東邪西毒 Redux

Please, please, PLEASE let this be shown here!

And in its original language track if possible! At least let us hear the late Leslie Cheung in his own voice!

Otherwise of course, it'll be the DVD route.

The Happening

Yep, Coffee Prices Are Up!

Allow me to state up front so that you'll know one of my idiosyncrasies. I am an M Night Shyamalan fan, and to date I have not been disappointed with his works. The closest I have been to thinking one of his movies was an unenjoyable one, was Unbreakable, but that's because I'd read the whole plot before watching it, thus spoiling it big time, so I'm going to give that film another go hopefully soon. But for each and every other movie starting with his groundbreaking The Sixth Sense, I've come to appreciate what Shyamalan is, not a horror-meister, not a one trick pony, but a damn good storyteller, like it or not. So if you are to disagree with me now, then tread the rest of this piece of writing carefully.

I suppose if one were to go into The Happening expecting Shyamalan to tell a story in a conventional way, then one will definitely be disappointed. If you look at his past works, they range from the supernatural, to science fiction, from fantasy to the great unknown. And I earnestly thought that the phenomenal success of The Sixth Sense has left mass audiences almost always anticipating the next big twist or the next big scare coming out of his stories. I guess that's not really the point, though at times he does gleefully insert some really high tension or suspenseful moments to remind us that he still can, but chooses not to.

Like the trailers would have shown, we have scenes of inexplicable violence, of people leaping off buildings en masse, with people dropping dead like flies. And it seems to be like an epidemic, just that everyone's clueless about what's exactly going on, with speculation being things like some covert government operations, terrorists who have harnessed chemical, radiological or biological weapons, or Mother Nature finally showing humanity the middle finger. There are no easy answers, and within the chaos, Shyamalan roots us to the Moore couple Elliot (Mark Wahlberg) and Alma (Zooey Deschanel), who seem to have problems in communicating with each other.

And then bingo. To me, this is not a movie about finding out what the issue at hand is, or trying to crack the mystery behind the phenomenon, or even about figuring out what the twist, if any, would be. It's a story about communication, how we, in today's context, are so reliant on mass media delivering every bit of incident deemed newsworthy, and providing that amped up "insights" to send us to paranoia. If you notice of late, we have been bombarded with crisis after crisis, or could it really be instead, the flavour of the moment that the mass media drums up? Avian Flu? Food Crisis? Fuel Crisis? Business Continuity? Terrorism? The list goes on, with news editors determining what to drum up, and where to send everyone crying out that the sky is falling. The Happening does just that, as we see newsflash after newsflash providing speculation after speculation that everyone listens, and accedes to.

But it's not just the mass media alone, but the story also puts the spotlight on how reliant we are on our mobile devices, so much so that they actually have already become second nature to us. If we want to talk to someone, we pick up the phone, or we text the person. Gone is the value of face to face communications, as we talk to one another through an electronic device and medium. And we all know what happens to these wireless gadgets come a crisis, when base stations get knocked out, and we feel incapacitated, and so alone. And the rare occasion when our little island experiences unexpected power brownouts and we lose connectivity, we go into fits and strangely enough, feel at a loss at what to do next?

We are creatures who must talk to one another, otherwise I guess we'll go insane, and not everyone's cut out to be a hermit living alone, making that informed decision choosing to be cut off from the outside world and be self-sufficient. Perhaps that's why isolation has been designed as punishment, and one probably might go a little bit cranky, losing social skills. Just like how the prominent old lady in The Happening become overly suspicious of every wee thing that doesn't go her way.

Shyamalan gave us probably the weakest protagonist in his tales to date. We are familiar with Mark Wahlberg in his many alpha-male action roles, like those in The Italian Job remake, or his sniper in Shooter. Here, his Elliot is a school science teacher who's the most clueless amongst all clueless characters in Shyamalan's fictional worlds. He absolutely, like the audience, has no idea what's going on, has no plan, and doesn't hesitate to tell everyone just that, exhibiting some classic deer-caught-in-the-headlights look with wide eyes and flared nostrils. Even Keanu Reeves pale in comparison to what Wahlberg managed to do here. Zooey Deschanel's Alma too plays Elliot's just as clueless wife, only that she's harbouring a secret that you can decipher the minute it gets suggested on screen. Throughout the movie, husband and wife has to sort of issues as the clock ticks down to doomsday, and just like The Incredible Hulk, this little love story slowly grew in importance.

And to pre-empt those who would dislike the movie, you're likely to find fault with the distinct lack of scares - ok, there's really one jump-from-your-seat moment, and various other scenes with an unflinching camera in the many faces of death - and the exclamation of "you mean that's it?" The build up is masterfully done, though the ending might be a little bit abrupt and I suspect there might be some cutting of corners which might find their way to the DVD. Forget the fact that The Happening had to undergo some massive rewrites by Shyamalan for it to be accepted by the studios. Forget that this movie contains elements of suggestion that it's eco-warfare and Mother Nature is fighting back with results as significant as that we've already seen and experienced, with unbearable temperatures and disasters of large magnitudes. Like movies such as The Mist, while it's about the great unknown, it also serves as a warning that one day, just one day, we might be faced with questions we have no answers to, and to compound the problem, we're no longer collaborating and communicating effectively to work toward a solution. And that is a scary thought indeed.

The Incredible Hulk

This is Our Tragic Love Story

I guess everyone has a little mean streak in us, and anger's something that we have to control lest we flare up and hurt people, physically or otherwise. In the 1960s, Stan Lee and Jack Kirby fused atomic energy with that emotion, and gave us a very tragic, misunderstood hero in the form of a grey coloured Hulk. I still recall when I was young, reading a reprint on the origin of the angry monster, where a scientist in an act of selfless sacrifice, helped a young boy evacuate from a ground zero site, therefore exposing himself to deadly doses of radiation from an army bomb test. The rest as they say, is history, and a pop culture icon was born.

Other than the comic books, I was weaned on stories of the green Hulking monster who appeared during the last 5 to 10 minutes of a television series starring Bill Bixby as scientist David Bruce Banner, who journeys from town to town, encountering different folks as he tries to etch a living and find a cure for his violent condition, but almost always transforming into his alter-ego to right some wrongs. And as a young boy, we just waited and waited, until it was time for some action when Lou Ferrigno was allowed to flex his muscles in green body paint and a bad haircut, shoving people and objects around with aplomb, in slow motion and low grunts.

Lee Ang was a surprise decision when roped in to make a movie version of the Hulk. With the success of Sam Raimi's Spider-Man in 2002, the Marvel movie franchise was set abuzz overnight and every character which could possibly be made into a movie, was considered a gold mine. To the layman, having the Hulk in an all out action movie was a no-brainer, so I guess everyone was taken aback when Lee Ang was appointed to helm the movie. It did decently at the box office, but wasn't the smash everyone had been hoping for. For me, I liked his version of it because it didn't take the easy way out and neither did it choose to dumb down a lot of things. His version of Bruce Banner was cut as a more tragic character, and some time was spent in building up his backstory. Action wise it was adequate, though everyone was clamouring for more classic Hulk-like moments from the comic book panels. The panels were delivered, but only to irk some movie goers that they were unnecessary. So with the way it ended, questions to whether a sequel would be made, were dangling for some time, especially whether the director or lead actor Eric Bana would return.

As we now know, Louis Leterrier was appointed, with pedigree coming from the Transporter series, so he has some credentials in the making of pure action fests. Edward Norton stepped into the role of Bruce Banner, replacing Bana, and it looked more like the movie would seem like a reboot of sorts with no ties to the earlier Lee Ang version. With Norton having a hand at the screenplay, I guess everyone's curious as to how this story would match up against its predecessor. In one fell swoop of the opening credits, it wiped the slate clean. We have a new Bruce Banner in a new gamma-test gone awry, we have a new General Thunderbolt Ross played by William Hurt replacing Sam Elliot, and we also have a new Betty Ross, with Liv Tyler stepping into Jennifer Connelly's heeled shoes. The Hulk became an immediate by-product of a botched experiment, and we have the usual military coverups and simultaneous hunting of the green monster, which had eluded them for more than 5 months.

The crowded streets and cluttered housing on the streets of Rio De Janeiro provided some reminiscence of Jackie Chan's Police Story, where you could be sure of a chase scene zig-zagging the streets to take advantage of the wonderful opportunities presented for an exhilerating chase. And Leterrier doesn't try not to provide action junkies plenty of action-smashing moments as we root for Bruce Banner to hulk up, unfortunately of course, to satisfy our lust for some unadulterated action where everything in the way of the Hulk, gets smashed. However those expecting action from the get go will be disappointed, as there were only a small handful of action sequences, though of course they include the classic moments that comic fans had been baying for since 4 years ago. So I guess most will be left happy as we see some nifty moves by the Hulkster, which will leave a smile on your face, despite being used in limited doses. But I note though that the story cum action, looked a little bit like Superman II with the seeking of a cure and the deliberate loss of power to be with the lady love, and the duking out between super-beings on equal footing (here being gamma-powered), with a tinge of Cloverfield like moments too.

While there will be those who will gripe about the transformation mainly done in the dark and in shadows, it does prove to be effective in building some anticipation and heightened tension as to when he will finally appear in full glory. The mainly military attacks on the big guy again brought out some back to basics adversary with Thunderbolt Ross trying to capture the Hulk, and in fact I'd appreciate that this movie didn't divert too much away from this primary objective, although it might be more of the same from the first movie. But while the Hulk has an aura of invulnerability, somehow The Incredible Hulk provided me at least, an emotional pang when he gets hurt bad, as we remember that this is a guy who just plainly wants to be left alone. And the angrier the Hulk gets, the bigger and more powerful he becomes too.

And it's not all serious here too, with well meaning humour peppered in the right places, making numerous references to the television series and characters from the Marvel universe. You'd often wonder how his pants stay on before-during-and-after transformation, well, it gets addressed here with humour. Memorable lines such as "don't-make-me-angry-you-wouldn't-like-me-when-I'm-angry" gets punned away, even the late Bill Bixby got a cameo, together with Lou Ferrigno who reprises his security guard role, and Stan Lee who's possibly in the most unmemorable cameo apperance ever. The much touted Tony Stark appearance will bring whoops of joy from newly converted fans of Robert Downey Jr, while I suspect in line with the rumoured Avengers movie, the universe now seemed more streamlined again with the references to SHIELD, and stupid me thinking that Mr Fantastic would somewhat be featured in this too. A WWII super soldier project and serum was referenced and formed the basis for Tim Roth's Emil Blonsky turned Abomination, but Captain America? I'll leave that to you to find out.

But what I really liked about The Incredible Hulk is not the action sequences, nor the references mentioned made. It was the central love story between Bruce Banner and Betty Ross. In Lee Ang's version, we don't see much of the romance between Bana and Connelly because the story didn't really call for it, save for a rescue scene, and at a juncture where the Hulk was stopped in his tracks by his lady love. And that was precisely the winner for me. The Hulk, for all his power and unstoppable rage, could be brought under control by his lady love, and that was used to great effect here. Beneath the green invulnerability lies the heart of a mild-mannered man who yearns to be with the love of his life, but unfortunately cannot due to the curse that Fate had brought upon him. Both Norton and Tyler managed to bring out this chemistry of lovers torn apart, one who can only admire the other from afar, and the other finally never wanting to let go of someone who had disappered from her life for her own protection. And ths version of Betty does sport a bit of a temper and feisty too, and is not really your classic damsel in distress.

Granted that most supporting characters were rather one-dimensional, The Incredible Hulk somehow managed to straddle between its intense whack-all-destroy-all moments, and tender ones when the lovers are left alone to their own devices. As with the Marvel movies to date, the doors are left wide opened for follow ups and team-ups, and here there are no less than three avenues where the next story could develop further from, and sowed the seed for other movie franchises to be developed too. It drained a little bit from the cerebral department in order to amplify the romance, and let the action go into overdrive. Hulk Smash indeed, this time likely to make a huge dent at the summer box office, for fans and non-fans alike to be won over, just like how Iron Man did.

P.S. btw when a few bars from the theme of the television series was played, I know we have a winner here!

HULK SMASH!

One for the Arsenal Fans!

Was waiting for the Hulk movie and sitting through the usual blah commercials, until this one totally blew me away!

The ad follows the fortunes of an unknown teenager who is plucked from a youth team game by Arsene Wenger and ends up starring for Arsenal and Holland

I was grinning ear to ear thereafter :-)

Local Filmmakers Rejoice Again!

Oh well, it's one of those work days where I get bogged down and can't go party at the Singapore Film Commission's (SFC) 10th Anniversary bash.

But personal grouses aside, the big news coming out of the decade old milestone, is this announcement reported by ChannelNewsAsia - There's gonna be a new S$250,000 fund by the SFC to nurture young filmmakers, and that will also include having a marketing component to promote the film both at home and overseas. PLUS a guaranteed screening in local theatres, which to date I believe no other local film funding programme has come up with.

As the report puts it,

The Singapore Film Commission hopes to change that by providing up to S$250,000 in production budget. An additional 10 percent or up to S$20,000 will also be given to help first-time directors reach out to local audiences.

What makes this scheme different is that films will get guaranteed screening at cinemas, something new directors have had difficulty achieving.

Cinema operator and distributor Golden Village has also been roped in to screen the finished film on the big screen. The commission will also negotiate with overseas distributors to take the movie overseas.

The same scheme also has a component where the filmmakers may get a cut of revenues once the film has recouped its investments.

You can read the full details of the report here and although the official SFC website doesn't carry the report nor has details of the scheme at the moment, do keep tabs on it as I believe the nuts and bolts of the scheme should be released soon.

Do I hear applause from budding filmmakers?

WALL•E, EVE and Me

WALL•E, stop staring at EVE! And EVE, stop staring at my err... nevermind!

Robotic pals I look forward to spending some time with, only that the distributors here have decided to release this at the end of August. We must be doing something wrong for Pixar movies like Ratatouille and Cars to open here so way after their respective North American release.

And then it dawned upon me after the picture was taken, that I was sitting on cardboard. Some very strong cardboard indeed, to take the weight of heavy metal (WALL•E weighs a ton *ahem*) and myself.

Shaolin Girl (Shôrin Shôjo / 少林少女)

My Kungfu Lover

Ever since the success of Stephen Chow's Shaollin Soccer in 2001, he's been asked time and again whether a sequel was in the works. There still isn't, but he sort of franchised the idea out to the Japanese and served as executive producer, so the outcome of the deal, was Shaolin Girl.

However, the net of it all is that while the intent for a quasi-sequel is there, having the Japanese play characters experts in the classic Chinese form of martial arts might seem a little wrong, just like how the hue and cry came about with Chinese characters portraying Japanese geishas. But if the source in contention was treated with respect, I guess there would be no qualms moving forward, though with the way things were treated here, you would've pondered whether it was done in jest, or in mockery.

For instance, the numerous Bruce Lee homage. Yes, we all know about all things yellow, so it's a no brainer here. But to have a lookalike come out as a villain, dressed in a white singlet, black pants and emulating Lee on the nunchuks, was a tad below the belt, especially the way he was disgracefully dispatched. A friend of mine said it was perhaps a kick in the face toward all the imitations and wannabes, but I'd like to think otherwise. The finale look straight out of Game of Death where our alpha-female do battle floor to floor encountering various martial arts masters, but come to think of it, they were dispatched with incredible ease. And don't get me started on the corridor of mirrors too, which served no purpose other than to show that the filmmakers can.

Lead actress Kou Shibasaki (from Crying Out Love In The Center of the World) in the titular role looks good and cute for the part in order to draw in the crowds, and granted she has no martial arts background (ala new female warrior Jeeja Yanin in Chocolate) she makes up for it with artificially choreographed grace that made her a little believable. What's not believable, was her ability to speak Chinese, and the Shaolin monks as well, because they are clearly Japanese, but had to pass off as experts in the language, which came off as unbearable and laughable.

You might think that director Katsuyuki Motohiro, with his Bayside Shakedown pedigree, would be deft at handling stories with multiple subplots. However, Shaolin Girl bitten off more than it could chew, and couldn't decide what it wanted to be. On one hand, it wanted to spread the love for Kung Fu, or specifically, the Shaolin brand of fist-fighting. On the other, it had to reflect on its supposed predecessor and fuse in a sport different from soccer (here it's Lacrosse). And it wanted to weave kung fu into the game, only to hold back to prevent itself from being a clone. So while you get a sport, there isn't much copycat kung-fu styles and stances, until the end credit roll when it became obvious.

Shaolin Girl Rin Sakurazara was sent as a kid by her grandfather to China's famed Shaolin school of martial arts to learn to curb and control her wealth of potential, promised power. What this power was, nobody knew, except that everyone knew she had to be protected from the villains lest she gets tempted to go to the Dark Side (yes, so very Star Wars). But she returns upon completion of her training to revive her grandfather's dojo, and does so in quite an impetuous headstrong manner, that she has a few lessons to learn herself, such as humility, camaraderie and teamwork, before she can impart those martial arts lessons.

However, despite all that talk about teaming, it still boiled down to a one-woman whackfest for the last act. If you're looking for some serious fighting, then the first two acts of the movie will bore as you only get teases spruced very much by special effects, some bits too, especially those involving Lacrosse, got too repetitive. Kitty Zhang, Chow's new muse from CJ7, ends up in this movie too to provide some lesbian undertones (ok, so I chose to read it that way, but think about it). and although she has a meatier role here as a naive do-gooder, the role still boiled down to a flower vase in cheongsam.

And if you're patient and were waiting to be rewarded with some proper combat for the finale, be prepared to be disappointed too. For all the talk about her prowess, you'll laugh at what Rin pulled off. Not that it's a comedy and you're supposed to chuckle, but you're laughing at its delivery instead, for all the wrong reasons. Never have I seen something that hokey, and anti-climatic as well. Not only that, the fights were unimaginative and, horrors, boring too, while the villains were all reduced to mindless goons ala Crazy88 style, with some tendencies to caress man boobs, and totally unmenacing, with lead villains having zero motivation other than to desire to fight. I nearly fell off my seat when it ventured close to The Promise territory with its take on the tykes.

Even supporting appearances by characters from Shaolin Soccer couldn't save the day, and became ridiculous caricatures of themselves. Perhaps what could rescue Shaolin Girl, was a cameo by Chow who probably might have upped the credibility of this flick, but alas, knowing that it would stink, he rightfully kept his distance. And so should you, unless you're a fan of either Kitty Zhang or Kou Shibasaki, then you can lap up all the close-up shots.

Sarkar Raj

Bollywood Royalty

"To kill is a crime, but to kill at the right time is politics."

Sarkar Raj is the sequel to the 2005 movie Sarkar by Ram Gopal Varma, which is said to be the Indian equivalent of The Godfather starring megastar Amitabh Bachchan in the titular role where a gangster gets elected to political power. You don't really need to watch Sarkar in order to enjoy Sarkar Raj, as characters get introduced fairly quickly, and their motivations spelt out clearly on the surface. Necessary links to the original were presented in flashbacks, while the story here takes off with new challenges that present themselves to the characters whom you can get chummy with in a jiffy.

There were a few things I was amazed with regarding the movie. For starters, to a relative Bollywood newbie like myself, this movie will debunk all notions that Indian movies have to come default with song and dance. There is absolutely no forced musical sequences in the movie, perhaps only the the Govindar theme song which gets repeated play. Next, the richness of colours I am used to when watching movies from the Indian continent gets replaced by a very strained palette, with quite a gritty look that aligns itself with its subject matter. And the shaky camera technique invades the industry too, though there was adequate contrast provided in its camera styles to reflect the innate characteristics of the leads - for a seasoned gangster who has mellowed and found calm, the camera is measured and still to reflect the old ginger's state of mind, whereas when following his heir apparent, it's shaky-cam for the most parts to accentuate his cock-sure impatient nature beneath a facade of confidence.

Going by the loud chuckles of a predominantly Indian audience I was with, there were certainly some nuances that went unappreciated by myself because my lack of knowledge was likely to have not allowed me into some of those jokes, though there were times I could identify with the story's slight mocking of the state of Indian politics, and with the lack of clear direction amongst the chief villains as well, which played for stifled laughs.

Sarkar Raj opens with Aishwarya Rai's Anita Rajan, the daughter of an industrialist in England who wishes to build a power plant in Subhash Nagare's (Amitabh Bachchan) controlled state. Celebrating his birthday, Subhash takes opportunity to signal that his son Shankar Nagare (played by real life son Abhishek Bachchan) has arrived on the big political arena, and is likely to take a more active role in decision making. This shows when he quietly backs and puts faith in his son's pursuit in having the power plant located in their territory, despite having to displace 40,000 people in the short term. Like all politicians with good intent, they're looking toward the long term goals of providing basic electrical infrastructure to their people, but as with all things, there are bound to be opposition to decisions by the incumbent.

And that's just the tip of the iceberg, as in slightly more than 2 hours, we're bombarded with political battles made with strategic moves akin to a game of chess, only that the players involved are more than two across a wooden board. There are outright opponents in your face, but the deadlier ones are always those who remain in the shadows, and are difficult to pin down. Gentlemanly campaigning does not suffice, as tricks from the illegitimate book of tactics get drawn out, to consequences that will spiral everyone down the road of violence begetting more violence.

While Amitabh clearly is the head of the household here, just when you thought he had taken a backseat in his role in the sequel, he jumps right back into the driving seat with a vengeance, and it's always interesting to witness the charismatic actor in action. Son Abhishek holds his own against his father's imposing figure, and the both of them as on-screen father-son brings about a sense of realism and naturalness to their characters' relationship, as the son whom the father can trust, and as the father whom the son could rely on for support. Rounding up the Bollywood royalty here is the first post marriage pairing of Abhishek and wife Aishwarya Rai, though Rai's character happens to be somewhat sidelined to a few appearances with plenty of tear duct activation, and doesn't really forward the plot much. But should there be another sequel, then Rai's character is already primed for a meatier role then.

Sarkar Raj has enough story elements to keep you engaged throughout as the characters make all attempts to outplay, outwit and outlast one another. Basic greed of man and being unappreciated (then growing feet too big for their shoes) usually are reasons enough for one to turn against another, but the reminder that goes out is to never rub another man's rhubarb, especially when it belongs to someone with political clout, powerful base support, and well, is a top gangster with no qualms of exacting punishment without remorse.

It makes me want to hunt down the DVD for the first installment already, to see how the Nagares got to consolidate their power, and how certain outcomes mentioned here were played out earlier. Definitely a recommended crime and political thriller!

Phoonk

Ram Gopal Varma’s latest movie Sarkar Raj, starring the Bachchans - Amitabh, Abhishek and Aishwarya Rai, is making its premiere this week. Come August however, he has another movie called Phoonk, which at first glance of the trailer, looks like something that M Night Shayamalan would get involved in. It’s touted as A Black Magic Story with the tagline “It’s superstition till it happens to you”.

Check out the trailer:

Shine a Light

Scorsese and the Stones

The Rolling Stones was here for a concert not too long ago, but since tickets were priced way out of my league, there was no way I could have seen them in action live unless I opted for the cheapest of the lot and sat well away from the stage. So I got to thank Martin Scorsese for having design and capture some definitive moments from a Rolling Stones performance, and share that stage magic the quartet provide when they're at their element, on a celluloid screen, captured for posterity.

Make no mistake, the entire movie is just like being there at a Rolling Stones concert, only that you'll have to ensure the cinema hall has great sound system installed, and you can't actually smell the sweat the rockers exude, even though you get to go really up close and personal during their performance, something which even the standing-only front row pit will not allow. You can even throw your hands up in the air only to irk those seated behind you, unless they and everyone else are game enough to turn the sedate cinema atmosphere into a party one. So this review (if I can call it one) largely depends on whether you're a Stones fan to appreciate, or for non-fans to want to give them a go, to kick back, relax (if you can) or just soak in the rollickingly wild atmosphere and immerse yourself into a Rolling Stones experience.

More than 20 songs were performed (if my mental counter serves me right), and for a Rolling Stones fan, you'll likely be satisfied them all for the price that you fork out. For a simple fleeting fan like me, it's an eye (ear?) opener to a lot more of their music, as well as an opportunity to watch them in action on the cheap. The first 10 minutes or so was the setup, with Scorsese worrying and fussing over how to film the Stones in action, and to want to have their set of songs as early as possible so that he could plan certain shots. But of course Mick Jagger and the gang got other ideas, as they flit from performance to performance during their "A Bigger Bang" tour, only to connect physically with Scorsese when they're at the designated performance stop at the Beacon theatre for the Clinton Foundation - where you'll get to see how big a fan Bill and Hillary are, together with their 30 strong entourage.

Interspersed throughout the concert performance are plenty of vignettes culled from past interviews spanning from the 60s, which will bring on some laughter as you watch them with perfect hindsight. You will get to see how youthful all of them looked when they first started out, and be amazed at their longevity in this business where bands come and go after making it to the top, if at all. Despite being grand-daddies, Mick Jagger, Keith Richards, Ronnie Wood and Charlie Watts still look in great physical condition to be touring and strutting their stuff, dishing out high energy, high performance concerts, with Watts even cheekily feinting tiredness at a point. In fact, none of them thought earnestly thought, back in their youths, that they will sustain their popularity, or would have reasons for it, except perhaps Jagger himself who jested that he had dreamt about rocking the stage into his 60s.

Shine a Light doesn't break any new cinematic ground, even though it has cameras almost everywhere in a concert hall to capture every aspect and angle of the performing stage. In fact, despite Scorsese making appearances in front of the camera, his work behind it, with all due respect, could be replaced with any other director, and the outcome would probably be more or less the same, only because of the fact that it is a Rolling Stones concert with the band holding court from start to end. Would have been more of a blast to be able to see this in the IMAX version though.

Black Book (Zwartboek)

Officers in Action

I guess the most obvious comparison this movie will go up against, is Lee Ang's Lust, Caution. Both are set during WWII in lands under Axis power occupation, and both involve using the adage of Generals having to stumble over the lure of beauties. This strategy is quite basic in fact and execution, and both movies involve having an ingenue infiltrate their enemy's territory by getting up close and very personal with the respective officers in command, taking a little more than the spreading of limbs to pander to the lusts of men. Even though I had enjoyed Lust, Caution, I would have to say that Black Book notches a rung above it, simply because of it more superior production values, and a storyline a tad more complex and intriguing, that makes the Lee Ang movie look like a walk in the park.

Granted that Lust, Caution involves a story on a more intimate level between two lovers, coupled with the more explicit and widely talked about sexual gymnastics between the leads, Black Book has a more end-to-end feel about wartime espionage in general, with various elements like intelligence gathering, gung-ho raids, assassination and capture, tactics associated these days with terrorist elements and the much used association with freedom fighters all rolled into one coherent story, and keeps you guessing almost all the way with its spy vs spy plotting and counterplotting, double, triple timing and the poisoning of minds. For its ability to do just that, this is one WWII espionage movie I'll be recommending for quite a while.

Set in 1944 Netherlands near the end of WWII, we see how Rachel Stein (Carice van Houten), a Jew, had to take refuge on the move to avoid capture by the Nazis. Being reunited with her family in their flight from Holland, their escape boat got ambushed by enemy soldiers, and needless to say who had survived the ordeal. Using a new look and new identity as Ellis de Vries, she joins the resistance led by Gerben Kuipers (Derek de Lint) and Hans Akkermans (Thom Hoffman), before being given an opportunity to perform missions more dangerous than being a flower vase in their operations, having demonstrated that she has the intelligence to pull off something more than just sit and smile.

And soon she's sent packing to the regional Gestapo HQ where she has to seduce her mark Ludwig Muntze (Sebastian Koch). Yes, Lust, Caution style all over again, minus the gymnastics, but in Paul Verhoeven style, if you don't get gratuitous violence, you'll get gratuitous nudity. But this movie is not just about how satisfying the sex was for the enemy in order to let slip information that can be used by the resistance. Hell no, it goes more into the questionable motives of all, and I mean all, characters invovled. As she was advised early in the story, these are dangerous times to be trusting anyone, and with that ringing in our minds, we too begin to mistrust just about everyone else in the movie, except for of course our heroine.

What I particularly enjoyed, is just how all this lack of trust permeates amongst everyone, even amongst the Resistance, and more so amongst fellow German officers who make side deals and go for personal material gains to satisfy their greed. It's spy vs spy not only amongst the rival groups, but amongst their factions as well, that makes your head go in a dizzy trying to figure things out and ponder about everyone's loyalties. That mental exercise of drawing you into the story rather than to sit idly and watching things as they transpire on screen, makes Black Book a certain winner.

And with these flip-flopping loyalties come the demand from the actors to pull them off. Carice van Houten can give Tang Wei a run for her money, especially when Carice seems more like the tough-as-nails cookie who isn't the demure damsel in distress. She has a lot more spunk in her and does a whole lot more, and if I had to choose between who's the better spy amongst the two, I'd give Carice's Ellis my vote hands down. Sebastian Koch who plays her mark Muntze however, doesn't come across as menacing or dangerous enough though, while Thom Hoffman shone through as the roguish looking resistance fighter who's always first to volunteer for any firefight.

Black Book was released in 2006, which left me wondering why it took so long to arrive on our shores. I had the opportunity to watch it during last year's Hong Kong International Film Festival, but due to scheduling conflicts, had to give the ticket up. So don't waste anymore time in getting to watch this on the big screen at The Picturehouse, which is already into its second week run. Well paced, excellent story and highly engaging, if you don't care much for the Panda (which is by the way an excellent crowd pleaser in its own right), then please open the Black Book and give it a go. Highly recommended.

Kung Fu Panda

Feel The Thunder!

First, there's a nice little scene that wraps the whole movie after the end credits roll. So sit still will ya? And it's not just text on black, but really nicely done animated/still panels to feast your eyes on. And come early too to watch an adaptation of the Dreamworks fishing-boy logo.

It seems like this is a movie made for all the fanboys out there, regardless of what their obsessions are about. You know, being one who idolizes certain somebodies or some things, and given a day that Fate decides to throw you a curveball and give you that one opportunity to come up close and personal to meet and greet your idol in the flesh, or be thrown into the exact situation that you've always been dreaming about. What would you do, and would you go weak in the knees or be overcome with disbelief that you're actually, finally, realizing your dream?

Panda Po (voiced by comedian Jack Black) epitomizes exactly that in Kung Fu Panda, and that struck a chord in me and with many in the audience as well. And for that, no matter how cliche the story would become, it had already done its deal and made the connection. It is no wonder it is rated G here, and I expect that the holiday season would allow cash registers to ring, for animation fans with the different styles utilized to tell the story (you must be on time and not miss the opening sequence), for kung fu fans to get a kick out of classic kung fu moves personified in their animal forms - Tigress (Angelina Jolie), Crane (David Cross), Mantis (Seth Rogen), Viper (Lucy Liu) and Monkey (Jackie Chan) - collectively known as the Fearsome/Fab Five, and for the kids, given the obvious reason that hey, the protagonist is a cuddly bear. The marketing department, if not already done, should stock up on the plush toys, not only of the hero, but the supporting casts as well. And make their younger forms available too, for they will sell.

Story-wise, I can't help but to note its tip of its hat towards the Jackie Chan martial arts movie of the past like Snake in Eagle's Shadow, Eagle Shadow Fist, etc. The formula which follows a misfit with weak or zero martial arts background having to undergo harsh training under a kung fu master, finally realizing his true calling in time to defeat the villain everybody fears. With the Jackie Chan movies, the demise of loved one always trigger off a chain reaction, but since this is G-rated, you won't have the pleasure of having blood spilled, but with so many splatter-type movies in recent times, I have to admit this was refreshing, and even having animated animals that talked, didn't irk me as they are just so lovable here, in their own right.

It's an excellent and very even mix of comedy and drama, even though they are quite cliche at times if you grew up with the formula, but I thought that was the point. While the trailers might have given away some stuff, there are still lots more available which are hidden up the sleeves, and some minor word replacement such as "suck" to "stink", though you would likely be able to stay a step ahead throughout and even guess whatever secrets the movie have, actually are. For its stylistic training sequences, they became a throwback and a link to the forementioned Jackie Chan movies. The fight choreography isn't done shoddily too with its designing of fights true to the characters' forms, and integrating them all in a manner rarely seen before. Since it's an animated flick, it was able to, and probably ramped up whatever's possible in the kung fu fantasy realm, to give us everything from rooftop flights to an incredible prison break. It didn't waste any effort in tapping from the wealth of kung fu material, what with the various ching-chong names of deadly moves, secret manuals, teacher-student feuds, and the best part of it all? Humour being quite unexpectedly well placed, with more hits than misses to break out into a hearty laugh by the panda antics.

For all its A-list voice actors in the movie, with the likes of Michael Clarke Duncan, Dan Fogler, Ian McShane and those who provide voices to the 5 key animals, Kung Fu Panda is clearly a Jack Black and Dustin Hoffman vehicle. The bantering between the two is priceless as the latter plays Sifu (duh) the master teacher, a highly-strung and serious character who has a past they are shameful about (don't they all). And as his own teacher Oogway (read: Wu Gui, aka tortoise, voiced by Randall Duk Kim) advises, herein lies an opportunity for Sifu to rediscover himself when training possibly the next-big-thing (pardon the pun) Po, whom he foretold as the mythical Dragon Warrior. So begins the forging of friendship, long lasting bonds and trust between the two, even though they got off the wrong footing. And you can probably feel for Po, because for a fanboy type, having your idols scoff at you at first opportunity, is actually quite painful.

As a kids movie, there's almost always a message to take away. Here, it's a reminder to believe in oneself, which I guess is a universal theme to instill some confidence in the young ones. You might not look the best, nor are the best amongst your peers, but so long as you have that attitude to want to learn, that should put you in good steed. As a summer blockbuster movie, it's fun, thoroughly entertaining, and doesn't try to be too smart. It's likely to be a crowd pleaser across all age demographics, and an ultimate popcorn fare, so long as you manage to keep the popcorn away from the thieving hands of the panda. And with this release beating local film Kung Fu Gecko to the screens, I wonder what's the status currently on the Nickson Fong project. But for now, Kung Fu Panda has earned its keeps, and comes highly recommended!

More Magic

If you've read my earlier report here, I've made mention that the major trade magazines didn't think much about Eric Khoo's film in Cannes Competition, My Magic.

However, there has been word that the audience in general loved the movie, and from the reports that follow, make the standing ovation seemed a lot more justifiable. I've said it before I can't wait to watch this film, but as WiseKwai mentions from this article, Singaporeans don't get to see it until early 2009! What?! *FAINT* C'mon Eric, don't keep us in suspense!

In the same article it mentioned that lead actor and magician Bosco Francis had taken ill and is hospitalized. I hope it's nothing serious, and here's wishing him the best of health and a speedy recovery! (and I'm kicking myself in the butt for my slackness in not having an interview with him before he headed to Cannes!)

Anyway, fellow reader iain M did some fabulous online sleuthing and lingual-gymnastics to share with us the various reports about My Magic, and really, tell me your interest isn't piqued? Here's what iain M has to tell us:

***
A check on the Internet revealed there have been quite a few reviews on My Magic and very positive ones too. I used google's translation feature ... and the results are in fractured and confusing English, but I don't think it takes a genius to figure out what they say:
There are many more from Portugal, Italy ...
I think the European sensibility is very different from those of American publications like Variety.

Evene, a French cultural website which belongs to the highly respected Le Figaro group of newspapers, gave the film 5 stars
"In only 1:15, Khoo manages what many filmmakers try in two hours: a disturbing lesson in cinema, which spell with elegance limits known. "

Arte Tv, a Franco-German TV network loved the movie and gave it four stars:
"The Singapore Eric Khoo mixture prestidigitation and melodrama to describe the painful rebirth of a man."
.. "his record of brevity, which remontrerait (the english meaning, I think is reprimand) by many, is above all a miracle of cinema''

From newspaper the French Journal on Sunday which gave it four stars
"The sacrifice of the father, who accepts unbearable blows, is equally moving. The reunion between father and son , gently brought, are up tears in their eyes. All this in front of a camera that knows when to minimalist to highlight the characters. "

From The Manifesto newspaper in Italy
Fairytale 'neorealist' and metaphorical, but dry and glossy as a history of Kaurismaki, My Magic Eric Khoo (Singapore). (...) A great film shot in nine days, which leaves the taste in the mouth of the fragments of glass gradually ingurgitati.

From Italy's dvddrama.com
Behind its small air ARTEMIS, My Magic cache density unexpected. Through an alocholic whose life is about more than than drinking and vomit,
Eric Khoo borrows the path of redemption and presents a complex character who, under his belly bedonnant and his extraordinary phyical mass conceals a fragility related to mourning and love .....The film tells a story of father as we had never seen and the magic of cinema, combined talents of the actor conjurer form a fine ensemble whose originality is matched only by its goodness.

From www.cannes.maville.com
Filmed in nine days with two actors and a half, and a budget of misery, My Magic is a miniature almost miraculous tale about the love of a father and son. You get out on a cloud, with renewed faith in cinema. If the industry is still capable of producing - even at this end of the world - this kind of film, it proves that humanity is not quite doomed to decline. ...

First Glimpse at The Days (歲月)

On the radar is local filmmaker Boi Kwong's debut feature film The Days, and looking at the teaser trailer just hot off the oven, it's nuff said already. September can't come anytime sooner!

[Italian Film Festival Opening Night] La Stella Che Non C'è / The Missing Star

Who Goes There?

This evening marks the 20th anniversary of the Italian Film Festival in Singapore, which in the last 5 years, have been an annual event. Gracing the occasion of course is the Italian Ambassador to Singapore, as well as Mr Kenneth Tan, the chairman of the Singapore Film Society, who quipped that this was the first time that he had addressed an audience at the Grand Cathay stage (for the uninitiated, he was the MD of another major competing cinema chain Golden Village). It's quite amazing to see, of all the various film festivals organized in Singapore that I've attended thus far, that it was a sell-out crowd at the Grand Cathay (which could seat more than 600) for the opening night, and I guess this speaks volumes of the quality of the programming, as well as the large Italian community we have based here as well.

The opening film for this year's festival is an Italian-Singapore co-production shot predominantly in China. Being the first of such a collaboration, if the intent of such festivals is for a cultural exchange, then this movie is apt in many ways. As already mentioned, it's a joint production, but upping the ante was to set it not in any grounds belonging to the collaborators, thus providing a sort of challenge outside the comfort zone in telling a story that can transcend cultural and location barriers.

Based upon the novel The Dismissal by Ermanno Rea, in essence the story's about the slow friendship that develops between an Italian maintenance technician Vincenzo Buonavolonta (Sergio Castellitto, who can be seen as the villainous King in Prince Caspian, and was the lead in Bella Martha) and a Chinese translator Liu Hua (Ling Tai). They set off actually on the wrong foot, with the former chastising the latter for her inaccurate, and slow translations of what he wanted to tell a Chinese delegate who had bought equipment that is faulty. Vincenzo wants to do the right thing, which is rare in these days, and that is to tell the prospective buyers upfront the faults as well as the intricacies that their purchase would bring, and given that he's disturbed by the fact that the deal still went ahead, he takes time off to craft a component that would set things right.

But that also means to travel to China in search of the elusive machine, which proves to be well hidden, and seemingly having vanished without a trace. With the initial reluctant help of Liu Hua, they set off in this treasure hunt from city to city, which brings us to lesser seen sights of China, away from the Beijings and the Shanghais, to cities like Wuhan, with industrial like backdrops such as steel mills and nuclear plants with their smoke stacks dotting the scenery. The mighty Yangtze River also makes an appearance. Along the way, the usual trappings of such travelogue styled movies come into play, such as the learning of culture, ideals, food, and basically, the understanding that the world is without strangers, if only one makes an effort to try and connect. While hints of some romance between the two leads are suggested, it rarely made itself to be a moot point, until perhaps late in the movie (hey, opposites attract, no?)

Besides the major industrial plants and factories, We get to see various cottage industry, like seamstresses working in sweat shop like environments, and I believe Cotton too, along with noodle making. As a film, it provided me the travelling opportunity without leaving my seat to observe, and credit to it for not passing judgement from a moral high ground on exploitation and the likes. And kudos too for the movie to engage in dialogue based on the characters' native tongues, rather than (and I shall not name names here) some other movie / cross-cultural collaborations where dialogue is forced-dubbed and came off unnatural, and truly irksome. Some might deem the supporting characters to be too kind too, always opening their arms and doors to a foreigner, but I would like to imagine that maybe in the more rural areas, people in general tend to be more sincere, friendly and basically not get caught up in the rat race to trample on others, or be trampled upon.

If there's a message to take away from the movie, besides the fact that I mentioned that the world is without strangers, is a reminder to myself that some of the stuff I deem important, may not be so to others. Importance is something one places upon something else, and its basis really depends on how we define the boundaries we set. So given our finite lifetime, I think I should lighten up a bit more, live and let live, and sometimes bask in the illusion that ignorance could be bliss.

Oh, and to brush up on my smattering of Italian so that I could do a greeting properly. Ciao!


The Italian Film Festival runs from today until 15 June, and you can click here for more details! The Missing Star will screen again at The Picturehouse on Sunday 8 June at 9.30pm.

Kwa Giu - The New Documentary from Hosaywood!

OK, so we all probably rolled our eyes at the tennis scoreline of 7-3 where the lions were spanked hard on home ground at the Kallang National Stadium. But you know what? Jacen from Hosaywood has another story to tell:

Experience the Kallang Roar from the eyes of 55,000 fans who packed the National Stadium at the AFC Cup Final on 31 Jan 2007.

Shot with roving camcorders, Kwa Giu (Watch Football) takes you right into the heart of the legendary atmosphere and spirit of the Kallang Roar, one which will be lost forever when the National Stadium is demolished.

Coming soon!

Here's the link to the documentary site on Hosaywood, with the trailer attached.
http://hosaywood.com/2008/06/01/kwa-giu-watch-football-trailer

If you've been a fan of his zany brand of comedies like Tak Giu and Zo Gang, then you probably wouldn't want to give this a miss when it's released, albeit I don't think it's a comedy. Anyway, stay tuned!

[DVD] Blue Smoke (2007)

Funny Fire Fight

A girl having fire for a fetish, whose lovers meet grizzly deaths by flame. A new beau (and instant one at that) displaying stalker like tendencies, and a mysterious arsonist who isn't so mysterious after all given the very cliche character development. I'm not too aware of the popularity of Nora Roberts' books, but if it's any indication, it's likely to go down the path of how Sidney Sheldon's novels have been adapted for the small screen - predictable plots, and plenty of saccharine sweet type of PG romance to fill your weekend matinee slot.

You can read my review of Blue Smoke at movieXclusive.com by clicking on the logo below.

Michelangelo Antonioni Retrospective

Just when you thought the summer season has crowded out the multiplex with week-in-and-week-out of the same old yarn from the Hollywood blockbusters, trust the National Museum, and co-presenter the Italian Cultural Institute Singapore (btw, the Italian Film Festival is on from 4 to 15 June), to schedule a retrospect of films from Italian master Michelangelo Antonioni to provide a break from the monotonous razzle dazzle.

For the uninitiated like me, it's excellent opportunity to get up close and personal with his films on the big screen, and I believe it'll be a treat for many as well since a number of films for the retrospect is on 35mm.

Here's the schedule! Time to block book your calendar!
All films by Michelangelo Antonioni unless otherwise stated.

Thursday 19 June
7.30 pm Blowup
1966 / UK, Italy / 110 min / 35 mm / NC16

Friday 20 June
7.30 pm Zabriskie Point
1970 / Italy / 110 min / 35 mm / R21

Saturday 21 June (Free Admission. Submit email registration to chua_li_koon@nhb.gov.sg)
11.00 am Lo Sguardo Di Michelangelo / The Gaze of Michelangelo
2004 / Italy / 18 min / Beta / PG

Con Michelangelo
Dir: Enrica Antonioni
2005 / Italy / 58 min / Beta / PG

To Make a Film is to be Alive / Fare un film per me è vivere
Dir: Enrica Antonioni
1995 / Italy / 52 min / Beta / PG

(Total films duration: 128 min)

4.30 pm Short Films by Michelangelo Antonioni (1943 – 1953)
- People of the Po / Gente del Po
- Sanitation Department / N.U. - Nettezza Urbana
- Lies of Love / L'amorosa Menzogna
- Superstition / Superstizione
- Seven Reeds, One Suit / Sette Canne, Un Vestito
- The Villa of Monsters / La Villa Dei Mostri
- Virtigine
- Suicide Attempt / Tentato Suicidio
(Total duration: 81 min)

7.00 pm China / Chung Kuo – Cina
1972 / Italy / 217 min / 35 mm / Rating TBC
(With two five-minute intermissions)

Sunday 22 June
11.00 am Story of a Love Affair / Cronaca di un Amore
1950 / Italy / 110 min / 35 mm / Rating TBC

2.00 pm The Vanquished / I Vinti
1952 / Italy / 110 min / 35 mm / Rating TBC

4.30 pm The Lady Without Camelias / La Signora Senza Camelie
1953 / Italy / 105 min / 35 mm / Rating TBC

Thursday 26 June
7.30 pm The Adventure / L’avventura
1960 / Italy / 140 min / 35 mm / Rating TBC

Friday 27 June
7.30 pm The Night / La Notte
1961 / Italy / 122 min / 35 mm / Rating TBC

Saturday 28 June
11.00 am The Girlfriends / Le Amiche
1955 / Italy / 105 min / 35 mm / Rating TBC

4.30 pm The Outcry / Il Grido
1957 / Italy / 105 min / 35 mm / Rating TBC

7.30 pm The Eclipse / L'eclisse
1962 / Italy / 125 min / 35 mm / Rating TBC

Sunday 29 June
11.00 am Short Films by Michelangelo Antonioni (1978 – 1997)
- Return to Lisca Bianca / Ritorno a Lisca Bianca
- Fotoromanza
- Kumbha Mela
- Roma '90
- Volcanoes and Carnival / Noto Mandorli Vulcano Stromboli Carnevale
- Sicilia
Rating TBC
(Total duration: 69 min)

2.00 pm The Red Desert / Il Deserto Rosso
1964 / Italy / 120 min / 35 mm / Rating TBC

4.30 pm Visions of Reality
A Roundtable Discussion on the Cinema of Michelangelo Antonioni
(Free Admission. Submit email registration to chua_li_koon@nhb.gov.sg)

7.30 pm The Passenger / Professione: Reporter
1972 / Italy, Spain, France / 120 min / 35 mm / Rating TBC
Shown together with:
The Last Sequence of The Passenger / L'ultima Sequenza Di Professione: Reporter
Dir: André S. Labarthe
1974 / France, Italy / 12 min / Beta / Rating TBC

Thursday 3 July
7.30 pm The Mystery of Oberwald / Il mistero di Oberwald
1981 / Italy / 123 min / 35 mm / Rating TBC

Friday 4 July
7.30 pm Identification of a Woman / Identificazione Di Una Donna
1982 / Italy / 128 min / 35 mm / Rating TBC

Saturday 5 July (Free Admission. Submit email registration to chua_li_koon@nhb.gov.sg)
11.00 am Antonioni Seen by Antonioni / Antonioni Visto Da Antonioni
Dir: Lino Miccichè
1978 / Italy / 28 min / Beta / Rating TBC

Antonioni: The Vision That Changed Cinema / Antonioni, Lo Sguardo Che Cambio' Il Cinema
Dir: Carlo di Carlo
2001 / Italy / 60 min / Beta / Rating TBC
(Total duration: 88 min)

4.30 pm Blowup
1966 / UK, Italy / 110 min / 35 mm / NC16

7.30 pm Beyond the Clouds / Al Di Là Delle Nuvole
Dir: Michelangelo Antonioni with Wim Wenders
1995 / Italy, France, Germany / 109 min / 35 mm / Rating TBC

Sunday 6 July
11.00 am The Adventure / L’avventura
1960 / Italy / 140 min / 35 mm / Rating TBC

2.00 pm The Night / La Notte
1961 / Italy / 122 min / 35 mm / Rating TBC

4.30 pm The Eclipse / L'eclisse
1962 / Italy / 125 min / 35 mm / Rating TBC

Ticketing Information

Tickets are priced at $8.00 per session, with a concession price of $6.40 for students, seniors (aged above 60), NSF, and National Museum Members and Volunteers.

For a limited time, purchase five tickets or more for only $6.00 each. Offer is only available for counter sales and will end 11 June 2008.

Counter Sales
Visitor Services Counter: 10 am – 7.30 pm

Online Booking: www.nationalmuseum.sg

General enquiries: (65) 6332 3659 / (65) 6332 5642

Patrons are advised that a valid identity pass showing proof of age is required for all screenings. Please check www.nationalmuseum.sg for updates on film ratings.

You can also download the booklet with synopses and the schedule here (PDF file).

Holy Poster Glut Again Batman! And Wipe That Milk Moustache!

The poster/banner glut continues with the following:



but the one that takes the cake, and it's not poster/banner related, is this Got Milk ad. Tsk, please let not the Nolan-Bale Batman go down the gutter like how Adam West's campy version did!!


Oh yeah, in other money making news that will probably leave fanboys unfazed (who, me? *blink*), Warner Bros Records will release four different versions of The Dark Knight soundtrack: a standard jewel case CD, a 2 LP set of heavy-weight 180 gram vinyl version, a special edition digipack, and a collector's edition with special artwork to come after release. Sheesh.


But on the brighter side, there's gonna be an animated movie called Batman: Gotham Knight to be released a week before Nolan's The Dark Knight hits the screen, and it is Batman done anime style. You can check out more details at the official website.

And speaking of websites, The Dark Knight's website has finally gotten some meat. So Bat-fans, July can't come any sooner!

[DVD] Three Can Play That Game (2007)

D'uh

Vivica A. Fox starred opposite Will Smith in Independence Day, so when Will Smith branched off with Hitch, Vivica got to do her own thing too, and here comes her Shante Smith dispenses patented advice from her 5 Step Program for any girl to get her man act like a lapdog. A sequel to Two Can Play The Game from 2001, Three Can Play That Game makes you wonder why we bother playing the games we play on people whom we supposedly love to bits. Ain't love complicated?

You can read my review of Three Can Play That Game at movieXclusive.com by clicking on the logo below.