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Saturday, November 29, 2008

Forgive and Forget

Genre: Horror, Romance
Starring:
Miki Yeung Oi Gan
Andy On Chi Kit
Alice Tsang Kai Xuan
Terence Tsui Chi Hung
Regen Cheung
Crystal Cheung
Winkie Lai
Release year: 2008
Language: Chinese - Cantonese
Subtitle: English

SYNOPSIS:
Alice (Alice Tseng) returns to Hong Kong from Taiwan with great sadness. Two weeks ago, Alice's boyfriend Andy (Andy On) passed away in an automobile accident. A month before the accident, Alice found out Andy has been cheating and decided to break off their relationship. Alice never thought the day they broke up would also be the last time she saw him. Alice is back in Hong Kong after receiving an invitation for a memorial service that Andy’s friends are holding in his memory. During her stay, she moves into Andy's home, their home. Alice is familiar with every table, every chair, every cranny and nook, but now, it's no longer theirs or Andy’s, she spends her day retracing their past in pain.

RATING: 8/10
USER RATING:

REVIEW:
" This is a Patrick Kong film, which means one or two plot twists simply won't be enough. If the majority of Forgive and Forget feels uninteresting, that's because Kong has yet to pull out his biggest plot twists - that is, the ones that require loads of flashback and reams of droning exposition to explain. Kong intricately plots his stories, allowing for these "wow, aren't we clever" payoffs where the audience discovers what's what. However, even then the holes are too large to really ignore. While the majority of the horror film details do get explained, a great many are not, and seem to be disingenuous red herrings. Also, the last act revelation is only mildly interesting, because the previous two acts were so obviously artificial that they never hooked the audience. Kong's plot twists can be clever, but they also hurt his films, especially if the audience is aware of his usual modus operandi. Why should an audience try to get invested in Kong's stories if they know he's going to sucker punch them anyway? Kong needs a new trick, because this one is starting to get played out.

Still, Kong does manage some bitter poignancy in his denouement, and once again it's due to his obsession with crappy modern relationships. Even though much of Forgive and Forget is recycled - cheating spouses, backup lovers, elaborate chicanery by boyfriends or girlfriends - he does serve up some emotion that could resonate with his target audience. Kong's view of love is so resoundingly cynical that it's practically annoying, but there are still some surprising moments when his ideas ring true. Forgive and Forget does have such a moment.

Too bad that it comes at the end of a poorly-directed motion picture that's more annoying than it is successful. Kong's direction in Forgive and Forget is garish and shockingly unrefined, and his actors aren't very good either. Besides the average turns from Tzeng and On, the film boasts the year's most annoying supporting performances, from singer Siu Fay and girl group Hotcha, as Andy and Jingjing's friends. Kong has decent ideas, but as usual his execution - from storytelling to the direction of actors - seriously lacks. His films are still interesting simply from an expectation standpoint - that is, it's easy to get curious about what Patrick Kong will do this time. For those really interested in Hong Kong Cinema, those expectations are always worth discussing, regardless of whether or not the actual movie is any good. Forgive and Forget certainly qualifies, and remains noteworthy simply because it's a film by Patrick Kong. But just in case an actual judgement on quality matters: sorry, the movie is really not that good "

Source: Lovehkfilm

PREVIEW:

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MIRROR LINKS:
MU (EACH PART IS LESS THAN THAN 400MB)

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House Of Flying Daggers

Genre: Martial Art, Romance
Starring: Zhang Ziyi, Takeshi Kaneshiro, Andy Lau
Release year: 2004
Language: Chinese - Cantonese
Subtitle: English

SYNOPSIS:
It is 859AD, and the Tang Dynasty, one of the most enlightened empires in Chinese history at its height, is in decline. The Emperor is incompetent and the government is corrupt. Unrest is spreading throughout the land, and many rebel armies... It is 859AD, and the Tang Dynasty, one of the most enlightened empires in Chinese history at its height, is in decline. The Emperor is incompetent and the government is corrupt. Unrest is spreading throughout the land, and many rebel armies are forming in protest. The largest, and most prestigious, is an underground alliance called the “House of Flying Daggers.” The House of Flying Daggers operates mysteriously, stealing from the rich to give to the poor. Thus, they have earned the support and admiration of the people and expanded quickly. Based in Feng Tian County, close to the Imperial Capital, the House of Flying Daggers has long been a thorn in the side of the local deputies, their hated rivals. The deputies are enraged because, even after they fought and killed the leader of the House of Flying Daggers, the House continues to thrive. Under the leadership of a mysterious new leader, the House of Flying Daggers grows ever more powerful. Feng Tian County’s two local captains, Leo (ANDY LAU TAK WAH) and Jin (TAKESHI KANESHIRO) are ordered to capture the new leader within ten days. Captain Leo suspects that Mei (ZHANG ZIYI), the beautiful new dancer at the local Peony Pavilion, is actually the daughter of the old leader. He hatches a plan to arrest her and bring her in for questioning. When Mei refuses to divulge any information on the House of Flying Daggers, the two captains set up another plan. This time, Captain Jin will pretend to be a lone warrior called Wind and rescue Mei from prison, earning her trust and escorting her to the secret headquarters of the House of Flying Daggers. The plan works, and on their long journey to the House, Jin and Mei warm to each other. Before long, Mei has developed feelings for her enigmatic protector, and Jin is surprised to find himself falling for Mei’s headstrong charm. Both struggle to contain their feelings, but under the starry night, their irrepressible desire is almost beyond their control. Danger lurks in the forest surrounding them, and the wind is still, as if sensing the tension in the air. What lies ahead for Jin and Mei, these star-crossed lovers? If this is true love, then why are there plots in their heads…and secrets in their hearts?

RATING: 9/10
USER RATING:

REVIEW:
" It's a gorgeous celebration of movement for movement's sake, color for color's sake, and athleticism for athleticism's sake. "
" Hell, I'd rather sit through a slide show of scenes from this movie than revisit 99% of the fare churned out by Hollywood "

PREVIEW:

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Tuesday, November 25, 2008

Kill Zone

a.k.a Sha Po Lang (SPL)

Genre: Crime, Action, Martial Art
Starring: Donnie Yen, Simon Yam, Sammo Hung Kam-Bo, Jacky Wu
Release year: 2007
Language: Chinese - Cantonese
Subtitle: English

SYNOPSIS:
A successful serious crime investigation police unit, headed by articulate senior detective Chan (Simon Yam), tackles crime with three other detectives from different backgrounds. Martial arts expert Ma (Donnie Yen) is set to take over as head of the unit, replacing Chan who wants to have an early retirement. Ma is determined to put things right. Po (Sammo Hung), an upcoming figure in the underworld with interests in every kind of criminal activity, and Jack (Jing Wu) - Po’s right-hand man, is a reclusive cold-blooded killer. An undercover agent is found dead who sent by Chan to get near to Po. With no evidence whatsoever Chan thinks it’s the work of Po and sends people to bring him in anyway. Po is released with insufficient evidence and he challenges Chan that if he and his men step out of the police station they are dead.

RATING: 8.5/10
USER RATING:

REVIEW:
" ...Without a doubt, it’s Simon Yam that makes “Sha Po Lang” work. Chan is very much a good man at the precipice of a great fall, and while the ending result of Chan’s criminal actions will undoubtedly bring good to the world ( Po is a vicious, murderous animal, after all), the tragedy is that it won’t just cost Chan’s future, but that of his men as well. So wrapped up in his goal that Chan never comes to realize this, further turning his crusading enterprise into a dark tragedy where no good can possibly come of it. Yam, always a fine actor in even the most mediocre of productions, brings humanity and moral ambiguity to Chan, and no one could have done it any better, or be more perfect for the role.

But as good as “Sha Po Lang” is, it does make some missteps. The first is Donnie Yen, who, while brilliant in the action scenes, seems out of place in such a dark, brooding crime film. The other nitpick involves the script, which shows little understanding of the criminal justice system. Granted, I’m not an expert in Hong Kong criminal law, but even I know that beating up cops in front of a dozen witnesses (many of them cops) is enough to land you in prison for a number of years. Or how about this — apparently beating an undercover cop with a golf club to within an inch of his life while being videotaped isn’t enough evidence to put you in prison, either. Really? No wonder the cops have to resort to framing people. Can you blame them?

Although it works best as a somber, grounded crime film, “Sha Po Lang” also has a number of stellar action scenes that will please fans of the genre, but you’ll have to wait until the 50-minute mark before the film fully unleashes its martial arts fury. Before that, the film teases with a number of encounters, most of them involving Po liberally kicking the hell out of the cops because, as mentioned, this doesn’t seem to be much of a crime in Hong Kong , at least according to the film’s script. The movie’s signature action sequence might very well be Donnie Yen and Sammo Hung going a few rounds at the end, a clash of the titans if there ever was one. It’s Donnie Yen’s speed and agility against Sammo Hung’s brute strength, and it’s definitely one for the books. But don’t forget the knife-versus-baton battle between Yen and young Jing Wu in an alley before that. The ferocity of Yen’s baton and Wu’s knife clashing is nothing to sneeze at.

“Sha Po Lang” may very well be the first successful merging of a gritty crime film and a martial arts movie. Some may find the hybrid a little strange, and they would be justified in thinking so, as it certainly is quite an odd way to construct a film. Nevertheless, “Sha Po Lang” marks a transition point for Hong Kong cinema, but it’s open to debate if Hong Kong will follow in its footsteps. The biggest measure of “Sha Po Lang’s’” impact on the industry’s future creative output, one suspects, will be in the film’s box office take — both domestically and abroad. "

Source: BeyondHollywood

PREVIEW:

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Chinese Tall Story

Genre: Romance, Fantasy
Starring: Nicholas Tse Ting-Fung, Charlene Choi Cheuk-Yin, Fan Bing-Bing, Wilson Chen, Kenny Kwan Chi-Bun, Steven Cheung Chi-Hung, Isabella Leong, Kara Hui Ying-Hung,
Release year: 2005
Language: Chinese
Subtitle: English

SYNOPSIS:
Taking place in the younger days of the famous monk, Tripitaka (known for bringing the sacred Bhuddist sutras from India to China), the film tells a fantastical adventure of the monk and his three disciples. On their way to the city of Shache, the monk narrowly escapes an attack from a group of demons. While trying to think of a way to rescue his disciples, he is captured by the king of reptiles and placed under the vigilance of Meiyan, an ugly demon who falls in love with the monk. Luckily, a princess from another galaxy rescues the monk, deeply affecting Meiyan, who pursues the two. In a twist of fate, the ugly Meiyan decides to help her beloved and teams up with the princess to rescue Tripitaka's three disciples.

RATING: 8/10 (Note: there is 1 extra pt counted for the ending and music.)
USER RATING:

REVIEW:
" The film is an eye-popper with all the ostentatious Computer Generated Images (CGI), poetic cinematography and engaging music. However, the narration is so hard to follow as it constantly shifts focus and introduces scenes and characters with no solid logic. The dialogues are equally confusing with some apparently good points about true love, peace and courage which sadly seem to just pop out of nowhere and make no real impact. The performances are at most cute, but the plot does not demand much from the actors. Over all, the film is merely an aimless display of CGI expertise that makes you feel like watching a computer game. Writer/director Jeffrey Lau should have gotten someone else to write the script.

In the hodge-podge plot development, the film tries to convey the Buddhist's values about peace and love. Tripitaka frequently emphasizes value of negotiating and communicating to avoid violence. He talks about beauty in the heart and scolds Meiyan for lying and being deceitful just because she is ugly. The film also discusses true love. How one should learn to sacrifice for the beloved and give without asking anything in return. It makes a beautiful commentary on true love when we see Tripitaka and the transformed Meiyan going through the journey again even if fate had decided they cannot be together. Lessons on non-violence, real beauty and true love could have been better highlighted with tighter storytelling. The film is decent and adequately enjoyable but not recommended for viewers who value their money. "

PREVIEW:

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Sex is Zero 2

Genre: Comedy
Starring: Im Chang-jeong, Song Ji-hyo, Shin-ee, Yoo Chae-yeong, Lee Hwa-seon
Release year: 2007
Language: Korean
Subtitle: English

SYNOPSIS:
Law student Eun-sik and beautiful swimming champion Kyung-ah (Princess Hours’ Song Ji-hyo) are a campus couple. But Eun-sik has not been able to get past kissing. Still in pursuit of “getting laid”, he lets out his sexual frustration by overly working out at the gym and is now used to taking care of it himself.

On the other had, Sung-kook, a long-time college student and the leader of the school’s K-1 fighting club, shares quarters with the members of the girls’ swimming club. He freely indulges in his sexual desires with the beautiful girls of the swimming club.

After learning about Eun-sik’s troubles, Sung-kook sets out to help Eun-sik get what he wants the most. But even with Sung-kook’s guidance, Eun-sik experiences one disaster after another, and even gets mistaken for a pervert. As Eun-sik is preoccupied with finding ways to sleep with Kyung-ah, a new guy enters the picture, Kyung-ah’s childhood sweetheart. Not only could Eun-sik not find ways to sleep with Kyung-ah, he might end up losing her altogether.

RATING: 7.75/10
USER RATING:

REVIEW:
" .."Sex is Zero 2" is filled with interesting characters. Some of them are so over the top that they make the movie seem like a live-action anime. Of course, I can't avoid mentioning the various sex gags which are hilariously executed. I won't spoil the fun by revealing them in great detail here, but let me say that you won't see a lollipop the same way ever again after watching this movie.

I must applaud the director and screenwriter for not letting the sex jokes overshadow the romantic elements of the story and keeping the viewers enticed to see what happens to Eun-sik and Kyung-ah in the end. The cast is commendable for their acting as well. Their comedic performance is excellent while for the romantic scenes, Im Chang-jung and Song Ji-hyo convey enough emotions to make viewers care for their well-developed characters.

The only minor letdown for me is that Im Chang-jung looks old when compared to his young fellow cast members, giving the feel that he and Song Ji-hyo are rather mismatched. It's a good thing I don't expect romantic comedies to be believable on all accounts. Thus, it's best to just suspend your disbelief, sit back and immerse yourself in the fun. "Sex is Zero 2" does to Korean cinema what "American Pie" did to Hollywood. "

Source: MovieXclusive

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Sunday, November 23, 2008

Coma

Starring: Gong Su-chang, Im Won-hee, Lee Jung-heon, Lee Se-eun, Lee Young-jin, Myung Ji-yeon
Release year: 2006
Language: Korean
Subtitle: English

Episodes: 5

SYNOPSIS:
Set in a hospital about to close down because of its negative reputation, the five episodes present different themes in a range of styles, but they connect with each other like puzzle pieces to form a complete picture.

USER RATING:

# “Birthday Party” (dir. Gong Su Chang)
Insurance saleswoman Yoon Young (Lee Se Eun) is in charge of the hospital’s last remaining patient Lee So Hee, who is in a coma. While the hospital’s director hopes to avoid taking any responsibility for the patient, chief doctor Jang Seo Won (Lee Jung Heon) wants to keep the patient there at all costs. 10 years ago, the patient’s young sister disappeared mysteriously. She was in a comatose state as well, and strangely reminds Yoon Young of So Hee.

# “Crack” (dir. Jo Gyu Ok)
Kang Su Jin (Myung Ji Yeon) is a veteran nurse in the hospital. She continues to be haunted by an accident that happened 10 years ago in the operating room. She wants a fresh new start with chief doctor Jang Seo Won, but all he seems to care about is the hospital’s only patient, So Hee. Su Jin tries to find this patient, and learn why she’s stealing so much of her boyfriend’s time.

# “Necklace” (dir. Yoon Jun Seok)
Detective Choi (Im Won Hee) has lost his passion for life, and now pursues Money and nothing else. He was in charge of a case 10 years earlier dealing with a girl’s disappearance from the hospital. The only clue he holds is the girl’s necklace. He’s come to the hospital for only one reason: blackmailing the hospital’s director. He needs money to raise his daughter and has to stop this hospital from closing at all costs.

# “Crimson Red” (dir. Kim Jeong Gu)
Album designer Hong Ah (Lee Young Jin) has a peculiar talent: she can see dead people. By now she’s gotten used to the blood and horrible corpses, but one day a corpse appears, asking Hong Ah to kill her. She finds out about a patient in the hospital, a certain So Hee who is now in a state of coma.

# “Doctor, Jang Seo Won” (dir. Gong Su Chang)
The hospital’s shut down is just a few days away, but chief doctor Jang Seo Won believes he can save his last patient, So Hee. Five people meet each other at the scene of his last operation and a mysterious series of murders starts.

PREVIEW:

EP 1:http://www.megaupload.com/?d=USC1I7XS
SUB:http://www.megaupload.com/?d=Q7RPXXZQ

EP 2:http://www.megaupload.com/?d=OZGQO4DM
SUB:http://www.megaupload.com/?d=NM0F1BTV

EP 3:http://www.megaupload.com/?d=FDMCEXLI
SUB:http://www.megaupload.com/?d=RVJU9QZ9

EP 4:http://www.megaupload.com/?d=BFRLGHQW
SUB:http://www.megaupload.com/?d=RGVY1JLP

EP 5:http://www.megaupload.com/?d=VZWAK7B8
SUB:http://www.megaupload.com/?d=M9OYIVKT

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Strait Jacket

Genre: Anime - Scifi
Release year: 2007
Language: Japanese
Subtitle: English

SYNOPSIS:
It is the world where magic and science coexist. Rayotte Steinberg, a lone wolf "tactical sorcerist", fights against monsters. They used to be human beings, but they had overused forbidden power, "magic", to turn into monsters. What he wears is "mold", the straight jacket that keeps him being a human. What he holds on his hand is "staff", a magical wand that explodes everything. If he casts magic, he moves one step to be a monster. If he doesn't, he will be killed. Among the harsh battles, he will face a sin he had committed in the past.

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Devil Beside You

Starring:

* Mike He as Jiang Meng 江猛
* Rainie Yang as Qi Yue 齊悅
* Kingone Wang as Sang Yuan Yi 尚源伊
* Ivy Fan Xiao Fan as Xin Li Xiang 辛莉香
* He Du Lin as Jiang You Hui 江友暉
* Ge Wei Ru as Huang Xue Wei 黃雪薇
* Masuyama Yuki as Yu Yang Ping 于陽平
* Tsai Pei Lin as Qing Zi 晴紫
* Fu Xiao Yun as Xiao Cai 小彩
* Yuan Jun Hao as Guo Kai 郭凱
* Katherine Wang Kai Di as Liu Mei Di 劉美蒂
* Figaro Ceng Shao Zong as Yuan Chuan Rang 袁川讓
* Wu Zhong Tian as Tian Si Shen 田思慎
* Wang Jian Min as Chui Ming 椎名
* Tang Qi as Grandma Jiang
* Meng Ting Li as Yuan Mei Jin 袁美津
* Janel Tsai as Chuang Ya Li 莊雅莉
* Huang Xing Lun (黃星倫) as Cai Yi Lang
* Xu Qiong Yun (許瓊云) as childhood Qi Yue

Release year: 2005
Language: Taiwanese
Subtitle: English (Hardsub)

Episodes: 20

SYNOPSIS:
After finally getting the courage to confess her feelings, Qi Yue (Rainie Yang) was handing her love letter to Yuan Yi (Kingone), but by a stroke of bad luck, he did not see and walked passed her. The person standing in front of her was the troublemaker of the school, infamously known for his devilish ways – Jiang Meng (Mike He). The devil will get what he wants, and the object of his desire was Qi Yue. Although having a cruel exterior, Ah Meng’s heart is kind and caring, which truly touched Qi Yue. The big problem remained – Ah Meng is the son of the man Qi Yue’s mother is going to marry. Even though they were not related by blood, who will accept this step brother-sister relationship? What is to become of their relationship when other lovers come into the picture?

USER RATING:

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Saturday, November 22, 2008

Missing

Genre: Horror, Fantasy, Romance
Starring: Chen Chang, Xiaodong Guo, Angelica Lee, Isabella Leong, Tony Leung Ka Fai, Zhen-yue Zhang
Release year: 2008
Language: Chinese - Cantonese
Subtitle: English

SYNOPSIS:
A scuba diving trip turns into a nightmare when psychiatrist Gao Jing (Angelica Lee) and her boyfriend Guo Dong (Guo Xiaodong) meet tragedy at sea. Suffering from memory loss after the incident, Gao Jing can't remember what exactly happened in the ocean that day, and all that is recovered of Guo Dong is a headless corpse. Upset that Gao Jing is going ahead with the funeral, Guo Dong's sister Xiao Kai (Isabella Leong) angrily sets out to find her brother's head. Gao Jing looks for closure through therapy but only ends up with more questions and heartache. When her patient Simon (Chang Chen) claims that he can see Guo Dong's ghost, Gao Jing seeks his guidance to open her eyes and mind to the other side. Soon she's seeing visitors of all sorts, but no Guo Dong. At this time, a strangely eerie Xiao Kai suddenly returns to Hong Kong with her brother's head. But is it really Guo Dong's head that Xiao Kai has brought back?

RATING: 7/10
USER RATING:

REVIEW:
" Missing is a multi-genre film, but it basically sticks to two genres - romance and horror - and nixes the comedy or across-the-board emotion that usually makes it easier to forgive Tsui's cheesy excesses. Movies like Time and Tide and Love in the Time of Twilight were more successful than expected because they dabbled in multiple genres and emotions, and did so breathlessly, such that audiences were so busy trying to catch up that they glossed over the silly stuff. Missing does possess some of the same feel, especially during the development of the ghost-seeing storyline, but the bottom line of the film is that it's a love story. And not just any love story, but an overwrought, overlong and interminable love story that's so exhausting that a viewer will likely not care much about the lovers once the film ends. Angelica Lee is a fine actress, and plays her part without a hint of irony or self-preservation, but Tsui Hark essentially puts her out on a limb and lets her fend for herself. Unfortunately, the limb breaks.

Missing is simply misguided, and not in a way that makes it tolerable. Its story and strange concepts are at least diverting, and the visuals and sound design (the film possesses creative and quite loud sound) are involving enough for a portion of the running time. Unfortunately, the film suffers from the dreaded Curse of China Co-production™, and attempts to please Mainland censors while not trying to undermine itself. The filmmakers fail miserably at that, however, taking most of their ideas and flushing them down the toilet willingly - all to please a ratings board that delights in banning supernatural concepts, depictions of incompetent Chinese authority, and movies starring Sharon Stone. Incomplete ideas, abandoned characters, and multiple climaxes send Missing off a cliff, such that the words "tiresome", "irritating", and "unbelievable" could be invoked. There's an attempt at compelling emotion here, and Tsui Hark sells it via every ounce of his writer/producer/director credit. But he takes way too long to get where he's going, and his bag of tricks is so labored and even bewildering that it ultimately repels instead of seduces. Heart and creativity aren't missing from Missing, but judgement and restraint are. A good editor would help, too. "

Source: LoveHKfilm

PREVIEW:

http://www.megaupload.com/?d=IX289WKD

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Loner

a.k.a Alone

Genre: Horror
Starring:
Eun-ah Ko - Su-na Jeong
Yu-seok Jeong - Se-jin Jeong
Min-seo Chae - Eun-mi Choi

Release year: 2008
Language: Korean
Subtitle: English

SYNOPSIS:
This movie highlights the horror that can be lurking inside even a tiny and lonely room. Su-na, once a bright and adorable girl, locks herself alone in her room after her best friend's suicide. She starts to talk and behave as if someone else exists in her room, but never opens the door to anyone. Finally, her uncle brings his fiance, Yun-mi, a psychologist specializing in hikikomori (people who isolate themselves from society), and she finds Su-na's trouble has something to do with the family's secret history.

RATING: 8.5/10
USER RATING:

REVIEW:
" **** "

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Winds Of September

Genre: Romance, Drama
Starring: Rhydian Vaughan, Chang Chieh, Jennifer Chu, Wang Bo-Chieh, Lin Chi-Tai, Sheng Wei-Nian, Chiu Yi-Cheng, Chi Pei-Hui, Lee Yue-Cheng,Lu Yi-Ching
Release year: 2008
Language: Chinese - Taiwanese
Subtitle: English

SYNOPSIS:
Cheng Hsi Yen (Rhydian Vaughan) is a Big Man on Campus and the star hitter on his school's baseball team, and he's the unofficial but unquestioned leader of his circle of friends. Hsi Yen is dating a pretty girl named Hsiao Yun (Jennifer Chu) who adores him, and has befriended Hsiao Tang (Chang Cheh), a quiet, studious boy who looks up to the slugger.

But Hsi Yen's status at the school takes a tumble when he begins seeing another girl on the side; her boyfriend somehow mistakes Tang for Hsi Yen and gives him a serious beating, while Hsi Yen fails to come to his aid. Hsi Yen's failure to stand by his friend and his dalliance with another girl infuriates Yun, and she writes him a letter telling him that they're though. Yun gives the letter to Tang and asks him to deliver it to his former friend; however, Tang is secretly in love with her, and rather than deliver the note he tries to find a way to win her over. A motorcycle crash sends Hsi Yen to the hospital, and the disillusioned students become increasingly bitter when a scandal sweeps through Taiwan's professional baseball leagues

RATING: 7.75/10
USER RATING:

REVIEW:
" Winds of September is a second feature for director Tom Lin, whose facility with the Taiwan Cinema house style (picturesque settings, sharp cinematography, slow pacing, generous visual storytelling) gives his film an air of quality most other features would envy. The film's superficial trappings are exceptionally impressive, such that one may feel that the obvious surface quality also exists underneath. Lin does make his characters distinct, giving them personality and charisma, but the situations don't necessarily extend beyond what's obvious. Lin sketches his situations and characters sharply, but despite the drama inherent in his subject matter, Lin never seems to draw the film away from tried-and-true formula. This is a youth film about misbehaving youth, so they're going to have fun, fight, get into trouble, and eventually get in over their heads. Ultimately, what happens to them is expected and even perfunctory because, well, that's what always happens in these films.
Not that there's anything wrong with conventional movies, especially ones that feel as quality as this one. Winds of September doesn’t do much to make it necessarily stand out, but it possesses a variety of promising, attractive new faces, plus it assembles its elements exceptionally well. Sometimes style (even non-flashy, contemplative style) can make the generic more substantial, and Tom Lin assembles a fine package, getting effective performances from his cast, and making their generic conflicts come to matter. Furthermore, Lin's portrait of Taiwan is undeniably pretty to look at it, and is beautifully captured by art director Lee Tien-Chue and cinematographer Fisher Yu. Hsinchu is more suburban than Taipei, and possesses an idyllic rural charm that perfectly fits the film's coming-of-age themes. Also, the use of the historically-accurate baseball scandal is intriguing, echoing the boys' maturation and changing emotions well. Winds of September is not fully-realized, and lacks the depth or complexity to take it to another level of achievement. But for a second feature, it's a fine effort, and one worthy of support. "

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10 Promises To My Dog

Genre: Drama
Starring: Lena Tanaka, Ryo Kase, Mayuko Fukuda, Chizuru Ikewaki, Akira Fuse, Reiko Takashima, Etsushi Toyokawa
Release year: 2008
Language: Japanese
Subtitle: English

SYNOPSIS:
Akari is a 14-year-old schoolgirl living in Japan's northern island of Hokkaido. One day, a puppy wanders into her yard, looking lost and frightened. She is a Golden Retriever with white paw markings. Akari names her Socks. Akari's mother consents to her keeping the dog but only after she agrees to keep 10 Promises to Socks . Akari enthusiastically assents and the two begin their journey of growing up together. Akari finds herself having to overcome many changes and challenges: the tragedy of her mother's death, father's sudden resignation, coming-of-age, first romantic feelings, career ambitions and her independence. But at every step, Socks is there to provide unquestioning love and support.

RATING: 8.25/10
USER RATING:

REVIEW:
" The spotlight of the film undoubtedly falls on Socks the dog. Her expressions and movements are amusing to look at, though in some key scenes, computer-generated imagery (CGI) is used to depict her tail’s wagging motion. (I guess a dog’s acting skills do have its limits.) We see her grow from a cuddly puppy to a strong and intelligent dog, as proven by her prowess in the “look-over-here” game, in which a person randomly points to a direction while the other person (or dog) has to look at the opposite direction to win the game. As time goes by, she even becomes close to Akari’s father, Saito (Etsushi Toyokawa) who initially has a fear of dogs. Socks eventual role as a therapy dog is evident when she attempts to heal Akari’s best friend, Hoshi (Ryo Kase) who is struggling to pull himself together after an accident.

Also noteworthy are the social issues highlighted in the film: family against career (Saito having to carry out his duty as a surgeon while spending time with Akari for their get-togethers) as well as personal ambition against parents’ expectations (Hoshi being forced to pursue a career as a classical guitarist according to his father’s wish). These issues are interwoven perfectly with the storyline as they affect Akari and Socks’ friendship directly and indirectly, giving viewers some food for thought.

I am glad to say that there is not much for me to nitpick in this film except for the aforementioned CGI effect which looked too unnatural. The entire cast gave excellent performances, most notably Mayuko Fukuda who played Akari as a 14-year-old and Lena Tanaka as 24-year-old Akari. Being the sole human comic relief, Etsushi Toyokawa can be counted upon to provide some laughs as the serious but occasionally hilarious Saito. The plot may be simple, but simplicity is the best way to portray a story of this nature.

Parents might take for granted that this film is a perfect choice for children in view of its G rating, but I would advise some form of guidance since the ending can be quite saddening for adults, let alone kids. Having said that, “10 Promises to My Dog” tugs at the heartstrings, so be prepared to shed some tears by the time the end credits roll "

Source: MovieXclusive

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Thursday, November 20, 2008

La Lingerie

Genre: Romance, Comedy
Starring: Stephy Tang Lai-Yun, Janice Man, JJ Jia, Ronald Cheng Chung-Kei, Kathy Yuen, Maggie Li, Wong Cho-Lam, Chan Fai-Hung, Tsui Tin-Yau, Andy On Chi-Kit, Gigi Leung Wing-Kei, Wong Yau-Nam
Release year: 2008
Language: Chinese - Cantonese
Subtitle: English

SYNOPSIS:
Miu Ho (Stephy Tang) works as an Innerwear Researcher, but a run-in with the company's lothario, marketing manager Lucas (Ronald Cheng), complicates her work and love life. Miu is a good girl, though, and instead of taking advantage of her, Lucas offers to help her to land the affections of the heir to the company, the wealthy and very strange Antonio (Wong Cho Lam). Meanwhile, Miu's best pal Donut (Janice Man) works in a lingerie shop, and has issues with her beau (Chan Fai Hung), a married man who's also a customer at her store. Club girl CC (J.J. Jia) is also a customer at Donut's workplace, and is looking for some new, expensive lingerie in order to impress her new boyfriend, shy Harvard student Eugene (Andy On). Finally, Miu's downstairs neighbor, flight attendant Celine (Kathy Yuen), has an odd problem: someone keeps stealing her underwear! Cop James Shum (Tsui Tin Yau) offers to investigate, but he seems more interested in ogling Celine's uniform than catching the perp. Still involved in her own romantic issues, Miu decides to take her innerwear research to a new level - by using her own underwear as bait to catch the thief.

RATING: 8/10
USER RATING:

REVIEW:
" ...That's just fine though, because La Lingerie pretty much represents what Hong Kong Cinema is right now. The days of kung-fu spectaculars and crazy Category III thrillers are gone. The Hong Kong audience won't support those films, but they do manage to turn out in decent numbers for commercial urban comedies with overloaded big-name casts (e.g., Simply Actors, plus the omnipresent films from director Patrick Kong). This is the type of movie that keeps local Hong Kong Cinema alive, so props are deserved for its sheer existence. As a bonus, the film is actually quite entertaining, managing to be consistently funny even though its story isn't really successful. The whole "underwear as metaphor" theme is rather thin, but as fodder for gags and oddball characters, it works. La Lingerie is far from a coherent movie, and is also incredibly overlong. At two hours, it's not the drag that Sex in the City was, but the film never bores, and even when sentimentality surfaces, it's not overbearing or terribly distracting. For a two-hour Hong Kong-specific urban comedy, La Lingerie is enough to entertain.

Strangely, this happens despite most of the female cast failing to impress. Popular model Janice Man is unimpressive and even annoying as Donut, while JJ is burdened by her impure Cantonese - though since she's the only one of the lead actresses to actually appear onscreen in lingerie, she gets some extra credit. Kathy Yuen is fresh-faced, and makes up for her average acting with her clean, pretty looks. Oddly, it's the guys who are more distinctive. The dependable Chan Fai-Hung is very funny in his supporting role, and Ronald Cheng is simply great as Miu's true love interest Lucas. Hong Kong possesses a few actors who are instantly likable when playing jerks, and Ronald Cheng is currently one of the best. The normally stiff Tsui Tin-Yau is amusingly animated as the fastidious and horny James Shum, and his Shine bandmate Wong Yau-Nam adds to his range with a turn as a self-confessed pervert. La Lingerie is loaded with actors and actresses who would probably be bigger stars if Hong Kong Cinema wasn't in such dire straits. They don't uniformly impress, but as it is, they're fun to watch.

However, the film really is Stephy Tang's, and the actress turns in some of the best work of her generally unspectacular career. Tang has never been more likable or funny than as the sexy, daffy good girl of La Lingerie. When Tang first started out, it was easy to diss her for trading on her soft plastic good looks, and even now she's still a few levels below contemporaries like Charlene Choi. Still, Stephy Tang has come a long way, improving bit-by-bit as an actress while also gaining some traction at the Hong Kong box office. Calling her a skilled actor would be presumptuous, but Stephy Tang is worth noting for her solid popular appeal as well as her increasing likability - things that happen to be short supply right now for Hong Kong movies. As a film, La Lingerie is pretty much the same; the film isn't exceptional nor an accomplishment, but it earns credit by being funny more often than not. Given everything else that's happening for Hong Kong Cinema (that is, not very much), it'll do just fine. "

Source: LovHKfilm

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Hometown Legend

Release year: 2008
Language: Korean
Subtitle: English

Episodes: 8

SYNOPSIS:
Hometown Legends is 8 one-act dramas

USER RATING:

Episode 1 Return of the Gumiho

This tragedy takes place within a household given the curse of the gumiho, or nine-tailed fox. After the curse is given, the family guards their secret over twelve generations and 400 years. Within this family is one girl, played by Park Min-young. In seeming contrast to the somber nature of their family history, she�s lively and curious, and the youngest female in the household. Her older sister, on the other hand (played by Kim Hae-eun), is much more serious, obedient to the cause of hiding the family secret. Her brother (Kim Tae-ho), the eldest grandson in the family (thus its heir) is a thoughtful young man with a particular interest in modern sciences, but when push come to shove he's a weak person. He does, however, have doubts about the family's rules.

Episode 2 Baby, Let’s Go to Cheong Mountain

A nobleman's only daughter (Kim So-hyun) contracts an unknown fatal illness, leading her mother (Wang Hee-jee) to seek a miracle from a sorceress. The greedy and wicked sorceress tells her that the daughter can live if she eats a baby's liver. The desperate mother breaks her sense of morality to save her child, and the daughter recovers, but strange things start happening.

Episode 3 Curse of the Sajin Sword

Choi Su-jong plays a capable detective who is sent on an emergency call by his police chief to a village to investigate the mysterious death of the blacksmith who'd forged the precious royal Sajin Sword. He's accompanied by Sa Kang and Lee Jung to uncover the secrets of the village. They're greeted by a crazy hag who talks of curses, and begin feeling apprehensions when they start seeing blackened corpses.

Episode 4 Ghost Letter

In the year 546, a king (Kim Young-jae) suddenly dies after merely nine months of rule. A mysterious incident occurs, causing several deaths that bear close resemblance to a popular (but kept secret and underground) ghost story called "Legend of Seol Gong-chan." People start saying that the dead king has returned as the ghost and is the source of the murders.

The deceased king's childhood friend (Ahn Jae-mo) seeks to uncover the truth of the matter, not believing in the ghost story even as the deaths around him mount.

Episode 5 Oh Goo the Exorcist

Jae Hee plays a man who has lost his beloved (Lee Young-eun), and wanders in search of her soul. Able to see ghosts as a shaman, he lives on the boundary dividing life and death, and arrives at a village where the living and the dead are mixed together in madness. In order to cleanse the village of the dead, he must reveal its secrets one by one.

At the village, he meets a woman resembling his lost love who practices the healing arts.

Episode 6 Ghost Story

A gisaeng house, Hwahonuk, fills with the disordered sounds of classical folk music. A powerful man drinks with a friend, but the friend winds up dead, smack in the middle of the house. Rumors spread that it's the work of the ghost of a disappeared gisaeng who haunts Hwahonuk.

A young man appears at Hwahonuk one day, a pleasure-seeking artist who indulges in food and wine and entertainment. He takes out one of his drawings of a girl, which startles a gisaeng because it bears a striking resemblance to the gisaeng who'd disappeared from the house. That night, the disappeared girl's corpse is discovered, and a string of deaths starts to be exposed.

Adding to the mystery is the mute keeper of secrets, a maidservant. One gisaeng pays no attention or interest to these bizarre rumors. Another, the mysterious head gisaeng, holds the key to the beginning of all these incidents.

Episode 7 Reaper Story

A messenger to the underworld (who transports the dead across the divide) comes back to this (living) world and loses his roster of names. The roster is an essential part of the messengers' work, as it decides who lives and dies. He has to find the list by the time the underworld gates reopen, and eventually hears that the list has somehow made its way into the governor's keeping. He sets out to recover his list (intending to rob the governor) with the help of a thief whom he's finagled into assisting him. But things keep getting complicated.

Episode 8 Returning Lady

The day of a nobleman's only daughter Soo-yeon's (Lee Jin) wedding to the son of a government official, the village is attacked and she's dragged off by Chinese soldiers. She escapes and returns home, but all that awaits her is shunning and cold neglect from her husband's family. In the end, her mother-in-law levels a false charge that she's bearing another man's child and uses that as an excuse to throw her out, and Soo-yeon returns to her parents' home.

But her father is lying in his sickbed unconscious, and her illegitimate older brother has taken control of the property and assets. With his own wife having been dragged off to China like his sister, he lives in an unofficial marriage with another woman who helps him procure a poisonous, hallucinatory drug that often leads a sufferer to suicide. Using this drug, he poisons both sister and wife. After dying such unjust deaths, the women become vengeful ghosts who haunt a particular mountain ridge, seducing men and killing them.

Meanwhile, her husband has devoted himself to becoming a royal inspector. As an undercover agent to the king, he is assigned to finding out the cause of all the strange deaths on the mountain pass, where he comes face to face with the ghost of Soo-yeon.

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Tuesday, November 18, 2008

The Gem Of Life

Starring:
Gigi Lai
Ada Choi
Maggie Siu
Bowie Lam
Moses Chan
Wong He
Louise Lee
David Chiang
Bosco Wong
Linda Chung
Eddie Kwan
Elliot Yue
Kenny Wong
Chan Hung Lit

Release year: 2008
Language: Cantonese
Subtitle: English

Episodes: 82

SYNOPSIS:
You may wish to be a famous socialite.
You may wish to have fame and fortune.
But is that really what you will wish for at the end?

In PAK SIU-YAU (LouiseLee See Kei)’s eyes, her three daughters are just as perfect as diamonds. She believes that the greatest blessing for a woman is to marry a wealthy man. To guarantee a better life for her daughters, she has started training the girls since they were young, hoping that they will marry into the richest families when they mature.

YAU’s first daughter HONG NGA-YIN (Maggie Shiu) does not agree with her on her values. Yet when she sees that the man YIN is going out with is KO CHEUNG-SING (Bowie Lam), who is very well-off, she decides to let YIN go with her choice. YAU’s second daughter HONG NGA-TUNG (Gigi Lai) is hopelessly romantic but does not seem to have much luck with men. To make it up to her, YAU seeks to match her up with HO CHIT-NAM (Moses Chan), the son of Hong Kong’s most powerful business tycoon HO FUNG (Ngok Wah). Being the youngest in the family, HONG NGA-SZ (Ada Choi) is well aware of YAU’s concerns. Having recovered from divorce, SZ now decides to pin all her hopes on FUNG.

YAU’s persistence pays off and her daughters have all found a wealthy husband. But money does not really bring them happiness and the sisters are gradually losing themselves in vanity.

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Body #19

Genre: Horror
Starring: Arak Amornsupasiri, Ornjira Lamwilai, Kritteera Inpornwijit, Patharawarin Timkul
Release year: 2007
Language: Thai
Subtitle: English

SYNOPSIS:
Chon starts seeing a psychotherapist after he starts dreaming about a woman who he had only met once in a restaurant. In his dreams, a mysterious man murders her, slices her body into pieces, and flushes them down a toilet bowl one by one.

The murderous dreams haunt him into his waking memory, and eventually he feels as if his own body is being dissected and carved up by the surgical knife. Slowly, the terrifying images take control of him.

He comes to believe that dead woman is sending him messages through these nightmares. But these are not messages for him, they are meant for her murderer. And they speak of revenge:
“I am still here.”

RATING: 8.5/10
USER RATING:

REVIEW:
" Technical wise, you cannot fault the sound design which was impeccable, and the attention to detail in creating the ghoul, which are key elements in sustaining audience interest even when the story seemed to be stuck at nowhere. Here's where Body #19 excels, in creating a creature so revolting that you just want to duck under the sheets, cover your eyes and wish it goes away. If I may say so, it's one of the more beautifuly intricate ghouls to have graced the screens, and one which utilizes almost every trick in the book to dispatch its victims. You might have seen some of these methods before in other horror movies, but with the quality of the CG effects, it managed to get away with it. Of notable mention too is the makeup department in fleshing out (pardon the pun) the necessary to achieve the desired macabre and spooky effects.

Somehow though, the filmmakers and cinematographer found a profound lingering desire to include a crane shot into almost every scene or change in setting, or decide to have a shot from beneath, so you have the actors either looking up, looking down, or we're looking at the top of their heads. I found this to be distracting as it doesn't further the plot in any way, and could have been done away with to trim the run time. We don't really need another of such over the top tracking shots, just because it may look cool and sophisticated.

A good story is essential so as not to waste the efforts of the technical team, but here's where Body #19 fell a bit short. It is always difficult to have a horror film wow your socks off with new or innovative story lines, and Body #19 might seem to have dwelled too much in setting up its conspiracy theories which doesn't leave much room to come to the right conclusion midway into the movie. It found some earnest need to show and tell back-stories even when it doesn't further the plot, and to satisfy those in the audience with bloodlust, the killings here take their own sweet time, with the hunter very much toying with its prey, again just to ramp up the unnecessary suspense, but allowed an avenue to showcase some nifty CG work.

In setting up the series of events, the opening had a myriad of characters thrown into six degrees of separation, and took its time to unravel the relationships amongst them. The synopsis above is all you need to know should you require a reference of sorts when watching the movie, and it doesn't take too long to arrive at the first "boo!" point, whose necessity is still debatable, as it probably serves as a rehearsal for more to come. But what I found to be unsettling, is the very detailed and repeated chop-slash-chop sequence in body dismembering. Now that will require some stomach to endure. "

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Sweet Rain

a.k.a Accuracy of Death

Genre: Romance, Drama
Starring: Takeshi Kaneshiro , Manami Konishi, Sumiko Fuji, Ken Mitsuishi, Takuya Ishida, Jun Murakami, Erika Okuda, Mitsuru Fukikoshi
Release year: 2008
Language: Japanese
Subtitle: English

SYNOPSIS:
When he appears on earth, it always rains. His job is to observe a human's life for seven days, and then decide either to ‘execute’(death) or ‘pass over’(alive). Getting his work quickly out of the way, he goes to the listening booth of a CD shop and indulges in his favorite pastime, listening to ‘humanity’s greatest invention’: music. He is...a Grim Reaper.
Today, again, in the rain, he waits for his new object, Kazue Fujiki. She is 27 year old and works for a manufacturing company, in the complaints department. Exhausted after her day, she emerges from her office. It’s time for the Reaper to go to work.

RATING: 8/10
USER RATING:

REVIEW:
" Being a Japanese production, you can expect everything to be beautifully visualized on screen. The cinematography by Takahide Shibanushi showcases the melancholic showers, the gritty mafia showdowns and the withering sunflowers to great effect. These complement the mood of the romance fantasy movie and will please viewers with a sense of aesthetics greatly. Watch out also for some simple but effective computer generated effects which will make you suspend all beliefs and immerse yourself in the beautiful other world.

With the pretty images in place, the next thing that works well in this movie is its well articulated themes about life. What defines happiness? What does it take to give up on happiness? What makes one faithful in what he believes in? What makes one’s life fulfilling and complete at the end of the day? Sure, these are romanticized notions that some cynics may consider a waste of constructive time, but we’d think that these are the finer details of life which busy urbanites like us should slow down and take note of. These three tales bring together these messages and make you look at the big picture of things in a lyrical manner.

Manami Konishi (Udon) and Sumiko Fuji (Hula Girls) comfortably play their roles of the Grim Reaper’s targets. Konishi is perfect for the docile and submissive girl who gets a new outlook of life when the Grim Reaper pays her a visit. The gorgeous theme song “Sunny Day” performed by the starlet will be on repeat mode on your player. Fuji’s steady performance as the old hairdresser with a secret is one you will not forget easily.

And of course, Kaneshiro is again perfectly cast. Even when the charming actor goes into an unnecessarily silly mode, you forgive him because you know he can carry it off very nicely. The actor can absolutely do no wrong. "

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Saturday, November 15, 2008

Two become one

Genre: Romance, Comedy
Starring:
Miriam Yeung Chin Wah
Richie Ren Yin Chi
Release year: 2006
Language: Chinese - Cantonese
Subtitle: English

SYNOPSIS:
Bingo's life is relatively tranquil and easy, with an office job and a cadre of female friends. But when she discovers a malignant lump in her breast, the ground trembles, and the world that she has come to lean on as dependable and reliable falls to pieces. One day at a time, Bing must struggle to keep her life and sanity in check, as she struggles to contend with her illness -- with the helping hands of an affable physician, V.

RATING: 8/10
USER RATING:

REVIEW:
" Nomination at the Hong Kong Film Awards 2007:
Best New Director (Law Wing-Cheong)

Taking on the serious subject of breast cancer, it's easy to assume that there is surely Wong Jing involvement behind the surface and that a socially relevant issue may get exploited in favour of cinema revenues. However star Miriam Yeung (fresh from her acclaimed turn in Fruit Chan's exquisite Dumplings) is reportedly a spokeswoman for breast cancer and sensitivity instead of political incorrectness surely will take center stage? Controversy arose outside of the filmmaker's beforehand unknown choices though as poster designs of a computer created bare chest of a woman was pulled from Hong Kong's subway system. Coincidentally the Mainland censors praised the artwork when it reached their market. Funny how that works and Hong Kong ultimately got stuck with the blank art featured above, firmly showing the reunion of Yeung and Ren though (latest vehicle for the both being Elixir Of Love). Aaaaaanyway....

By god it's difficult to be uncool towards a film that means well. Playing out like an ordered public service announcement, you have yourself a crowded character gallery stuck way into the sticky, hectic world of urban, high profile employment (and their own asses). No one really never slows down to smell the flowers or are feeling true empathy towards things. Wake up call time then, why not let it be breast cancer? Now, reevaluating, recycling and reexamining themes of how you cope with a sudden setback such as this is NEVER a bad thing and with a little skill, you can squeeze out the same content and still create affecting cinema. 2 Become 1 possesses that realization but it's buried underneath the quick fix the production eventually transforms into. The switch in moods is of course something Hong Kong cinema never really will abandon so we do get a taste of Miriam Yeung being back in her old shoes in the genre as well as performing drama in between. Also featured: a little loudmouthed comedy, a little line delivery in stereo by grating characters and a stereotypical gay supporting male character. Yep, it's still a typical time at the Hong Kong movies. Law Wing-Cheong makes sure 2 Become 1 equals plentiful already but obviously is going to take a left turn into more sincere territory. A tricky turn, that has to be said.

The slight success the film has eventually comes when at these serious points but wouldn't you know it if Miriam Yeung's journey comes off as handled very casually despite. Again, you won't develop hatred when being flashed before you an age old character journey such as this but as the turns are rather dark also, the methods employed by Law rings of a disinterest or a hindrance perhaps to really reach inside and grab (gently preferably). Strikes against him continues to be an awfully manipulative score, wacky supporting characters sometimes straight out of mou lei tau-land (and a few too many characters on the side anyway) but why does 2 Become 1 eventually reach some form of minor satisfaction? It's not due to some form of classic chemistry between the leads (fluff excursion Elixir Of Love was more effective in that regard) but Law showcases a straight on sincerity at later points in the film that makes Bingo's self-realization take shape into a real situation to respond to on a viewer level. A realization also having to do with Richie Ren's Vincent truly being a helping, divine hand. On a cast side note, be sure to keep your eyes peeled for a brief appearance by Shaw Brother's veteran actress Lily Li, playing Bingo's mom.

Props goes out to the filmmakers for indeed handling the subject at hand with a lean touch and instead being more firm when highlighting people's stuck up, stuck in and all out evil behaviour. Unreasonable acts in the face of a life changing disease, that you find at center in 2 Become 1, realized with somewhat of a solid touch by Law Wing-Cheong and Milkyway. While this is a few notches different than the fluff the production house needed to put out once (Needing You chief among them), any intentions to differentiate from that output kind of failed. 2 Become 1 does however carry social value and will undoubtedly have an effect despite the bumpy ride along the way. Some should be satisfied then, the victims of cancer will be highlighted even more and critics will have to learn to swallow a partly dire pill to get to the actual minor right chords. Law Wing-Cheong probably shouldn't strive to be a director that delivers a 10 cent hamburger of a movie however. "

Source: sogoodreviews.com

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Friday, November 14, 2008

Cyborg She

Genre: Romance, Sci-fi
Starring: Haruka Ayase, Keisuke Koide, Kazuko Yoshiyuki, Naoto Takenaka, Fumiyo Kohinata, Masato Ibu
Release year: 2008
Language: Japanese
Subtitle: English

SYNOPSIS:
A lonesome college student named Jiro (Keisuke Koide) is spending his 20th birthday alone when suddenly a beautiful girl (Haruka Ayase) turns up. The few hours that he spends with her are the most incredible moments of his life and Jiro is overwhelmed by his good-fortune in meeting her.

But his happiness does not last for long since she disappears after that. A year later on his 21st birthday, Jiro runs into her again. At least she looks the same, but this time she is somehow different. It is the beginning of a love that would change his life forever...

RATING: 9/10
USER RATING:

REVIEW:
" Cyborg She is directed by Korean director Kwak Jae-Young who many may recognize from his popular 2001 hit My Sassy Girl. Kwak's inventive humor and storytelling is again much in evidence here and he delivers a satisfying and entertaining movie. While some of the comedy may border on the silly, I found myself laughing at the visual gags. The film borrows liberally from other sci-fi films, notably Terminator and A.I., but crafts an interesting time-jumping, century-spanning love story that is quite effective and endearing.

The VFX/SFX work was surprisingly top notch, especially during the climactic destruction of Tokyo as well as during some of the Cyborg's robotic effects. Some of the story's loopy continuity and Back To The Future-styled time travel concepts are a bit hard to follow but Kwak does make it work in the end, and pulls some inventive story twists.

Ayase Haruka (Memories of Matsuko) is alluring and cute in her role as the future Cyborg, creating a likeable but somewhat stiff heroine. Koide Keisuke (Pacchigi!, Koizora, Kisaragi) is also likeable as Jiro, in an otaku/anime geek sort of way. Their love story begins in typical awkward fashion but soon develops into a sweet romance thanks to their nice and controlled performances. Kiritani Kenta (Crows Zero, 69 Sixty Nine) steals many scenes as Jiro's goofy college friend. His scene where he gets the Cyborg drunk is especially fun to watch. The always funny Takenaka Naoto (Swing Girls, Waterboys) also makes a hilarious cameo as one of Jiro's wacky and high-strung college professors.

There has been some confusion regarding whether or not Cyborg She is in some ways a remake or re-interpretation of Park Chan-Wook's 2006 film I'm A Cyborg, But That's OK. While both films do share more than a few similarities and themes, they are two completely different films and are not connected in any way. Although I am still of the opinion that Kwak was influenced by Park's film, no official connection exists as far as I've been able to gather.

Cyborg She is an enjoyable sci-fi fantasy that will have audiences hooked from the start and invested in the romance between the attractive leads. While some may find the story a bit melodramatic and the humor a tad forced, I liked the film a lot "

Source: LoveHKfilm

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Hooked on you

Genre: Romance, Comedy
Starring: Miriam Yeung Chin-Wah, Eason Chan Yik-Shun
Release year: 2007
Language: Chinese - Cantonese
Subtitle: English

SYNOPSIS:
It is the summer of 1997. 27-year-old Miu starts working as a fishmonger at Prosperity Market to pay the heavy debts of her philandering father. She sets a 3-year plan for herself: before she turns 30, she shall clean her father's debts, leave the wet market, find a man worthy of her, and break the spell of her bad karma.

No sooner has she set foot on the market than she finds herself at loggerheads with Mr Fish in the neighboring stall. A fierce battle of survival is unleashed, only to turn into a mutual entente when the existence of Prosperity Market is jeopardized by the aggressive emergence of supermarket megastores. In the end, they fail to save the market. But their camaraderie has blossomed into a deeper feeling for each other, an unanticipated development Miu is not ready to embrace.

When her father suddenly dies of a heart attack and the government plans to demolish Prosperity Market, Miu decides to leave the market for good. Convinced that a new face will set her free from her smelly past, she enrolls in a makeup course funded by the government. As she embarks on her new life as a makeup artist, the world indeed becomes bigger, brighter, cleaner. However, she misses an important turn on the path of her life.

RATING: 8.75/10
USER RATING:

REVIEW:
" ...However, that notion is a fantasy, and the film seems to quietly confirm that sentiment. People hope for things to remain unchanged, but life moves on with or without you. The film places weight on the past, but it also looks to the future hopefully. No matter what the outcome, there's good in both the past and the present, and missed chances can still be looked upon fondly. The bitterness here is noticeably sweet, a theme that is apparent in all relationships in the film: between people and Hong Kong, food hawkers and Fortune Market, and especially Miu and Fishman. The characters subtly change and grow, each maturing in their own way, and the actors sell the sentiments wonderfully. Miriam Yeung has matured far beyond her ditzy jade girls, and is able to convey emotion with sometimes just her eyes. Eason Chan may be even better; the actor manages to be both transparent and opaque at different times in the film, and never appears to be less than genuine. The situations in Hooked on You sometimes veer into cartoony, but the characters themselves possess real, felt personalities.
The film does have its issues. It possesses a witty and intelligent script, but some details end up feeling more cloying than appropriate. This is especially true towards the later portion of the film, when the film makes use of happenstance to suppose that these two star-crossed lovers will continue to criss-cross all over Hong Kong. The movie seems too smart for such obvious narrative tricks, and compounds the contrivance with its "return to Fortune Market" set piece. Still, the sequence shows us how the characters have grown, and despite its inherent cheesiness, the whole entertains in a gratefully satisfying fashion. Director Law Wing-Cheong, whose labored but effective 2 Become 1 was one of 2006's quiet bright spots, outdoes himself with Hooked on You. The film is an accomplishment not because it says anything profound or especially important (in fact, given its quiet coverage of the Handover, one could argue that it shouldn't even be called a Handover film), but because it manages to surprise, affect, and above all deliver. The film possesses complex emotions that seem deceptively simple, and gives us characters that are seemingly worth getting to know. In the end, Hooked on You asks us to look forward, and not back, and it's a message that the filmmakers earn. If Law Wing-Cheong can continue to make commercial films as satisfying as this one, then Hong Kong Cinema's future may indeed be brighter. "

Source: lovehkfilm

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Sunny

a.k.a You are in a far away nation.

Genre: Romance, Drama
Starring: Soo-ae, Jung Jin-young, Jeong Kyeong-ho, Uhm Tae-woong, Ju Jin-mo, Sin Hyeon-tak
Release year: 2008
Language: Korean
Subtitle: English

SYNOPSIS:
Old-fashioned Soon-yi marries into a family in the country without love. But when her husband abandons her by enlisting into the Vietnam war, she wants to show that she is capable of loving him. She uses her vocal talent to join a band heading there and sings for the restless soldiers in hopes of meeting her husband while on tour

RATING: 8/10
USER RATING:

REVIEW:
" Outside of those themes, the strong storytelling and the message, what really stands out about Sunny is the production itself. I’ve been impressed in the past by particular scenes shot by Lee. That is, festival-like atmosphere, drenched with smell of real people and tons of energy. You get those here as well, particularly when Sunny sings in front of the Korean troops. But even more impressive is how his mise en scene and sense of spectacle improved. There’s only a few battle scenes here, and they’re mostly tangential, but it’s all tremendously well shot and makes a great impact. Shot in Thailand for a meager 3 billion won, the scale and tempo of those scenes adds to the experience immensely. This is certainly a “director’s” film, but the acting is very strong, particularly the leading trio of Soo Ae, Jung Jin-Young and Eom Tae-Woong. They’re not towering performances, but there’s a certain panache and gusto to all three that’s a joy to watch, particularly Eom, who does great things with the relatively short time he’s given, and Jung Jin-Young’s sparks of energy. Praising Soo Ae would feel kind of obvious, as she’s like Venus to entire films’ moons (ahh… of all planets now, why does Venus have to mess up perfectly fine puns?). It is clearly her best performance to date, and I’m starting to see the kind of maturity that could bring her into new, exciting territories. And… she still looks a whole lot like a young Jung Yoon-Hee—not the TV starlet, the 70s movie star—which is never a bad thing.

Released this summer right before the Olympics, as Kim Ji-Woon’s The Good, The Bad, The Weird was doing monster business, Sunny is not the kind of bombastic and insane fun the kimchi western will give you. It’s a quieter, darker, in many ways more bittersweet work. But I think, in the long run, the narrative elements and strong message of Lee’s film is going to last much longer than those Manchurian escapades. Sunny is not a masterpiece, but it just might be Lee’s best film yet. It has the kind of exquisitely low-key opening just like you’d expect, but also what’s probably the best second half of the year. I don’t even want to call it great, because that would mean I’d probably forget it in a couple of years. This is more like going back to the Bae Chang-Ho of yore: simple, tremendously well told, and always leaving you with a smile on your face, and even a few tears. How do you call that, glorious? "

Source: Twitch

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Tuesday, November 11, 2008

Baby and Me

Genre: Romance, Drama
Starring: Jang Geun-seok, Moon Mason
Release year: 2008
Language: Korean
Subtitle: English

SYNOPSIS:
In the movie, Joon-soo is a tough 19 year old high school kid that loves to cause trouble. He often gets in fights, once with 17 other guys, but always comes out as the victor. Then one day Joon-soo’s parents decides to go out of town. Joon-soo decides then and there to throw a party at his parent’s home. He then goes shopping for groceries and comes upon an unexpected surprise. A little toddler sits in a shopping basket wearing the name tag “Han Wooram” and points to Joon-soo as his father!

He then takes the baby home and tries to find the baby’s real parents. When he can’t find the parents, Joon-soo even tries to abandon the baby but always fails. He then takes the kid to school which causes further scandal and a suspension. But during this time an unexpected event occurs between Joon-soo and Woo-ram…

RATING: 8.5/10
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REVIEW:
" **** "

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Somtum

Genre: Comedy, Action
Starring: Nathan Jones, Noawarat Tacharathanaprasert, Sasisa Jindamanee
Release year: 2008
Language: Thai
Subtitle: English

SYNOPSIS:
Nathan Jones, plays Barney Emerald in Somtum. He’s a carefree guy, tricked by a pretty woman in Pattaya who later steals everything he owns, including his passport.

Barney heads to the tourist information center to ask for help but the place was already closed. There, he meets Katen (Narawat Techarattanaprasert), an orphan street hustler. Barney is soon confronted by a gang who often harasses Katen but instead of driving the bad guy away, Barney turns out to be a wimp and too scares to throw some punches. Katen’s friend Dokya (Sasisa Jindamanee), a Muay Thai fighter comes to the rescue.

After the incident, Barney stays in a Buddhist temple, where he’s given shelter. On a visit to Dokya’s mother’s somtum stall, Barney tries a taste of somtum, a traditional thai salad, out of curiosity. He feels like his mouth is burning and storms out to get some water. What he doesn’t know is that when he turns red from the heat of spice, he’s grained with a superpower.

RATING: 7.5/10
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REVIEW:
"Somtum, the food, is a spicy treat. It's best shared with friends. You can all dip into the same plate of spicy, sweet and sour papaya salad with your forks, and daub up the juices with generous helpings of sticky rice.

And Somtum, the movie, is a lot of fun, too. And, yes, you should see it with friends, and marvel at this action-packed, oftentimes silly, but also very sweet tale.

Nathan Jones, the towering Australian strongman and former WWE wrestler, who's played a screaming, menacing madman in such films as Troy, Fearless and Tom Yum Goong, gets to play the face -- the good guy -- in Somtum. It must have been refreshing for him after being cast as the heel time after time...

... Some guest appearances and feature fights keep it interesting. The girl boxer Sasisa, grown up since her appearance as a half-pint-sized Muay Thai fighter in Born to Fight is a wonder to behold, a lethal combination of flying knees, elbows and dimples.

In fact, Somtum is a Born to Fight reunion of sorts. Dan Chupong makes an appearance as a policeman and he mixes it up in a comical kitchen fight. Taekwando artist Kessarin "Nui" Ektawatkul, who played Chupong's sister in Born to Fight, shows up as a hilarious toothpick-chomping papaya vendor who pitches in to help Dokya out in a street fight.

There's some foreign wrestlers on hand, too, and they mix it up with Nathan toward the end of the movie. It's a unique mix - rasslin' piledrivers and Muay Thai kicks. Somehow, it works.

With action choreography by Panna Rittikrai (who also takes producer credit), I got the sense that the criticism leveled at some of his past films, about fighters hanging around in the background waiting for the protagonist to attack, has been duly noted. In Somtum, when a bad guy is put down on the ground, they stay down. Or if several people attack at once, they are dealt with in ways that at least seem plausible. "

Source: Wise Kwai's Thai Film Journal

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