Report Card

Naked Lunch (1991)

2012-02-01T23:30:00.000+08:00

THE SCOOP
Director: David Cronenberg
Plot: After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally murders his wife and becomes involved in a secret government plot being orchestrated by giant bugs in an Islamic port town in Africa.

Genre: Biography/Drama/Mystery
Awards: Nom. for Golden Bear (Berlin).
Runtime: 115min
Rating: M18 for heavy drug content, bizarre eroticism, and language.

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IN RETROSPECT
Naked Lunch sounds like the title of a provocative film. To some extent, thatis true. Directed by Canadian auteur David Cronenberg, the film is a looseadaptation of William S. Burroughs' novel, once considered unfilmmable, and nowstill considered unfilmmable. Yet after the cult success of films such as The Fly (1986) and Dead Ringers (1988), one would have felt that if there was anyonewho could bring Burroughs' non-linear, loosely connected chapters to the bigscreen, it would be Cronenberg. The extremely heated debate surrounding thesubject matter of the book also complements Cronenberg's fascination withcontroversy, which arguably reached its pinnacle in Crash (1996).

Try as you may, butNaked Lunch is difficult tocomprehend from a logical perspective. The situation is worse if you have notread Burroughs' novel before. The film combines elements in the novel with somesnippets of Burroughs' real life, including a scene in which the leadcharacter, Bill Lee (Peter Weller), accidentally shoots his wife, Joan (JudyDavis), in her head in a macabre variation of the William Tell routine,sparking the film's main "narrative". It is difficult to even brieflydescribe the plot in Naked Lunch; itwill not make any sense. The film is like a mystery-fantasy-drama topped withfillings of bizarre scenes.

Because of thenature of the plot, it is hard to be engaged by it. However, at least thefilm's array of not-so-normal characters keep things borderline interesting. Beprepared for some disturbing scenes, some of which are the hallucinations ofBill, while others straddle the line between reality and fantasy, both of whichare not certain in anyone's mind, let alone Bill's, who seems remarkably sane.Cronenberg does not compromise on his vision, and true to his auteurial roots,he gives us some shocking moments including a crazy scene of a man-insecthaving brutal sex with another man in a cage.

Naked Lunch's style is a throwback to the mystery-noir films of the 1970s suchas Polanski's Chinatown (1974),though it adopts a more retro-cool look. Accompanied by a spirited jazzy scoreby long-time collaborator Howard Shore, Cronenberg's film is a strange hybridof visuals and sound, which when taken as a whole is somewhat unclassifiable. Naked Lunch is not easy to register andwill lose most of its audience from the second act. Technically, it is awell-made film with some ingenious showcase of makeup and non-CG specialeffects. But even as an admirer of Cronenberg's cinema, I find Naked Lunch challenging to like.

Verdict: Bizarre, yes. Engaging, no. Cronenberg tries toohard to be himself, alienating fans with an all-too literal adaptation of Burroughs'novel.

GRADE: C- (5.5/10 or 2.5 stars)

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Eraserhead (1977)

2012-01-29T13:00:00.000+08:00

THE SCOOP
Director: David Lynch
Plot: Henry Spencer tries to survive his industrial environment, his angry girlfriend, and the unbearable screams of his newly born mutant child.

Genre: Fantasy/Horror/Sci-Fi
Awards: -
Runtime: 85min
Rating: Officially rated PG by the Singapore Board of Censors, but I think there is a mistake. The film should be classified under an M18 rating for disturbing scenes and gore.

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IN RETROSPECT
Anyonewho has seen Eraserhead knows howgood a debut film it is by American auteur David Lynch. With this breakthrough,Lynch has laid the foundations for a brand new style of filmmaking that is afusion of elements of what has transpired before Eraserhead and what came after this cult film, of which Lynch hasattempted to reinforce, though not entirely, with films such as Blue Velvet (1986), and Mulholland Drive (2001). Eraserhead is still his most nightmarishfilm to date, a film that is at once repulsive yet strangely beautiful towatch. It hooks you from the start with its haunting imagery, and never lets gountil its shocking climax.

Eraserhead isimbued with an intoxicating Lynchian mood and tone. It is a psychedelic andsurreal trip into a world of madness, one that is bounded by the rules ofreality, yet subsuming all other matters of rationale and logic to give anuncomfortable cinematic experience that will stay long in the mind. Jack Nanceplays Henry Spencer, the film’s lead character, and whose eyes we see thisterrifying world with. Henry lives in a polluted land, ravaged by decades ofindustrial work that seemingly does not pause. There appears to be few livingsouls around as people hide in their homes, perhaps out of fear of theenvironmental contamination.

Lynch’svision is extraordinary. Shot in high contrast black-and-white, Eraserhead echoes traces of GermanExpressionism, of which seminal films such as Nosferatu (1922) provide some kind of artistic influence.Surrealism comes in only after some time, most notably in arguably the film’smost disquieting sequence – the lady in the radiator who sings a skin-crawlingsong about heaven, as slug-like creatures drop around her onto the stage. The“stage”, I feel, is an omnipresent visual motif in a number of Lynch’s films. InEraserhead, I feel the “stage”represents some sort of eternally-blissful platform where reality andsurreal-ity meet, only that what appears to be blissful is just a façade.

Eraserhead isquite gruesome, and in many ways, it is a film best left to watch on an emptystomach. The black-and-white veil does not hide the film’s power to disgust,both at a visceral level and in a bizarre, sexual way. Phallic symbols adornthe film, sometimes in seductive ways, other times in threatening ways. But itis the film’s thick and unsettling atmosphere, coupled with the brilliant useof creepy sound design that make Eraserheadsuch a fascinating film to watch. It is depressing, revolting, and morbid, butthat’s where the fascination lies. And that’s why this Lynchian horror art filmhas achieved its notorious cult status.

Verdict: Outstanding debut by David Lynch, Eraserhead is as nightmarish and surrealas they come.

GRADE: A- (8.5/10 or 4 stars)

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Monk, The (2011)

2012-01-25T21:00:00.000+08:00

THE SCOOP
Director: Dominik Moll
Plot: Abandoned at the doorstep of a monastery, Ambrosio has been brought up by the Capucin Friars. After becoming a friar himself, he becomes an unrivaled preacher whose sermons draw crowds and earn him the admiration of all. Admired for his extreme rigor and absolute virtue, Ambrosio is certain he is safe from any temptation.

Genre: Drama/Thriller
Awards: -
Runtime: 101min
Rating: M18 for some sexuality, brief graphic nudity and violent images.

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IN RETROSPECT
There is noguessing from the title of the film, TheMonk, that it is going to revolve around the theme of religion. There havebeen many films that have broached the subject of religion in various sorts ofways. Not surprisingly, some of the best known works explore the Christianfaith. Some are beautiful and poetic as in Pasolini's The Gospel According to St. Matthew (1964), while others areeducational like The Nativity Story(2006). Of course, a few are controversial enough to be banned in some countriessuch as Scorsese's The Last Temptation ofthe Christ (1988).

The Monk starsVincent Cassel as Capucin Ambrosio. He was brought up in a Spanish monasteryand soon grew to be a respected preacher, drawing hundreds of faithfulfollowers whenever he speaks. Known for his strict discipline and virtuouspersona, Ambrosio feels he is impossible to be tempted into committing any sin,no matter how inconsequential it is. The film pits his resoluteness against anevil entity personified by a woman in disguise who seduces him into committingthe sin of lust. It is only after the introduction of this character that The Monk sparks into some sort of life.

Moll's film is shotwith carefully composed images that are occasionally haunting. By infusingelements of Gothic horror, such as the use of shadows and the emphasis onreligious symbols, the director has somewhat successfully created a suspensefulsetting in which evil seems to lurk at every corner. Even though the film isrich in symbolism, it still centers its entire narrative on Ambrosio, whoslowly gives in to temptation. The performance by Cassel is not particularlyoutstanding, but it remains serviceable. That can be said of the supportingcast as well.

The Monk mostly moves in first gear, sometimes testing ourpatience, but unlike Malick's even slower-paced The Tree of Life (2011), it struggles to reward viewers by the timethe film ends. There are some interesting stabs on the shifting dynamicsbetween good and evil, pureness and sinfulness, but they seem to be merelyobligatory rather than illuminating. TheMonk has not been critically well-received, and it is not difficult to seewhy. To be harsh, it can be accused as a pretentious art-house feature. But Ithink it is a simple case of the filmmakers knowing what they want to do, butthe final product leaves much to be desired.

Verdict: The Monk is beautifully shot, but some lackluster pacing and average direction by Moll makes it less compelling.

GRADE: C+ (6.5/10 or 3 stars)

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Haywire (2011)

2012-01-24T22:25:00.000+08:00

THE SCOOP
Director: Steven Soderbergh
Plot: A black ops super soldier seeks payback after she is betrayed and set up during a mission.

Genre: Action/Thriller
Awards: -
Runtime: 93min
Rating: PG13 for some violence.

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IN RETROSPECT
Oscar-winning director Steven Soderbergh seems to be on a quest tocomplete as many films as it is physically possible before he “retires” to amore leisurely passion that is painting. After the mixed reception towards Contagion (2011), Soderbergh returns tothe big screen with another relatively mainstream effort. The end result issimilarly lukewarm, but it is generally a slightly better film than thestar-studded feature about the societal chaos caused by a deadly strain ofvirus. His latest film, Haywire, hasthe fingerprints of the acclaimed director, but it falls short of being anexcellent contemporary example of an action film.

Although its title suggest so, there is actually nothing chaotic about Haywire. In fact, it is a story of ablack ops soldier who is betrayed, and then hunted down by other agents after a“botched” mission to rescue a kidnapped Chinese journalist. The blame is pinnedon her, but even with all the pressure, she maintains an extraordinary sense ofcalmness (and coolness) as she attempts to seek for the truth, battling her waythrough armed men with her incredible mixed martial arts skills. Everything isplanned and strategized, hence chaos is not her middle name, even as she wreakshavoc on her enemies.

Soderbergh is a technically astute director (and cinematographer). Haywire, like almost every other filmhe has made, is well-crafted, with strong emphasis on light and shadow. In ascene in a hangar, Michael Douglas and Gina Carano’s characters have aconversation. Soderbergh shoots them in silhouette in bright light, and in thereverse shot, we see them clearly in a darker background. Haywire is also well-edited, and because two-thirds of the film istold in flashback intercut with scenes of real-time, the film remains engagingto some extent. All these to a mesmerizing electro-jazz score that accompaniesthe film.

The action sequences in Haywire are something that we do not usually see in a mainstream genre film. We have afemale lead, trained in mixed martial arts (in real and reel life), trying tooutwit her aggressors with her lethal bare hands and legs. The action is filmedas it is, with few cuts. This allows viewers to appreciate the artistry of thefight sequences. However, the main flaw of the film lies in the characterdevelopment of its lead. Carano’s performance is adequate but not particularlyexcellent, and her character’s motivations are not succinctly communicated tothe viewers.

Haywire is a film of moments, rather than a film ofexperiences. It is heartening to see Soderbergh trying out a pure action genre,yet bringing a sense of indie credibility to the project. However, as far as itgoes, the film is not a memorable one. Still, for the reason of curiosity, orif you are a fan of Soderbergh, there is no harm paying for a ticket to catchhis latest effort.

Verdict: Soderbergh flaunts his technical ability in thisrather mainstream endeavor, but style over substance makes Haywire far from the best of its genre.

GRADE: B- (7/10 or 3 stars)

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Descendants, The (2011)

2012-01-23T22:30:00.000+08:00

THE SCOOP
Director: Alexander Payne
Plot: A land baron tries to re-connect with his two daughters after his wife suffers a boating accident.

Genre: Comedy/Drama
Awards: Won 2 Golden Globes - best picture (drama), lead actor (drama). Nom. for 3 Golden Globes - best director, sup. actress, screenplay.
Runtime: 115min
Rating: NC16 for language including some sexual references.

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IN RETROSPECT
The debatecontinues whether The Descendants wasdeserving of the Golden Globe for Best Picture (Drama). There is no questionabout its quality, and it is likely to appear in my , or anyone else's Top Tenlist, yet some, including myself, feel that the film has not done enough toconvince them that it should deserve to win. Maybe a nomination, yes, but awin? Not so certain. Don't get me wrong, this is a beautiful, effective film.But it feels too lightweight. It feels exactly like Driving Miss Daisy (1989) or Chariotsof Fire (1981) winning the Best Picture Oscar in the eighties, and onhindsight, they don't feel quite right, ain't it?

Written anddirected by Alexander Payne, who won Best Adapted Screenplay for his much lovedfilm, Sideways (2004), The Descendants stars George Clooney asMatt King, a father who has problems connecting with his two daughters,Alexandra (Shailene Woodley) and Scottie (Amara Miller). When his wife hits herhead in a boating accident and enters a coma that she may never wake, Mattfaces a future that is at best uncertain, forcing him to re-connect with hischildren. Payne's film takes a deceptively simple premise and fashions it intoa rich, captivating tale about the need to love, forgive, and move on withlife.

Clooney, who issometimes criticized for his lack of versatility when it comes to acting,delivers a performance that reminds us that he’s still one of the best in thebusiness when it comes to the art of subtlety acting. Admittedly, the Clooneywe see here may not be different from the Clooney we see in films like Michael Clayton (2007) or Up in the Air (2009), but he is nearperfect in portraying a man caught up in life's myriad of problems, yetretaining an admirable sense of composure and confidence to turn things around.

Payne's screenplay is a class act. It manages tobe scathing, touching, and comedic at the same time as it successfully taps onthe different facets of the human emotion. For most parts, the drama isrestrained, though the sharp dialogue, the tranquil nature of its Hawaiiansetting, and music that is specific to the region give the film a unique senseof flow and rhythm. The entire film feels like a nuanced meditation on life’sunpredictability, yet it allows us to embrace the fact that it is thisunpredictability that connects all of humanity.

Verdict: Payne understands human comedy for all of itsworth, giving us a film of remarkable wit, grace, and subtlety.

GRADE: A- (8.5/10 or 4 stars)

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Dance Dance Dragon (2012)

2012-01-20T22:30:00.000+08:00

THE SCOOP
Director: Kat Goh
Plot: The film tells the story of Mother Loong who desires to have a grandchild. However, none of her three children have plans for any children. Things change for the Loongs on the first day of the 2012 Year of the Dragon when a newborn boy is found on their doorstep!

Genre: Comedy/Drama
Awards: -
Runtime: 92min
Rating: PG

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IN RETROSPECT
One of two localfilms to grace our screens this Chinese New Year holiday, Dance Dance Dragon is a more satisfying alternative to Jack Neo's We Not Naughty, which has broughtSingapore mainstream cinema to a nadir. You can do no worse than pay for aticket to catch Neo's film, but you are entitled to console yourself in thehope that your ten dollars could go a long, long way, and I must stress thelength of this journey, to fund more and better local features in the nearfuture.

Making herdirectorial debut, Kat Goh has fashioned a light-hearted, family movie thatpicks up key elements of the Chinese tradition, and consolidating them into asimple and straightforward narrative. Written and produced by Kelvin Tong, Dance Dance Dragon draws upon themythology of "the Dragon" in the Chinese zodiac. A grandmother (LaiMeng) prays to the heavens to give her a grandson whom she could proudly call adragon baby. Her wish is granted when a baby in a basket with seeminglymystical powers appears at her doorstep.

Dance Dance Dragon stars identifiable local names such as AdrianPang, Kym Ng, and Dennis Chew. The cast gives standard performances that yousee daily on your goggle box. But at least they exude some kind of familiarwarmth along with some decent comedy chops. Shot in only 16 days and with abudget of S$1.2 million, Dance DanceDragon will be a crowd pleaser among the older generations , though itremains to be seen if younger folks would embrace this local film as one oftheir own.

From a comparativestandpoint, Dance Dance Dragon is amore coherent and entertaining film than Neo's effort. But to be honest, Goh'sfilm is nothing exceptional; it is merely a passable effort. It is a film thatis ordinary in every sense, though it feels comfortable in its own skin. Thereare some flaws to the way the plot unfolds, and some of the supportingcharacters such as Bryan Wong's are merely perfunctory, often too caricaturizedto be taken comically. There is an inconceivable moment towards the end inwhich a bolt of lightning strikes a cab. I will leave you to discover the sceneyourself as all logic is thrown out of, for the lack of a better noun, the cabwindow.

Dance Dance Dragon will compete directly with a whole host ofChinese features releasing these few weeks of festive period: We Not Naughty, I Love Hong Kong 2012 ,All's Well End's Well 2012, The Great Magician, and The Viral Factor. Whether Goh's film struggles or prospers isentirely in your hands as a moviegoer. And of course, your word-of-mouth. Thevote is in your wallet.

GRADE: D (5/10 or 2 stars)

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Viral Factor, The (2012)

2012-01-18T23:47:00.002+08:00

THE SCOOP
Director: Dante Lam
Plot: Jon, a righteous IDC agent who becomes conflicted when circumstances plunge him into the web of organized crime. His estranged brother Yang is part of that web but is betrayed when her young daughter is kidnapped.

Genre: Action/Drama
Awards: -
Runtime: 120min
Rating: PG13 for violence.

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IN RETROSPECT
Hong Kong director Dante Lam ushers in the Chinese New Year with an action film that will please fans of the genre. The action maestro, whose film credits read Beast Cops (1998), The Beast Stalker (2008), and The Stool Pigeon (2010), delivers a spectacular movie that pits stars Jay Chou and Nicholas Tse against and for each other. Lam's latest outing, The Viral Factor, is an assured piece of filmmaking that combines his flair for directing action with a fatalistic human story that beneath all the loud explosions and gunfights captures the essence of the lives of its two leads.

Chou plays Jon, a righteous IDC agent who becomes conflicted when circumstances plunge him into the web of organized crime. His estranged brother Yang (Tse) is part of that web but is betrayed when her young daughter is kidnapped. As the authorities go after Yang, Jon is sucked into the world of immorality and is torn between doing what he thinks is right or what he feels is right. Stakes are raised when Jon discovers that the criminals are planning to infect the world with a new, deadly virus, of which its vaccine is solely controlled by them.

The Viral Factor joins the bandwagon of globetrotting action films such as Paul Greengrass' The Bourne Ultimatum (2007) and Brad Bird's Mission: Impossible - Ghost Protocol (2011), only now it is purely an Asian blockbuster. Shot in locations as diverse as Jordan, China, and Malaysia, Lam's film features a strong backdrop of changing scenery as the action takes place in its foreground. There are some astonishing scenes including a helicopter chase right in the heart of the city of Kuala Lumpur. From a Singaporean perspective, it feels surreal to see intense action set-pieces unfold in a neighboring, and particularly conservative country.

Lam's film grips you from the start with an outstanding prologue action sequence involving an ambush and a street gunfight that reminds somewhat of Ridley Scott's Black Hawk Down (2001). The use of quick cuts and an exceptionally mobile camera allows the viewer to be immersed in the violence and chaos. Although Chou appears ineffective in some of the more emotional scenes, he has to be respected for his bravery to tackle his own stunts. Tse is the better actor, but both show good chemistry with each other. In this thrill-a-minute film, it is pleasantly surprising to see some involving backstory drama that not only helps to build character development, but also serves as motivation for the action.

Down to its very core, The Viral Factor is a story about reconciliation, forgiveness, and familial love. In a nutshell, it is an excellent action film, and it is not afraid to put foot to pedal all the way. Lam is truly a contemporary Asian master of this crowd-pleasing genre.

GRADE: B (7.5/10 or 3.5 stars)

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Monty Python and the Holy Grail (1974)

2012-01-16T23:00:00.000+08:00

THE SCOOP
Director: Terry Gilliam & Terry Jones
Plot: King Arthur and his knights embark on a low-budget search for the Grail, encountering many very silly obstacles.

Genre: Adventure/Comedy
Awards: -
Runtime: 91min
Rating: PG for some graphic violence done in a comedic manner.

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IN RETROSPECT
How can a film be sosilly, yet remains to be one of cinema’s most revered comedies? Making theirfeature debut, writer-directors Terry Gilliam and Terry Jones have concoctedsomething out of a cinematic beaker, brewing an utterly insane picture ofridiculous proportions. One wonders whether they have been mad scientists indisguise. Gilliam would go on to make memorable films like Time Bandits (1981), Brazil (1985),and Twelve Monkeys (1995), whileJones carried on his absurdist streak with TheLife of Brian (1979), and The Meaningof Life (1983). But it was MontyPython and the Holy Grail that announced their arrival as respected cinematicjokesters.

Monty Python is at times just simply ingenious, while at othertimes, blatantly stupid yet still ingenious at the same time. Time, as you willsee, is used as a rather creative outlet in this film, as the creators toy withits malleable nature. Temporal transitions are handled via an assortment ofways, including the amateurish use of 2-D animation, the anachronisticapplication of time as the medieval era co-exists with the contemporary period,and in one outrageous moment, an intermission that lasts all of ten seconds,allowing the viewer to pee comfortably in his or her pants without missing anygood parts.

Gilliam and Jonespack a lot of comedic oomph in just about ninety minutes. That’s not surprisingas the film’s premise allows self-parody to flourish with unlimited fervor.King Arthur (Graham Chapman) and his knights take on a journey in the name ofGod to find the Holy Grail. Along the way, they meet various obstacles wherethe jokes pile up one after another. You won’t know when to stop laughing, butyou get my point. Monty Python’s brandof comedy may be an acquired taste to some, but I would be surprised if anyonedoesn’t laugh out loud at least twice in the film.

The ending leaves alot to be desired, and is perhaps the film’s weakest point. We want the storyto be prolonged, the characters to continue their idiocy, but we don’t get ourwish. Admittedly, the film has to end somewhere, though it has built up enoughsituational momentum in the climax to last at least another major comedic act. Monty Python, even though set in cruel,medieval times, is largely made with modern sensibilities, with its social andgeo-political subtext a critique of the unrest that marked the 1970s. At theend, are we all really looking for the Holy Grail, as metaphorical as itsounds?

GRADE: A- (8.5/10 or 4 stars)

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Cars 2 (2011)

2012-01-10T22:00:00.000+08:00

THE SCOOP
Director: John Lasseter
Plot: Star race car Lightning McQueen and his pal Mater head overseas to compete in the World Grand Prix race. But the road to the championship becomes rocky as Mater gets caught up in an intriguing adventure of his own: international espionage.

Genre: Animation/Adventure/Comedy
Awards: Nom. for 1 Golden Globe - best animated feature.
Runtime: 106min
Rating: G

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IN RETROSPECT
John Lasseter's Cars 2 is not as disappointing asexpected, though together with its prequel, Cars(2006), they represent the weakest points in Pixar's admired filmographyover the last fifteen years. I find it curious that Lasseter would want to makea sequel to, of all Pixar films, Cars,a film that despite its fresh and perky concept at the time, remains to be seentrying too hard to impress, while at the same time lacking in the kind ofcritical appeal that had been lavished on every other Pixar feature in the past.Still, expect an Oscar nomination for Best Animated Feature for the film, butno guaranteed win this time.

That being said, Cars 2 is actually a quite entertainingfilm, though I suspect for Pixar that is the minimum prerequisite. The plot isstraightforward, focusing on the relationship between Lightning McQueen (OwenWilson), the race car, and Mater (Larry the Cable Guy), the rusty towtruck. A new adventure is in stored forthem as they travel halfway around the world to Japan, where the first (out ofthree) World Grand Prix race is held. However, there seems to be a conspiracybrewing behind-the-scenes regarding a new fuel called Allinol, with Materunintentionally getting sucked into the whirlwind world of spy action.

The animation isvery realistic and colourful, though the movements of the car characters asthey speed, fly, and jump from one place to another seem to bend the laws ofphysics too much. Perhaps this is what makes viewers take the film lessseriously, and thus investing less emotional interest in the characters. Unlikethe toys in the Toy Story trilogy (1995,1999, 2010), or the talking robots in Wall-E(2008), both of which have humanized features and adhere to some form ofphysical logic, cars are difficult to see as humanized as they are known to menfor more than a century now as mechanized tools.

One wonders how much effort was put into theanimation component of the film, because the end result is stunning, which isthankful because that is probably the film’s biggest strength. Lasseter’s filmis inspired by a host of films that make up the subgenre of spy movies, mostnotably James Bond flicks. One scene in which a car transforms into amini-submarine is reminiscent of a similar scene in The Spy Who Loved Me (1977). Other scenes see cars trying towriggle their way out of tight situations as the time bomb ticks. It may alllook strange to the human eye, but Cars 2is at the very least a decent family movie that is sprinkled with bots ofhumour throughout. Kudos to Mater for that.

GRADE: B (7.5/10 or 3.5 stars)

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Great Magician, The (2011)

2012-01-08T20:30:00.000+08:00

THE SCOOP
Director: Derek Yee
Plot: A mysterious magician Zhang Xian catches the eye of localwarlord, Lei Daniu, who hopes to use him to win the affections of Liu Yin, awoman he forced into being his seventh concubine.

Genre: Drama
Awards: -
Runtime: 129min
Rating: PG for some violence.

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IN RETROSPECT
Derek Yee, who has been a prolific actor, writer, and director since thelate 1980s, is an established figure in the Hong Kong film industry. But hislatest feature, The Great Magician,is not one of his better efforts to date. Starring Tony Leung, Lau Ching Wan,and Zhou Xun in the three leading roles, the film scores points in casting.Although their performances are not particularly outstanding, they serve theirroles sufficiently without breaking any sweat. Zhou, especially, is effectivein portraying her character, Liu Yin, a silent but resolute woman who longs tobe with her imprisoned father, and hopes to decide shrewdly on her true love.

The Great Magician follows Zhang Xian (Leung), a mystery of a manwhose talent lies in the art of performing magic in front of an appreciativecrowd. But he has an ulterior motive: he wants to reclaim his lost love in LiuYin. The dilemma: Lei Danlu (Lau), the local warlord, wants Liu Yin to love him,and hopes to use Zhang to win her affections. Yes, the plot follows thetraditional structure of a romance triangle, but it is a relatively fresh takeon a cliché subject, though the film is not without its fair share of flaws.

The Great Magician is a drama that sets itself up promisingly. Magic,as always, is fascinating, no matter how many times you see it. Although Yee'sfilm is nowhere near magical, it still manages to make magic fascinating, atleast in the context of the film. Now that's actually quite a difficult thingto achieve, because the portrayal of illusions on screen is nothing more thancomputer trickery. Yet despite the knowledge that the film relies heavily on CGeffects for some of these illusions, they remain at the very least captivating.

However, the problem with Yee's film is that it is afilm of two halves, the first of which is strong in drama and setup, while itslater parts slide into the cheap realm of farcical comedy. The film neversatisfies as it should because of the mood and tonal shift, though I must admitit remains entertaining to some extent. In a nutshell, The Great Magician is not a must-watch in anyone’s books. If onlyfor the interest to catch a new Derek Yee or Tony Leung film on the big screen,otherwise renting the DVD release when it comes out would be the better option.

GRADE: C+ (6.5/10 or 3 stars)

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My Week with Marilyn (2011)

2012-01-04T22:00:00.000+08:00

THE SCOOP
Director: Simon Curtis
Plot: Colin Clark, an employee of Sir Laurence Olivier's, documents the tense interaction between Olivier and Marilyn Monroe during production of The Prince and the Showgirl.

Genre: Drama
Awards: Nom. for 3 Golden Globes - best picture (musical/comedy), lead actress (musical/comedy), sup. actor.
Runtime: 99min
Rating: PG13 for some language.

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IN RETROSPECT
There is onlyone Marilyn. So imagine the luck of a lifetime when Colin Clark (Eddie Redmayne)had an entire week to get up close and personal with the screen icon. MarilynMonroe, as played by Michelle Williams in perhaps the year’s most strikingperformance by a lead actress, was infamously sexy, seductive, and flirtatious.At her prime in the 1950s as one of the world’s most recognizable faces, she wasthe ultra-desirable screen goddess, yet as this film will show, she was alsothe most human of them all.

The film My Week with Marilyn chronicles Clark’s casualrelationship with Monroe, from being the third assistant director to SirLaurence Olivier (Kenneth Branagh), who directs and stars with Monroe in a filmcalled The Prince and the Showgirl(1957) – the other subject of this film, to someone Monroe relies heavily onfor comfort and intimacy when things don’t work out for her. Well, you seeMonroe travels to the UK to shoot the film, but she realizes acting is so muchmore precise and difficult under the direction of Olivier. She becomesdepressed, irking her then husband, and then consequently seeking solace inClark.

Director SimonCurtis has made a film that quite authentically recreates the laidback yetself-driven nature of British filmmaking of the 1950s in the form of PinewoodStudios. But the artistry of period filmmaking takes a backseat once Williamsmakes her grand entrance. The talented actress, who was nominated for an Oscarfor Blue Valentine (2010), gives amasterclass in imitating Monroe, both in dialogue and facial and bodyexpression, capturing almost all the nuances with superb skill. She is surelydue an Oscar with another incredible performance that admittedly may be theonly reason filmgoers would pay to watch this film.

This lovelyand classy film has the requisite drama to sustain viewers’ interest, but itsrather conventional approach to storytelling through the eyes of Clark stillleaves much to be desired. In addition, there is not much of a plot to beginwith, as the film meanders its way in and out of conflict situations, which Imust say are at the very least arousing, humorous, and interesting only to seehow they play out. My Week with Marilynis not solely for fans of Monroe; it is a fresh look at the human side of anicon whom for much of her life wallowed in self-pity, longing to be trulyloved.

GRADE: B+ (8/10 or 3.5 stars)

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Girl with the Dragon Tattoo, The (2011)

2012-01-02T21:30:00.000+08:00

THE SCOOP
Director: David Fincher
Plot: Journalist Mikael Blomkvist is aided in his search for a woman who has been missing for forty years by Lisbeth Salander, a young computer hacker.

Genre: Crime/Drama/Mystery
Awards: Nom. for 2 Golden Globes - best actress (drama), original score.
Runtime: 158min
Rating: R21 for brutal violent content including rape and torture, strong sexuality, graphic nudity, and language.

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It is difficult to review David Fincher’s The Girl with the Dragon Tattoo withouta comparison to its Swedish screen adaptation by Niels Arden Oplev in 2010.Contrary to popular belief, Fincher’s film is not a Hollywood remake of anacclaimed foreign language feature. Rather, it is an auteurial re-imaginationof author Stieg Larsson’s bestselling novel. The dark and disturbing materialof Larsson’s book is a match made in heaven for Fincher, who has directed hisfair share of similarly-themed films in Seven(1995) and Zodiac (2007). Inother words, you won’t find a more perfect filmmaker to helm Dragon Tattoo than Fincher.

This is the plot in two sentences: Mikael Blomkvist(Daniel Craig) is a journalist who is tasked by Henrik Vanger (ChristopherPlummer) to solve the mystery of a death in the family that happened manydecades ago. Lisbeth Salander (Rooney Mara) is a young computer hacker whohelps him with the task. Things get deadly as they race against time to put anend to the uncertainty. Now, that’s just the gist of it. For those unfamiliarwith the book and Oplev’s film, you are in for a treat because this is one ofthe most layered of all screen mysteries in recent years, and it is tough notto be engaged by it.

The most striking aspect of Fincher’s film that setsit apart from its screen counterpart is its handling of mood and tone. Atechnical masterclass, Dragon Tattoofeatures bleak cinematography that chills you to the bone as shots of the cold,wintery setting give a strong sense of isolation. The camera is also usedbrilliantly to create unsettling moments that increase in frequency as the filmplays on. Trent Reznor and Atticus Ross’ second musical collaboration withFincher after The Social Network(2010) is also more atmospheric, and at times, menacing, providing a uniquemetallic sound to the dark imagery.

In terms of performances, Craig and Mara give adequatedisplays, but they are nowhere as potent as Michael Nyqvist and Noomi Rapace’sworld-weary interpretations of their characters in the Swedish film. There is afeeling that Craig and Mara are too comfortable with each other’s character,hence the rawness of their interactions is sorely lacking. Both films howevershare a common trait: A lackluster and draggy ending that peters off into theend credits. I expected Fincher to give us a more urgently-paced epilogue thatmakes use of the screen momentum generated from the first two hours or so;after all, he managed to make a movie about Facebook engaging even till thevery end.

Despite its flaws, Dragon Tattoo is an excellent take on the theme of isolation – bothgeographic and character-wise. But what emerges from the hellish amalgam ofmasochistic and anti-Semite elements is Lisbeth’s confident, assured character.An anti-heroine of sorts, Mara’s Lisbeth is not just the face of a new breed ofyoung, empowered women gracing our cinema screens (think Hailee Steinfield in True Grit (2010), or Jennifer Lawrencein the upcoming The Hunger Games (2012)),but is perhaps the most strangely attractive of the lot. Yes, it really is theGoth makeup.

GRADE: B+ (8/10 or 3.5 stars)

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War Horse (2011)

2011-12-30T19:00:00.000+08:00

THE SCOOP
Director: Steven Spielberg
Plot: Young Albert enlists to service in WWI after his beloved horse, Joey, is sold to the cavalry. Albert's hopeful journey takes him out of England and across Europe as the war rages on.

Genre: Drama/War
Awards: Nom. for 2 Golden Globes - best picture (drama), original score.
Runtime: 146min
Rating: PG for intense sequences of war violence.

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I say with some sadness in my eyes that Steven Spielberg and JohnWilliams are old men now. Time is not on their side, but their ingenioustalents remain, and their fruitful collaboration on film over nearly fourdecades remains unsurpassed. War Horse,one of the best films of 2011, is a testament to that collaboration. Both areback in fine form with a film and score reminiscent of their earlier works.Drawing heavy influences from E.T. TheExtra Terrestrial (1982), War Horseis a film as musically rich and beautifully shot as any in the Spielberg canonof great films.

The film begins in 1912 in Dartmoor, England, with Albert (JeremyIrvine), whose drunkard of a father foolishly bids for an inexperienced andseemingly weak horse at the local auction. Albert trains the horse that hecalls Joey to plough the fields. But a chronic lack of money to pay for theirrent leads Albert’s father to sell Joey to the cavalry, who are preparing forwar with the Germans in what is now known as World War I. Albert and Joey areseparated. Years later, Albert enlists to fight in the war in the hope that hewill see Joey again.

Based on the novel by Michael Morpurgo, War Horse is a story tailor-made for Spielberg, who with Williams,work our tear ducts with aplomb in this highly sentimental tale of loss andreunion, and the suffering and hardship in between as the result of the greatwar. Spielberg is the undisputed master of emotional manipulation, and I saythat as a compliment because he manipulates us with a childlike innocencerarely seen in Hollywood cinema. He knows why we go to the movies, and why wecontinue to watch his films. He occasionally disappoints with the odd dud, but War Horse is no doubt excellent.

This simple yet touching tale of a boy and his horse features more thandecent performances from the supporting cast and Irvine, who makes his screendebut. Much is said about Irvine’s flat acting, but I beg to differ. Hischemistry with Joey, while not entirely outstanding, is enough to beconvincing, and more importantly, naturalistic. The film’s episodic nature, asJoey falls under the hands of British and German soldiers, and in a quiet,lovely sequence, finding itself with a little French girl and her protective grandfather,prolongs the film’s runtime. But whilethe film feels lengthy, it never feels too long because, like E.T., we want tobe with Joey as long as we can.

Amid the misty eyes and soulful glances, War Horse is also a staggering technical feat as Spielbergrecreates trench warfare of WWI, with homage to classics such as All Quiet on the Western Front (1930)and Kubrick’s Paths of Glory (1957),while drawing some of his experiences from shooting Saving Private Ryan (1998). Eschewing the documentarian, hand-heldcamera look of the latter, the battles in WarHorse are largely visualized with wide, panning and tracking shots from astable camera, yet remain ultra-realistic because of its sound mixing and editing.However, rest assured this is not a violent film, and is perfectly comfortablefor family viewing.

Speaking of homages, the master director fittinglyconcludes his film with a heartfelt tribute to the classic American Western, acinematic love letter to John Ford. In the entirely silent epilogue,accompanied by Williams’ heart-tugging score, we struggle to hold back ourtears as we believe, not for the first time, in the magic of Steven Spielberg.

GRADE: A (9/10 or 4.5 stars)

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First Blood (1982)

2011-12-29T23:00:00.000+08:00

THE SCOOP
Director: Ted Kotcheff
Plot: A mentally unstable Vietnam war vet, when abused with a small town's police force, begins a one man war with it.

Genre: Action/Adventure/Drama
Awards: -
Runtime: 93min
Rating: PG for violence.

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In 1982, action star Sylvester Stallone had a bumperyear. First, he wrote and directed himself in Rocky III. But more importantly, he took up one of the most iconicaction roles of all time – John Rambo. The film is First Blood, directed by Ted Kotcheff, a one-trick pony who hasnever made anything half as good ever since, eventually making movies fortelevision. Co-written by Stallone, FirstBlood is not in the league of its own in terms of Hollywood action cinemaof the 1980s, but it is clearly a commendable film that defies some genreconventions.

First Blood centers onJohn Rambo, a Vietnam War veteran who walks into a sleepy county in search of alost comrade. The county’s sheriff, Teasle (Brian Dennehy), is suspicious ofhim and brings him into custody. There he is abused, and as nightmares ofVietnam come back to haunt him, he breaks loose and wages a one-man war withthe small town’s authorities. Now this is one guy you wouldn’t want to messwith. But Teasle, who wants to get his man his own way, ignores advice from alieutenant-colonel who trained Rambo many years ago. Expect fireworks…

First Blood sees Stallonein good form as he shows why his character is a decorated war veteran. With themiddle act shot almost entirely in the woods, Rambo is hunted down by armedmen, yet the joke is on Teasle, as he finds his team and himself being hunted.For an action film, First Blood doesnot contain as much action as a traditional genre film. There are gunfights,explosions, and car chases, but Kotcheff’s film does not need all that to carryitself. It successfully transcends its action underpinnings to deliver a quitepowerful story of its lead character.

The measure of an excellent action flick liesnot in its promise of spectacularity, but whether the audience cares enough tounderstand the “hero” or “anti-hero”. Such is the complexity of Rambo’scharacter that he is a hero, a villain, and a victim all at once. Hisnon-provocative stance is threatened when Teasle draws “first blood”. Ramboreacts like any war veteran with psychological battle scars would when provokedunfairly – without hesitation and with extreme prejudice. Rambo’s ruthlessnature takes a backseat in the epilogue; Stallone delivers his most sympatheticand emotional performance in the last ten minutes since Rocky. With that, Rambo’s story is complete. And a legend is born.

GRADE: B+ (8/10 or 3.5 stars)

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Flying Swords of Dragon Gate, The (2011)

2011-12-25T21:31:00.001+08:00

THE SCOOP
Director: Tsui Hark
Plot: A woman is being hunted by imperial forces after being accused of having an affair with a palace guards. A mysterious woman with martial arts skills saves her. They journey to the infamous "Dragon Inn" where trouble ensues.

Genre: Action/Adventure
Awards: -
Runtime: 122min
Rating: PG13 for violence.

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This film was reviewed in 3-D format.
The film starts and ends with the majestic music from the Overture ofthe “Dagger Society” Suite. And those are the best parts of the film. TsuiHark’s latest effort, The Flying Swordsof Dragon Gate, is a letdown. To be charitable, it is at best a passablemartial arts flick starring Jet Li. Rest assured, if you are looking for yourmonthly kick of Chinese action films, this will not disappoint because there isso much action packed into two hours that you will either come out of thetheater happily dazed, or with a migraine that should clear within a few hours.

Billed as the first Chinese wu xia 3-D flick, Flying Swords is actually based on a loose remake of Raymond Lee’s Dragon Inn (1992), itself a remake ofKing Hu’s Dragon Inn (1967). The plotof Flying Swords is triggered when a lowlywoman servant is accused of having an affair with a palace guard. She escapesbut is soon hunted down by the army. A mysterious woman with extraordinarymartial arts skills intervenes and saves her. They then make their way to“Dragon Inn” where the bulk of the film focuses on, and where most of theaction takes place.

Hark denies his film is a remake, but a reimagining of old material. I can’tjudge because as of this review, I have not seen the earlier films.Nevertheless, storytelling as always takes a backseat in this sort of films.There is, however, some effort put in to provide some history for “Dragon Inn”,and the relationship between the aforementioned mysterious woman (played byZhou Xun) and Jet Li’s character, Chow Wai On. Unfortunately, much of theeffort that has gone to beefing up the story becomes secondary, or evenpointless, when the full action starts past the hour mark.

The use of 3-D technology in a period wu xia film like Flying Swords may seem anachronistic.But it is a direction worth exploring. I praise Hark for taking up thechallenge, but while this film shows the potential, it far from fulfils it. Muchof the 3-D is centered on cheap thrills, like daggers flying at you. The use of3-D in rendering the environment leaves much to be desired as human charactersand inanimate objects look too small and artificial. That is not the worsepart. You will know why when you get to see the CGI effects on show.

CGI effects are not only unrealistic, but they are used sooverwhelmingly that most of the action become superficial. The artistic craftof Chinese martial arts, while still well-choreographed by Hark’s team, isreduced to mere “fighting scenes”. The final nail in the coffin comes in asequence that sees Chow fighting his main nemesis in a whirling tornado. Whatyou will see is not a brilliant fight between two skillful opponents, but aruthless competition between CGI and 3-D effects. At the end of the day, nobodywins, technology included. With all due respect to Hark, who is a capabledirector, Flying Swords is what wouldlook like if Michael Bay had directed his version of Crouching Tiger, Hidden Dragon (2000).

GRADE: C- (5.5/10 or 2.5 stars)

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Rock, The (1996)

2011-12-23T20:00:00.000+08:00

THE SCOOP

Director: Michael Bay

Plot: A renegade generaland his group of U.S. Marines take over Alcatraz and threaten San Francisco Baywith biological weapons. A chemical weapons specialist and the only man to haveever escaped from the Rock attempt to prevent chaos.

Genre: Action/Thriller

Awards: Nom. for 1 Oscar - best sound mixing.

Runtime: 136min

Rating: M18 for strong violence, language and a sex scene.

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MichaelBay used to make excellent action films, or maybe just one. The Rock stands as an anomaly in the director’s resume that consistsmostly of films that are trash such as Transformers:Revenge of the Fallen (2009)to the borderline watchable such as TheIsland (2005). After showing he could transit from shooting musicvideos to action features with his debut buddy cop actioner Bad Boys (1995), he pulls a quick rabbit out of the hat with The Rock, a film starring Sean Connery, Nicolas Cage, and Ed Harrisin what is now considered one of the more memorable action films of the 1990s.

The Rock sees General Hummel (Harris) and hissection of U.S. Marines going renegade by taking over Alcatraz, the notoriousprison that lies off San Francisco Bay, and threatening to kill hundreds ofthousands of nearby city dwellers with sarin gas. Hummel wants a huge sum ofmoney to pay soldiers their rightful due for their sacrifices for theircountry. As the deadline looms closer, options become severely limited. Notunless the U.S. government sends a chemical weapon specialist with no combat training,and a former prisoner of Alcatraz who is the only man ever to escape from “TheRock” to save the day.

Cageand Connery play the film’s two lead protagonists. The performances all-roundare excellent, especially if you make comparisons to “actors” like Shia LaBeoufor Ben Affleck today. For an action film, the characters in The Rock are well-developed in the first twoacts, but Hummel’s motivation in the final act shows signs of weakness as itcomes into conflict with what has transpired before. This seemingimplausibility would have been a major sore point for some if not for Bay’sskills as an out-and-out entertainer. And yes, The Rock is remarkably entertaining, and we arein a forgiving mood.

Thebest action set-piece of the entire film comes in the first half – a thrillingcar chase down the streets of San Francisco with loads of collateral damage,and ends with typical Bay bombast. That means a yellow Ferrari has to bedestroyed in the most heartbreaking manner possible. The second half of thefilm confines itself in Alcatraz, with a mix of stealth and armed combatproviding some testosterone-filled moments. Direct references to Aliens (1986) and Indiana Jones and the Temple ofDoom (1984) are evident asBay takes command.

Allthis to the rock-inspired original score by Hans Zimmer, whose mid-ninetieswork marked a shift to a more epic sound that reached its zenith with Gladiator (2000). And he has stayed at the topof his game ever since, perhaps even usurping John Williams as the most popularfilm composer working in Hollywood today. It is a compliment to say that The Rock is an old-school action film thatsatisfies by entertaining. It is also fair to say that it is Bay’s best film todate. And considering the work the director has been churning out in recentyears, I would be most surprised if he ever scaled such heights again.

GRADE:B+ (8/10 or 3.5 stars)

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Sherlock Holmes: A Game of Shadows (2011)

2011-12-20T23:00:00.000+08:00

THE SCOOP
Director: Guy Ritchie
Plot: Sherlock Holmes and his sidekick Dr. Watson join forces to outwit and bring down their fiercest adversary, Professor Moriarty.

Genre: Action/Adventure/Crime
Awards: -
Runtime: 129min
Rating: PG13 for intense sequences of violence and action, and some drug material.

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You got to hand it to director Guy Ritchie, who with the first Sherlock Holmes (2009) reinvented thefamous fictional detective created by Scottish author Sir Arthur Conan Doyle inthe late 19^th century. From the books, we know Holmes as the masterof disguise, legendary in his ability to reason, and brilliant in his use offorensic science to solve crimes. But wait a minute…all that seems to have beenwashed away, but except for a few traditional caricatures of the fameddetective, Ritchie’s version has only one name, and he’s called Robert DowneyJr.

With this sequel, the charismatic Downey Jr. makes Holmes his very ownman – a somewhat intelligent observer of action and an incredible master ofpredicted reaction, who with his occasional moment of lunacy, thrives in theheat of physical battle. He’s strong, yes, but he’s smart too. Sometimes toosmart for his own good, which is why Dr. John Watson, a role reprised by JudeLaw, is forced to back him up most of the time. Rachel McAdams, Noomi Rapace,and Jared Harris round up the supporting cast, with the latter playing one ofHolmes’ most challenging nemesis – Professor James Moriarty.

A Game of Shadows is as much a period actionfilm as it is a bromance comedy. This odd mix elevates what could have been anaverage Hollywood blockbuster to something that is at least worth spending sometime on. Downey Jr. and Law retain their “we love each other, but we also hateeach other” onscreen chemistry. Their second effort pays off not tiresomely,but handsomely. There is a lot of humor for an action blockbuster, and much ofit revolves around the brotherly love between the two leads. In perhaps thefilm’s most hilarious sequence, Holmes dresses as a woman to try to avert amurder attempt on Watson and his new wife.

Harris’ portrayal of the film’s villain is quite strong. To that effect,his steely and quiet determination, and a somewhat chilling persona, means thatHolmes has met his match. Unlike TheSeventh Seal (1957), the battle of wits in A Game of Shadows, especially in the climatic chess scene, remainsevenly fought, even as action and mayhem around them ensue. Ritchie’s use ofrapid editing and slow-motion in action sequences, most notably that of theforest chase, may seem like the norm in today’s blockbusters, but it proves tobe highly visceral and thrilling.

AGame of Shadows, however, suffersfrom loose plotting that seems to put its characters into challengingsituations that they must inevitably try to escape from, rather than havingcharacters drive the plot simply by pure motivation and resolve. This SherlockHolmes sequel is mostly fun and entertaining. Not the best of Hollywood popcornfilms to end the year with a bang, but it does feature one of the year’s mostcheeky and satisfying epilogue that is economical as it is effective. That Iwill leave you to discover for yourself.

GRADE: B (7.5/10 or 3.5 stars)

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Mission: Impossible - Ghost Protocol (2011)

2011-12-17T23:00:00.000+08:00

THE SCOOP
Director: Brad Bird
Plot: The IMF is shut down when it's implicated in the bombing of the Kremlin, causing Ethan Hunt and his new team to go rogue to clear their organization's name.

Genre: Action/Adventure/Thriller
Awards: -
Runtime: 133min
Rating: PG13 for sequences of intense action and violence.

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Mission: Impossible – Ghost Protocol is as much a comeback film for fading A-list actionstar Tom Cruise as it is a kick-ass debut live-action feature for director BradBird, who is out to prove that he is not only a wizard with animation, but alsowith live-action filmmaking. While he is not exactly in magical form here as hewas when he wrote and directed The IronGiant (1999), The Incredibles (2004),and Ratatouille (2007), Bird sureknows how to make a fine movie, especially if it is an action film.

Ghost Protocol provides Ethan Hunt (Cruise) with his mostchallenging mission yet. To put it simply, Hunt literally needs to save theworld from a madman who wants to see the human race evolve and grow strongerafter the catastrophe of a nuclear attack. The latter has the codes that wouldlaunch that fatal missile. And Hunt needs to stop him. He is severely short ofbackup though because in the film’s first act, the Kremlin is blown apart, andhis secret intelligence organization, the IMF, is forced to shut down, and Huntto go rogue to clear his organization’s name.

Ghost Protocol is defined by its action sequences, of which thereare plenty, and they are remarkably well-executed, though a few instances seemtoo unrealistic for its own good. Bird’s visual flair is obvious as the cameradrives the narrative in ways never seen before in Hollywood films of late. Thestandout part is the Dubai skyscraper sequence. Shot with IMAX cameras, we seeHunt attempt to scale Burj Khalifa from the outside from the 130^thfloor using only suction gloves. Thatis the moment we collectively hold our breath and feel impossibly thrilled,with the build-up to the vertigo-inducing act key to wrecking our nerves.

The supportingcast of Simon Pegg, Jeremy Renner and Paula Patton provide good action supportfor Cruise, with Pegg providing the requisite comic relief. However, the film’sweakest point is the lack of a convincingly sinister villain. The villain hereis played by Michael Nyqvist, who starred opposite Noomi Rapace in The Girl with the Dragon Tattoo (2009)and its sequels. While his character is clearly out of his mind, and the stakeshigher in this film, he is not as frightening as Phillip Seymour Hoffman’s scene-stealingvillainous turn in Mission: ImpossibleIII (2006).

Ghost Protocol isstill a relatively strong year-end blockbuster that along with Sherlock Holmes: A Game of Shadows (2011),provide casual moviegoers and serious action fans with something to cheerabout. The jury is still out whether this new Mission: Impossible movie is the best of its franchise, but thereis no doubt of Cruise’s ability to command the screen, and of Bird’s assuredhand in direction.

GRADE: B (7.5/10 or 3.5 stars)

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That Obscure Object of Desire (1977)

2011-12-15T23:30:00.000+08:00

THE SCOOP
Director: Luis Bunuel
Plot: Just after boarding a train, much to the surprise of his fellow passengers, a man pours a bucket of water over a young girl on the platform.

Genre: Comedy/Drama/Romance
Awards: Nom. for 2 Oscars - best foreign language film, adapted screenplay.
Runtime: 102min
Rating: M18 for sexual situations and nudity.

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The legendary Luis Bunuel, arguably Spain’s greatest film director, leftbehind some of the most acclaimed of cinematic works including Un Chien Andalou (1929), Viridiana (1961), and The Discreet Charm of the Bourgeoisie (1972).His final feature That Obscure Object ofDesire is less well-known, though ironically, the film got him his secondOscar nomination for screenwriting. Not a masterpiece in every sense of theword, That Obscure Object of Desire howeverremains to be in the top tier of Bunuel’s filmography, a comedy that isfarcical and whimsical in equal measure.

It is interesting to note that Bunuel’s last film is also well-knownFrench actress Carole Bouquet’s first feature. Bouquet famously played the BondGirl in For Your Eyes Only (1981).Here, she plays Conchita, a beautiful woman who, when we learn in flashback, isMathieu’s (Fernando Rey) “obscure object of desire”. She playfully teases him,inviting him close, only to decline his advances in various sorts of ways.Basically, if you are in Mathieu’s shoes, Conchita is a huge pain in the ass. Theentire film revolves around the farcical interactions – verbal, romantic, andseductive interplay – between the two leads.

Bunuel guarantees strong performances from his cast, and it is ablessing to derive pleasure watching events unfold, however painful andfrustrating it is for Mathieu. Bunuel explores the nature of men and women’sattitude toward romance. Most men equate love with sex, and while some womenequate love with money, it is safe to say that most want the security ofknowing that they are the only one in their men’s eyes. Although this plays outcomically in the film, it is hard not to think: Why are men such desperateperverts? And why are women such conniving bitches?

But being Bunuel, he sets his story against the backdrop of terrorismand gang violence in what is a not-so-indirect socio-political critique on thesorry state of society at that time. Explosions occur in the film, and whenthey do, they shatter the serenity of life, even when life is hell, as Mathieu,and to some extent, Conchita, would attest. The film is more or less engagingthroughout, though it must be said that the elements of socio-politicalcritique do seem to be at odds with the light-hearted nature of Bunuel’s film,causing it to be occasionally uneven in tone.

The genius of Bunuel in ThatObscure Object of Desire is his decision to give the role of Conchita totwo actresses – Bouquet and Angela Molina, both of whom take turns to play thefemale lead such that without keen observation, you would be forgiven if youthought she was played by the same actress. Bouquet and Molina bring differentqualities, sometimes quite jarringly, to their singular role. Mathieu’sobsession with Conchita blinds him from this. This leads us back to the bigquestion: Why are men such desperate perverts? And why are women such connivingbitches? The answer, as Bunuel would point out, is and isn’t a socio-politicalone.

GRADE: A- (8.5/10 or 4 stars)

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Margin Call (2011)

2011-12-15T23:13:00.003+08:00

THE SCOOP
Director: J.C. Chandor
Plot: A drama that revolves around the key people at a investment bank over a 24-hour period during the early stages of the financial crisis.

Genre: Drama/Thriller
Awards: Nom. for Golden Bear (Berlin).
Runtime: 107min
Rating: M18 for language.

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Margin Call is as much a dramatic-thriller as Drive (2011) is an explosive actionflick. Be prepared, because if you think MarginCall is an out-and-out thriller about the financial crisis that envelopedthe world in 2008, then you are mistaken. This J.C. Chandor film, his debutfeature, is a slow but tightly-scripted picture that is completelydialogue-driven from start to end. Well, there are scenes of contemplativesilence, and scenes with ambient sounds as the city switches off its lights forthe night. But it is arguably the most wordy and dialogue-heavy film since The Social Network (2010).

What a longnight it would be, as you will see in this smart but occasionally boring film.There is some problem with pacing. It moves at a stately pace, as if somethingbig is going to happen. But that something never happens. There is noparticular sequence or dramatic set piece that truly stands out on its own.There is an obvious lack of suspense, though this is due in part to the natureof the story that is told. But that is not an excuse for not making a moreengaging film that is insightful and entertaining at the same time.

Most of thescenes are set within the confines of a boardroom or an office atop a tallbuilding. The best part is that we have Kevin Spacey, Jeremy Irons, PaulBettany, Simon Baker, Zachary Quinto, Demi Moore, and Stanly Tucci showingtheir dramatic chops in the same room. These are the key people who take updifferent high and low-ranking positions in an investment bank. Over the courseof one night, they make a devastating discovery that we now know marks one ofthe earliest stages of the aforementioned financial crisis. The not so subtlereference of the film’s fictional investment firm to the Lehman Brothers isstriking.

It is theperformances in Margin Call that saveit from being mediocre. The acting is consistently good, with Spacey and Ironsthe more notable performers. Once again, Spacey plays a high-ranking boss likehe did for the quite effective comedy HorribleBosses (2011). Here, he trades a cynical attitude for a more moralisticone. And it is his “duel” with the firm’s selfish director, played by Irons,that comes close to being, at the very least, memorable. I can’t think of anyother reason to catch this film other than its A-list cast.

DirectorChandor, who works in television, uses plenty of close-up shots of faces,sometimes not cutting away from them for quite some time, giving the film someform of introspection that provides a more human look at a decidedly man-madecatastrophe. With the benefit of hindsight, MarginCall can be enlightening at times, and rewarding to the initiated, butfolks who prefer more mainstream fare are encouraged to avoid this, thoughironically, this is marketed as a mainstream thriller with a star-studded cast.

GRADE: B- (7/10 or 3 stars)

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Artist, The (2011)

2011-11-23T20:58:00.029+08:00

THE SCOOP

Director: Michel Hazanavicius

Plot: Hollywood, 1927: As silent movie star George Valentin wonders if the arrival of talking pictures will cause him to fade into oblivion, he sparks with Peppy Miller, a young dancer set for a big break.

Genre: Comedy/Romance/Drama

Awards: Won Best Actor, and nom. for Palme d'Or (Cannes).

Runtime: 100min

Rating: PG for a disturbing image and a crude gesture.

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IN RETROSPECT

Will The Artist be overlooked by the Oscars? If it does, it would be tragic. Because this little gem of a film is quite simply breathtaking, and is deserving of a spot in any annual Top Ten lists, including mine, of which a place is already guaranteed. Yes, this is how great this film is. Written and directed by Michel Hazanavicius, The Artist was brought to the limelight after being awarded Best Actor at Cannes, where it officially competed in the Palme d’Or category and premiered, I believe, to thundering applause.

Of course, in an early scene in The Artist, when a popular film starring George Valentin ends, you won’t hear the thundering applause; you can only see. The saying goes that seeing is believing, but by the time the final credits of The Artist roll, seeing is convincing. That feeling of being convinced that in this day and age of 3-D and sound effects wonder, a silent black-and-white film can still thrive and gather acclaim is remarkably satisfying, not only from a historical-cinematic standpoint, but also from a political-economic one. After all, stripped to its very core, great filmmaking is, and has always been, about telling a good story.

Set in the late 1920s, George (Jean Dujardin) is a highly-adored silent film actor who begins to fade away when the revolutionary introduction of sound in films strongly ruffled the feathery dynamics of Hollywood filmmaking in the early 1930s. George refuses to change because of his pride and suffers accordingly. On the other hand, Peppy Miller (Berenice Bejo) becomes a rising star and screen beauty after starring in a series of popular “talkies”. Peppy who meets George early on in the first act feels sympathy for her acquaintance and becomes worried when the latter starts to make headlines for the wrong reason.

Well, the story may be far from radical, but its conventionality suits the simplicity of a silent film. The original score by Ludovic Bource (surely an Oscar nomination for him?) brilliantly sets the mood, and more importantly, the pace of the film. The Artist moves quickly, always confident in finding the rhythmic flow of the narrative. It reminds me of Chomet’s The Illusionist (2010), an incredible animated film with almost no dialogue. There are key similarities: A lead character who plays “an artist” struggling to find an audience for his craft, the exquisite use of music as the primary source of emotion creation, and the extraordinary focus on facial expressions as in the true spirit of silent cinema.

For those who are ignorant of film history, The Artist gives us an appreciable glimpse of the distant past. Those were the days…when Hollywood productions were glamorous affairs…when stars could play the film director like a puppet (nowadays even Michael Bay can fire Megan Fox)…when getting a ticket for a highly-anticipated film means queuing up for hours. The Artist brings to life the hypnotic power of silent cinema. At the same time, director Hazanavicius injects fresh creativity by toying with the film’s sound design, and in one excellent extended sequence, he uses the mournful “Scene d’Amour” music by Bernard Hermann from Vertigo (1958) to stirring effect.

This silent film about silent films will be sure to make enough noise to hand it some trophies come awards season.

GRADE: A (9/10 or 4.5 stars)

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Muppets, The (2011)

2011-11-23T20:58:00.024+08:00

THE SCOOP

Director: James Bobin

Plot: With the help of three fans, The Muppets must reunite to save their old theater from a greedy oil tycoon.

Genre: Comedy/Family/Musical

Awards: -

Runtime: 103min

Rating: PG for some mild rude humor.

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IN RETROSPECT

Let us press the nostalgia button and be transported to the days when Jim Henson created a group of puppet characters with very wide mouths and protruding eyes. Those who grew up with “The Muppets” many decades ago, well, have already grown up. But it is always the heart-tugging nostalgia for those happy times with Kermit the Frog and Miss Piggy that will send droves of grown men and women to the theaters, most I believe with kids in tow. I have a vague memory of seeing “The Muppets” once in Sesame Street when my shoe size was six, but they have been largely forgotten.

Now being largely forgotten can be depressing, as the puppet characters in The Muppets would attest. With the threat of their once glorious and glittering theater studio to be torn down by an unsympathetic big shot wanting to drill for oil below it looming, Kermit must rally his fallen troops to perform one last show to raise the ten million dollars needed to save the building. Sounds like a pretty straightforward plot? Yes indeed. Very much predictable especially towards the climax, The Muppets however keeps proceedings interesting and fresh by allowing the puppet characters to come alive and be their own persons.

Alternating between song-and-dance numbers and puppet drama, this musical-comedy is largely entertaining because it is self-reflexive and indirectly pokes fun at the audience by having characters talk about key plot points (they will work hard to get their ten million dollars) and acting for the camera (cue maniacal laugh). The quirky characters also help the audience to get past moments of pure absurd fantasy such as the scene where they travel from America to Paris in a car “by map”. Despite being soft, cuddly and stuffed with cotton wool, “The Muppets” transcend their seeming artificiality through excellent character development by writers Nicolas Stoller and Jason Segel, who collaborated to acclaim in Forgetting Sarah Marshall (2008).

Segel and Amy Adams play the human leads in The Muppets, though that may sound inaccurate as they are relegated to bit parts that do not quite stand out on their own. Whenever the focus shifts from the puppet characters to the human characters, the film, believe it or not, loses its human touch. Extended sequences of Segel and Adams singing are awkward and seem out of place. Moreover, the romance between them is never truly brought to the fore, thus rendering their interactions as fleeting, unimportant transitions rather than having a stake in driving the narrative.

In a nutshell, The Muppets is still a reason to cheer for families this holiday season. It will bring back fond memories, and for some, it may create new, if not fonder, memories. Despite its flaws, the film remains highly watchable, and this is a strong testament to the colorful non-human characters that adorn this decently-made family picture.

GRADE: B (7.5/10 or 3.5 stars)

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Arthur Christmas (2011)

2011-11-23T20:58:00.019+08:00

THE SCOOP

Director: Sarah Smith

Plot: On Christmas night at the North Pole, Santa's youngest son looks to use his father's high-tech operation for an urgent mission.

Genre: Animation/Comedy/Drama

Awards: -

Runtime: 97min

Rating: G for some mild rude humor.

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IN RETROSPECT

Towards the end of every year, there is the requisite animated or live-action movie about Christmas. This year, we have Arthur Christmas, an animation feature created by Aardman Animations no less. Famous for their stop-motion claymation Wallace and Gromit shorts and films, Aardman Animations now collaborates with Sony Pictures Animation to deliver only their second computer-generated feature after Flushed Away (2006), which was a collaboration with DreamWorks. Directed by Sarah Smith, who makes her directorial feature debut, Arthur Christmas is a family movie that everyone can more or less enjoy, in particular, the kids.

The film debunks the myth that Santa Claus is a fictional construct. In an extraordinary prologue sequence, Santa and his elves put up an extravagant show of unity and determination as they deliver presents to each sleeping (and good) kid in the world in the wee hours, before daylight merrily marks the morning of Christmas. Arthur (James McAvoy) lives at the North Pole, collecting and replying letters from kids from around the world. Well, you see, his father is Santa, and his older brother heads the sophisticated computer and technology department that keeps human error to zilch.

The real story begins when one of the presents fails to be delivered to a child in a small village in the UK. Arthur is concerned, even though the rest of his family, except his grandfather, are not. Arthur and his grandfather set off in a journey to make things right but face obstacles along the way. Although much of how the story progresses is conventional, the film engages somewhat with its blend of humor that is broader than the average animated film, yet remains family-oriented, especially of the interactions between Arthur and his grandfather.

Arthur Christmas does get uninteresting along the way. After one of the best openings for an animated film this year, it sustains for a while before struggling to match the level of engagement and intensity for the rest of the film. In the realm of animation, Arthur Christmas taxonomically straddles between kiddy and moderate youth-oriented fare. Adults may find it less satisfying by the end of the film, unless they are accompanied by happy kids. Many positives have been surrounding the film in recent weeks, with some critics branding it an instant Christmas classic. For me, I feel it is generally overrated, and not a must-watch.

GRADE: C+ (6.5/10 or 3 stars)

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50/50 (2011)

2011-11-23T20:58:00.014+08:00

THE SCOOP

Director: Jonathan Levine

Plot: Inspired by a true story, a comedy centered on a 27-year-old guy who learns of his cancer diagnosis, and his subsequent struggle to beat the disease.

Genre: Comedy/Drama

Awards: -

Runtime: 100min

Rating: M18 for language throughout, sexual content and some drug use.

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IN RETROSPECT

Inspired by a true story, just like probably any other film out there who tries to use this marketing gimmick, 50/50 is indeed true to a large extent. Based on the life experiences of Will Reiser, who wrote the screenplay for the film, 50/50 is a light-hearted look at a serious issue – cancer. In the film, Adam (Joseph Gordon-Levitt), a 27-year old writer for a radio programme is diagnosed with a rare form of cancer. He checks the Internet to find out that he has a 50-50 chance of surviving. His good buddy, Kyle (Seth Rogen), jokes that in a casino game, he would have the best odds.

Such is the comical treatment of cancer in this film that any skeptic would believe it is an insult to those suffering from the unspeakable illness. Yet, and it is a very big yet, the film remains to be the kind of picture that should be required viewing for everyone, especially for cancer patients because it so brilliantly and simply illuminates hope. Director Jonathan Levine (The Wackness, 2008) has made a film that is no doubt one of the best of the year, a film that manages to be laugh-out loud hilarious and emotionally overwhelming at the same time.

Gordon-Levitt gives his strongest performance of his career thus far. He effectively gives a nuanced display of a young man who accepts his condition as he is supported with varying degrees by his worrisome mother (Anjelica Huston), his girlfriend (Bryce Dallas Howard), Kyle, and a young therapist called Katherine (Anna Kendrick). All give excellent supporting performances, in particular Huston, who lights up the screen in a tear-jerking moment with her son before a critical surgery. Without Reiser’s introspective and emotionally resonant screenplay, half the battle would have been lost.

Levine’s control of tone is spot-on. His use of music, a mix of contemporary songs and classic oldies, provides an upbeat and comfortable setting in which the issue of cancer could be broached from the point-of-view of a patient without the fear of being unintentionally insensitive to those concerned. In a way, 50/50 is this year’s Knocked Up (2007), the Judd Apatow film that sensationally and sensitively explored the topic of premarital sex among youths with a fine balance of laughs and tears (of joy). If you are still unsure whether to catch this, rest assured that you will leave the theater with a positive vibe.

GRADE: A (9/10 or 4.5 stars)

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Seventh Seal, The (1957)

2011-11-09T17:56:00.006+08:00

THE SCOOP

Director: Ingmar Bergman

Plot: A man seeks answers about life, death, and the existence of God as he plays chess against the Grim Reaper during the Black Plague.

Genre: Drama/Fantasy

Awards: Won Special Jury Prize, and nom. for Palme d'Or (Cannes).

Runtime: 96min

Rating: PG for some disturbing scenes.

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IN RETROSPECT

Together with Wild Strawberries (1957) in the same year, The Seventh Seal cemented director Ingmar Bergman’s reputation as the leading filmmaker from the Nordic region. Bergman, who would continue to make great masterpieces such as Persona (1966), Cries and Whispers (1972), and Fanny and Alexander (1982), epitomized Swedish cinema with his strong, personal touch, and his penchant for continually exploring the human psyche and condition. The Seventh Seal, often regarded to be one of his greatest works, and is said to be the late director’s personal favorite, is a masterful film filled with symbolic and allegorical imagery.

While not the most enjoyable, nor is it the most emotionally gratifying of his oeuvre of works, The Seventh Seal still remains to be a film of considerable substance. Winning the Special Jury Prize at Cannes, Bergman’s film has no real plot, except for a series of interactions between a knight, named Antonius Block (Max von Sydow) and Death (Bengt Ekerot) that are intercut with sequences of ordinary folks living in the time of the devastating Black Plaque. The lack of a plot makes the film less engaging than it should be, but truth be told, it is the beautiful yet bleak images that hold our attention the most.

Drawing from Kurosawa’s period films as inspiration, Bergman paid attention to period detail in both art direction and set design, and attempted to capture the free-wheeling spirit of films such as Rashomon (1950) and Seven Samurai (1954). Although the jovial moments in The Seventh Seal come across as fleeting, such as the sequence in which a trio of performers are acting out a song-and-dance on a makeshift stage, only to be interrupted by a brutal procession of flagellants (which, in my opinion, is the film’s most hypnotic sequence), their inclusion suggest the hope of innocents in a time and place ravaged by disease and death.

Much has been said about the religious symbolism in The Seventh Seal. The iconic chess scenes that are played by Antonius and Death, which has survived numerous parodies in popular entertainment, remain to be the most unforgettable. Themes such as the existence of God, the fate of human existence, hope and death are explored not only in literal terms, but expressed through rich black-and-white cinematography that continues to wow audiences, such as the morbidly elegant “dance of death” scene at the end.

Religious and existential issues are synonymous with Bergman’s works, and in The Seventh Seal, the director presents his most literal response to the question: Is there a God? Or is there only emptiness, where only Death pervades? While tonally pessimistic and bleak, Bergman’s film manages to be surprisingly, or should I say, defiantly fervent in its expression of assurance – the assurance that the human spirit, for all it is worth against fate, is determined to fight on to the very end.

The Seventh Seal is the quintessential European art film of the 1950s, a textbook picture on filmmaking, though maybe not on storytelling. While somewhat unfairly reduced by popular culture to its pivotal chess scene, could the film also have influenced Lucas’ Star Wars saga? Notice the striking similarities of Antonius (a Crusader knight) with Luke Skywalker (a Jedi knight), and Death with the Emperor (both are paled-face and wear a hooded, dark robe). Whatever the case, Bergman’s influence had been far-reaching, yet only a handful remembered him for who he was when he passed away in 2007.

GRADE: A- (8.5/10 or 4 stars)

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Ugetsu (1953)

2011-11-09T17:55:00.027+08:00

THE SCOOP

Director: Kenji Mizoguchi

Plot: In the civil wars of 16th century Japan, two ambitious peasants want to make their fortunes. The potter Genjuro intends to sell his wares for vast profits in the local city, while his brother-in-law Tobei wishes to become a samurai.

Genre: Drama/Thriller

Awards: Won Silver Lion (Venice). Nom. for 1 Oscar - best costume design.

Runtime: 94min

Rating: PG for some sensuality.

IN RETROSPECT

The great Japanese directors of the distant past had Akira Kurosawa to thank for when Rashomon (1950) made international reception and recognition possible for Japanese cinema with its famous Golden Lion win at Venice in 1951. The floodgates opened and soon Japanese cinema became a beacon of shining light and pride for Asian cinema as films by Kenji Mizoguchi, Yasujiro Ozu, Kon Ichikawa, and later Nagisa Oshima, and Takeshi Kitano among others gave Western audiences a new, and often intriguing perspective on the cultural possibilities of cinema.

Mizoguchi’s Ugetsu, one of the greatest works to come out of Japan in the 1950s, and most certainly a contender for one of the top hundred films of all time, is the legendary director’s magnum opus. It is the film that comes to mind whenever Mizoguchi’s name is mentioned. Shot by acclaimed cinematographer Kazuo Miyagawa (Rashomon; Yojimbo, 1961) and scored by Fumio Hayasaka (Seven Samurai, 1954; Sansho the Bailiff, 1954), Ugetsu is a tragically beautiful film that transcends the boundaries between realism and fantasy.

Ugetsu tells the story of a farmer who has a talent for pottery. He lives with his wife and child in an old hut. Set in the context of the Civil War, the farmer attempts to make a quick buck by selling his wares in a prosperous village across the lake. He meets a strange lady who tries to seduce him, and soon is drawn to the luxurious life that the lady offers him, while his family suffers from the consequences of war. Ugetsu is a strong moralistic look at the human condition, in particular of human desires such as greed and lust.

Mizoguchi’s camera, always roving about in a composed fashion, is influenced both by Italian Neorealism and traditional Japanese picture scrolls. Rarely do we see a still shot, but when we do, especially in the film’s most mystical scene of a boat navigating still waters in a foggy night as it moves toward and past the camera, we are left enthralled not only by the mysterious beauty of the scene, but also Mizoguchi’s mastery of tone and atmosphere.

Indeed as most of the second-half of the film would attest, the director bridges the realms of reality and fantasy effortlessly, as if both realms exist in a single construct that could be construed as the filmic reality. This filmic reality created by Mizoguchi is most certainly subjective, and is experienced through the eyes of the lead protagonist, but it provides viewers with a valuable lens to look at a myriad of elements as they combine to give a total effect. These elements include the abovementioned themes of morality, greed and lust, and others such as the Japanese supernatural mythology, Eastern exoticism and sensuality.

Ugetsu’s message, however, remains universal. Humans are fallible, but more importantly, they are also redeemable, though most of the time it is at the expense of grief and hurt. Mizoguchi fashions a haunting tale of love and loss, adapted from stories by Akinari Ueda and Guy de Maupassant. Ugetsu fits snugly between Kurosawa’s more operatic and entertaining films, and Ozu’s calm and meditative films, offering viewers an intriguing, otherworldly take on “the ghost story”. Despite its reality-fantasy underpinnings, Ugetsu never loses it moral focus, and that is what makes it such a great classic.

GRADE: A (9/10 or 4.5 stars)

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Philadelphia Story, The (1940)

2011-11-09T17:55:00.022+08:00

THE SCOOP

Director: George Cukor

Plot: When a rich woman's ex-husband and a tabloid-type reporter turn up just before her planned remarriage, she begins to learn the truth about herself.

Genre: Comedy/Romance

Awards: Won 2 Oscars - best lead actor, screenplay. Nom. for 4 Oscars - best picture, director, lead actress, sup. actress.

Runtime: 112min

Rating: PG

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IN RETROSPECT

What a casting coup! James Stewart, Cary Grant, and Katharine Hepburn in a single motion picture directed by George Cukor of A Star is Born (1954) and My Fair Lady (1964) fame. The Philadelphia Story, as it is called, brings these great acting names of the classical Hollywood era together for a film that is very much a romantic comedy in the disguise of a dramatic farce. Cukor’s early classic may have aged a fair bit, in comparison with ageless films of the same period such as Casablanca (1942) and It’s a Wonderful Life (1946), but it is still effectively charming in its own beguiling way.

Hepburn plays Tracy Lord, a rich, beautiful but snooty lady who cares for no one except for herself. She lives in a mansion with her mother and younger sister, and is preparing for her second wedding with George Kittredge (John Howard), who owns a profitable coal company. Her ex-husband, Dexter Haven (Grant), in an attempt to sabotage the wedding brings a reporter Macaulay Connor (Stewart) and his photographer Elizabeth Imbrie (Ruth Hussey) to cover Tracy in a tabloid magazine. Awkward situations ensue as the characters mingle about in Tracy’s mansion.

Much of the screenplay, which won Donald Ogden Stewart an Oscar, centers on the witty wordplay among the characters, most notably of scenes involving Tracy. Tracy is the focal point in Cukor’s film; she is the instigator of problems, but also provider of the reassurance that she could somehow outwit everybody with her stature and stately poise. But truth be told, and with the truth inevitably falling on Tracy’s ears, she recognizes her fallibilities and frailties, and attempts to change her moral character, but not without its moments of utter confusion and farcical showdowns.

Cukor’s affinity with directing women has been widely documented. Very much a “women’s director”, Cukor’s films mostly centered on strong female characters. The Philadelphia Story could have been renamed The Tracy Lord Story, but that would undervalue the importance of Stewart and Grant’s characters, both of whom provide the laughs to complement the relative seriousness of Tracy’s self-inflicted dilemmas. In the film’s funniest set-piece, Macaulay carries a drunken Tracy in his arms after presumably skinny dipping in the pool. As he walks towards her mansion, he sings “Over the Rainbow” to the sheepish embarrassment of George and Dexter standing in the front of the lawn.

The Philadelphia Story may be regarded as an unqualified classic, perhaps the best of its kind in its high-brow treatment of the farcical romantic-comedy. In my opinion, it remains decent and is most certainly one of Cukor’s better efforts. But I still think the greatness that comes from a film’s agelessness eludes this Cukor picture.

GRADE: B+ (8/10 or 3.5 stars)

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Princess Bride, The (1987)

2011-11-09T17:55:00.017+08:00

THE SCOOP

Director: Rob Reiner

Plot: A classic fairy tale, with swordplay, giants, an evil prince, a beautiful princess, and yes, some kissing (as read by a kindly grandfather).

Genre: Adventure/Comedy/Family

Awards: Nom. for 1 Oscar - best original song.

Runtime: 98min

Rating: PG

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IN RETROSPECT

There was a time when Rob Reiner made excellent films. That time has passed, but he has left us with a film that is often regarded as one of his best. The Princess Bride was made after the critical success of This is Spinal Tap (1984) and Stand by Me (1986). Reiner would later go on to make memorable films such as When Harry Met Sally (1989), Misery (1990), and A Few Good Men (1992). This purple patch of his during the late 1980s and early 1990s cemented his reputation as a director with the golden touch.

Reiner once said in an interview that he was no Spielberg or Lucas. He did not know how to make a spectacular film because his technical knowledge was limited. He cared more about his characters and it showed in many of his films. In The Princess Bride, Reiner puts effort in giving audiences a host of characters that would ordinarily fit into a fantastical landscape, except that this is no ordinary fantasy. Told in a fresh and original style, The Princess Bride is a family movie that is a classic mix of adventure, romance, and humor. It is fun to watch, though the visuals have aged quite a fair bit.

Adapted by William Goldman (Butch Cassidy and the Sundance Kid, 1969; All the President’s Men, 1976) based on his own book, The Princess Bride is a straightforward girl-meets-boy tale, set in a fictional medieval period. But like any fairy tale, the lovers are separated and it is the boy who must undergo obstacles to rescue his one true love from a despicable king who intends to murder her on their night of marriage. What makes Reiner’s film different from the usual run-of-the-mill fantasy is its approach. A grandfather is actually narrating the story to his sick grandson, and the film pauses in mid-time when the latter reacts to how the story unfolds.

For better or worse, the film does not feel cinematic enough. In fact, it feels like a staged play, elaborate and colorful in terms of art direction and set design, exaggerating in terms of dialogue and characterization, but the film never really truly transcends what exists within and is contained in its frame. The story has heart and we do enjoy the company of some of its characters, especially the supporting ones such as Inigo Montoya and Vizzini, but it must be said that I felt the film to be slightly contrived, suffering from bouts of artifice that make it difficult to fully appreciate the essence of purity that flows occasionally in the film.

The Princess Bride is light-hearted, not to be taken too seriously, though it is also satirical as far as the genre could afford to. Very much a parody in the vein of This is Spinal Tap, The Princess Bride tries its best to squeeze as much situational humor as possible from a host of familiar genre conventions. One scene sees a man challenging another to a revenge duel, but the latter uncharacteristically runs away in a panic. Another scene sees a character dressing like the Emperor from the Star Wars saga, scaring off armed guards.

As a story-within-a-story picture, Reiner’s film is obviously also critical of video-gaming as shallowly replacing book-reading as a pastime for youths, as shown in its prologue sequence. Though extremely ironically, The Princess Bride is literally a narration of a book for the screen, and I find the entire film a symbolic attack on the inability of the text to captivate as much as the visual. In a nutshell, while the film does have its moments of splendor, it never quite sails in the direction of moviemaking magic.

GRADE: B+ (8/10 or 3.5 stars)

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Leon: The Professional (1994)

2011-11-09T17:55:00.012+08:00

THE SCOOP

Director: Luc Besson

Plot: Professional assassin Leon reluctantly takes care of 12-year-old Mathilda, a neighbor whose parents are killed, and teaches her his trade.

Genre: Crime/Drama/Thriller

Awards: -

Runtime: 110min

Rating: NC16 for scenes of strong graphic violence, and for language.

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IN RETROSPECT

Director Luc Besson reportedly took only thirty days to write the script and another ninety to shoot Leon: The Professional. Intended to be a casual, filler movie in between La Femme Nikita (1990) and The Fifth Element (1997), the latter a futuristic sci-fi action-thriller he wanted to make with Bruce Willis, Leon: The Professional has ironically become Besson’s most accomplished film to date. This revered action-drama is now regarded as one of the classic 1990s action films, yet for all of its seemingly Hollywood-style bombast, it retains a unique arthouse sensibility.

Leon: The Professional stars Jean Reno as the title character, a man whose job is to “clean” men who have crossed the line in the organized crime business. There is no doubt he is a cold-blooded killer but he does his job so effectively that he is immunized against fear. When not clinically executing lowly criminals, he tends to his green plant that he regards as his best friend in a small apartment. Now, that very same building and floor where he lives resides a very dysfunctional family who is about to get busted by a crooked, sadistic cop called Stansfield (Gary Oldman) and his men.

Mathilda (Natalie Portman), a young, rebellious girl who goes out to buy milk that fateful day returns to see her entire family murdered. She smartly avoids her apartment where Stansfield’s men are still there and walks straight to Leon’s door. She knocks in despair, and the rest is history. Stylistically influenced by a host of action films including the John Woo-Chow Yun Fat films of the late 1980s, Leon: The Professional in my opinion draws most inspiration from Scorsese’s Taxi Driver (1976), a film whose Robert De Niro-Jodie Foster character axis mirrors that of Reno-Portman’s.

Portman, in her feature film debut, gives a stunning performance that is perhaps only matched by her Oscar-winning endeavor in Black Swan (2010). She plays Mathilda without inhibition, often with a balance of vulnerability and sensuality that makes her so attractive to the audience and Leon. Leon plays the father figure who becomes protective of Mathilda, who desires for revenge against Stansfield. Surprisingly for an action film, the relationship between the two leads is developed intricately. Leon teaches Mathilda how to use tools of carnage (I am not surprised if this film inspired Kick-Ass (2010)), while the latter shows affection, and I daresay, lust for him.

There is an awkward sexual tension that seems to ripple beneath the faux father-daughter relationship, but it never threatens to overwhelm the drama. Besson shows that he is equally at ease with directing his cast as with directing the film’s action sequences. The fluid camerawork excellently establishes the cinematic space in which the action is executed, especially in the climax when Leon has to single-handedly protect Mathilda and fend off an entire SWAT team. The use of music heightens the suspense, and effective brings the film experience a notch higher.

Leon: The Professional is the quintessential action film, and is certainly one of the greatest examples on how to make one that follows a set narrative structure, yet leaving enough leeway to explore less conventional paths. You won’t want to miss this anytime when it is showing. Especially when Oldman is lip-smackingly playing the villain.

GRADE: A (9/10 or 4.5 stars)

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Adventures of Tintin: The Secret of the Unicorn, The (2011)

2011-10-27T00:24:00.035+08:00

THE SCOOP

Director: Steven Spielberg

Plot: Tintin and Captain Haddock set off on a treasure hunt for a sunken ship commanded by Haddock's ancestor. But someone else is in search of the ship.

Genre: Animation/Action/Adventure

Awards: -

Runtime: 107min

Rating: PG for adventure action violence, some drunkenness and brief smoking.

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IN RETROSPECT

The master of entertainment is back with not one, but two films this year. The highly-anticipated War Horse, a drama set in the context of World War I, is earmarked for release around Christmas. But for now, film enthusiasts will be satisfied by Steven Spielberg’s cinematic take on the beloved comics by Belgian artist Georges Remi.

The Adventures of Tintin: The Secret of the Unicorn arrives at our screens with as much anticipation as Spielberg spectacularly presents the film in animation, shot using motion capture technology that has advanced considerably since The Polar Express (2004).

The Adventures of Tintin pushes the envelope on the wondrous possibilities of animation, and for once, the folks at Pixar Animation are faced and challenged with an animated film that is more realistic than anything they have ever created.

Spielberg, who is almost always on top of his game, exorcises the ghosts of Indiana Jones and the Kingdom of the Crystal Skull (2008), a failed attempt at reviving Indy fever, with another action-adventure that will certainly please children and adults alike. The master director goes back to his roots as an entertainer and delivers what is essentially Indiana Jones meets Pirates of the Caribbean packaged in a fun outing for the family.

The story is simple: Tintin (Jamie Bell) is compelled to investigate the mystery of a sunken ship when a model replica that he bought is stolen. He sets off on an adventure and is acquainted with Captain Haddock (Andy Serkis), a drunken seafarer who is forced to face his family history.

Although the execution of the story may lack the emotional depth that Pixar Animation so consistently convey in their films, The Adventures of Tintin redeems itself with thrill-a-minute action sequences that build up in situational complexity in which two or more action threads simultaneously unfold in humorous Spielbergian fashion.

There are homages to many films including Spielberg’s own Jaws (1975), and James Cameron’s Terminator 2: Judgment Day (1991) and Aliens (1986) in the climatic sequence. If there is a flaw in The Adventures of Tintin, it would be the pacing. There is an extended flashback sequence as Haddock hallucinates in the desert that almost slows the story down to a stop.

There are more flashback sequences later that disrupt the flow of the main narrative. While they provide some back story that helps to develop Haddock’s motivations, they ultimately prove to be more distracting than useful. Still, there are some great visuals in those flashbacks.

The star performer here is Serkis, who is surely deserving of at least an Oscar nomination one day. He captures the drunken and foolhardy nature of Haddock with aplomb, becoming a hilarious counterpoint to the frenzy action that whirlwinds around him.

The Adventures of Tintin is one of the best animated features of the year and is likely to be nominated for an Oscar for Best Animated Feature. With Cars 2 (2011) fizzling out, Kung Fu Panda 2 (2011) decent but not unique, and the jury still out regarding Happy Feet 2 (2011) and Puss in Boots (2011), it seems like the only strong challenger is Rango (2011).

And Rango it surpasses for sheer entertainment. Also gone are the soulless eyes that Zemeckis tried but failed to remedy in his films over the years.

GRADE: A- (8.5/10 or 4 stars)

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Warrior (2011)

2011-10-27T00:24:00.030+08:00

THE SCOOP

Director: Gavin O'Connor

Plot: The youngest son of an alcoholic former boxer returns home, where he's trained by his father for competition in a mixed martial arts tournament.

Genre: Action/Drama/Sport

Awards: -

Runtime: 140min

Rating: PG13 for sequences of intense mixed martial arts fighting, some language and thematic material.

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IN RETROSPECT

Last year, there was The Fighter (2010), the Oscar-winning boxing drama directed by David O. Russell that saw Christian Bale and Melissa Leo bag the golden statuettes. This year, we have Warrior, a mixed martial arts action drama that follows the tradition of The Fighter. Helmed by Gavin O’Connor (Miracle, 2004; Pride and Glory, 2008), Warrior is a rousing, inspiring motion picture that is a potent mix of action and drama, while maintaining a tight balance between the two. This is a film that is as much about the action as it is about the drama that unfolds.

Starring Tom Hardy as Tommy and Joel Edgerton as Brendan, it is established in the film’s first hour that both of them are brothers. They have an extremely strained relationship because of an unforgivable past family incident. Their father Paddy (Nick Nolte) attempts to reconcile with his sons, but is only successful to a limited extent. Separately, Tommy and Brendan join Sparta, a grueling mixed martial arts tournament. Both have different motivations to win the top prize of US$5 million. Their motivations are clearly set up, though not in a straightforward way as the film takes its time to establish the delicate relationships among the abovementioned characters.

What makes Warrior such an excellent film is not its action sequences, which are no doubt stunning to watch, but how the film positions its dramatic material in such a way that it becomes indispensable to the whole cinematic experience. Watching action on screen has no meaning unless substantiated with a well-developed narrative that raises our interest in the characters and their individual stories. O’Connor knows this and despite a lengthier runtime than what is usually the case, his film effortlessly immerses the viewer into the tough, competitive world of mixed martial arts. Although the film begins in a seemingly lackluster manner, the payoff at its climax is certainly satisfying.

The performances in Warrior are exceptional. Hardy and Edgerton give solid displays that remind of Robert De Niro in Raging Bull (1980) and Mark Wahlberg in The Fighter respectively. The underrated Nolte gives a nuanced performance that may give the Academy some food for thought. As an action film, Warrior is one of the best you will ever see this year. With some outstanding camerawork and editing, Warrior is thrilling and exhilarating. A “training” montage mid-way through the film that is accompanied by a clever remix of Beethoven’s Ode to Joy by composer Mark Isham is a particular standout.

It is fair to say that even though Warrior is an excellent film, it does not break new ground in relation to its genre. The film follows a predictable path, but through its strong emphasis on drama and characters, Warrior successfully transcends the average feel-good sports picture and delivers what it promises. And what it promises is a bang-for-buck film that will leave you smiling as you exit the theater. Recommended!

GRADE: A- (8.5/10 or 4 stars)

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Drive (2011)

2011-10-27T00:24:00.025+08:00

THE SCOOP

Director: Nicholas Winding Refn

Plot: A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.

Genre: Crime/Drama/Thriller

Awards: Won Best Director and nom. for Palme d'Or (Cannes).

Runtime: 100min

Rating: M18 for strong brutal bloody violence, language and some nudity.

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IN RETROSPECT

Drive won Best Director at Cannes for a reason. And it is not the reason that would send legions of fans of car action to the theaters. Wrongly marketed as a Fast and Furious type movie, Drive is more than just an action spectacle. In fact, it would be inaccurate to label it as such because the film focuses on action not as spectacle but as human reaction to circumstance. Directed by Danish filmmaker Nicholas Winding Refn, who made Bronson (2008), a flawed but fascinating film starring Tom Hardy in a tour de force performance, Drive sees Ryan Gosling in a similarly anchoring lead performance.

Gosling plays the man with no name. He is simply known as Driver in the film. He is a mechanic but he drives – as a stunt performer, as a race car driver, and occasionally drives the getaway car in heists. In short, he is a brilliant driver. Driver meets Irene (Carey Mulligan), the beautiful girl-next-door neighbor who takes care of her small child. One day, Irene’s husband comes back from prison, but is forced to take part in a heist to clear his mounting debts. The situation escalates into something deadly when the heist goes wrong, which sees Driver taking matters into his own hands.

Drive is a homage to numerous films, including car action classics like Bullitt (1968) and dark character studies such as Taxi Driver (1976). In fact, I see Refn’s film as a contemporary update on Scorsese’s masterpiece. Both films involve a reticent hero trying to see meaning in his existence, and acts violently to protect the vulnerable women who come into his life. While Taxi Driver adopts a moody but gritty style, Drive is more stylish and features a pulsating soundtrack that works wonders on the film’s stunningly-lit, and composed visuals. Refn’s film is also as much a brilliant exercise on camera and lighting as it is on suspenseful direction.

At any one time, we never know what is going to happen to anyone in the film, including Gosling’s character. Such unpredictability is rare in filmmaking and is certainly what drives the film when the pacing becomes deliberately slow at some moments. The violence in Drive is explicit and gory, but Refn cuts the scene at the right time for maximum impact. He knows violence is more painful to watch when it lingers in the mind than it being shown outright. In one brutal scene, a man is kicked and has his face and jaw crushed by someone’s boot. We don’t see the violence, but we clearly hear its impact, and that is enough to make us cringe uncontrollably.

Drive will greatly disappoint fans looking for an entertaining ride. The trailer is misleading, but this is a picture that had officially competed at Cannes, so it is no surprise to me that it turns out in an unexpectedly satisfying way. While the entire film is solid, the best part of Drive is its 10-min prologue sequence, which if isolated from its main body, could have been one of the most incredible shorts of all time. Clearly not for the faint-hearted, Drive is an excellent and unconventional arthouse action film that is both uniquely presented by Refn and intensely acted by Gosling.

GRADE: A- (8.5/10 or 4 stars)

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Ides of March, The (2011)

2011-10-27T00:24:00.020+08:00

THE SCOOP

Director: George Clooney

Plot: An idealistic staffer for a newbie presidential candidate gets a crash course on dirty politics during his stint on the campaign trail.

Genre: Drama

Awards: Won Brian Award and nom. for Palme d'Or (Cannes).

Runtime: 101min

Rating: M18 for pervasive language.

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IN RETROSPECT

Since 2002, actor George Clooney has directed four films, with a consistent three-year gap between the release of each film. While not the best of Hollywood filmmakers, Clooney’s films are at the very least smart and savvy. His latest, The Ides of March, based on the play “Farragut North” by Beau Willimon, is just that. Willimon adapts his own play and co-writes together with Clooney and Grant Heslov (Good Night, and Good Luck, 2005) in this political drama that is more intriguing than it is engaging.

Nominated for the Golden Lion, The Ides of March stars Clooney, Ryan Gosling, Paul Giamatti, Philip Seymour Hoffman, Evan Rachel Wood, and Marisa Tomei in what has to be one of the most exceptional ensemble casts of the year. Gosling plays the lead role Stephen Meyers, an idealistic member of Governor Morris’ (Clooney) campaign team who becomes embroiled in dirty politics as he struggles to stay sane in light of accusations, scandals, and tragedy. The rest of the cast provide excellent supporting turns with a couple of outstanding monologues from Hoffman and Giamatti.

Intense performances drive this film, without which it would probably fail because this is a dialogue-centric film that requires actors to exercise strong verbal acumen. Clooney uses a lot of close-ups as facial expressions become paramount to conveying emotions as compared to the general body language. This is evident in the film’s lengthy final shot of Stephen’s face as he gets ready for an interview, and in another scene where Governor Morris is puzzled and apprehensive as a call by a recently deceased reaches his phone.

Much of the drama in The Ides of March comes from the political tension that arises as a result of the mind games that each side play to gain an upper hand. Is this what we have come to know about politics? Morris’ determination to get a foothold in Ohio so that he could stand a chance at a nomination is juxtaposed with Stephen’s mounting personal problems, some of which are intertwined with his job. Clooney makes the effort to turn up the dial for intrigue as complications rise with each political and personal decision by the characters, rash or otherwise.

Unfortunately, the film is less than the sum of its parts. It is engaging to a certain extent with the strong performances providing some needed bite. But the intrigue that is so well developed in the first two acts slowly fizzles out of gas by the time the film reaches its climax. The cinematic experience becomes slightly diluted when the film could have left audiences with a punch to the gut. Politics is indeed a dirty game, and Clooney’s film clearly shows this with some intricacy. However, it is not potent enough a bullet to strike anger in audiences to demand immediate political accountability.

GRADE: B- (7/10 or 3 stars)

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In Time (2011)

2011-10-27T00:24:00.015+08:00

THE SCOOP

Director: Andrew Niccol

Plot: In a future where people stop aging at 25, but are engineered to live only one more year, having the means to buy your way out of the situation is a shot at immortal youth. Here, Will Salas finds himself accused of murder and on the run with a hostage - a connection that becomes an important part of the way against the system.

Genre: Crime/Sci-Fi/Thriller

Awards: -

Runtime: 109min

Rating: PG13 for violence, some sexualty and partial nudity, and strong language.

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IN RETROSPECT

Andrew Niccol, who famously made his name as the writer-director of Gattaca (1997), a clever futurist, sci-fi film that is also a strong critique against advances in technology, now directs In Time, a film that thematically echoes Gattaca. While conceptually bolder, the film suffers from not being able to fulfill its great potential, proving to be only averagely satisfying. That being said, In Time tries to blend a blockbuster-oriented style with Niccol’s auteurial touch. It’s more uniquely executed than the average blockbuster, but it is far from a being an excellent film.

Starring Justin Timberlake, who now has a newfound fondness for acting, and Amanda Seyfried, who has an extreme makeover, In Time has a premise that goes like this: In a world where everyone is genetically programmed to stop ageing at 25, and has to literally buy time to continue living, Will Salas (Timberlake) is forced to take matters into his own hands when he finds himself with too much time literally on his hands. It is indeed an intriguing plot when audiences read it as a socio-political commentary on today’s society of greed, selfishness and widening income gap.

Shot by the acclaimed cinematographer Roger Deakins, In Time features outstanding art direction and set design, both of which are influenced by modern sci-fi films such as Dark City (1998). Some of the scenes are also a tribute to other popular sci-fi films like The Matrix (1999) in a rooftop chase, and The Terminator (1984), where a large vehicle is driven straight into a building. Still, In Time is very much Niccol’s own, not only in its mood and style, but in its satirical look at how humans are bounded by the limits of technology and genetics.

The action sequences are well-executed, and suspense is built to considerable levels in several key scenes where characters are running. Unfortunately, this film doesn’t quite run when it should be; it stagnates at some parts. There are problems with pacing, with the lack of urgency the main flaw. After all, this is an action-thriller, and what audiences need is a potent dose of prolonged suspense. The stakes are not raised high enough for the lead characters, and this is mostly due in part to their vague motivations and characterizations.

In Time tries its best to entertain, and it does, but only in moments. The concept behind this film is near-brilliant, but Niccol wastes it along the way, never fulfilling its promise. Despite its flaws, In Time remains to be a biting look at the society we live in today. Only if it was a tad more entertaining and involving.

GRADE: B- (7/10 or 3 stars)

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Sunshine (2007)

2011-10-09T00:42:00.006+08:00

THE SCOOP

Director: Danny Boyle

Plot: A team of astronauts are sent to re-ignite the dying sun 50 years into the future.

Genre: Adventure/Sci-Fi/Thriller

Awards: -

Runtime: 107min

Rating: NC16 for violent content and language.

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IN RETROSPECT

Sunshine underscores director Danny Boyle’s versatility in working with different genres. He never seems to make two films of the same genre back-to-back. Boyle has made a science-fiction film before with 28 Days Later (2002), but with elements of horror set in an apocalyptic Britain where humans turn into violent, raged creatures after being infected by a deadly virus. Sunshine, while also containing elements of horror, is at its heart a tribute to the roots of true science-fiction films best exemplified by Kubrick’s 2001: A Space Odyssey (1968) or Tarkovsky’s Solaris (1972).

Starring Cillian Murphy as Robert Capa, who with a small team of scientists attempt to reignite the dying Sun fifty years into the future, Sunshine has one of the most absurd plotlines one could ever know. It’s almost unfathomable to think of such a far-fetched scenario. Such a plot reminds me of the atrocious The Core (2003), a film about trying to drill all the way down to the Earth’s core to set it spinning again. While it is an excuse to exhibit advances in visual effects, The Core severely lacks coherence in storytelling and editing, which are unsurprisingly excellently handled by Boyle in Sunshine.

From the first scene, we are already in space in a huge spacecraft with an even larger shield that protects the craft and crew from intense radiation and luminosity from the Sun. All plot-related logic and absurdity is immediately thrown out the window as we are psychologically and experientially immersed into the crew’s journey towards the Sun. Much of the “science” in Sunshine is not related to the hard sciences but more towards philosophical themes of existentialism, self-sacrifice, and morality. Boyle and screenwriter Alex Garland (28 Days Later; Never Let Me Go, 2010) capture the extremes in human emotions with enough subtlety to juxtapose with the film’s seemingly grandeur concept.

John Murphy’s original score creates the ideal sonic atmosphere, though I must say that Boyle’s trademark eclectic filmmaking style is on show at sporadic moments only, especially towards the end. And thankfully so, as too much self-indulgence could have affected how the film turns out. There are some stunning CG shots of space, with the interplay of light and shadow a clever visual hook. There is not one moment that seems artificial as it is the human story of survival and sacrifice that carry the film and not its imageries.

There is however one big flaw in Sunshine that unfortunately causes it to literally lose its plot in the final act. It is this one, singular obstacle that prevents Boyle’s film from deserving greatness. It is none other than the shocking appearance of Freddy Krueger. I won’t say anymore except that the introduction of this character derails the entire film from its devotion to achieving some kind of science-fiction grandeur and cheaply substitutes it with a slasher flick-inspired routine, as if to entertain audiences who until then are probably enthralled by the cinematic experience of the first two acts. But it’s not an excuse to miss this bold but flawed film.

GRADE: B (7.5/10 or 3.5 stars)

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Life Without Principle (2011)

2011-10-09T00:41:00.026+08:00

THE SCOOP

Director: Johnnie To

Plot: On a fateful day, three ordinary people suddenly find their destinies entwined when a loan shark gets assaulted after having withdrawn $10 million from the bank.

Genre: Crime/Thriller

Awards: Nom. for Golden Lion (Venice).

Runtime: 107min

Rating: PG for some violence.

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IN RETROSPECT

Life Without Principle sees Johnnie To back to making crime films after taking a breather co-directing the relatively lackluster romance-drama Don’t Go Breaking My Heart (2011). Nominated for his third Golden Lion at Venice, To fashions a film that is his own yet it does not feel as accomplished as some of his best work in the last decade such as Election (2005) and Exiled (2006). I believe this is the result of an elongated first act that is uninspiring at best, with the second act starting about nearly halfway into the film, and really, that’s when the film actually begins to get more interesting.

The plot is constructed in a way that would leave some viewers confounded at first, but as they start to make sense of the entire narrative structure, the film becomes somewhat reassuring in the sense that one knows how the film will generally play out despite moments of unpredictability. Like films such as Traffic (2000) and Amores Perros (2000), To’s film deals with characters whose lives are unexpectedly intertwined with each other. And the thing that links everyone up is…the natural human desire to make big money. The film’s ambiguous title then echoes themes of greed (as symbolically depicted by money) and moral values (as symbolically depicted by greed).

The semantic malleability of “value”, which is the overarching, albeit abstract concept To is attempting to explore, allows it to take on multiple meanings throughout the film, manifesting itself in areas such as the value of love, family and brotherhood. Value also takes on a moralistic angle, and quite extensively in this film, it takes on its most literal meaning: the value of money. As I mentioned earlier, Life Without Principle begins in the most boring manner conceivable – scene after scene of dullish drama involving a banker dealing with her customers. While it is insightful to see how the finance industry works at the micro-level, it appears to do very little in advancing the film’s plot.

But when it gets exciting midway as the stakes are raised, To’s skill as a director comes to the fore. He cuts among the different narrative threads skillfully, elevating the suspense at times, while at the same time allowing his characters to function on their own in their own cinematic space. This is most noticeable in the intercutting of scenes of a person who has been stabbed and waiting in a car praying that the value of the stocks would fall, while another goes to help him invest his money but mistakenly investing it the wrong way, thus praying that the value of the stocks would rise. It is quite a despairing but oddly humorous scene.

Life Without Principle would have been a far effective film if the first act has been revised to create a more engaging setup. But if you are able to make it pass the first 45 minutes without dozing off, then you will be pleasantly surprised at what the second half of the film would offer. To’s film is not a bad one, though it is a flawed one. It’s literally half-decent, but I expect more from one of Hong Kong’s most celebrated film auteurs.

GRADE: B- (7/10 or 3 stars)

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Midnight in Paris (2011)

2011-10-09T00:41:00.021+08:00

THE SCOOP

Director: Woody Allen

Plot: A romantic comedy about a family traveling to the French capital for business. The party includes a young engaged couple forced to confront the illusion that a life different from their own is better.

Genre: Comedy/Fantasy/Romance

Awards: -

Runtime: 94min

Rating: PG for some sexual references and smoking.

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As far as Woody Allen is concerned, he doesn’t care if his films hit or miss the mark. I suspect as long as he is able to write and direct a film a year, he would be pleased with himself. And he has been doing so for more than four decades now. This incredible workaholic of a writer-director who subverts the Hollywood system by consistently adhering to his own signature, personal cinematic style is an American national treasure. His newest film, Midnight in Paris, is one of Allen’s better contemporary efforts, but it still falls quite short of his best works of the late 1970s and 1980s.

Midnight in Paris, which premiered at Cannes as the opening film, stars a knockout cast of Owen Wilson and Rachel McAdams, with supporting turns by Adrien Brody, Marion Cotillard, Kathy Bates, Michael Sheen, and even Carla Bruni. You might be surprised to see Wilson in a neurotic film by a neurotic director, but it works excellently. From the opening dialogue, we instantly identify with Allen’s trademark sardonic tone as delivered by Wilson. In that immediate singular moment, Wilson becomes Allen and plays out the latter’s alter ego for the rest of the film.

Wilson is Gil, who works in Hollywood, but is taking a break and writing a novel that talks about the nostalgic past. He is in Paris with his girlfriend Inez (McAdams) on a business trip with her family. One night, Gil walks home alone, finds himself lost and is tempted by drunk folks to hitch a ride that takes him back in time to the 1920s. All of a sudden, he meets famous figures in early 20^th century literature and art – Hemingway, Fitzgerald, Porter, Dali, Bunuel, Picasso and many more. This turn into fantasy is not abrupt and is well-handled by Allen who uses a warmer color palette for the sequences in the past.

While Midnight in Paris is at times hilarious and quite engaging, there are some dull, uninspired portions in the film that weaken the film, especially in a couple of superfluous scenes with Cotillard as her character bonds with Gil. There seems to be a loss in verbal momentum as the pacing becomes more languid the more time Gil spends in his fantastical realm. The shuffling back and forth between past and present keeps viewers’ interest at a sufficient high, though I must say the second act of the film is not as involving as the first and last.

Midnight in Paris is beautiful to look at, especially of its night scenes both in the past and present timelines. The epilogue draws influences from Linklater’s Before Sunset (2004), a film whose freewheeling spirit Allen’s film tries to emulate, but does not do so as successfully. However, Midnight in Paris remains true to what we now come to know as Woody Allen – still a neurotic genius but who has mellowed over the years. The film embodies elements of Allen’s unique style and echoes some of the greatness in his greatest films, yet the film does not at once seem to be an instant classic as many have purported it to be. Still, worth a watch.

GRADE: B (7.5/10 or 3.5 stars)

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The 317th Platoon (1965)

2011-10-09T00:41:00.016+08:00

THE SCOOP

Director: Pierre Schoendoerffer

Plot: In Vietnam, 1954, a French platoon isolated behind enemy lines tries to come back. It is led by the inexperienced, idealistic sous-lieutenant Torrens, and by adjutant Willsdorf, a WWII veteran of the Werhmacht.

Genre: War

Awards: Won Best Screenplay and nom. for Palme d'Or (Cannes).

Runtime: 100min

Rating: NC16 for some violence.

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IN RETROSPECT

Shot entirely in Cambodia, this war film by French director Pierre Schoendoerffer is impressive for the right reasons, yet it does not feel like a great film. Winning Best Screenplay at Cannes, The 317^th Platoon is one of the first films to touch on the subject of war in post-WWII Vietnam. It does so reasonably well, with a strong emphasis on realism, both in terms of cinematography and the way situations unfold in the film. This is not surprising as Schoendoerffer was a veteran of the Indochina war, and had subsequently made The Anderson Platoon (1967) that won the Oscar for Best Documentary.

The 317^thPlatoon stars Jacques Perrin as Lt. Torrens, an inexperienced officer who seems to know how things should be done ideally, but not practically. He leads a section of men comprising of French soldiers, aided by armed locals, as they struggle to survive behind enemy lines. His adjutant Willsdorf (Bruno Cremer) is a tough-talking WWII veteran who is very much a realist and understands fully the Darwinian dynamics of warfare. While there are scenes of Torrens and Willsdorf at odds with each other, the film does not see this inter-comrade tension as its main narrative propellant.

Schoendoerffer’s direction is neither sensational nor even highly entertaining, but the understated rawness of the interactions amongst soldiers on a mission to save themselves, and in between soldier and nature (which is most effectively portrayed in the scenes of Man v. moving waters during several river crossings) are beautifully shot in all of its harsh reality by the famous Raoul Coutard, who cinematographed Godard’s Breathless (1960) and Truffaut’s Jules and Jim (1962) among countless others. The black-and-white cinematography here is quite astonishing, with the capturing of the interplay of natural elements such as mud and rain perhaps a homage to the climactic battle sequence in Kurosawa’s influential Seven Samurai (1954).

While much of what transpires in the film would be considered perfunctory in contemporary war cinema, The 317^th Platoon still manages to engage with its strong dialogue as brought forth especially by the rich interplay between Torrens and Willsdorf. Their performances are also even and consistent. However, the general feeling I get after seeing the film is not as highly favorable as I would have expected it to be. Mainly for fans of Coutard, or those who are curious and lucky enough to get the chance to see this, The 317^th Platoon is a war film that while not entirely satisfying, still questions the fruitlessness of war in a way that resembles true cinematic realism.

GRADE: B (7.5/10 or 3.5 stars)

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Hunger (2008)

2011-10-09T00:41:00.011+08:00

THE SCOOP

Director: Steve McQueen

Plot: Irish republican Bobby Sands leads the inmates of a Northern Irish prison in a hunger strike.

Genre: Biography/Drama/History

Awards: Won Golden Camera (Cannes).

Runtime: 96min

Rating: M18 for disturbing content and nudity.

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IN RETROSPECT

This quite astonishing feature film debut by Steve McQueen is a powerful inquiry into the fragile human condition as reflected by true events, which lay the historical foundation for the human story that unfolds in this unconventional prison drama. Hunger, as it is so poetically but tragically titled, is a film that raises questions on human’s capacity to dehumanize fellow men for reasons as vague as its political circumstances of the time. McQueen does not shy away from the treatment of his subject and story, providing us with a contextual insight into one of the most horrible moments in modern British politics.

The film is set in the early 1980s when the Irish Republican Army were at violent odds with the British government for the latter’s refusal to grant the former’s prisoners the symbolic “political prisoner” status, but instead viewing them as serial criminals with no human rights whatsoever. These prisoners were tortured and made to live in sub-human conditions in the Maze Prison in Northern Ireland, before their leader Bobby Sands (Michael Fassbender) started a hunger strike that would eventually kill him. As a result, some concessions were made by the British government, but more crucially, the world took notice of the plight of these prisoners.

Fassbender’s breakthrough role as Sands is nothing short of breathtaking. Like many other Method actors that have come before him, Fassbender immerses himself psychologically, and more shockingly, physically into the role that would earn him plaudits for his courageous devotion to his craft. To portray Sands’ physical mortification as a result of his hunger strike (that lasted all of 66 days), Fassbender lost enough weight to pass off credibly as a person who has not eaten for weeks, with skin sagging and bones all-too-obvious to the naked eye.

Hunger is a challenging film to watch, not only because of the ghastly sight of Fassbender’s skinny body, but also McQueen’s uncompromising direction in which he uses static long shots and long takes to bring out the temporal reality of the scene. There is a static long take that lasts for about 17 minutes that shows a civilized but occasionally heated dialogue between Sands and a priest; it is an outrageous sequence but perhaps the film’s most important one. The violence in Hunger reminds me of Kubrick’s A Clockwork Orange (1971), not so much in its explicit depiction, but in its thematic portrayal of authoritarian violence against the weak.

Sound is also used to frightening effect in Hunger as police guards line up regimentally to beat their shields with their batons, as others violently force the prisoners, who are completely nude here, to be physically checked by medical personnel. Hunger compensates its harsh and brutal depiction of reality in its first half with a calmer, more introspective second half as we enter the psychology of Sands as he comes to terms with his decision to starve to death. By the film’s end, no words are said as Sands’ body is wheeled out in a detached long shot. As viewers, we are left inspired by Sands’ self-sacrificing act, yet we somehow feel it is a sacrifice that could have been better deliberated.

GRADE: A- (8.5/10 or 4 stars)

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Requiem for a Dream (2000)

2011-09-18T22:56:00.033+08:00

THE SCOOP

Director: Darren Aronofsky

Plot: The drug-induced utopias of four Coney Island individuals are shattered when their addictions become stronger.

Genre: Drama

Awards: Nom. for 1 Oscar - best lead actress.

Runtime: 102min

Rating: R21 for intense depiction of drug addiction, graphic sexuality, strong language and some violence.

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IN RETROSPECT

This is hands down director Darren Aronofsky’s best film to date. I cannot express how powerful and potent Requiem for a Dream is. It is no doubt a masterpiece, an absolute standout in a year of standouts including Christopher Nolan’s Memento, Lee Ang’s Crouching Tiger, Hidden Dragon, Wong Ka-Wai’s In the Mood for Love, Steven Soderbergh’s Traffic, and Lars von Trier’s Dancer in the Dark.

With Requiem, only Aronofsky’s second feature, the director has cemented his place as one of the great modern American filmmakers, a tremendous talent who would continue to enthrall audiences with the unique but underrated The Fountain (2006), and the brilliant dramatic and psychological character studies in The Wrestler (2008) and Black Swan (2010) respectively.

Contrary to popular belief, Requiem is not entirely a film about drug-taking and its dire effects, though it works perfectly as an anti-drug feature. It is actually a film about the perils of addiction, and it so happens that drug-taking is one of many forms of addiction portrayed in the film, albeit one that is depicted most forcefully and tragically.

Starring Ellen Burstyn as Sara Goldfarb, who is addicted to a television show “We Got a Winner!”, and who gets a telephone call one day informing her that she has won a chance to be featured on that very same show, Requiem depicts to extraordinary extent how she uncontrollably takes diet pills to shed the kilos that would allow her to fit beautifully in her favorite red dress.

Sara has a son, Harry (Jared Leto), who is a drug trader and a drug addict. Harry has a girlfriend, Marion (Jennifer Connelly), who sells her body to get cash to buy drugs, and a good friend, Tyrone (Marlon Wayans), who is also a drug abuser. Centering on the lives of these four characters, Aronofsky intercuts their interactions with each other as they fall deeper into the psychological and physical hellhole caused by the hallucinatory and painful effects of drug abuse.

I am shocked that Requiem was not rewarded with any Oscar nominations for Best Film Editing and Best Sound Editing. By employing nearly every editing trick in the arsenal, Aronofsky has fashioned a MTV-styled film, accompanied by a throbbing original score by Clint Mansell. The director effectively uses quick cuts, split-screens, fast-forwards in a long take and other editing techniques to bring out the nauseating quality of the entire film.

In particular, there is a long take scene in which the camera is attached to Connelly’s body as it captures her pitiful face while she walks along a corridor, into a lift, and out after performing a sexual service. It generates an uncomfortable feeling that is a mix of voyeurism (of Connelly’s sexualized body) and sympathy (of Connelly’s character not being able to escape the “eye” of her circumstance).

Requiem is then a very challenging film to watch, not only because of its uncompromising portrayal of its theme of addiction, but also the raw, in-your-face techno-visual style – its startling primacy creating a flurry of kinetic images that continue to affect us long after the film has ended. Much of the film’s hypnotic power is also consolidated in Sara; she becomes the emotional core of the film by performance, extending it out to Harry, who in turn, extends it out to Marion and Tyrone.

Aronofsky also sets the spatial elements in what I call the “urban psychological prison”, in this case, of Sara’s apartment, in such a manner that it invites a false sense of normalcy but with an undercurrent of suspense and dread that grows stronger as her character breaks down mentally in spectacular fashion in the final quarter of the film. This “urban psychological prison” concept is repeated in similar ways in The Wrestler (in Randy’s trailer) and Black Swan (in Nina’s apartment) and has become Aronofsky’s signature directorial touch.

In a nutshell, Requiem for a Dream is indisputably a modern American masterpiece, a provocative cinematic response to the perils of popular culture (i.e. the influence of media) and the drug sub-cultures, and an indirect commentary on the dangerous lengths people would go to have a shot at the American Dream, inviting audiences to thoroughly question and debate the destructive cycle that is addiction. It is also a film that features arguably the scariest refrigerator anyone would probably ever see.

GRADE: A+ (10/10 or 5 stars)

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1911 (2011)

2011-09-18T22:56:00.028+08:00

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Director: Jackie Chan & Zhang Li

Plot: A historical drama based on the founding of the Republic of China when nationalist forces led by Sun Yat-sen overthrew the Qing Dynasty.

Genre: Action/Adventure/Drama

Awards: -

Runtime: 121min

Rating: PG13 for war violence.

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IN RETROSPECT

In terms of marketing a film to the East and West, you don’t get any bigger a star than Jackie Chan. Purported to be his “100^th film”, 1911 sees Chan working on both sides of the camera. Co-directed by Chan and Zhang Li, the latter a quite accomplished cinematographer of The Banquet (2006) and the two-parter Red Cliff (2008, 2009), the film is being sold as a historical drama about a turbulent period in time almost a century ago when revolutionary leader Sun Yat-sen led his forces to overthrow the Qing Dynasty, founding the Republic of China.

1911 starts out credibly but ends on a pretentious note, as if trying to impress by dialectic, when what audiences want is an honest, emotional portrayal of the film’s lead character. Speaking of which, I suspect many would find it difficult to point out who the focus is here. This is a story of Sun (played by Winston Chao), but there is no escaping the fact that for most of us, it is Chan whom we want to see. And yes, we do see him, but not enough to gratify us. Herein lies the discrepancy: If we see him enough, 1911 would lose its historical focus. You see, it is a failed battle from the start.

Chan plays Huang Xing, Sun’s right-hand man, and whom we see lead courageous young men to battle against the Chinese military forces. As much as 1911 is a history lesson in cinematic disguise, it is also a war movie. The war scenes, while shot with a beautiful desaturated grey hue, are edited haphazardly. We see inexplicable moments of slow-motion and jerky fast-forwards that are more distracting than useful. In the more dramatic scenes, the pacing is slightly uneven. Perhaps the biggest flaw of the film is the integration of an awkward collection of scenes that are shot with English dialogue that sees Sun speaking to a group of Western bankers so just to please English-speaking audiences in the US of A.

1911 also tries too hard to please action fans of Chan’s legendary stuntwork by showing a short scene of him sliding down a hot, metal column to fight off a couple of bad guys. It is as if Chan feels stifled by a historical narrative that disfavors kung-fu, and decides to have a moment of emo-physical release. In a nutshell, 1911 does leave us with a couple of finer points about Chinese history, but the experience is diluted in some way or another, but not limited to, the lack of character focus, and its seemingly imposing final sequence that features a long, propagandic dialectic.

GRADE: D (5/10 or 2 stars)

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I Saw the Devil (2010)

2011-09-18T22:56:00.023+08:00

THE SCOOP

Director: Kim Jee-hoon

Plot: When his pregnant fiancee becomes the latest victim of a serial killer, a secret agent blurs the line between good and evil in his pursuit of revenge.

Genre: Crime/Drama/Horror

Awards: -

Runtime: 141min

Rating: R21 for strong violence and gore.

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IN RETROSPECT

Nothing will prepare you for what you are going to see in this new Korean horror-thriller by versatile director Kim Jee-hoon. Kim takes the vengeance drama and fashions it into one of the most violent and gory pictures in mainstream cinema in recent years. With a title like I Saw the Devil, you are certain to be in for something that will test your tolerance for extreme cinema. Kim, who has made films such as the horror-mystery A Tale of Two Sisters (2003), the crime-drama A Bittersweet Life (2005), and most famously, The Good, the Bad, and the Weird (2008), a noodle Western inspired by Sergio Leone’s original 1966 film, delivers his most shocking film yet.

I Saw the Devil stars Choi Min-sik (Oldboy, 2003) as Kyung-chul, the film’s brutal and sadistic villain who rapes and tortures young, beautiful and vulnerable women, before eventually killing them. He even has a secret dungeon where he slowly dismembers his still-conscious victim with an array of torture devices and a combination of sharp and blunt tools. When he is not torturing anyone, he ferries student girls around in a yellow school van. As you can see, this guy is completely messed up. The plot kick-starts with the discovery of a severed human ear, reminding me of David Lynch’s surrealistic mystery-drama Blue Velvet (1986).

But unlike Lynch’s masterpiece, I Saw the Devil deals extensively with the notion of vengeance. This is brought to the fray by Kyung-chul’s opponent, Soo-hyeon (played by Lee Byung-hun), the film’s determined protagonist, or so we thought. You see, Soo-hyeon’s wife is one of the victims of Kyung-chul and he vows to pursue revenge in the name of justice. Controversially, Soo-hyeon’s brand of revenge is to exact the same suffering upon his wife’s killer. This is where Kim’s film gets morally provocative because the protagonist is also sadistic. By being unconventional in its narrative approach, I Saw the Devil asks of the question: What is revenge when one fools around with it with dire consequences?

It would be tempting to reduce the entire film to a series of chase sequences involving Soo-hyeon capturing Kyung-chul and torturing him, and then letting him go, before capturing him to torture him again. This playful predator-prey approach may be entertaining, but stretching it to about 2.5 hours means scenarios get repetitive. What is more noticeable though is the film’s palpable sense of trepidation. From the prologue sequence, the mood is set for a very suspenseful ride into hell. Kim’s use of the camera creates tension, and so is his use of creaking doors. His camera doesn’t shy away from all the extreme violence, and it’s not the campy Sam Raimi kind.

Speaking of which, there is one outstanding violent sequence shot within the confines of a moving taxi via a rotating camera (a technique that could have been inspired from Alfonso Cuaron’s Children of Men (2006)) in which two occupants slash and stab each other (and the driver) repeatedly with fountains of blood spurting in all directions. It is a sequence that would not look out of place in a Tarantino movie. One must credit Choi for his performance as the insane psychopath. He is so scary-looking that Hannibal Lecter would be forgiven if he peed in his pants. It is the quality of the acting by Choi and to some extent, Lee, that makes I Saw the Devil miles better than any Hollywood torture porn movie.

Kim’s film, while not recommended for audiences who easily get sickened by the sight of torture on screen, is still a competently-made feature, though it is far from the high standards set by Oldboy, still the holy grail of its sub-genre. In Park Chan-wook’s film, violence and torture have a justifiable purpose. However in I Saw the Devil, these portrayals may have gone overboard in its explicitness. But at least you can draw comfort from the fact that the film is stimulating in some odd way or another. You can’t really say that for the Hostel or Saw movies, can you?

GRADE: B (7.5/10 or 3.5 stars)

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Tatsumi (2011)

2011-09-18T22:56:00.018+08:00

THE SCOOP

Director: Eric Khoo

Plot: A story based on the life and short stories of Yoshihiro Tatsumi, a mangaka known for his gekiga style of alternate Japanese manga.

Genre: Animation/Biography/Drama

Awards: -

Runtime: 94min

Rating: M18 for sexual scenes.

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IN RETROSPECT

The first local animation feature to hit the rare bar of quality belongs to Eric Khoo’s new film, Tatsumi. In competition at Cannes in the Un Certain Regard category, Tatsumi is a moving tribute to Yoshihiro Tatsumi, a Japanese manga artist who is known to have developed and mastered the gekiga (meaning “dramatic pictures”) style of alternative comics. Tatsumi is still alive by the way as he makes an appearance when the animation transits into reality in a manner loosely reminiscent of Waltz with Bashir (2008), though its execution is far less impactful here than in Folman’s masterpiece.

Khoo’s appetite for a challenge sees him delivering a film that is narrated in Japanese, featuring old-school “hand-drawn” animation, and telling a story that, frankly speaking, mainstream audiences would not care about. There are probably two general groups of people who would be interested in a film like this – Khoo’s loyal fans and Tatsumi’s cult followers. The film will not light up the box-office, but unless you are an arts and culture cynic, there is no reason you should not see Tatsumi. It is perhaps Khoo’s most artistic and personal film to date. It is also a more interesting film than his last outing, the overrated My Magic (2008).

Tatsumi ‘s narrative structure is split into two long-running threads – one depicting Tatsumi’s life as an artist, and the other showing some of the artist’s key works in moving images as characters in his comics come to life. In general, the two threads complement each other well, though sometimes the transition between the brighter and inspiring “Tatsumi” thread to the darker and melancholic “comic book” thread, or vice versa, seem overly stark. However, this strategic alternating of the two threads helps to engage the audience, especially when any part of the thread meanders and becomes uninteresting. Do also look out for the film’s quite beautiful soundtrack; it flows like a river and rarely stops.

For an animated feature, there are quite a number of sexual scenes including a controversial one showing a daughter-turned-prostitute having sex with her old father who comes to visit her. Similar to films that depict a dark neo-reality such as Akira (1988), Tatsumi does not hold back in its portrayal of the decay of society caused by a myriad of factors including urbanization, at least in the context of the world of Tatsumi’s mangas. In a nutshell, Tatsumi is likely to satisfy audiences who already have a vested interest in the film. Those who are uncertain are encouraged to explore Khoo’s work.

GRADE: B (7.5/10 or 3.5 stars)

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The Tree of Life (2011)

2011-09-18T22:56:00.013+08:00

THE SCOOP

Director: Terrence Malick

Plot: The story centers around a family with three boys in the 1950s. The eldest son witnesses the loss of innocence.

Genre: Drama

Awards: Won Palme d'Or (Cannes).

Runtime: 139min

Rating: PG for some thematic material.

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IN RETROSPECT

The awarding of the Palme d’Or to writer-director Terrence Malick for his bold film The Tree of Life is arguably the most symbolic action to occur in the world of cinema in recent memory. Malick, who has managed to build up a reputation for over nearly four decades as an invisible and invincible artist, delivers his most ambitious film yet. The reclusive director who shies away from media attention and virtually everything else is the ultimate example of an anti-Hollywood filmmaker who is able to work comfortably with Hollywood stars in his film projects.

In The Tree of Life, he enlists the services of Brad Pitt and Sean Penn, though not for artistic reasons I reckon, as there is a lack of attention towards character development and dramatic acting. Penn, who plays the eldest son of Brad Pitt’s character in a future timeline, and whom we only glimpse sporadically in the film, appears to be lost in deep thought. Pitt has nothing to show except for his face, which admittedly, fits well in the mid-20^th century American suburban setting. Relative newcomer Jessica Chastain is the only one who gives a memorable performance, though it must be said that the kids in the film also give assured displays.

In just one line: The Tree of Life is Days of Heaven (1978) meets 2001: A Space Odyssey (1968). It explores big, existential themes of life, death, the birth of the universe, and the concept of time, told like a picture book filled with a flood of astounding imageries. Like Days of Heaven, Malick’s romantic ode to the struggles of crop harvesters in the American countryside, The Tree of Life captures excellently the nostalgia and seemingly idyllic nature of its early setting with its observational but fluid camerawork, opting to draw attention to the vast natural space around Man that remains unknown.

Unlike 2001, which primarily employs the use of man-made devices such as technology and structural prowess (i.e. the elaborate set designs and spacecrafts) as an inquiry tool to understand the nature of our being, Malick’s film appears to be more meditative and introspective, using nature (or what little we seem to know about it) as a loose but all-encompassing guide to our existence. Interestingly, these “reliance on technology” and “ignorance of nature” approaches may be uniquely different, but are effective in its treatment of philosophical themes. In this regard, I would challenge film enthusiasts to catch 2001 and The Tree of Life back-to-back as each complements the other in a manner that I would describe as deeply enlightening.

The pacing of The Tree of Life is deliberately languid, but the film is ultimately rewarding for anyone willing to enter a personal journey with the director as he attempts to lift us into a spiritual realm of meaning and purpose. Rarely has any film in recent years be able to do this, and I salute Malick for his devotion not only to his craft, but more importantly, to his filmic vision. How could anyone have had the burning passion to write such a picture? Is anyone out there even capable of creating such a film of this magnitude? Malick has realized his vision, and the world of cinema ought to be indebted to this genius filmmaker. The Tree of Life will definitely be in my list of Top Ten Films of 2011.

GRADE: A (9/10 or 4.5 stars)

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Deep End (1970)

2011-08-31T23:32:00.035+08:00

THE SCOOP

Director: Jerzy Skolimowski

Plot: 15-year-old Mike takes a job at the local swimming baths, where he becomes obsessed with an attractive young woman, Susan, who works there as an attendant.

Genre: Comedy/Drama/Romance

Awards: Nom. for 1 BAFTA - best supporting actress.

Runtime: 90min

Rating: M18 for sexual situations and nudity.

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IN RETROSPECT

One of the most underrated Polish directors, Jerzy Skolimowski is no less talented than Kieslowski, Wajda, or Polanski. Take a look at Deep End and you will see why this cinematic master deserves more recognition, at least compared to his more well-known compatriots. Skolimowski writes and directs Deep End, perhaps the defining work of his long career as a filmmaker. It stars John Moulder-Brown and Jane Asher, with the latter nominated for a BAFTA for Best Supporting Actress. Actually, Asher’s role as Susan is much more than a supporting one; she is the central figure of the entire film as the whole narrative revolves around her.

This is despite the plot being told from the perspective of Mike (Moulder-Brown), a 15-year old boy who takes a job at the local public pool and becomes infatuated with Susan who works there. Infatuation turns into obsession as Mike pursues her, or I should put it more clearly, her sexualized body. In one sequence, Mike discovers a life-size cardboard cutout of a topless Susan outside a brothel and brings it onboard a train, confronting her in the midst of bemused passengers. Mike’s determination to possess Susan and win her heart results in a myriad of circumstances that would pave way for a tragic yet morbidly beautiful ending.

What Skolimowski does exceptionally well is his handling of young actors Moulder-Brown and Asher, both of whom create an overwhelming sense of sexual tension with over-the-shoulder glances, nervous nods, and instances of flirting. The director himself shoots Asher suggestively, often at angles that highlight her sexuality, allowing viewers to lust at her from a distance. All these are part of the experience of watching Deep End, which is not only a character study on one boy’s sexual awakening, but also a masterclass in the art of mood change – from that of a light-hearted comedy to a boy-meets-girl drama to something erotic and disturbing.

This mood change is ever so subtle, but visual hints that seem irrelevant at first glance point to a potential devastating climax such as a painter who paints part of a wall blood red, or when a shot of Susan’s cutout floats on the pool with Mike diving into it. The strong performances by the actors convince us of their attitudes toward each other, but we can’t be sure what they think. Yet it is their antics throughout the film, as part of their emotional reactions toward certain events, that when taken collectively, motivate how the climax would turn out.

This is what makes Deep End such an effective film – you have an idea of how things are going to be, but you won’t notice the intricacies of the aforementioned mood change until it hits you in the gut at the end. The final half-hour starting with the scene of Mike running in the snow until the climax in the “deep end” of the pool is cinema at its most mesmerizing. Skolimowski’s mastery of camera framing allows the tension to build up, until it could not be built up anymore, that’s when everything explodes in a flood of visual imagery that could only simply be described as breathtaking.

GRADE: A (9/10 or 4.5 stars)

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Mission: Impossible III (2006)

2011-08-31T23:32:00.030+08:00

THE SCOOP

Director: J.J. Abrams

Plot: Ethan Hunt comes face to face with a dangerous and sadistic arms dealer while trying to keep his identity secret in order to protect his girlfriend.

Genre: Action/Adventure/Thriller

Awards: -

Runtime: 126min

Rating: PG for intense sequences of frenetic violence and menace, disturbing images and some sensuality.

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IN RETROSPECT

With Mission: Impossible – Ghost Protocol coming out in December, I find myself the need to review Mission: Impossible III. As I popped in the DVD, I realized that the Mission: Impossible and Alien quadrologies share something in common – each film (no matter how good or bad) is directed by a filmmaker of note. Ridley Scott, Brian De Palma, James Cameron, John Woo, David Fincher, J.J. Abrams, Jean-Pierre Jeunet, and Brad Bird make up this tremendously talented list. Abrams, who is now one of Hollywood’s hottest properties, made the successful transition from television (Alias, 2001-2003; Lost, 2004) to feature filmmaking in 2006 with M:I:III.

For a debut, M:I:III is a decent action film though it is more entertaining than stimulating. I say this because Abrams has since made two stimulating blockbusters in Star Trek (2009) and Super 8 (2011) and seem to be continuing in this vein with the sequel to Star Trek. Starring Tom Cruise, who still effortlessly tackles both acting and stuntwork after nearly three decades in film already, Philip Seymour Hoffman as the lead antagonist, and Michelle Monaghan, M:I:III gives us characters that are far from disposable as there is an effort to bring out some degree of character development in scenes of quiet drama that are often lacking in blockbusters like this.

Ethan Hunt (Cruise) finds himself sucked back into the whirlwind of the job he left as a secret agent. He marries Julia (Monahgan) before he takes on his next mission: To capture Owen Davian (Hoffman), an arms dealer who is crafty, sadistic, and outright sickening as a person. In the tense opening sequence, we are catapulted into the world of espionage with Ethan at the absolute mercy of his nemesis. The film will gratify viewers seeking action and death-defying stunts. While not as stylistic as Woo’s M:I:II, the action sequences in Abrams’ film are nonetheless executed with aplomb.

The tightly-paced set-piece at the Vatican is the highlight of the entire film, I feel. It also stays close to the tradition of the M:I style with its showcase of stealth and strategic planning. By casting Hoffman as the film’s scene-stealing villain, half the battle is already won by Abrams who allows viewers to engage with the conflict, both physically and psychologically, as played out dramatically by Hoffman and Cruise. In a nutshell, M:I:III is a well-shot action feature with steady (read: non-nauseating) camerawork, and at times, using excellent crane shots to immerse viewers into the visual spectacle. Despite being a tad cliché in terms of storytelling, the film remains to be a respectable popcorn effort by a very promising director.

GRADE: B (7.5/10 or 3.5 stars)

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Contagion (2011)

2011-08-31T23:32:00.025+08:00

THE SCOOP

Director: Steven Soderbergh

Plot: An action-thriller centered on the threat posed by a deadly disease and an international team of doctors contracted by the CDC to deal with the outbreak.

Genre: Action/Sci-Fi/Thriller

Awards: -

Runtime: 105min

Rating: PG13 for disturbing content and some language.

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IN RETROSPECT

Contagion is one of the year‟s more anticipated films, helmed by a master filmmaker who has made a wide variety of films in different genres for more than twenty years now. In the mainstream circles, he is well-known for directing the Ocean’s (2001, 2004, 2007) trilogy, though in all honesty, the name Steven Soderbergh has been lauded more in the American independent cinema scene than anywhere else. This brings us to Contagion, a commercial effort no less that will also be screened in the IMAX format. This implies that it is not only a film to be seen, but to be experienced as well.

Unfortunately, I was underwhelmed by what was presented on screen. When a film that proudly markets its tagline as “nothing spreads like fear” is unexplainably dull, it is sure to be a disappointing, or at best, an average experience. And that is my judgment of Contagion – a mildly unsatisfying picture with a premise that offers so much but is never, truly explored or exploited to its greatest potential. In a way, this is Soderbergh‟s Outbreak, the forgettable Wolfgang Petersen thriller of the mid-nineties also centering on an epidemic.

Contagion features one of the strongest ensemble cast committed to a Hollywood production in years – Matt Damon, Gwyneth Paltrow, Laurence Fishburne, Jude Law, Marion Cotillard, Kate Winslet. Even John Hawkes, who was nominated for an Oscar for a supporting role in Winter’s Bone (2010), makes a cameo appearance as a janitor. The strength of the cast is sadly weakened by the film‟s loose approach to its narrative. No particular actor is outstanding here as not enough screen time is given to them to perform. There is also one character too many, causing our attention to split.

This lack of character focus is one of Contagion‟s flaws, yet it is its pacing that is its biggest problem. The surprising lack of urgency makes this a relatively pedestrian film that is sometimes guilty of ignoring the audience‟s need for excitement. I appreciate, however, the effort the filmmakers have made to stay true to realism, by which I mean the film‟s depiction of what actually goes on behind-the-scenes in bio research labs and how organizations such as the World Health Organization would reasonably tackle deadly epidemics such as the one presented in Contagion.

Soderbergh, whose previous works have been relatively liberal either in content or in filmmaking style, has chosen to adopt a more conservative approach to handling Contagion. „The government is always right‟ seems to be the mantra and any radical notion as espoused by bloggers (represented by Law‟s character) trying to seek the truth is tossed into flames. In a nutshell, the impact of Contagion‟s treatment of social-political themes is not readily felt, neither is it an entertaining film to begin with. Watch it if you wish to, for you might come out of the theater with a different opinion.

GRADE: C+ (6.5/10 or 3 stars)

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