[DVD] Millennium Actress (Sennen Joyû) (2001)

My Many Characters

Having watched Satoshi Kon's Paprika and Tokyo Godfathers, it's a no brainer that I would jump at the chance to watch Millennium Actress. And I wasn't disappointed, though if I would rate this movie amongst the others I've seen, then my preference will be in reverse chronological order, not that Millennium Actress is no good, but you do see the scaling of new heights in the newer works.

I'm quite amazed at how a single theme (at least to me) managed to weave itself into a compelling story, and one which paid homage to the history of Japan, and to Japanese films. The actress in the title refers to Chiyoko Fujiwara (voiced by three different actresses - Miyoko Shoji, Mami Koyama and Fumiko Orikasa), and chronicles the story of her career. As such, we get to see her in various characters and costumes, in different genres set in different eras, like the Samurai films, science fiction, romance dramas, and even monster movies. Now a senior citizen who has since retired from the limelight, she's being tracked down for an interview by Genya Tachibana (Shozo Izuka) and his cameraman Ida Kyoji (Masaya Onosaka), as she's the icon for a movie studio which is being torn down. But there's more to Genya's intentions of just speaking to her, and that secret in which he has will form the basic crux of the story.

To some, it might be groundhog day narrative style as events get repeated, although in different reel eras. It's about chasing after a loved one, one who has disappeared, and about your relentless pursuit, never to give up for that glimmer of hope, for that pot of gold at the end of the rainbow. In many aspects, there's a lot of reel life imitating real, and the presentation style is definitely a notch in the direction of class, having interpolate Genya and Ida into the memories of Chiyoko as they learn first hand the events that she encounters, and relive those memories in the form of the movies she had starred in. In this manner of skillfully manipulating images and colour, the movie becomes layered in multiple fashion, and is quite innovative, rather than telling the story in a flat out chronological style.

The story nevertheless remains immensely touching, and bittersweet as well, particularly when a key secret is revealed, and you find yourself having to hold back that tear from coming out of your eye, especially when you have experienced a similar, relentless chase for something that you do not know what the outcome is. As always, the movie is richly animated with deep background details that you do not keep your eyes off the screen, and definitely deserves multiple re-watchings. Definitely highly recommended.

The Code 1 DV by Dreamworks Home Entertainment comes with a pristine anamorphic transfer, with audio only in Japanese 2.0 Dolby Digital, or 5.1 Dolby Digital Surround should you want to feel the many earthquakes in the movie. Subtitles come in English and French, and you have scene selection in 22 chapters.

The extras are quite basic, containing just the US Theatrical Trailer (1:05), and the Making of Millennium Actress: Interviews and Commentary with Satoshi Kon (40:40), which is a must to sit through as you learn about the movie from preparation stage, to its premiere in Japan. Through the interviews with Satoshi Kon and crew, you get to learn a lot of their thought process and how real life incidents provided inspiration for their reel development, and from the voice actors, their thrill in having been a part of a Satoshi Kon production. Not to worry if you don't understand Japanese, as the extras all come with subtitles.

[DVD] Sleuth (1972)

I Spy

Like 3:10 to Yuma, Sleuth has also been remade this year, and I'm watching the original as part of homework prior to the local release, hopefully, sometime soon. Based on a play by Anthony Shaffer, Sleuth is arguably one of the pioneers of the sleight of hand, and because it originally started off for the stage, the number of sets are limited, but that provides focus for the story, dialogue and characters, which most films of today tend to disregard and disguise their shortcomings with snazzy special effects.

You'll be hard pressed to identify those which provide an equally intriguing story, and having pedigree thespians like Laurence Olivier and Michael Caine in its cast certainly is a bonus. In the remake, Michael Caine's Milo Tindle gets played by Jude Law, and I won't be surprised if along the way more of Caine's movies, if they do get remade, will get played by Law (the first being Alfie), given Law's charmingly good looks and demeanour almost resembling Caine's onscreen persona in his younger days as the quintessential Englishman.

Sleuth tells the story of a wealthy renowned author of detective stories, Andrew Wyke (Olivier) inviting Milo to his ostentatious home, at first to partake in a few drinks, trivial chit chat, and plenty of game playing (his home is rigged with so many tricks and toys), before something more sinister is revealed. Milo happens to be the secret lover of Andrew's wife Marguerite, and what transpires after that, is a psychological battle of wits to see who in actual fact, has the upper hand.

What I liked about the story is its theme of humiliation. When you put someone down, and in the process strip him of all his humanity, fueling him with nothing but despair, making him beg for the right to live, what happens then? Can everything be is all and end all with a simple apology, or to allow some getting back at, if so, where do you draw the line, and would you cross it?

And with a runtime of close to 2.5 hours, you can bet your last dollar that everything is more than meets the eye, and that's where Shaffer's story shines. It yanks the carpet under your feet again and again, without resorting to much trickery or too pretentious a premise that it becomes unbelievable. And despite it being made about 35 years ago, it has definitely withstood the test of time, which is a hallmark of all great stories. Having the acting chops of both Olivier and Caine also proved that you don't need ensemble casts, so long as you have great actors who deliver every time.

Which leads me to suspect that the remake of today might be lacking something. First of all, the runtime clocks in at less than 1.5 hours, which means a lot of stuff would probably have been removed, reduced and summarized. With Law taking over the role of Milo Tindle, Caine has moved to Olivier's role as Wke, and it will be interesting to see his take on that character. The trailers have shown that Sleuth 2007 is quite stylish, but whether or not it retains its charm, and depth of story, remains to be seen.

The Code 1 DVD by Anchor Bay Entertainment comes in anamorphic widescreen, but the transfer did seem a little soft, as if converted from a VHS format. Audio is available only in English or French Mono unfortunately, but fair enough, it doesn't really require sense surround. Extras are limited to a Trailer (2:06), a TV Spot (1:01), and text based Talent Bios on Laurence Olivier, Michael Caine, and Anthony Shaffer the playwright of the story.

The documentary "A Sleuthian Journey with Anthony Shaffer" (22:50) is the only worthy bit of extras on the DVD, and it recounts, with an actual interview, his journey of creating the story, to the staging of the play, his meeting with peer luminaries such as Agatha Christie, and including the movie's production and release. Worth a watch as you go behind the scenes and listen in on the insights of the late playwright in the creation and completion of his masterpiece.

The Brave One

I Bestow Upon You The One Ring

I'm not sure why The Brave One got no love. Perhaps one could have been jaded by so many revenge themed movies, where things get taken into one's own hands because we believe revenge is a dish best served cold. From the martial arts genre to stylized violent movies like Tarantino's Kill Bill double, I'd warrant a guess that anything more rooted to the reality of today, and in the movie's forced allusion in making a statement about the Iraqi War, will make one roll their eyes in disbelief.

But on its own, The Brave One is a satisfying picture. It offers no apologies to those who condone taking matters into their own hands, and establishes a stage for you to feel good about doing so too. One of the earliest movies I remember about revenge was Eye for an Eye, where as a kid I watched Sally Fields hunt down Kiefer Sutherland. And not to forget one of my favourite comic book heroes happen to be a masked vigilante prowling the streets of Gotham, never batting an eyelid in crippling opponents, all the while searching for the elusive Joe Chill who murdered his parents in cold blood.

In similar ways, Erica Bain (Jodie Foster) is a woman on a dazed mission. She too is in search for the group who killed her fiance and beaten her to a pulp (akin to Robocop), hunting for her own Joe Chill. Along the way, she finds new strength within herself, though admittedly, discovers that she's morphing into a totally different person altogether, one who does not hesitate in dispensing her own brand of justice with her black market 9mm handgun. I for one was cheering her on as she ends the lives of evil persons who have the misfortune of crossing her path, then again, does that mean I got the propensity to do the same? Perhaps. But here's where the movie succeeds in getting you riled up, and throwing your weight of support behind Erica's unlawful ways. As mentioned, it sets the stage properly in having you think the victims are in desperate need of some lessons to be taught, and given that they too preach a brand of violence, they jolly well deserve what came to them. In painting the police force as bureaucratic and inept, it elevates our support level for Erica as well.

But we have Detective Mercer (Terrence Howard) who gets acquainted with our leading lady, as the two of them exchange thoughts, philosophies and pain through their friendship, providing some light that there are right and wrong, black and white, but there's always that shade of gray which makes it a constant challenge for those on the side of the law to adhere to following the book, because any deviation might mean a chance for legal exploitation, and the perpetrator walks.

Foster's role is nothing unique here, as she had been The Accused before, but it's only in this movie that I realize how successfully she projected vulnerability, given her small frame. And she's getting noticeably aged too, with unavoidable wrinkles tracing her face when the camera goes up close. Holding his own against the award winning actress, Terrence Howard didn't have much else to do besides the cursory investigations into a supposed serial killer, being the supplemental detective character in a movie that touches on putting matters into your own hands.

Enough suspense was built towards the finale although it degenerated almost into some unsatisfying Western high noon shoot out, and the ending is probably the best that could be mustered out of the story, despite its quite obvious stance toward vigilantism. When the credits roll, you'd start to wonder if you too could go ballistic when someone else trespasses against you. And I just got to mention that Sarah McLachlan's Answer was plain beautiful.

Answer by Sarah McLachlan
I will be the answer at the end of the line
I will be there for you while you take the time
In the burning of uncertainty I will be your solid ground
I will hold the balance if you cant look down

If it takes my whole life I wont break I wont bend
Itll all be worth it worth it in the end
Cause I can only tell you what I know
that I need you in my life
When the stars have all gone out
youll still be burning so bright

Cast me gently into morning
For the night has been unkind
Take me to a place so holy
That I can wash this from my mind
The memory of choosing not to fight

If it takes a whole life I wont break I wont bend
Itll all be worth it worth it in the end
Cause I can only tell you what I know
That I need you in my life
And when the stars have all burned out
Youll still be burning so bright
Cast me gently into morning for the night has been unkind

Mr. Woodcock

Just How Hard is Woodcock?

"Take a lap!"
"Set of 10!"

With a name like W-o-o-d-c-o-c-k (roll it off your tongue slowly for maximum effect), you'd have expect the jokes to come fast and furious about the appendage. Well there are, however, the best parts of Mr Woodcock are not the sexual innuendos, but come from the various gymnasium scenes, where Jasper Woodcock (Billy Bob Thorton) the PE teacher runs his classes like a sadistic drill sergeant, and all the misfits tremble in fear and loathe as he puts them through the paces, with physical, mental and emotional abuse dished out in deadpan manner. The filmmakers know this, and set the bar high enough from the get go, but only for the movie to spiral in the general southwards direction.

Thirteen years after his unforgettable years of growing up under Mr Woodcock's insults, John Farley (Seann William Scott) becomes a renowned self help guru and published a bestseller called "Letting Go: How to Get Past Your Past", because it takes one successful loser to teach the rest how to move on. During a journey back home where you're hit with a barrage of literally corny jokes, John realizes to his horror that his mother Beverly (Susan Sarandon) is now dating Mr Woodcock, and he makes it his mission to dissuade her from giving him a new stepdad, one who has been the bane of his childhood.

That basically becomes the premise of the movie, and a highly predictable one at that. You'll see from a mile away every conceivable plot development coming toward you, and it doesn't help that the short run time of under 90 minutes probably meant some material were reserved for the DVD release. You can tell by some of the continuity errors, helped in no part by John's bad haircut episode.

Billy Bob Thorton owns the movie as Woodcock, delivery his deliciously acidic remarks with aplomb. Alpha-male type roles are nothing new to Thorton, and bullying or whipping losers to shape are part of the game, just like School for Scoundrels. And here he plays the unapologetic teacher with EQ problems, taking perverse delight in seeing his charges suffer. Sean William Scott is better known unfortunately for his loud and over the top Stifler from the American Pie movies, but given a rather muted character like John Farley, he fades away quicker than you can spell l-o-s-e-r. Susan Sarandon rounds up the lead cast as the woman caught between two men, and frankly I thought it was like an extension of her mother's role in Elizabethtown. Look out for more Sarandon in an upcoming movie called Enchanted, which takes the mickey out of a Disney movie. Most of the other supporting cast like Amy Poehler and Ethan Suplee got wasted, with the former being a self-professed alcoholic Barbie doll, while the other a fanatic who had read John's book 900 times and counting.

Mr Woodcock isn't laugh out loud or laugh a minute, but it has its moments. Sadly, most of the best bits made their way to the trailers, making the movie seem like an empty shell. And given the editing fiasco of late, Mr Woodcock suffers from censorship too, with what I thought was just verbal expressions of ecstasy being snipped off and left on the cutting room floor. Pity.

Brothers (兄弟)

Expectations can be such a bitch.

With the star power attached to this project hailing from the classic TVB's Five Tigers - Andy Lau, Tony Leung Chiu Wai being replaced by Eason Chan, Felix Wong Yat Wah, Miu Kiu Wai and Ken Tong, could this movie really be what I saw? A tale of HK triads so blandly made, that characters became cariacatures, action became cartoonish, and became fundamentally what was everyone seemingly going through the motions?

Technically very sound, but lacking the all important soul. You don't connect with anything or anyone in the movie, and when the lights come on, unfortunately you'll be very hard pressed to find anything worth remembering from the story.

To read my review of Brothers at movieXclusive.com, click on the logo below:

The Drummer (戰.鼓)

Together We Will Make Music

Anything with drums, and I am there. The beats of drums in any music always appeal to me (no prizes for guessing I'm a drum and bass fan), because I suppose it's fairly easy to express your mood to beats, and this expression can be done through anything that gives you that satisfying clang, and more so when you need to vent frustrations out in a relatively safe manner by hitting out at something inanimate, without personal injury of course.

And I like it too as it doesn't come across in a threatening manner to those who want to pick up the instrument. I mean, there are no complicated chords, complex notes, intimidating keys or confusing hand eye leg coordination that calls for dexterity. What it has essentially is a pulled canvas, a set of drumsticks, and calls for strength, intensity and endurance as you express the beats of any rhythm within you.

The Drummer is the latest movie to premiere from Hong Kong, written and directed by Kenneth Bi, starring Jaycee Chan, Tony "The Lover" Leung and Li Sinjie. Jaycee has been particularly busy this latter half of the year, with 3 releases (including this one), from action in Invisible Target, to arthouse drama in The Sun Also Rises, and now a movie about Zen Drummers. Somehow I find that he possesses this charming quality that comes across as easy going, a little naive, but yet having no lack of serious acting chops when the time calls for it. With the few films of his that I've seen (save for the forgettable debut efforts like the Twins Effect), I'm quite impressed and would definitely be in the queue for more in future to see how he would mature into the different roles that come along his way.

In The Drummer, Jaycee plays Sid in the titular role, and somewhat a departure from his earlier characters, at least initially. A pompous prick who drums for his rock band, he gets into the pants of a mistress of a triad boss (Kenneth Tsang), and without saying gets himself into deep trouble. In trying to shield his son, Dad (Tony Leung, in yet another typical hot headed gangland leader role we're familiar with from the Election movies) sends him packing to a rural part of Taiwan to weather the expected storm of triad displeasure, and in this exile, Sid comes across the training grounds of the Zen Drummers.

It's a basic story about the coming of age of an impatient youth, as he tries hard to gain acceptance to drum for the Drummers, who are of course, in no need for any impetuous hothead. And you know the drill from here, where there's a clash of cultures and philosophies pertaining to drumming, and in teaching him the ways of their own, we get plenty of "wax on wax off" moments, as virtues like patience, discipline, hard work, perseverance, you-name-it-the-movie's-got-it get imparted and appreciated by the newbie, transforming before your eyes from selfish individual, to a valuable team player.

For the most parts, the movie develops at a rather predicatable manner with near cliched sub plots, but the appeal of the characters made it quite enjoyable to sit through, despite its run time of almost 2 hours split between dramatic moments, and those embodying Zen like teachings and quiet, contemplative pieces. I thought that the movie, like the virtue it's imparting, requires patience in order to savor the goods of a delightful performance, as typical stories of such nature you'd come to expect - the big fight, the finale dance, that rewarding end performance. However, to my slight disappointment, The Drummer didn't deliver when it really should. Instead the editing interrupted and intruded on proceedings, and what could have been worth a ticket to witness, felt like spare change.

The romance bit also fell short, and somehow was junked from developing further as the narrative decide to switch gears and focus on father and son instead. Hence, Lin Sinjie's role as Hong Dou became a little sidetracked midway. Which was a pity, given that the potential for some good old fashioned romance didn't make the grade. But what I found really jarring, was the decision to reintroduce triad moments in the last act. Again typical in wanting to provide closure, but done not too subtly that it sticks out like a sore thumb.

All in all, it's still a gorgeous looking film with good acting from the leads, and not to mention the professional performances by U-Theatre, the real Zen Drummers who come alive when they're behind their set of drums. Make sure you watch this in a theatre with a booming sound system. If you haven't had enough of the mesmerizing, hypnotic beats, then head on down to the official website and ensure you got your speakers turned on. And check out the director's blog too while you're at it!

[Press Release] Pleasure Factory

After premiering in Cannes, Montreal, Oslo and Pusan, Pleasure Factory is coming home. The film will be released by InnoForm Media and Shaw Organisation in local cinemas on 25th October 2001 with an R21 rating.

“I’m happy to learn that Pleasure Factory has been passed by the local censors. Not too long ago, this would have been unimaginable”, says Ekachai Uekrongtham, the film’s director, producer and screenwriter. He has personally supervised the editing of the film for the release in Singapore.

Adds Uekrongtham, “Some people might think that Geylang represents the dark side of Singapore. But to me, the place and the people there illuminate.” Inspired by true stories and shot on actual locations, Pleasure Factory tells an intriguing and intimate tale involving pleasure seekers and pleasure providers in Geylang. In the course of one night, an army boy loses his virginity; a teenage girl gets inducted into the pleasure manufacturing process; and a jaded prostitute pays a young busker good money for a song he never gets to sing.

Starring Thailand’s heartthrob Ananda Everingham (Shutter, Me & Myself) and Golden Horse Best Actress Yang Kuei-Mei (Eat Drink Man Woman), Pleasure Factory also features exciting local newcomers including Loo Zihan, Isabella Chen, Jeszlene Zhou and Ian Francis Low. The film’s Director of Photography and Editor is Brian Gothong Tan, one of Singapore’s most celebrated multimedia artists.

Pleasure Factory was an Official Selection in the Un Certain Regard at this year’s 60th Anniversary Cannes International Festival. After which, it has been invited to a number of film festivals around the world including Montreal World Film Festival, Stockholm International Film Festival, Oslo Films from the South Festival and Pusan International Film Festival. The film has also been picked up for distribution in the U.S. and major European countries.

Says Sim Wee Boon, Acquisition Director of InnoForm Media: “We are very excited to be able to share this very unique film with Singaporeans. Ekachai and his team has created something very special which we feel will strike a chord with all of us here.”

Pleasure Factory is co-produced by Spicy Apple Films, Fortissimo Films and InnoForm Media. For more information on the film, please refer to the attached Production Notes or visit the Official Movie Site.

Muay Thai Chaiya

Pecking Crane Attacks Elephant Tusks!

You think you've seen all about Muay Thai after watching Ong Bak, Tom Yum Goong and Beautiful Boxer? Think again!

Muay Thai Chaiya is an ancient variation of the martial arts whose philosophy lies with being defensive, and looking for opportunities for deadly counterattacks. Suitable for those who aren't offensive in nature, but no doubt still possessing enough chops to disable an opponent with well calculated moves.

However, the movie is a mixed bag. Part Blood Brothers, Part generic Hong Kong Triad movie, Part Romance courtesy of the template (of all choices!) from Michael Bay's Pearl Harbor. Too many melodramatic moments diluted the hard hitting action here, and none too many explanations and demonstrations to distinguish and differentiate this form against the other Muay Thai formats. Seemed to dwell a bit on the foulness of the underground Muay Thai circuit too.

To read my review of Muay Thai Chaiya at movieXclusive.com, click on the logo below:

[DVD] Goal II: Living The Dream (2007)

Ole Ole!

The Code 3 DVD for Goal 2 is out, and though the novelty has worn out, we are still waiting for the final installment, aren't we? So in the meantime if you need a recap, the DVD will be the obvious choice, and it comes with deleted scenes, bloopers and a commentary by the director and producer.

To read my DVD review of Goal II: Living The Dream at movieXclusive.com, click on the logo below:

Akan Datang: Pleasure Factory

The Singapore Red Light District of Geylang being the backdrop of a movie? Look no further than Pleasure Factory, which is directed by Ekachai Uekrongtham, who did Beautiful Boxer.

Synopsis (Taken from the Official Website)

Inspired by true stories and real-life characters, Pleasure Factory, shot on actual locations, tells an intriguing and intimate tale involving pleasure seekers and pleasure providers in Geylang: Singapore's popular but little known red-light district. Over the course of one night, a young cadet loses his virginity; a teenage girl gets initiated into the pleasure manufacturing process; and a jaded prostitute pas a young busker good money in exchange for a song he never gets to sing...

Eh?! Little known?! OK, perhaps to non-Singaporeans, since this movie had already premiered overseas, and was an official selection at the 60e Cannes Film Festival Un Certain Regard section.

Pleasure Factory is set to open End October. Watch for it!

Trailer

[DVD] 3:10 to Yuma (1957)

One More Shot

No, this isn't the updated version starring Russell Crowe and Christian Bale. While it's making its rounds in general and festival circuit release, over here we've got to wait until next year (yes! Almost 3 to 4 months!) before it arrives on our shores. So what can one do in the meantime? Do some homework and pick up the original of course.

You would already know by now the basic premise of the story. Ben Wade (Glenn Ford, who was Jonathan Kent in Superman which starred Christopher Reeves, and in the 3:10 update the character is played by Crowe) is one of the most notorious and wanted criminals in the Wild Wild West, and together with his gang, rob a stagecoach in the beginning of the movie, and in the process, kills the driver. While getting his rocks off with a local barmaid Emmy (Felicia Farr), he gets arrested by the town sheriff with the help of poor rancher Dan Evans (Van Heflin), and Evans gets offered 200 dollars as a volunteer to transport Wade to Contention City, in time for the 3:10 train to Yuma (hence the title).

It's really a simple story about the dynamics and uneasy relations between the two men. One captive, the other the guard. One a criminal, the other just being the mercenary in need of money to get through hard times and feed his family. One full of cunning, the other a good boy scout who has high morals and is serving out his moral obligation. There are enough engaging material here to keep you mesmerized, but the movie turned out to be a quick 92 minutes (the update runs for at least 30 more minutes). The best parts are nonetheless the temptation that Ben brings to the table - let him walk free, and he'll reward Dan with 10,000 dollars, more than 50 times the amount provided to him. Will Dan buckle? It's a quick get rich scheme, nobody will blame him (given nobody else wants this job anyway), and it's almost a banker's guarantee that there will be no blood loss on either side.

The tension built in the hotel room where temptation gets seductively dripped and the time gets ticking, is excellence par none, even despite the movie's age. And as the clock approaches 3pm, you find that the odds get stacked against Dan, slowly but surely. However, there are some jarring moments to the plot during those tension filled moments, like Dan's wife Alice (Leora Dana) comes a visiting. And for all the build up, the climax is a little disappointing, at least to me, as there's no big OK Corral styled shoot em ups. It does have a satisfying ending, but one that is rather muted for a Western.

In fact, if you look at it on hindsight, it's quite unsophisticated, with few sets, and little battles. What made it being touted as arguably one of the best of its genre, is the delivery by both Glenn Ford and Van Heflin. Ford's mannerisms in his portrayal as Ben Wade will offer no surprises why Russell Crowe was chosen for the role. Van Heflin's Dan is a curious choice to offer to Christian Bale however, as the Dan here's a little stocky, and confident but yet unsure. But Bale being an excellent actor, should be able to pull this off, and it'll be interesting to see how his Dan will react to Ben Wade's propositions.

All in all, after watching this one, I can't wait for the remake to come any sooner. No doubt having known how the story played out might mar the enjoyment, you'll never know when, as usual, the Hollywood remake will throw a curveball in the story, especially in beefing up the action with a couple more gunfights. Watching Crowe and Bale go head up against each other, is reason enough to watch the updated version, some half a century after the original was made.

Code 1 DVD by Columbia Tristar Home Entertainment comes in both full screen and widescreen formats. The anamorphic widescreen transfer brings about the sense of scale in the outdoor shots, but frankly, most of the movie happened indoors, either in the saloon, or the hotel room where both men gets holed up until 3:00 p.m. It's a 1957 movie, so naturally it's in black and white, but being digitally mastered more than makes up for it with its pristine visual quality. The audio unfortunately is in mono, and in English only, but subtitles are available in English, French, Spanish and Portuguese.

No other special features included, besides the ability to zoom into your favourite moments given a 28 chapter scene selection, and trailers for other Western movies like MacKenna's Gold (5:05) and Silverado (1:48) starring a very young Kevin Costner.

Alpha Dog

I'm Bringing Sexy Back

There will come a time where actors and actresses will decide to take on a role that will break the mold of their idoldom, and shed those cute, goody two shoes image for something that could demonstrate and add some depth to their credibility. So taking on more edgy, angsty characters might just be their quick solution. Anne Hathaway lost her clothes and borrowed a foul mouth for her turn in Havoc, and Justin Timberlake here lost his coolness but almost always brought sexy back in his scenes, despite having tattoos riddling his toned body, and adopting as foul a mouth as Hathaway's Allison Lang.

Nick Cassavetes' Alpha Dog, the closing film of Sundance 2006, tells of a true story, with a little mockumentary spin put on. Alpha Dog is like a Beverly Hills 90210 episode gone all wrong, where rich kids spend all their time in vice activities, including smoking weed (they even grow their own in their backyard), guzzling tonnes of alcohol, humping anything that moves, and peppering their vocabulary with expletives. I swear almost every sentence has the F-word in its numerous permutations, showcasing that it is indeed a word for any occasion.

And it makes you wonder how much trouble these perpetually high bored kids get into so easily, without using their brains much and constantly shooting from their hips. For every action, there is reaction, and without considering the circumstances and outcome, personal pride, ego, or just blind faith, can bring about a chain of events with outcomes that are inevitable. Johnny Truelove (up and coming actor Emile Hirsh, who had starred in Lords of Dogtown, and the upcoming Speed Racer as Speed) and Jake Mazursky (Angel in X3) can't settle their feud over a few hundred bucks, and bad blood start to spill when boisterous dares under the influence of alcohol become tit for tat revenge. In a mindless spur of the moment retaliation, Jake's brother Zack (Anton Yelchin, he one who will be Chekov in the new Star Trek movie) gets bundled into a van, leaving everyone perplexed just what to do next.

Timberlake, being an idol, gets to portray his character with pretty much being the best of the worst of them all. Being easy going and the man with the plan, he strikes up a brotherly friendship with Zack, which is possibly the number one rule of kidnapping, never to do. Getting chummy with your prey is always bad karma, and hinders hard decisions made. But for the most parts of the movie, this friendship takes centerstage. But that's not to say the rest of the cast were strolling in the park, as Hirsh was excellent in his role as the crazed, dazed and confused de facto leader Johnny Truelove, with his impulses usually getting the best (worse?) out of him. Looking pretty much like a bearded Leonardo DiCaprio in Blood Diamond and The Departed, there's a little Catch Me If YOu Can spin in the latter half of the story, with unexpected help from Dad (Bruce Willis, in yet another supporting role).

There are a number of recognizable faces playing supporting roles here, like Sharon Stone and Dominique Swain (she has disappeared for a long time), but the narrative calls for nothing much from them. Perhaps one of the best scenes was a reminisce of the car ride in Seven, with Brad Pitt and Morgan Freeman driving Kevin Spacey, ad he rattles off his motives and rationale behind what he's doing. In the equivalent here, there was a tinge of sadness, and how it played out to the end will no doubt bring about some very mixed emotions, all rolled into one. If there's any moment from the movie that can justify putting a bum in the seat, this will be my justification.

Those who can't survive listening to obscenities being rattled off with aplomb, or can't bear to witness their idol mouthing off, should steer clear of Alpha Dog. Otherwise, it offers, like Voice of a Murderer, a Crimewatch like narrative that recounts real events, and of course with certain dramatic license taken.

Resident Evil: Extinction

My Name is Milla

With Extinction, the Resident Evil franchise perhaps have made its mark as the most enduring computer game turned movie to date. Most of such movies usually make for cheesy lazy weekend entertainment, little in depth but filled with plenty of set action pieces, which for the most parts are nothing groundbreaking. But what this franchise has to credit for its longevity, is Milla Jovovich.

OK, so she has made mostly mediocre movies of late (I sense some fanboys will get me for this, but let me put it straight, I'm a fan of hers too), especially with the lacklustre Ultraviolet, and the really showy .45. If not best remembered for her role as Leeloo in Luc Besson's The Fifth Element (still credited in my books as the ONLY film I watched with having zero prior knowledge on anything about it), then it'll be for her role as Alice, the zombie butt kicking superbeing whose blood holds the key to a reversal of the effects of the T-virus engineered by the evil Umbrella Corporation.

The premise here is similar to that of 28 Days/Weeks Later, where the virus is now out of control, and mutates humans into flesh chomping zombies, spreading mayhem worldwide. Human survivors are few and far between, and where we left off from Apocalypse, Alice is now travelling the world alone, seeking refuge and peace, while evading Umbrella's gunsights. It presumably takes place a significant amount of time after the predecessor, given that Jill Valentine (Sienna Guillory) doesn't return for this, keeping the doors open for either an unlikely spin off, or a revisit into the gap in timeline should Guillory sign on the dotted line.

But I guess as Juvovich fans, we don't really care, do we? So long as we get to see our heroine in action, we're satisfied, whether she's causing misery to her opponents from her twin handguns, double Kukri knives or just her incredibly toned limbs, we're rooting for her all the way, dressed in garb personally designed by Juvovich herself, which provides for both form and functionality. The trend of casting pretty women to pair with her continues, with the first movie having Michelle Rodriguez, the second with Guillory, and now, Heroes' Ali Larter and Spencer Locke join the fray. However, they are relegated to more pedestrian roles as compared to previous partners, so don't be expecting much from them, especially for fans of Larter.

The story can be no more simpler than Alice serving as a messiah for a small convoy of survivors headed by Larter's Claire, delivering them a message to journey to the promised land in Alaska. But of course the road to Peace and No Infection is plagued by challenges which culminates in a big battle in Las Vegas, where the trailers have teased with the entire city being semi-buried in sand. And like a video game, all levels will lead to their respective Big Boss to do battle with, and Extinction doesn't evade that formula too. Watching Alice grow in power, provides a lot of kick in some of the cool things she can do, enhanced with special effects of course.

Don't expect the franchise to slam the door of opportunity shut on itself. By the look of things, we might even see a fourth movie coming up in perhaps two or three years time (the interval between the movies thus far). Expect plenty of blood and gore as our heroes cut through ugly zombies like hot knife through butter, and none other does it more balletic and graceful than Milla Juvovich. You go, girl!

Me Panda

Friends would know I'm a big fan of movie music, and I usually perk up if any movie has that catchy tune used in its opening credits. If I groove to the beat, and feel that it compliments the opening scene perfectly, then the movie certainly deserves brownie points.

The latest will be Oxide Pang's The Detective (C+ Jing Taam) starring Aaron Kwok as an imporverished detective who seems to be a born loser in his profession, relying only on his doggedness to get things done. It's not a bad film really, and Kwok demonstrates he's more than capable to carry a movie on his shoulders, while oozing charisma from every pore of his. Not just a pretty boy these days, with serious cred for acting.

Although I have absolutely no idea what the lyrics of the Thai song is about, you can't deny the tune its catchiness. It's now my current earworm! Give it a go!



To read my review of The Detective at movieXclusive.com, click on the logo below:

Lust, Caution (Se, Jie)

Don't Shy, We Got Censored

Early in the movie, Wong Chia Chi (Tang Wei) gets asked to act in a patriotic play, in a time when China was threatened by the Japanese Invasion during the late 30s/early 40s. Little does she know that she's got to carry on acting the rest of her life, together with her group of idealistic young dramatists, as stage feelings stirred up real emotions that calls for the sacrificial of self for the greater good, for the country. What they lack in experience, they make up with their youthful passion and exuberance. And their rawness shows in the way they clumsily set up their traps for the coming of the prey, and fumbling even with their first blood.

Welcome to Lee Ang's world of espionage. It's not glam, and gets draped in many real world sense and sensibilities. We enter a world where Trust and Loyalty are difficult to come by, and with shadows lurking in every corner, waiting to pounce at the slightest of mistakes. But the darkness is beautifully captured, and like its endless rounds of mahjong, you're waiting for that perfect tile to come your way, for the opportune to present itself, for the East Wind to come about. That's how this movie's espionage theme is played out, with plenty of waiting. Instant results and instant gratification do not come easy, and even the finale I found to be less than satisfying, though it provided subtle avenues to keep your imagination running as to how the turn of events have greatly affected the usually cautious Mr Yee (Tony Leung).

Like the movie, Leung's Mr Yee remains an enigma we are trying to have a crack at, trying to, like the rest, understand his secret life. He sneaks around from fort to fort, always with protection, and has this solid wall build around his personal life, that even his wife (Joan Chen) finds hard to break, and letting it be anyway, enjoying luxurious life as a tai-tai. All we know about Yee, is that he's a Chinese traitor in the employment of the Japanese, while enjoying immense power under the protection of his master, readily bolts like a running dog that he is in the first signs of trouble.

Enter Tang Wei's Chia Chi, in a strategy hundreds of years old, and that is to use the lure of the beauty to provide the downfall of powerful generals. As a fresh faced ingenue, she enters the dangerous cat and mouse game at great personal sacrifice, probing cautiously (that's the word again) into the life of Mr Yee, and casting those come hither eyes as bait to lure her prey, relying on others to provide the finishing blow and save her from his evil roaming clutches. In order to enter his circle of trust, she has to play to the sadistic sexual fantasies (you see, I don't think he gets any from Mrs Yee anyway) of a repressed man using her as an avenue to release those pent up rage and frustrations from work, where his job as we know is to interrogate fellow countrymen. It's not a glam job, especially when you're casting your lot with the underdogs.

Lust, Caution is a tale of two lonely people, forced by circumstances to do what they have to. One, to fulfill her ideology and get rid of possibly one of the most dangerous man to the Chinese, while the other, looking for honest companionship. It's falling for and sleeping with the enemy both ways, and in a time where trust is hard pressed, this makes everything more complex, especially when it comes to irrational emotions that overrule logic and guard. It's layered with plenty of betrayals whichever way you look at it, and the narrative kept pace by unfolding each layer intricately. Which makes it ultimately a very sad love that couldn't be story, the perennial fib to reality.

Tony being Tony, I can't help but think that with his hair slicked back, and his stoic demeanour in well pressed suits, look the more vengeful version of his Mr Chow from In the Mood for Love, though this time round he really gets it on with another married woman Mrs Mak, Chia Chi's alter-ego. He might be sleepwalking through his role here, as he speaks very little and does even less, but comes alive in his scenes toward the end. LeeHom is rather wooden though as the de-factor youth leader, and his romantic moments with Tang Wei just falls flat given that it's not fully developed here, if not for the focus of love between Mr Yee and Mrs Mak.

Like how Lee Ang shot Zhang Ziyi to prominence with her role in Crouching Tiger, Hidden Dragon as a headstrong young woman who comes of age, Tang Wei snags a role as such and it wouldn't be much of a surprise should she gain acclaim and recognition for her role here. She switches between the greenhorn student and one who's living a lie quite easily, and she exhibits linguistic skills (English, Cantonese, Mandarin and even Shanghainese) and even talent for song. Watch those eyes of hers, and her rant during breaking point, excellent stuff.

Lust, Caution is an espionage story that works, and being set in a tumultuous era helped loads in the eagerness and sense of urgency required, and how patience in getting everything set up for that one shot one kill opportunity makes it a constant tussle, both for the characters, and how events get played out. And yes, it works without the sex scene, but that leads me to the other part of this blog entry.

Oh, but before that, did anyone notice the English subtitles printing: "No English Translation???" (yes, that many question marks) during one of Tang Wei's phone conversation scenes? I think the subtitler had no clue what the heck she was rattling about!

***

And now for my rant. Lust, Caution? More like Caution, No Lust. Not that I'm hard pressed to watch the much talked about sex scenes, but I'm pretty sure some bits of small talk during their lovemaking did get removed, as scenes just after the hot and heavy between the sheets did seem a bit abrupt, and you'll need some time to reorientate with what could have been conversed.

This isn't the first time that we movie goers in Singapore gets screwed by the distributors in their effort to maximize profits, forsaking integrity in provided us the movie that it should be. Remember UIP's Inside Man fiasco? Submitting a film and get a lower rating from the censorship board presumably means more profits, since NC16 and R21 will mean extra box office from those who fall between those 5 years.

Lee Ang had made an abridged version of Lust, Caution for the China market, because they don't have a ratings system, and he wishes for as many Chinese people to watch his new movie as possible, and it's an award winning one too, lifting top prize at Venice. The lure of the Yuan from a market of more than a billion people, dictates this necessity, even though with piracy continually being reported as rampant, you can bet some dollars that the enterprising Chinese people will get their hands on the unabridged cut with ease, especially when fellow countrymen in Hong Kong are watching that version.

And here we have the ratings system, supposedly to give mover goers more choice, and it does (if you compare the state of today with that 15-20 years ago), though there are still some questionable rulings about not being able to release a movie under two different ratings concurrently, which personally I find quite absurd, since R21 movies can't be screened at the neighbourhood theatres anyway, what's the opportunity for a mixup or confusion? Don't think the average joe is stupid please, thank you. We can read and know where to head to, to watch a movie. If cinema operators do their job properly, they too can weed out the minors from the R21 screening and direct them to the NC16 one, without incurring additional costs of playing jaga.

So you wonder why some will decide to boycott this version, and again I state that we locals can watch Violence and Gore on screen, but when it comes to Sex, forget it. And who's complaining about our low birth rates? All 3 sex scenes (I think there were 3) were removed, save for some non-nude, tight angles, close facial shots (heh, pardon the pun) of some mean thrusting and orgasm. The first scene to go was the one where Tang Wei's Chia Chi had to get her cherry popped, since she's supposed to be Mrs Mak, and in no way should she be discovered for her lack of sexual experience and a virgin. The other sex scene to go was the first sexual tryst in apartment 2B, where we see her getting forcefuly tied up with a belt and getting her clothes ripped. And the last, some random tryst I guess. Are there more? Given Lee Ang's personal attention on the editing, it's relatively well circumcised. And yes, you can use your mind to imagine those scenes, after all, the brain is an important sex organ too.

So if you decide to watch the abridged version anyway, you'll probably still get something from the movie, though I felt some of the character motivation, drive and obsession did get watered down. But it's still a rather enjoyable movie. However, for those seething at the thought of not letting the distributor make money from this lack of integrity, then you'll probably be better off watching this movie in the other countries, or know how to get your hands on a legitimate Ultimate Special Unrated Director's Cut (heh) Collector's Edition DVD when it comes out. Please don't download of course, where you'll probably find the unabridged version floating around as well.

BVI is the distributor for Lust, Caution here. And if they don't want to tarnish Disney's good name in having release a movie with raunchy S&M sex that in totality had 7 minutes which were removed, then please stick to Mickey Mouse. At least we know he doesn't have sex with Minnie.

Day Watch (Dnevnoy Dozor)

Guess Where The Chalk Is Hidden!

We were made to wait for more than 2 years since the debut of Timur Bekmambetov's Night Watch, Russia's groundbreaking science fiction fantasy movie which promised a trilogy with the following two movies, Day Watch and Dusk Watch to follow. The first movie opened to much fanfare here with overnight festivities and a graveyard hour premiere, but reality set in soon after that local audiences perhaps aren't game for something too foreign, despite it that it stuck to the familiar action-effects formula.

So Day Watch will soon premiere on the local screens with less of the ra-ra fanfare, and while it helped a bit with its summarized recap of the first movie, my advice would be to ensure that you'd watch Night Watch first so that the characters who appear don't look too odd to you, and it'll be more satisfying come the ending because it makes the two movies just perfect and a wrap up. Which of course brings to question Bekmambetov's original vision of a trilogy, because I certainly can't see how it can happen now without throwing a spanner into the works.

The movie continues from where it left off the first movie, fast forwarded 12 years, where Anton (Konstantin Khabensky) is still taking on the Master role in tutoring his new padawan Svetlana (Mariya Poroshina), who is touted as possibly the next Great One who had joined their side. Those of us in the know will already be in the loop what happened to the first Great One, and because movie prophecies are always self fulfilling, we get a hint of what's to come for the finale. The movie still focuses on Anton, and he makes an interesting central character because he is just about as flawed as can be, and not the all powerful character given there are many others in the movie absolutely more capable and powerful than he is. There's no boy scout in his character to bore you, and he constantly does things according to his fancy, which almost always gets him into trouble, with his continued pining for his son. And it is this less than heroic characteristic, that somewhat endears us to his internal struggles.

The father-son theme also takes on another dimension with Kostya (Aleksei Chadov) and his butcher father (Valeri Zolotukhin), but while it had a number of minor sub plots strung together, they rarely strike that emotional chord in you, as thee stories are conveniently serving as leads to the next big special effects scene. Some of these scenes you can tell were added to show off the effects capability - they look beautiful, but don't further the plot much. Think of it as nice decorative flower vases, and worse, contribute to certain plot loopholes and implausibilities as well. But wait, we're talking about a fantasy movie here, so it could be forgiven.

A gripe that I had was how wimpy the characters in the movie had become. Gone are the glorious battles from the first movie, where the rooftop melee was one of my favourites. What we have in Day Watch are plenty of scheming and plotting, and less of the fisticuffs. Even when it came to slugging it out, they were less than menacing and quite ordinary compared to its grittier, and darker predecessor. What made me chuckle a bit was the ditching of sensibilities and a tit-for-tat nod to Hollywood with its big bang disaster styled development, which certainly was uncalled for, but no doubt a you-can-do-we-can-do-too response. And some might be irked by the cop out ending, that it's much ado about nothing after all given the brou-ha-ha about the all powerful Chalk of Fate, but it's an ending which is perfect when you put Night Watch and Day Watch together.

One thing's enjoyable for sure, is the return of the funky subtitles. Since the movie is in Russian save the English language monologue recap, and for non-Russian speakers like yourself, sometimes reading subtitles might be a bit of a bore. But kudos here, like its predecessor, for intricately crafting nice looking, effects filled subtitles to enhance our reading pleasure.

For non-fans of the first movie, you'll probably give this one a miss, or for those who have not watched Night Watch, then you might walk out halfway given that it's relatively difficult to follow (there were walk outs in the screening I attended). But for the fans, then this movie is a reason to celebrate closure. Definitely an acquired taste!

Cheaters (Nae Yeojaeui Namja Chingu)

Adjusting My Bulge

And speaking of fragmented timelines, they don't get presented as strongly as that in Cheaters, a Korean R21 movie. It's a modern day tale of relationships, and it actually has a very bleak and pessimistic outlook, in that everyone's trying to get into everyone else's pants, and nothing, not even marriage, is sacred anymore, but only the gratification of lust and the flesh is.

The movie opens with some candid documentary styled interviews with the man on the street, about their views about marriage, fidelity and the likes. We then get introduced to two lovers Suk-Ho (Choi Won-Young) and Chai-Young (Ko Da-Mi). The former is trying his best to get intimate with Chai-Young, after being accepted by her to be the man in her life. However, Chai-Young seems to be putting off physical intimacy until she gets to know him a little better (you go girl! For now at least). During their dates, she seemed a tad too distracted by the incessant ringing/messages from her mobile phone, and not before long, we discover the truth of her deceit, and share sympathies with Suk-Ho.

But here's where the movie starts to get interesting. We are put into different perspectives, and learn about the different characters and their general attitudes toward love and sex. That sweetie-pie, angelic face that Chai-Young possess, hides a devil-may-care attitude within. And Suk-Ho is no knight in shining armour too, as he hides even more secrets and skeletons inside his closet. And this continues for the ensemble cast of 6 characters, as we slowly take their perspective, and learn about their relations with one another. They all make strange bedfellows, and I wonder whether the advent and proliferation of mobile phones, actually help cheating partners go about perpetrating their infidelity by making it all the more easy to stay in touch, and make various clandestine appointments too.

What was interesting here in the narrative presentation, is the way details are revealed slowly point by point, which includes artifacts mentioned and seen through the course of events. Even a simple music CD was highly effective in bringing out the truth amongst the players involved. The jump points from one narrative thread to the next are usually the mobile phone conversations, and each time it's revealed who the person at the other end is, will turn out to be a surprise. And I'm pretty amazed at how this was achieved consistently throughout the movie, keeping the surprises flowing, though some scenes were repetitive, especially when they represent certain important juncture in the movie.

And it's no doubt that the film played to a full house. Almost every couple got in on the hot and heavy, with total disregard to the commandment of not coverting thy neighbour's wife going out the window. If flesh is what you're here for, then flesh is what you get. Or if comedy is your thing, there are ample laugh out loud moments, but to be fair, it's more effective in bringing out that sly smile from within you as and when the secrets of the characters are revealed, providing you the "Aha!" moment that you share with the character put under the spotlight for that segment.

With a host of good looking cast throwing lust, caution (sorry, couldn't resist a bad pun) to the wind, it's a story that comes full circle, of reaping what you sow. Those who frown at infidelity, would probably want to give this movie a miss, given the less than cavalier attitudes presented, with nary a slap in the wrist for such bad behaviour.

Who Do You Want To Sleep With Today?

The Dead Girl

Incoming

The story brought memories of an old television cult series called Twin Peaks. A dead, blonde girl's body is being discovered in the grasslands of an idyllic village, and this provides the catalyst for the movie as the plot unravels to tell of the stories that centers around that discovery. In summary, it had a total of 5 short stories all interweaved through a fragmented timeline, and a host of characters in those stories who have one way or another, played a part in the girl's life, during when she was alive, and after.

The Stranger stars Toni Collette as the woman who discovered the body, and how she gets thrust into the media limelight, yet yearning for that freedom to flee from her domineering mother. The Sister tells of a pathologist's inability to fight on and continue her family's believe that her missing sister is still out there somewhere, and not to throw in the towel and give up hope. The Wife will manage to rile you up, with the story of a neglected wife, and her hopes for reconciling with her estranged husband, who prefers gallivanting late at night to spending time with her, and of course, with her decision to protect her husband's secrets to losing him for sure altogether when revealed. And The Mother reminds you that a mother's love knows no bounds. Hurt by her daughter's disappearance, the worse case scenario happens, and Mum has got to heal old wounds. It's a touching short, and I thought one of the most powerful amongst the rest. And rounding it up, like the last pieces of a jigsaw, is The Dead Girl's story, where we see a foul mouthed Brittany Murphy bringing it all on.

The movie had excellent performances all round by the ensemble cast, and it doesn't have any big bang moments to shock and awe. It's a dramatic story, rather than a mystery-thriller-whodunnit. I was glad that it didn't go down the torture porn route, although it could have, but didn't need to. Leaving it where it is will already allow your imagination to run wild what the outcome will be. However, this might serve as a let down to some as it might seem that it failed to want to bridge the missing gap in the timeline. Fragmented timeline and multiple, parallel stories do seem to be the rage these days (Babel anyone?), but it all boils down to how much of a story you can make out of a single drop in the pond. That's what The Dead Girl feels like, with the stories the inevitable ripples that fan out.

You Are My Sunshine looks like a song very popularly used in end credits, and so far I had thought that it was a simple childhood nursery song. But when used in this context, it had a profound depth telling of longing and missing, that everyone has their own sunshine that they hold very dear to. Recommended movie, especially if you're into the fragmented timeline fad.

Death at a Funeral

Halt or I'll Leap

Funerals are serious business, where the mood is usually grim and sombre, and friends and family come together to commemorate the passing of their loved one. The proceeding is usually prim and proper, with some protocols to adhere to, for fitting tributes given in a dignified manner.

Death at a Funeral however, is a delightfully wicked black comedy of everything that can go wrong in a funeral. Daniel (Matthew Macfadyen) is preparing for the funeral of his dad, but my, there are so many things on his plate, such as bring trusted to provide the eulogy rather than his brother Robert (Rupert Graves), who is a best selling author, and having his wife constantly remind him about their deposit for their new home.

With the gathering of family and friends, expect the bizarre to happen, and it involves around, and this is not exhaustive, meeting the new prospective father-in-law when you're high on hallucinogens (Alan Tudyk in a scene stealing role here), a perpetually missing bottle of "Valium", a pastor who's in a hurry, an old senile uncle with a foul mouth, and a 4 foot tall stranger who seems to have a very shocking secret to reveal should he not get his way. There are multiple plot elements here all perfectly linked together like a well oiled stage play, and resolved in very satisfying outcome.

As a comedy, there are the big moments that are played out just for laughs, but what is commendable, is how it managed to sustain that laughter throughout the movie. It's not just laugh out loud moments, but little chuckles sprinkled along the way that had brought out smiles. And as you would already come to expect from a British production, the movie contains superb individual spoken lines that you would have to listen attentively to (and deserves repeat watching), but at the same time doesn't give you an inkling of a feeling that it's only for the linguistically-skilled, because hey, it does enjoy that occasional toilet humour and shit joke as well!

If you're in need for a good laugh, then Death at a Funeral is a crystal clear choice this week!

The Nanny Diaries

I Am Nanny

Given the dual income generating parents these days, most children are brought up by domestic help. They rarely see their parents on the weekdays given that they're out bringing the dough back to feed their lifestyle, so most of the chores of child raising are left to the maids or the nannies. In Singapore, this phenomenon continues to grow, and in New York, it becomes a fictional social study, where you have a best selling novel turned into a movie (what else?).

In many ways, The Nanny Diaries is similar to The Devil Wears Prada. You have a young starlet (Scarlett Johansson not in her usual blonde bombshell locks) in a lead role, playing a character who is fresh out of college. She works for an uncompromising boss who could be the devil in disguise, dishing out almost impossible chores with even more ridiculous deadlines, and that her line of work puts her own personal relationships under fire. Oh, and not forgetting about the high fashion here too.

Johansson stars as Annie the Nanny (doesn't that just rolls off your tongue so easily?), a business graduate with a minor in anthropology, trying to find her feet in the corporate world. And gets stumped with a question that most of us would be tongue tied for the most times too - how do you describe yourself - if you try and answer it very truthfully. So in a twist of fate, she gets employed in a lucrative job as a child minder for a very rich NY family that only wants the best for their child. which means a very tall order of duties (reading the Wall Street Journal? Speaking in French??), chores like preparing meals that a health freak will die for, and not to mention sticking to the 101 house rules.

And in true diary fashion where you want to rant about your daily mishaps, while at the same time trying to keep things anonymous in the unfortunate event someone violates privacy, Laura Linney's mean employer type gets labelled as Mrs X, but please don't compare her to Merryl Streep's role as she doesn't get to spit veiled venom all the time. The mean streak's there, but coming more from a very demanding mother, who seems to have forgotten how to exactly become one. In truth, the story here becomes in part a social observation of the rich NY Upper East end corporate type household, and does have a veiled criticism on how in wanting the best of both worlds of having a child and keeping personal interests alive. What I enjoyed in the story though involved the expose of hypocrisy, especially those involving parents who want to keep up with the Joneses, and I'm sure many would have experienced this once in a while.

Johansson doesn't have plenty to do here except to become a very frustrated nanny who teaches her charge how to enjoy life and break unreasonable rules, something every child would definitely want to do given the innate rebellious streak within, especially from a spoiled brat. The comedy's quite predictable too, and one overused sequence involves an umbrella that looks suspiciously borrowed from Citigroup for a very tongue-in-cheek Mary Poppins homage. It doesn't have any genuinely funny laugh out loud moments, and got bogged down by a cursory romantic tangle with Chris Evan's Harvard Hottie. Paul Giamatti lends a helping hand to his American Splendour filmmakers Shari Springer Berman and Robert Pulcini as the dad who's always unavailable.

With slick editing spruced by special effects and a relatively contemporary soundtrack, The Nanny Diaries is a light film despite its occasional social observation and rants. But the bottom line here, is a reflection for parents if they are doing all they can to provide a relatively normal childhood for their children, and of course, not to neglect them (like Joshua's), and definitely not toss them primarily to the care of nannies.