shnit International Short Film Festival Preview

The shnit International shortfilmfestival is into its 9th edition this year, and each edition boasts a carefully curated selection of hundreds of shorts, in competition nationally and internationally, judged by its esteemed panel and audiences around the world. The Singapore leg will take place between 3-7 October, and you can keep up to date with the latest on this micro site here.

The following is but a select few of about 64 shorts you'd come to expect from the Singapore selection:

Flamingo Pride
by Tomer Eshed, Germany, 6:02 (From Shnit Programme Block 07)

An upbeat score opens this short animated film, where a pink flamingo finds it difficult to gel with its GLBT counterparts in one huge rainbow pride event, complete with booming music, and flamboyance all around. He seeks love in the unlikeliest of places, but also gets rejected based on the looks of its exterior alone.

Beneath this story lies the very human trait of judging someone by the very cliche cover of a book, but it is this adage that gets so strongly translated for the screen, boosted by the very photorealistic animation of the animals, and its comedic timing. There's little dialogue here, at least some semblance which you can make out from its deliberate murmurs, that deals with one's existential and identity crisis in the hunt for one's true soulmate.

Now You Know It Anyway (Nu ken je het toch al)
by Schravendeel Bastiaan, Netherlands, 2:38 (From Shnit Programme Block 09)

This very short animated film tells of a young girl's selling of her stories in a flea market, only for her imagination to get the better of her, bringing to life her creations, well at least in her own mind anyway. A showreel of sorts for the director and the team involved, with vibrant colours complementing the solid artwork, with contrasts made for images and objects that spring from the author's mind.

The Voorman Problem
by Mark Gill, United Kingdom, 12:16 (From Shnit Programme Block 05)

Based on an excerpt from the novel "number9dream" by David Mitchell, The Voorman is an engaging mystery thriller involving a Prisons psychiatrist, Dr. Williams (Martin Freeman), engaging in a battle of the wits with a prisoner, the titular Voorman (Tom Hollander), who believes he is a god. Given the task to examine Voorman and determine if he is indeed crazy enough to transfer to an asylum, there's a surprise waiting for Williams as evidence start to point to Voorman really being more than meets the eye.

Well acted by the two men who bring a certain rivalry to the table, with disbelief and disdain, giving way to a neat little revelation toward the end, that makes one wonder if it is indeed the act of a god, or a demon, at play. Would love to see how this could have been developed into a longer film, given the investments in the art department, and plenty of promise yet to be developed fully, making this seem like a calling card to a much larger movie.

Voice Over
by Martin Rosete, Spain, 9:48 (From Shnit Programme Block 01)

Martin Rosete brings forth all the emotions felt before, during and after one's defining moment in life, in very vivid terms interpreted through three short narratives intertwined in different timelines, and scenarios, from an astronaut, a soldier and a sailor, all cusping on life's edge as they battle challenges lying ahead of them, threatening their very existence.

Narrated by Feodor Atkine, each of these different narrative threads is wonderfully shot, with an eye for detail, adopting various creative camera angles that one may feel an overkill for a short film, but in no lesser terms showcasing the filmmaker's ambition to make this film a force to be reckoned with. Combining technical brilliance with an emotional core, the highlight is the portrayal of one's last few minutes struggling with the feeling of inevitable death, before the eventual euphoric release of joy when near impossible objectives are reached. It comes close to perfection in the encapsulation of how that virginal experience revealed much later gets approached, jittery feelings overcome, and conquered. Bliss.

Chambre 69
by Claude Barras, Switzerland, 3:26 (From Shnit Programme Block 08)

Simply put, a stop motion animated short film for adults, given its subject matter involving a man and his blow up doll which he checked into a motel, room 69 no less, for the night. But there's a larger story working here, something that reminded me of Richard Donner's Ladyhawke, where a couple is condemned to live their lives together and yet apart. I am always such a sucker for stop motion, that this invariably charmed my socks off.

It Was My City (Inja Shahreh Man Bood)
by Tina Pakravan, Iran, 8:48 (From Shnit Programme Block 08)

You'd be forgiven if you'd think this had something to do with social ills and challenges faced by a bunch of people, who are seen in phone booths, talking in animated fashion to an unknown person at the other end of the line, with regards to topics involving children, schools, and even fuel. For starters, you may even think that this film deals with the complaints of the callers, trying to get and make their attention known to a third party, in phone booths that looks quite dilapidated. What's more, there seems to be yet another person, probably waiting in line to use the phone, who interrupts at an opportune time.

Then there's where the film shows its brilliance, when the camera pans out to show us the horrors that surround these broken down communication infrastructure, a war zone of sorts, and these suddenly aren't your usual complainers and moaners, but people displaced and affected by fighting, who have to find some means to regroup and reclaim some semblance in their lives. And the landscape gets messier, with the introduction of military personnel and hardware, and the fighting getting closer. One key highlight is the continuous tracking shot from start to end, that captured the horrors of war and the everyday common folk that war actually impacts. Powerful, as it plays on our narrow views of things, before the bigger picture comes into play.

La Huoda
by Victor Carrey, Spain, 10:39 (From Shint Programme Block 02)

It started with a 50 Euro note lying on the sidewalk. You can imagine how one can spin a story around this premise to give it a little more engaging form, which the director Victor Carrey really let his mind run wild in creating little narratives involving vastly different elements, setting the stage for one big narrative to happen when these ideas got strung together in one of the most effective telling of a story experienced in a long while, and a beautifully crafted one as well. The first five minutes had been used to set things up, before the brilliance of a rich imagination started to shine through, delivered by a remarkable song accompanying the visuals drawn from its setup. It shows how sometimes random moments in life are never just as frivolous as first thought, when the big picture is finally shown and taken into consideration.

[THIS Buddhist Festival] Headshot (ฝนตกขึ้นฟ้า / Fon Tok Kuen Fah)

Cornered
Pen-Ek Ratanaruang's critically acclaimed film Headshot may be a surprise selection for this year's edition of THIS Buddhist Film Festival, as this crime noir is drenched in murder and blood, revolving around the life of a cop turned hired gun, if not for one of its more obvious themes dealing with karma, where what goes around will eventually come around, and those who live by the sword would know what eventualities lie ahead in a life that's based on vengeance and hatred. It's not difficult to see why Headshot had garnered some major film awards in Thailand, and may just be Pen-Ek's more accessible film in recent years.

Based on a novel written by Win Lyovarin, Headshot has an interesting if not easily overlooked premise that deals with the corruption of society, applicable not only in Thailand, but may be typical of anywhere around the world, where the rich and powerful often find ways to circumvent social and moral norms. Businessmen and politicians find power through their spheres of influence, where money can buy a man's integrity and honesty, and any resistance swiftly met through the destruction of one's credibility, or in an extreme case, the ending of one's life. And this cannot be more pronounced in the life of Tul (Nopporn Chaiyanam), an honest cop framed for a crime he did not commit, and find it almost therapeutic in seeking revenge by crossing the line and becoming a hitman for a shadow organization meting its own vigilante justice on the corrupt.

But things get complicated when a routine hit turned nightmarish where Tul gets shot in the head, become comatose for months, and wakes up with his literal view of the world turned upside down, metaphoric for the topsy turvy spin his life would now take, possibly trapped in the winds of change he cannot avoid, contemplate, or fix for the better. The cogs are in motion for a life most extraordinary in his seeking of the truth, after we slowly learn how his life has become manipulated by parties taking their own selfish interests, and in a way, feel pity for the character who cannot change the fate he had chosen. And in some ways this also had to do with the women in his life, who come so fleetingly, such as the callgirl Joy (Chanokporn Sayoungkul) and Rin (Cris Horwang), who becomes his pseudo-getaway car driver, but is actually more than meets the eye.

Ratanaruang presented the film in a fractured narrative form, as if to mirror the confused state that Tul is in, becoming the hunter then the prey, hunted by those whose lives he had changed from the hits carried out, with his pursuers adamant in wanting to discover the top of his food chain. It's told in a non-chronological order that segregates the significant portions in Tul's life, from his pre-hitman days to his cop moments, and that of the present where his attempts to lead a monk's life gets threatened by his earlier life of violence that come back to haunt him. And credit to the director for being able to hold your attention despite shifts in timeline presented, being probably more effective when told in this fashion, forcing the audience to adapt with change as Tul spirals toward a finale filled with enough gun battle to excite the casual action seeker.

The camera angles and cinematography by Chankit Chamnivikaipong also deserves mention, for its inventiveness, and vivid bringing out of the mood throughout the film, often dark, and drenched in rain, running parallel to Ratanaruang's dialogues and monologues that accentuates the inner thoughts of the various characters here, caught in their bleak world based on choices they have made, good or bad.


Headshot screens at THIS Buddhist Film Festival on Sun 23 Sep 4.30pm and again on Tue 25 Sep 7.15pm. Tickets are on sale and can be bought from here.

Wolf Children (おおかみこどもの雨と雪 / Okami Kodomo No Ame To Yuki)

Happiness
If you'd ever need to know why 2D animation is still relevant, or why the slew of 3D animated films can't seem to dent and push the former out of fashion, then perhaps Wolf Children encapsulates all the reasons why this is so. There's a lack of charm with the very clinical approach to animated films, especially with loads of images created digitally, and now for the 3D format, and this charm is always ever present in the traditional art form for the big screen. And don't forget that story remains king.

Director Mamoru Hosoda continues on his roll with a brand of animated films that are extremely well received, because not only are they drawn to perfection in anime style, but also his films touches the emotional core on humanity, and this will inevitably move you with his style and delivery of such strong stories, whether written by someone else, as a film adaptation of novels such as The Girl Who Leapt Through Time, or like in Summer Wars and Wolf Children, stem from his own imagination. And what a fantastic reservoir of imagination he's tapping from as well, either telling stories with relevance to a digital age, or as in this case, a fairy tale like allure that is deceptively simple, yet concealing a very strong ode to motherhood.

Yes that's right. For the most parts throughout this film, I thought it also resembled Yoji Yamada's Kabei: Our Mother, in the sense that this film takes on story proportions centered around a mother's unconditional love for her children, and the continuous strive to make ends meet and bring up her children to the best of her ability, inculcating a value system into her young ones. And the episodes the mothers encounter strengthen their resolve and determination, just goes to show the lengths they will go to in ensuring proper upbringing filled with love, care and concern. This simple narrative will undoubtedly move, only if it's done right, which Wolf Children did, complete with a fantastical element which provides a refreshing examination looking in, with a little bit of grotesque morbidity if one cannot look away from.

I dislike to use this analogy, but perhaps it may strike an immediate chord with the current generation. Twilight has progressed and shown the decision Bella made to be with Edward, and in some ways, Wolf Children is like a what if to that scenario had she decided to be with Jacob. Hana (voiced by Aoi Miyazaki) meets up with a tall, handsome stranger in class (Takao Osawa), and before you can say Twilight, they fall in love, and it is revealed that her lover is a Wolfman. Undeterred, they begin a family, and soon Hana gives birth to the titular daughter Yuki and son Ame, before tragedy strikes and the family becomes a dysfunctional one without a father figure.

Fearing that her children may be discovered to be wolf-human hybrids, with a number of scenes showing the challenges she faces such as their tantrums and uncontrollable changes, or the dilemma faced when they fall sick, she decides to uproot and move into the countryside, where life is simpler, neighbours are far away from one another, and there is room to, well, let her young ones roam in the vast grasslands and mountain sides. A new life beckons, and the film begins its homage to all moms having to struggle to bring up their children in unfamiliar surroundings, with little assistance, and plenty of inexperience.

As a storyteller, Mamoru Hosoda excelled in character development, as we journey together with Hana in her upbringing, with the children endearing themselves to you in double quick time. They are adorably designed, drawn and brought to life, whether in their human form, or in animal form. We identify with everyone easily because of the inherent humanity Hosoda gives them, whether or not we are already a mom, or reflect that onto the challenges faced by our own mom's upbringing of ourselves. And both Yuki and Ame, besides their gender, have very contrasting qualities, from young to their teens, a tale told to just about the time where teenage rebellion and the need to forge their own independence take centerstage.

There are plenty of episodes in Wolf Children that covers a spectrum of emotions, from comedy to those that will set heaviness in your heart. The innocence of the children will not get lost on you, and in fact will rub off you, while the pains of growing up will also touch a raw nerve, as Hosoda clearly knows which moments in one's teenage life to translate his story for the screen, bringing relevance the forgetting that the children were in fact more than meets the eye. And the animation is clearly Hosoda's vision in having details balanced with the occasional need for scarcity, which nailed it especially when the narrative calls for some distance either physically, or emotionally, and it's a stylistic choice that's already seen in a number of his films.

Mamoru Hosoda set up his Studio Chizu with this production, and I'm really looking forward to more stories in the coming years. Meanwhile, Wolf Children is a must watch, and a clear favourite for the year. A little pity that it's not opening on more screens, but make your way to the Filmgarde cineplexes as this remains an exclusive to the chain. Meanwhile, I'm going to look back at Hosoda's filmography on DVD/Blu!

The Woman in the Fifth

Rooftop Rendezvous
There are films that pretend to be high art, and The Woman in the Fifth is clearly one of them. It insults your intelligence with its twists, because if a film were to suggest everything had happened in the protagonist's mind, then surely, why bother with this story when you can imagine everything yourself just by looking at the poster and watching the trailer. And surprisingly this is based on a novel written by Douglas Kennedy, so there should be a story at least, unless something went wrong with director Pawel Pawlikowski's adaptation of the screenplay.

A French-British-Polish production, the film boasts the likes of Ethan Hawke and Kristin Scott Thomas, the latter being the titular woman, a widow of a not-so-well read Polish writer. But she appears only about halfway through the film, and we're left to follow Hawke's Tom Ricks, an American English literature professor and writer of only one book, who had journeyed to Paris indefinitely so that he can stalk his estranged wife, and kid. That's because he has a restraining order, and has to keep a distance. He loses all his possessions, and ends up in a motel-bar, where the goodwill of the owner Sezer (Samir Guesmi) meant he could live on credit for the time being.

One hour is spent together with Tom in getting into a routine. He mopes around trying to write, gets frustrated with his neighbour who has bad shared toilet manners, Sezer gets him a job which is a night guard equivalent of sitting in a windowless room screening people entering some premises that is never revealed to be what it is, and in between, he gets to physically romance Scott Thomas' Margit Kardar, who sets certain rules and conditions when and where they can get jiggy with it, and interchanges his muse to Sezer's squeeze Ania (Joanna Kulig) because she's obviously more nubile, and more impressed with his writing credentials than Margit.

But it is this routine that does the film in, because it doesn't bother to lead the story anywhere. If Pawlikowski's objective is to bore, or put something existential onto film, then he succeeded, complete with dreary lines where Margit tells Tom the latter has to experience tragedy in order to write that next big novel. Right, so a translator for her dead husband's literary works suddenly becomes life's guru to a writer, and dispenses plenty of knowledge nuggets to her lover when he visits her periodically for one sole objective.

It's one thing being open ended so as to make the audience work for the pay load, but another if things are kept open ended as a cheat because of the emptiness of the film, leaving it to the audience to guess in any fashion, without clear parameters drawn up because the filmmakers are clueless as to where they want the film to go. No amount of beautiful cinematography can cover up the lack of clarity, and to sugar coat the flimsiness, and silliness of the film, is but a futile effort. While Kristin Scott Thomas and Ethan Hawke put in good performances, ultimately they are done in by their lines, and probably had an exercise on how to brood effectively for the screen.

The twist could have been done in creepy fashion, since it blows open the possibilities just when things were turning rote and stale past the hour mark, but nothing was done to exploit this sudden window of hope. When it happened, it provided a temporary lift, but ultimately did itself in again by going for things that are inexplicable both logically and emotionally, and as mentioned, if everything can be imagined, then why the need to watch this in the very first place? Save your money for something else more worthwhile, as this stinker sinks to the bottom of the pile, not worth another mention unless to list down the worst of the year.

Seven Something ( รัก 7 ปี ดี 7 หน / Rak Jed Pee Dee Jed Hon)

Love in the Air
The Thai film studio GTH continues in its roll of churning out crowd pleasers in the genres of horror, and lately, romance, and it's no surprise that the latter genre was selected for its film celebrating its 7th anniversary, with the number 7 being featured prominently in the three separate stories in Seven Something, each helmed by a different director, and showcasing the stable of performers both new, and those who have starred in its productions in the past. As usual, everything is perfectly crafted, from production values to the striking performances by its good looking cast, that Seven Something serves to be a winner yet again.

14 touches on the modern day relationships between teenagers Puan (Jirayu La-ongmanee) and Milk (Sutatta Udomslip), where the prevalence of technology and social media begin to play a part in their lives and courtship routine. It may be fun at first, but slowly and surely, things start to get overboard with addiction, and when private moments are turned into public ones for others to judge with Likes or scathe with unflattering comments. It's also probably one of the very first short films that feature all Skype, Whatsapp, Facebook, Twitter, Instagram, Youtube, web searches and forum participation all into one, and tone down various online scandals that have been making their rounds, for the PG crowd. Director Paween Purijitpanya (Phobia 2) also varies his presentation here adopting different visual styles, but beneath the gloss and whimsical tale, is a stylishly delivered social commentary that doesn't feel that it's preaching the pitfalls that teenagers get into very easily with their net-savvy.

21/28 is probably my favourite of the lot, because it contains a stories within a story, tackling two different timelines seamlessly that deal with two young adults who had fame get in their way, and allowed ego to dictate the breaking up of their relationship. Cris Horwang and Sunny Suwanmethanont star as Mam and Jon, two rising actors many years ago who found fame, and romance, when they starred in their blockbuster "Sea You". Unfortunately they had gone through a very public break up during an awards ceremony, and have been out of touch since, until recently when Mam looked up Jon, now an employee with Sea World, to get together again to boost their flagging careers, by putting them into contention for a studio follow up to their film titled "Sea You Again".

It is the film within a film, and the dabbling with the production of another, that made it a lot of fun with a string of cameos from GTH's filmography. The non linear timeline adopted by director Adisorn Tresirikasem (Bangkok Traffic (Love) Story) also made for great storytelling which allowed the plot to take its time to unravel, bringing in nuggets from the character's past that added flavour to events transpiring in the present, and allows one to invest emotional interest in both the protagonist, leading us to eventually root for something more positive to come out of their very negative separation. Cris Horwang shines here in her none too modest role as a has-been actress trying to find some respect in her profession of choice, since it's so easy to get sidelined by those younger, and better looking actresses.

And lastly, 42.195 by Jira Maligool (The Tin Mine) served up something inspirational behind a tale of taboo relationships. Obviously set against a marathon race, and about a more than middle aged woman whom we had seen in the prologue of Seven Something as a newscaster, this segment deals with her story of friendship being developed with a runner (Korea's Nichkhun), and how that friendship actually developed into something more, leading to both to confront their affection for each other, and societal's frowning upon any relationship between an older woman and a younger man, formed when they started running together to prepare for an upcoming marathon.

But this segment hid more lessons than the previous two combined, about the running of one's own race regardless of how fast, or how far others can cover, and how one should leave behind the old and let go of one's painful memories, not out of disrespect, but out of one's necessity to look ahead. And looking ahead may not be difficult with the focus, like the runners, being 7 feet upfront, one step at a time, rather than to suddenly face the daunting view of the long road up ahead. Perhaps I will keep this in mind in the most unlikely situation I find myself running, and running long distances.

Seven Something is the anthology that GTH can be proud of to celebrate its 7th year of production. Here's wishing them 7, and more, years to come to entertain a whole new generation of movie goers, with a request that they do get back occassionally from the romance genre to the horror stories it had a knack of telling, to scare everyone in the darkened halls of a cinema with yet another tale of the macabre. Stick around during the end credits for a fun filled closing credits music video involving all the cast in this movie.

Hope Springs

The Doctor Is In
This is for married folks who are suffering from the mundane having crept into their lives, sapping away energy and everything that had made it tick, and resigned to settling for what it is rather than what it can be. Directed by David Frankel, probably better known for his The Devil Wears Prada film, Hope Springs has a touch of sensitivity and emotions stemming very much from a female point of view, after all it's written by one in Vanessa Taylor, and it's full of poignant moments that makes it quite the romantic drama, even if it's dealing with relationship, and matrimonial issues and challenges.

Given that it's an American production, things like seeing a therapist, and enrolling in counselling sessions seem to be almost second nature, and rather focused on physical and emotional intimacy for the most parts. Which is excellent to bring on the laughs especially when the couple have to open up their most intimate secrets and fantasies, goaded to play them out where possible as exercises. There's heavy emotional investment in having the couple square off, and deal with the problems and perception faced by the other, with most of the issues having been swept under the carpet, but not any more when they are now brought out onto the negotiating table in very painful, but honest terms.

I suppose those who have been through 30 over years of marriage may attest to some of the issues brought up, and in relationships that aren't rock solid to begin with, or have wavered over the years jointed only by the sense of obligation and having romance largely absent, it's trouble with a capital T. For Kay (Meryl Streep) and Arnold (Tommy Lee Jones), married life has become a routine, and dictated by television programs ending in different rooms to retire for the night. Anniversaries boil down to getting the latest cable programs, until Kay decides that enough is enough, and is inspired to seek help, very much against Arnold's wishes, from a guru in Maine that costs a few thousand dollars for an intensive one week course that can get their marriage back on track again.

The delight here is of course Meryl Streep and Tommy Lee Jones. Streep is excellent as the matronly middle aged woman who decided to put her foot down and take charge of her life, and many a times Streep has her very subtle skills making Kay very three dimensional, and believable as the woman who is really sounding out for help, and wearing her depressing emotions on her sleeves. The slightest of smiles told a whole of more than dialogue ever could. And Tommy Lee Jones shone as the grumpy, skeptical old man who just hated to be where his wife dragged him to, trying his best to compromise but almost always losing it given that most men probably would, when questions come point blank at the ego.

Perhaps the only blemish would be Steve Carell, unfortunately. No offense though as he's one of my favourite comedians, and personally I'd prefer his more dramatic roles, but as the therapist Dr. Feld, he cannot do any more justice to a really bland character that's written to be as such, as if to out-bland the blandness in the marriage of the couples in his life's calling, to heal and mend deep wounds and scars that exist, making them realize what matters more in each other, and to help them find a way back to the good old romantic moments, even up to what made them fall in love all over again. Delivering questions in a monotone voice, and always ending his questions with a forced smile, it's pretty amazing Dr Felds can become quite the talk of the town and sustaining all industries as well.

Still, the nuances shown by Streep and Lee Jones in their roles are what made Hope Springs well worth to sit right through, without any need to dwell on the melodramatic and the woes of a long married couple. It's funny without being rude nor vulgar, and shows that the veterans together can rescue a very straightforward narrative, making it interesting just by the sheer force of their acting capabilities alone. A definite recommendation!

Step Up Revolution

Rock Solid
I'm not sure how many Step Up franchise films can there be, but so long as there are exciting new choreographers itching to show what they have up their sleeves, and actors/dancers willing to take a chance, then there will probably always be room for any story to be strung together for a series of choreographed dances to work in a film. The first one arguably launched Channing Tatum's career, and have inspired various other dance movies to come marching out on cue. Step Up Revolution continues in the formula that will immediately appeal to all fans of dance films, and for those who are looking to be inspired by incorporating some moves into their own routines.

The action now moves to Miami, where a bunch of flash mobbers earn notoriety through their mob stunts, seemingly without much of an aim other than to show the world what they can do, milk an internet stardom out of their performances, gain millions of views, before it's revealed to be for some sort of a competition, where 10 million views on a Youtube like channel will win them that pot of gold worth about a hundred thousand dollars. So what better way than to assemble a crew of like minded individuals who can dance, design and pull off an elaborate flash mob involving dance, and watch their fame, or infamy grow.

But of course there's a need for some form of a story, and that comes from the mob's co-founder Sean (Ryan Guzman), a loafer working at a new hotel in which he meets Emily (Kathryn McCormick), his boss' rich little girl who doesn't get what she wants because her father, real estate magnate Andersen (Peter Gallagher) frowns upon her artistic inclination to be schooled in the art of dance. So hot boy meets hot girl, and through each other, help in the achievement of their dreams, while having some time on the side to get into a relationship and fall in love. The challenges come from Emily wanting to join Sean's mob to hone creativity and originality, while keeping her parentage a secret since her father wants to level everyone's homes and neighbourhood just to build another swanky property.

This plain story actually mirrors the original Step Up in a number of ways, where the male protagonist dances his way to the girl's heart while working with her on her choreography, as a school assignment. And of course that other part where she had to learn, and find it more fun, to be able to hang out with the dance crew and learn their street dancing moves. But let's face it, it's not the story that we're interested in, because it is the dances that we're actually here for. And Step Up Revolution excels yet again in coming up with stellar choreography that adds to the franchise.

There are numerous different dances and scale that I'll be hard pressed to give them all good ratings and to choose a favourite amongst all. The initial dance on the street that you can see in the trailer is wicked, as is the effort of high art blended with high couture dancing in a museum setting. Then there's an intimate one set in a posh restaurant which they turn into a masked ball of sorts, and the invasion of corporate premises with precision moves. There's also one that went awry, and a finale boasting many extras, some of whom come from the earlier Step Up films for the sake of maintaining some continuity, in one extended party that's fantastic from start to finish.

First time feature filmmaker Scott Speer delivers a worthy addition to the franchise, together with film rookies Ryan Guzman and Kathryn McCormick making it passable as lovers and dancing partners. Don't go looking for Oscar winning acting material of course, as they capitalize on their good looks and toned bodies to live up to what their predecessors had delivered in their respective installments. Their acting may not be there, but their dances and their choreography all sizzle on screen, with the camera just falling in love with both to provide mostly all the best angles that any performer can ask for.

It may not be much, but it does leave you wondering how performance art can easily be a galvanizing force through the turning into protest art, making a statement of intent when disagreeing with certain policies, but doing so in a non-violent, and entertaining manner. With specialist characters in the crew this time round, from DJs to street artists, look out for the surprise art pieces that come with the mob's performances, unveiled at the end and usually quite the show piece, together with cameos from recognizable leads in the previous films. A definite recommendation for dance film fans.

The Cold Light of Day

So What's Your Next Paid Gig?
There is only one reason why this film got its release now, and that's to pique interest in the body of work the new Man of Steel is being featured in, never mind what production it would be. The Cold Light of Day boasts of big names in Bruce Willis and Sigourney Weaver which would hopefully bring in the crowds, but in truth one of them disappears after 20 minutes, while the other had no more than 20 minutes tops in screen time in the entire film. Talk about the new Supes riding on the coattails of others, who are obviously in this because it helps pay the bills.

Henry Cavill stars as a man (yes, the film is really that bland) with an affinity for Blackberry as his primary communications tool, and a penchant for Coca Cola. At least those are the brands his Will character endorses in the early introduction to his character, who is dreading a family get together on a private yacht cruise in Spain. We learn he's not on good terms with his dad Martin (played by Bruce Willis), but they largely get out of each other's way save for a little accident in which Will's brother's girlfriend received a bump on the head on board the sailing vessel, and Will had volunteered to get some cream for it.

Things start to go wrong when he couldn't find the yacht, or when he did, everyone on board had disappeared. Time is spent trying to track them down, in which he learns that there are people after him, his dad is a secret operative for the CIA, and finally, there's a mysterious briefcase that everyone seemed to be after. He's clueless and oblivious to all these issues, and the agendas that different parties have, but has a sole objective in wanting to get his family back regardless the cost. So he gets thrust into the limelight, and have to learn everything there is to learn about the spy business, in double quick time on the job, meeting up with adversaries and allies who would aim him in his quest.

If you have bought a ticket to the film because of Willis and Weaver, then you had bitten hard onto the bait laid down by the filmmakers. These two actors have been popping up in various films of various genres of late, whether 5 minutes or 50 minutes, depending on the size of the paycheck, and the screen time they are allocated. Here, neither did anything that had sealed their fifteen minutes of fame, and I suspect if they continue in roles like these, it will just hit their careers, not as if they're not already spiralling downward.

Henry Cavill may have the looks and physique to play the Man of Steel next year, but his performance here is largely one note, coupled with a lacklustre screenplay written by Scott Wiper and John Petro that didn't seem to know how to craft a suspenseful spy thriller even if their lives depended on it. Cavill spends most of his time bumming around from point to point, having crucial plot elements revealed to him under very convenient terms and timing, and it felt as if director Mabrouk El Mechri (who did the excellent JCVD by the way), with the lack of material bolstering a film, had to lead the audiences utilizing the best of what he has, even if it meant leaving large gaps of plot holes, and having really zero character motivation, not even clear cut objectives, basking in revelations that are proudly revealed as plot twists. Which they are not.

Then there's the lack of movie logic at play as well, where Weaver should be getting an award for one of the worst screen villains that she had played, ever. There's nothing too exciting about this action thriller given action choreography that's already either been seen elsewhere before or looking really dated, and a cinematography that could have been grossly improved to make it look like it's not being shot by an amateur with a home video camcorder. Henry Cavill may not have opportunities now to pick and choose his projects, but hopefully his dual role as Clark Kent / Superman would enable some demonstration of acting chops, and open more doors to better scripts that would challenge him as an actor. You have been warned.

Diary of a Wimpy Kid: Dog Days

When I Grow Up, I Wanna Be Ferris Bueller
This is one franchise that continues to tickle my funny bone, without trying too hard. The third in the film series, I hope that it continues to tap onto the series of books by Jeff Kinney - seven in total as of now - before the principal cast members get fully grown up and aren't kids any more. For those who have yet to experience this simple, yet effective kids comedy, perhaps it is time to jump right in, and experience just what the appeal is.

The story leaves school for a bit, and is set during summer vacation, where every kid has plans of their own which may, and most likely, differ from their parents' expectations on how best to spend time. For Greg (Zachary Gordon) the main protagonist, it means a summer that's filled with endless computer gaming, which dad Frank (Steve Zahn) completely disapproves of, preferring that he hit the big outdoors in wilderness camp, or to take up a job somewhere to build some sense of responsibility. Then there is his crush Holly (Peyton List), who spends her time coaching junior tennis at a country club, with the only way in is as a guest of his best friend Rowley Jefferson (Robert Capron), although Rowley's family, especially his dad (Alf Humphreys), isn't really too fond of the friend of their son. And to add to that, Greg's brother Rodrick (Devon Bostick) threatens to expose Greg's cover for visiting the country club unless he gets invited himself to enjoy the facilities and to gawk at Holly's sister Heather (Melissa Roxburgh), and a new canine addition to the family.

Dog Days is pretty loaded, but these little episodes all shine in their own right, and made the entire film work. Directed by David Bowyers, who was also at the helm of the previous film, Dog Days the film taps from scenes in both The Last Straw and Dog Days books and is set primarily during vacation, which means a little bit of a pity when we don't get to see the other zany supporting characters that much, especially Greg's other schoolmates who are off to do their own thing, sporadically appearing only if they happen to be attending the same event from wilderness camp, to a book reading club started by Greg's mom. The focus gets centered mostly on family, be it Greg's or Rowley's, and takes a closer look at the father-son relationship in Greg and Frank, with the spectre of boarding school looming on the horizon should Frank decide to let someone else play the responsible role of bringing up useful folks to society.

While some may opine that Dog Days doesn't offer too much as compared to the previous Wimpy Kid films, I thought that formed part of its strength in having the cast being already so comfortable and familiar in their role, there's really no need to have them doing something too spectacular for the sake of. I mean, it's like friends hanging out, where one can have a good time all due to the presence of the other, and that's sufficient. But there's danger at being just sufficient, because familiarity may breed complacency, although the source material should be rich enough, or perhaps like this one having two books fuel a single film, for another film outing. At least it's not artificially expanded with the filmmaker's own imagination to stuff another film for additional box office revenue.

With nary a swear word nor embarrassing scenes which you have to explain to your kids thereafter, Diary of the Wimpy Kid continues to be a family and kid friendly outing that grows on you. It's funny without the reliance of the more adult comedy route of having to continuously swear or rely on nudity or slapstick to draw out laughter. Bring a kid to the screening, and I'm pretty sure they'll be entertained and tickled pink.

The Campaign

Champions of Democracy
With the US Presidential Elections gaining traction and going into its final leg before the polls in November, it's probably natural that a comedy about American politics gets released into the cinemas to capitalize on election fever, as well as to lampoon the various strategies, and poke fun on the candidates who would be more than inclined to say the darnedest things that don't make too much sense, or to behave in a hypocritical manner, all of which are fodder to be made fun of.

Directed by Jay Roach, who is no stranger to those who enjoy the trilogy of Austin Powers films, The Campaign put two current funny men together, and watch them explode as they rib each other to shreads as part of the political hustings to garner more votes by discrediting the other. It's never more than just to share one's plans for the electorate when elected, or to reveal and convince them of one's programs, but to take the more interesting approach to character assassinate, and utilize the power of the media, and one's carefully built persona as perception for the voting public.

Comedy aside, this film lays down very real issues and problems with politics anywhere around the world, and that is more worrying, whether the right people are shunning serving the community, and the wrong people with the wrong motives seeking office instead, so as to further the reserves in their coffers, or that of their supporters with the tacit understanding that the interests of those who had backed one's campaign should be looked on favourably, with any meeting conducted to discuss these terms deemed never having been convened. Corporations are also seen as shady organizations when they contribute to campaign funds, and in truth with money talking these days, can make or hurt politicians chances by playing up or down their capabilities or screw ups. It's been some time seeing Dan Aykroyd and John Lithgow on screen, and here they play unscrupulous businessmen who are looking at in-sourcing and exploitation of cheap labour, selling out their state/country once they have their preferred candidate occupy office.

As you would have learnt from the trailer, The Campaign pits Will Ferrell and Zach Galifianakis as two politicians getting at each others throats from the get go. For the former, as Democratic incumbent Cam Brady, unopposed for the most parts of his career given walkovers, his seeking office probably had to do with the satiation of his sexual desires, with a major boo boo involving a dirty message left on someone else's answering machine doing him in. As for Galifianakos' Marty Huggins, he got plucked out of obscurity just because he happens to be the son of a well known, but retired politician, and got thrust into the limelight having sold the idea of doing his father proud, and to lend a hand doing something worthwhile for society.

So it's a fight that's filled with plenty of dirty tricks, mostly centered around character assassination from both camps in tit for tat fashion, providing ammunition for its comedic scenes. The gloves are off in a no holds barred, winner takes all competition that has absolutely no rules, with either side eager to jump on discrediting the opposition camp. And the campaign managers, played by Jason Sudeikis and Dylan McDermott who belong to the Cam Brady and Marty Huggins camps respectively, are hugely responsible for that. The last film seen with campaign managers playing a big part is in George Clooney's Ides of March, with almost the same level of seriousness and intensity seen in The Campaign, especially Dylan McDermott's Tim Wattley who has to build Marty's popularity from scratch, and create a credible candidate out of a dim wit.

For those who appreciate the other Jay Roach comedies, expect the usual toilet humour, and plenty of f-bombs creeping their way into the film. Will Ferrell is also at his element here as the politician who cannot stand losing, blessed with a trophy family, and his pairing with Galifianakis proved to be successful, especially during scenes which they share and have to go one up against the other. Galifianakis continues in his usual roles as none too bright characters having a ball of a time, and here his story arc provided for a little bit of a melodrama, which I thought was a nice touch and a break from the comedy, serving as reminder that family matters, and should take priority rather than being shelved aside for ambition. Or worse, to pretend to lead a lifestyle just because it has the consensus of the majority.

The Campaign runs at a very light 85 minutes, although it did feel a little longer than that, especially in the final few scenes that dwelled into back stories built up to provide a little bit more character motivation and common history. Still, it's entertaining, funny for the most parts, and relevant, and if we don't have much power to change the rot at the polls, the least we can do is to laugh at it. Which is certainly more fun by the way.

Ted

Come Join The Party!
Come on now, let's be honest. How many of you out there have a soft toy companion that once upon a time you'd wish it could talk back, and interact. That robotic Teddy Ruxpin one doesn't count. If it came true, chances are you'd have Ted, brought to life by that little bit of magic you know can never happen in real life, but in reel life. Given to an unpopular boy by his parents as a gift for Christmas, he makes a wish that his new teddy bear can become more than just a plush toy, and so with a little Pinnochio styled miracle, the toy becomes Ted, voiced by Seth MacFarlane, who also wrote and directed this feature film, marking his live action debut after his work on his creation and popular stint on The Family Guy.

Cue opening credits and we see how the boy John Bennett, now all grown up to embody the physique of Mark Wahlberg, become the best of buddies with his teddy bear, which had once upon a time become an instant celebrity, and now all forgotten with all things that have come to past. We see that the "thunder buddies" - coined because both have a fear of thunder and would huddle together singing their thunder song - have grown up, and even Ted had his voice broken. And like any child, it's nurture that will bring out some personality, and in Ted's case, both he and John have each other to thank for being somewhat of a bummer, smoking weed and rewatching their favourite Flash Gordon film from their couch.

This of course draws the irk of John's girlfriend Lori (Mila Kunis), a corporate high flier who decided to draw some ultimatum for the boy to choose - his best buddy, or her. This is that story, since it's somewhat of a perennial problem in any relationship, when a girl decides that being long suffering isn't enough, especially when she has to get constantly ribbed by friends and colleagues who question her choice in companions, and worst, having the boss hit on her at every opportunity, just because nobody would believe that she would eventually decide to marry down. It's four years and counting for this two's a company, three's a crowd, and things are going ugly and down to the wire.

The best buddy would of course move away, and the narrative deals with adjustment, how we each have to peel away from the things that we like and the people we love, just because we had to make a choice for something taking higher priority. We all have the same number of hours, and it's up to us to determine how those hours get spent. In John and Ted's case, if given a choice, smoking weed and lazing around would just about be heaven on earth, if not for Lori's objection that had the back of the camel broken when Ted brought home four hookers one special night. And add to that the threat of a creepy stalker (Giovanni Ribisi) who so desires Ted that he wants him all for himself, and his son.

Seth MacFarlane has a winner here in creating something outside of his Family Guy series. I couldn't have enough of the trash/straight talking bear full of wit and life, that Ted just endears himself and makes you wish you have him as your own, as that faithful companion who can hang out with, and is constantly on the same wavelength. Brought to life by the use of CG, Ted is seamlessly delivered, and better yet, is able to get into a big fight should the scene calls for it. Mark Wahlberg didn't have too much to do playing the man child with that blank expression that the story required for the most parts, being oblivious to the needs of his girlfriend, and almost always jumping into opportunities to hang out with his best buddy, nevermind the consequences. The need to pull up one's socks in life, and to have a sense of responsibility, is John Bennett's story arc. Wahlberg's scene stealer though is the rattling off of thrashy female names, done without any visual cues or aid, and completely from memory, which is as funny as it is jaw dropping amazing.

It's a true geek's film, and MacFarlane's geekdom comes in full swing with the appearance of Flash Gordon aka Sam Jones in full garb no less, convincing the actor that he still had what it took, and to have the guts to don that cheesy costume to become a huge parody of himself and that iconic character who had shot him to fame. Look out for other recognizable cameos, with Patrick Stewart lending his baritone voice by being the narrator, and a surprise appearance by an actor whose actions in this film also helped contribute to that M18 rating the censors here had to slap on this film.

Ted makes you root for him throughout the entire film, and I sure as hell wouldn't mind someone to verbal spar with, or have a good time hanging out with. Definitely recommended, and one of the more consistent comedies from start to finish that's been screened this year.

Imperfect (我们都不完美 / Wo Men Dou Bu Wan Mei)

So Where's Your Gang?
It's not everyday that we get two local films going head to head with each other in the same week, with a relatively clear outcome on which would be the winner at the box office given one with better production values, story and cast. Coincidentally, both projects involve television actors who were once household names, and couldn't be more different now in their film careers. Huang Yiliang is very much on his own with his independent productions, with My Ghost Partner being a very painful big screen debut after a series of straight to video titles, and it should have continued heading down that route, while Li Nanxing's Cornerstone Pictures learnt much from its disastrous debut The Ultimate Winner that you just cannot do it alone (Li Nanxing had, like what Huang Yiliang is doing, wore multiple production hats in producing, writing, starring, and perhaps more), with Imperfect sounding very much humbler than its predecessor.

Cornerstone Pictures had capitalized on one of Li's two famous television personas in the past, one being the master gambler which had led to The Ultimate Winner, and the other a gangster, a role which had launched him into the minds of heartlanders and turning him into an instant star. For Imperfect, he goes back into this role as a triad gangster, but the filmmakers now realize that they'd probably be in much better shape handing over the starring reins to teenagers. After all, some of the more successful films in Singapore starred teenagers in leading roles, with intent to tap upon their targeted demographics, and unfortunately for its theme on teenage gangsters, had to suffer similar age restrictions in the halls like how The Days had to as well.

But I digress. Imperfect may be a tale involving triads and such, but it's hardly an overt cautionary tale, with scenes that do dissuade its protagonists from joining gangs, but preferring to show rather than tell outright, which doesn't interrupt the flow of the narrative with jarring, preachy sermons. Comparing this to The Ultimate Winner where you have lessons being thrown at your face, this is an improvement by leaps and bounds. Written by YY, Imperfect centers around the best of friends Jianhao (Edwin Goh), Zach (Ian Fang) and Square (Phua Yida) and their rivalry with peers, getting stepped upon frequently because their arch rival's father happens to be Guodong (Liu Kai Chi), a notorious gangster. So if you can't beat them, you join them, and soon enough both Zach and Jianhao become followers of Li Nanxing's Zhihua, naturally Guodong's rival in the triads, with the former criticized by the latter for his penchant to be a gangster with a conscience for not dealing in drugs.

While we have one narrative arc centered around the gangsters, and those who dare dabble with lucrative vices strengthening their grip on power with money, the main story here deals with Jianhao and his family instead. Released from detention for injuring a fellow teen in a fight, his mom (Chiang Chu-Ping) and sister form the emotional crux of the story, with family always wanting the wayward kid to get back onto the path of studies, and the second chances that come with a proper education, and Jianhao almost always disappointing all with his clandestine episodes, usually trying to save his friends Zach and Square from doing worse. In between he tries to woo Shanshan (Kimberly Chia) in what would be form a contrast in characters, and usual mould of the typical, bookish student in Singapore, in a romance that's rather perfunctory than effective.

The story doesn't venture too far from what's expected in a film like this, complete with melodramatic moments and story development complete with twists in the tale on the identity of Jianhao's father the minute this gets mooted, since the single-parent family doesn't really get the thumbs up in this family-oriented city state. It continued to shine the path of hope and choice provided to Jianhao, and to anyone in similar shoes thinking that opportunities are slammed shut, if only for one having a choice in deciding just which path one wants to lead - the tried and tested, or the triads.

If Imperfect was to be that cautionary tale, it surely didn't come off too obviously, since there was a key scene where the effeminately behaving Brother Nuo (Li Pei Hsu) probably stole the limelight with his character arc dishing out violence, and almost every other few minutes in the first half of the film is a realistically shot fight scene. It went the round about way to show how "brothers" in secret societies these days more often abandon their own than to stand up for them, when it boils down to survival of the fittest and protecting a turf that they don't want any complications. Loyalty belongs to the grandfather's era, with trouble often started using the simplest of excuses.

Imperfect joins the ranks of a handful of films that are technically strong, with excellent work by cinematographer Amandi Wong, who also lensed Truth Be Told many years back, to provide some artistic leanings. If you came out of the film impressed at how this didn't look like a homemade video or television episode, he's probably the guy to thank. Production values are kept high without a feel for the need to scrimp, and director Steve Cheng also had some fairly nice ideas for the finale bust up that, while cliched on one end, gets delivered competently and stylishly, becoming a fitting, gripping climax. It's also a nice touch to see proper and real locales where teens hang out used as backdrops, instantly recognized by the targeted demographics as well to form that appeal, so this would very much go into the archives many years later, especially if such places disappear in the face of rapid urban development.

It's a relatively quiet year for local films in 2012 to date with nothing that truly stood out from the usual tried, tested and tired comedy, horror, or the horror-comedy. While Imperfect had to dig out the teenage gangster formula yet again, it has a good mix of fresh faces and veterans from local and abroad, and by default, as it now stands, is probably the local highlight of the year.

My Ghost Partner (人鬼拍挡 / Ren Gui Pai Dang)

How this film managed to secure a theatrical release is one of the greatest mysteries in the local film calendar. Labelling it as bad is an understatement, because My Ghost Partner can't even compare to a schoolkid with a camcorder on his very first film project. This film screams Amateur! from the get go, and is riddled with so many missteps, that it's almost a miracle the cast and crew didn't walk off the set knowing that they're putting their names down on probably one of the worst productions anyone can be associated with. It's a disaster in all aspects of the production, and should be confined to the screens of its filmmakers only, rather than to unleash its torture amongst the good people paying good money in the hopes that something good may have come out of it.

In the screening I was in, a total of four persons were in the 80 seater hall. Myself, a couple who was more interested in making out in the corner, and an elderly gentlemen who was bored to tears. There's no character development, not that one is expecting any, and the jokes here are unfunny, recycled from bad television sitcoms that are on the re-run. It involves ghosts just to cash in on the genre, but it's neither scary nor comedic, in its hopes that it could be branded as a horror comedy. In desperation it threw in a gambling motif, only for that to turn out laughable. And what's more curious are the hundreds of Small and Medium Enterprises which had backed the production, as seen in the end credits, which I am now interested to know how many had regretted their good names now forever tainted with this half-baked effort.

My Ghost Partner has an idea that unfortunately in the hands of writer-director-producer-editor-and what other hats he might be wearing- Huang Yiliang, one time television actor, turned into something of a mixed bag. He may have the inspiration of gelling together all genres he's interested in, into a feature film, but this couldn't have been more disjointed. It begins with the badly shot introduction of four persons, Shi (Huang Yiliang himself), Fei (Brandon Wong), and their two lady companions (Yang Libing and Carole Lin), but whoever did the tacky opening title couldn't count up to three, and only mentioned that this group of three (not four?) were orphans. So what?

There are plenty of issues like this that's wrong with the story. Ideas and thoughts get thrown around by the bucketloads, then easily forgotten. Tattoos on Shi and Fei, representing Defeated in a single Chinese character, varies in tone, depth and colour, only because we all know this cheap production probably paid a part time intern to paint it onto the actors. Scenes pop up suddenly with nary a thought on narrative flow, such as when the group are missing Shi, they decide that helping random strangers against fake mediums was more important than probably saving the life of a friend who fell overboard in the sea, so we have an extended scene to show that despite our protagonists being conmen, they have good hearts. OK.

The film also paints Singapore as a land of gamblers and gangsters decked our in leather with multi-coloured hair, parading the streets in broad daylight. And I don't see why not, since the police force got portrayed as dim witted buffoons here, and again, thrown in for the sake of telling us how easy it is to dupe law enforcement in many a street corner gambling den. The introuction of Fei's sister, a gambling queen, also gets thrown in for good measure, and for no particular reason other than to occasionally nag Fei, and the group, preaching the virtues of gambling with modesty, rather than to bust the house and having gangsters right up your alley in case they're sore losers.

The titular ghost and ghost partner refers to Fei and Shi, with the latter turning into a spirit after an unfunny death, and ghost effects are so cheaply done, it's actually the highlight in this movie. In light of the hungry ghost festival, Shi returns as one, perpetually hungry and wanting to eat, until the story decided to throw in a trio of girls (led by Dawn Yeoh in a wheelchair), one of whom catches the attention of these two men, and yet in another extended and painful subplot complete with scenes that don't make sense and flow logically, have these two romance this woman, in the most juvenile way possible. Even five year olds will not be amused with the attempts at comedy here.

Worse, Taiwanese actor/host Zeng Guo Cheng also got roped in to up the star power, and does nothing other than to prance around on screen. I'm quite certain his contract for working on the film probably had a clause that reads "Willing to do anything and act like a buffoon", because that's all he does here. By now this film has about 10-15 characters, most of whom stand around and do nothing, or come and go as they please according to the whims of the director, depending on who's calendar and schedule is free for the shoot that day. And if that's not all, Huang Yiliang decided it's best to finish it all off with a finale that's likely inspired by his favourite God of Gamblers clone, just so that he can film a scene in a high-class, high stakes game that's no better than Harry Yap's Happy Go Lucky finale starring Fann Wong.

And the joke here, which I wonder if the filmmakers even noticed, is the botched attempt by the dealer in this high stakes game, during a simple, rote and basic level requirement to shuffle and deal cards. I mean, if there's a lack of meticulousness in the filmmaker's part to even address this, it'll give you a good idea on how the general production went, riddled with continuity errors, and slip-shodiness that even film students would be wary about, and nipped in the bud. And as if to continue the torture, the film then spun around to include family melodrama that relied heavily on bad acting and scripted lines that were even worse, coupled with the last ditch attempt to throw in ghost children (urban legend has it they are the ones that are prayed to for luck in gambling) with a penchant for dressing up as Michael Jackson, Bruce Lee and the likes. You can laugh at the cheap impersonations, really.

Production values are cheap and inconsistent, especially sound, and it goes to show this film was made without love, or more importantly, pride. If it's a quick buck it's after, it will not find gold at the box office. Rather this should be quickly flushed down the bowl and erased from memory, and is that unremovable stain in our nation's filmography. Think of it as something bad that you've ingested, that you want it expelled through your bowels soonest possible.

Katy Perry: Part of Me

Cool Cat
Katy Perry is set to headline one of the acts during this month's Singapore Formula One Grand Prix week, but so much has changed in her life since her last visit some two years ago, where she held court during her press conference at Marina Bay Sands' rooftop pool, and cajoled the media into entering the infinity pool with her. Since then, so much has changed, with her embarking on a world tour, getting married to British comedian Russell Brand, followed by separation and divorce, and then there's this film.

Katy Perry: Part of Me follows the documentary style that's somewhat established by the filmmakers of Justin Bieber's Never Say Never, which was screened last year, where the structure intersperses her live concert numbers with the documentary moments that see the usual talking head interviews with friends, family and fans, capturing the flavour and fervour that is all things surrounding this pop princess, who had sealed the real deal for herself through her albums, given that she has tremendous talent in writing her own songs drawn from so many things she wishes to express, appealing to her teenage demographic for various inspirational messages underlying her music, and that down to earthliness in her in wanting to genuinely connect with her fans, coupled with that sunshine, always smiling persona that's really appealing.

I have to admit I do listen to some of her songs when they're played over the airwaves, and know little about the singer, other than her very kooky persona that thankfully didn't border too close to the more eccentric Lady Gaga. Part of Me the film provides a sneak peek into the day into the life of a current pop star, and the efforts she had put into building her career and lifting herself from obscurity, riding on the explosion of her popularity, yet keeping everything grounded in not forgetting the people who had put her there, from her production team, fans, and family. Or pulling along those who are in the same boat as her, in starting out, and getting them under her fold to help develop their careers at the same time. These are qualities rarely seen.

Fans will already know of her gospel singing background and beginnings, being the daughter of travelling preachers, which makes it a almost like a natural progression to serve in the church and singing gospel songs. And from there, after a stint in Los Angeles that's really heading nowhere, fate played a part in getting the right doors opened for her, and through her very positive personality, charted history.

Thie film chronicles her juggling of her year long world tour in 2011, the first the singer ever embarked on, providing us a look at the preparation, venues, and basically how things move like clockwork from point to point. It's a fairy tale like setting during her concert, and this pop princess holds court in bringing her audiences and fans into a make believe world filled with pastel colours, and larger than life sets, coupled with fun, Katy Perry style.

And those who may have thought that she was a tad impulsive with her marriage, would do themselves a favour in seeing the effort she puts in to jet set from place to place just to spend quality time with Brand. The documentary doesn't shy away from exploring what actually happened, and how it affected her during the tour, albeit more behind the scenes. What I felt was besides the distance, perhaps a little bit of a professional jealousy and envy also got into play, with one clearly the more popular than the other, which may have ruffled some bruised egos without her knowing.

Ever the consummate professional, you can sense her pain as she decided to soldier on, not wanting to let the thousands of fans down at each venue. There was a scene that was quite poignant, where she was breaking down backstage, but at the moment she has to go on, off goes the tears, and in comes the smile. It's not easy and some may be quick to say it's hypocritical, but having done so, it's not to disappoint her fans who are present for a good time, and you can imagine the pain in making others happy, while crying alone inside.

The more famous songs of hers get full air play and concert treatment, so it will appeal to fans, and non fans who would probably have heard the song somewhere else. After watching this, I've new found respect for the singer, and is just a tad tempted to get tickets to watch her perform in Singapore live in a few weeks time. Recommended!

Joker

Lagaan... Not!
Akshay Kumar may be Bollywood's most hardworking actor today, but that also means that not every one of his films is successful given his constant churn of films, although his dabbling in just about every genre conceivable means a very versatile actor balancing his need for high art, with that which can pay the bills. Arguably his 100th film, Joker is that fantasy adventure that started off very brightly, but fizzled from the mid point with ideas running out of steam, and Akki very much hung out to dry, so much so that he's distanced himself from the promotion of the film. Really sad indeed.

But of course the producers, himself included, would love for you to believe otherwise. The signs are there reflecting a troubled production, with the making of the film stretching as far back as 2011, and deciding to abandon its plan of post-converting this to 3D, after the none too stellar outcomes of both RA.One and Don 2. But what's more criminal here, is how Shirish Kunder, in his second film outing as director, failed to capitalize on the fun premise that could have made it a more memorable film, rather than to now market this as for the kids market segment, hoping that the younger demographics would be more forgiving in what it had tried to achieve. Having started on a journey, but making no headway, then pinning it on a misunderstanding from the start, doesn't provide any confidence.

This marks the second time that Akshay Kumar and Sonakshi Sinha are paired together in leading roles in as many times, immediately after Rowdy Rathore. While the latter film was a lot of Masala fun, their outing here proved to be somewhat lacklustre. Akshay plays Agastya, a Non Resident Indian living with his stay at home girlfriend in the USA, working on a technology single-handedly that can communicate with the truth out there, but finds himself making no progress. I mean, it's an expensive project, and the dweeb of a trillion dollar company decided to put all its eggs in one basket, and one employee. Sure, he may be a genius, but even geniuses need help. So he's given one month notice to show results, or be shut down.

Some moping later, Sonakshi's Diva picks up a random call from someone from India telling her that Agastya's father is breathing his last breath. It's only 10 minutes into the story, but already the convenience with how things progressed, is showing signs of narrative trouble. Agastya had told Diva he's an orphan, and now some random call from a stranger comes in, claiming to be Agastya's brother (whom we find out only talks gibberish), citing some medical emergency back home, sees her packing up for the both of them, ready for the next flight out to India. Right. I guess Diva's only demonstrating that she's a real Joker alright, only that she's really serious about Agastya making that trip despite his work deadline, to attend to what could have, in any day, been a prank call.

But this is a film, so they do make their way to his village, in fairly comical fashion, and we see that things are still backward. The prologue had shown that lunatics have taken over the village just before Partition, and the maps having drawn such that this village was dropped out from paper existence, but it's still there, and amongst the madness comes Agastya's genius, who had decided to move out and overseas to make a name for himself. He returns, is moved by everyone's sincerity in seeing him back, and some Tarzan swinging antics later, is convinced to stay put, and make his village visible to the outside world again. The plan? To kill multiple birds with one stone, by crying wolf - that aliens have come, his device works, and having the world's attention focused on the village.

It all goes down from there however, as the ludicrous is piled upon by more ludicrous, and the jokes are just plain unfunny. Perhaps the item number Kafirana is just abut the best thing in the film with its energy, and provided for more livelier moments in the movie, but otherwise everything, moving like the expected clockwork of trouble finding its way to Agastya's plan like a spanner in the works, spelt boredom. It was fun to have the loonies dress up as would be aliens using very common household items and crops, but those cute moments dragged out for far too long. And as mentioned earlier that Agastya's brother speaks rubbish, well, actor Shreyas Talpade who plays him, speaks gibberish all through the film, that sounds rather familiar, like the chants heard over UTV's logo introduction, repeated ad nauseam.

Sure it's a kids movie, and one can point out that it shouldn't be taken too seriously, but I reckon kids should probably enrich their time by watching another alien film with more entertainment value, that of Steven Spielberg's ET. That's not to say there aren't some positives from the film though, but they belonged to the more technical aspects. The production sets here are incredibly beautiful and wonderfully designed, which is a pity given that it's adorning a story that finds itself losing steam from the get go, and not exploiting its art direction fully. The CG work used to recreate the aliens and their wares is adequate, not fantastic, but would still barely work to engage children who couldn't care more about the design, but only the presence of something out of this world.

There was bewilderment when the title of the film was announced, until Sonakshi Sinha tweeted that the Joker is found in a deck of cards not belonging to any suite. I guess that's true, that this film, in its current incarnation, doesn't find itself belonging anywhere nor fitting in, trying to be a lot that it isn't, and falling flat. The joke's clearly on us all, the audience, and you'd do yourself a favour by not falling for this joker. I hate to say this, but this goes into the shortlist as the duds the year has experienced so far. It's a real pity that Akshay Kumar had this to show for as his centurion body of work.

Shirin Farhad Ki Toh Nikal Padi

Shall We Dance?
It's a rare occasion when Bollywood decides to junk those six pack, rock solid abs, and that shapely hour glass, proportional figure, from its leading characters, with superstars idolized by millions cast as lovers and setting the stage for an incredible love story, for something that's more grounded to earth. Shirin Farhad Ki Toh Nikal Padi is that love story about middle aged singles finding each other serendipitously, and falling in love in the process. Without much fan fare, without incredible trips to far flung reaches of the world. Just in and around your neighbourhood, when you least expected.

Boman Irani is probably best known by most for his role as the principal in 3 Idiots, and he's arguably just about being one of the best character actors in Bollywood, despite having to usually play someone's dad in his movies because he's middle age. Here he reclaims the leading role as Farhad, the singleton who's way past mid life, and constantly being egged on by those in the family, either with love or being mocked at, to get hitched. It's just that he doesn't have much luck at the romantic front, and his job as a salesman / consultant at Tem Tem's Bra and Panties Shop, doesn't endear him to the opposite sex who are looking for a partner with a more glamourous job to boast about.

But his honesty is just about that primary trait he exudes, coupled with that filial piety that's overlooked, with Daisy Irani and Shammi playing his mother and grandmother respectively, almost always threatening to steal the show with their comical timing and personifying the loveliness in a zany household, ribbing Farhad for this single ways, yet eager that he soon finds a soulmate after failed attempts at variations in matchmaking. But the expanded household sometimes got in the way especially with its rather feeble attempts at jokes, such as an Uncle's probable Alzheimer's induced infatuation with Indira Ghandhi, that may be cute in the beginning, but got a little bit tired when it stayed past its welcome in the narrative.

Still, the revelation here is Farah Khan. Yes, THE Farah Khan, who had masterfully choreographed item numbers in countless of Indian films, as well as turning into a filmmaker, being in the director's chair for films such as Main Hoon Na, Om Shanti Om and Tees Maar Khan, the latter which I enjoyed even if it got ravaged by most. She goes in front of the camera as the spinster Shirin, who got amused by her first encounter with Farhad at the Tem Tem shop, before as the story would have it, like Romeo and Juliet, become his only love sprung from whom he should have hated, being responsible for ordering the demolition of an illegal water tank that Farhad's dad had installed in his family home. This sets up for the perennial war between the would be daughter-in-law with her potential mother-in-law, if the blessings to get married do come.

Being the rookie actress, her rawness does get noticed, but somehow this was somewhat refreshing, rather than the countless of flawless performances put in by the Bollywood idols that put them too high up on the pedestal. Director Bela Bhansali Sehgal had worked the chemistry and pairing between Boman Irani and Farah Khan to wonders, and their starring opposite each other in many courtship scenes, while expected in its development, turned out as what would be best thing about the movie. Shirin Farhad Ki Toh Nikal Padi is as simple as it can get in storytelling terms, with the director applying uncomplicated techniques that won't distract the audience, and sometimes, plain vanilla is something that works best, even when the thin story tried its best to stretch itself toward the two hour mark. For a Bollywood film, the songs here didn't quite stick after the end credit rolled, and while Farah Khan does show a knack for dance (for sure, right?), Boman Irani did look a little bit awkward here when required to perform.

And for all the singles out there, with paunch, belly and all, perhaps this romantic comedy will provide that glimmer of hope that all is not lost. It addresses the constant pressures one may get from well meaning family members, even drawing upon real world scenarios such as the protection of one's clan or turf through population numbers, without which some heritage would be lost. Or addressing the habit of judging someone at face value, or profession, and drawing all sorts of conclusions from it. A lingerie salesman you say? I'm sure some would jump at the opportunity without hesitation!

Before We Forget

Love
I've finally managed to catch this documentary by Jeremy Boo and Lee Xian Jie, having missed it while en route back to Singapore from the Hong Kong International Film Festival, where it made its world premiere at this year's edition of the South East Asian Film Festival, and other one off screenings at various locations. So you can imagine my joy that I've managed to jump at this opportunity to watch the film in a proper cinema setting. But much has changed from March until now, and perhaps I am now better equipped to sit through this, having to share similar experiences in being caregivers to a disease that has no known cure, that you'd slowly see one's love one having their cognitive abilities sapped away.

Before We Forget provides a snapshot of two women suffering from dementia, and the experiences of their family in coping with someone afflicted with a cruel neurological disease. The filmmakers followed their subject over the course of one year in making this documentary, as it joins the ranks of other medical and health related films in Singapore, which are not many - Jasmine Ng's Pink Paddlers comes to mind, as do Ang Aek Heng's This Too Shall Pass, and even Royston Tan's narrative short Ah Kong (阿公) which was also on the same subject - in an effort to raise awareness of the disease, and hopefully to remove stigma that society is quick to embrace when faced with the problems.

The filmmakers Jeremy Boo and Lee Xian Jie chose their subjects well, having two persons at different stages of the disease being subjects, that will inevitably cover the timeline from onset to the loss of ability, or to highlight and allow us to appreciate that the disease brings about massive change, whether be it in one's being, or the life that revolves around the sufferers. In the Fernandez family, I presume Celine is already into quite an advanced stage, with the loss of speech and motor skills, while with Dr Irene Giam, we see first hand how one with extreme self-awareness, can over a period of time, slowly degenerate into a state that betrays her academic excellence. In my opinion, the field of Neurology is still very much at its infancy, with the mind and brain still being the big unknown, that we have almost no response to diseases that afflicts the mind.

And through its subjects, the film tackles misconceptions, and expectations, that come with the disease, whether through the patients, or as the film also smartly crafted, a spotlight put on those who are primary caregivers, never forgetting the toil it takes when one has to look after another full time, and the absolute patience that it calls for. Having two subjects and their family also allowe for stark contrasts, such as one who has already lost all powers of speech, and one still being able to express her emotions in rather eloquent terms. We also bear witness to mobility issues, with general discussions on faith, or the lack thereof, which sometimes with the dianogsis of a disease, it may turn some into become more spiritual or religious. And let's not forget about the very compelling monologue which Dr Irene Giam put forth with regards to the quality of life, which the filmmakers shrewdly interjects the narrative with how Joyce Fernandez would be fighting instead to stay alive, and to get home.

Quality of life is something that became the focus in the later part of the film, and also becoming the thought that you'll leave the cinema with. It provokes discussion into whether one would prefer to man up and come to acceptance of what life has decided to dish unto you, and call it a day when time's up, rather than to continue battling it out along a road that leads to the inevitable anyway. Sure, one can say that one fought the good fight, but having to endure tubes being pushed into one's body, and not being able to partake in life fully, may make one reconsider, since it also piles on the strain and stress on the caregiver. It's also sad to watch Irene's startling degeneration, from someone who's relatively self aware with gutso, reduced to someone who rambles.

One of the filmmakers' aims is to remove stigma that comes with the disease, whether on the patient or the caregiver, and they've done it well, never portraying anything more than necessary lest scenes start to feel contrived, or that they are generating sympathy for the sake of. It could have, but didn't, and you'd have to salute the filmmakers' decision not to, because of the tremendous damage that comes if it is deemed exploitative, doing more harm than good and running contrary to their beliefs prior to embarking on this film, and subsequent book project. The movie does not hold concrete answers on the cure, but it sure does highlight in its own way, how we should all be a little bit more gracious and understanding, in helping those who need a helping hand. I wish everyone featured in the film well, with thanks to have opened themselves up for a film, and to hang in there when the ride gets rough.

If you would like to find out more about the disease and the film, you can always do so at http://www.beforeweforget.org. Probably the best local film to date this year, that has to find a bigger audience. The word during the Q&A is that there should be distribution for the home market sometime early next year, whether streaming, DVD, or otherwise.

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Bangkok Revenge

It seems that Action Films are getting back into fashion with its recent turn into more visceral violence that are being put on screen. Still, as an action film junkie, one will probably lap up the set action sequences shown in Bangkok Revenge's trailer, even if the story, at this junction from its recently released synopsis, may not be too much to shout about.

But boy, check the action out! Hopefully we'd get to see this here one day.

DIRECTOR: Jean-Marc Minéo
WRITER: Jean-Marc Minéo
CAST: Jon Foo, Caroline Ducey, Michael Cohen
RUNTIME: 80 minutes

Manit (Jon Foo) witnessed the murder of his parents when he was just 10 years old. The killers shot him in the head, but he miraculously survived. However, the damage to his brain left him unable to experience regular human emotions. A martial arts master saved him and took him in. Twenty years later, Manit has become a master of martial arts himself. He returns to the scene of the crime, seeking justice.

Take a look!


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