Notes On A Scandal
Judi Dench/Cate Blanchett/Bill Nighy/92 minutes
The plot could have been lifted straight from the tabloids – an attractive art teacher has an affair with her 15-year-old student. But this is only one of two obsessions that the film, based on Zoe Heller’s novel of the same name, draws you into.
When Sheba Hart’s (Blanchett) secret is inadvertently discovered by her colleague Barbara Covett (Dench), she is at first relieved that the latter won’t squeal on her.
But that’s because Barbara is weaving her own web of deceit and treachery. Dench is all purse-lipped and steely-eyed as a repressed lesbian, but she also conveys the desperate loneliness of the character.
Blanchett’s role is more nuanced. She is excellent as a woman drowning in insecurities, grasping at affection and floundering in indecision.
The featurettes offered some morsels of interesting information, such as Dench’s ability to quickly get into and snap out of character.
Director Richard Eyre’s commentary was disappointing though. The admiration for his actors and the scriptwriter was clear but hardly makes for riveting dish.
(ST)
Thursday, August 16, 2007
My Name Is Earl
Jason Lee/Ethan Suplee/Eddie Steeples/Jaime Pressly/624 minutes
Who would have thought that Jason Lee would find mainstream success playing a redneck low-life?
The former professional skateboarder’s first starring role was in Kevin Smith’s comedy Mallrats (1995) and he continued to act in several of the director’s films.
It seemed though that his appeal would remain cult, if fervent. All Girl Summer Fun Band even wrote a song called Jason Lee.
It took an unlikely TV series about ne’er-do-well and petty criminal Earl J. Hickey to turn Lee into a star.
After concluding that losing his winning lottery ticket was the result of bad karma, Hickey resolves to right his long list of past wrongs.
The path of true repentance never did run smooth but nobody expected it to be this hilarious.
Lee is deadpan funny and surrounded by an excellent supporting cast – Ethan Suplee as slow but sweet Randy Hickey and Jaime Pressly as Earl’s shrew of an ex-wife.
The audio commentaries were disappointingly blah, though you learn that creator Greg Garcia appears in the pilot episode.
Much better was the commentary done by the mothers of several cast and crew members for the Mother’s Day episode Dad’s Car.
There’s also a behind-the-scenes feature and an alternate-reality pilot in which Hickey’s epiphany is to screw those who have previously screwed him over.
The best measure of how strong the series is though, is the fact that even the deleted scenes are funny. Now that’s gold.
(ST)
Jason Lee/Ethan Suplee/Eddie Steeples/Jaime Pressly/624 minutes
Who would have thought that Jason Lee would find mainstream success playing a redneck low-life?
The former professional skateboarder’s first starring role was in Kevin Smith’s comedy Mallrats (1995) and he continued to act in several of the director’s films.
It seemed though that his appeal would remain cult, if fervent. All Girl Summer Fun Band even wrote a song called Jason Lee.
It took an unlikely TV series about ne’er-do-well and petty criminal Earl J. Hickey to turn Lee into a star.
After concluding that losing his winning lottery ticket was the result of bad karma, Hickey resolves to right his long list of past wrongs.
The path of true repentance never did run smooth but nobody expected it to be this hilarious.
Lee is deadpan funny and surrounded by an excellent supporting cast – Ethan Suplee as slow but sweet Randy Hickey and Jaime Pressly as Earl’s shrew of an ex-wife.
The audio commentaries were disappointingly blah, though you learn that creator Greg Garcia appears in the pilot episode.
Much better was the commentary done by the mothers of several cast and crew members for the Mother’s Day episode Dad’s Car.
There’s also a behind-the-scenes feature and an alternate-reality pilot in which Hickey’s epiphany is to screw those who have previously screwed him over.
The best measure of how strong the series is though, is the fact that even the deleted scenes are funny. Now that’s gold.
(ST)
Thursday, August 02, 2007
Mercury Rev
Baybeats 2007
Esplanade Theatre
For a while, it seemed like an art installation show. A series of images – a happy dog enjoying the breeze in a car ride, two women whispering excitedly into each other’s ears – flickered on stage, accompanied by musical snippets.
Then it became a succession of album covers from artistes including David Bowie, Talking Heads and The Chemical Brothers, as if in contemplation of Mercury Rev’s place in the musical universe.
All this before the American indie band finally took the stage. Frontman Jonathan Donahue, 41, proved to be a charismatic presence as his lanky,clad-in-black frame pranced about the stage.
Deeply absorbed in the music, he was an energetic conductor, rousing the rest of the band with dramatic flourishes in numbers like The Dark Is Rising from All Is Dream (2001) and a cover of legendary singer-songwriter Bob Dylan’s You Gotta Serve Somebody.
And that raggedy voice of his was a poignant contrast to the lush wall of sound his fellow band members constructed.
Even though the introduction to the show pointed to the band’s roots in composing for experimental films, the songs performed were mostly from their last three albums.
Deserter’s Songs (1998), their critically acclaimed breakthrough, received the greatest airing over the 100-minute, 14-song set.Donahue and company saved the best for last as they offered their biggest hit Goddess On A Hiway for the encore after the rapturous 600-plus audience gave them a standing ovation.
The singer was clearly in a happy place even though he revealed that he had to forfeit his customary glass of wine here before going on stage.
More significantly, he surrendered himself to the soundscapes with quotes like“Your mind is not yours alone” flashing across the screen and hinting at the enigmas of life and the universe.
Occasionally, the audience was stunned by glaring stage lights (not to mention the deafening volume) – which could conceivably be interpreted as our collective blindness in the face of such immense existential questions.
In any case, the lights framed the band members in visually arresting silhouettes.
One particular image sticks in the mind – Donahue standing precariously on one leg, attempting to find balance and resolution before plunging fearlessly into a new song and a vista of wonder and majesty.
(ST)
Baybeats 2007
Esplanade Theatre
For a while, it seemed like an art installation show. A series of images – a happy dog enjoying the breeze in a car ride, two women whispering excitedly into each other’s ears – flickered on stage, accompanied by musical snippets.
Then it became a succession of album covers from artistes including David Bowie, Talking Heads and The Chemical Brothers, as if in contemplation of Mercury Rev’s place in the musical universe.
All this before the American indie band finally took the stage. Frontman Jonathan Donahue, 41, proved to be a charismatic presence as his lanky,clad-in-black frame pranced about the stage.
Deeply absorbed in the music, he was an energetic conductor, rousing the rest of the band with dramatic flourishes in numbers like The Dark Is Rising from All Is Dream (2001) and a cover of legendary singer-songwriter Bob Dylan’s You Gotta Serve Somebody.
And that raggedy voice of his was a poignant contrast to the lush wall of sound his fellow band members constructed.
Even though the introduction to the show pointed to the band’s roots in composing for experimental films, the songs performed were mostly from their last three albums.
Deserter’s Songs (1998), their critically acclaimed breakthrough, received the greatest airing over the 100-minute, 14-song set.Donahue and company saved the best for last as they offered their biggest hit Goddess On A Hiway for the encore after the rapturous 600-plus audience gave them a standing ovation.
The singer was clearly in a happy place even though he revealed that he had to forfeit his customary glass of wine here before going on stage.
More significantly, he surrendered himself to the soundscapes with quotes like“Your mind is not yours alone” flashing across the screen and hinting at the enigmas of life and the universe.
Occasionally, the audience was stunned by glaring stage lights (not to mention the deafening volume) – which could conceivably be interpreted as our collective blindness in the face of such immense existential questions.
In any case, the lights framed the band members in visually arresting silhouettes.
One particular image sticks in the mind – Donahue standing precariously on one leg, attempting to find balance and resolution before plunging fearlessly into a new song and a vista of wonder and majesty.
(ST)
Saturday, July 07, 2007
first day of volunteer work. had to report by 9am. was assigned to cleaning crew - basically went around the private accomms (swedish homes) and cleaned floors and bathrooms. went out under cat and cleaned with H, T and M.
lunch was pitiful affair from kugen (neighbourhood supermart) - cling-wrapped bread with sorry-looking piece of lettuce and thinnest slice of ham (7 SEK).
dinner at volunteer's kitchen, only 40 SEK and better than yum yum - pork with cous cous and mashed potatoes and apple crumble for dessert. cook is E, from spain. had earlier met his sis I, from barcelona.
found to dismay that our 2-week housing was this place i'd delivered mattresses and pillows and comforters to. bare bones extension with unfinished chipboard floors and walls. kinda like a human trafficker's halfway house. with a large monitor lizard as a pet.
general accomms with its hostel style bunk beds looked more appealing.
reluctantly spent a night there on assurance they would look into it the next day.
did not sleep a wink. heard knocking at one point, thought it was from upstairs until J answered 'yes?' turned out another lodger had been locked out. then J's phone went off and i thought it was 7am but it was only 4.
lunch was pitiful affair from kugen (neighbourhood supermart) - cling-wrapped bread with sorry-looking piece of lettuce and thinnest slice of ham (7 SEK).
dinner at volunteer's kitchen, only 40 SEK and better than yum yum - pork with cous cous and mashed potatoes and apple crumble for dessert. cook is E, from spain. had earlier met his sis I, from barcelona.
found to dismay that our 2-week housing was this place i'd delivered mattresses and pillows and comforters to. bare bones extension with unfinished chipboard floors and walls. kinda like a human trafficker's halfway house. with a large monitor lizard as a pet.
general accomms with its hostel style bunk beds looked more appealing.
reluctantly spent a night there on assurance they would look into it the next day.
did not sleep a wink. heard knocking at one point, thought it was from upstairs until J answered 'yes?' turned out another lodger had been locked out. then J's phone went off and i thought it was 7am but it was only 4.
Friday, July 06, 2007
bangkok airport
a shrine in the middle of the tarpaulinned terminal. the ramp down to the waiting area was just clogged.
happiness was getting bumped up to premium economy where meals were served in courses and seats reclined more. actually needed to stretch to reach seat pocket in front of me.
unusual that no visa form was required for sweden. passport control room was badly designed - too tiny and the lines were just a mess.
the foreign exchange guy in the baggage claim had migrated from singapore when he was 8.
received P's sms and bought a round-trip ticket to stockholm central bus station to meet her and J.
happily dumped the backpack in the locker and went for breakfast. coffee and raspberry muffin (40 SEK each) in a pleasant square with the nobel museum.
walked past royal palace enroute to vasmuseet - 1600s ship which sank on maiden voyage and salvaged in the 1950s, also peek into social life in the 17th century.
met up with D and Q around 2 after very good lunch of meatballs and iced tea (118 SEK).
had to take subway to bus stop to catch bus to hallstavik and then from there to herrang.
dinner at yum yum (95 SEK) of sausage with rice. only time we ate there.
first night accomms in a quaint little cottage ('for our daughters 19 and 17') with horses in the field next to us.
a shrine in the middle of the tarpaulinned terminal. the ramp down to the waiting area was just clogged.
happiness was getting bumped up to premium economy where meals were served in courses and seats reclined more. actually needed to stretch to reach seat pocket in front of me.
unusual that no visa form was required for sweden. passport control room was badly designed - too tiny and the lines were just a mess.
the foreign exchange guy in the baggage claim had migrated from singapore when he was 8.
received P's sms and bought a round-trip ticket to stockholm central bus station to meet her and J.
happily dumped the backpack in the locker and went for breakfast. coffee and raspberry muffin (40 SEK each) in a pleasant square with the nobel museum.
walked past royal palace enroute to vasmuseet - 1600s ship which sank on maiden voyage and salvaged in the 1950s, also peek into social life in the 17th century.
met up with D and Q around 2 after very good lunch of meatballs and iced tea (118 SEK).
had to take subway to bus stop to catch bus to hallstavik and then from there to herrang.
dinner at yum yum (95 SEK) of sausage with rice. only time we ate there.
first night accomms in a quaint little cottage ('for our daughters 19 and 17') with horses in the field next to us.
Midnight Cowboy (M18)
Dustin Hoffman/Jon Voight/113 minutes
This 1969 movie is the only X-rated film to have won the Oscar for best picture.
By today’s standards though, the film is almost sweet and naive, like the character of Joe Buck (Voight), who comes to Manhattan to hustle. Though he is quickly outfoxed by the denizens of the city, he never loses his aura of innocence.
At heart, the film is about the relationship between Buck and Ratso Rizzo(Hoffman), a small-time conman – the friendship and love between two desperate and lonely people.
Hoffman’s transformation from the clean-cut Benjamin Braddock in The Graduate(1967) is impressive and Voight turns on the aw-shucks charm as Buck.
There is also a tender and believable chemistry between the two leads.
Still, there’s no denying that the film has aged. What was technically groundbreaking and thematically provocative is no longer so.
Which is where the DVD extras come in useful by setting the historical context of the picture and giving a sketch of director John Schlesinger, who died in 2003.
But, for a two-disc special edition, the extra garnishings are simply too paltry.
(ST)
Dustin Hoffman/Jon Voight/113 minutes
This 1969 movie is the only X-rated film to have won the Oscar for best picture.
By today’s standards though, the film is almost sweet and naive, like the character of Joe Buck (Voight), who comes to Manhattan to hustle. Though he is quickly outfoxed by the denizens of the city, he never loses his aura of innocence.
At heart, the film is about the relationship between Buck and Ratso Rizzo(Hoffman), a small-time conman – the friendship and love between two desperate and lonely people.
Hoffman’s transformation from the clean-cut Benjamin Braddock in The Graduate(1967) is impressive and Voight turns on the aw-shucks charm as Buck.
There is also a tender and believable chemistry between the two leads.
Still, there’s no denying that the film has aged. What was technically groundbreaking and thematically provocative is no longer so.
Which is where the DVD extras come in useful by setting the historical context of the picture and giving a sketch of director John Schlesinger, who died in 2003.
But, for a two-disc special edition, the extra garnishings are simply too paltry.
(ST)
Thursday, July 05, 2007
Dreamgirls (PG)
Jamie Foxx/Beyonce Knowles/Eddie Murphy/Jennifer Hudson/130 minutes
This adaptation of the Tony award-winning Broadway musical by Bill Condon features meticulously-reproduced song and dance routines from the 1960s and1970s, spanning the gamut from doo-wop to disco.
But in spite of that, or perhaps because of it, the movie feels sluggish. The musical numbers put a brake on the narrative instead of moving it along.
Loosely based on music superstars The Supremes, the movie features a bravura performance from Hudson as Effie White, a talented but prickly singer who gets dropped from the group.
Beyonce, on the other hand, doesn’t even get a chance to bust a lung until late in the movie with the song Listen.
The DVD extras include extended and alternate versions of the musical numbers as well as a music video of Listen.
In the unlikely event that you’re not sated by the movie itself, these should do the trick.
The most interesting of the lot is an alternate version of Steppin’ To The Bad Side sung by three male characters, a welcome change from the numbers sung by a trio of women.
There’s also a snappy account of how ambitious record executive Curtis Taylor,Jr (Foxx) will do whatever it takes to get his music onto the airwaves.
(ST)
Jamie Foxx/Beyonce Knowles/Eddie Murphy/Jennifer Hudson/130 minutes
This adaptation of the Tony award-winning Broadway musical by Bill Condon features meticulously-reproduced song and dance routines from the 1960s and1970s, spanning the gamut from doo-wop to disco.
But in spite of that, or perhaps because of it, the movie feels sluggish. The musical numbers put a brake on the narrative instead of moving it along.
Loosely based on music superstars The Supremes, the movie features a bravura performance from Hudson as Effie White, a talented but prickly singer who gets dropped from the group.
Beyonce, on the other hand, doesn’t even get a chance to bust a lung until late in the movie with the song Listen.
The DVD extras include extended and alternate versions of the musical numbers as well as a music video of Listen.
In the unlikely event that you’re not sated by the movie itself, these should do the trick.
The most interesting of the lot is an alternate version of Steppin’ To The Bad Side sung by three male characters, a welcome change from the numbers sung by a trio of women.
There’s also a snappy account of how ambitious record executive Curtis Taylor,Jr (Foxx) will do whatever it takes to get his music onto the airwaves.
(ST)
Sunday, July 01, 2007
Petropolis
Anya Ulinich
Is the Russian emigre novel shaping up to be the latest literary trend?
On the heels of Marina Lewycka’s well-received A Short History Of Tractors In Ukrainian and the recent Two Caravans, comes Petropolis.
The protagonist of this highly readable debut novel is the biracial, Jewish and prickly Sasha Goldberg and we witness her coming of age as she makes multiple escapes over the years.
The first from her dead-end Russian hometown, the second from the life of a mail-order bride in Arizona, and the third from de facto house arrest by her wealthy benefactress.
At the same time, Anya Ulinich, herself a Russian emigre, has more on her mind than the adventures of her spunky heroine.
The title of the book refers to the poem of the same name by Russian poet Osip Mandelstam, which was about “the death of a great city”, Petrograd, during the Russian Revolution.
The city in question in the novel is the tragic Siberian town of Asbestos 2, its disintegration an icy accusatory finger directed at the ills of the Soviet system.
Given that Ulinich immigrated to the United States when she was 17, the book is no doubt an impressive achievement. Still, there are moments of studiedness in the phrasing which hint at the fact that English is actually her second language.
It also has to be said that Ulinich is not one for loose ends. You are even given an update on Sasha’s boyfriend when she was 14 through an encounter several years later.
But despite the penchant for resolutions, Sasha herself remains oddly elusive and you never fully get a grasp on her.
A pity really since you know she’s led a fascinating life and it would have been nice to know her better.
If you like this, read: The Amazing Adventures Of Kavalier & Clay by Michael Chabon (2000, $23.10 without GST at zakoola.com)
Among the shimmering strands that make up this gorgeous tapestry of a book are marvellous escapes, epic love, comic books and questions about identity and self-worth.
(ST)
Anya Ulinich
Is the Russian emigre novel shaping up to be the latest literary trend?
On the heels of Marina Lewycka’s well-received A Short History Of Tractors In Ukrainian and the recent Two Caravans, comes Petropolis.
The protagonist of this highly readable debut novel is the biracial, Jewish and prickly Sasha Goldberg and we witness her coming of age as she makes multiple escapes over the years.
The first from her dead-end Russian hometown, the second from the life of a mail-order bride in Arizona, and the third from de facto house arrest by her wealthy benefactress.
At the same time, Anya Ulinich, herself a Russian emigre, has more on her mind than the adventures of her spunky heroine.
The title of the book refers to the poem of the same name by Russian poet Osip Mandelstam, which was about “the death of a great city”, Petrograd, during the Russian Revolution.
The city in question in the novel is the tragic Siberian town of Asbestos 2, its disintegration an icy accusatory finger directed at the ills of the Soviet system.
Given that Ulinich immigrated to the United States when she was 17, the book is no doubt an impressive achievement. Still, there are moments of studiedness in the phrasing which hint at the fact that English is actually her second language.
It also has to be said that Ulinich is not one for loose ends. You are even given an update on Sasha’s boyfriend when she was 14 through an encounter several years later.
But despite the penchant for resolutions, Sasha herself remains oddly elusive and you never fully get a grasp on her.
A pity really since you know she’s led a fascinating life and it would have been nice to know her better.
If you like this, read: The Amazing Adventures Of Kavalier & Clay by Michael Chabon (2000, $23.10 without GST at zakoola.com)
Among the shimmering strands that make up this gorgeous tapestry of a book are marvellous escapes, epic love, comic books and questions about identity and self-worth.
(ST)
Sunday, June 10, 2007
New Season
Kym Jin Sha
First thought on seeing the Singapore edition bonus best-of disc: Does she have that much material? The answer: Not really, as it comprises tracks from her previous two albums Unbelievable (2006) and Air (2005), neither of which left much of an impression.
Alas, there’s nothing very distinctive about album number three either, filled as it is with lightweight, lacklustre fare. Besides, isn’t the 23-year-old lass too old to be singing A Girl Blooms At 18?
This is not the kind of consistency an artiste wants and there's nothing here for her to stand out in the sweet stakes.
(ST)
Kym Jin Sha
First thought on seeing the Singapore edition bonus best-of disc: Does she have that much material? The answer: Not really, as it comprises tracks from her previous two albums Unbelievable (2006) and Air (2005), neither of which left much of an impression.
Alas, there’s nothing very distinctive about album number three either, filled as it is with lightweight, lacklustre fare. Besides, isn’t the 23-year-old lass too old to be singing A Girl Blooms At 18?
This is not the kind of consistency an artiste wants and there's nothing here for her to stand out in the sweet stakes.
(ST)
Saturday, June 09, 2007
Five In The Black
Tohoshinki
Their moniker, Rising Gods Of The East, is a good indication of this boyband’s ambitions.
Not content to ride the Korean wave sweeping the Asian region, the five lads are releasing their second Japanese album in an effort to conquer this large market.
What is on offer here is consistently enjoyable K-filtered-through-J pop,with the requisite repertoire of dance tracks and ballads. The unrelenting slickness can be too much to take in one sitting though.
The DVD of the de rigueur tightly choreographed music videos includes the hit Rising Sun from their previous Japanese album Heart, Mind And Soul.
(ST)
Tohoshinki
Their moniker, Rising Gods Of The East, is a good indication of this boyband’s ambitions.
Not content to ride the Korean wave sweeping the Asian region, the five lads are releasing their second Japanese album in an effort to conquer this large market.
What is on offer here is consistently enjoyable K-filtered-through-J pop,with the requisite repertoire of dance tracks and ballads. The unrelenting slickness can be too much to take in one sitting though.
The DVD of the de rigueur tightly choreographed music videos includes the hit Rising Sun from their previous Japanese album Heart, Mind And Soul.
(ST)
Friday, June 08, 2007
Best ~ Bounce & Lovers
Koda Kumi
You can’t help but admire the efficiency of the Japanese pop machine.
Koda Kumi was named by Japan’s Oricon charts as last year’s best-selling artiste, a feat she accomplished with a steady stream of singles and albums.
She’s constantly in the public eye and ear with something new. Her second single for the year is due out at the end of this month.
This compilation takes the straightforward approach of collecting her ballads on disc one with the dance track music videos on the DVD disc.
Her slightly husky voice holds up well on the songs, with Towards Tomorrow a standout. This only bolsters the theory that any Japanese song with the word“sakura” in it can do no wrong.
Disc two sees her flaunting her moves on her dance hits in a succession of bra tops and hot pants. Female sexual empowerment or exploitation as usual? Your call.
(ST)
Koda Kumi
You can’t help but admire the efficiency of the Japanese pop machine.
Koda Kumi was named by Japan’s Oricon charts as last year’s best-selling artiste, a feat she accomplished with a steady stream of singles and albums.
She’s constantly in the public eye and ear with something new. Her second single for the year is due out at the end of this month.
This compilation takes the straightforward approach of collecting her ballads on disc one with the dance track music videos on the DVD disc.
Her slightly husky voice holds up well on the songs, with Towards Tomorrow a standout. This only bolsters the theory that any Japanese song with the word“sakura” in it can do no wrong.
Disc two sees her flaunting her moves on her dance hits in a succession of bra tops and hot pants. Female sexual empowerment or exploitation as usual? Your call.
(ST)
Thursday, June 07, 2007
Hollywoodland
Allen Coulter
Adrien Brody/Diane Lane/Ben Affleck/Bob Hoskins/126minutes
Hollywood in the 1950s was a town filled with glamour and glitter. Not surprisingly, there was a dark side lurking just beneath.
The deeper private detective Louis Simo (Brody) digs into the death of TV’s Superman George Reeves (Affleck), the more dirt he uncovers and more questions are raised over whether it was suicide or murder.
The movie also tracks Simo’s journey of redemption, which is played out in contrast to the downward slide of Reeves.
Affleck picked up the best actor award unexpectedly at last year’s Venice Film Festival. In fact, he was so sure he did not stand a chance that he left the festival before the awards were announced.
He took a gamble, portraying a charming, handsome actor who has to come to terms with the fact that he would never make it in the movies. But it was Brody and the always reliable Lane, as Reeves’ sugar mummy, who left deeper impressions.
The DVD extras include deleted scenes which are, for a change, complete scenes instead of snippets or out-takes.The featurettes were refreshingly non-gushy, though there was potential for greater depth in the coverage of old Hollywood. It would also have been nice to have a clip or two from Reeves’ Superman series.
(ST)
Allen Coulter
Adrien Brody/Diane Lane/Ben Affleck/Bob Hoskins/126minutes
Hollywood in the 1950s was a town filled with glamour and glitter. Not surprisingly, there was a dark side lurking just beneath.
The deeper private detective Louis Simo (Brody) digs into the death of TV’s Superman George Reeves (Affleck), the more dirt he uncovers and more questions are raised over whether it was suicide or murder.
The movie also tracks Simo’s journey of redemption, which is played out in contrast to the downward slide of Reeves.
Affleck picked up the best actor award unexpectedly at last year’s Venice Film Festival. In fact, he was so sure he did not stand a chance that he left the festival before the awards were announced.
He took a gamble, portraying a charming, handsome actor who has to come to terms with the fact that he would never make it in the movies. But it was Brody and the always reliable Lane, as Reeves’ sugar mummy, who left deeper impressions.
The DVD extras include deleted scenes which are, for a change, complete scenes instead of snippets or out-takes.The featurettes were refreshingly non-gushy, though there was potential for greater depth in the coverage of old Hollywood. It would also have been nice to have a clip or two from Reeves’ Superman series.
(ST)
Wednesday, June 06, 2007
Stranger Than Fiction
Marc Forster
Will Ferrell/Maggie Gyllenhaal/Dustin Hoffman/Emma Thompson/113 minutes
Maybe it’s not your fault that your life sucks – it’s just written that way.
When Harold Crick (Ferrell) starts hearing a voice (Thompson) narrating his life, he has to figure out who’s writing his story and then, more importantly,how to prevent himself from being killed off.
This was a premise with much potential, though it did remind one of the Charlie Kaufman-scripted Adaptation (2002), which gleefully blurred the lines between the written word and real life as a screen-writer struggled to adapt a book.
Here, director Marc Forster (Monster’s Ball) aims for low-key and droll, but the movie ends up flat and lacking in energy.
Lines like “You don’t like cookies? What’s wrong with you? Everybody likes cookies” did not help.
Thank goodness for Tony Hale (Arrested Development) in the tiny role of Harold’s co-worker, who cannot stop being funny even if he wanted to.
The DVD comes with a number of featurettes, mostly gushy pieces about the actors, the director, the writer and even about Chicago, where the movie was set.
The extended mock TV interview with the author Karen Eiffel (Thompson) by a clueless book channel show host (Broadway star Kristin Chenoweth) fared better.
(ST)
Marc Forster
Will Ferrell/Maggie Gyllenhaal/Dustin Hoffman/Emma Thompson/113 minutes
Maybe it’s not your fault that your life sucks – it’s just written that way.
When Harold Crick (Ferrell) starts hearing a voice (Thompson) narrating his life, he has to figure out who’s writing his story and then, more importantly,how to prevent himself from being killed off.
This was a premise with much potential, though it did remind one of the Charlie Kaufman-scripted Adaptation (2002), which gleefully blurred the lines between the written word and real life as a screen-writer struggled to adapt a book.
Here, director Marc Forster (Monster’s Ball) aims for low-key and droll, but the movie ends up flat and lacking in energy.
Lines like “You don’t like cookies? What’s wrong with you? Everybody likes cookies” did not help.
Thank goodness for Tony Hale (Arrested Development) in the tiny role of Harold’s co-worker, who cannot stop being funny even if he wanted to.
The DVD comes with a number of featurettes, mostly gushy pieces about the actors, the director, the writer and even about Chicago, where the movie was set.
The extended mock TV interview with the author Karen Eiffel (Thompson) by a clueless book channel show host (Broadway star Kristin Chenoweth) fared better.
(ST)
Sunday, June 03, 2007
Magic Cyndi
Cyndi Wang
Cyndi Wang is back with a new album after 15 months and she’s feeling a little insecure. Does she continue with her cutie pie image or is it time to shed that look for something more grown-up?
The album cover and lyric booklet helpfully offer two covers. One for those who prefer their Cyndi sweet, the other for those who like her a little more spicy.
It takes more than packaging which covers all tastes for an album to work though.
Her bland voice does not leave much of an impression on hackneyed tracks like Butterfly, with lyrics about spreading one’s wings and venturing forth bravely.
The folk-tinged ballad The Calm Sea That Summer has some potential, but is marred by its rather mundane arrangement.
Wang will have to step up if she’s serious about gunning for Jolin Tsai’s princess tiara.
(ST)
Cyndi Wang
Cyndi Wang is back with a new album after 15 months and she’s feeling a little insecure. Does she continue with her cutie pie image or is it time to shed that look for something more grown-up?
The album cover and lyric booklet helpfully offer two covers. One for those who prefer their Cyndi sweet, the other for those who like her a little more spicy.
It takes more than packaging which covers all tastes for an album to work though.
Her bland voice does not leave much of an impression on hackneyed tracks like Butterfly, with lyrics about spreading one’s wings and venturing forth bravely.
The folk-tinged ballad The Calm Sea That Summer has some potential, but is marred by its rather mundane arrangement.
Wang will have to step up if she’s serious about gunning for Jolin Tsai’s princess tiara.
(ST)
Saturday, June 02, 2007
Mayday Jump Concert Singapore 2007
Singapore Expo’s Max Pavilion
Can you feel the L.O.V.E.? Taiwanese rock band Mayday certainly did from the capacity crowd of 7,500 fans at its gig here last Saturday night.
Before the show started, highlights from the group’s past concerts played on the large screens flanking the main stage, stoking the crowd’s anticipation of the night ahead.
The moment the lights dimmed, fans got to their feet and never warmed their seats again for the next three hours.
A rather incongruous big-budget video set in an epidemic-hit future formed the background as guitarists Monster and Stone appeared on different ends of the stage.
With a flourish, a giant cloth screen fell away to reveal the other three members in a thrilling burst of light and pyrotechnics. From then on, the crowd was enthralled.
Mayday’s trademark earnestness translated well onto the stage, with the emotional pull of their songs creating a strong rapport with the audience.
The dancing was largely of the pogo-stick variety, but the sheer energy the band radiated was irresistible.
The chemistry among the members was also fun to watch. When drummer Guan You took the microphone on Rubbish Truck, for example, lead singer Ashin cheekily presented him with a bunch of flowers.
The band packed the first half of the show with heavier rock tracks including Armour and Girl And Boy As One. These were not their best-known tracks, but the sea of cyalume sticks never stopped swaying.
Ashin was in fine form throughout the night. He shone in the acoustic numbers,particularly on the Hokkien track I Love You – Hopeless, thrilling the audience with his heartfelt vocals.
This marked a transition to a new segment and the five lads changed into all-white costumes for the song Angel, off their latest album Born To Love.
On disc, the song borders on being cliched, but with a 7,500-strong back-up chorus, the words suddenly took on a simple ring of truth.
The other band members had their turns in the spotlight as well. Monster and Stone performed guitar solos and bassist Masa surprised with a rendition of Coldplay’s Yellow.
The band saved the best for last, though. They used the rollicking In Love-ing to get the audience to shout and sign L.O.V.E.
The concert ended on a high note with some of their best-loved hits including Peter & Mary, Tenderness and People Life, Ocean Wild, as well as a cover of Beyond’s Paradise.
True to the encore Stubborn, fans lingered on even after the lights went up,singing along to Angel which was being played over the broadcast system.
Their affection was clearly appreciated. Stone told the crowd: “Every time we come here and see so many familiar faces,it’s like coming home.”
They should definitely come home more often.
(ST)
Singapore Expo’s Max Pavilion
Can you feel the L.O.V.E.? Taiwanese rock band Mayday certainly did from the capacity crowd of 7,500 fans at its gig here last Saturday night.
Before the show started, highlights from the group’s past concerts played on the large screens flanking the main stage, stoking the crowd’s anticipation of the night ahead.
The moment the lights dimmed, fans got to their feet and never warmed their seats again for the next three hours.
A rather incongruous big-budget video set in an epidemic-hit future formed the background as guitarists Monster and Stone appeared on different ends of the stage.
With a flourish, a giant cloth screen fell away to reveal the other three members in a thrilling burst of light and pyrotechnics. From then on, the crowd was enthralled.
Mayday’s trademark earnestness translated well onto the stage, with the emotional pull of their songs creating a strong rapport with the audience.
The dancing was largely of the pogo-stick variety, but the sheer energy the band radiated was irresistible.
The chemistry among the members was also fun to watch. When drummer Guan You took the microphone on Rubbish Truck, for example, lead singer Ashin cheekily presented him with a bunch of flowers.
The band packed the first half of the show with heavier rock tracks including Armour and Girl And Boy As One. These were not their best-known tracks, but the sea of cyalume sticks never stopped swaying.
Ashin was in fine form throughout the night. He shone in the acoustic numbers,particularly on the Hokkien track I Love You – Hopeless, thrilling the audience with his heartfelt vocals.
This marked a transition to a new segment and the five lads changed into all-white costumes for the song Angel, off their latest album Born To Love.
On disc, the song borders on being cliched, but with a 7,500-strong back-up chorus, the words suddenly took on a simple ring of truth.
The other band members had their turns in the spotlight as well. Monster and Stone performed guitar solos and bassist Masa surprised with a rendition of Coldplay’s Yellow.
The band saved the best for last, though. They used the rollicking In Love-ing to get the audience to shout and sign L.O.V.E.
The concert ended on a high note with some of their best-loved hits including Peter & Mary, Tenderness and People Life, Ocean Wild, as well as a cover of Beyond’s Paradise.
True to the encore Stubborn, fans lingered on even after the lights went up,singing along to Angel which was being played over the broadcast system.
Their affection was clearly appreciated. Stone told the crowd: “Every time we come here and see so many familiar faces,it’s like coming home.”
They should definitely come home more often.
(ST)
This Love
Khalil Fong
Making a concept album about love is a tricky proposition, but soul boy Khalil Fong delivers with a smooth and assured set of Chinese R&B, best exemplified by the title track.
In addition to romantic love, he also explores notions of platonic and familial love.
While there can be shades of familiarity in some of his compositions, he has enough flair to carry off the material. His versatility is also apparent from his ability to take on genres as diverse as rock and roll and jazz.
He even pulls off a cover of the MOR standard If You Leave Me Now.
Fong is also smart enough to work with top lyricists such as Lin Xi and Zhou Yaohui, who infuse the songs with their lyrical poetry.
The 23-year-old is definitely someone to watch.
(ST)
Khalil Fong
Making a concept album about love is a tricky proposition, but soul boy Khalil Fong delivers with a smooth and assured set of Chinese R&B, best exemplified by the title track.
In addition to romantic love, he also explores notions of platonic and familial love.
While there can be shades of familiarity in some of his compositions, he has enough flair to carry off the material. His versatility is also apparent from his ability to take on genres as diverse as rock and roll and jazz.
He even pulls off a cover of the MOR standard If You Leave Me Now.
Fong is also smart enough to work with top lyricists such as Lin Xi and Zhou Yaohui, who infuse the songs with their lyrical poetry.
The 23-year-old is definitely someone to watch.
(ST)
Friday, June 01, 2007
Play
S.H.E
The lead single Chinese Language has been generating controversy, for allegedly pandering to China, and blitzing the charts. In other words, a marketing executive’s dream.
Guess it is only a matter of time before this gets picked up for our own Speak Mandarin campaign.
Elsewhere, the album takes a playful approach to music-making, even sampling London Bridge Is Falling Down. This has yielded both hits and misses.
The duet with boyband and fellow label mates Fahrenheit on Thank You For The Tenderness will have you scrambling for Mayday’s original version of Tenderness.
On the other hand, Listening To Yuan Weiren Play The Guitar fares better with its unusual point of view of a neighbour being inspired by the composer working on his tunes.
Play also features, for the first time, music and lyrics from the three girls.
There is enough going on here for the trio to still keep things fresh and exciting on their tenth(!) album.
(ST)
S.H.E
The lead single Chinese Language has been generating controversy, for allegedly pandering to China, and blitzing the charts. In other words, a marketing executive’s dream.
Guess it is only a matter of time before this gets picked up for our own Speak Mandarin campaign.
Elsewhere, the album takes a playful approach to music-making, even sampling London Bridge Is Falling Down. This has yielded both hits and misses.
The duet with boyband and fellow label mates Fahrenheit on Thank You For The Tenderness will have you scrambling for Mayday’s original version of Tenderness.
On the other hand, Listening To Yuan Weiren Play The Guitar fares better with its unusual point of view of a neighbour being inspired by the composer working on his tunes.
Play also features, for the first time, music and lyrics from the three girls.
There is enough going on here for the trio to still keep things fresh and exciting on their tenth(!) album.
(ST)
Tuesday, May 29, 2007
the legend of the sea
benjamin toh
i went in with low expectations, which the film pretty much lived down to. and then some. the opening shot of dead fish was already all wrong, as they looked more like stone fish.
forget the idea of a rich and teeming underwater ocean, the animation wasn't even sophisticated enough to convey texture and interaction between surfaces.
DT quipped it was more like legend of the swimming pool.
and if the animation's not up to scratch, a good story would still hold my attention. nothing to be found here but lazy exposition and blunt plot devices to propel the story, such as it is, forward. something tedious about the dragon prince and his pals having to save the underwater kingdom from the evil octopus ocho.
the bottom of my expectations, and my jaw, fell out though when the ocho started singing. what the hell is this tuneless caterwauling? was this a cinema hall? or some hitherto unknown circle of hell for movie-goers?
then draco starts belting out the pop song unchanging freedom, singer jj lin's tie-in single, and i couldn't decide which was worse.
benjamin toh
i went in with low expectations, which the film pretty much lived down to. and then some. the opening shot of dead fish was already all wrong, as they looked more like stone fish.
forget the idea of a rich and teeming underwater ocean, the animation wasn't even sophisticated enough to convey texture and interaction between surfaces.
DT quipped it was more like legend of the swimming pool.
and if the animation's not up to scratch, a good story would still hold my attention. nothing to be found here but lazy exposition and blunt plot devices to propel the story, such as it is, forward. something tedious about the dragon prince and his pals having to save the underwater kingdom from the evil octopus ocho.
the bottom of my expectations, and my jaw, fell out though when the ocho started singing. what the hell is this tuneless caterwauling? was this a cinema hall? or some hitherto unknown circle of hell for movie-goers?
then draco starts belting out the pop song unchanging freedom, singer jj lin's tie-in single, and i couldn't decide which was worse.
Sunday, May 27, 2007
apropos of a discussion on backpacks or suitcases. definitely backpack. had to lug my bloody suitcase from paddington station to K's flat and it was painful.
and heathrow airport sucks. on arrival, it took forever for the bags to arrive at the stuffy baggage claims hall. on departure, the badly signposted gate was the furthest one possible, with no travellator in sight after a while.
K's 2 bedroom apartment is conveniently located near paddington. went out in search of food after dumping luggage and managed to get some fish and chips (about 5 pounds) to go after walking for a bit. most shops were closed by 11pm.
actually had one day of dry, somewhat sunny weather which i spent at the british museum (finally got to see the acropolis metopes and sculptures; fascinating assyrian collection as well) and then happily shopping at h&m (shirts at 10 pounds), uniqlo (limited edition t-shirts at 2 for 20) and fopp, an excellent indie cd store where much of the back catalog goes for 5 quid an album. picked up bright eyes' fevers and mirrors and sufjan stevens' christmas box set.
lunched at canela, 33 earlham street. chorizo tart proved to be too rich and monotonous. sangria was good though.
quick dinner with JW, J and K at cous cous house. surprisingly tasty and the chicken, lamb and vegetable cous cous dishes actually had the distinct taste of each.
caught equus in which daniel radcliffe (aka harry potter) runs around the stage nude. have to say he acquitted himself pretty well in the role. my quibble is that he sounds too cultured to be an uneducated lower working class fellow.
cake and coffee at konditor & cook after.
weather next day was more like classic london, overcast and then finally raining when it came time to lug the bloody suitcase back to paddington. ate at the borough market (excellent raclette for 4,50), took in tate modern (art in a chic, cavernous space; great views of the city across the river) and the south bank (Shakespeare's globe etc). too late for lunch by the time we hit anchor & hope.
ended up at harrod's. had dessert at the parisian patisserie laduree - a marble-topped, chandeliered shrine to pastries. the chocolate eclair was ok, but the ispahan was lovely, a rose-coloured vision in raspberries and lychees.
oh, and cannes. walked down the red carpet... for an 8.30am screening of gus van sant's paranoid park (felt like elephant redux at first, once again plumbing into the blank-faced heart of darkness of disengaged youth; then he starts revealing what actually happened and the movie loses some steam). which means the stars weren't there. didn't manage to make the late night red carpet screenings, usually some official event on. anyway, unlikely to have gotten tix.
tried to get into a screening of my blueberry nights, but alas. caught import/export instead, a grim look at life in the desolate wintry wasteland that is ukraine, and the unforgiving cold-hearted soul-sucking urban centre in austria. cheery stuff.
also caught pleasure factory, disappointing flesh fest which needed more fleshed-out characters, and 2 programs of shorts.
saw kimura takuya strolling on the water front, but it was a tightly-controlled event and his entourage made sure no photos were taken.
and heathrow airport sucks. on arrival, it took forever for the bags to arrive at the stuffy baggage claims hall. on departure, the badly signposted gate was the furthest one possible, with no travellator in sight after a while.
K's 2 bedroom apartment is conveniently located near paddington. went out in search of food after dumping luggage and managed to get some fish and chips (about 5 pounds) to go after walking for a bit. most shops were closed by 11pm.
actually had one day of dry, somewhat sunny weather which i spent at the british museum (finally got to see the acropolis metopes and sculptures; fascinating assyrian collection as well) and then happily shopping at h&m (shirts at 10 pounds), uniqlo (limited edition t-shirts at 2 for 20) and fopp, an excellent indie cd store where much of the back catalog goes for 5 quid an album. picked up bright eyes' fevers and mirrors and sufjan stevens' christmas box set.
lunched at canela, 33 earlham street. chorizo tart proved to be too rich and monotonous. sangria was good though.
quick dinner with JW, J and K at cous cous house. surprisingly tasty and the chicken, lamb and vegetable cous cous dishes actually had the distinct taste of each.
caught equus in which daniel radcliffe (aka harry potter) runs around the stage nude. have to say he acquitted himself pretty well in the role. my quibble is that he sounds too cultured to be an uneducated lower working class fellow.
cake and coffee at konditor & cook after.
weather next day was more like classic london, overcast and then finally raining when it came time to lug the bloody suitcase back to paddington. ate at the borough market (excellent raclette for 4,50), took in tate modern (art in a chic, cavernous space; great views of the city across the river) and the south bank (Shakespeare's globe etc). too late for lunch by the time we hit anchor & hope.
ended up at harrod's. had dessert at the parisian patisserie laduree - a marble-topped, chandeliered shrine to pastries. the chocolate eclair was ok, but the ispahan was lovely, a rose-coloured vision in raspberries and lychees.
oh, and cannes. walked down the red carpet... for an 8.30am screening of gus van sant's paranoid park (felt like elephant redux at first, once again plumbing into the blank-faced heart of darkness of disengaged youth; then he starts revealing what actually happened and the movie loses some steam). which means the stars weren't there. didn't manage to make the late night red carpet screenings, usually some official event on. anyway, unlikely to have gotten tix.
tried to get into a screening of my blueberry nights, but alas. caught import/export instead, a grim look at life in the desolate wintry wasteland that is ukraine, and the unforgiving cold-hearted soul-sucking urban centre in austria. cheery stuff.
also caught pleasure factory, disappointing flesh fest which needed more fleshed-out characters, and 2 programs of shorts.
saw kimura takuya strolling on the water front, but it was a tightly-controlled event and his entourage made sure no photos were taken.
Thursday, May 24, 2007
Wong Kar Wai's My Blueberry Nights was one of the most eagerly awaited films at Cannes this year. He is, after all, a favoured son of the film festival, and this was his English-language debut starring Jude Law and singer-turned-actress Norah Jones.
It was one of the many films that I did not manage to catch. I stood in line for a screening at a cinema but I suspect they were out of tickets even before the line started moving.
The red carpet screening, had I been in time for that, was probably out of my league.
If you're hankering for a hierarchical and strictly-structured society, you can certainly get a good dose of it here at Cannes. You need an official pass for access and there are colour codes for the different classes of participants. So you knew your place according to the colour of your press pass - pink for power, blue for blah, and yellow for yikes. How civilized!
One of the sweetest moments came when I was standing in line for the press screening of Ulrich Seidl’s Import Export (a cheery little number about life in the wintry wasteland that is Ukraine and the soul-sucking wasteland that is urban Austria) and was helpfully informed by this poor schlub with a yellow pass that the line for blue passes was up ahead. Nothing like having someone ranked below you to make you feel better about your own low place in society.
Actually, I did walk the red carpet. At an 8.30am press screening of Gus Van Sant’s Paranoid Park (felt like Elephant redux at first, another look into the heart of teenaged blank-faced darkness). This was the best time to catch a screening because the well-connected folks were still recovering from the previous night’s fabulous parties. It also meant beating the surprisingly ferocious heat along the French Riviera.
The celebrity encounters were mostly through interviews. Korean director Kim Ki Duk and his star Chang Chen were there for Breath, which was in competition, while Yang Kuei-mei was in Cannes for Ekachai Uekrongtham’s Pleasure Factory (three red-light district stories in search of characters).
There was definitely a frisson of je ne sais quois conducting an interview with Kim while a middle-aged woman sunbathed topless in the background.
Random sightings included Amitabh Bachchan - oh my god! he’s walking around the film market! no one comes to the film market! - which was exciting enough even though I’m not a fan.
Then there was Kimura Takuya and the other guy from SMAP, Shingo whatshisname, strolling along the beach promenade. There was an entourage trailing along, from which this one guy detached himself when I fished out my camera. His grasp of English seemed limited but effective - “no photographs”.
And Penelope Cruz, on a large tv screen on the wall of the Palais des Festivals, helpfully positioned for those who didn’t have a direct view of the red carpet. At least, that’s what my neighbour said.
It was one of the many films that I did not manage to catch. I stood in line for a screening at a cinema but I suspect they were out of tickets even before the line started moving.
The red carpet screening, had I been in time for that, was probably out of my league.
If you're hankering for a hierarchical and strictly-structured society, you can certainly get a good dose of it here at Cannes. You need an official pass for access and there are colour codes for the different classes of participants. So you knew your place according to the colour of your press pass - pink for power, blue for blah, and yellow for yikes. How civilized!
One of the sweetest moments came when I was standing in line for the press screening of Ulrich Seidl’s Import Export (a cheery little number about life in the wintry wasteland that is Ukraine and the soul-sucking wasteland that is urban Austria) and was helpfully informed by this poor schlub with a yellow pass that the line for blue passes was up ahead. Nothing like having someone ranked below you to make you feel better about your own low place in society.
Actually, I did walk the red carpet. At an 8.30am press screening of Gus Van Sant’s Paranoid Park (felt like Elephant redux at first, another look into the heart of teenaged blank-faced darkness). This was the best time to catch a screening because the well-connected folks were still recovering from the previous night’s fabulous parties. It also meant beating the surprisingly ferocious heat along the French Riviera.
The celebrity encounters were mostly through interviews. Korean director Kim Ki Duk and his star Chang Chen were there for Breath, which was in competition, while Yang Kuei-mei was in Cannes for Ekachai Uekrongtham’s Pleasure Factory (three red-light district stories in search of characters).
There was definitely a frisson of je ne sais quois conducting an interview with Kim while a middle-aged woman sunbathed topless in the background.
Random sightings included Amitabh Bachchan - oh my god! he’s walking around the film market! no one comes to the film market! - which was exciting enough even though I’m not a fan.
Then there was Kimura Takuya and the other guy from SMAP, Shingo whatshisname, strolling along the beach promenade. There was an entourage trailing along, from which this one guy detached himself when I fished out my camera. His grasp of English seemed limited but effective - “no photographs”.
And Penelope Cruz, on a large tv screen on the wall of the Palais des Festivals, helpfully positioned for those who didn’t have a direct view of the red carpet. At least, that’s what my neighbour said.
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