loccomotive2000 Reviews

Kung Fu Panda 2 (2011)

Kung Fu and Animation return in style.

[8/10 · 2 June 2011]

KUNG FU PANDA 2 marks the return of Po and the Furious Five as they embark on a new adventure to stop a weapon so powerful it threatens the very existence of kung fu itself. Now the Dragon Warrior, Po is tasked with the responsibility of destroying this weapon, before the evil Lord Shen uses it to conquer all of China.

The first KFP was a pleasant and heart-warming surprise for most people, myself among them. To see the film actually respecting the culture they are portraying, and imbue it with multiple levels of philosophy while remaining hilarious and kid-friendly, is a dream come true in this age of trashy movies where money comes before quality and everything else. KFP 2 retains that sincerity, and delves even deeper into the little profound life messages that surpasses it's predecessor in every way.

Po is now enjoying his new life as a hero and a kung fu master, but is suddenly faced with the mystery of his dark past, and must deal with his inner demons as the truth slowly unravels. This leads to the character being far more emotive than in the last outing that affects those around him as well, giving this sequel a tone that is far less bright than it's predecessor. It offers the film a more emotional side as Po's investigation of his heritage and his new hero role causes ripples in his relationship with his Dad, and the father-son relationship serves as a powerful core to Po's inner conflict. His opponent this time, the albino peacock Shen, also contains far more character depth than Tai Lung in the first movie, and his ambitions more sinister and larger in scale. Both creatures of black and white compliment each other perfectly as the paths they choose are destined to meet and determine their eventual fate.

The references to Chinese culture and old kung fu movies are there yet again, with the dumpling fight in the original film succeeded by a terrific battle with Chinese musical instruments, playing to oriental music that evokes a vibe of several movies, Zhang Yimou's Hero among them. The action is fantastic with the Five having their distinctive styles, while Shen's thin limbs, sharp weapons and ferocious feather-blades come in stark contrast with Po's free flowing, soft-over-hard Tai Chi style.

As mentioned, the philosophical content, which I had previously feared would be toned down, gets full blown instead with many layers slid in. Po embarks on a quest to find inner peace, to create harmony within himself and "let things flow", as it is revealed that only when one's heart is unclouded with doubt and grudges can one tap into his or her hidden potential and, most importantly, attain true happiness. That is the main powerful message of the film and it is so brilliant in it's simple logic that makes it accessible to all races and religions. There are tons of other references to the theory of yin and yang throughout the movie that made me gasp and impressed with how much work the makers of the film have put in yet again.

Kung Fu Panda 2, as expected and anticipated, is touching, full of heart, awe-inspiring at times, hilarious in others, and constantly filled with meaning. It is a film that can entertain and capture a child's imagination, but also tug the heartstrings of adults and give them something joyous to think about when the credits roll. And it made my fist hungry for justice.

It's a Great, Great World (2011)

A good movie that could have been great.

[6/10 · 6 February 2011]

It's A Great Great World is a throwback to the lifestyle and culture of Singapore in the 1960s. The story begins with a young woman seeking the owners of several old photographs, and ends up finding an elderly man, who recounts four different stories involving the people in the photos. They include an underachieving man trying to please his mother, a young lady's first love, a past-her-prime singer waiting for her love, and a restaurant trying to give a couple the perfect wedding.

The film boasts some excellent performances from the stars of Singapore television, with veteran actress Xiang Yun easily standing out in her role as an aging, alcoholic nightclub singer. The rest of the cast made good use of the opportunity speaking in various dialect languages that can relate better to middle age audiences, with several gags wonderfully executed in Hokkien, Cantonese and the like.

The problem with the film can essentially be attributed to it's run time. Clocking at just over 90 minutes and having four different stories to tell, director Kelvin Tong was always going to have a problem of either having to rush things, or drag less comprehensive stories to fill up the time. He chose the latter, and the product was a film that was difficult to put strong focus on, as the chapters brushed past each other and most of the character development was at best paper thin.

Nevertheless, the sets and the look of the movie is impressive and deserves to be praised. I was born way after this period of time, but felt the movie was very close to my idea of how life was like when my parents were children. While not a great film in story-telling terms, it does a terrific job invoking nostalgia, or for me, an impression of it.

Fearless (2006)

"Our deepest fear is that we are powerful beyond measure."

[8/10 · 17 January 2011]

FEARLESS stars Jet Li in what is supposedly his final martial arts epic. The actor has mentioned that this is a summary of his thoughts and philosophy of wushu, an art he has so breathtakingly performed for decades, that has seen him not only become one of China's biggest movie stars, but also labeled possibly the greatest wushu practitioner in the contemporary era.

Li plays legendary pugilist Huo Yuan Jia, who is depicted here as a talented but cocky fighter from a well to do family. His own arrogance soon results in tragedy, which leads him to undergo a metamorphosis that lets him understand the true meaning of martial arts, and ignites his desire to enlighten others in an oppressed China marred by invaders.

Yuen Woo Ping shines again and puts Li's talents to wonderful use for one last time. Apart from the brilliant unarmed combat sequences, he also utilizes various weapons, the highlight certainly being the three section staff which Li maneuvers with such audacity and elegance. There is something about his performance that always makes him special; a personality of sorts. Amidst the mechanical choreography, he presents beautiful rhythm and fluidity, like investing emotions to a piano piece.

Kudos to Ronny Yu for presenting a film that is able to identify martial arts not as a tool to protect one's pride, but a path for liberating people. While the film still utilizes the typical foreign antagonists as a foil for Huo to defend Chinese pride(again), Yu can be forgiven for portraying them as respectful martial artists who, rather than wanting Huo dead, were shared his knowledge and qualities derived from wushu, humility and compassion among them.

All in all, FEARLESS is a wonderful film which not only showcases the artistic side to Jet's beloved craft, but also carries an important message about overcoming yourself and treasuring life, which is a rarity among kung fu movies.

Thank you, Jet Li, for your countless, brilliant performances of this magnificent art. It's been one hell of a ride.

Tron: Legacy (2010)

Over-expectation strikes again...

[7/10 · 18 December 2010]

The last blockbuster of 2010 comes in the form of the long awaited sequel to the 80s visual effects landmark, TRON, which despite it's limited success both critically and commercially, has amassed a cult following spanning two decades.

TRON: Legacy takes place some twenty over years after the events of the first film. Kevin Flynn, CEO of software company Encom, had gone missing without a trace, leaving his empire to his disillusioned son, Sam, who still wonders why his father would leave him behind without a word. The hero's call arrives in the form of a page from Kevin's old arcade, and from there, Sam is transported to a cyberworld his father created called The Grid, filled with programs that behave like sentient beings, where he must win gladiatorial games in order to survive...or vice versa.

The most undeniably brilliant aspect of Legacy would of course be the visuals. They've made one hell of an upgrade from the designs in the original, and its wonderful seeing how director Joseph Kosinski pushed the boundaries but remained within the physical laws of the lightcycle battles and the disc wars. Coupled with sleek choreography, it's one of the most original action sequences I've seen in a while.

Oscar winner Jeff Bridges barely breaks a sweat in both roles as Kevin Flynn and his rogue creation, the program CLU, the latter which is an eerie "de-aged" version of Bridges. As Flynn, he assumes a sage-like persona, a Zen master of sorts, who watches in despair as his corrupted creations wreck havoc in his supposedly perfect world. Garrett Hedlund as Sam is somewhat average in his delivery as a frustrated young man, but is nonetheless competent. And Olivia Wilde, as Kevin's apprentice Quorra, makes a great addition as the ass-kicking eye candy, who is also revealed to have a much more pivotal role as the story progresses.

The films also contains lots of allusions to themes from various religions and schools of thought, most prominently Christianity and Buddhism, giving a nice touch of depth to the film. The most obvious parallels being how CLU turned on his creator, all the characters' desire to attain liberation from the virtual world, and how our trio of heroes assumed the roles in the Trinity. I am a free thinker fascinated with films that carry philosophical themes in them, and while Legacy is no Matrix, it's just as fun delving into.

Now for the drawbacks, which I am quite reluctant to address. Legacy faces a bit of pacing problems from not just having to introduce those who hadn't seen the original to The Grid, but explaining what had happened in between the two movies, and setting up a whole new storyline that sparks off from those events. The plot devices used to drive the story also tends to be rather weak and uninspired, which undermines the necessity of a number of scenes and characters. The 3D is also only present for about half the film, and does just a bit more to enhance the experience of The Grid, which is thankfully already mind-blowing on its own.

Lastly, Daft Punk's music score deserves special mention. It is an absolute masterstroke; there's just no other way to complement this movie than electronic music, and combined with violins, they effortlessly takes you for a spin on the lightjet.

Overall, the film is a visionary spectacular and an effective action film, but the story could well be improved. Having not learned my lesson and going into the cinema with expectations so high, in part thanks to the huge hype surrounding the movie, there's no helping the feeling of disappointment. Despite that, the fantastic visuals managed to excel on its part and provides a comforting consolation in this high tech adventure.

That about sums it up. End of Line.

Inception (2010)

The Dream Is Real.

[7/10 · 21 July 2010]

Christopher Nolan returns with Inception, the definitive summer blockbuster of the year that stands heads and shoulders above it's competition consisting of adaptations, remakes and sequels full of mindless action. With this highly intellectual film, he has once again challenged the average movie-goer by starting off with a mind-bogging and profound concept of dreams and reality, with a spectacular heist going under way, while we follow the emotional journey of the protagonist.

Inception tells the story of Dom Cobb, who is a skilled thief in the art of Extraction; stealing the darkest secrets of a person through his or her subconsciousness, or in other words, dreams. After becoming a fugitive, he is offered a chance back into his old life, but only if he can perform what is known to be impossible; the act of planting an idea into someone's mind, known as Inception. Cobb assembles a team as they prepare for a mission into the mind so dangerous that may cost them the ability to distinguish dreams from reality forever.

DiCaprio is flawless here. As Cobb, he sparks off the presence of a true expert in his field, but as the story digs deeper into him we see a conflicted man haunted by his own obsessions. Leo's star-studded co- stars threatened to steal the show, with Joseph Gordon-Levitt and Tom Hardy providing comic relief in an intriguing rivalry, and Ellen Page as the enthusiastic student who is introduced to dream sharing for the first time.

All the tricks and trademarks of Nolan that we have come to know and love are evident here, from the first scene that teases us of what's to come, to that last scene that will have us re-examine ourselves, and on these message boards, possibly years of debate. Here, Nolan combines some of the greatest aspects of his past films; from the puzzle-solving quest in Memento to the brilliantly thought out heist plans and action sequences in the Batman movies, while he masterfully unfolds the secrets of Cobb one layer at a time. Visually he succeeds in capturing the feel of dreams with scene cuts, incoherent objects and physics-defying feats. However, with Nolan being a technical film director more fond of practical methods, it leaves one thinking if this film could have been more visually spectacular had there been more use of CGI of the highest standards.

On top of being one of the few original films out there with a bold and exciting concept, Inception's greatest triumph comes in it's ability to tease the audience with more questions raised than answers given throughout the film. Even if Nolan himself denies it, there is no doubt that Inception is toying with it's audience, hinting at different takes and theories to the film throughout. But that is exactly why we will love this movie, for it sets us uncontrollably debating over the ambiguities and paradoxes that perhaps will never have a definitive answer, and question ourselves on the true meaning of the film. In an era where the typical summer action film so often contains so little depth, this is probably exactly what we need.

Toy Story 3 (2010)

A wonderful way to say goodbye.

[9/10 · 20 June 2010]

The first Toy Story movie was a milestone in the history of film, being the first ever full-length CG film ever made. And with it's intriguing plot and terrific comedic delivery, coupled with all the elements needed for a great adventure, it was a box-office smash, as was it's sequel. Today, fifteen years later, Woody and co. have come back to the silver screen for one last hurray.

Toy Story 3 is set a few years after the events of the second film. Andy, the owner of the toys, is now a young man entering college and hasn't played with his old pals for years. After numerous attempts of getting his attention came to no avail, Woody, Buzz, and the remaining of the toys are resigned to the fact that they aren't going to be played with anymore. When only Woody is picked to follow Andy to college, the rest of the toys seek refuge as donations to Sunnyside Daycare, only to realize that there is more to the place than it seems. Now, Woody must help them escape and convince them that they still have a place in Andy's heart.

As with any other Pixar animated films so far, Toy Story 3 carries the same ingenious amount of slapstick comedy which leaves you in laughter and also in awe of it's creativity. The story progresses as a true adventure, as Woody, Buzz and friends maneuver past the countless obstacles with wit and hilarity. Lee Unkrich masterfully displays the imaginative appeal of the first two movies, taking the adventure from a vending machine to within a garbage truck.

TS3 boasts one of Pixar's most daring and laudable aspect in making family movies, in the way they shift the story into a darker tone. And this time, they have raised the stakes to unprecedented heights. While The Incredibles and Up play out the dark tones in a way less obvious to children, the theme of the toys being forsaken and forgotten here forgoes the subtlety, and we are shown the tragic back stories of the toys, and fear for their impending doom. There are a few scenes where the toys were faced with certain destruction. Immensely intense and gripping, it left me at the edge of my seat, having invested so much feelings in it.

Last but definitely not least is how this movie can affect any individual emotionally. Up till the end, the whole movie had been about having to let go of things, and by the final act, it was about learning to do it. Without revealing too much, let me say that the ending not only offers closure for Andy's emotional attachment, but is also a fitting send off for the icons we have come to know fifteen years ago. It brilliantly evokes a sense of nostalgia not only to the films, but to our very own childhood, where we had so much fun exploring the powers of the imagination to not just our toys, but the unventured world out there.

Toy Story 3 maintains the form of the first two films, being a wonderful mix of comedy, adventure, and a message about life. It is an excellent and heartfelt tribute to a franchise that has not only earned a place in history, but a special place in the hearts of so many people. And wherever we go in life, when we look back at these movies, it will be with a smile, rekindling our very own childhood memories.

To Infinity and Beyond.

The Karate Kid (2010)

Nice little touches make The Karate Kid a sizable hit.

[7/10 · 13 June 2010]

I have always been neutral of the idea of movie remakes. While an interesting concept may deserve a reuse at a different era and produced with higher quality, we all know too well that it is the producers hoping to capture a bigger audience by remaking a movie many people have become familiar with. And too often, the values of good film making gets thrown out the window because marketing is all that matters for them.

Such was almost the case for The Karate Kid, a remake of the 80s hit movie but has close to nothing about karate. Instead, our hero picks up kung fu in the land of China, making the title quite a shameless and blatant attempt to draw audiences who remember the original. In The "Karate" Kid, 12-year-old American boy Dre Parker is forced to move to China with his mother due to her job. As he tries to adapt to his new home, he falls for the local girl Mei Ying, which brings him to the wrath of the martial arts savvy bully Cheng, and his gang. Constantly harassed and with nowhere to turn to in the foreign land, rescue comes in the form of the cranky maintenance man, Mr Han, who turns out to be a master of kung fu. With Han as his master, Dre must now stand up to his bullies in the upcoming kung fu tournament to end their feud and earn their respect.

Jaden Smith impresses here as the film's star, handling the action and emotional scenes in a performance his famous father would well approve of. As Dre, he delivers competently a youngster's transformation from the rash rebel to the calm and mature martial artist. And Jackie Chan shows that he could well survive on his acting chops alone in his brilliant delivery of Mr Han, the wise yet disturbed kung fu master.

Being a remake, there was very little work needed for the plot, which brings us to the attention of the smaller details. And this is where the movie shines. Director Harald Zwart has managed to utilize the charisma and chemistry of Chan and Smith to great effect; from Dre's little gestures to comforting his heartbroken master, there is so much this movie can claim is uniquely it's own.

And although the film does get unnecessarily draggy at times, with quite a number of subplots that are slightly unevenly played out, the training scenes and final battle accomplishes its job in engaging the viewer. As the audience cheered and clapped at the triumphant scenes, it became apparent to me that this remake had managed to capture much of the essence and spirit of the original. Overall, The Karate Kid is a highly enjoyable family film and a fine example of a remake capable of standing on it's own. The title could still use a change, though.

Kung Fu Panda (2008)

The Wondrous Marriage Between East And West

[10/10 · 25 May 2010]

Kung Fu Panda tells the story of a martial art loving panda by the name of Po who lives in the Valley of Peace, protected by his idols, the Furious Five, and their master, the legendary Master Shifu. When Shifu's malevolent ex-student Tai Lung breaks out of prison and threatens to create more havoc in the valley than he did once before, Po is chosen, seemingly by accident, to become the Dragon Warrior; the prophesied hero who is the only one that can stop Tai Lung. Shifu is reluctant to train him, seeing his lack of attributes required of a kung fu master. However, he is eventually convinced to believe in the panda, and discovers a method to train him into a true warrior.

A product of Dreamworks, which has always been regarded as the poor man's version of Pixar, KFP shows the filmmakers venturing into previously uncharted territory for CG films; kung fu. And they have brilliantly incorporated a wealth of elements into the film; from most notably Shaw Bros movies to even Taoist philosophies and Confucian values, combining them with Tex Avery style cartoon action and humor. Even the action scenes were surprisingly taken seriously, and the directors managed to emulate real kung fu moves for the characters in the fight scenes. From start till end, the dumpling sparring sequence between Po and Shifu is a prominent example of all that combined, and remains one of the best animated scenes I have ever seen. Being Chinese I can only feel proud to see the animators putting so much effort and attention to my culture, and exposing them to the world in a major motion picture.

The voice work is outstanding, most notably Jack Black's, optimizing his comic talent as the title hero. Black could effortlessly transit his voice from blind optimism to insecurity, all part of the incredible spectrum of emotions he displays for Po. Dustin Hoffman is faultless as the authoritative Master Shifu, and it just puts a smile on your face to hear the voice of the master himself, Jackie Chan, as Monkey.

Kung Fu Panda triumphs as an action spectacle and a family comedy, and is a sincere tribute to the culture of the other side of the world. It takes a lot of heart, devotion, meticulous attention to detail and a collective amount of talent to achieve this. It is quite hard to imagine the kind of effort it took to bring all these together, because they certainly did not come together by chance.

Like the wise Oogway would say, "There are no accidents."

Speed (1994)

The Timeless Adrenaline Filled Action Classic

[9/10 · 16 May 2010]

The nineties was a great time for action blockbusters, where instead of relying heavily on CGI, the action sequences in those movies were actually filmed as they were, and rather than spending so much time for in depth story and character development, they choose to engage us in a more direct, emotional manner. "Speed" is quite easily the greatest example.

In the film, LAPD Bomb Squad cop Jack Traven must race against time to rescue passengers onboard a bus with a bomb that'll go off if it goes below 50mph. Keanu Reeves reinvents the action hero by, instead of being the big tough guy with a ton of one-liners, he is earnest, emotional and perhaps most importantly, vulnerable. At his side is the wonderful Sandra Bullock as Jack's lovable sidekick/love interest Annie, whose bubbly and sarcastic personality beautifully compliments with Jack's gungho, intense character. And on the other side is Dennis Hopper as the disgruntled bad guy who is as crazy as he is intelligent, setting up the foil for the centerpiece with taunts and impossible tests for our hero.

The real draw here, however, remains the now iconic high octane action sequences. In a simple yet brilliant fashion, three major crisises make up the three acts. And be it the elevator, the bus or the subway, once the action starts, prepare to hold on to dear life until it ends. Because not only does it never stop, it barely slows down. And it's not just the vehicles that go for a ride; out heroes too endure a roller coaster ride of emotions. Hopelessness, anxiety, fear and exhilaration; we uncontrollably become inclined to feel not just for them, but with them.

And I reserve this paragraph for praising the very underrated score by Mark Mancina. The memorable main theme sets you in the mood for pulsating action, while the heroic theme not only works brilliantly on the romance between Jack and Annie, it does wonders to amplify the heroic and noble nature of saving lives.

Even today, at 16 years later, and having seen the movie multiple times, Speed still gives me the emotions I had when seeing it for the first time, putting me at the edge of my seat. With it's ability to engage a viewer so strongly, Speed was destined to become a timeless classic. And it is.

Ip Man 2 (2010)

Where action becomes an art form.

[8/10 · 28 April 2010]

Donnie Yen returns as the titular kung fu grandmaster in Ip Man 2, with Wilson Yip reassuming his directorial duties and, most importantly, Sammo Hung back in his role as action director, and also as a main character.

The story picks up from where the first movie left off. Ip, having survived the war period in Foshan, moves to Hong Kong with his family and attempts to make a living teaching his beloved art of Wing Chun boxing. However, he is met with opposition and hardship in the form of rival martial arts schools and the atypical British oppressors, and finds that even his formidable martial arts prowess may not be enough to resolve these problems.

But the story aside, anyone with a little background knowledge of this film should know what to expect; a dose of intense Hong Kong kung fu film action. As the story begins to drag, at some point even a unsuspecting viewer should have realized that all the plot devices and dialogue serve little purpose other than as catalysts leading to the combat scenes. And at helm of the fight scenes is none other than the legendary Sammo Hung, in familiar territory choreographing the Wing Chun style, which he made a name for himself in movies such as The Prodigal Son in the 80s. With some creative input of his own, he manages to compose complex and graceful fight sequences that stays true to traditional kung fu styles, from Praying Mantis to Hung Gar Kuen. And who better to bring his imagination to life than the ever reliable Donnie Yen? What Hung designs, Yen executes with masterful control and precision. And in the movie when the former steps up to challenge the latter in a sparring session, we witness two of Hong Kong's greatest kung fu stars pushing themselves doing what they're best at in a brilliant exchange of strikes and blows. Absolutely a sight to behold.

In the end, the typical viewer is unlikely to be captivated by the highly borrowed storyline, save for some who still enjoy the cinematic display of Chinese pride that is rather blatant and unsubtle. But you will be blown away by the fights, you will be in awe of the moves, and, if you're able to, appreciate the action scenes not as the mindless, disposable portion of the movie, but rather the core of it, carefully thought out, executed, and filmed as a true form of art. With that, forgive the storyline, and enjoy the film for what it is.

Kick-Ass (2010)

No Powers, No Gadgets, No Problem.

[8/10 · 17 April 2010]

Whoever said you needed superpowers or high-tech gadgets to be a superhero? In KICK-ASS, Dave Lizewski proves just that as the titular hero, fighting with nothing but lean, mean determination and desire to uphold justice.

Aaron Johnson does a great job as the hero geek, morphing from a shy pushover into a full-fledged crime-fighter in a green suit who would die in a split second to protect his tiny little philosophy and mission. Nicolas Cage pays homage to the 60s Batman and revels in his role as the vengeance seeking ex-cop. But the show stealer here comes no bigger than the size of 12-year-old Chloë Moretz, dispelling all those images of adolescent girls those tween queens on magazine covers have given you. As Hit Girl, she disposes her enemies faster than Superman could finish his heroic opening statement, and does so with unceremonious aggression and minimum fuss. The fact that she's so young differs from those femme fatales in that she does not rely on any sort of sexual appeal to make her character more attractive or intriguing; she doesn't have one, she didn't need one. She's awesome fully because she took down seven guys and left one pissing in his pants, putting the Batgirls and Elektras to shame.

Perhaps most worth applauding is the no holds barred direction of the visual style and action of this movie. Too often, films have been toned down and made bland to avoid the R-rating and often causes creative integrity to suffer. From start to end, however, Kick-Ass showed absolutely no concern for going "overboard". There's no holding back from the excessive cursing, blood and gore of the movie that you could be forgiven if you thought Tarantino was behind this.

All in all, KICK-ASS is a refreshing take on the now badly exploited superhero genre, and is capable of taking itself seriously at times yet provide mindless entertainment with witty humor and high-octane action that promises to keep you at the edge of your seat. A terrific way to start the summer of 2010.

Little Big Soldier (2010)

"A big road that leads to my home..."

[7/10 · 23 February 2010]

LITTLE BIG SOLDIER tells the story of a farmer forced into conscription, and has been looking to get out of the army ever since. His great chance arrives when he stumbles upon a wounded general from an enemy state, and he kidnaps him, intending to claim credit for the capture, which includes five "mu" of land, and most importantly, honorable discharge from the army.

Jackie's brainchild which had been stuck in development hell for 20 years, it was easy to see the amount of effort put into LBS over the years. The plot is simple but is one that is refreshing and original, and the story progresses through witty plot devices and hilarious situations. Chan's various gadgets used for feigning death showcases his trademark slapstick humor which we all have come to know and love.

His character alone stands out from the protagonist in most of his other movies. Jackie plays the Old Soldier, who is cowardly, ever optimistic, good natured, and only dreams(and sings) about getting home. He is a flawed yet lovable figure whose own interests and moral values seem to always come into conflict. He aspires but is never boldly ambitious. He'd hurt people but would never kill someone. Such dynamism in a seemingly simple-minded character is especially rare in an action movie, much less a Jackie Chan one, where he is so often the flawless good guy. And all this is topped by Chan's excellent performance, displaying mischief, kindliness, and a little bit of villainy all at once. And he doesn't forget to convey important messages about life, such as filial piety, loyalty, and the negative effects of war. Leehom Wang, on the other hand, delivers a competent performance as the young, patriotic, and upright general whose ambition and stern personality clashes with the Old Soldier's agenda in every possible way. The two share a remarkable chemistry here, and their exchanges a joy to behold.

But this film is not without it's weaknesses. While the plot's strength was in its simplicity, it threatened to throw the audience off by wearing too thin at times, and the lack of major turning points made the movie less engaging than it could have been. The humor was there but not hard-hitting enough, and too many of them die off very quickly without follow-ups. The action scenes are adequate, despite being slightly less ambitious than those in Jackie's other films, both in complexity and in quantity.

Despite these, fans of JC will not be disappointed by this outing of his. This is easily one of Jackie's best films in the past ten years, and carries an excellent, and most importantly, original storyline. Not a masterpiece, but like what the Old Soldier would say: "Ting Hao De".

That meant: "Pretty good."

The Godfather (1972)

The Shakespearean Epic Of The Movie Generation

[10/10 · 21 September 2008]

How do you define a movie's greatness? For me, it's pretty straightforward; mainly the direction, the script, and the acting. And the Godfather triumphs on every level. Coppola and Puzo have created an epic tale of a powerful mafioso patriarch passing his crown down to his unwilling son, and the shift of power unfolds brilliantly with betrayal, vengeance and tragedy.

Marlon Brando delivers one of the most intensive performances ever seen in film seemingly effortlessly. His calm demeanor carries along a subtly powerful and intimidating presence. Al Pacino is a revelation in his first role in a major film, displaying his range as he moves from the role of a heroin addict in The Panic in Needle Park, to the reluctant successor of the Don who transforms from the righteous war hero into a ruthless king. James Caan is PERFECT for the hot-headed Sonny, as is Robert Duvall as the intelligent Tom Hagen and John Cazale as the tragic figure of Fredo.

I will run out of superlatives if I continue. Overall, The Godfather is a timeless classic that will always be the epitome of how a truly magnificent epic film should be.

Speed Racer (2008)

Turn off your brain and fire up your heart!

[8/10 · 19 May 2008]

The Wachowski brothers bring the hit 80s anime series Speed Racer to the silver screen, and man have they done a hell of a job.

It was clear from the very first frame of the movie that the whole thing was meant to be "cartoonish" and not at all realistic, so I can't really understand all the complains that the scenes and background looked "fake". It is exactly this tone of the movie that the Wachowskis have set which brings it closer to the heart, for anyone who had watched the TV series. I'm at best a moderate fan of the original, but I was nothing less than thrilled with this fantastic update/conversion.

Without the pressure of having to instill philosophic undertones in the film like they almost always do in their previous movies, the Wachowskis, along with Joel Silver, go full power on designing some of the most exhilarating CGI action sequences I have ever seen, much less a race sequence. After providing us with the extravagant shootout and the mind-blowing Burly Brawl from the Matrix series, the bros. once again displayed savant-like skills in using their creativity and plotting out amazing "car-fights" and the usage of a wide array of gadgets, which fans will be pleased to find out that most were taken straight from the original series.

In terms of acting, the film has a talented cast. Emile Hirsch thankfully wasn't much like the animated titular character in his portrayal, and fitted in perfect in this updated universe from the anime. The rest of the cast were modeled from head to toe to look like their animated counterparts. Even Hollywood newcomer, South Korea's pop star Rain (RAAAAAIN!) does a competent job for a blockbuster movie debut.

With all the regard for realism, few people may be able to enjoy this movie. But for those who did, like me, will have to consider ourselves truly blessed to have experienced this nostalgic hell of a ride.

We clicked.

Iron Man (2008)

Not bad at all, but no classic.

[7/10 · 1 May 2008]

The season of blockbuster movies in 2008 kicked off with yet another adaptation from Marvel Comics, this time the lesser known Iron Man. This being the first independent film from Marvel Studios, with its all-star cast, it's clear that they're pinning high hopes on this one.

Director Jon Favreau does it clean cut, going by the same ol' "rule of thumb" in making comic book movies; hero inherits power, tests them, uses them, then villain gets his too( you know the rest but in case you didn't I won't spoil it for ya). Some of his bad decisions almost proved costly though; for example, his choice of non-linear story-telling in the beginning(he seemed to have taken the "Batman Begins" example too literally) nearly backfired. Unlike Christopher Nolan who utilized the style and enhanced the story-telling process, it gave some minor pacing problems to Iron Man, which continued towards the end. Despite that, Favreau has his share of praises though; his reputation as an "actor's director", letting the Oscar-worthy cast improvise their performances, was what separated this from the mediocrity suffered by the likes of Fantastic Four etc. And the numerous references made to the figures and icons of the gargantuan Marvel Universe would send the pulses of fan boys racing, in what looked like another step towards a "Avengers" movie(an all-star team of Marvel superheroes).

Robert Downey Jr. is almost perfect as Tony Stark. From the moment he came into the picture, the entire movie thrived on his abundant flow of charisma, dry wit and deadpan humor, comparable to the likes of Jack Sparrow from the Pirates movies. It really makes you wonder who else could have commanded the role so seemingly effortlessly. The rest of the cast is more than competent; Jeff "Lebowski" Bridges is unrecognizable as the ruthless and manipulative Obadiah Stane, while Gwyneth Paltrow is *gasp* likable as the damsel in distress. Terrence Howard is underused here but matches Downey Jr. with his own brand of humor, and one of his lines which underlined his future role even gave me goosebumps.

All in all, a great way to start the summer, as the world braces itself for yet another year of sequels and adaptations.

Rocky Balboa (2006)

Best of the series

[10/10 · 13 September 2007]

Let's just say that I'm an old man trapped in a youngster's body. Let's just say that the 21st century setting was more identifiable with me. But...as much as I love the first movie, I'd have to say Rocky Balboa has truly triumphed over the original.

It's been thirty years since Rocko went the distance with world heavyweight champ Apollo Creed, and things have changed a lot. He's lost his wife to cancer, losing his son who's tired of living in his father's shadow, and the boxing world, softened over the years, is slowly being killed by an unbeatable but disillusioned champion. In an attempt to find a new purpose in life, Balboa steps back into the ring, only to be given a surprising opportunity to contend for the heavyweight title, and become the underdog once more.

It's nice to see how Balboa mirrors the original Rocky, complete with the build up to the fight and the training montages. Only this time, Rocky is facing mid-life crisis. What was originally seen as a joke in and outside the movie, of a 60-year-old lifting weights and getting back into the ring, turns out to be a truly inspirational and emotional process, and an incredible feat of physicality. Stallone's beefed up build and structured abs leaves everyone in the audience in awe.

Cruel as it seems, but one of Sly's masterstrokes was killing off Adrian, Rocky's pillar of strength since the first movie. We see Rocko alone and isolated once more, losing directions in life...just as the first time we've seen him in the original. There's also a nice subplot of Rocky's reunion with lil' Marie, making connections with his past beyond boxing.

After a lackluster conclusion with Rocky V, the greatest underdog of all time returns to set things right, and boy was this a worthy comeback. A fitting end to one of the most iconic film series of American cinema.

Batman Begins (2005)

The Way It Should Be.

[10/10 · 6 July 2007]

Geez, what on earth took them so long? After the campy Adam West TV series, the Tim Burton Gothic flicks and Joel Schumacher's nippled Dark Knight, the real Batman has finally arrived. In Batman Begins the Caped Crusader finally becomes the brooding hero he was meant to be. It traces back to his origin, as young Bruce Wayne, the only son of his billionaire father, who witnesses his parents die to the hands of a mugger, and swears to uphold justice by 'turning fear against those who prey on the fearful'. However his journey towards becoming a vigilante is not as simple as that. Unlike the original Batman where we're shown pearl beads dancing on the floor that inspired a rich kid to don a suit and fight evil, this Bruce Wayne had a strenuous journey learning the difference between vengeance and upholding justice. He must also confront his fears and decide on his own ideology.

This is probably the first time I've enjoyed seeing Bruce Wayne more than Batman. It was compelling seeing him develop, as he studies the mind of a criminal and, being human, sometimes questions even himself. Fortunately there's his trusty butler Alfred on his side, who instead of just serving him steak, assumes the role of a fatherly figure. There's also the up and rising cop in Jim Gordon, in his early days as a sergeant, posing as Batman's only ally at this point in time.

Chris Nolan does again what he do best; playing with the scene sequence. Although this time he only uses that style for the first half of the film, alternating Wayne's training scenes with his childhood memories, it did nothing except enhancing the whole story-telling process. The heavyweight cast live up to their names. Christian Bale does a great job as Bruce Wayne, excellently portraying his transition from a troubled young man to a profound, philosophical individual. Batman, on the other hand, is a cold and menacing figure who's rough voice(that was heavily under criticism) I felt was appropriate, considering that his priority was disguise and also to scare the living daylights out of criminals. For the rest of the cast, Michael Caine and Gary Oldman looked like they came right out of the comic books, and then there's also Morgan Freeman and Rutger Hauer, making a surprise return to mainstream cinema.

Begins sets a new standard for dark comic book films. If Spider-Man 2 is considered one of the best superhero movies in the 'fun' category, then Batman Begins would undoubtedly be on the other end of the spectrum, the prime example of how a serious comic book adaptation should be.

I'm glad to say that they've finally got it right. For the first time in film history, The Dark Knight is portrayed correctly. The Batman franchise didn't reboot; it has only just begun.

Spider-Man 2 (2004)

There's a hero in all of us...

[10/10 · 6 July 2007]

Wow. Its not very often that a sequel betters its predecessor, much less by such a degree. Spider-Man 2 has set a new standard for superhero films on so many levels, thanks largely in part to the vision of the brilliant Sam Raimi. The story takes place two years after the first, where Peter Parker learns of his new responsibility as the web-slinging Spider-Man. However, he is struggling with just about everything, from homework to girl-problems; like any ordinary teenager would. And there's also a new adversary in Doc Ock that his alter-ego has to deal with.

Raimi was certainly aware of the elements in the first movie that made it such an enjoyable ride, because they're all still here. This time, he showed an even more human side of the web-head; by having Peter giving up on his responsibilities as Spider-Man. The characters were well developed, ranging from Peter and MJ's on-off relationship to Harry Osborn's hatred for Spidey. Even Aunt May's financial problems and relationship with Peter was compelling.

The fight sequences were nothing less that breathtaking. Spidey's fights with the tentacled Doc Ock, especially the ones in mid-air, were beautifully choreographed and, despite taking place so quickly, had a fair amount of clarity. Every move could be so observed in such detail and seemed to have a purpose. Take notes, Michael Bay.

In the end, although being a big-budget summer blockbuster movie, Spider-Man 2 tries not to be anything but itself - a boy's journey of being a hero. And its that sincerity that makes it stand out so much. Easily the best action movie of 2004.

Rocky (1976)

Going the distance.

[10/10 · 4 July 2007]

I was born in the late 80s and never gave much attention to the Rocky saga. The underdog rags-to-riches story had been used so many times in the 90s; Rocky simply didn't have much appeal. With all the hype about this sixth installment raging around the internet, I finally decided to give this original a shot. On my first viewing, however, it didn't impress me much. I got pretty bored and tired of the insipid lifestyles in a rundown neighborhood that I wasn't paying attention to some of the scenes.

A few days later I came across an article saying that Sly Stallone got drunk for a scene because they could only do one take of it and he didn't want to mess it up. It was during the night before the fight, where Rocky was confiding his fears and ambitions to Adrian. I revisited that scene and watched all the way till the end. This is the time I use the words: It was a knockout. Rocky reminded us what life is all about; taking a shot, and giving it everything you have. I got so pumped up that I watched 2-5 over the next two days, but only the second could come close to rivaling this.

The low-life characters Stallone created in this depressed environment could relate to just about anyone who has been down and hopeless. There's the life-wasting bum in Rocky, the shy and unconfident Adrian, and Paulie, an outcast of society, among many others. When Rocky receives his shot at the title, its compelling to see the way that people around him change, even his aging trainer Micky. It gave them hope and something to believe in, but ultimately it is down to Rocko to complete the Cinderella act.

In the end, Rocky not only restores hope to a society where dreams seemed distant and impossible, but earned the ever elusive prize everyone toiled for from the moment they dreamed; self-respect. A wonderful tale for the underdog in all of us.

Die Hard (1988)

Never felt so energetic watching a film

[8/10 · 23 June 2007]

Bruce Willis stars as THE most bad-ass cop in film history even as of today: John McClane. The wise-cracking, tough-as-nails cop who's always sarcastically funny and never fears to get his hands dirty. This man is no Rambo though; he does not plan, relying solely on instinct and last-minute thinking, which although nearly got him killed quite a number of times, seemed to have worked well enough.

The plot was simple enough yet intriguing. McClane is pitted against 12 terrorists in a building, with no help from anywhere, in a battle of wits and grit against their leader, the diabolical Hans Gruber, excellently portrayed by Alan Rickman.

Die Hard is a remarkable success on every level; the jokes were funny, the gunfights were gory and we have two individuals consistently taunting each other to keep the temperatures rising. In my humble opinion, this was the herald of the transition of action movies moving into the 90s.

Yippee Ki-yay, mother*beep*.

Gui a! Gui a! (2007)

Uh oh.

[2/10 · 18 June 2007]

Director Kelvin Tong had said that Men in White was made in a way that would appeal to young people. I'm sad to say that he's quite off the mark.

The film's plot is already weak to begin with, and to make things worse, it becomes more and more obscure towards the end. We're not looking for an Academy-award winner here, but how are we supposed to watch a movie when there is no storyline to follow? The entire movie just tossed five ghosts together, and that's it, we get to see them 'live' their 'dead lifestyles'.

Tong tries to recreate the 'Mo-Lei-Tau' impression here, a 'pseudo genre' of HK comedy movies made famous by the great Stephen Chow. However, he's missing all the key ingredients here; none of the actors are close to being as energetic and charismatic as Chow, and most of the gags are unoriginal and continuously reused within the film. I felt like walking out of the theater whenever the rap segments came on.

I've heard Tong's The Maid was quite a good film, but he really needs to stay off comedies. From mo lei tau, at least.

The Prestige (2006)

Abracadabra.

[8/10 · 18 June 2007]

The Prestige sees two rivaling magicians, Borden and Angier, in an intensive battle of wits that goes so far that their lives at stake. The two are portrayed by Christian Bale and Hugh Jackman who deliver powerful performances, supported by an excellent cast of Michael Caine, Andy Serkis and, guess who, yep, David Bowie.

Director Chris Nolan again shows his trademark by going back and forth the storyline as the film progresses, much as he's done with the critically-acclaimed Memento and Batman Begins, which, through his skillful execution, is used to tremendous effect. With involvement from his brother, Jonathan Nolan, the duo are able to recreate the suspense and complexity as shown in Memento, intriguing the audience as they are brought deeper and deeper into the story.

This is story-telling at its finest. With a tremendous twist ending that ties up the knots neatly but also leaves out some tiny loose ends, the movie is satisfying but will make you sit through the credits, thinking you might have missed something...