Plot summary (story synopsis): The quirky and lovable gang of everyman national serviceman, led by Alex (Tosh Zhang), are now veteran reservists, and are magically reborn as armoured infantrymen. They have to deal with conflicts with civilian life, and a new strict by-the-book female platoon commander Lieutenant Zhang (Apple Chan).
***
(Full disclosure: I have never been in any military unit and am an armchair general.)
The fourth in the fabulously successful (at least in Singapore) Ah Boys to Men franchise, ABTM 4 is surprisingly good considering the quality of the previous movies. (I watched ABTM 1 and 3. I skipped ABTM 2 because the first was so bad.)
The first few movies suffered from preachy "social commentary", overt military propaganda, overlong scenes, a skit-based approach to story structure, and heavy-handed melodrama. Oh, and annoying in-your-face product placement. These weaknesses still exist in ABTM 4 but are greatly reduced. The movie is actually watchable and rarely cringe inducing.
The social commentary arises naturally and believably - foreign employees being favoured over locals because the foreigners don't disrupt corporate operations by having to go back to camp for mobilisation or training. Also covered is the awkward situation of your boss in civilian life suddenly becoming your subordinate in the military.
The military propaganda is balanced, not shrinking from showing the limitations of Singapore's Bionix infantry fighting vehicles, and the officially sanctioned relaxation of requirements for reservists.
Pacing is improved. Only a few scenes - such as the first scene in the canteen - felt draggy. Even the product placement is improved. I counted maybe 50 sponsors at the end credits but noticed only about 10 in the movie.
Unfortunately the verisimilitude-busting retconning of the Ah Boys into a different military unit, continues. They were basic infantry in ABTM 1 and 2, elite naval divers in ABTM 3, and now armoured infantry in ABTM 4. The only reason being to showcase different branches of the military, story logic be damned.
At least they are now veterans and no longer new conscripts (they were new conscripts in ABTM 1, and then again in ABTM 3).
When the first movie came out, I heard a few parents saying that they wanted to watch to see what national service would be like for their sons who would be conscripted soon. Which was strange because the Singapore Armed Forces has a short documentary series on YouTube called Every Singapore Son, that covers the national service experience well.
I guess the movies do give a more behind-the-scenes look at life in the Singapore military, albeit fictionalised and sensationalised yet sanitised. On the other hand, you're not going to learn much about Singapore military doctrine.
Standard American (and presumably Singaporean too) armoured doctrine is for infantry and armour to support each other. Tankers are very much blind and lack situational awareness, buttoned up inside their vehicle.
Armoured infantry act as eyes and ears, dismounting to be an advance guard to warn against enemy infantry and keep them away from the tanks. The tanks can then use their superior firepower to fend off enemy tanks and infantry.
None of this is shown in the movie. Instead, the infantry are shown independently traipsing off to their own objective during an exercise. The only communication shown is between them and their vehicle commander. The tanks (Leopard MBTs) are never shown communicating with the Bionix infantry fighting vehicles.
But this is a concern only to military nuts. For the average Singaporean, what matters are the more daily life aspects of military service. In this ABTM 4 does succeed. Good use is made of army lingo and procedures. Enough is sprinkled around to be authentic and interesting, without being over explained.
The movie's character development is however, lacking. Alex's moral failure and sudden redemption at the end, come out of nowhere. Ah Long had a promising start but his character arc halts in mid air and fizzles out.The whole conflict between Alex and Lieutenant Zhang also fizzles out and amounts to nothing in the end.
ABTM 4 is still a loose collection of unrelated vignettes and comedy skits. For example, the mass Lamborghini convoy at the end is kinda pointless (and actually sucks the air from the real ending), its awesomeness way out of proportion to the minor character point it makes.
While flawed, ABTM does entertain. And Jack Neo's usual dose of sly social commentary doesn't grate so much this time.
2017-11-19
2017-10-25
Ajin: Demi-Human (2017)
Plot summary (story synopsis): Kei Nagai (Takeru Satoh) finds out that he is an Ajin, an immortal, after coming back alive from a fatal traffic accident. The Japanese government imprisons him and uses him for medical experiments, cutting off a limb every day and observing how it grows back. Fellow ajin Sato (Gou Ayano) rescues Nagai but Nagai refuses to join the homicidal Sato. Sato threatens to release nerve gas over Tokyo if the government doesn't give Tokyo to ajins. Nagai joins the government to thwart Sato's evil plan.
***
The good news is that Ajin's pacing is fast and they do explore the idea of ajins and their immortality. The bad news is that there is little character development and the exploration of immortality is taken to its logical ridiculousness.
(This is a review of the 2017 movie. I have not seen the TV series and will not draw any comparisons with it.)
Production I.G, who animated most of Mamoru Oshii's movies, is involved somehow. I assume in animating the black ghosts. It's decent work but unfortunately the swirling particles seem ripped off from X Men.
The plot is inventive but somehow failed to grab my interest. The whole subplot with Nagai's sister doesn't go anywhere or reveal anything and can be cut from the movie with no impact on the story. The same goes for the black fighting ghosts that the ajins can summon, and the undercover ajin who works as a government bodyguard. Take them out and the story still works.
The characters are flat. In conventional storywriting terms, Nagai has no character arc. He doesn't learn anything or is changed at the end. He doesn't even have any flaw or personal issue to overcome. Call it Hollywood formula if you want to, it works.
Hard science fiction fans are going to have issues with the ajin. Not only do they regenerate limbs without seeming to need to sacrifice any existing muscle to do so, they can actually regenerate an entire body starting from a single limb. So where does all that new body tissue come from?
They can also blow their brain out with a bullet, and then regenerate their brain without losing any memories. The only way to account for all this is to have some kind of supernatural explanation, which the movie doesn't even hint at. Death Note was believable because it was supernatural in nature. Ajin is just ridiculous. It's actually comparable to Tokyo Ghoul - weak but with different flaws.
***
The good news is that Ajin's pacing is fast and they do explore the idea of ajins and their immortality. The bad news is that there is little character development and the exploration of immortality is taken to its logical ridiculousness.
(This is a review of the 2017 movie. I have not seen the TV series and will not draw any comparisons with it.)
Production I.G, who animated most of Mamoru Oshii's movies, is involved somehow. I assume in animating the black ghosts. It's decent work but unfortunately the swirling particles seem ripped off from X Men.
The plot is inventive but somehow failed to grab my interest. The whole subplot with Nagai's sister doesn't go anywhere or reveal anything and can be cut from the movie with no impact on the story. The same goes for the black fighting ghosts that the ajins can summon, and the undercover ajin who works as a government bodyguard. Take them out and the story still works.
The characters are flat. In conventional storywriting terms, Nagai has no character arc. He doesn't learn anything or is changed at the end. He doesn't even have any flaw or personal issue to overcome. Call it Hollywood formula if you want to, it works.
Hard science fiction fans are going to have issues with the ajin. Not only do they regenerate limbs without seeming to need to sacrifice any existing muscle to do so, they can actually regenerate an entire body starting from a single limb. So where does all that new body tissue come from?
They can also blow their brain out with a bullet, and then regenerate their brain without losing any memories. The only way to account for all this is to have some kind of supernatural explanation, which the movie doesn't even hint at. Death Note was believable because it was supernatural in nature. Ajin is just ridiculous. It's actually comparable to Tokyo Ghoul - weak but with different flaws.
2017-10-19
Sky Hunter (2017)
Plot summary (story synopsis): Chinese pilots from the elite Sky Hunter air base must rescue Chinese military and civilians who are taken hostage by terrorists in the (fictional) central European republic of Mahbu.
***
So is Sky Hunter more Top Gun or Iron Eagle? Well, it's both but that's not the problem. The problem is that there is no character development or character arc, and the military tactics are nonsensical.
It looks like the filmmakers wanted to have an action movie glorifying the Chinese air force but didn't want the complexity of filming a full scale war. So they chose a terrorist takeover of an air base. The problem is that jet fighters don't have much to do with rescuing hostages in such a situation, it's more about special forces infantry.
So the plot gets twisted to highlight the air force instead of the soldiers. For example, in order to have an "exciting" showdown between the terrorist leader and Wu Di, the terrorist leader is made to be an ace pilot. Come on guys, what the hell? The terrorists also take control of an ICBM silo (yes, little Mahbu has ICBMs) so that Wu Di can bomb the hell out of it.
Sure, Top Gun was a recruitment poster for the US Navy but Tony Scott still put the story before anything else. And Top Gun really was about the fighter pilot school. Sky Hunter has some training scenes but these are not core to the story and act more as filler.
Character arc? There are none. There's some half hearted attempt at a love triangle between fighter pilot Wu Di (Chen Li) and rescue helicopter pilot Zhao Yali (the gorgeous Fan Bing Bing), and either fighter pilots Gao Yuan (Leon Lee) or Ba Tu (Guo Mingyu). I was confused.
Now for a list of the movie's military sins (warning - I'm a military nut/armchair general):
P.S. Soundtrack is produced by Hans Zimmer whatever that means, but was written by someone else. The final result does not impress.
***
So is Sky Hunter more Top Gun or Iron Eagle? Well, it's both but that's not the problem. The problem is that there is no character development or character arc, and the military tactics are nonsensical.
It looks like the filmmakers wanted to have an action movie glorifying the Chinese air force but didn't want the complexity of filming a full scale war. So they chose a terrorist takeover of an air base. The problem is that jet fighters don't have much to do with rescuing hostages in such a situation, it's more about special forces infantry.
So the plot gets twisted to highlight the air force instead of the soldiers. For example, in order to have an "exciting" showdown between the terrorist leader and Wu Di, the terrorist leader is made to be an ace pilot. Come on guys, what the hell? The terrorists also take control of an ICBM silo (yes, little Mahbu has ICBMs) so that Wu Di can bomb the hell out of it.
Sure, Top Gun was a recruitment poster for the US Navy but Tony Scott still put the story before anything else. And Top Gun really was about the fighter pilot school. Sky Hunter has some training scenes but these are not core to the story and act more as filler.
Character arc? There are none. There's some half hearted attempt at a love triangle between fighter pilot Wu Di (Chen Li) and rescue helicopter pilot Zhao Yali (the gorgeous Fan Bing Bing), and either fighter pilots Gao Yuan (Leon Lee) or Ba Tu (Guo Mingyu). I was confused.
Now for a list of the movie's military sins (warning - I'm a military nut/armchair general):
- American 4 engined propeller plane thinks it can outfly Chinese jet fighters?
- Rescue helicopter pilot has to exit the helicopter to rescue people? There should be dedicated crew for that.
- Why initially send 2 jet fighters without any special forces or rescue helicopter?
- Then for the second attempt, okay, you have special forces and a rescue helicopter. But why send only 2 fighters and 1 helicopter?
- Jet fighters need air-to-air refueling but helicopter doesn't? Jet fighters way outrange any helicopter.
- Sky Hunter base happens to be within helicopter range of the air base under attack?
- Wu Di uses his jet fighter to strafe a terrorist machine gunner. How does he know the machine gunner is not a friendly? Aircraft, especially fast moving jet fighters, are notoriously blind to what is going on on the ground and need to be directed by friendlies on the ground or a slow moving Forward Air Controller aircraft.
- A jet fighter is hunting the rescue helicopter at night. Why not land the helicopter to hide?
- It is ridiculous to have two jet fighters flying head on at each other and firing their cannon. Their closing speed is so high that they will be within cannon range for less than a second.
- If you have a crippled aircraft coming in to land, you don't block the runway with fire engines.
P.S. Soundtrack is produced by Hans Zimmer whatever that means, but was written by someone else. The final result does not impress.
2017-09-08
The Adventurers (2017)
Plot summary (story synopsis): Master thief Zhang Dan (Andy Lau) is released from a French prison after serving a 5-year sentence. Pierre (Jean Reno), the French cop who put Zhang Dan away, keeps an eye on him, confident that he will be back to his thieving ways. Zhang Dan teams up with his loyal sidekick/young hunk Xiao Po (Tony Yang), together with new recruit Red Ye (Shu Qi), to go after some unfinished jewellery business. Pierre persuades Zhang Dan's former fiancee Amber (Zhang Jing Chu) to help him locate Zhang Dan.
***
The problem with The Adventurers is that it had no story reason to exist. It's as if some producer said, Let's make an action movie with Andy Lau and Shu Qi. And the writers just filled up the run time with Mission Impossible cliches and tropes.
There's no overall organizing principle behind the story, just random bits of action, unconvincing character backstory, fake camaraderie, and characters double-crossing each other for the sake of cheap plot twists. This has been a problem with Hong Kong and mainland China movies, for decades.
The romance between Zhang Dan and Amber is not convincing (no matter how prettily and pensively Zhang Jing Chu pouts). This is made worse by how Shu Qi, cast in the role of comedic sidekick (together with Tony Yang), totally steals the show away from Zhang Jing Chu. Red Ye's role was custom written to fit Shu Qi's perky personality, making her more the female lead than Zhang Jing Chu, which unbalances the characters' dynamic.
Poor Director of Photography Shane Hurlbut (Terminator Salvation, Crazy/Beautiful, Act of Valor, Need for Speed), was even pulled down to director Stephen Fung's level - I'm guessing forced by Stephen Fung to move his camera for no reason. A jib move when the characters are just sitting around and talking? Maybe 8 different camera angles when Pierre is talking to Zhang Dan in the police interrogation room - for what? It's a really bad performance for someone of Hurlbut's caliber. I don't think he will be putting The Adventurers in his showreel.
At least Jean Reno emerges with his dignity intact, but barely.
What else is wrong? Let me count the ways:
***
The problem with The Adventurers is that it had no story reason to exist. It's as if some producer said, Let's make an action movie with Andy Lau and Shu Qi. And the writers just filled up the run time with Mission Impossible cliches and tropes.
There's no overall organizing principle behind the story, just random bits of action, unconvincing character backstory, fake camaraderie, and characters double-crossing each other for the sake of cheap plot twists. This has been a problem with Hong Kong and mainland China movies, for decades.
The romance between Zhang Dan and Amber is not convincing (no matter how prettily and pensively Zhang Jing Chu pouts). This is made worse by how Shu Qi, cast in the role of comedic sidekick (together with Tony Yang), totally steals the show away from Zhang Jing Chu. Red Ye's role was custom written to fit Shu Qi's perky personality, making her more the female lead than Zhang Jing Chu, which unbalances the characters' dynamic.
Poor Director of Photography Shane Hurlbut (Terminator Salvation, Crazy/Beautiful, Act of Valor, Need for Speed), was even pulled down to director Stephen Fung's level - I'm guessing forced by Stephen Fung to move his camera for no reason. A jib move when the characters are just sitting around and talking? Maybe 8 different camera angles when Pierre is talking to Zhang Dan in the police interrogation room - for what? It's a really bad performance for someone of Hurlbut's caliber. I don't think he will be putting The Adventurers in his showreel.
At least Jean Reno emerges with his dignity intact, but barely.
What else is wrong? Let me count the ways:
- Pierre desperately wants to catch Zhang Dan because, of all things, Zhang Dan saved Pierre's life.
- Pierre unilaterally releases Zhang Dan from police custody, near the end, and suffers no penalty for doing so. Especially when Zhang Dan doesn't come back after tracking down the other bad guys.
- Bomb complication at the end is copied from Magnum Force.
- French cops speak English to each other. That might be ok if the whole movie was in English, but the Chinese speak Mandarin to each other.
- Pierre is confident of not killing Zhang Dan, only wounding him, while shooting at a motorcycle-borne Zhang Dan from a speeding car. Nobody is that good.
- Rich Chinese guy in the Czech Republic, has a force of paramilitary guards with submachine guns.
2017-04-27
Shock Wave (2017)
Plot summary (story synopsis): Hong Kong policeman Cheung (Andy Lau) worked undercover and put away some of the members of a bank robbery gang. Bank robber Hung (Jiang Wu) managed to escape but his brother ended up in jail. A few years later, Hung returns to Hong Kong with a band of mercenaries. He takes control of one of Hong Kong's undersea traffic tunnels, together with hundreds of trapped motorists as hostages, and threatens to blow up the tunnel unless his brother is released and ransom is paid.
***
Shock Wave is an above-average Hong Kong action thriller. Too many Hong Kong movies have cliched and unbelievable plots, and unnatural forced character development.
Some thought has gone into each of Shock Wave's many action sequences, so it's not just bland by-the-numbers action tropes. There are interesting details. Pacing and editing are especially good, almost Roland Emmerich slick. The scenes don't feel too drawn out or full of filler.
The first third or so of the movie establishes the characters and their backgrounds, before the long tunnel siege starts. We see Cheung fall in love with Carmen (Song Jia), and defuse an old war bomb. Hung also toys with Cheung with a small bomb.
The whole tunnel setting (I'm guessing they used a real location) looks large and feels authentic, giving the movie a blockbuster feel (on a US$23 million budget). But the siege itself isn't 100 percent believable. If you're the mastermind, you don't need to place yourself in danger, in the middle of the siege. You can run the operation remotely. Anyway, it is believable enough.
The movie was made with the cooperation of Hong Kong's bomb squad, so the technicalities are detailed and convincing. For example, Cheung drills into the fuse of the old war bomb and neutralizes it with some liquid chemical (could be made up but it looks real). Cheung declines to wear a bomb suit for this operation as the bomb is so large that a bomb suit wouldn't offer any protection - nicely foreshadowing the power and danger of the bombs in the tunnel.
However some liberties were taken for dramatic purposes (splitting the explosives into two bombs reduces the blast damage to the tunnel, it doesn't increase the damage) but most viewers won't notice. Carmen and the grenade? You could wrap tape around the grenade's spoon (lever) without wrapping it round her hand, allowing her to safely drop the grenade.
Less convincing but still effective is Hung's relationship with Carmen. Their breakup in the kitchen seems to come out of nowhere. However the two characters are well established and believable, lending emotional weight when Cheung is in danger.
Overall, the movie works. Pacing is good, characters are sympathetic, plot is mainly believable. Too few Hong Kong movies pass this bar.
Side note: Cheung uses a Leatherman OHT multitool a few times, not the Leatherman EOD MUT which is designed for bomb squad use.
***
Shock Wave is an above-average Hong Kong action thriller. Too many Hong Kong movies have cliched and unbelievable plots, and unnatural forced character development.
Some thought has gone into each of Shock Wave's many action sequences, so it's not just bland by-the-numbers action tropes. There are interesting details. Pacing and editing are especially good, almost Roland Emmerich slick. The scenes don't feel too drawn out or full of filler.
The first third or so of the movie establishes the characters and their backgrounds, before the long tunnel siege starts. We see Cheung fall in love with Carmen (Song Jia), and defuse an old war bomb. Hung also toys with Cheung with a small bomb.
The whole tunnel setting (I'm guessing they used a real location) looks large and feels authentic, giving the movie a blockbuster feel (on a US$23 million budget). But the siege itself isn't 100 percent believable. If you're the mastermind, you don't need to place yourself in danger, in the middle of the siege. You can run the operation remotely. Anyway, it is believable enough.
The movie was made with the cooperation of Hong Kong's bomb squad, so the technicalities are detailed and convincing. For example, Cheung drills into the fuse of the old war bomb and neutralizes it with some liquid chemical (could be made up but it looks real). Cheung declines to wear a bomb suit for this operation as the bomb is so large that a bomb suit wouldn't offer any protection - nicely foreshadowing the power and danger of the bombs in the tunnel.
However some liberties were taken for dramatic purposes (splitting the explosives into two bombs reduces the blast damage to the tunnel, it doesn't increase the damage) but most viewers won't notice. Carmen and the grenade? You could wrap tape around the grenade's spoon (lever) without wrapping it round her hand, allowing her to safely drop the grenade.
Less convincing but still effective is Hung's relationship with Carmen. Their breakup in the kitchen seems to come out of nowhere. However the two characters are well established and believable, lending emotional weight when Cheung is in danger.
Overall, the movie works. Pacing is good, characters are sympathetic, plot is mainly believable. Too few Hong Kong movies pass this bar.
Side note: Cheung uses a Leatherman OHT multitool a few times, not the Leatherman EOD MUT which is designed for bomb squad use.
2017-04-23
Pop Aye (2017)
Plot summary (story synopsis): Middle-aged architect Thana (Thaneth Warakulnukroh) is experiencing a mid-life crisis. He is being sidelined at his architecture firm by younger architects and his signature project, a large shopping centre, is scheduled for demolition. His sex life with his wife Bo (Penpak Sirikul) isn't going well either. One day he stumbles across Pop Aye, an elephant from his childhood, and decides to buy him. Together they embark on a road trip through rural Thailand.
***
Pop Aye is the first Singaporean film to be screened at the prestigious Sundance Film Festival. It didn't just screen, it also won the World Cinema Dramatic Special Jury Award for Screenwriting. Sundance implies indie/arthouse and Pop Aye certainly lives up to that. It's definitely not a commercial film.
Though writer/director Kirsten Tan is Singaporean, Pop Aye is set in Thailand and features Thai lead actors and mainly Thai dialog. So be prepared to read subtitles if you are not Thai, but hey, that's part of the arthouse experience.
The Thai locations are the best part of the movie. You really feel the authenticity of the locations and get to see a Thailand that you don't see in tourist promos. The rural settings are especially striking in a gritty way.
However, the first two-thirds of the movie is a bit slow and disjointed. Kirsten Tan is following Jeff Nichols' Midnight Special style of withholding information to create audience interest. Unfortunately it doesn't work well in this case.
For half of the movie, we don't even know where Thana is going, or that he even has a destination. But instead of creating interest, it gives the movie the feeling of a lack of purpose. Why the elephant is named Pop Aye, and his earlier relationship with Thana, is later revealed. The problem is that no hints were given that any of this was a mystery, so any opportunity for suspense is wasted.
Befitting an arthouse movie, the ending is hauntingly open ended. Some issues are resolved, and some are not. If only the first half of the movie was this good.
***
Pop Aye is the first Singaporean film to be screened at the prestigious Sundance Film Festival. It didn't just screen, it also won the World Cinema Dramatic Special Jury Award for Screenwriting. Sundance implies indie/arthouse and Pop Aye certainly lives up to that. It's definitely not a commercial film.
Though writer/director Kirsten Tan is Singaporean, Pop Aye is set in Thailand and features Thai lead actors and mainly Thai dialog. So be prepared to read subtitles if you are not Thai, but hey, that's part of the arthouse experience.
The Thai locations are the best part of the movie. You really feel the authenticity of the locations and get to see a Thailand that you don't see in tourist promos. The rural settings are especially striking in a gritty way.
However, the first two-thirds of the movie is a bit slow and disjointed. Kirsten Tan is following Jeff Nichols' Midnight Special style of withholding information to create audience interest. Unfortunately it doesn't work well in this case.
For half of the movie, we don't even know where Thana is going, or that he even has a destination. But instead of creating interest, it gives the movie the feeling of a lack of purpose. Why the elephant is named Pop Aye, and his earlier relationship with Thana, is later revealed. The problem is that no hints were given that any of this was a mystery, so any opportunity for suspense is wasted.
Befitting an arthouse movie, the ending is hauntingly open ended. Some issues are resolved, and some are not. If only the first half of the movie was this good.
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