Cyborg She
Directed by Korean Kwak Jae Young who helmed the hit romantic comedy My Sassy Girl (2001), this Japanese film plays like My Sassy Cyborg.
The set-up is a familiar one to fans of manga and anime - a young geeky guy suddenly gets the girl of his dreams.
But there is a catch. In Chobits, the lovely lass is an android; in Oh My Goddess!, she is a deity; and here, she is a robot, or cyborg, as she prefers to be called.
Jiro (Keisuke Koide) is celebrating his birthday alone again at a restaurant when a girl (Haruka Ayase) plonks herself down at his table.
After a memorable night out together, she vanishes from his life only to reappear a year later. That is when Jiro learns that she has been sent from the future by himself.
Ayase is all rough mannerisms and brute strength as the cyborg while Koide is sweetly nerdy.
The love story is a predictable one, although the final 30 minutes unexpectedly offers a visually spectacular disaster.
Kwak, who also wrote the script, drags out the ending but does provide one final poignant twist in this time- travel romance.
(ST)
Monday, August 18, 2008
To Kill A Mockingbird
Jubilee Hall
Last Thursday
Stories are rooted in a particular time and place, and it is that very specificity that makes them universal. The more detailed a setting is, the more authentic the work feels and the greater the connection with the audience.
Harper Lee’s Pulitzer Prize-winning novel is set in the American South in the 1930s. It was a time when defending a black man falsely accused of raping a white woman was either the act of a courageous man or a fool.
Lawyer Atticus Finch was no fool but a man of uncommon decency and we see events unfold through the eyes of his daughter, six-year-old Scout.
This two-hour-15-minute production takes the gamble of unmooring the story from its social context with its minimalist staging and costume choices.
There were ramps on both sides of the stage and in the centre, a flight of stairs leading to a platform, all in black.
The costumes were not meant to evoke 1930s American South, but functioned as shorthand characterisation – Scout was a tomboy as she was in overalls and Atticus was a gentleman as he wore a blazer.
The multitude of accents sported by the cast also contributed to the amorphous setting.
This meant that those not familiar with the story would have to work much harder to come to grips with it.
It also meant that a lot was riding on the performances of the actors.
Mockingbird is essentially about Scout’s journey and loss of innocence. In this crucial role, Malaysian Lum Kay Li, 23, performing in Singapore for the first time, did a fine job with a natural and convincing portrayal of a spunky girl.
Less successful was Kun Wai Kit as Jem, Scout’s 10-year-old brother. He mistook exaggerated twitching and petulance for youth, making it seem as though Jem was Scout’s little brother.
Veteran actor Gerald Chew’s Atticus was appropriately paternal if a little distant. He also lacked the moral gravitas of Gregory Peck in his Oscar-winning turn in the 1962 film, although Peck admittedly set a very high bar.
The use of an older Scout (Yeo Yann Yann) reflecting on the past was a device that helped to compress the novel into a more streamlined structure.
The result, however, was a play that seemed to be preachier than the book, concerned with Lessons To Learn about empathy and doing the right thing. Important lessons, no doubt, but ones that would have made a stronger impression with a defter touch.
Ultimately, this Bird managed to take flight, but did not soar.
(ST)
Jubilee Hall
Last Thursday
Stories are rooted in a particular time and place, and it is that very specificity that makes them universal. The more detailed a setting is, the more authentic the work feels and the greater the connection with the audience.
Harper Lee’s Pulitzer Prize-winning novel is set in the American South in the 1930s. It was a time when defending a black man falsely accused of raping a white woman was either the act of a courageous man or a fool.
Lawyer Atticus Finch was no fool but a man of uncommon decency and we see events unfold through the eyes of his daughter, six-year-old Scout.
This two-hour-15-minute production takes the gamble of unmooring the story from its social context with its minimalist staging and costume choices.
There were ramps on both sides of the stage and in the centre, a flight of stairs leading to a platform, all in black.
The costumes were not meant to evoke 1930s American South, but functioned as shorthand characterisation – Scout was a tomboy as she was in overalls and Atticus was a gentleman as he wore a blazer.
The multitude of accents sported by the cast also contributed to the amorphous setting.
This meant that those not familiar with the story would have to work much harder to come to grips with it.
It also meant that a lot was riding on the performances of the actors.
Mockingbird is essentially about Scout’s journey and loss of innocence. In this crucial role, Malaysian Lum Kay Li, 23, performing in Singapore for the first time, did a fine job with a natural and convincing portrayal of a spunky girl.
Less successful was Kun Wai Kit as Jem, Scout’s 10-year-old brother. He mistook exaggerated twitching and petulance for youth, making it seem as though Jem was Scout’s little brother.
Veteran actor Gerald Chew’s Atticus was appropriately paternal if a little distant. He also lacked the moral gravitas of Gregory Peck in his Oscar-winning turn in the 1962 film, although Peck admittedly set a very high bar.
The use of an older Scout (Yeo Yann Yann) reflecting on the past was a device that helped to compress the novel into a more streamlined structure.
The result, however, was a play that seemed to be preachier than the book, concerned with Lessons To Learn about empathy and doing the right thing. Important lessons, no doubt, but ones that would have made a stronger impression with a defter touch.
Ultimately, this Bird managed to take flight, but did not soar.
(ST)
Thursday, August 14, 2008
Death Cab for Cutie
Esplanade Concert Hall
Tuesday
All hail Death Cab.
From the first notes of majestic opener Bixby Canyon Bridge off the band’s latest album Narrow Stairs (2008), the packed hall of more than 1,500 fans were on their feet.
These lucky devotees, who had snapped up tickets to the show within a day of sales opening, stayed on their feet and rewarded the band with noisy affection.
On the song, lead singer Ben Gibbard’s plaintive, aching tenor searched in vain for some deeper truth.For the audience though, the 100- minute set was a revelation.
After the mid-tempo build-up, the foursome tore through the next few numbers with a fierce intensity.
It was as bassist Nick Harmer had told Life! in an earlier interview: “Our live shows are more high-energy than our albums would suggest.”
The band, which also includes guitarist Chris Walla and drummer Jason McGerr, infused the show with a sense of urgency and purpose, and simply let the songs speak for themselves.
They dug deep into their catalogue, performing Your Bruise from their first album Something About Airplanes (1998), and the summery Photobooth from the Forbidden Love EP (2000).
Cheers and whoops greeted the beginning of almost every song, with tracks from Narrow Stairs and the critically beloved Transatlanticism (2003) making up half the set.
The lengthy eight-minute-plus I Will Possess Your Heart raised eyebrows when it was released as the first single off Stairs but has since proven to be the right decision as it helped to propel the album to No. 1 in the United States.
When Gibbard sang “You gotta spend some time with me/And I know that you’ll find love/I will possess your heart”, it was a declaration of intent. It was also a statement of fact.
The laconic vocalist tossed out a few thank-you-very-much and how-are-you-doing in-between songs, but the little else he did say hinted at a wryly humorous personality.
“Sorry it took us so long to get here, we got lost along the way,” he deadpanned.
During the encore, he also thanked their non-existent opening band, Dead Air.
The final elegiac number Transatlanticism began with Gibbard singing over a keyboard accompaniment. Then the guitars joined in and as he crooned “I need you so much closer”, white lights flared, the music soared and McGerr flailed away on the drums.
It was over all too soon. Fans left bereft can only hang on to Gibbard’s parting words: “We’ll see you again very soon. We promise.”
(ST)
Wednesday, August 13, 2008
Fate
Kim Hae Gon
The poster of the two bare-bodied Korean hunks, Song Seung Hun and Kwon Sang Woo, spells out the selling point of the movie.
This is also heart-throb Song's highly anticipated acting comeback after his compulsory military service stint which took him away from showbusiness for two years.
Too bad he has to look pained and heroic for most of the movie, while Kwon gets more of a chance to shine as he brings heart and humour to the role of a bad- tempered ruffian.
All this is in service to a Korean melodrama about betrayal and loyalty among a group of gangsters. This is full of overwrought scenes but little genuine emotion.
While Kwon might have the acting edge, Song has the sharper cheekbones. Let's call it a draw for these two leading men.
(ST)
The Midnight Meat Train
Ryuhei Kitamura
Destination: cult favourite status.
Bradley Cooper (Kitchen Confidential, 2005-2006) plays a photographer who accidentally captures on film evidence that a creepy butcher (Vinnie Jones from 1998's Lock, Stock And Two Smoking Barrels) is linked to a young model's disappearance.
He begins to tail the meat-carver and discovers a more disturbing and sinister conspiracy taking place on the late-night trains.
Based on a short story by Clive Barker (whose The Hellbound Heart was filmed as the 1987 horror classic Hellraiser), this is a blood- drenched, tension-soaked ride which takes a detour into unexpected territory.
The climactic confrontation in a train carriage filled with trussed-up human bodies is a sight you will not forget in a hurry.
Known for his fighting scenes and action sequences in films such as Azumi (2003) and Sky High (2003), it would appear that Japanese director Ryuhei Kitamura's sensibility remains happily intact in the crossover to Hollywood.
(ST)
He begins to tail the meat-carver and discovers a more disturbing and sinister conspiracy taking place on the late-night trains.
Based on a short story by Clive Barker (whose The Hellbound Heart was filmed as the 1987 horror classic Hellraiser), this is a blood- drenched, tension-soaked ride which takes a detour into unexpected territory.
The climactic confrontation in a train carriage filled with trussed-up human bodies is a sight you will not forget in a hurry.
Known for his fighting scenes and action sequences in films such as Azumi (2003) and Sky High (2003), it would appear that Japanese director Ryuhei Kitamura's sensibility remains happily intact in the crossover to Hollywood.
(ST)
Wednesday, August 06, 2008
The Love Guru
Marco Schnabel
The whiff of controversy surrounding this film cannot quite mask the fact that it is a stinker.
Hindu groups in India and the United States had protested against the comedy, contending that it lampooned Hinduism. It was passed with a rating of NC16 by the Board of Film Censors here for its raunchy humour and not for religious sensitivities.
The Love Guru’s greatest sin is that it is not funny.
Mike Myers (voice of Shrek and star of the Austin Powers spy spoofs) is Guru Pitka, the world’s No. 2 self-help guru, stuck behind Deepak Chopra, real-life guru to the stars.
Pitka is hired by an ice hockey team owner (Jessica Alba) to reconcile the team’s star player (Romany Malco) with his estranged wife (Meagan Good). Success would mean getting a spot on Oprah Winfrey’s talk show (which is plugged ad nauseam) and a chance at unseating Chopra.
The film’s idea of sophisticated humour is the use of actress Mariska Hargitay’s name as a spiritual greeting, and then have Hargitay actually cameo.
Most of the time though, Guru aims lower. Much lower.
No joke is too lame to repeat and one is forced to endure recurring gags about a male chastity belt, corny self-help book titles and the increasingly desperate sight of Myers mugging away for the camera.
Note to director Marco Schnabel: Just because a character laughs at something on screen does not make it funny.
Guru also contains the least sexy seduction scene ever. An elaborately dolled-up Myers, complete with jewellery in his hair, makes a play for Alba with phallic-looking dishes and more dead-on-arrival jokes.
In a violation of all the possible laws of attraction, Alba’s character actually falls for him.
The film attracted protests from religious groups but the people who should be crying foul are duped audiences.
(ST)
Marco Schnabel
The whiff of controversy surrounding this film cannot quite mask the fact that it is a stinker.
Hindu groups in India and the United States had protested against the comedy, contending that it lampooned Hinduism. It was passed with a rating of NC16 by the Board of Film Censors here for its raunchy humour and not for religious sensitivities.
The Love Guru’s greatest sin is that it is not funny.
Mike Myers (voice of Shrek and star of the Austin Powers spy spoofs) is Guru Pitka, the world’s No. 2 self-help guru, stuck behind Deepak Chopra, real-life guru to the stars.
Pitka is hired by an ice hockey team owner (Jessica Alba) to reconcile the team’s star player (Romany Malco) with his estranged wife (Meagan Good). Success would mean getting a spot on Oprah Winfrey’s talk show (which is plugged ad nauseam) and a chance at unseating Chopra.
The film’s idea of sophisticated humour is the use of actress Mariska Hargitay’s name as a spiritual greeting, and then have Hargitay actually cameo.
Most of the time though, Guru aims lower. Much lower.
No joke is too lame to repeat and one is forced to endure recurring gags about a male chastity belt, corny self-help book titles and the increasingly desperate sight of Myers mugging away for the camera.
Note to director Marco Schnabel: Just because a character laughs at something on screen does not make it funny.
Guru also contains the least sexy seduction scene ever. An elaborately dolled-up Myers, complete with jewellery in his hair, makes a play for Alba with phallic-looking dishes and more dead-on-arrival jokes.
In a violation of all the possible laws of attraction, Alba’s character actually falls for him.
The film attracted protests from religious groups but the people who should be crying foul are duped audiences.
(ST)
Journey to the Centre of the Earth
Eric Brevig
Which came first? The movie or the theme park attraction?
Back in the old days, the ride followed the flick. Then the worldwide blockbuster Pirates Of The Caribbean: The Curse Of The Black Pearl, based on an existing attraction, came along in 2003 and changed the rules.
Nowadays, it is probably an integrated marketing decision from the get-go. Watch the movie, preview the ride.
And while not exactly a top-of-the-line heart-stopping spin, this solidly B-grade sci-fi adventure offered some decent thrills and spills.
Brendan Fraser, in his second summer movie outing after The Mummy: Tomb Of The Dragon Emperor, is geologist Prof Trevor Anderson.
His brother Max vanished while tracking unusual volcanic activity, leaving behind a wife and son, Sean (Josh Hutcherson).
Ten years later, aided by Icelandic mountain guide Hannah (Anita Briem), Trevor and Sean undertake a journey to the centre of the earth, with Max’s note-filled copy of Jules Verne’s novel of the same name serving as a guide.
They find a world filled with beautiful and terrifying flora and fauna and also discover what happened to Max.
The film took a while to kick into gear as the various pieces were put into place - a sullen pre-teen in need of a father figure, the mystery of a missing brother/father and the question of whether Verne’s novel was fact or fiction.
The set-pieces included two bone-jolting rides, one through an abandoned mine (Big Thunder Mountain anyone?) and the other in a dinosaur skull (coming soon to a theme park near you).
The special effects were serviceable though the forest of giant mushrooms looked decidedly plasticky. Perhaps you needed to smoke them for the scene to look more realistic.
The ending pointed to a sequel set in the mythical land of Atlantis. Whether that project gets greenlighted could well depend on the takings from the amusement rides, oops, movie.
(ST)
Eric Brevig
Which came first? The movie or the theme park attraction?
Back in the old days, the ride followed the flick. Then the worldwide blockbuster Pirates Of The Caribbean: The Curse Of The Black Pearl, based on an existing attraction, came along in 2003 and changed the rules.
Nowadays, it is probably an integrated marketing decision from the get-go. Watch the movie, preview the ride.
And while not exactly a top-of-the-line heart-stopping spin, this solidly B-grade sci-fi adventure offered some decent thrills and spills.
Brendan Fraser, in his second summer movie outing after The Mummy: Tomb Of The Dragon Emperor, is geologist Prof Trevor Anderson.
His brother Max vanished while tracking unusual volcanic activity, leaving behind a wife and son, Sean (Josh Hutcherson).
Ten years later, aided by Icelandic mountain guide Hannah (Anita Briem), Trevor and Sean undertake a journey to the centre of the earth, with Max’s note-filled copy of Jules Verne’s novel of the same name serving as a guide.
They find a world filled with beautiful and terrifying flora and fauna and also discover what happened to Max.
The film took a while to kick into gear as the various pieces were put into place - a sullen pre-teen in need of a father figure, the mystery of a missing brother/father and the question of whether Verne’s novel was fact or fiction.
The set-pieces included two bone-jolting rides, one through an abandoned mine (Big Thunder Mountain anyone?) and the other in a dinosaur skull (coming soon to a theme park near you).
The special effects were serviceable though the forest of giant mushrooms looked decidedly plasticky. Perhaps you needed to smoke them for the scene to look more realistic.
The ending pointed to a sequel set in the mythical land of Atlantis. Whether that project gets greenlighted could well depend on the takings from the amusement rides, oops, movie.
(ST)
Monday, August 04, 2008
A Case Of Exploding Mangoes
Mohammed Hanif
The point of departure for this debut novel is historical fact.
On Aug 17, 1988, a military plane carrying Pakistan's ruling dictator General Zia ul-Haq crashed under mysterious circumstances. He was killed along with several of his top generals and the American ambassador.
In the author's imagination, General Zia's death becomes an overdetermined event. He is paranoid for a good reason - everyone is out to get him.
There is General Akhtar, chafing under the label of the country's second most powerful man and plotting to seize the reins of control.
Blind Zainab, unjustly sentenced to death after being raped, unleashes a curse that finds its way to a winged harbinger of doom, a crow.
And officer cadet Ali Shigri plans an act of vengeance over the death of his colonel father.
The Pakistan-born Mohammed has fun skewering the buffoonish dictator and uses dark humour to convey the ludicrousness of life under a religious zealot.
He also works in unexpected sexual tension and romantic tenderness in the story of Ali, the character the novel focuses on.
Even as the various strands of story converge and the novel marches towards a pre-ordained conclusion, the writer manages to ratchet up the suspense and sustain one's interest.
But the ending falls short of being the explosive finale implicit in the build-up and promised in the title.
If you like this, read: Animal Farm by George Orwell
This political allegory is a classic study of how power corrupts.
(ST)
Mohammed Hanif
The point of departure for this debut novel is historical fact.
On Aug 17, 1988, a military plane carrying Pakistan's ruling dictator General Zia ul-Haq crashed under mysterious circumstances. He was killed along with several of his top generals and the American ambassador.
In the author's imagination, General Zia's death becomes an overdetermined event. He is paranoid for a good reason - everyone is out to get him.
There is General Akhtar, chafing under the label of the country's second most powerful man and plotting to seize the reins of control.
Blind Zainab, unjustly sentenced to death after being raped, unleashes a curse that finds its way to a winged harbinger of doom, a crow.
And officer cadet Ali Shigri plans an act of vengeance over the death of his colonel father.
The Pakistan-born Mohammed has fun skewering the buffoonish dictator and uses dark humour to convey the ludicrousness of life under a religious zealot.
He also works in unexpected sexual tension and romantic tenderness in the story of Ali, the character the novel focuses on.
Even as the various strands of story converge and the novel marches towards a pre-ordained conclusion, the writer manages to ratchet up the suspense and sustain one's interest.
But the ending falls short of being the explosive finale implicit in the build-up and promised in the title.
If you like this, read: Animal Farm by George Orwell
This political allegory is a classic study of how power corrupts.
(ST)
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