2003, Korea
Director: Chan-wook Park
Starring: Min-sik Choi, Ji-tae Yu, Hye-jeong Kang,

Plot: Oh Daesu has been kidnapped and imprisoned in a private cell for 15 years. When he is released, he is given a mission by the man who has imprisoned him. That is to find out the reasons behind his imprisonment. With 15 years of built up anger, hatred and burning curiosity, Oh Daesu searches for the answers that stole his 15 years of life.

Here it is, the new film by the director of great JSA and Sympathy for Mr. Vengeance.
Just as he did with those, director Chan-wook Park puts regular folks with everyday working troubles into extraordinary situations. But when I say that, I don’t mean Die Hard type of extraordinary situations. That Hollywood’s idea of regular folk in extraordinary situation. In Park’s films, they don’t overcome great obstacles, rather, they get tested to their emotional limits.

In Old Boy, Daesu’s mad rampage of pure vengeance would almost guide him to analyze what is important and what is insignificant in his life. He starts to have thoughts of things that if he had not been imprisoned he would never think of. He utilizes skills learnt in his cell including the knowledge gained from watching TV, and the fighting technique from fighting against the wall. The intelligence and physical power that he developed during the 15 years sometimes overpowers his own expectations while he is trying to put the puzzle together. He is portrayed by Min-sik Choi. He gives the strongest performances I have come to witness this year. His performance left me speechless. There is no point in the film that you don’t feel his pain. He is sympathetic and he rationalizes his evil actions in every way. You feel sorry for him and believe he is the good guy. You want him to find and take out the ***censored*** that did it to him. But he ends up becoming a very gray shaded characer as the story moves along. That really separates Old Boy from the average Hollywood revenge film.

Old Boy is one of the greatest films that come out in 2004. It truly deserved Grand Jury award at Cannes 2004. It is a fabulously crafted film. I can’t write more without revealing things I shouldn’t for those who are waiting to see it. View it with your pals, because when the answer is revealed and the table turns around at the end, you will want to talk about it with someone after the credits roll.

Review by Shogo.

If you believe in the impossible, miracles will come true on Christmas. For two star-crossed lovers – one takes place in Shanghai and one takes place in Hong. One day at MTR station, a blind girl named Cheung (Miriam Yeung) is asked by a guy if he can borrow her walking stick. After he gathers flyers for a matchmaking service, which is run by Ho Yuk Ming (Tony Leung), he hands one to her as a gift. Out of curiosity she phones the company and ask him to find her a nice boyfriend.

In Taipei, an office worker (Chang Chen) has a crush on his coworker, but has never said a word to her. But at Christmas, he gathers enough courage to write her a love card. But the card is switched with a card he intended to write for his boss. The love card ended up in Shanghai in the hands of another girl (Dong Jie). Ching makes a trip to Shanghai to try to correct the mistake.

The film is based on an illustrated book from Jimmy Liao (who also inspired Turn Left Turn Right and as well as Floating Landscape which I truly adored). It features Hong Kong’s major stars Tony Leung, Chiu-Wai, Miriam Yeung and Chang Chen. And there is more. The film is produced by Jet Tone Pictures, the company behind Wong Kar-Wai films.

Sound of Colors provides nothing more than the chance to see physically gorgeous people get together under the most heavenly unnatural circumstances. We will never know why it happens to them, but it isn’t really unnecessary for us to know. Love is something that requires nothing more than a little push by someone, and if that someone is a heavenly cupid, that is even better. The funny thing about love in the film is that it all works out. Everyone gets together and goes home happily ever after. I like that and I liked that in this film. We really don’t need special effects extravaganzas like Harry Potter and Spider-Man all the time. You might want more complex emotional content, but we can leave that Wong Kar-Wai. When you watch fluffy films like this one, you shouldn’t really demand anything more. What you see is what you get.  No more no less.

Review by Shogo.

Japan, 2003
Director: Kitano Takeshi
Score:*****
Year’s 10 Best

The film begins with a kid stealing the blind swordsman, Zatoichi’s cane.  A gang then attacks (him) but half are slaughtered brutally with the others running away screaming like cry-babies.  The scene sounds ridiculous but director Takeshi Kitano gets away with his brand of violence ***censored*** humor.  Writer/director and star of ZATOICHI, Takeshi (Beat) Kitano rose to fame with his three extremely violent Yakuza films VIOLENT COP, BOILING POINT and SONATINE before moving to more artful fare like DOLLS and HANNA-BI and BROTHER.

ZATOICHI is Kitano’s first period piece and is set in 19th century Japan. Blind Zatoichi (Kitano) makes his living as a masseur and gambler but is in reality a master swordsman who comes to the rescue of a remote mountain town terrorized by the ruthless Ginzo gang. Two other subplots involve two beautiful but deadly geishas – Okinu (Yuko Daike) and his (yes, she is a he) sister Osei (Daigoro Tachibana) out to avenge the death of their parents - and a Ronin Samurai, Hattori (Japanese heart-throb Tadanobu Asano - last seen in Oshima’s gay samurai flick, GOHATTO) hired by the Ginzo boss.

Zatoichi is one of Japan’s most popular heroes. Kitano takes his liberties with the legend by writing an original screenplay as well as giving the swordsman platinum white (as opposed to black in the original films) hair and a bright red cane sword. CGI is used here to generate lots of gushing blood and sights of open wounds though the graphic violence can be taken tongue-in-cheek pretty much like Sam Raimi’s zombie flicks. The period setting looks authentic enough from the costumes, props down to the village huts surrounding the farming fields. The sword fights are edited well and exciting enough.  It is interesting to note that it was extremely difficult for Kitano to perform the sword movements with his eyes closed in front of the camera.  Besides also not being able to see his steps, he could not see his other actors’ expressions when acting with them.

Zatoichi is also hilariously funny. Kitano knows what works and uses comedy - a swordsman draws his weapon and cuts the guy standing next to him; the farmers work their tools to the synchronization of the music; the blind swordsman at one point stares with paper-drawn eyes at his woman – to alleviate the serious nature of the plot.  He is also unafraid to touch on controversial issues like child abuse, prostitution and prejudices.

The film is shot with pale colours and most of the fight scenes take place in sparse surroundings (like the gambling hall or in the open) to make its modest budget. Kitano’s film also showcases a fascinating look at the Japanese culture of the Ronin era that includes sexuality (including homosexuality), way-of-life and the goings-on at the geisha houses. The film culminates (when the village is rid of the vermin) with a show-stopping tap dance number (by a group called the Stripes) done Japanese-style.

But one only wishes Kitano would have attempted to explain the mystery behind Zatoichi’s skills.  Like the other Zatoichi films (I have seen a few back when I was a film addicted kid in Singapore), nothing is ever mentioned of Zatoichi’s past.  In one scene, Zatoichi is asked: “Who are you, anyway?” Kitano tactfully switches the scene.

Despite the general greyish colors, the film occasionally bursts with quiet beauty.  The red broken wooden umbrella carried by side-kick Shinkichi (Guadacanal Taka) shot from the top and the little red flowers floating on the water collected in a barrel by the pouring rain are prime examples.  But what is most remarkable about ZATOICHI is that the entire film is totally Kitano.  You have to admire the man.  It blends the best of his other 10 films – the commercialism and the artistry and the mix of everything from dance, swordsmanship, humor, violence and tenderness to the character study of the human soul (e.g. the insistence of Okinu to stay a woman, the loyalty of Hattori’s wife).  It is also superbly paced with hardly a dull moment.  ZATOICHI won the audience’s choice award for most popular film at last year’s Toronto International Film Festival.  It is not difficult to see why.  Having had his background also in painting, dance and stand-up comedy, Takeshi Kitano proves that a Jack of all trades can be Master of all. 

Review by Gilbert Seah.

USA/UK 2004
Director: Alfonso Cuaron
Score: *** 1/2

The third and best of the series, HARRY POTTER AND THE PRISONER OF AZKABAN benefits primarily from Mexican director Alfonso Cuaron’s input to the series.  The first, THE SORCEROR’S STONE was stodgy work, the result of having to introduce all of writer J.K. Rowling’s characters while the second, THE CHAMBER OF SECRETS was even worse, conforming to Hollywood’s standard fare of predictable filming-by-numbers technique.  These were directed by Chris Columbus of HOME ALONE, MRS. DOUBTFIRE and countless other unimaginative comedies.  On the other hand, Cuaron is a director who has proven his talent for quirky and spirited fare as in THE LITTLE PRINCESS, GREAT EXPECTATIONS and most recently, in the 2001 Mexican hit Y TU MAMA TAMBIEN about three friends on a sexual road trip. 

The opening sequence of AZKABAN holds expectations high when visiting nasty Aunt Marge (Pam Ferris) insults Harry Potter (Daniel Radcliffe) by saying that his bad blood does not come from his drunken father but from the mother like a bad ***censored*** with her pups.  Harry gives Margie her come-uppance by bloating her up (like the obese fat customer in MONTY PYTHON’s MEANING OF LIFE) and having her float off into the night sky.  Then, running away from home in the dark, he hops on the night bus back to the wizard school, Hogwarts. 

The film is darker and scarier that the first two. Harry is stranded in an eerie deserted park. The enchanted tree, werewolf and wild dog are just three of typical monsters that prey on Harry and his friends. The Dementors (the keepers of Azkaban) are the scariest creatures of the series.  But the psychological effect of Harry’s dead parents (Harry keeps getting flashbacks) provides for the film’s moodier tone. Harry wants the truth about their deaths and to find the villains responsible.

Cuaron pushes the right buttons by often playing with the viewer’s anticipation.  The question of what the escaped prisoner of Azkaban has to do with Harry is kept secret till the second half.  Yet Cuaron keeps the tension rising.  In an early scene, Harry is warned by Mr. Weasley; “You are in grave danger.” Even in the beginning, the words of the triple-decker bus driver ring so true: “Get ready for a bumpy ride!”

Many of the early films’ successful touches (the relocating swinging staircase, the talking pictures) are repeated but Cuaron and his CGI team take the special effects one step further by adding their vivid imagination to the action.  Even the closing credits sequence done on the marauding map is impressive.  When the first Harry Potter film hit the screens, fans were satisfied that the film was true to the Rowling’s book.  But AZKABAN soars in spirit once ever so often - Harry’s flight on the Hippogriff (half horse/half eagle) and the bus ride.  Cuaron also achieves a remarkable blend of horror and humour as depicted in a Hogwarts class lesson on turning ones worst fears into ridicule.

The casting is a delight.  Old professors Maggie Smith, Robbie Coltrane and Alan Rickman are joined by new blood Emma Thompson (quite hilarious here as a fumbling myopic tea-leaf reader) and the excellent David Thewlis while Michael Gambon replaces the late Richard Harris as the headmaster.  But Timothy Spall (ALL OR NOTHING, LIFE IS SWEET) steals the show as does Gary Oldman as the prisoner of Azkaban.  Those familiar with British actors will recognize cameos from Dawn French as the fat woman, Julie Christie and Julie Walters.

Harry and friends have grown up from adolescents to teenagers.  HARRY POTTER AND THE PRISONER OF AZKABAN has as well, discarded the childish predictable cloak of its predecessors and emerged an intelligent rites-of-passage tale with the key elements of bravery, redemption and faith.  Combined with the humour and imagination of the filmmakers and author J.K. Rowling, the film is yes, magic!

Review by Gilbert Seah.

USA, 2004
Director: Jared Hess
Score: ***1/2

The oddly presented opening credits with the cast and crew names written on plates of food or on library cards indicate that the audience is off for a quirky ride in writer/director Jared Hess’ debut feature NAPOLEON DYNAMITE.  The protagonist Napoleon (Jon Heder) can easily be recognized as the nerd of all nerds at Preston High School. (Preston is a rural town in Idaho.) With his afro-red hair, glasses and dumb look, he walks around with his eyes practically closed behind huge glasses.  No wonder he gets slammed into lockers by bullies and spurned by the decent looking girls.

Credit must be given to Jory Weitz for the great casting of the geeks and losers.  Heder is the perfect Napoleon with almost everyone else performing their characters hilariously to the ‘T’ as well.  One noticeable fact about Hess’ characters is that no matter how hopeless they are, each is individually optimistic.  Napoleon thinks all those around him are dumb, his Uncle Rico (Jon Gries) thinks he’s the best gift to mankind, brother Kip (Aaron Ruell) has high hopes on his cyber girlfriend, LaFawnduh (Shondrella Avery) and the quiet reclusive newcomer Pedro (Efren Ramirez) believes he has a shot at being class president.  It is no surprise then that the optimism rubs off on the audience with the film looking extremely cheerful and bright.  When Pedro is at a loss of words to say at his president candidacy speech, he offers his voters: “All your wildest dreams will come true!” It is clear that one message of the film is to listen to ones own heart.

Upon careful consideration, Hess’ film is comprised of many well-thought out comedic set-pieces, quite a few of which are laugh-out loud.  The trouble is that many (the bike trick, the slap reflexes and Rex-Kwon-do episodes) deal with loosely related incidents giving the entire film a less than smooth flow.  One also wonders why the character of grandma (Sandy Martin) was left in the script.  Her character could have worked out to be a more interesting one, one that has affected the way the boys had turned out.  As such the raison d’etre of the nerdiness is never touched on.  One can only imagine that such oddities exist in the far out reaches of the U.S.  The soundtrack songs, FOREVER YOUNG and TIME AFTER TIME and gadgets like the time machine also suggest Hess’ obsession with the past – though the theme is never explored in any detail.

Hess keeps the humor coming nonstop.  But what is most intriguing about Hess film is the risk taken at the film’s end.  The success of the entire film actually hinges on Heder’s solo dance performed after Pedro’s candidacy speech.  Whether the spirited dance really works depends on the viewer, of course, but judging for the word-of-mouth promo screening I attended, the film ended with an unanimous applause.

NAPOLEON DYNAMITE, the runaway hit at Sundance went on to win the Best Feature at the U.S. Comedy Arts Festival.  NAPOLEON, directed by 24-year old Hess and co-written with his wife Jerusha, proves that there is a huge pool of untapped talent in the world of filmmaking.

Review by Gilbert Seah.