SYNOPSIS: Firefighter Jeremy Colton (Josh Duhamel) witnesses a murder committed by a Long Beach gang leader (Vincent D’Onofrio) and goes into a protection program so he can testify against the man who's been a longtime target of police officer Mike Cella (Bruce Willis). When the life of Jeremy’s girlfriend (Rosario Dawson) is threatened, he enlists the help of a rival gang leader (Curtis Jackson) and takes the law into his own hands.
MOVIE REVIEW:
Transformers hunk Josh Duhamel plays Jeremy Coleman, a suave firefighter who witnesses a brutal murder taking place in a convenience store. Though placed under a witness protection program shortly after, Coleman and his girlfriend, Talia (conveniently also his assigned U.S. Marshal) are nearly killed by hired hitmen. Taking matters into his own hands, Coleman decides to take out David Hagan (Vincent D’Onofrio), the kingpin who is responsible for the murder and hit before the latter kills Jeremy’s loved ones.
Instead of Steven Seagal, Jean-Claude Van Damme and Cuba Gooding Jr in the lead, we have Josh Duhamel and also Rosario Dawson from Trance as the love interest and A-lister Bruce Willis as the grizzled local cop Mike Cella. Duhamel is almost forgettable in the role, Dawson needs a better agent, Willis (with no more than 15 minutes of screentime) is the lucky one to go back and forth from blockbusters to straight-to-DVD stuff and Vincent D’Onofrio is the only one who sizzles as the ruthless gangster. A long list of recognizable names including 50 Cent, Julian McMahon, Quinton "Rampage" Jackson, Vinnie Jones and Kevin Dunn are also thrown into this production by 50 Cent’s Cheetah Vision making it a surprising star-studded affair.
Fire With Fire is that kind of generic direct-to-video flick without much of an ambition and budget. The avenger story is predictable and you can easily guess Coleman’s next move even before he punched out Vinnie Jones’ tough as shit henchman character. Director David Barrett with a background in stunt is content with pulling off some violent shootouts and a climax that involves a burning building especially when your leading character is a fireman, you need to justify and showcase his skills liked throwing an axe onto his opponent and torching the baddies.
If you love a movie filled with random beating, killings and deaths then Fire With Fire more than suffices. On the other hand if the name Bruce Willis and his large bald head on the cover enticed you to it, then you have unfortunately made the wrong choice.
SPECIAL FEATURES:
NIL
AUDIO/VISUAL:
The DVD comes with both serviceable audio and visual.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
SYNOPSIS: Academy Award winner Charlize Theron stars as Mavis Gary, a 37 year old former prom queen and current writer of young adult novels who returns home to relive her glory days and win back her now married high school sweetheart. When she finds her homecoming more challenging than expected, Mavis forms an unusual bond with a former classmate and both must face the harsh realities of growing up.
MOVIE REVIEW:
At times, even with an acclaimed director and a marquee name onboard doesn’t guarantee a release on our shore. “Young Adult” is a perfect example.
Oscar winner Charlie Theron returns to the big screen after a short hiatus as Mavis Gray, a divorcee, down-and-out ghost writer of young adult books. Coming across an email announcing the birth of his daughter from his ex, Buddy Slade (Patrick Wilson from “Little Children”), Mavis decides to travel back to her hometown, Mercury to win back Buddy whom she truly believes they should be together.
Get it? A divorcee trying to woo back her ex-now happily married boyfriend. The latest movie from Jason Reitman (“Juno”, “Up In The Air”) and his frequent collaborator, writer Diablo Cody is a painful journey of a walking train wreck. Thrown in a little midlife crisis and you know Mavis Gray needs a lot of therapy. It’s painful to watch Mavis shamelessly trying to get back into Buddy’s good book, she did her hair and manicure and tried everything but forgetting the fact that her past relationship with Buddy is over for the latter. Seriously, there’s nothing funny watching a person going downhill and no the occasional dark humour doesn’t help either. However watching Mavis insisting on signing her own books to the dismay of the bookstore sales rep only proves Cody’s trademark humour is still kicking and alive.
Fortunately, the introduction of the character, Matt Freehauf (played by Patton Oswalt who is famous for his voice talent in “Ratatouille”) helps to keep things afloat as he is probably the only sane voice in Mavis’ life. Freehauf is the high school classmate (unknown to Mavis at that time because she is a hot property) of Mavis and despite facing an abusive and life-threatening episode in his life; Freehauf offers some really tough life-lessons for Mavis.
Probably, most viewers are going to get uncomfortable with Mavis’ antics in “Young Adult” as this is neither a feel-good rom-com nor a dark comedy to laugh about which of course brought up the question why it’s not commercially viable to be release in the first place. Theron’s performance as Mavis is classy to say the least. She is practically flawless as the gorgeously-looking terrible person that everyone disliked. The other noteworthy performance belongs to Patton Oswalt who portrays the poignant geek boy.
If you are a fan of Reitman and Cody’s past works and love watching angry people making questionable decisions, then this drama about dysfunctional characters might make an interesting talking point during your lunch break.
SPECIAL FEATURES:
It’s a pity writer Diablo Cody did not participate in this commentary track instead we haveDirector Jason Reitman, Director of Photography Eric Steelberg and First Assistant Director/Associate Producer Jason A. Blumenfeld who offered the usual shooting anecdotes in Filmmakers’ Commentary.
Diablo Cody and Jason Reitman discuss the process of shooting a particular scene set in a bar in The Awful Truth: Deconstructing A Scene.
Unless you crave to see more of Mavis and her dog, Dolce, you probably won’t bother too much about these three Deleted Scenes.
AUDIO/VISUAL:
The DVD transfer liked the movie is not a flashy showcase but does its job conveying the mood, shades and facial detail. Flashy doesn’t belong to the audio transfer as well as “Young Adult” offers only a clear audio track and some light ambient sound effects.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
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BOOK REVIEW #2: "TINA FEY'S BOSSYPANTS"Posted on 12 Jul 2012 |
British film composer Henry Jackman first caught our eyes when he took on composing duty for the 2009 computer animation Monsters vs. Aliens. Upon some research, we found out that he has been involved in several high profile projects with the renowned Hans Zimmer. Films Jackman worked on include Tha Da Vinci Code (music programmer), The Dark Knight (music arranger) and Pirates of the Carribean: Dead Man’s Chest (additional music).
Over the years, Jackman has gone solo and been working on several big titles like X-Men: First Class and Puss in Boots. This year, he takes on the summer blockbuster to come up with a hard hitting score for this Timur Bekmambetov directed film.
The style for this score blends electronics and the traditional orchestra to create a 45 minute album chockfull of bold and brazen music guaranteed to please any action score fan. This is evident in “The Horse Stampede”, an all out cue with pulsating beats and vivacious brass performances. “Battleat Gettysburg” is another track which will leave an impression with listeners for its effervescent spirit.
The darker and more menacing tunes on the soundtrack (it is a movie about a vampire hunter after all) can be heard in tracks like “What Do You Hate?”, “Rescue Mission” and “All Slave to Something”. While there is nothing particularly memorable about Jackman’s music on this album, it serves the genre well enough to get a recommended rating.
There are quieter moments on the album as well. The opening track “Childhood Tragedy” is a somewhat melancholic introduction to Jackman’s compositions, while “Mary Todd” is an affecting display of strings. “The Gettysburg Address” and “Late to the Theatre” are inspiring compositions which showcase the composer’s versatility and ability to create bold summer movie music.
Concluding the listening experience is the no holds barred “The Rampant Hunter”, which will leave you in a state of shock with its unabashed music arrangement of electronica.
ALBUM RATING:
Recommended Track: (20) The Gettysburg Address
Review by John Li
This reviewer never thought he would shed tears after listening to a superhero score. Well, it happened. The seven minute cue “I Can’t See You Anymore” on this soundtrack album has to be the most affecting track he has heard on any local releases this year. Tugging at your heartstrings is composer James Horner’s sincere depiction of Peter Parker and Gwen Stacy’s forbidden romance, one that showcases a gorgeous string performance and a heartbreaking piano rendition that follows.
This is just one of the favourites on this 77 minute soundtrack which outdoes the scores from the previous Spider-man franchise. Horner takes over the job of composing from Danny Elfman (the first two installments) and Christopher Young (the third movie), coming up with a whole new main theme for the web slinging superhero.
Kicking off the album is “Main Theme – Young Peter”, which wastes no time in creating an impression with its listeners. The main theme is introduced over a nicely orchestrated ensemble of trumpets and electronic synthesizers. A nice touch to this track is the addition of vocals, making the experience somewhat ethereal. “Becoming Spider-man” follows up with an engagingly paced arrangement, before coming to a lovely string and choral peak in the middle of the cue.
The tracks that follow may not leave much impression, but are decent compositions which not only are easy on the ears, but also transits between each other nicely to tell the story of how Parker becomes who he is eventually.
“Ben Death” is a menacing and dark cue, while “The Bridge” and “Lizard at School!” provides the thrills and spills of an action score expected from a superhero flick. The dramatic music presented on this tracks are reminders of how old school orchestrations can heighten the senses effectively.
The romantic “Rooftop Kiss” is tender and features a beautiful oboe solo. This love theme between Parker and Stacy will be reprised in the earlier mentioned “I Can’t See You Anymore” – except that it may just bring tears of melancholy to your eyes.
ALBUM RATING:
Recommended Track: (19) "I Can't See You Anymore"
Review by John Li
If you had adored Woody Allen’s film featuring intertwining tales of a worker, an architect, a young couple and a frustrated opera director – all set in the romantic city of Rome, then this soundtrack album would be your cup of tea. Featuring 49 minutes of music that’s evidently Italian, the album may not appeal to your regular pop song addict who’s used to saccharine love songs and thumping techno tunes.
The soundtrack kicks off with “Nel Blu Dipinto Di Blu (Volare)”, a graceful track which sets the tone for the entire disc. Following that is the spirited “Amada mia, amore mio”, a cue clearly meant for those with acquired music taste.
The true test of whether this soundtrack will suit your taste is “E Lucevan Le Stele” (from Giacomo Puccini’s Tosca) and “Nessun Dorma” (from Turandot, also by Giacomo Puccini) two opera selections which will, if you have seen the film, remind you of the character singing in the shower.
Other opera cues include “Son Qua, Son Qua”, “Vesti La Giubba” and “Duetto e Finale”, three selections from Pagliacci, an Italian opera with music and libretto by Ruggero Leoncavallo.
Elsewhere, you will continue to imagine yourself walking the streets of Italy with cues like the breezy “Mio Dolce Sogno” and the elegant “Non Dimenticar Le Mie Parole”/ While we will not pretend to fully appreciate the cultural intricacies represented on this album, it is still somewhat still a pleasant listening experience which will transport you to the other side of this planet, where conventional bubblegum mainstream pop isn’t the norm.
ALBUM RATING:
Recommended Track: (1) Nel Blu Dipinto Di Blu (Volare) - Domenico Modugno
Review by John Li
Genre: Crime/Thriller
Director: Morten Tyldum
Cast: Aksel Hennie, Nikolaj Coster-Waldau, Synnove Macody Lund, Julie Olgaard, Kyrre Haugen Sydness
RunTime: 1 hr 40 mins
Rating: M18 (Some Sexual Scenes And Violence)
Released By: Cathay-Keris Films and InnoForm Media
Official Website: http://www.magpictures.com/headhunters/
Opening Day: 26 July 2012
Synopsis: Save for a somewhat diminutive stature, Roger is a man who apparently has it all; he's Norway’s most successful headhunter, he's married to the exceedingly beautiful gallery owner Diana, has a far too expensive villa and must, to keep his head above water financially, steal a little too much art. Clas Greve is the perfect candidate for Roger's new recruitment assignment, being a former elite soldier and chief executive in the electronics business. He's also in possession of a very valuable painting. Robert eyes a chance to permanently get rid of his financial worries and begins planning his final, greatest score. It turns out that Greve is playing games as well. When Roger breaks into Greve's house, he finds something that changes his life completely, and soon forces him to run for his life...
Movie Review:
“Headhunters” is out for blood. In this movie, you see bodies getting mangled, faced being smashed in, and blood spraying all over the place. It’s all part of the dazzling mayhem. But, in a case of unfortunate ironic titles, “Headhunters” doesn’t make a lot of sense too, at least when it comes to believable character motivations.
Roger (Aksel Hennie), a high-flying recruiter, is happily married to a leggy blonde. His wife, Diana (Synnøve Macody Lund), towers over his dimunitive frame, and this apparently fuels the source of his anxieties. The film, in fact, opens with a voiceover from Roger, with him stating his height and confessing his need to “compensate” for it. Apparently being a successful executive isn’t enough to soothe his napoleon complex – Roger has to inject his life with a constant dose of danger and brashness, to feel like the – or just, a – man! and so he moonlights as an art thief. (As a short person, I find this whole “need to compensate” thing absolutely ridiculous, and a lazy explanation for a character’s choice to turn to crime.) He breaksinto clients’ houses, taking expensive pieces of art and leaving replicas in their place.
But of course, it’s not all about the ego, people. A rich, respectable headhunter does not merely need huge sums of money to quench his insecurities, he needs it because he’s afraid of being faced with his wife’s rejection should he not shower her constantly with lavish gifts! Evidently, Roger is besotted with his wife, whom we think of as somewhat of a spoilt, entitled brat at this point – not a big surprise, since he is, himself, an entitled creep, who routinely uses women and then discards them.
He soon finds out that Clas (Nikolaj Coster-Waldau, from Game of Thrones), a client that he is going after, may be having an affair with his wife. Clas is successful, rich, handsome, and most importantly, TALL! and so the very revelation of Clas’ and Diane’s covert liaisons send him into a rage, and he soon plots to systematically ruin Clas’ career. Clas gets wind of this, and uneager to be made to look like the beta male, decides to turn the tables and become the predator himself, hunting Roger down, and he won’t stop till he kills Roger. It makes sense!
The film, adapted from a book by Norwegian novelist Jo Nesbo, is a heady mix of violence, comedy, some macabre humour, but a crucial missing ingredient is narrative sense. But despite the ostensible disregard for logic and hollow characters, the film, at its best (stretches), is a marvel to watch, and an enthralling experience to sit through. It’s deftly shot and adroitly edited, and director Morten Tyldum clearly has a gift for muscle-clenching suspense. He works the man-on-the-run premise with assuredness and skill, and some of the scenes where Roger escapes from Clas by a hair’s length are sure to keep you on the edge of your seat. But you never get the real sense that the two characters are remotely believable characters even if you truly feel sorry for Roger when you see the depths he has sunk to (literally – in a scene he descends into a pile of shit).
That Roger, an unlikeable creep whose own hubris partly caused his own exile from his cushy-executive perch, could start to elicit sympathy from us along the way is not just a testament to Hennie’s skill as an actor – he’s great at using his eyes to convey his character’s pensiveness and paranoia – but also to Tyldum’s craftsmanship. Tyldum calculatedly sends Roger through ordeals that progress in degradation; he eventually breaks Roger down and makes him learn humility. It’s a smart way to make us forget that Roger was always more a caricature than a genuine character to begin with, and almost succeeds at doing so.
Movie Rating:
(Terrifically suspenseful, but requires you to take a leap of faith and to accept the film’s (many) implausibilities)
Review by Raymond Tan
Genre: Documentary
Director: David Gelb
Cast: Jiro Ono, Yoshikazu Ono
RunTime: 1 hr 21 mins
Rating: PG
Released By: Golden Village Pictures
Official Website: http://www.magpictures.com/jirodreamsofsushi/
Opening Day: 26 July 2012
Synopsis: JIRO DREAMS OF SUSHI is the story of 85 year-old Jiro Ono, considered by many to be the world's greatest sushi chef. He is the proprietor of Sukiyabashi Jiro, a 10-seat, sushi-only restaurant inauspiciously located in a Tokyo subway station. Despite its humble appearances, it is the first restaurant of its kind to be awarded a prestigious 3 star Michelin review, and sushi lovers from around the globe make repeated pilgrimage,, calling months in advance and shelling out top dollar for a coveted seat at Jiro's sushi bar. For most of his life, Jiro has been mastering the art of making sushi, but even at his age he sees himself still striving for perfection, working from sunrise to well beyond sunset to taste every piece of fish; meticulously train his employees; and carefully mold and finesse the impeccable presentation of each sushi creation. At the heart of this story is Jiro's relationship with his eldest son Yoshikazu, the worthy heir to Jiro's legacy, who is unable to live up to his full potential in his father's shadow. The feature film debut of director David Gelb, JIRO DREAMS OF SUSHI is a thoughtful and elegant meditation on work, family, and the art of perfection, chronicling Jiro's life as both an unparalleled success in the culinary world, and a loving yet complicated father.
Movie Review:
It is a sad but true fact that modern-day society has tended to place too much emphasis on the pursuit of success defined in tangible and even grandiose forms but not so much on the far more meaningful pursuit of perfection. No wonder then that ‘Jiro Dreams of Sushi’, a thoughtful and absolutely inspiring portrait of the 85-year-old sushi chef Jiro Ono, comes like a breath of fresh air, demonstrating the superior fulfilment one gets by putting perfection ahead of success- since it is with the former that the latter will inevitably follow.
As is with most of our readers, we had not heard of Jiro Ono before this documentary, but here’s just a few facts about him to tantalise you. Jiro is the owner of a 10-seater basement-level restaurant Sukiyabashi Jiro accessible via underpass en route to the Ginza subway station. Yet despite the fact that the restaurant has a fixed-menu, serves only sushi, and will set you back a whopping ¥30,000 (or $$480), you have to make reservations at least one month in advance in order to secure a seat.
And here’s the most amazing thing- that humble restaurant has been awarded three Michelin stars, with both celebrity chefs Anthony Bourdain and Joel Robuchon proclaiming that their best sushi experience was at that very establishment. It’s a fascinating subject for a documentary, and debut feature helmer David Gelb more than does his subject justice with a thoroughly intriguing look at Jiro’s recipe for perfection as well as the dynamic between Jiro and his eldest son cum future heir to the business Yoshikazu.
It’s no secret to reveal that dedication, hard work and perseverance are the ingredients to Jiro’s success today- and Gelb demonstrates this through interviews with a prominent Japanese food critic Yamamoto Masuhiro, current and former apprentices, and of course Jiro himself. Each of these are informative and insightful, yielding different perspectives on the master – or as the Japanese would call him, ‘shokunin’, which means artisan – and among the ones you won’t forget are his exacting ten-year training regime for staff and his constant and consistent pursuit for betterment.
Yet any portrayal of Jiro cannot be complete without his two sons - the elder Yoshikazu mentioned earlier and his younger son Takashi, who runs the restaurant’s only other branch in the upscale Roppongi Hills neighbourhood in Tokyo. Instead of a college education, both sons were trained by their father from young as sushi chefs, and as Jiro himself admits, their tutelage could not have been any much easier than the other kitchen workers who spend hours fanning sheets of nori seaweed over a coal fire or practise making sweet omelette 200 times.
Throughout the movie, Gelb deliberately teases the question of whether the younger Ono, Yoshikazu, is indeed worthy enough to take over the reins from Jiro. It’s not easy trying to live up to the expectations of a perfectionist father (“Jiro’s ghost will always be there watching,” he says with resignation at one point) but the answer as to whether Yoshikazu is good enough, is absolutely gratifying when it comes. Compared to Yoshikazu, less emphasis is paid on Takashi, except to imply that Takashi’s methods will never be the same as that of Jiro’s.
Interesting to note too that Jiro isn’t the only one so passionate about his work- in fact, as Yoshikazu brings us on a tour of the teeming Tsujiki market where the restaurant, like most if not all other sushi joints in Tokyo, gets its catch, it becomes clear that Jiro has been able to keep up such high standards in his food precisely because his suppliers share the same demanding standards over the catch they sell. It’s almost a code of practice between the two parties, and even Jiro’s rice supplier refuses to sell the same rice he does to Jiro to the folks at the Grand Hyatt because he thinks he might as well not let them have it if they don’t know how to cook it.
The attitude displayed by these individuals, including of course Jiro, is truly admirable – and like the people in the film, Gelb’s documentary while multi-faceted in its subjects, remains as its titular character singular of purpose in reminding its audiences the reason for Jiro’s extraordinary success thus far. Of course, there are the requisite mouth-watering shots of freshly made sushi to tantalise your tastebuds, but what ultimately rings loud and true is the very qualities that has gotten Jiro recognised by the Japanese government as a ‘national treasure’.
And as far-fetched as the title may sound, it is actually meant to be taken literally – “in dreams I have grand visions of sushi,” says Jiro, the pursuit of which forms the very essence of his being. We dare go as far as to say that watching ‘Jiro Dreams of Sushi’ is a life-changing experience, one that forces you to reflect and re-evaluate your priorities, to place perfection over success, and to recognise that the pursuit of one’s dreams can truly be fulfilling.
Movie Rating:
(Both fascinating and inspirational, this portrait of a man in pursuit of perfection is a humbling and life-changing experience)
Review by Gabriel Chong
Genre: Comedy/Romance
Director: Tanya Wexler
Cast: Maggie Gyllenhaal, Hugh Dancy, Jonathan Pryce, Rupert Everett, Felicity Jones, Gemma Jones, Anna Chancellor, Ashley Jensen, Sheridan Smith, Malcolm Rennie
RunTime: 1 hr 40 mins
Rating: NC-16
Released By: Golden Village Pictures and InnoForm Media
Official Website: http://www.hysteriathefilm.com/
Opening Day: 26 July 2012
Synopsis: "Hysteria", a mischievously inspired romantic comedy set in the late 19th century, is based on the surprising truth of how Mortimer Granville came up with the world's first electromechanical vibrator in the name of medical science.
Movie Review:
In case you’re wondering why you should be excited about ‘Hysteria’, how about this- the British comedy/ drama explores the origins of the electromagnetic vibrator. Got your attention yet? Well here’s the fact- the vibrator was invented by a certain Dr. Mortimer Granville in the 1880s as a cure for women diagnosed with hysteria, a catch-all term then used to describe females who suffered from bouts of anxiety, depression and frustration due to sexual discontent.
Of course you’re probably wondering - now that I already know how the vibrator came to be, what more can I learn from sitting through an hour and a half of ‘Hysteria’? For a start, Tanya Wexler hasn’t approached the material with the clinical seriousness you would expect- as compared to say David Cronenberg’s talky ‘A Dangerous Method’. Instead, her no doubt heavily fictionalised retelling is told with zest, verve and wit- and while it does remain true to the broad facts of the story, it is also not afraid to take liberties to offer crowd-pleasing feel-good entertainment.
Blessed with an amusing script from husband-and-wife team Stephen and Jonah Lisa Dyer, Wexler thankfully never lets the subject descend into farce even while maintaining a winking tone throughout. Certainly, she’s not afraid to portray the obstinacy of the medical community, which in the film’s opening scene, is shown defending antiquated practices of blood-letting and dismissing Lister’s germ theory or even the basic need for antiseptic conditions to prevent infection. Unlike most of his fraternity, Granville (Hugh Dancy) is forward-looking and not afraid to speak his mind- leading to his expulsion from a local hospital.
He finds employment under the roof of Dr Robert Dalrymple (Johnathan Pryce), a specialist in the area of ‘hysteria’ through his method of pelvic massages. Basically, that consists of physically hand-massaging his patients’ private parts while they lie flat with their legs propped open under a puppet-theatre curtain (and no, to our male readers who were piqued and female readers who were disturbed by that description, there is no nudity on display). Though never explicitly mentioned, as you may have come to expect, Dalrymple’s practice is so successful because it leaves the women in ecstasy- or in orgasm if you like.
Who wouldn’t want a job like Granville’s? Not exactly- as his list of patients grow, and he struggles to cope with their sheer numbers, he begins to develop hand cramps, so much so that he has to ice his hand after every massage. Eventually it takes its toll on his career, which is where, together with his wealthy pal Edmund (Rupert Everett), he gets the idea of modifying the electric feather duster to administer the same pleasure to his patients without the physical exertion.
Beyond the invention alone, Wexler also touches on the social context in Victorian England, addressing the root cause of their ‘hysteria’. It isn't as simple as good sex, but rather equal rights- and so aside from his practice, Granville is also confronted by the feisty feminist Charlotte (Maggie Gyllenhaal) who also happens to be Robert’s older daughter. While Granville may have been taken by Charlotte’s younger and quiet sister Emily (Felicity Jones), he soon finds himself unable to resist the independent-minded Charlotte. The two aren’t that different- both are bold enough to confront the mores of their times, whether is it in the medical profession for the former or society for the latter.
Dancy and Gyllenhaal make for a delightful couple, their back-and-forth banter characteristic of the most enjoyable rom-coms. Just as captivating is Everett- though in far less scenes than any of the other characters, his offbeat character steals the limelight from Dancy whenever the two appear together. But Dancy holds his own in several others as well, portraying Granville as both earnest and perceptive. And truly as it is with Dancy so can it too be said of the rest of the cast, that their performances match the pitch of the material perfectly.
So there is much more to enjoy in ‘Hysteria’, even if you do already know how that object of sexual pleasure came to be. This is fine British comedy, wrapped in nice period detail and filled with plenty of light charming moments. It is engaging and humorous throughout, and even if it doesn’t leave you in rapture, its infectious vibes will still offer good pleasure.
Movie Rating:
(Witty and charming without ever being offensive, this British comedy about the invention of the vibrator will leave you on a cheerful high)
Review by Gabriel Chong
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The Dark Knight Rises Costumes & Batman Trilogy Retrospective Display @ Bugis+ & Bugis JunctionPosted on 16 Jul 2012 |
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