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.
2017-04-23
2016-08-29
Time Raiders (2016)
Plot summary (story synopsis): Young Wu Xie (pretty boy Lu Han) comes from a family of treasure hunters. However his Third Uncle is reluctant to let him join their dangerous missions. On their next mission to raid the tomb of the Snake Empress (Mallika Sherawai), Third Uncle finally allows him to follow. They are joined by the mysterious and super skilled Zhang Kylin (Boran Jing). Once in the treasure tomb, they are attacked by mercenaries led by the pretty but deadly Ning A (Ma Sichun), who are employed by the eccentric Hendrix (Vanni Corbellini) who is looking for the fountain of youth.
***
Time Raiders is a copy of The Mummy and of course Tomb Raider. Which were themselves inspired by Raiders of the Lost Ark. Less auspiciously, Time Raiders also resembles Michelle Yeo's 2002 flop The Touch.
It might be entertaining to younger audiences but for the rest of us, we've seen it before. The story is derivative and has no new ideas. Its slow pacing doesn't help matters either. The first half hour of buildup is unnecessary and doesn't help much with character development.
Things seem to improve when they finally reach the Snake Empress's tomb. Unfortunately, after a fun shootout with the mercenaries, the pacing bogs down again. The evil puppet room scene is fun but too long. As is the Mummy-derivative flesh-eating spiders sequence.
Running a gauntlet of murder machines? Come on guys, can't you do anything original? They even copied the mapping drones and 3D video map from Prometheus.
The final showdown with the Snake Empress? Too long and drawn out. So yeah, the movie is a slow theme park ride of booby traps and killer bad guys, with not much story. The male-bonding between Wu Xie and Zhang Kylin feels forced and is unconvincing.
The Mummy had fun characters, and good pacing. It was also funny. Director Daniel Lee and writer Uncle Three have no clue as to what made The Mummy so much fun.
On the plus side, the visuals are good. The many mechanical gadgets are intriguing. The lighting is beautiful but also distracting. All the underground rooms in the tomb have pretty light shooting in from windows. So where is the light coming from?
In the end, Time Raiders is an excuse for special effects eye candy, with a flimsy plot and cardboard characters tacked on as an excuse to justify the action. What a disappointment.
***
Time Raiders is a copy of The Mummy and of course Tomb Raider. Which were themselves inspired by Raiders of the Lost Ark. Less auspiciously, Time Raiders also resembles Michelle Yeo's 2002 flop The Touch.
It might be entertaining to younger audiences but for the rest of us, we've seen it before. The story is derivative and has no new ideas. Its slow pacing doesn't help matters either. The first half hour of buildup is unnecessary and doesn't help much with character development.
Things seem to improve when they finally reach the Snake Empress's tomb. Unfortunately, after a fun shootout with the mercenaries, the pacing bogs down again. The evil puppet room scene is fun but too long. As is the Mummy-derivative flesh-eating spiders sequence.
Running a gauntlet of murder machines? Come on guys, can't you do anything original? They even copied the mapping drones and 3D video map from Prometheus.
The final showdown with the Snake Empress? Too long and drawn out. So yeah, the movie is a slow theme park ride of booby traps and killer bad guys, with not much story. The male-bonding between Wu Xie and Zhang Kylin feels forced and is unconvincing.
The Mummy had fun characters, and good pacing. It was also funny. Director Daniel Lee and writer Uncle Three have no clue as to what made The Mummy so much fun.
On the plus side, the visuals are good. The many mechanical gadgets are intriguing. The lighting is beautiful but also distracting. All the underground rooms in the tomb have pretty light shooting in from windows. So where is the light coming from?
In the end, Time Raiders is an excuse for special effects eye candy, with a flimsy plot and cardboard characters tacked on as an excuse to justify the action. What a disappointment.
2016-08-25
Godzilla Resurgence / Shin Gojira (2016)
Plot summary (story synopsis): A large sea monster suddenly attacks Tokyo. The Japanese government's bureaucracy swings into action to deal with the unprecedented threat.
***
I had high hopes for this movie. We've seen what the Americans do with Godzilla. Now let's see the Japanese, the guys who created Godzilla, do it right. Will they go all philosophical and meta? Or all cheesy fun? The answer is, neither.
Godzilla Resurgence is one helluva mess. Most of the movie is about bureaucratic wrangling inside the Japanese government. We are treated to endless meetings and dozens of government officials. Yup, it's all about the bureaucrats. Not the military, not some plucky civilian. No cute kids or dogs either. Bureaucrats. And the pacing and sensibility feels distinctly 1970s.
SPOILERS WARNING
I usually try to avoid going too much into plot details, preferring to look at movies from a higher level of abstraction. But there's nothing much to analyze here except for the plot.
Of course, there's a mad scientist subplot, but it doesn't really develop into anything much. Except origami molecular biology and a plan to coagulate Godzilla's blood with thousands of gallons of chemicals.
There's also another subplot with a half-Japanese American lady diplomat (who can barely speak English) which made no sense to me so I won't try to explain it.
It is only after about an hour that the action really starts, with the Japanese military blasting away with helicopter gunships, tanks and artillery. All to no effect, of course. I mean, a tank's armor-piercing round can penetrate over a meter of steel so of course it can't harm anything organic, right?
After the brief battle, it's back to the bureaucrats. The American military also gets into the act and bombs Godzilla using B2 stealth bombers. But surprise! Godzilla has built-in phased-array radar that can detect stealth aircraft and shoots down a B2 with its laser. Oh, and he shoots down the Prime Minister's helicopter too, killing him.
Godzilla then goes into hibernation right in the middle of Tokyo, for a couple of days. He's a sitting duck. Hit him again. But nope, everyone is so freaked out that all they can think of now is nukes.
The UN Security Council passes a resolution to nuke Godzilla with a US-led coalition of countries. But the gutsy Japanese manage to outsmart the stupid, evil Americans. They use cement pump trucks to pump the blood coagulant into Godzilla's mouth, causing him to turn into stone.
Don't judge me but my favorite Godzilla is still the Roland Emmerich version.
***
I had high hopes for this movie. We've seen what the Americans do with Godzilla. Now let's see the Japanese, the guys who created Godzilla, do it right. Will they go all philosophical and meta? Or all cheesy fun? The answer is, neither.
Godzilla Resurgence is one helluva mess. Most of the movie is about bureaucratic wrangling inside the Japanese government. We are treated to endless meetings and dozens of government officials. Yup, it's all about the bureaucrats. Not the military, not some plucky civilian. No cute kids or dogs either. Bureaucrats. And the pacing and sensibility feels distinctly 1970s.
SPOILERS WARNING
I usually try to avoid going too much into plot details, preferring to look at movies from a higher level of abstraction. But there's nothing much to analyze here except for the plot.
Of course, there's a mad scientist subplot, but it doesn't really develop into anything much. Except origami molecular biology and a plan to coagulate Godzilla's blood with thousands of gallons of chemicals.
There's also another subplot with a half-Japanese American lady diplomat (who can barely speak English) which made no sense to me so I won't try to explain it.
It is only after about an hour that the action really starts, with the Japanese military blasting away with helicopter gunships, tanks and artillery. All to no effect, of course. I mean, a tank's armor-piercing round can penetrate over a meter of steel so of course it can't harm anything organic, right?
After the brief battle, it's back to the bureaucrats. The American military also gets into the act and bombs Godzilla using B2 stealth bombers. But surprise! Godzilla has built-in phased-array radar that can detect stealth aircraft and shoots down a B2 with its laser. Oh, and he shoots down the Prime Minister's helicopter too, killing him.
Godzilla then goes into hibernation right in the middle of Tokyo, for a couple of days. He's a sitting duck. Hit him again. But nope, everyone is so freaked out that all they can think of now is nukes.
The UN Security Council passes a resolution to nuke Godzilla with a US-led coalition of countries. But the gutsy Japanese manage to outsmart the stupid, evil Americans. They use cement pump trucks to pump the blood coagulant into Godzilla's mouth, causing him to turn into stone.
Don't judge me but my favorite Godzilla is still the Roland Emmerich version.
2016-08-23
Call of Heroes (2016)
Plot summary (story synopsis): China, 1914. The Chinese army has withdrawn from Pucheng village to chase after troublesome warlord Cao Ying, leaving the town's sheriff Yang Kenan (Lau Ching Wan) and his men to defend the village. The warlord's murderous sociopathic son Cao Shaolun (Louis Koo) rides alone into town and kills a few people for fun. Sheriff Yang arrests him and after a quick trial, Shaulun is scheduled for execution the next day. However the warlord's colonel, Zhang Yi (Wu Jing), appears and warns that the entire town will be slaughtered if they harm Shaolun. Observing all this and trying to stay neutral, is wandering martial arts expert Ma Feng (Eddie Peng).
***
Call of Heroes is a Chinese cowboy movie. It's a mix of High Noon (principled sheriff betrayed by the cowardly town folk that he protects) and Shane (gun slinging reluctant-hero drifter rides into town).
There is some melodrama, but also some surprisingly effective drama and character development. Performances by the leads are good, with Eddie Peng coming across effectively like a laconic Hugh Jackman. Louis Koo is fun to watch as the manipulative batshit crazy Shaolun. Lau Ching Wan is believable as the brave and honorable sheriff. Most impressive of all is Wu Jing as the confident colonel Zhang Yi. That guy has presence.
Fight choreography by Sammo Hung is good. Stylish but realistic. The only wire work seems to be when people are kicked and go flying. The fight on a small hill of wine casks is spectacular and a good example of acrobatic kung fu.
The village set is lavish and looks real. The $32 million budget is small by Hollywood standards but this is no small movie. It's no blockbuster but it's no budget indie either.
There are some false notes. The subplot about the mercenaries seems superfluous, and some plot points aren't believable. Why don't the villagers just run away?
Ultimately, it's an entertaining but forgettable movie. We've seen it before. It doesn't break any new ground or have any original ideas. It should do good box office but I doubt anyone will remember it in twenty years. It's no Chinese Ghost Story (1987) or Swordsman (1990).
***
Call of Heroes is a Chinese cowboy movie. It's a mix of High Noon (principled sheriff betrayed by the cowardly town folk that he protects) and Shane (gun slinging reluctant-hero drifter rides into town).
There is some melodrama, but also some surprisingly effective drama and character development. Performances by the leads are good, with Eddie Peng coming across effectively like a laconic Hugh Jackman. Louis Koo is fun to watch as the manipulative batshit crazy Shaolun. Lau Ching Wan is believable as the brave and honorable sheriff. Most impressive of all is Wu Jing as the confident colonel Zhang Yi. That guy has presence.
Fight choreography by Sammo Hung is good. Stylish but realistic. The only wire work seems to be when people are kicked and go flying. The fight on a small hill of wine casks is spectacular and a good example of acrobatic kung fu.
The village set is lavish and looks real. The $32 million budget is small by Hollywood standards but this is no small movie. It's no blockbuster but it's no budget indie either.
There are some false notes. The subplot about the mercenaries seems superfluous, and some plot points aren't believable. Why don't the villagers just run away?
Ultimately, it's an entertaining but forgettable movie. We've seen it before. It doesn't break any new ground or have any original ideas. It should do good box office but I doubt anyone will remember it in twenty years. It's no Chinese Ghost Story (1987) or Swordsman (1990).
2016-02-25
Gods of Egypt (2016)
Plot summary (story synopsis): Egyptian god Osiris (Bryan Brown - F/X, Cocktail) hands over the throne to his son Horus (Nikolaj Coster-Waldau - Jaime Lannister in Game of Thrones). However Osiris's brother Set (Gerard Butler - 300) kills Osiris and seizes the throne, blinding Horus in the process and sending Horus off into exile.
Petty thief Bek (Brenton Thwaites - Maleficent) steals back one of Horus's eyes from Set, restoring some of Horus's powers. Horus promises to bring Zaya (Courtney Eaton - Mad Max Fury Road) back from the dead in exchange. God and mortal team up to defeat Set.
***
Gods of Egypt is an entertaining movie. With Alex Proyas (Dark City, I Robot, The Crow, Knowing) directing, it does not disappoint. It's definitely a commercial movie, more I Robot than Dark City. In any case, Alex Proyas's storytelling still works. Yes, I'm an Alex Proyas fan.
(Script is by Burk Sharpless and Matt Sazama, both of whom worked on Dracula Untold and The Last Witch Hunter. The mythology in both of those movies was decent, but the characters didn't really work. So I'm seeing Alex Proyas's fingerprints all over God of Egypt.)
Gods of Egypt is a strange mix of Thor (young prince's character is tested), Whatever Dreams May Come (trying to save a dead loved one from the underworld) and Clash/Wrath of the Titans. It ends up with the good-natured, family-friendly, action-adventure/comedy vibe of The Scorpion King.
It's definitely better than Percy Jones, The Sorcerer's Apprentice, Clash/Wrath of the Titan's, the Conan remake, John Carter, etc. There's a certain spark, a sense of fun, a love of fake mythology, in Gods of Egypt that is missing in too many by-the-numbers Hollywood Fantasy movies.
The movie is a fast-paced visual treat with engaging characters. The $140 million budget is all up on the screen. The coronation scene at the start brings back memories of Hollywood's "cast of thousands" spectaculars from decades ago. Undoubtedly with the crowd size enhanced with computer trickey, but impressive to look at nonetheless.
The flying gods are a bit jerky, looking like a Ray Harryhausen stop-motion tribute. The giant battle snakes (seen in a trailer) and other creatures are much better. And the rest of the special effects and sets, work very well.
Lighting by Peter Menzies Jr. (Hard Rain, The 13th Warrior, Lara Croft: Tomb Raider) is suitably epic and pretty.
The cast and the characters work too. Nikolaj Coster-Waldau comes across as a refined Snake Plissken. While Brenton Thwaites is effective as the brash comic sidekick, like Matthew Broderick in Ladyhawke. Gerard Butler is a bit out of place, with his Set having a Scottish accent (the rest of the cast have English accents, hmmm, wait a minute, this might be on purpose). But my main complaint is that the doe-eyed Courtney Eaton doesn't get enough screen time.
Petty thief Bek (Brenton Thwaites - Maleficent) steals back one of Horus's eyes from Set, restoring some of Horus's powers. Horus promises to bring Zaya (Courtney Eaton - Mad Max Fury Road) back from the dead in exchange. God and mortal team up to defeat Set.
***
Gods of Egypt is an entertaining movie. With Alex Proyas (Dark City, I Robot, The Crow, Knowing) directing, it does not disappoint. It's definitely a commercial movie, more I Robot than Dark City. In any case, Alex Proyas's storytelling still works. Yes, I'm an Alex Proyas fan.
(Script is by Burk Sharpless and Matt Sazama, both of whom worked on Dracula Untold and The Last Witch Hunter. The mythology in both of those movies was decent, but the characters didn't really work. So I'm seeing Alex Proyas's fingerprints all over God of Egypt.)
Gods of Egypt is a strange mix of Thor (young prince's character is tested), Whatever Dreams May Come (trying to save a dead loved one from the underworld) and Clash/Wrath of the Titans. It ends up with the good-natured, family-friendly, action-adventure/comedy vibe of The Scorpion King.
It's definitely better than Percy Jones, The Sorcerer's Apprentice, Clash/Wrath of the Titan's, the Conan remake, John Carter, etc. There's a certain spark, a sense of fun, a love of fake mythology, in Gods of Egypt that is missing in too many by-the-numbers Hollywood Fantasy movies.
The movie is a fast-paced visual treat with engaging characters. The $140 million budget is all up on the screen. The coronation scene at the start brings back memories of Hollywood's "cast of thousands" spectaculars from decades ago. Undoubtedly with the crowd size enhanced with computer trickey, but impressive to look at nonetheless.
The flying gods are a bit jerky, looking like a Ray Harryhausen stop-motion tribute. The giant battle snakes (seen in a trailer) and other creatures are much better. And the rest of the special effects and sets, work very well.
Lighting by Peter Menzies Jr. (Hard Rain, The 13th Warrior, Lara Croft: Tomb Raider) is suitably epic and pretty.
The cast and the characters work too. Nikolaj Coster-Waldau comes across as a refined Snake Plissken. While Brenton Thwaites is effective as the brash comic sidekick, like Matthew Broderick in Ladyhawke. Gerard Butler is a bit out of place, with his Set having a Scottish accent (the rest of the cast have English accents, hmmm, wait a minute, this might be on purpose). But my main complaint is that the doe-eyed Courtney Eaton doesn't get enough screen time.
2015-09-18
3688 (2015)
Plot summary (story synopsis): Xia Fei Fei (singer Joi Chua in her movie debut) is a 38-year-old meter maid who lives with her aged father (Michael Tan). Her father worked as a Rediffusion salesman and is now beginning to show signs of dementia. He regularly wanders off on his own, trying to sell subscriptions of the defunct wired radio system.
At work, Fei Fei doesn't get along with her team leader Jenny (Rahimah Rahim). But their rivalry is overshadowed by the arrival of an automatic car park payment system which threatens their jobs.
Fei Fei has loved to sing since she was in school, especially the songs of Taiwanese singer Fong Fei Fei. She stumbles across a local singing contest and decides to join.
***
3688 is an enjoyable, sentimental comedy. While the trailer plays up the singing competition in the movie, the competition only appears in the last third of the movie. It's actually the least effective part of the movie.
The two main threads are Fei Fei's mini adventures as a meter maid (saman auntie in local slang) and her father's gradual mental deterioration.
Both work because writer/director Royston Tan (881, 15: The Movie) and rookie writer Fong Wei Lim spend the time to develop these subplots. The situations and characters feel natural unlike with some other local filmmakers (coughjackneocough).
The meter maid shenanigans plays out with a kampong-style feel, where everyone in the neighbourhood knows everybody. It's an Amelie-style parochial fairy-tale that works.
Equally compelling is Fei Fei's father's descent into dementia. It is played out over multiple small scenes, each slowly worming its way into your sympathies. Jack Neo's heavy hand of a few over-the-top dramatic scenes couldn't be further away in terms of style.
The ending of the movie is also done in a tasteful low-key style (stay behind for the post-credits scene).
The use of old Rediffusion radio sets is beautifully nostalgic. It's an example of effective and unobtrusive product placement (the Rediffusion name lives on as an Internet broadcaster). Again unlike Jack Neo.
I'm sorry to keep on comparing with Jack Neo, but the differences are glaring. Another example? Liu Ling Ling as Seafood Auntie is charmingly brash without being annoying. Unlike Irene Ang in Jack Neo's Ah Boys to Men.
There is some singing, especially covers of Fong Fei Fei's classic hits. There's a lone song-and-dance number at the start with the meter maids but strangely enough, this is the only dance number in the movie. So the tone of the movie is a bit uneven.
Another uneven bit of filmmaking is the inclusion of Fei Fei's old school friend, recently returned from New York. He doesn't seem to serve any purpose.
There are a few local details such as a mention of Stomp - the local online citizen-journalism website. There's also a recreation of a real-life local publicity stunt involving two female sunbathers in a car park. Local rapper Shiga Shay makes an appearance and spouts off some delightfully fast raps.
3688 is a way better movie than most other local offerings. Let's see if the public gives it their support. To paraphrase a local opposition politician, The public gets the movies they deserve, so I don't want to hear any more complaints.
At work, Fei Fei doesn't get along with her team leader Jenny (Rahimah Rahim). But their rivalry is overshadowed by the arrival of an automatic car park payment system which threatens their jobs.
Fei Fei has loved to sing since she was in school, especially the songs of Taiwanese singer Fong Fei Fei. She stumbles across a local singing contest and decides to join.
***
3688 is an enjoyable, sentimental comedy. While the trailer plays up the singing competition in the movie, the competition only appears in the last third of the movie. It's actually the least effective part of the movie.
The two main threads are Fei Fei's mini adventures as a meter maid (saman auntie in local slang) and her father's gradual mental deterioration.
Both work because writer/director Royston Tan (881, 15: The Movie) and rookie writer Fong Wei Lim spend the time to develop these subplots. The situations and characters feel natural unlike with some other local filmmakers (coughjackneocough).
The meter maid shenanigans plays out with a kampong-style feel, where everyone in the neighbourhood knows everybody. It's an Amelie-style parochial fairy-tale that works.
Equally compelling is Fei Fei's father's descent into dementia. It is played out over multiple small scenes, each slowly worming its way into your sympathies. Jack Neo's heavy hand of a few over-the-top dramatic scenes couldn't be further away in terms of style.
The ending of the movie is also done in a tasteful low-key style (stay behind for the post-credits scene).
The use of old Rediffusion radio sets is beautifully nostalgic. It's an example of effective and unobtrusive product placement (the Rediffusion name lives on as an Internet broadcaster). Again unlike Jack Neo.
I'm sorry to keep on comparing with Jack Neo, but the differences are glaring. Another example? Liu Ling Ling as Seafood Auntie is charmingly brash without being annoying. Unlike Irene Ang in Jack Neo's Ah Boys to Men.
There is some singing, especially covers of Fong Fei Fei's classic hits. There's a lone song-and-dance number at the start with the meter maids but strangely enough, this is the only dance number in the movie. So the tone of the movie is a bit uneven.
Another uneven bit of filmmaking is the inclusion of Fei Fei's old school friend, recently returned from New York. He doesn't seem to serve any purpose.
There are a few local details such as a mention of Stomp - the local online citizen-journalism website. There's also a recreation of a real-life local publicity stunt involving two female sunbathers in a car park. Local rapper Shiga Shay makes an appearance and spouts off some delightfully fast raps.
3688 is a way better movie than most other local offerings. Let's see if the public gives it their support. To paraphrase a local opposition politician, The public gets the movies they deserve, so I don't want to hear any more complaints.
2015-09-14
The Assassin (2015)
Plot summary (story synopsis): It is China during the Tang Dynasty. Young assassin Yinniang (Shu Qi) doesn't have the heart to kill a target in front of his son. To teach her a lesson, she is sent back to her home province of Weibo to assassinate her cousin Tian Ji'an (Chen Chang) who is now the Lord of Weibo.
Tian Ji-an's court is already in turmoil. There is disagreement over how to handle their relationship with the distant Tang Dynasty. There is also some political intrigue within the court.
***
The Assassin is an arthouse movie. Don't expect anything like Hero or House of Flying Daggers. It won the Best Director prize at Cannes for director Hsiao-hsien Hou.
There's lots of show-don't-tell, so the pace will be slow for some audiences. Fights are few, fast, short, and realistic. Shu Qi isn't made into some kind of superhero, just a skilled fighter.
There are long takes and few close-ups. Many scenes are shot with a single wide-angle take. This is Kurosawa style.
Standard editing advice is to enter the scene late and get out early. Keep scenes short, don't bore the audience. The Assassin does the opposite. Combined with the wide-angle long takes, this gives an effective voyeuristic feel to the movie. You feel like an observer watching from a distance, not some omniscient god floating everywhere like in conventional movies with their close-ups, quick cuts and dolly moves.
The director's voyeuristic intention is confirmed in some indoor scenes. The camera is positioned behind thin veil-like curtains, so the audience feels like they are hiding from the people in the scene.
So this movie is not for everyone. There are reports of some audience members walking out during the screenings at Cannes and at the Toronto International Film Festival.
While the unconventional camerawork is effective to a certain extent, it's also distracting. We are used to today's camerawork and done well, it is invisible to the audience. The Assassin's minimalist camerawork calls attention to itself, throwing the audience out of the movie.
There is high contrast in some scenes - bits of sunlight in a dim interior. This would be considered a mistake in an amateur movie.
Another quirk: the movie is shot in 4:3 aspect ratio, the old PAL and NTSC analog TV format. The decision to not use 16:9, 2.4:1 or some other widescreen format is especially perverse considering the gorgeous scenery in some of the shots.
Perennially youthful Shu Qi plays the twenty-something Yinniang well. But we don't see much of Shu Qi. She's on screen maybe 25% to 50% of the time, and usually not in close-up.
The plot is interesting enough but there are too many characters and the various subplots are difficult to follow (who is the lady who tried to hide her pregnancy? I had to look her up after I watched the movie). The thing with the lady in the gold mask? Very Pink Pantherish - Clouseau versus Cato.
The Assassin gets an A for effort but overall it could have been better.
Tian Ji-an's court is already in turmoil. There is disagreement over how to handle their relationship with the distant Tang Dynasty. There is also some political intrigue within the court.
***
The Assassin is an arthouse movie. Don't expect anything like Hero or House of Flying Daggers. It won the Best Director prize at Cannes for director Hsiao-hsien Hou.
There's lots of show-don't-tell, so the pace will be slow for some audiences. Fights are few, fast, short, and realistic. Shu Qi isn't made into some kind of superhero, just a skilled fighter.
There are long takes and few close-ups. Many scenes are shot with a single wide-angle take. This is Kurosawa style.
Standard editing advice is to enter the scene late and get out early. Keep scenes short, don't bore the audience. The Assassin does the opposite. Combined with the wide-angle long takes, this gives an effective voyeuristic feel to the movie. You feel like an observer watching from a distance, not some omniscient god floating everywhere like in conventional movies with their close-ups, quick cuts and dolly moves.
The director's voyeuristic intention is confirmed in some indoor scenes. The camera is positioned behind thin veil-like curtains, so the audience feels like they are hiding from the people in the scene.
So this movie is not for everyone. There are reports of some audience members walking out during the screenings at Cannes and at the Toronto International Film Festival.
While the unconventional camerawork is effective to a certain extent, it's also distracting. We are used to today's camerawork and done well, it is invisible to the audience. The Assassin's minimalist camerawork calls attention to itself, throwing the audience out of the movie.
There is high contrast in some scenes - bits of sunlight in a dim interior. This would be considered a mistake in an amateur movie.
Another quirk: the movie is shot in 4:3 aspect ratio, the old PAL and NTSC analog TV format. The decision to not use 16:9, 2.4:1 or some other widescreen format is especially perverse considering the gorgeous scenery in some of the shots.
Perennially youthful Shu Qi plays the twenty-something Yinniang well. But we don't see much of Shu Qi. She's on screen maybe 25% to 50% of the time, and usually not in close-up.
The plot is interesting enough but there are too many characters and the various subplots are difficult to follow (who is the lady who tried to hide her pregnancy? I had to look her up after I watched the movie). The thing with the lady in the gold mask? Very Pink Pantherish - Clouseau versus Cato.
The Assassin gets an A for effort but overall it could have been better.
Subscribe to:
Posts (Atom)
