I Am Me
Joi Chua
Local singer Joi Chua has moved on from her long-time sweet, demure image since 2012’s electronica-tinged Gains from her EP, Perspectives – and she is not looking back.
“I won’t be silent, silent, silent/I don’t want to go along, go along, go along/I don’t care about right or wrong/I just want to be me,” she sings in the mid-tempo title track of her new release, I Am Me, where she had a hand in composing all its eight tracks.
Even as she sports a trendy asymmetric crop on the cover, she still embraces the melodic and lightly melancholic ballads that she made her name with, such as Watching The Sunrise With Me and Waiting For A Sunny Day.
Bystander in the new work is a lovely ballad that plays nicely to her strength. She is smart enough to know that there is no need to chuck out what has been proven to work in the name of a makeover, which includes slightly more uptempo tracks that strike a more unusual note for Chua (the breezy See-saw and the dance-tinged Happiness That’s Late In Coming).
Over an accompaniment of hand claps, she glides into her higher range in the chorus of Happiness: “I believe love is just late a step, it hasn’t lost its way/Don’t be too quick to admit defeat, even if the whole world has started to take note of you.”
She is doggedly keeping the faith even when others have stopped believing.

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Mon Mon Mon Monsters
Giddens Ko
The story: Lin Shu-wei (Deng Yu-kai) gets bullied by his classmates, including a notorious trio led by Tuan Jen-hao (Kent Tsai). In an unexpected turn of events, he joins the gang. When they capture a cannibalistic human-like monster (Eugenie Liu), Tuan delights in torturing the creature. The question is how far Lin will go along with the rest of them. Meanwhile, another monster wreaks mayhem as she searches for her missing companion.

In the follow-up to his debut directorial feature You Are The Apple Of My Eye (2011), Taiwan’s Giddens Ko returns to the high school setting. That is pretty much the only similarity between the two films. Whereas Apple is light-hearted and endearing, Monsters is unrelentingly dark – which is not all that surprising, since Ko is known for his range as a writer.
He has penned stories in diverse genres ranging from romance and sci-fi to horror and wuxia. It would seem he does not want to be pigeonholed as a director who can do only a certain type of film.
But here it feels as though he was given free rein to indulge his excesses. So much so that the film feels unnecessarily drawn out with too many gee-how-can-we-top-this scenes of torture.
What keeps one watching is the fact that the fate of Lin hangs in the balance. Will he succumb to his worst impulses or will he heed his conscience? Deng conveys some of that conflict but he is not quite a breakout star the way Kai Ko was in You Are The Apple Of My Eye.
Incidentally, Ko shows up here in a fun cameo alongside Vivian Sung, star of the hit high school romance Our Times (2015).
Too bad the central question of who the real monsters are here is definitively answered early on.
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It can be tough being a fan of the hit fantasy series Game Of Thrones. The already long wait between seasons has grown only longer as schedules have been pushed back to accommodate winter shooting in European locales such as Northern Ireland and Iceland.
Well, if the show will not come to you soon enough, one option is to go to the show.
It is partly why my friends and I decided to visit Dubrovnik in Croatia. The old city is famed for its spectacular stone walls, which were built between the 7th and 17th centuries. They are 4 to 6m thick and loom impressively up to 25m high. In 1979, the old city was inscribed into the United Nations Educational, Scientific and Cultural Organisation (Unesco) list of World Heritage Sites.
More importantly, Dubrovnik stands in for King’s Landing, the royal capital of Westeros and the Seven Kingdoms in Game Of Thrones. Many scenes from the show have been shot in the area and the best way to take it all in is to have a guide take one around.
Enter Ms Tonka Matana, 35, a PhD student in archaeology whose subject of research is none other than Dubrovnik.
Her more crucial credentials are that she is a huge fan of the show, has encyclopaedic knowledge of it and has even appeared in it as an extra in Season 4. Alas, she was cast as a peasant woman and only the noble folk extras got to take part in the death scene of evil King Joffrey at his wedding.
Also, her Tour The Game Of Thrones is ranked No. 2 on TripAdvisor under Tours in Dubrovnik.
She would set out a scene at length, detailing the season it was featured in, its context, the characters involved and even verbatim dialogue. Then she would flash a laminated screen capture to invite us to confirm that, yes indeed, Tyrion Lannister (Peter Dinklage) came through this archway and Sansa Stark (Sophie Turner) and Littlefinger (Aidan Gillen) shared a moment here on this ledge in Trsteno Arboretum. Caught up in the moment and encouraged by our guide, we posed for photos in merry imitation of the screengrabs. But it turns out that we were amateurs at this game.
A highlight of the tour was the Jesuit Stairs that connect Gundulic Square to the Church of St Ignatius in the old city. These grand stone steps were where Cersei Lannister started her infamous naked walk of shame (a body double stood in for actress Lena Headey).
As we gathered to take a group picture, Ms Matana said: “Oh, you’re getting photobombed. Wait, he’s taking his shirt off.”
And then we heard the lusty cries of “Shame! Shame!” as a topless man re-enacted the ritual of public humiliation.
In the show, Septa Unella does the trumpeting as she rings a bell while escorting Cersei. But instead of rotten fruit and spittle in the show, the man in real life is greeted with knowing smiles and indulgent laughter.
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Credit cookies, or extra scenes in movies that are gags or teasers for upcoming films, are often not worth watching
Spider-Man: Homecoming has two extra scenes. Airplane! (1980) has one. Guardians Of The Galaxy Vol. 2 (2017) has five.
Appearing during the end credits, these are called tags, stingers and credit cookies – but not all are worth biting into.
In Spider-Man: Homecoming, which opens in cinemas tomorrow, one of them is related to the movie plot and features a key character. The other is more of a throwaway gag and it could either tickle your funny bone or test your patience.
There has been a noticeable proliferation of these scenes in recent years. Superhero flicks such as Spider-Man are the main culprit,
I mean, main reason, for the spike.
With a Marvel Cinematic Universe of inter-related superhero films, the extra scenes are often teasers for movies to come. In Iron Man (2008), Samuel L. Jackson made a surprise cameo as Nick Fury from the agency S.H.I.E.L.D. and he brought up The Avengers initiative.
After the credits for Captain America: Civil War (2016), we saw Peter Parker (Tom Holland) lying in bed as his aunt, May (Marisa Tomei), asked about his injuries, pointing the way to Spider-Man: Homecoming.
Other times, though, things get a little too complicated.
The extra scene in Avengers:
Age Of Ultron (2015) showed supervillain Thanos (Josh Brolin) vowing to retrieve the all-powerful Infinity Stones himself. It looked towards the two-part Avengers: Infinity War, slated to hit cinemas in the next two years. Unless one was already a fan of the comic books, it was hard to figure out what was going on.
Maybe it is time for a moratorium on these bonus scenes. If they were that integral to the film, they would have made it to the part before the credits.
The extra scenes have spawned
a cottage industry online.
There are websites, such as What’s After The Credits? (aftercredits.com) and MediaStinger (mediastinger.com), that detail credit cookies and what they contain and even explanatory videos on YouTube.
MediaStinger also has a ratings chart to indicate whether the extras are worth staying on for – because, the truth is, few of them are actually that memorable.
How many can you recall? Can you say which was the best one without first heading to the sites mentioned earlier?
What works for me are the playful extras. They are not even necessarily scenes, but a bit of welcome comic relief.
Pixar is particularly good at this. A Bug’s Life (1998), for example, featured bloopers by the cast of insects. But, of course, there is no such thing as a bloopers reel for an animated film and each “outtake” has to be scripted and computer-animated from scratch.
Another animation company, Illumination Entertainment, also did well with Despicable Me (2010), in which a trio of the mischievous minions hammed it up during the credits as they competed to see who could stretch out farthest into the audience – a cute gag that also showcased the 3D effects.
Best of all are the outtakes in action superstar Jackie Chan’s movies. They are nothing less than an institution – where you witness the blood, sweat and tears, sometimes literally, that go into the insane stunts that he attempts for the sake of entertaining audiences.
In Armour Of God (1986), we see the accident that almost took his life when a tree branch he leapt onto broke and he plummeted 5m to the ground. He is carried off on a stretcher, amazingly enough still conscious, while holding up a piece of cloth to the right side of his head to staunch the bleeding.
Now, that definitely stings.
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The Servile
No Party For Cao Dong
The Servile is the sound of Taiwan’s disenfranchised youth venting their frustrations and it has struck a chord in their homeland.
At the recent prestigious Golden Melody Awards, the indie rock band No Party For Cao Dong took home three awards from six nominations, including Best New Artist and Best Musical Group.
Singer-songwriter Kay Huang, head of the Golden Melody judging panel, hailed their work: “They’re the explosion of a smothered generation.”
Their track Da Feng Chui (Simon Says), which won Song of the Year, is a scathing criticism of society’s obsession with material goods and the need for one-upmanship.
Using a simple everyday example, frontman Wu Tu sings without heat: “Cry, shout, ask your mother to buy a toy/Hurry to school and show off, child, make some friends/Aiyaya, look at what you’re holding/We’ve long disdained that, hahaha.”
That equanimity is shattered at the end when he tears into the chorus with a lacerating howl.
A sense of helplessness pervades The Reluctant (Yong Gan De Ren) as the singer rails: “Those cheap tears, don’t hang them by your mouth/Nothing has changed, nothing will change.”
The mood is bleak down to the final track Qing Ge (literally Love Song, but officially titled as Mottos, Bygones in English).
“I’ve sold my home town, lied to my lover/But the setbacks and terrors remain,” sings Wu Tu.
The album, which is seamless, stops short of feeling oppressive as the songs are powered by electric guitars and searing honesty, with disco beats and grunge influences thrown into the mix.
The band took their name from Cao Dong Street in Taipei’s Yangmingshan – a favourite hangout of their members, who include Chu Chu (guitar), Shih Hsuan (bass) and Fan Fan (drums).
They began selling out gigs in 2015 on the strength of their live performances and singles such as Lan Ni (Wimpish) before the release of their debut album in March last year.
Yet on Lan Ni, the band wrestle with self-doubt: “What I want to say, others have said before me/ What I want to do, people with money have already done.”
That sentiment is unwarranted – there is no question that No Party For Cao Dong have a voice that is distinctly their own.
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In This Corner Of The World
Sunao Katabuchi
The story: Suzu (Non) grows up in the seaside town of Eba in Hiroshima and later moves to Kure after marrying Shusaku (Yoshimasa Hosoya). A dreamer who loves to draw, she does her best to keep the household running in the midst of everyday challenges in a Japan at war. Meanwhile, the clock is ticking down to the dropping of the atomic bomb on Hiroshima on Aug 6, 1945.

Aside from the blockbuster bodyswopping fantasy Your Name, In This Corner Of The World was another anime that did well in Japan last year.
It has grossed more than 2.5 billion yen (S$30.6 million) and has also been showered with awards, including the Japan Academy Prize for Animation of the Year.
In terms of style, Your Name is highly detailed and vividly coloured, while In This Corner Of The World, based on the award-winning manga of the same name (2007-2009), features charming hand-drawn animation, as though harking back to the earlier era of the film.
But even with simpler drawings, writer-director Sunao Katabuchi – who helmed feminist fairy tale anime Princess Arete (2001) – convincingly conveys what life was like in wartime Japan for ordinary folk.
Suzu has to learn to stretch the limited rations she can get hold of into a meal that can feed a household. And when she accidentally runs out of sugar, she learns of the existence of a black market that caters to every need and want – at exorbitant prices.
Even in adverse times, life goes on. The cicadas continue to cry and good-hearted Suzu – voiced with a provincial homeliness by Japanese actress-model Non – finds little pockets of happiness, such as the affection she shares with her husband.
The war that Japan is waging in the region appears to have little to do with her personally, even though her life and everyone else’s are intimately bound up in it.
She is so distanced from it that when she gets chastised by the secret police for sketching warships, it comes as a bit of a jolt.
But the spectre of combat and destruction keeps inching closer to her life. Her husband is eventually drafted and then the air raids begin. Homes are levelled and lives lost.
In a poignant and masterful stroke, Suzu imagines the explosions in the sky as a colourful abstract painting, the only way she can process what is unfolding.
Looming over everything is the dropping of the atomic bomb on Hiroshima and the horrors that will be unleashed.
Like the wrenching anime Grave Of The Fireflies (1988), In This Corner Of The World is ultimately an anti-war protest.
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Spider-Man: Homecoming
Jon Watts
The story: Peter Parker (Tom Holland) is a geeky 15-year-old student who is eager to prove his worth as Spider-Man to his superhero mentor Tony Stark/Iron Man (Robert Downey Jr).
He sets out to take down Vulture (Michael Keaton), a working-class guy who turns to peddling alien material-enhanced weapons.
On top of that, Peter has to work up the courage to tell his crush Liz (Laura Harrier) how he feels.

When news of the latest Spider-Man reboot broke, many were sceptical, including myself.
Tobey Maguire had played the web-slinger in three films from 2002 to 2007 and Andrew Garfield had donned the suit for two outings in 2012 and 2014. In the space of merely 15 years, a third actor, Holland, was stepping into the role of Spidey.
It is a shrewd move to prevent the studio from being held ransom to any one actor’s salary demands, but it also means there is a danger of fans not feeling committed to the movie franchise.
To Holland’s credit, he makes the role his own. The English actor has already shown that he can act in tsunami drama The Impossible (2012), as a boy overwhelmed by grief and fear at first, and then blossoming as he finds he can help others in the aftermath of the disaster.
His Spider-Man is very much a teenager – impatient, impulsive and jonesing for his next big mission after joining the rest of the Avengers in battle in Captain America: Civil War (2016). We even get a shot-onPeter’s-mobile phone point of view of events that smartly recaps what happened previously while conveying his sense of awe and excitement.
Peter is also innately decent. For instance, he is repulsed by the idea of an “instant kill” mode in his souped-up-by-Stark suit.
Filipino-American actor Jacob Batalon is a great foil for him as his best friend Ned. When he learns of Peter’s secret identity, he lets loose with an endless volley of questions, including: “Do you lay eggs?”
Thankfully, there is no retread of the origin story of how Peter came to be Spider-Man, beyond a snappy exchange between the two friends.
The sense of humour, which is welcome, is also evident in a series of public education videos featuring Captain America. These are clips Peter encounters in the course of school life, highlighting the gulf between his identities as a regular student and a masked vigilante.
By making Spider-Man younger than before, Homecoming smartly sidesteps direct comparisons with previous incarnations of the superhero. The idea of an underaged superhero is not groundbreaking – Chloe Grace Moretz was just 13 when she played Hit-Girl on superhero comedy Kick-Ass (2010) – but director and co-writer Jon Watts (Cop Car, 2015) has a good grasp of Peter’s teenager world.
The villain here is not some madman or egomaniac, but a man who turns to crime as a result of the destruction wreaked by the Avengers in Civil War. The fact that actions have consequences is something most blockbusters blithely ignore. Bonus points for the cheeky casting as Keaton goes from Batman (1989) to baddie.
There are some nice twists as well and they keep Homecoming from turning into a mere retread of past successes.
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