SYNOPSIS: The Speed Angels and Sakura, two racing teams have always been bitter rivals and fierce competitors. SPEED ANGLES tells the story of a group of free and passionate female racers who use their remarkable skills on the tracks to express their dreams, love and desires...
MOVIE REVIEW:
We’ll start with the only piece of good news about this movie- it isn’t director Jingle Ma’s worst. That said however, it is still a terrible piece of work, and we won’t surprise if It ends up as one of our worst movies of the year. But more unforgiveable than the fact that Ma has once again wasted two hours of his audience’s time Is how tremendously he squanders the potential of an otherwise perfectly competent cast- ok maybe that’s questionable for Cecilia Cheung given the quality of her most recent works- assembled from all over Asia.
From the outset, it is clear that something is quite off. As star racer Bing (Rene Liu) sits alone in a bar getting intoxicated, her traumatic past is retold in flashbacks- on the night of her wedding, she receives a text message and rushes to a hotel to find her fiancée in a room with her best friend Mei (Cecilia Cheung). It isn’t so much the premise than the execution that is appalling- to get to the scene of the adultery, Bing has to race down a crowded shopping street in her wedding dress and then be faced with a smug callous fiancée with nary a hint of remorse for his actions.
If you can’t stomach the cringe-worthiness of this opening sequence, we’d advise you strongly not to venture any further. Despite a somewhat invigorating scene where Bing’s coach Gao Feng (Han Jae-Suk) meets ace cabbie driver Xiaoyi (Tang Wei) and sends her on a high-speed chase after some robbers who just mugged him, Ma is all too keen at turning every single plotline and subplot into melodrama, reducing what momentum the film had going for it into pure tedium.
So besides Bing’s marriage woe, Xiaoyi is also struggling to deal with grief from her father’s passing when she was just a young girl. Gaofeng also has some history with a rival team’s star driver Sanoka (Chie Tanaka), who just happens to be headed by Bing’s former husband-to-be Asano (Kazuki Kitamura). And of course, there is Bing’s rivalry with Mei, who not surprisingly switches sides to race for Asano just before Gaofeng is supposed to announce his team for some upcoming competition.
Ambition frankly doesn’t quite cut it- instead, the movie is a product of Ma’s own arrogance at his ability to juggle so many different characters and intertwining relationships. None of them turns out fulfilling, not even Bing and Xiaoyi’s own personal struggles at overcoming their demons from the past. Worse still, Ma handles the emotions within the film with the subtlety of a sledgehammer, and not a quarter of an hour goes by without a heavy-handed sequence. Ma throws in some sabotage to try to enliven the pace, but the additional story thread falls just as flat as the rest of the numerous others.
Where’s the racing you ask? Well, let’s just say that even when our characters get into their cars, the movie is just as leaden as when they are out of their vehicles. The CGI-enhanced racing scenes are hardly worth the wait, and even then, Ma knows shit about directing a thrilling action sequence as evinced from his previous attempts- ‘Seoul Raiders’ and ‘Silverhawk’. Yes, you’ll certainly find more excitement watching the racing sequences in ‘Cars 2’ than in this film.
Given the quality of the material, it’s truly surprising that Ma had managed to assemble the likes of Rene Liu, Tang Wei and Cecilia Cheung- not to mention the rest of the good-looking pan-Asian supporting cast. Liu and Tang are largely wasted in their respective roles, and it’s clear they know they were slumming from the get-go. Cheung is just as terrible as she was in ‘Treasure Hunt’, confirming once again that she should have simply just retired from acting altogether.
Indeed, there is nary a redeeming quality about this movie, save for the fact that having seen other Jingle Ma movies, this would not qualify as the worst of the lot. Still, that’s little consolation given how low he can go, and so take this as fair warning to stay far far away from this stinker. But for those adventurous enough to wander further off the beaten track, let’s just say it is one trek you’ll find long, monotonous and frankly quite infuriating.
AUDIO/VISUAL:
The Dolby Digital 2.0 audio track lacks punch, and turns out as flat and dull as the movie itself. Visuals aren’t as sharp as you would expect from a DVD, and neither are the supposedly bright colours that make up the film’s palette.
MOVIE RATING:
DVD RATING :
Review by Gabriel Chong
SYNOPSIS: For some, 2012 brings fear…. This is due to the many vivid interpretations that the end of the world is nearing as we enter 2012. The Kwok family is a farce, no thanks to the different personalities living under same roof. All of them have their own share of problems and the situation doesn’t improve when everyone dwells only on their differences. The patriarch of the household, Kwok Chun is an experienced weather forecaster, who had been eyeing the post of news anchor for the longest time. But due to the oppression from his rival-turned-boss, Chun never had a promotion in his 40-year tenure. While the daily squabbles within the family; Chun, his three children and his free-loading brothers, continue, Chun received earth-shattering news that the world is facing a great catastrophe. This rude shock brings awakening and Chun is determined to fix the cracks in his family before the world ends….
MOVIE REVIEW:
Eric Tsang continues his cash-grab attempt at the box-office with his Chinese New Year offering ‘I Love Hong Kong 2012’, an in-name only sequel to last year’s crowd-pleasing hit. The third in his yearly streak of ‘he sui pians’, it once again gathers an all-star TVB cast in addition to Tsang and veteran Teresa Mo for an affirmation of the ties that bind despite the many complications in between.
It’s hard to hold such movies up to scrutiny- after all most of them exist merely to tickle your funny bone and put you in a jolly mood for the festive season. What really matters is therefore not neither plot nor character, but the quality of the loosely strung gags that make up the film. Nonetheless, even with such expectations, this Chung Shu Kai and Wilson Chin directed film is quite a letdown.
Besides an unexpected spoof of last year’s runaway hit Taiwanese movie ‘You Are the Apple of My Eye’, most of the jokes unfortunately fall flat, lacking both energy and inspiration. As a sampling of what is supposed to pass for funny, think Eric Tsang dressed in various superhero costumes in the name of getting it on with his wife (Mo) in bed, or the odd romantic pairing between a tomboyish girl (Denise Ho) and an effeminate boy (Bosco Wong), or an over-the-top billionaire (William So) hiring four bodyguards in leather to protect the girl (Zhang Xinyu) he fancies.
Believe us when we say that you’ll laugh as much as you did when you read the description above, and the film would have been quite the unbearable bore were it not for the enthusiastic cast determined to give their audiences a good time. If the gags are bad, so too is the plotting, which desperately throws in an end-of-the-world Mayan doomsday just so the disparate characters may set aside their differences and try to live harmoniously together as family.
The flaws are even more obvious when you watch the movie in its dubbed Mandarin track, which is what we did in the cinemas. Fortunately, there is the original Cantonese track available on home video, and frankly while it did not make the movie a much better one, it at least ensured that the topical gags based on the hottest issues of the territory were fresh. Still, if there isn’t much cheer to be found in this during the New Year, there’s even less reason you’ll enjoy this outside the festive season. Go visit Hong Kong if you love it, but you’d best avoid this lame unfunny excuse for a comedy. .
AUDIO/VISUAL:
Audio is delivered in dual Mandarin and Cantonese tracks, and if you're catching it, chances are you already know which is the better version. Otherwise, visuals are clear and colours are lively.
MOVIE RATING:
DVD RATING :
Review by Gabriel Chong
SYNOPSIS: As law enforcement officers, Adam Mitchell, Nathan Hayes and their partners willingly stand up to the worst the world can offer yet at the end of the day, they face a challenge that none of them are truly prepared fo tackle: fatherhood. While they consistently give their best on the job, they quickly discover that their children are beginning to drift further away from them. When tragedy hits home, these men are left with a newfound urgency to renew their faith and reach out to their own children. Will they be able to find a way to serve and protect those who are most dear to them?
MOVIE REVIEW:
The latest faith-based drama from Sherwood Pictures, the filmmaking arm of Sherwood Church in Albany, Georgia, ‘Courageous’ is notable not just for the fact that it is only the fourth film from Alex and Stephen Kendrick, but also because it is easily their most accomplished. Indeed, when the Kendrick brothers first surprised Hollywood pundits with their breakout hit ‘Flywheel’, their filmmaking artistry was so amateurish it seemed little more than an extended home video. But through two subsequent independent hits- ‘Facing the Giants’ and ‘Fireproof’- they have managed to combine the polish of Hollywood dramas with their own Christian message into a movie that delivers on both fronts.
Like their previous movies, this one is once again set in the small town of Albany where a group of four sheriffs struggle to do good both in their line of work as well as in their families. The ultimate message here is the responsibility that a father plays in the upbringing of his children, emphasised of course by the numerous Biblical references quoted in here as well as the speeches and voiceovers that the characters in the film tend to launch into. In fact, the fathers in this movie band together to sign a pledge which essentially works as a promise to their families and a reminder to themselves to follow God’s guidance in exercising their parental duties.
We’d just say outright that non-Christians need not bother- for even though director Alex Kendrick handles the Christian messaging with greater dexterity than before, it is still likely to come across as preachy by those who do not believe in the faith. Nonetheless, those who do will find much to identify with in the movie- spanning from the reconciliation of parent and child following a death in the family, to the struggle of a parent to put bread and butter on the table for his family, and to the exhortation of a parent to his daughter to recognise the rationale of his strict parenting ways. There is a lot that Christian parents will come to resonate with, and certainly it is with this in mind that Kendrick has made this movie.
Equally noteworthy is the way Kendrick chooses to tell his story. While previous efforts were clunky and uneven, both the pacing and the storytelling is far superior here, and despite its over two hours runtime, there is rarely a dull moment in the movie. Characters are also much more well defined, and the cast of largely unknowns do an excellent job bringing their respective roles to life. Most surprising is the few action setpieces which Kendrick inserts to pump up the momentum, including an exciting foot chase and a climactic shootout across a highway.
It’s no small feat juggling so many duties in front and behind the camera, and so another round of kudos to Alex Kendrick for not just upping his game as the director but also as lead actor in the movie. His is a charismatic turn that fully captures the struggles of a father trying to do the best by his teenage son in order to regain his respect and trust, and it is Kendrick who anchors the film from start to finish. This fourth film of his is also a testament to his and his brother Stephen’s courage, beginning with a modest dream as pastors of the communications ministry of their church to becoming one of the leading filmmakers in the independent circuit- and it will be interesting to see where their divine inspiration will lead them to next.
SPECIAL FEATURES:
As with the DVDs of their previous movies, this one comes packed with a bevy of extras. Start with the Audio Commentary with the Kendrick Brothers, which again features more talk from director Alex Kendrick who shares his experience making his most challenging movie thus far juggling double duty in front and behind the camera. Then top it off with the next featurette, The Making of Courageous, which goes behind the scenes to understand how Kendrick balances both the dramatic and spiritual areas of the movie.
Both Heart of Courageous and The Story of My Father delves deeper into the Biblical aspects, which would most certainly appeal to Christian viewers. Otherwise, some outtakes, bloopers and deleted scenes add to the almost two hour worth of extras here.
AUDIO/VISUAL:
Audio is presented in Dolby Digital 5.1, which makes surprisingly good use of the back speakers for ambient effects. Visuals are clean and sharp.
MOVIE RATING:
DVD RATING :
Review by Gabriel Chong
SYNOPSIS: Based on the true story of the legendary lawman, Earp recounts how he brought together the Best of the West to avenge the vicious murder of his beloved Dora. Joined by the famed Bat Masterson, Charlie Bassett, Bill Tilghman and Doc Holliday, Earp rides after the Kenedy brothers, who are on a murder spree that spans from Dodge City to Mexico. Protected by their powerful father, the ruthless brothers know that the law won't touch them - but they gravely underestimated Earp and his posse. Featuring Shawn Roberts, Matt Dallas, Grammy® nominated Country Music artist Trace Adkins and Val Kilmer.
MOVIE REVIEW:
Val Kilmer’s name on the cover of a movie with a title that has Wyatt Earp in it may lead you to think that this is some quasi-sequel to ‘Tombstone’, but in actual fact this made-for-TV western does little justice to the titular vigilante lawman. What could have been an interesting discourse on the pursuit of justice outside the bounds of law and order instead becomes nothing more than a dreary retelling of how Wyatt gathered a posse of men to avenge the death of his love, Dora.
Told in flashback with the puffy-faced Kilmer playing an older Wyatt interviewed by a Kansas City Star reporter, it is shockingly unambitious in its storytelling, content to simply lay out Wyatt guided by a fervent sense of justice and a heart for revenge. The latter however is apparent only when Wyatt declares it, since first-time screenwriter Jeffrey Schenck has no clue how to portray it onscreen. The same can also be said of Shawn Roberts’ blank performance as Wyatt, which is quite simply an utter disgrace to the character in question.
If Wyatt is dull, then the rest of his men are simply forgettable. Of course Bat Masterson (Matt Dallas), Charlie Bassett (Scott Whyte) and Bill Tilghman (Levi Fiehler) are anything but in real life, but after gathering them together with Wyatt, the movie gives them so little to do that they might as well have sat the proceedings out. Instead, they are no better than the henchmen of Wyatt’s villain Jim ‘Spike’ Kennedy (Daniel Booko), whose deaths hardly mattered one way or another.
The fault is partly Schenck’s script, partly the inexperienced C-grade actors and partly director Michael Feifer’s- everyone involved was apparently not told that occupying some space on the screen is not equivalent to making an impression. Ironically, not Wyatt nor his three trusted men are the ones that stand out, but rather Booko’s Spike, who seems to be the only character with a presence in the film.
Feifer knows neither to manage the story, his actors or the tone of the movie, which veers from drama to melodrama and then to farce. At least an inexplicable sequence which mines the classical character of Doc Holliday (played by Kilmer in the ‘Tombstone’ movie) for broad laughs is oddly out of place, especially since he seems to derive pleasure out of inflicting pain on others and watching them cry out in agony. That sequence alone does leave an impression all right, but mostly for the wrong reasons.
Undoubtedly, this was a movie made on the cheap, which by virtue of that fact means that the movie will look as it were filmed on makeshift sets. But that’s still little excuse for the piss-poor story, the terrible acting and the nonexistent direction that lets the movie ramble aimlessly for a good one and a half hours. With such a crappy production, it’s no wonder Wyatt felt he needed to take some revenge.
SPECIAL FEATURES:
Why bother with an extra when you’ve got nothing else to say- that was what we were thinking when we saw ‘Riding Along with Wyatt Earp’, probably the most unnecessary behind the scenes featurette we’ve ever seen.
AUDIO/VISUAL:
The Dolby Digital 5.1 audio track does little to help the poor sound mixing of the film. Visuals are sharp, but only serve to highlight the low quality HD video format this was shot in.
MOVIE RATING:
DVD RATING :
Review by Gabriel Chong
Genre: Romance/Drama
Director: Pang Ho-cheung
Cast: Miriam Yeung, Shawn Yue, Mini Yang, Xu Zheng, Jo Kuk, Huang Xiaoming, Kristal Tin, Vincent Kok
RunTime: 1 hr 40 mins
Rating: PG13 (Some Sexual References)
Released By: Encore Films & Golden Village Pictures
Official Website: www.facebook.com/encorefilms
Opening Day: 17 May 2012
Synopsis: What started as a chance meeting in the back alley for a smoke, ended up in a romance for Jimmy Cheung and Cherie Yue. Six months later, Cherie can no longer stand Jimmy’s habit of dragging his feet on everything and Jimmy is tired of Cherie’s temper tantrums. When Jimmy is offered a lucrative position in Beijing, their love in a puff is snuffed out. On one of his business trips to Shanghai, Jimmy meets a flight attendant Shang You-you, who falls in love with him immediately. Meanwhile, Cherie is sent to Beijing to open a new shop, where she meets and starts to date Sam, a Malaysian Chinese who works for an I.T. company. Cherie and Jimmy, who ended their relationship and started their new lives in Beijing. Despite each having a new partner in Beijing, they can’t seem to forget each other. They are torn between fidelity towards their new partners and following their hearts. Will they have a second chance?
Movie Review:
If ‘Love in a Puff’ was about the getting together, then its sequel ‘Love in the Buff’ is about the staying together. Indeed, almost anyone who’s been in a relationship can tell you that you may love a person, but being together and staying together with that person is quite something altogether. What may have once seemed endearing suddenly becomes frustrating; and what should have seemed so simple suddenly becomes so complicated.
Wait a minute- is such heavy-handed matters the stuff of Pang Ho-Cheung’s ‘Love in the Buff’? After all, the original was a fluffy light-hearted romantic comedy built around the social phenomenon known as ‘hot potting’, or in other words, the regular congregation of office workers around dustbins in back alleys for a quick puff in the middle of their work routine. But unlikely as it may seem for fans of the original, this sequel ventures into much more mature territory, portraying with great detail and accuracy love, relationships and their attendant complications in today’s modern dating scene.
So even as we are reunited with our favourite quirky couple Jimmy (Shawn Yue) and Cherie (Miriam Yeung), there is a sense that not all is well. As men are prone to do, Jimmy no longer makes an effort to remember his commitments to Cherie- even to the point of forgetting her mother’s birthday celebration- and using work as an all-too convenient excuse instead. It’s too easy for complacency to set into a relationship, and in the case of Jimmy, it just happens more quickly. Disappointed at Jimmy’s nonchalance, Cherie moves out of Jimmy’s apartment and quietly breaks up with him.
When a former boss (Jim Chim) makes him an offer to work in Beijing, Jimmy takes it up and meets on the flight there an attendant named You You (Mini Yang). How the two get acquainted is one of the many laugh-out-loud scenes in the movie, as Pang demonstrates once again why he is one of the most subversively entertaining filmmakers in the industry. Soon after, Jimmy and You You start going out with each other, and the easygoing chemistry they share soon leads them into a relationship- though You You’s reaction to Jimmy’s signature trick (which he had used with Cherie in the first movie) of pouring dry ice into the toilet bowl proves telling of the strength of their union.
Cherie makes an unexpected return into Jimmy’s life when she is sent to the Chinese capital after her company decides to shut down some of its operations in Hong Kong. A chance meeting revives the spark of love within their hearts, even as Jimmy is now attached and Cherie’s knowledge of that drives her to seek a new mate in the form of 40-plus year-old Sam (Xu Zheng). Still there’s no denying their mutual attraction for each other, with their texting, late-night suppers, and hookups reminiscent of their whirlwind dating in the first movie.
Purists may decry the nature of their relationship with each other, and yes there’s no doubt that much as we enjoy and root for the pair to get back together, it just isn’t as straightforward as before- especially since both Jimmy and Cherie seem to be cheating on their respective partners. Therein however lies the dilemma that Pang addresses with delicate sensitivity- what exactly is the right thing to do if we are in a relationship with someone who loves us but find ourselves loving someone else instead?
The brilliance in Pang’s filmmaking technique lies in how effectively he draws his audience into the seesawing emotions of both his lead characters Jimmy and Cherie, struggling with their responsibilities to their other halves even as they come face to face with the reality of their affections for each other. It’s drawn-out no doubt, with Jimmy especially vacillating back and forth between Cherie and You You- but Pang finds such a bittersweet resolution to his characters’ quandary that you'll instantly forgive the back-and-forth between the two characters.
The assuredness of Pang’s direction is matched by the clarity of his and co-writer Luk Yee Sum’s script, which through Jimmy and Cherie’s text and voice messages to each other, convey acutely their mutual feelings. Not only is their writing spot-on in the depiction of the various relationships within the movie, it also retains completely the wit that made the original so endearing- both in terms of its use of allegories to portray its characters’ circumstances as well as its side-splitting gags that include a guest appearance by Ekin Cheng and ex-Kevin Cheng flame Linda Wong. We dare to go as far to declare it as one of the very best rom-com screenplays from Hong Kong in recent years.
Besides sharp scripting, Pang’s film is also a joy to watch for Shawn and Miriam’s performances. Clearly relishing the opportunity to revisit the characters they played with aplomb the last time round, both actors are at their playful and tender best. In particular, Shawn once again demonstrates a hidden knack for comedy, a trait not often seen in his usual serious-type films. Miriam, on the other hand, wears her character’s emotional vulnerabilities on her sleeve, and you’ll be hard-pressed not to empathise with her through her tears and heartaches.
Rare is the rom-com that is as entertaining and as affecting as ‘Love in the Buff’, which through its characters and their relationships are bound to put anyone who’s ever been in a relationship or for that matter fallen in love with someone in a ruminative mood. This review however would not be complete without a special mention to the film’s soundtrack, which perfectly complements the tone of the scenes of the movie, and is worth keeping in itself. Once again, Pang proves why he is one of the best filmmakers in Hong Kong, and ‘Love in a Buff’ is that movie you want to visit every now and then just to bask in its emotions.
And just to tantalise you to watch this movie at your first chance possible, we'll leave you with a MTV of Shawn Yue imitating Linda Wong's signature MTV- including her distinctive hand movements:
Movie Rating:
(One of the very best rom-coms we have seen, witty, touching and insightful in its portrayal of love, relationships and every other complication in between)
Review by Gabriel Chong
Genre: Horror/Thriller
Director: Joe Nimziki
Cast: Landon Liboiron, Lindsey Shaw, Ivana Milicevic, Jesse Rath
RunTime: 1 hr 32 mins
Rating: M18 (Violence and Sexual Scene)
Released By: Shaw
Official Website:
Opening Day: 3 May 2012
Synopsis: On the eve of his high school graduation, Will Kidman (Landon Liboiron) finally catches the eye of the girl he's longed for these last four years: the mysterious Eliana Wynter (Lindsay Shaw). Will has always been quiet, but he soon discovers a dark secret from his past: He is heir to a vicious line of werewolves. In order to fight nature's primal legacy, Will must do battle with an army of fearsome beasts bent on killing Eliana. Can Will fight his own growing blood lust and save himself from becoming a brutal savage?
Movie Review:
If ‘The Howling’ sounds a tad familiar, that’s because it was in fact the title of a fun werewolf flick from 1981 that became something of a cult classic for its campy blend of horror and comedy. And like many of its genre cousins from the same era, it spawned a string of forgettable sequels that all but drove the franchise into the grave. Fifteen years after the last embarrassing entry, director and co-writer Joe Nimziki attempts to revive the franchise with an all-new reboot set in a high school.
Wait, did you say high school? Yes, the similarity of its setting with the Twilight saga is not simply a coincidence- rather, even as it mocks the ‘twinkly vampires’, it is clear that Nimziki had intended from the very start for his movie to follow the template that the vampires had left behind. So in ‘Twilight’ mode, the movie begins with its lead character Will Kidman (Landon Liboiron, or the teenager from ‘Terra Nova’) narrating in pseudo-serious fashion about the bad things that are going to happen.
But first, Will has a more important matter at hand- and that is, to get the attention of the girl of his dreams, Eliana (Lindsey Shaw). So despite an open threat by her boyfriend, Will shows up at some party and dances with Eliana- though a drug he takes prior leaves him with some illusion that he’s being pursued by a creature that growls and moves with lightning speed. Will might be ignorant, but it’s no secret to us that it had something to do with a clan of three mysterious students trying too hard to channel their inner Cullen.
The occurrence of a rare blue moon phenomenon has somehow emboldened them to realise their plans of multiplying the numbers of their species, led by their alpha male Kathryn (Ivana Milicevic) who just happens to be Will’s long-lost mother for the past 18 years. Before you think that there could be something interesting going on, let us state quite categorically that it is true insofar as Kathryn happens to be a MILF, and not for any psychological dilemma that Will potentially faces.
After all, it seems that Will is too busy trying to get it on with Eliana on the floor of a library in between the bookshelves no less and then in some classroom while in the middle of a pursuit. Can it get any more blatant that Nimziki is trying to cash in on the romantic teen horror craze, right down to the use of sappy soft-rock songs to set the mood? Consider this as fair warning for those who hated any of the ‘Twilight’ movies- if you thought they were bad, this will probably leave you howling in agony.
Even if we were to overlook Nimziki’s deafness of tone, there are still the appalling leaps of logic that are simply inexcusable. Look past the high-tech security lockdown of the school, and you’d still find no way of believing that scores of people can simply vanish without nary any suspicion raised by anyone else at school. Or that Will somehow manages to broadcast a message across all the TV channels? Or that the school is holding its graduation ceremony on a dark stormy night with no parents present? The idiocies are aplenty- but none can match the one where our hero revives his girlfriend using live electrical wires inside an elevator.
In case you’re wondering why we haven’t quite gotten to the werewolves yet, that’s because they only do make an appearance in the last 20 mins of the film. Owing to the film’s budget no doubt, we don’t get to see them until towards the end- which is fine for us had not their revelation turned out so awful. To disguise the fact that the rubbery suits the werewolves wear look absolutely horrendous, Nimziki uses a whole lot of shaky shots which frankly do little for the piss-poor action choreography and a lot to irritate the hell out of us.
Even more infuriating is the fact that the filmmakers obviously don’t know how to quit- so even as the end credits roll, we get some random footage of how the werewolves have reproduced in tremendous numbers across the globe, plunging the entire world into darkness and chaos. And if it hasn’t been clear till this point- unlike the very first ‘Howling’ movie, everything that happens here is meant to be taken seriously, which only confirms not only the ignorance of the people involved, but also their sheer arrogance.
There’s little doubt that the only reason this got made was because it seemed tantalising to do a ‘Twilight’ equivalent but with werewolves instead of vampires- but even if we try to overlook the fact that this is no more than a blatant cash-grab attempt, there is just nothing redeeming about the entire production. We dare say that even episodes of ‘Supernatural’ look better than this crap, which doesn’t so much as breathe new life into the ‘Howling’ franchise than suck what life there was left in it in the first place.
Movie Rating:
(An awful attempt at aping the ‘Twilight’ franchise with werewolves, this supposed reboot of ‘The Howling’ qualifies as one of the worst films of the year)
Review by Gabriel Chong
SYNOPSIS: Maximilian is a helpless divorcee, started a website with the concept of "embrace" that would inspire single men with spare time to assist women in need. A pop singer who has never made it big, Carl was assigned to double as the boyfriend of Chelsia, a member of the now-defunct and passed-girl group, to attend the dinner hosted by Chelsia's mentor, Richard, a lawyer who failed at his marriage is an incompetent dad. Facetiously, he was arranged to disguise as the father of wealthy Cecilia, with the intention to help her select a worthy husband. Ken is a site foreman who is appointed to model for renowned photographer Julie. Hugo is a romance novelist who ironically doesn't believe in love. His outlook in love changed when he came across the beautiful, but blind Charmaine who looks forward to her first romance. Will the four men be able to complete their mission of "embrace" and rediscovers their values and worth?
MOVIE REVIEW:
Come every Chinese New Year, actor/producer Raymond Wong continues his tradition of flogging many of his dead horses, not the least surprisingly, his latest being “All’s Well End’s Well 2012”.
The gist of the story is about how a divorcee started a website with a concept of ‘embrace’ hoping that single men will volunteer their time to help women in need and the story takes a spotlight onto four men namely a has-been singer, Carl Tam (Donnie Yen), a construction worker, Holland Kin (Louis Koo), a romance novelist, Hugo (Chapman To) and a despicable lawyer (Raymond Wong).
Employing once again the services of Chan Hing-Ka who co-wrote and directed this instalment, “2012” on the whole is short on laughs but full of gimmicks. Take for example; Ip Man’s Donnie Yen who transformed himself successfully into a role that make full use of his untapped comedic talents. Donning a wig and bursting into Sam Hui’s repertoire of classic songs, Yen turns out to be the sole highlight of this otherwise ultra bland comedy of the year. Louis on the other hand tries his best hamming it up by speaking in broken English and baring his well-toned chiseled body while Chapman To effortlessly channeled some Peter Chan’s energy as a novelist who found true love in a beautiful blind girl, Charmaine (Lynn Xiong).
Apparently it’s the men who stole the limelight from the ladies, still veteran comedian Sandra Ng and Crystal Tin manages to crank out some good wicked fun by doing a parody of pop group, “Twins”. Kelly Cheng, Lynn Xiong and Mainland star, Yang Mi in the meantime plays it safe and probably nothing from their appearances will tickle your funny bones unless you have a thing for Kelly Cheng acting all so seductively in a skimpy skirt.
As expected, everyone get what he or she desire and live happily ever after, this is after all a movie to coincide with our lunar new year. Running almost two hours and without some witty gags to ride along, this is plainly Raymond Wong’s trick to pull in some quick cash. Whether this is another instalment of “All’s Well End’s Well” series or a reiteration of the original “Eight Happiness”, the end product is strictly for fans and I mean the loyal fanbase only.
P.S. Roping in Taiwanese singer Jeremy Liu to repeat his wonder hit here just isn’t that funny.
SPECIAL FEATURES:
The DVD only comes with "The Great Magician", "All's Well End's Well 2012" and "The Viral Factor" trailer.
AUDIO/VISUAL
The sole Mandarin Dolby Digital 5.1 provided can be annoying at times cos you need to constantly adjust the volume button as the dubbing simply goes up and down without much warning. Images and picture clarity is a plus.
MOVIE RATING:
DVD RATING :
Reviewed by Linus Tee
Genre: Action/Thriller
Director: Gareth Evans
Cast: Iko Uwais, Donny Alamsyah, Yayan Ruhian, Ray Sahetapy, Joe Taslim, Pierre Gruno, Tegar Satrya, Iang Darmawan, Eka Rahmadia, Verdi Solaiman, Alfridus Godfred
RunTime: 1 hr 41 mins
Rating: M18 (Violence)
Released By: Festive Films and Cathay-Keris Films
Official Website: http://theraid-movie.blogspot.com/
Opening Day: 17 May 2012
Synopsis: Deep in the heart of Jakarta's slums lies an impenetrable safe house for the world's most dangerous killers and gangsters. Until now, the run-down apartment block has been considered untouchable to even the bravest of police. Cloaked under the cover of pre-dawn darkness and silence, an elite swat team is tasked with raiding the safe house in order to take down the notorious drug lord that runs it. But when a chance encounter with a spotter blows their cover and news of their assault reaches the drug lord, the building's lights are cut and all the exits blocked. Stranded on the sixth floor with no way out, the unit must fight their way through the city's worst to survive their mission.
Movie Review:
Just when the Asian martial-arts genre had lost one of its brightest young stars Tony Jaa to mysticism, along comes Indonesian actor Iko Uwais to give it a renewed kick of life- and boy let’s just say that it is not simply a kick, but more accurately a lightning jolt. Fans of the genre shouldn’t be all too surprised at the hype surrounding ‘The Raid: Redemption’, the second collaboration between Iko and Welsh-born director Gareth Evans- their first Merantau’ already offered a peek at what the 31-year-old ‘silat’ practitioner was capable of.
Learning from the lessons of their earlier film, Gareth has pared down the elements of plot, character, dialogue and perhaps most importantly culture specificity to deliver a quintessential action film that riffs on Hollywood classics like ‘Die Hard’ and ‘Assault on Precinct 13’. So the premise is kept simple but yet efficient- an elite special forces team is ordered to raid a grimy tenement building that has long been the stronghold of a powerful drug kingpin Tama (Ray Sahetapy).
Uwais’ character Rama is one of the police officers sent into the suicide mission, introduced with a tersely told prologue that sees him kissing his pregnant wife goodbye and telling his father that he will ‘bring home’ his presumably lost brother. Gareth, who also wrote the screenplay, uses the former insofar as motivation for Rama to keep fighting and reserves the latter for a somewhat unexpected plot twist that gives the film more depth than you would expect.
Otherwise, he keeps his focus on the setup for the action sequences which are unequivocally the purpose of the entire movie. Right from the start, we are left in anticipation for that climactic fight between Rama and Tama’s two henchmen Andi (Doni Alamsyah) and Mad Dog (Yayan Ruhian), the latter of whom is described by the team leader (former Indonesian judo champion Joe Taslim) as ‘a maniac of feet and fists that would tear down walls for his boss’. That doesn’t mean however that Gareth, who co-choreographed the action with Yayan and Iko himself, takes it easy in the meantime.
Rather, he unleashes all the bullets at his disposal within the first half-hour, as the team finds themselves up and against every lowlife tenant in the building, promised free rent by Tama if they can rid the building of its recent ‘cockroach infestation’. What’s worse, the building is rigged with cameras at every corner and on every floor which Tama views from the safety of his control room right up on the fifteenth storey- and suffice to say it isn’t long before the whole team is whittled down to just Rama, his team leader and their corrupt boss Lt. Wahyu (Pierre Gruno).
No matter really- simplicity is still ultimately the beauty of this no-holds-barred action movie so the faster we get to the good guys that matter the better. To up the ante, our heroes are clearly outnumbered as they are set upon floor by floor by thugs wielding knives, guns and machetes. Even though these earlier fights are just appetisers for the main showdown, it is evident that no lack of effort has been made to ensure that each is gripping to the bone.
Amidst snapped necks, smashed skulls and slit throats, the singular thing that impresses is the thrilling efficiency by which Iko dispatches his opponents. There is nothing too elaborate that the killings appear contrived; rather, brutal as they may be, Iko keeps them realistic and most of all inventive, coming up with new ways each time round to ensure that the brawls are always never less than captivating. Kudos to Iko for both his choreography and execution, both of which combine to emphasise the artistic aspect in the martial-arts form on display.
In contrast to Iko’s Rama, there is something elementally frightening about Yahan’s Mad Dog, who in an extended sequence sure to make the squeamish wince, uses his plain fisticuffs to beat one of the police officers to his death instead of ending it quickly with his pistol. “This is what I do,” he says, holding up his hands- so formidable is he that when Rama eventually takes him on, it becomes a two-against-one battle with the odds in the latter’s favour.
That finale, taking place inside the confines of an iron-walled room, is one of the most exhilarating and exhausting fight scenes ever captured on film, capped with a satisfyingly violent finish that had the audience at this reviewer’s screening clapping their hands in glee. And the best part about it is that you get to see every move in the clarity it deserves, both lensers- Matt Flannery and Dimas Imam Subhono- constantly offering fresh new angles to the action and vehemently eschewing the kind of shaky-cam or quick editing Hollywood is too fond of employing nowadays.
Complemented with a pulsating score by Joseph Trapanese and Linkin Park’s Mike Shinoda, there is no doubt this exceptional film deserves all the positive buzz that has come its way since premiering to raves at the Toronto International Film Festival. It is relentlessly breathtaking every step of the way, building tension and excitement minute by minute until it unleashes its ultimate salvo guaranteed to leave you cheering. Under the assured hands of director Gareth Evans, who despite his young age has mastered a skilful grasp on the action genre, ‘The Raid: Redemption’ is also sure to be a star-making vehicle for Iko- and if you can’t quite figure out why there is the word ‘redemption’ in its title, then take it simply for the fact that it has brought due recognition to the dazzling partnership between Iko and Gareth after the under-appreciated ‘Merantau’
Movie Rating:
(A must-see for all action junkies- this is the quintessential martial-arts movie of the year, packed wall-to-wall with no-holds-barred thrills and exhilarating real-life stunts)
Review by Gabriel Chong
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S.H.E.'S ELLA CHEN AND MIKE HO DEBUT "BAD GIRLS"Posted on 13 Apr 2012 |
Genre: Family/Comedy
Director: David Bowers
Cast: Zachary Gordon, Devon Bostick, Robert Capron, Steve Zahn, Rachael Harris
RunTime: 1 hr 32 mins
Rating: PG
Released By: 20th Century Fox
Official Website:
Opening Day: 30 August 2012
Synopsis: During his summer vacation, “Wimpy Kid” Greg Heffley, the hero of the phenomenally successful book series, hatches a plan to pretend he has a job at a ritzy country club – which fails to keep him away from the season’s dog days, including embarrassing mishaps at a public pool and a camping trip that goes horribly wrong.
Movie Review:
This much we know: Greg Heffley isn’t going to be as popular as Harry Potter. We hear you ask: Greg who? If the graphic novel series “Diary of a Wimpy Kid” doesn’t ring a bell with you, then Greg probably isn’t one character you may feel affection for. The series of fiction books written by American author and cartoonist Jeff Kinney are the journals of Greg, a kid whom you’d affectionately call “loser”. But in this day and age, it’s the underdogs we love rooting for, right?
The comedy family movie is the third in the film series and is based on the third and fourth books in the series, The Last Straw and Dog Days. There is nothing much to shout about for the plot – School is out for our protagonist and he is all ready for summer. As expected, plans go wrong and he ends up in mess after mess. How is he going to survive the summer with his almost good for nothing best friend Rowley Jefferson, his tyrannical older brother Rodrick and the love of his life Holly Hills?
The 94 minute movie plays out like a sitcom, with short episodic acts entertaining its audiences from beginning to end. The harmless humour and sometimes juvenile jokes will be welcomed by the young ones, while the older viewers may appreciate the simple hilarity which is sorely lacking in today’s comedies.
Production values are low here, simply because this series of movies were never meant to be your high octane blockbusters. The straightforward cinematography and editing is a nice breather from the pompous explosive high budgeted flicks we’ve been seeing lately.
Those who have watched the last two instalments in the series (2010’s Diary of a Wimpy Kid, 2011’s Diary of a Wimpy Kid: Rodrick Rules) would be familiar and unsurprised by how this movie plays out. The pacing is breezy and somewhat inconsequential. The jokes are safe and risk free, yet feeling relevantly current at the same time. The small scale production is accessibly enjoyable, and how can one not like Greg, the kid who seems to have everything wrong happening in his life?
Credit goes to the likeable cast the filmmakers have put together for the series. Zachary Gordon has grown up quite a bit since we first saw him in this starring role two years ago. The 14 year old American actor remains pleasant and affable, and there is little chance anyone would loathe his screen presence. The supporting ensemble of young actors (Robert Capron as Rowley, Devon Bostick as Rodrick, Peyton List as Holly) also deliver decent performances here. Having less screen time this time round are Karan Brar (Chirag Gupta), Grayson Russell (Fregley) and Laine MacNeil (Patty Farrell), but fans would smile every time these characters appear on screen. As expected, adult actors Steve Zahn and Rachael Harris let their younger counterparts shine in the movie.
There is a chance you may not recognise any of the character names we mentioned in the last paragraph, but that doesn’t mean you won’t enjoy the movie, considering how lightweight and pleasurably enjoyable it is. It will be an effortless movie experience which you may want to consider for after a stressful week at work.
Movie Rating:
(Fans will be pleased that this third movie does not disappoint, while newcomers are welcome to enjoy for this breezy family comedy)
Review by Fabian Foo
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