movienightfall

Opening Day: 5 April 2012

Synopsis: When a Hong Kong celebrity is found brutally murdered, his body floating in the middle of the ocean, hardheaded detective Lam is called in to take charge of the investigation. As Lam zeroes in on a killer from the past, the murder appears to be a straightforward case of revenge. But the more that Lam pursues his suspect, the deeper he falls into a web of lies. To find the truth, Lam must dig into a 20 year-old case for answers, the one link tying the suspect to the celebrity. But in doing so, Lam will uncover a dark secret so shocking, it will turn the investigation upside down. Who is the victim and who is the killer? Just as Lam believes he has everything figured out, he will discover that there’s a fine line between love and hate.

Movie Review:

Not often do you get two of Hong Kong’s best actors together on the big screen, so the pairing of Nick Cheung and Simon Yam alone should interest you in the mystery thriller ‘Nightfall’. Alas if you’re looking for this latest Roy Chow Hin-Yeung film to be as gritty and compelling as Dante Lam’s ‘Beast Stalker’ or ‘The Stool Pigeon’, you’re likely to be quite disappointed- because both actors are essentially wasted in a movie that is too caught up in its own self-seriousness for its own good.

To be fair, we probably should have kept our hopes low, knowing that Chow is once again teaming up with his directorial debut ‘Murderer’s’ screenwriter Christine To. Anyone who’s seen the latter film will know that it was quite simply one of the worst movies of that year, with an infuriating twist ending that all but turned its heavy-handed proceedings into unintentional comedy. Thankfully, To avoids that mistake this time, opting for a far more straightforward mystery that nevertheless still requires a significant suspension of disbelief on the part of her audience.

As formula would have it, the film starts off with two seemingly unrelated murder cases that grow increasingly intertwined as the story progresses. On one hand is a gruesome murder committed twenty years ago of a young teenage girl named Eva (Janice Man), whose convicted murderer was her boyfriend Wang (Nick Cheung). Shortly after Wang’s release from prison, Eva’s father- the acclaimed classical tenor Han Tsui (Michael Wong)- is found brutally murdered and dumped into the sea near his sprawling mansion up in the mountains.

Investigating the case is the disillusioned veteran Lam (Simon Yam), who obsesses over previously closed cases of death by suicide, convinced that- like the death of his wife five years ago- they weren’t accidents. Lam sees a connection between Han Tsui’s death and Wang after recognising a striking resemblance between Han’s daughter Zoe (also played by Man) and Eva. Of course, we know as much from the scenes of Wang stalking Zoe in her residence, going so far as to acquire a village hut opposite Zoe’s house and using a telescope to observe what goes on in the house.

Any hope that the film lives up to the promise of the trailer of an intriguing whodunit is quickly dashed when one realises that the movie only revolves around these few players as well as Eva’s distressed mother. You’ll probably guess right at the start that it isn’t simply a crime of vengeance, though Han- as the domineering parent- had disapproved of Wang’s relationship with Eva all those years back. Indeed, what transpires comes closer to a Greek tragedy, made no less subtle by blatant overacting and an overly zealous score from Japanese composer Shigeru Umebayashi.

Guilty of the Aaron Kwok brand of overacting in ‘Murderer’ this time is Michael Wong, whose violent outbursts at what he perceives as his daughter’s disobedience comes off histrionic and ultimately contrived. There is too little subtlety in his over-the-top performance, and not enough motivation for us to believe in his character’s propensities. The fault isn’t entirely Wong’s, since his character- despite being a key supporting player in the scheme of things- is thinly drawn.

The same can be said of almost all of the characters within the movie. Other than being a doppelganger for Eva, Zoe is cast too simply as the meek goody-two-shoes living in fear of her father’s temperament. Yam is shortchanged with the clichéd role of a troubled veteran police officer, as To’s script does little to elaborate his own traumatic past or attempt to link it to the investigation. Probably the meatiest role here is Cheung’s, which the actor rewards with a searing intensity that also came with months of working out- not that his character is particularly well-drawn, but compared to the rest, at least his comes off the most rounded and realistic.

There's however too little realism in the movie, in particular Wang’s amazing ability at evading an entire team of police officers several times and his just as outstanding powers of infiltrating what is supposed to be a heavily guarded residence after Han’s death. Most perplexing is why Lam would confront Wang on an Ngong Ping cable car no less, other than for the fact that it must have seemed exciting to watch. Every step of the way, Chow’s ham-fisted direction is all too apparent, trying too hard to emphasise the tragedy within the story and in the process draining too much momentum from what is really a standard police procedural.

Its mediocrity would have been fine if it didn’t have both Simon Yam and Nick Cheung as its lead cast, both actors worthy of much less pedestrian material than what ‘Nightfall’ has to offer. Certainly, it is a definite step-up from the appallingly bad ‘Murderer’, but don’t go in expecting the same kind of compelling thriller as ‘Beast Stalker’ or ‘The Stool Pigeon’. And yes we know, this is the second time we’re comparing this movie to the latter two, simply because though it aims to be of the same pedigree, ‘Nightfall’ simply falls short, and what is left is a plodding and generic thriller that barely raises a pulse.

Movie Rating:

(Despite an A-list lead cast of Nick Cheung and Simon Yam, this procedural thriller wallows too firmly in its own mediocrity and self-seriousness for its own good)

Review by Gabriel Chong

SYNOPSIS: Laughing (starring Michael Tse) is sentenced to life-imprisonment for killing So (starring Bosco Wong). While serving his time, Laughing got to know Professor (starring Francis Ng), an introvert jailed for drug-dealing. Professor is a trained psychologist who reads mind, enabling him to manipulate and control others. The visit of a mysterious lady from the Security Bureau confirms Laughing’s imprisonment is all part of a new mission… Is the mysterious Professor a friend or foe? Will Laughing complete his duty and survive the ordeal of mistaken identity.

MOVIE REVIEW:

This reviewer has never followed Hong Kong television dramas, although he very well knows that he should, given how they are probably a trillion times better than locally produced serials. But thanks to movie spin offs, he learnt of the existence of Laughing Gor, a role popularised by Hong Kong actor Michael Tse in Lives of Omission, a TVB drama series. Having gotten the highest rating in 2011, the popular TV show also took home the Best Drama Series award at the 2011 TVB Anniversary Awards.

So how does this direct film sequel to the drama fare? And does it work as a standalone movie for viewers who do not follow the TV series?

Without going into too much details, Tse’s Laughing Gor is serving a life sentence in prison for killing his own informant. You see, Laughing Gor is an undercover who has worked in many triad organisations, and if you have seen enough Hong Kong movies (a phenomenon caused by the popularity of the Infernal Affairs series), the line between good and corrupt is often blurred. While in jail, Laughing Gor gets to know a psychology professor and a drama involving ethics and justice unfolds.

This reviewer probably isn’t the best person to comment on whether the Herman Yau directed movie lives up to the original award winning TV series, but one thing for sure, he is very impressed with the cast lineup. The best of Hong Kong cinema has gathered for this 84 minute production: Bosco Wong (The Fortune Buddies) as the dead informant (he is reprising his role from the TV show in the form of flashbacks), Francis Ng (Exiled) as the suspicious professor, Chapman To (All’s Well Ends Well 2012) as a fellow cell mate with a secret, Kara Wai (Wu Xia) as a ruthless triad head, Liu Kai Chi (The Detective 2) as a corrupt officer and Kate Tsui (Love in Space) as a heartbroken girlfriend.

It is movies like this which leave you remembering why actors are the souls of showbiz. The fine and engaging performances delivered by the ensemble cast enhances your viewing experience, especially when this DVD provides the original Cantonese soundtrack. While Tse is the central protagonist here, his role seems somewhat overshadowed by the many other characters written for this feature film. What seems like an overlong version of a TV programme episode may feel somewhat stretched to audiences who have zero knowledge of the back story.

Still, director Yau has managed to concoct an agreeable full length movie which fans and casual viewers will enjoy. Look beyond the occasionally undercooked twists and turns within the short runtime of the movie, and you’d be only remembering the first rate acting when the end credits roll. 

SPECIAL FEATURES:

NIL

AUDIO/VISUAL:

The movie’s visual transfer is decent, and thankfully comes with both Cantonese and Mandarin soundtracks.

MOVIE RATING:

DVD RATING :

Review by John Li

SYNOPSIS: In post-war occupied Japan, young Yoshihiro Tatsumi's passion for comics not only becomes a means of supporting his poor family but also leads him to redefine the manga landscape. He pioneered gekiga (dramatic pictures), an alternative genre for adults which is realistic, disquieting and grabbles with the darker aspects of life. Tatsumi celebrates the life of this master and five of his most compelling tales. A war photographer captures a moving scene in the ruins of of Hiroshima, only to be haunted by its sinister truth. A lonely factory worker parts with his beloved monkey with tragic consequences. A despised prostitute severs ties with all men, beginning with her loutish father. Masterful and moving, Tatsumi is a soaring tribute to a graphic artist who revolutionized manga.

MOVIE REVIEW:

“In recognizing the humanity of our fellow beings, we pay ourselves the highest tribute” Thurgood Marshall (1908-1993)

Each and every one of us has someone inspirational we want to pay tribute to. For acclaimed local director Eric Khoo, it’s Japanese artist Yoshihiro Tatsumi, an artist known for starting the gekiga style of alternative comics in Japan. Questioning why manga should be always be appealing and dreamy, the 76-year-old who coined the term “gekiga” redefined the manga landscape in 1957 by offering readers a genre of down-to-earth and unsettling comics.

It is not difficult to imagine Khoo being inspired by Tatsumi’s style of gekiga comics, considering how his previous works like Mee Pok Man (1995). 12 Storeys (1997), Be with Me (2005) and My Magic (2005) were all hypnotically sad and beautiful at the same time. For the first time, the Cultural Medallion recipient tries his hand at an animated feature, and the result is a mesmerizing memoir that is as inspirational as its subject.

Biographical films transport us into the worlds of people we may have only read about in newspaper reports and magazine articles. Here, the 96-minute production based on the 840-page manga memoir A Drifting Life gives us an insight into the life of Tatsumi, who began drawing as a comics artist in post-war occupied Japan, before being influenced by real life situations and inventing the gekiga genre of Japanese comics for adults. Tatsumi’s story is interwoven with segments based on five of his earlier short stories.

Each of these tales evoke a poignant sense of realism – Be it the horrifying truth behind a photograph in “Hell”, the eccentric relationship between man and monkey in “Beloved Monkey”, the pitiful journey of the protagonist in “Just a Man”, the lurid imageries in “Occupied”, or the bittersweet love story in “Good-bye”, these stories remind us of the harsh world we live in. Yet, there is something lyrically beautiful about these stark illustrations. These human conditions are affectingly painted on Tatsumi’s canvas and translated on screen by Khoo’s talent.

Featuring a wonderful voice performance by Tetsuya Bessho and emotionally moving music by Christopher Khoo (who was only 13 when he composed the music some two years back), this animated film has been selected as Singapore’s official entry for the Oscars. Audiences will be enthralled by the visual style of the film, which is kept tightly to Tatsumi’s original drawings. There are many magical moments which will leave you enthralled – watch out for one particularly stirring sequence where a young Tatsumi comes to a realization and floats in the serene night air, surrounded by gorgeous fireflies.

Above all, this film is a tale of inspiration which reminds each and every one of us what it’s like to be bathed in passion and love. Things may get us down in this bustling world we live in, but with a little imagination and a determination to pursue what you enjoy doing, the boundaries are limitless.

For those who have lost confidence in Singapore films, look no further than Khoo’s latest feature film. After a world premiere in the Un Certain Regard section at this year’s Cannes Film Festival, we are certain that it will continue putting Singapore on the international film map. This celebration of life is one well worth your time.

SPECIAL FEATURES:

The Code 3 DVD contains an in depth Making Of where Khoo talks about the journey of making this beautiful film. In this 42 minute featurette, you’ll see original concept art, as well as hear Tatsumi talk about the inspiration behind his drawings. For fans of the film, this is a wonderful companion piece to watch. 

AUDIO/VISUAL:

There is nothing to complain about the movie’s fine  transfer. It is presented in its original Japanese audio track.

MOVIE RATING:

DVD RATING :

Review by John Li

SYNOPSIS: Jung-Woo, an NTS (National Anti-Terror Service) agent is assigned on a mission in Italy while he was getting involved with Hae-in who works at the NIS (National Intelligence Service) but in the public relations department. The South Korean president's daughter is kidnapped by terrorists when Korea develops a new nuclear technology that will shake the world energy market. In a situation where it can become a national emergency, U.S. shows its support by dispatching their head of East Asia at DIS (Department of Information for Security) named Son Hyuk. But most surprisingly, Jung-Woo finds a 'black agent' joining them, a top secret organization within NIS that only takes on impossible missions and that it is no one other than Hae-in. And there, the three make their fateful encounter. With Hae-in's remarkable help, NTS rescues the president's daughter and having revealed her identity, she is assigned as Jung-Woo's partner while Son Hyuk is ordered by the U.S. government to supervise any further developments of South Korea. As South Korea gets closer to completing the new nuclear reactor, numerous terrors begin against them. Jung-Woo discovers that there is a secret society called Athena that has great power over the world energy resources and that they are the ones behind them. But as he gets closer to finding out the truth, mysterious events unravel and he finds evidence that indicate that both Hae-in and Son Hyuk are involved with Athena.

MOVIE REVIEW:

Like its predecessor “IRIS”, “Athena: Goddness of War” is a slick, lavishly produced action drama by the Koreans. While the spinoff allows some characters to crossover, it’s best to watch “Athena” on its own without worrying too much of IRIS universe. This movie version of Athena makes a good condensation of the original 20 episodes TV series and seriously for the production values alone, it already surpassed most of the current Asia theatrical releases.

In a nutshell, Korea has developed a new energy technology and new terrors have emerged endangering the completion beginning with the kidnapping of the President’s daughter and the inventor Professor Kim. When a mysterious organization headed by a group of influential people named Athena starts to unleash more threatening actions, NIS (National Intelligence Service) agent, Jung-Woo (Jung Woo-Sung) must discover the truth behind his ex-girlfriend, Hye-in (Su Ae) and a double-crosser within their camp, Son Hyuk (Cha Seung-Won).

If you can brushed off the numerous mind-boggling acronyms liked NIS, NTS and DIS mentioned, “Athena” is one hell of an easy movie to follow. With action sequences liked shootouts, car chases, explosions, fist fights happening every 15 minutes or so, “Athena” to sum up is basically an encyclopaedia on how to shoot an engaging action thriller. While it remains pretty formulaic and predictable, you can’t help but get yourself absorbed into all the mayhem and thrilling aspects of it. As a result, much of the back stories and flashback of the leading characters are sacrificed receiving only fleeting appearances not that I’m complaining since this is precisely why this movie version exists in the first place.

Jung Woo-Sung might not be as internationally well-known as Lee Byung-Hun but the man who has appeared in movies such as “Daisy” and “The Good, The Bad and The Weird” is more than capable portraying Woo-Sung, the dauntless agent who fires in style and looks as good as Chow Yun Fatt in “A Better Tomorrow”. Leading girl Su Ae (Midnight FM) is equally convincing as the ass-kicking Hye-in and Cha Seung-Won is serviceable as the movie’s anchor villain.

With a breath-taking, globe-trotting location shoot around the world including Japan, Italy and New Zealand, “Athena: Goddness of War” impresses one with its excellent production values and for action fanatics, this is a surprisingly good entry if you still aren’t sold on Korea cinema.

SPECIAL FEATURES:

NIL

AUDIO/VISUAL:

Visual is fair enough for the most part with dialogue and sound effects remaining audible and clear throughout the duration.  

MOVIE RATING:

DVD RATING :

Review by Linus Tee

Genre: Romance/Comedy
Director: Kao Pin-Chuan, Lin Chun-Yang
Cast: Michelle Chen, Anthony Neely, Chen Han Tien
RunTime: 1 hr 41 mins
Rating: NC16 (Some Coarse Language and Sexual References)
Released By:  Clover Films and GV
Official Website: http://soulofbread.pixnet.net/blog

Opening Day: 15 March 2012

Synopsis: A love triangle between a handsome young baker and a local bread maker. How can people taste true LOVE? Gao-Bing (Chen Han Tien) works in a bakery in a small town. The owner, Mr. Chiu, is so into his Rock ’n ’Roll band, and his son, Bro., doesn’t seem enthusiastic about learning baking at all. The business of the bakery is getting worse and worse day by day, and Gao-Bing doesn’t know what to do with this kind of situation. All he can do is work really hard and tries to invent something new.

Ping (Michelle Chen Yan Xi), the daughter of Mr Chiu, grew up with Gao-Bing and has been dating him for quite some time. She often complains that Gao-Bing only follows the traditions and doesn’t take any action to save either the bakery or their boring life together. In her heart, she really would like to see the world before getting married since she doesn’t want to be trapped like her mother, who died many years ago. Brad (Anthony Neely), a young and charming baker from France, was very depressed because of his mother’s death. Therefore, he decided to return to that small town where his mother was born and raised.

While tracing down the memory lane, he falls for Ping at the very first sight. Even though Ping is engaged to Gao-Bing, Brad finds her very special, even a little bit like his mother. With Mr. Chiu and Ping’s arrangement, Brad moves in and becomes Gao-Bing’s roommate. Under the same roof, Brad never hides his feelings toward Ping, but Gao-Bing also sees the difficulty here. With all his heart and soul, Gao-Bing would like to have Ping back and show the world what is the best recipe for love…

Movie Review:

Oh, Michelle! It’s only been four months, but how we’ve missed you since you last captured our hearts with your utterly irresistible performance in ‘You’re the Apple of My Eye’. And so it is with little love lost that we eagerly anticipate your next romantic comedy, even though we couldn’t quite comprehend how our breakfast staple could have a soul. But we'd like to tell you that you have taught us otherwise- that indeed it makes a difference when you put your heart into something, even something as nondescript as bread- and if there’s one thing we'd like you to know, is that we adore you even more.

Sweet and lovable as ever, Michelle plays the small-town girl Ping who dreams of venturing outside the rural town she’s ever known to see the world- and in particular, France. When we first meet Ping, she’s being proposed to by her longtime boyfriend, Gaobing (Chen Han Dian), but she hesitates when she realises that he doesn’t share the same ambitions she does. Quite obviously then, she quickly falls head over heels for the half-French half-Chinese celebrity baker Bread (Anthony Neely) when he pays a surprise visit to her village bakery.

Lost and disillusioned following the sudden death of his mother, Bread has dropped by their village in search of the recipe of his mother’s favourite bread. To convince Ping’s father Chiu Pa (Liao Chun) of his sincerity, Bread offers to become his apprentice- though it isn’t long before his own French recipes win favour with the villagers. Yes, isn’t it true that we often get enamoured with foreign novelties, just as the villagers fall in love with Bread’s baguettes (which Chiu Pa, who has since moved on from village baker to village deejay, calls ‘巴给’ )?

Not only then does resident baker Gaoping see his learnt bakes falling out of favour, he also finds his childhood sweetheart slipping slowly away from him and into the arms of Bread. And to make matters worse, it seems both his fates will be decided in a baking contest organised by the overzealous Chiu Pa and named after the goddess Mazu. It’s no surprise however who will eventually win Ping’s heart, but that doesn’t mean the cross-country race to stop Ping before she leaves on a jetplane with Bread is any less exciting.

In fact, like much of the rest of the movie, it is surprisingly amusing and yet unexpectedly touching at the same time- and the climax no less than a winning conclusion that will leave a big wide smile on your face. Such delightful moments are fortunately aplenty throughout the movie, courtesy of the uniquely Taiwanese small-town humour that first-time feature directors Sean Kao and Lin Chun-Yang- expanding their 2006 TV movie of the same title- inject into the scenes.

Much of their humour derives from the distinctive supporting personalities, especially Ping’s father Chiu Pa, whose unassuming manner coupled with his occasional tongue-in-cheek coarse remarks make for a hilarious and ultimately endearing combination. There's also the obvious language barriers between the English-speaking Bread and the Hoklo-speaking villagers to whom Ping, with her halting grasp of the English language, becomes the inevitable translator for- and the jokes certainly work better if you understand both languages. Besides the obvious, both directors bring some quirkly flair with the occasional outlandish sequence, including a song-and-dance number used to describe the out-of-this-world experience Gaobing gets when he tastes some exquisite seafood soup from a swanky high-class restaurant for the first time in his life.

Kao and Lin are however much more restrained when it comes to the love triangle among Ping, Bread and Gaobing. Consciously avoiding casting either guy in a good-bad polemic, the film strikes a graceful balance in portraying the tussle between Bread and Gaoping for Ping’s heart- and you’ll empathise with Ping as she agonises over choosing the unambitious but earnestly down-to-earth Gaoping or the debonair heartthrob Bread. A supporting budding romance between Ping’s brother and a local policewoman serves as a nice juxtaposition against Ping’s otherwise complicated matters of the heart.

Much as we may wish to be Han Dian or Neely, there’s little doubt that both nail their respective roles perfectly. No stranger to playing the unsophisticated type with a heart of gold, Han Dian (who also starred in ‘Monga’) excels in a nuanced performance that conveys subtly his character’s feelings of inferiority and insecurity. Next to Han Dian, the Taiwanese American actor Neely may seem to have it much easier by simply putting on a disarming smile all the time, but there’s arguably little more that his role calls for.

And then of course there is Michelle, whose appearance front and centre on the poster is proof enough that she is no less than the biggest selling point of the movie. Aside from her meteoric ascent to popularity following last year’s ‘Apple’, the actress with her adorable girl-next-door charm once again is the reason this love story is funny, charming, poignant and winning all at the same time. If indeed there is a soul to be found in bread, she is the very soul of this movie, and it is a thoroughly appealing turn that cements her reputation as one of the foremost actresses of the new-age Taiwanese rom-coms.

Yet of course, Michelle is not the only thing to wax lyrical about this breezy light-hearted movie, which to its credit, is infused with a strong Taiwanese local flavour you’ll find most engaging. It makes a point about preserving the local identity, especially in the face of distant novelties- and though its message isn’t new, it makes such a disarmly convincing case for it that you can’t quite help but be won over. 

Movie Rating:

(We guarantee you’ll fall in love with Michelle Chen all over again, and also with this sweet, funny, charming and utterly endearing rom-com infused with a strong distinctive local flavour)

Review by Gabriel Chong

Genre: Drama/Romance
Director: David Foenkinos, Stéphane Foenkinos
Cast: Audrey Tautou, Audrey Fleurot, François Damiens, Mélanie Bernier, Joséphine de Meaux, Pio Marmaï, Bruno Todeschini
Runtime: 1 hr 49 mins
Rating: PG13 (Brief Coarse Language)
Released By: Shaw
Official Website:

Opening Day: 19 April 2012

Synopsis: Nathalie has a wonderful life. She is young, beautiful and has the perfect marriage. But when her husband dies in an accident, it brings her world crashing down. For the next few years, she focuses on work, leaving her emotions on the sidelines. Then all of a sudden, without even understanding why, she kisses a most unlikely man – her coworker, Markus. This odd couple then embarks upon their own emotional journey; a journey that raises all kinds of questions and hostility at work. Can we really choose how we rediscover our taste for life? Marveling at their newfound love, Nathalie and Markus end up running away to give their relationship a fighting chance. This is a story of rebirth but it is also a tale of the singularity of love.

Movie Review:

Attempting to restate her claim as the queen of French rom-coms, Audrey Tautou returns in yet another soufflé-light offering playing a young widow who falls in love with a balding Swedish man who is older, less attractive and less successful than her. Better still, their unlikely love story takes place against the age-old taboo of office romances- but even before the obligatory obstacles from both their personal and professional lives roll along, you already guess that the pair of opposites will eventually end up together.

Indeed, much as the movie tries to differentiate itself by injecting tragedy into the mix, there’s little mistaking that first-time directors David and Stéphane Foenkinos- the former of whom also wrote the novel on which the movie is based- never did intend to veer away from the requisite happily-ever-after ending of the typical rom-com. All that remains to be seen is whether or not the journey to that destination is worth the ride- and the answer in this case is only a slight yes.

Of the film’s three acts- the first beginning with Nathalie (Tautou) and Francois’ (Pio Marmai) whirlwind romance and ending with the latter’s unexpected death; the second detailing the tentative courtship between Nathalie and said Swedish colleague Markus (Francois Damiens); and the last demonstrating their willingness to preserve their relationship despite the objections of friends and colleagues- only the middle one proves engaging with its ‘Amelie-like’ whimsical mood.

Sparked off by Nathalie’s decision to kiss Markus on a whim, this utterly charming middle section wittily observes the unintended consequences from that very impulse. In a clever switch of archetypes, it is Markus who turns out totally smitten by Nathalie, so much so that he deliberately runs away when he senses he may be falling too deeply in love with her. That scene set on a bridge against the backdrop of the Eiffel Tower is one of the funniest in the movie- ditto for another in which Nathalie takes the initiative to ask him out for a play over office messaging just as his Google search turns out the exact same date idea.

In comparison to the playful simplicity of the second act, Foenkinos’ tries to cram too much into the first, trying to create a sympathetic character in Nathalie. Unfortunately, the tragic turn of events that leads Nathalie to throw herself into work for the next three years before she meets Markus fails to resonate, and seems wholly unnecessary to the central romance between the two co-workers. The third act fares slightly better, but a melodramatic turn sparked off by a heated exchange between Nathalie and her boss Charlie (Bruno Todeschini) who also fancies her is amateurish and changes the tone of the film too jarringly.

Thankfully, the movie does finish on a winning note with a beautiful fantasy sequence shot in one single take- though that alone does not distract from the fact that the filmmakers lack the dexterity at rolling romance, comedy and drama into one. The directors’ inexperience also shows in the way they have both Nathalie and Markus narrate their own thoughts at random points in the movie, never using the voiceovers as an effective technique to get to know the characters better or to put a spin on the story (a la ‘She Loves Me, She Loves Me Not’).

Tautou is once again typecast as the gamine with the pixie-ish appeal, and though she is as lovely as she was in ‘Amelie’, it’s clear this role was never much of a stretch for the actress to begin with. The scene-stealer here however is her co-star Damiens, an unlikely choice for a rom-com, but one perfectly suited for the role here with his wide goofy smile and disarming genuineness. You’ll easily root for Damiens, and consequently his romance with Tautou to succeed in the movie.

Despite its name, this French rom-com is no delicacy, though it has its fair share of winning moments to make it more than an entertaining trifle. Don’t expect it too to be a smart satire on office romances- indeed, it is too genial and whimsical to offer much on the subject. The best it does is fill out the gap for the rom-com genre until the next one rolls along, when almost certainly it will be forgotten. 

Movie Rating:

(An unlikely romance between a smart successful Gallic gamine and a balding portly Swede makes for a somewhat entertaining rom-com that could do without the melodrama)

Review by Gabriel Chong

Genre: Action/Adventure
Director: Jon M. Chu
Cast: Channing Tatum, Adrianne Palicki, The Rock, Bruce Willis, Lee Byung Hun, RZA, Ray Stevenson, D.J. Cotrona, Ray Park, Walton Goggins, Elodie Yung, Joseph Mazzello
RunTime: 1 hr 50 mins
Rating: PG13 (Violence)
Released By:  UIP
Official Website: http://www.gijoemovie.com/
 
Opening Day: 28 March 2013

Synopsis: A follow-up to the 2009 release of G.I. JOE: RISE OF THE COBRA, which grossed over $300M worldwide, Paramount Pictures, MGM and Skydance Productions, in association with HASBRO, commenced the di Bonaventura production of G.I. JOE: RETALIATION. In this sequel, the G.I. Joes are not only fighting their mortal enemy Cobra; they are forced to contend with threats from within the government that jeopardize their very existence.  The film stars D.J. Cotrona, Byung-hun Lee, Adrianne Palicki, Ray Park, Jonathan Pryce, Ray Stevenson, Channing Tatum with Bruce Willis and Dwayne Johnson.  Directed by Jon M. Chu, and produced by Lorenzo di Bonaventura and Brian Goldner, from a screenplay by Rhett Reese & Paul Wernick based on Hasbro’s G.I. Joe® characters.

Movie Review:

If Channing Tatum was the reason you loved ‘GI Joe: The Rise of Cobra’, we might as well give you the bad news that he dies very early in the film. That’s a real shame in our opinion, even if his substitute Dwayne Johnson is an agreeable presence to be around for two hours. The chemistry between Tatum and Johnson in the film’s opening few minutes is one of the few things that this loud-and-louder wham-bang exercise has going for it - in particular a scene in which both rib each other while playing a video game is easily the most personable moment in the film.

Still, the fall of Tatum’s Duke and the rise of Johnson’s Roadblock is but one of the revisions that both Paramount and Hasbro felt were necessary to reinvigorate what was to them a mediocre box-office success relative to the dollars that any one of their ‘Transformers’ had made. Tatum isn’t the only casualty; gone too is previous director Stephen Sommers, whose resume of ‘The Mommy’ apparently wasn’t enough to make ‘GI Joe: The Rise of Cobra’ a satisfying enough box-office juggernaut, as well as its three writers – Stuart Beattie, David Elliot, and Paul Lovett – who have been accused by fans of not being in tune enough with the spirit of the franchise.

In Sommers’ place is Jon M. Chu, best known for the two ‘Step Up’ films and that Justin Bieber documentary. Little in his filmography suggests he might bring some flair to the material, and true enough, aside from a cool vertiginous ninja fight scene up in the Himalayas, Chu hardly betters Sommers’ own workmanlike treatment. Undoubtedly the highlight of the entire film, that inspired sequence with flying ninjas is unfortunately too brief compared to the rest of the brain-numbing mayhem that we are made to endure, the majority of the film made up of frantic action that will leave you drained.  

It isn’t just Chu’s middling direction that leaves one disengaged; there is also the bland script by Rhett Reese and Paul Wernick. Even if the story is no more than a narrative frame to give continuity to the non-stop destruction, that is little excuse for just how predictable it all gets – though we probably should not have expected more just by looking at how plainly the movie’s poster separates the good guys from the bad ones. Probably worse than being trite is being callous, which describes how it takes significant real-world issues – like the political instability in Pakistan or the dangers of nuclear warfare – and turns them into live-action cartoon, especially evident in the way it hardly bats an eyelid after annihilating one of the major cities of the world.

The only improvement the ‘Zombieland’ scribes bring to the table is some campy humour, which admittedly does help to enliven the otherwise deadening (pun intended) proceedings now and then. Most of these zingers are delivered with the right attitude by Johnson, whose square-jawed heroics are a perfect fit for the movie. Personifying how a G.I. doll would look like in real life and possessing the machismo of a model soldier, Johnson gets both the tongue-in-cheek parts and the ‘hoorah’ moments on the spot – so much so that he can even get away with rallying his fellow Joes by quoting Jay-Z like scripture.

Speaking of cast, it is unfortunate that only one other actor manages to be as entertaining as Johnson. That unlikely candidate is Johnathan Pryce, who is clearly having a good time playing both the real President as well as his impostor. None of the other actors – especially not Johnson’s teammates D.J. Cotrona and Adrianne Palicki – are much fun, and even the introduction of Bruce Willis late into the movie as the retired Joe founder doesn’t bring much excitement except for a briefly amusing sequence that showcases his personal weapons arsenal in his very own home.

All things considered, there are ultimately fewer bright sparks than dull sparks in this feeble attempt to inject more life into a franchise that was once meant to replace the ‘Transformers’ cash cow. Even as brainless summer blockbuster entertainment, it offers relentless action but little real thrills, coming off as a vacuous exercise in engineering destruction on a large scale for the sake of it. A Himalayan wire-ful action sequence and Dwayne Johnson do not a movie make, with little in this sequel justifying its ambition for having tried to be better than its predecessor. And if it isn’t clear yet, then let us by categorical in stating that the additional dimension – for which the movie was apparently delayed nine months for – is but yet one more dimension of dullness. 

Movie Rating:

(A forgettable sequel to a forgettable movie, this is one bland action blockbuster exercise in big guns and world destruction that even the agreeably charming Dwayne Johnson cannot redeem)

Review by Gabriel Chong