Combining fantasy, adventure, action and humour to maximum effect, this lively Korean film deserves to be seen by as big an audience as possible. Writer/director Dong-hun Choi, best-known for his excellent con-artist films THE BIG SWINDLE (2004) and TAZZA : THE HIGH ROLLERS (2006), takes an unexpected turn into fantasy/action territory, but again shows why he is such a highly-regarded film-maker. Using the time-travel premise that was well-used in films such as ICEMAN COMETH (from Hong Kong) and of course HIGHLANDER, WOO-CHI makes the most of the material, helped along by a strong cast and superior technical crew. Dong-won Kang (from SECRET REUNION, DUELIST, VOICE OF A MURDERER, and the very funny TOO BEAUTIFUL TOO LIE)is excellent as the title character, making a flawed, at-times quite vein person likable. The great Yun-seok Kim, who impressed audiences in RUNNING TURTLE and inparticular in the brilliant THE CHASER, is perfectly cast as Woo-chi's main nemesis. Su-jeong Lim (from Park Chan-wook's under-rated I'M A CYBORG, BUT THAT'S OK and the outstanding A TALE OF TWO SISTERS)is perfect as the object of Woo-chi's affections. It's also great to see Dong-hun regular Yun-shik Baek (TAZZA / THE BIG SWINDLE / THE ART OF FIGHTING / SAVE THE GREEN PLANET) make a very welcome appearance. With $200 million Hollywood productions failing to make the grade, it is wonderful to see a film like WOO-CHI deliver such high-class entertainment on a fraction of the budget. Fast-paced, exciting, very funny, and full of vibrant, involving characters, JEON WOO-CHI : THE TAOIST WIZARD will certainly be one of my best films of the year. One hopes it will get a proper international release (unfortunately the director's other films have yet to achieve a deserving release outside of South Korea).
Reviews
20 Reviews
The Ultimate Wave Tahiti
(2010)
What a ride
8 June 2010
You don't have to be a surfing fan to enjoy this wonderful IMAX film, which beautifully shows the sites (above and below) of the gorgeous Teahupo'o beaches of Tahiti. Nine-time world champion Kelly Slater and local legend Raimana Van Bastolaer lead you on an incredible journey searching for the ultimate wave. Through the magic of IMAX 3D, you experience these events as up-close as possible, making for first-class, big-screen entertainment. Your view bobs above-and-below sea level, the sea-spray covers your glasses, and you see just how close the surfers get to those very brave cameramen. As well as seeing some stunning 3D surfing footage, you are taken on a trip through the local marine life, and a vertigo-inducing look over the islands and ocean. You also get some lovely beach babes thrown in for good measure. Along with the terrific SPACE STATION 3D, this is a great example of IMAX 3D, showing how much you can be immersed in a particular subject through this superior technology.
The Loved Ones
(2009)
A genuine crowd-pleaser
30 July 2009
After a number of disappointing and outright bad films that have come out of this country in recent years, we finally have what could be one of the most talked-about Australian films since 'UNDEAD'. Having turned up quietly at this year's Melbourne International Film Festival, this efficient, stylish, and energetic film proves to be far superior than the more publicised 'VAN DIEMEN'S LAND', and deserves as much success and great word-of-mouth it can get. The best way to enjoy this film is not to read anything about the plot. The less you know about the film going in the better. Rest assured you will be taken on quite a ride. Performances are excellent, and perfectly in tune with the material. Xavier Samuel (turning up in the third instalment of TWILIGHT), Victoria Thaine ('48 SHADES' / 'CATERPILLAR WISH'), Robin McLeavy ('48 SHADES'), Richard Wilson ('THE PROPOSITION' / 'CLUBLAND'), Jessica McNamee (TV's 'PACKED TO THE RAFTERS'), and veteran John Brumpton ('LAST RIDE' / 'ROMPER STOMPER' / 'DANCE ME TO MY SONG' / 'STORM WARNING') all deserve special mention. Considering its small budget, 'THE LOVED ONES' is a slick looking movie. Credit goes to cinematographer Simon Chapman and editor Andy Canny, who both worked on the director's short film 'ADVANTAGE'. Great work is also done by production designer Robert Webb ('WOLF CREEK' / 'ROGUE'). Writer/director Sean Byrne combines black comedy and horror/thriller confidently, as he did with his impressive 2007 short film 'ADVANTAGE'. He turns one kind of film into another with skill, never stumbling when he makes the transition. Like his short film, Byrne knows what to show and when to cut, and he again shows his great ear for sound design. Director Byrne, and stars Samuel, Thaine, and McLeavy were at the screening I attended, and you couldn't wish more success on a better group of people. Mr Byrne announced that 'THE LOVED ONES' will be playing in the Midnight Madness section at the Toronto Film Festival in September. So please, everyone in Canada and the U.S please greet this film with open arms, and please give this talented young director your warm support. You won't be disappointed.
Otokotachi no uta
(2008)
Beautiful
30 June 2009
I have only seen the segment 'Iron', directed by Hiroyuki Nakano, which screened as a separate short on the SBS TV series 'Shorts On Screen'. This quietly beautiful short shows one man's obsession with smooth surfaces and clean cuts. A young yakuza continually irons a number of items - shirts, folded paper - going to extreme lengths to achieve absolute perfection. We see various flashbacks, which help hint as to why the man is such a perfectionist. Director Nakano intelligently shows the two sides of human nature, the quick, messy consequences of violence (even the way the young man reacts after killing an insect), and the hard work in trying to achieve a smooth, peaceful existence. Exquisitely photographed and edited, making for deliberately paced but involving viewing. Proves that Nakano is a genuine talent, whether it be a short or a feature film. For further proof please see his film 'Samurai Fiction'.
High Maintenance
(I) (2006)
Smart and funny
30 June 2009
Fascinating, funny look at what makes up a modern relationship. Wonderfully directed by Phillip Van, and nicely written by Simon Biggs, 'High Maintenance' proves more successful at entertaining the viewer in an intelligent fashion than most feature films. We see Jane (Nicolette Krebitz) and Paul (Wanja Mues) celebrating an anniversary of the two being together. Paul however is distant, thinking more about his job than about Jane. Jane is dissatisfied with Paul, who won't even have a glass of wine as he has to work early the next morning. Jane has had enough, and feels that the time is ready to find a new man, one who loves her more than his career. Van and Biggs play with the idea of the 'perfect' relationship beautifully, showing how a lot of people concentrate on the perfect job, the perfect house, the perfect man/woman, but never on the small, personal details and human emotions that truly bring two people together. We feel we can change partners like we change shoes, or cars, or TVs. Both Krebitz and Mues are excellent, playing their roles with a terrific satirical edge. The cinematography (by Felix Novo de Oliveira) is also a stand-out. Can Mr Van please now make a feature film, hopefully teaming up again with Mr Biggs.
Advantage Satan
(2007)
Nifty little short
30 June 2009
Entertaining short film that starts out as one kind of story, then surprisingly turns into another, effectively knocking the viewer off-balance. A young couple (Mark Winter and Shelly Lauman) are walking home after a big night on the town. Drunk but still full of energy, the two wander the streets in the early hours of the morning. After resting at a nearby park, the couple come across a tennis court, and see that the gate has been left unlocked. The two enter, but just as they are about to get physical, they discover they are not alone. Director Sean Byrne shifts tone convincingly, displaying complete confidence as the film moves from natural comedy to something much more sinister. Technically the film is first-rate, from the cinematography, editing, and especially the sound design. Byrne has a good eye for knowing what to show, and when to cut. He also gets strong performances from both Winter and Lauman. Only the ending disappoints, which seems illogical given the set-up and reason why the court is left unlocked. I certainly hope 'Advantage' leads to Byrne making a feature film (hopefully 'The Loved Ones' is it).
Catch Fish
(2006)
Recommended
30 June 2009
Interesting, well shot short about a guy (Zheng Ting Wang) who obsesses about a beautiful young woman (Haiha Le), who works at the local fish market. The man buys a fish from the woman, goes home, and then proceeds to have a very unusual bath. Using camera techniques similar to Wong Kar-Wai, writer/director Adam Arkapaw manages quite effectively to get inside the head of this man who is obviously attracted to the young woman, but would rather fantasise about her as an attractive image than actually get to know her as a person. Credit must also go to cinematographer Ari Wegner, who captures the real and the surreal with style. Arkapaw shows a nicely Asian eye for framing and composition, during the market scenes as well as the scenes at the man's apartment. Both Wang and Le are perfectly cast. Wang displays a convincingly love-lorn face, showing someone who can only admire from a distance. Le is certainly alluring, allowing Arkapaw to easily make his point.
Berni's Doll
(2008)
Wonderful
30 June 2009
Saw this on the great SBS program 'Shorts On Screen', and this is definitely one of the best shorts I've seen so far on this series. The story centres on Berni, who works in a cat food factory and lives alone in a run-down apartment. Like his repetitive job, his life is like an assembly line. Wake up, drive to work, do his eight hours, drive home, watch TV, and go to bed. One day Berni sees a commercial advertising female torsos as the perfect companion. Selling his car, Berni buys an African 'model', which promptly arrives on his doorstep. What follows is a beautifully realised look at what it means to be treated as an equal and with respect, and just being treated like an object. There is no dialogue, but writer/director Yann Jouette brilliantly takes us on an emotional journey in a very short period of time. His message is clear without being heavy-handed. The animation is stunning, making Berni and the world in which he lives both vivid and incredibly stylish.
The Good the Bad the Weird
(2008)
Grandly epic entertainment
28 March 2009
Huge, sprawling, eye-popping adventure that is a loving ode to the spirit of Sergio Leone's spaghetti westerns, and is definitely one of the best big-screen entertainments of the year. Combining massive sets, vast landscapes, and incredible action set-pieces, this is what cinema is all about. Set in 1930's Manchuria, the story revolves around three very different characters; Park Do-Won - The Good (Jung Woo-Sung), Park Chang-Yi - The Bad (Lee Byung-Hun), and Yoon Tae-Goo - The Weird (Song Kang-Ho), who are all after a legendary treasure map. Close on their trail is the Japanese army, who also want the map, as the possible spoils will help fund their war effort. Featuring several truly spectacular action set-pieces, which writer/director Kim Ji-Woon ('A Tale Of Two Sisters' / 'A Bittersweet Life') pulls off brilliantly, the movie is wonderfully held together by three first-rate performances. Kang-Ho is hilarious as the manic thief, Byung-Hun is strikingly convincing as the villainous Chang-Yi, and Woo-Sung is perfectly cast as the strong, Clint Eastwood-style Do-Won. Like Leone did with his films, Ji-Woon creates a framework for the characters which his talented cast then breath their own textured life into. It's more about character interplay, period flavour, and grandly memorable sequences than a strong, complex story. Ji-Woon may have approached this differently to his previous films, but that doesn't make 'The Good, The Bad, The Weird' any less meticulously crafted. I just wish all big budget blockbusters were as masterfully entertaining as this.
The Hurt Locker
(2008)
Exceptional War Film
5 March 2009
After a long break, director Kathryn Bigelow returns with 'The Hurt Locker', and shows why she is one of the most exciting film-makers working today.
Following a particular bomb squad currently serving in Iraq, the film shows the conflict on a number of different levels. From the ground-level troops, to the commanding officers, to the civilians who witness every intense stand-off on a daily basis, 'The Hurt Locker' puts the viewer on the front line.
Where other war-related films revel in the action-orientated battle scenes, Bigelow deliberately drains all the excitement and popcorn approach from the scenes involving gunplay and bombings, making for a much more natural, realistic effect.
The interaction between the U.S soldiers is first-rate, showing how the Bush government's ham-fisted invasion of Iraq has affected the troops' effectiveness on the ground, and its alliance with Iraqi civilians.
Performances are perfect. Jeremy Renner is excellent as Staff Sergeant James, who loves the rush of disarming bombs, even if it means putting his fellow soldiers at risk. Anthony Mackie is great as the level-headed Sanborn, while Brian Geraghty scores strongly as Eldridge, who admires both James and Sanborn, but can't decide which side to take.
A great companion piece to Brian DePalma's criminally under-rated 'Redacted', 'The Hurt Locker' is an incredibly vivid, technically brilliant drama that shows that the people who suffer the most during war are the ones who have to experience it first-hand, and that a war plan half-completed can only lead to disaster. It is also great to see Kathryn Bigelow ('Near Dark'/'The Loveless'/'Strange Days'/'Point Break'/'K-19 : The Widowmaker') back, showing once again what a terrific film-maker she is.
Following a particular bomb squad currently serving in Iraq, the film shows the conflict on a number of different levels. From the ground-level troops, to the commanding officers, to the civilians who witness every intense stand-off on a daily basis, 'The Hurt Locker' puts the viewer on the front line.
Where other war-related films revel in the action-orientated battle scenes, Bigelow deliberately drains all the excitement and popcorn approach from the scenes involving gunplay and bombings, making for a much more natural, realistic effect.
The interaction between the U.S soldiers is first-rate, showing how the Bush government's ham-fisted invasion of Iraq has affected the troops' effectiveness on the ground, and its alliance with Iraqi civilians.
Performances are perfect. Jeremy Renner is excellent as Staff Sergeant James, who loves the rush of disarming bombs, even if it means putting his fellow soldiers at risk. Anthony Mackie is great as the level-headed Sanborn, while Brian Geraghty scores strongly as Eldridge, who admires both James and Sanborn, but can't decide which side to take.
A great companion piece to Brian DePalma's criminally under-rated 'Redacted', 'The Hurt Locker' is an incredibly vivid, technically brilliant drama that shows that the people who suffer the most during war are the ones who have to experience it first-hand, and that a war plan half-completed can only lead to disaster. It is also great to see Kathryn Bigelow ('Near Dark'/'The Loveless'/'Strange Days'/'Point Break'/'K-19 : The Widowmaker') back, showing once again what a terrific film-maker she is.
Kinpatsu no sougen
(1999)
Lovely Low-Key Drama
5 March 2009
'Across A Gold Prairie' is a delicately handled comedy/drama that manages to avoid obvious clichés and one-note melodrama.
The story centres on the growing relationship between 80 year-old Nippori and his new carer Narisu, who is in her early 20's. The problem is that Nippori thinks he is still 20 years old, and that he is still living in 1920's Japan. Despite being initially turned-off by the old man's behaviour, Narisu gradually becomes fond of the odd-but-kind Nippori.
Director Isshin Inudou ('All About My Dog'/'Yellow Tears'/'Gou-Gou The Cat') keeps proceedings natural, never allowing the material to sink into sentiment. The screenplay by Sakichi Sato ('Ichi The Killer'/'Gozu'/'Tokyo Zombie') nicely develops each character, involving the viewer past its potentially gimmicky premise.
Yusuke Iseya ('Sukiyaki Western Django'/'Suicide Song'/'Memories Of Matsuko') is perfectly restrained as the young-at-heart Nippori. His physical and emotional performance is pitch-perfect. Chizuru Matsuo is also excellent as Narisu.
Where Hollywood would have embraced the high-concept nature of the story, the Japanese cast and crew take it to the next level, making for a completely satisfying viewing experience.
The story centres on the growing relationship between 80 year-old Nippori and his new carer Narisu, who is in her early 20's. The problem is that Nippori thinks he is still 20 years old, and that he is still living in 1920's Japan. Despite being initially turned-off by the old man's behaviour, Narisu gradually becomes fond of the odd-but-kind Nippori.
Director Isshin Inudou ('All About My Dog'/'Yellow Tears'/'Gou-Gou The Cat') keeps proceedings natural, never allowing the material to sink into sentiment. The screenplay by Sakichi Sato ('Ichi The Killer'/'Gozu'/'Tokyo Zombie') nicely develops each character, involving the viewer past its potentially gimmicky premise.
Yusuke Iseya ('Sukiyaki Western Django'/'Suicide Song'/'Memories Of Matsuko') is perfectly restrained as the young-at-heart Nippori. His physical and emotional performance is pitch-perfect. Chizuru Matsuo is also excellent as Narisu.
Where Hollywood would have embraced the high-concept nature of the story, the Japanese cast and crew take it to the next level, making for a completely satisfying viewing experience.
Day of the Dead
(2008 Video)
Please watch the original Day Of The Dead instead
24 March 2008
Wow, another George Romero remake of one of his 'Dead' films, and the bar drops another few notches. After the disappointing remake of "NIGHT" in 1990, then the terrible remake of "DAWN" a couple of years ago, we now get a truly disgraceful remake of "DAY", showing just how much film-making attitudes have changed since Romero's "DAY" debuted in 1985.
This movie has definitely been aimed at audiences where character, story, logic, and patience is a hindrance, and that colour and movement is all that matters.
Like a bad music video, this new "DAY" continually beats you over the head, thinking that over-editing and drug-induced pacing is all that is required to make a horror movie work.
Steve Miner, who has directed enjoyable genre films such as Friday THE 13TH PART 2, HOUSE, and LAKE PLACID, seems to be trying to channelling the "talent" of Michael Bay or Marcus Nispel, shaking the camera and jump-cutting like crazy. Is it a contractual obligation now to shoot a film in this fashion? The acting is awful, the dialogue worse (what do you expect from the writer of FINAL DESTINATION and TAMARA), and any layers and satire is certainly gone.
While officially a remake, "DAY" more or less takes elements from Romero's film and then attatches them to a plot that is closer to 28 WEEKS LATER and I AM LEGEND. The element involving Bud is crude and awkward to say the least, and doesn't make any sense in context with the rest of the film.
Gore is plentiful, but is practically all CGI. One longs for the complex, expertly handled on-set effects by Tom Savini, who gave us some truly eye-popping effects in the original "DAY".
The way is left open for another, so I guess we'll have to endure a remake of LAND OF THE DEAD, directed by someone as non-talented as Marcus Nispel. Can't wait. By the way, the Australian DVD release date is May 14 (through Force Entertainment).
This movie has definitely been aimed at audiences where character, story, logic, and patience is a hindrance, and that colour and movement is all that matters.
Like a bad music video, this new "DAY" continually beats you over the head, thinking that over-editing and drug-induced pacing is all that is required to make a horror movie work.
Steve Miner, who has directed enjoyable genre films such as Friday THE 13TH PART 2, HOUSE, and LAKE PLACID, seems to be trying to channelling the "talent" of Michael Bay or Marcus Nispel, shaking the camera and jump-cutting like crazy. Is it a contractual obligation now to shoot a film in this fashion? The acting is awful, the dialogue worse (what do you expect from the writer of FINAL DESTINATION and TAMARA), and any layers and satire is certainly gone.
While officially a remake, "DAY" more or less takes elements from Romero's film and then attatches them to a plot that is closer to 28 WEEKS LATER and I AM LEGEND. The element involving Bud is crude and awkward to say the least, and doesn't make any sense in context with the rest of the film.
Gore is plentiful, but is practically all CGI. One longs for the complex, expertly handled on-set effects by Tom Savini, who gave us some truly eye-popping effects in the original "DAY".
The way is left open for another, so I guess we'll have to endure a remake of LAND OF THE DEAD, directed by someone as non-talented as Marcus Nispel. Can't wait. By the way, the Australian DVD release date is May 14 (through Force Entertainment).
Furîjia
(2007)
Modern Look At An Old Theme
6 March 2008
Imagine if directors such as Akira Kurosawa or Kihachi Okamoto were still alive today, and made a samurai film that resonated with today's audiences. FREESIA would be that film.
Wonderfully incorporating an old-fashioned samurai story into a modern setting, FREESIA shows what society would be like if the revenge code wasn't just still in practise, but was law.
Victims of crime have the right to retaliate against their attackers, overseen by lawyers and carried out by appointed assassins. Areas are cleared while these stand-offs take place.
Two main characters, lawyer Higuchi and assassin Kanou, share a history together (which we see in the film's opening sequence), something which effects their emotional outlook on the world around them.
Brilliantly directed by Kazuyoshi Kumakiri (GREEN MIND, METAL BATS, KICHIKU DAI ENKAI), who brings an intelligently restrained approach to subject matter which could have easily been melodramatic and full of loud, pointless action scenes. He brings a suitably cold and detached feel to a world where chaos and well-organised death is a way of life, using ice, water, and certain colour schemes as metaphors for what the characters are experiencing.
Exceptionally well-shot and edited, with pitch-perfect performances, FREESIA is a film that, given its premise, may prove disappointing for those seeking non-stop action. However, for those seeking something more nourishing and thought-provoking, FREESIA will certainly deliver the goods. Let's just hope Hollywood doesn't remake it.
Wonderfully incorporating an old-fashioned samurai story into a modern setting, FREESIA shows what society would be like if the revenge code wasn't just still in practise, but was law.
Victims of crime have the right to retaliate against their attackers, overseen by lawyers and carried out by appointed assassins. Areas are cleared while these stand-offs take place.
Two main characters, lawyer Higuchi and assassin Kanou, share a history together (which we see in the film's opening sequence), something which effects their emotional outlook on the world around them.
Brilliantly directed by Kazuyoshi Kumakiri (GREEN MIND, METAL BATS, KICHIKU DAI ENKAI), who brings an intelligently restrained approach to subject matter which could have easily been melodramatic and full of loud, pointless action scenes. He brings a suitably cold and detached feel to a world where chaos and well-organised death is a way of life, using ice, water, and certain colour schemes as metaphors for what the characters are experiencing.
Exceptionally well-shot and edited, with pitch-perfect performances, FREESIA is a film that, given its premise, may prove disappointing for those seeking non-stop action. However, for those seeking something more nourishing and thought-provoking, FREESIA will certainly deliver the goods. Let's just hope Hollywood doesn't remake it.
Atonement
(2007)
Routine Telemovie
18 February 2008
Why ATONEMENT is getting such a positive response is baffling. This is the kind of third-rate movie you'd see at midday on TV. Director Joe Wright telegraphs plot twists so early that all dramatic impact is crushed, using certain techniques that are heavy-handed and obvious. Keira Knightley offers yet again a one-note performance, leading the new generation of dull, no-personality actors who manage to create a black hole where there should be a character. James McAvoy fairs better, but his character becomes less interesting as you see clearly where he is going to end up. The ending is so predictable and anti-climatic that you feel the director assumes that the audience is stupid, and unless he hits you over the head with a sledgehammer, you will not understand what is trying to be said. This is the kind of film Merchant/Ivory could have done in their sleep, and even their lesser efforts tower over this half-baked, over-rated film that shows that film-making standards certainly have dropped in recent years.
Dexter
(2006–2013)
The First Cute And Quirky Serial Killer Show
18 February 2008
Despite all the rave reviews, DEXTER proves to be quite a disappointing series, failing to delve into the mind of a serial killer in an in-depth, challenging and compelling manner. After a promising set-up, the series goes nowhere, relying on quirky one-liners and slick production values rather than strong writing which gets under the skin of some potentially disturbing characters and themes. Every character never gets past their initial set-up, providing no depth, and a growing sense of annoying repetition. Despite being based on a novel, the series' writers seem to forget that character depth propels the story, and I don't know whether or not it happens in the novel, but the series makes some fatal mistakes that make the story less interesting. Michael C Hall proves a dull lead, but given the routine writing, he can't be fully blamed. Having him occasionally look at the camera and smirk was a huge mistake. The only actor who rises above the material is James Remar, a genuine film actor who has presence and knows how to inhabit a character. The episodes vary in quality, and the best episodes are those directed by Michael Cuesta (who directed the under-rated films L.I.E and TWELVE AND HOLDING), who keeps a better balance between quirky comedy and the darker series DEXTER could have been. With most modern films/TV series, the story can only progress by people acting stupid, and unfortunately DEXTER suffers from this failing, which seems more irritating when characters seem smarter than Albert Einstein most of the time. DEXTER is fun, entertaining, and very, very slick. But when one sees what a dark, disturbing, blackly comic show it could have been, one feels rather short-changed. Given one of the show's very clunky in-jokes, one should just watch American PSYCHO. It offers a better, darker view of a serial killer (not to mention a far superior lead performance), where the black humour is cleverly handled, not just a way to make off-putting material more acceptable for a mainstream audience.
Saido kâ ni inu
(2007)
A Wonderful Small Film
14 February 2008
The dysfunctional family drama is such an easily forgettable sub-genre that it is certainly a joy when a film like DOG IN A SIDECAR comes along, proving that you can make a thoughtful, entertaining film without insulting the audience's intelligence. Providing a strong foundation of strong acting, skilled direction and intelligent writing, this admittedly small but very rewarding film is excellent viewing, showing the ups and downs of a family in a way that never seems forced or contrived. Hana Matsumoto is extraordinary as 10 year old Kaoru, who suddenly has to get used to a new way of life when her mother walks out on her family. Things seem to get stranger when Yoko (Yuko Takeuchi, who is excellent)turns up on her doorstep, who has become her father's new lover. What could have been a typical family comedy/drama turns into something quite different, as director Kichitaro Negishi concentrates on the small details of Kaoru's new situation, making for a fresh, involving film. As we see Yoko and Kaoru's father's relationship develop, we can also see why Kaoru's mother left in the first place. DOG IN A SIDECAR is a subtle, natural film, and a complete charmer, showing you don't have to use hysterics and melodrama to convincingly portray a family who don't exactly fit the norm.
Shaberedomo shaberedomo
(2007)
Solid Entertainment
7 January 2008
With the comedy genre offering so little in the way of entertainment lately, it is refreshing to see a film that re-afirms that comedy can be funny without insulting one's intelligence. TALK, TALK, TALK is such a film, offering strong performances, good characterisations, and witty dialogue, making for good-hearted viewing that doesn't overly manipulate or simplify.
Director Hideyuki Hirayama, who has helmed a variety of films from the enjoyable remake SAMURAI Resurrection, the excellent TURN, to the flat and disappointing LADY JOKER, puts character and dialogue front and centre, something a lot of modern film-makers fail to do nowadays.
Taichi Kokubun is fine as the rakugoka-in-training, Karina is wonderful as the sour-faced Satsuki, Yataka Matsushige is perfectly awkward as ex-baseball pinch hitter Yugawara, and Yuuki Morinaga is terrificly natural as the young Murabayashi.
With a story that could have been routine and predictable, TALK, TALK, TALK proves to be anything but, showing that you can have a good time without sacrificing quality.
Director Hideyuki Hirayama, who has helmed a variety of films from the enjoyable remake SAMURAI Resurrection, the excellent TURN, to the flat and disappointing LADY JOKER, puts character and dialogue front and centre, something a lot of modern film-makers fail to do nowadays.
Taichi Kokubun is fine as the rakugoka-in-training, Karina is wonderful as the sour-faced Satsuki, Yataka Matsushige is perfectly awkward as ex-baseball pinch hitter Yugawara, and Yuuki Morinaga is terrificly natural as the young Murabayashi.
With a story that could have been routine and predictable, TALK, TALK, TALK proves to be anything but, showing that you can have a good time without sacrificing quality.
The Home Song Stories
(2007)
Potential Lost
7 January 2008
Despite an impressive performance from Joan Chen, and a confident technical sheen, HOME SONG STORIES fails to deliver as drama due to a weak, underwritten script, which keeps characters and incidents vague and one-note.
The main problem is that the film doesn't have an act one, deciding to give us character and story foundation in around the same time it takes to boil an egg.
Because of this, we only get a narrow-minded view of Rose (Joan Chen), never getting to know what kind of person she was in Shanghai, never seeing what kind of person Bill (Steven Vidler) was that convinced Rose to move to another country, and what the circumstances were that made Rose leave Bill a week after they were married.
Therefore, we see Rose as a completely irresponsible person, a one-sided look at a rather more complex person.
On the plus side, the film is extremely well-made, and performances by Joel Lok and Irene Chan as the two children are quite believable and natural, while Yuwu Qi also impresses as Joe, one of Rose's many lovers.
The film, however, belongs to Joan Chen, who manages to find an emotional core to the role of Rose, bringing a loving warmth and fractured insanity to a character that is badly underwritten by writer/director Tony Ayres, who obviously has an intimate knowledge of the subject matter, but fails to give it substance within the framework of a feature film.
Despite being watchable, HOME SONG STORIES falls short of its ambitions, a missed opportunity at showing an important part of Australia's immigrant past.
The main problem is that the film doesn't have an act one, deciding to give us character and story foundation in around the same time it takes to boil an egg.
Because of this, we only get a narrow-minded view of Rose (Joan Chen), never getting to know what kind of person she was in Shanghai, never seeing what kind of person Bill (Steven Vidler) was that convinced Rose to move to another country, and what the circumstances were that made Rose leave Bill a week after they were married.
Therefore, we see Rose as a completely irresponsible person, a one-sided look at a rather more complex person.
On the plus side, the film is extremely well-made, and performances by Joel Lok and Irene Chan as the two children are quite believable and natural, while Yuwu Qi also impresses as Joe, one of Rose's many lovers.
The film, however, belongs to Joan Chen, who manages to find an emotional core to the role of Rose, bringing a loving warmth and fractured insanity to a character that is badly underwritten by writer/director Tony Ayres, who obviously has an intimate knowledge of the subject matter, but fails to give it substance within the framework of a feature film.
Despite being watchable, HOME SONG STORIES falls short of its ambitions, a missed opportunity at showing an important part of Australia's immigrant past.
Perfect Creature
(2006)
Another sleeper from New Zealand
12 April 2007
While not reaching the heights it could have, "PERFECT CREATURE" is certainly an intriguing little film that throws up a lot of fascinating twists on the well-worn vampire genre.
The alternate world created (which feels like a mix of OLIVER TWIST and DUNE) is wonderful, and a lot of care and attention has gone into making this environment seem believable and convincing.
A capable cast do their best (when was the last time Dougray Scott actually smiled in a film?), bringing an effective melancholy to their characters that the script unfortunately lacks. If the characters were as well-constructed as the setting, the movie would have had more dramatic impact.
At a scant 90 minutes (and I hear it is being chopped down for it's U.S release), writer/director Glenn Standring could have spent more time opening up this eye-popping world and its history. At least it doesn't make the same mistake as UNDERWORLD, another vampire film that gave us its backstory in 2 minutes, but then still managed to go for a yawn-inducing two hours.
PERFECT CREATURE may prove a hard sell, as there is very little in the way of action, gore, and over-the-top CGI set-pieces. But the very fact that director Standring has made a film that doesn't easily fit into a particular category or formula, shows that a genuine attempt has been made to give us something different. He comes so close to succeeding.
The alternate world created (which feels like a mix of OLIVER TWIST and DUNE) is wonderful, and a lot of care and attention has gone into making this environment seem believable and convincing.
A capable cast do their best (when was the last time Dougray Scott actually smiled in a film?), bringing an effective melancholy to their characters that the script unfortunately lacks. If the characters were as well-constructed as the setting, the movie would have had more dramatic impact.
At a scant 90 minutes (and I hear it is being chopped down for it's U.S release), writer/director Glenn Standring could have spent more time opening up this eye-popping world and its history. At least it doesn't make the same mistake as UNDERWORLD, another vampire film that gave us its backstory in 2 minutes, but then still managed to go for a yawn-inducing two hours.
PERFECT CREATURE may prove a hard sell, as there is very little in the way of action, gore, and over-the-top CGI set-pieces. But the very fact that director Standring has made a film that doesn't easily fit into a particular category or formula, shows that a genuine attempt has been made to give us something different. He comes so close to succeeding.
Superman Returns
(2006)
A $260 million trailer for '78 version
23 August 2006
After all the hype, all the excessive marketing, all the promise of reliving the glory of the wonderful 1978 version, what do we get? A $260 million promotion for the Richard Donner original. Poor writing, miscasting, and an obsession for the original by the director results in a movie that has no heart, no emotional depth, and no sense of wonder, quite a feat for a film that goes 154 minutes. Director Bryan Singer also makes the mistake of assuming that everyone has seen "SUPERMAN : THE MOVIE" and "SUPERMAN II". For a young generation who would not have been born when the first two movies came out, important plot points are not explained, and characters are just meant to be known and understood. While newcomer Brandon Routh looks and sounds creepily like Christopher Reeve, he shows none of the charisma, warmth, humanity, and humour of the late Mr Reeve, making both Clark Kent and Superman very dull indeed. As for Kevin Spacey as Lex Luthor, he doesn't even seem to be trying, as if he knows he can't come close to Gene Hackman's brilliant portrayal, therefore creating a boring screen villain. It seems to be unanimous that Kate Bosworth gives a terrible performance as the made-for-the-new-millennium Lois Lane. Bitchy, selfish, totally career-minded, there is nothing that reminds us of Margot Kidder's spot-on performance, showing that Lane could be both strong-willed and likable. As written and performed, you feel like you are watching a completely different character, and it doesn't help that Bosworth looks about 10-15 years younger than Kidder, despite this film taking place 5 years after "SUPERMAN II". Although technically impressive, you are always aware that you are watching computer-generated imagery, and as the film progresses, it seems to resemble more-and-more a Playstation game rather than an involving, flesh-and-blood story. The only times when interest picks up is when Mr Singer re-uses elements from the 1978 film; the music; the Brando footage; as well as other shots and references; otherwise this bloated, self-conscious, self-important mess is dead in the water. After all is said and done, this new film certainly makes you appreciate Richard Donner's 1978 version even more.
Tell Your Friends