SON:sation

Boosting all levels up and maintaining a pace that almost feels like warp speed throughout, J.J. Abrams has heightened every genre department in making the second instalment full of mind-blowing action. If one is to nit-pick, in exchange is a slight compromise in fluid storytelling and space for imagination. After all, how can any film be strong on all fronts. Star Trek Into Darkness makes one of the top summer blockbuster sequel and is also recommended for viewing its gorgeous visual effects in the large IMAX 3D format.

When the crew of the Enterprise is called back home, they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for, leaving our world in a state of crisis. With a personal score to settle, Captain Kirk leads a manhunt to a war-zone world to capture a one man weapon of mass destruction. As our heroes are propelled into an epic chess game of life and death, love will be challenged, friendships will be torn apart, and sacrifices must be made for the only family Kirk has left: his crew.

Series fans' favourite Captain Kirk (Chris Pine) and his U.S.S. Enterprise crew signs on yet another mission to battle against adversity in space. Not only is the entire lovable crew ensemble reprising for amusing moments, there are also a few additions such as daughter of Admiral Marcus - Carol Marcus (Alice Eve). Though promising, her character is unfortunately minimally written so as to ensure continuity of the film's rapid pace.

And rarely does the action relent for any breather.

Rushing right into the middle of peril, Dr. McCoy (Karl Urban) and Kirk dash through a bright crimson forest as they are on the escaping end of a pursuit by primitive natives of Nibiru. High effective albeit technically devised with certain hap-hazardous shooting and editing style in sync with the onscreen activity.

While most footage captured are sharp in clarity, the compositions (by Daniel Mindel) are often adequate without being inspirational. Since most of the film's visual scape is constructed with visual effects, the impact should be negligible.

As the action peaks constantly throughout for entertainment, the mystery is subsequently served and well addressed by superhuman Khan (Benedict Cumberbatch). With a perplexing sense of unpredictability and a fleeting hint of menace, Cumberbatch manages his performance well and even terrorises with his random burst of mad violence. Khan may well be the better villain of the two Star Trek films.

In place of the heightened action and antagonisation, the screen presence and cast interactivity is somewhat sadly sacrificed as it is something that this opinion had wished to see more. It is also what made the first film so enjoyable - the characters' inter-bantering that is witty and hilarious. Here it seems like most of the crew members are degenerating into modes of awkward discomfort and do not appear to be enjoying themselves as much. Scotty (Simon Pegg) is dismissed and Chekov (Anton Yelchin) is almost entirely apologising in the engine room for mechanical faults.

Also not reined is the science and technology at play where almost everything seems to be both possible and impossible at convenience. Possibly due to the breathless action at hand, there is little or no space for the audience to appreciate the cosmic technology. There has to be a balance between amazing space technology and scientific constrains to keep affairs practical in alignment to the audience's comprehension and expectation.

Nevertheless, technical qualities are beaming especially in the department of visual effects and sound design/mix. Adding on the IMAX footage shot on IMAX cameras, Abrams' first post-converted 3D feature film is indeed engrossing as it arrests all senses when viewed in the large IMAX 3D format.

Although space is the final frontier, it doesn't seem to have prevented Abrams from advancing his cinematic craft in this vibrant action adventure genre piece that warrants a watch or two.

10+10 is an omnibus of 20 short films made by some of the most prominent Taiwanese filmmakers who contribute a five minutes short film each in celebration of Taiwanese cinema. Given little or no limitations pertaining to theme, genre, or narrative structure, all of them took the opportunity to craft works at their will. Some present creative flair through thought-provoking pieces that are either abstract or brooding, while others ventured the light-hearted route for a casual session.

THE RITUAL by Wang Tung

It is however worthy to note that the 20 short films produce mixed results when viewed in series, given the diversity of style and genre techniques. Some relate better while some totally lose their audience with muddling comprehension of the intensions and contextual meanings.

10+10 begins with Wang Tung's The Ritual that sends two brothers up a hill to pay their respects and appreciation to the deities after receiving blessings to strike lottery. Almost every shot is well-composed and sharply-lensed, instilling a comfortable sensation when viewing the luscious greenery throughout the brothers' ascend up the hill. There is also an amusing segment where they treated the deities to a screening of Avatar in 3D (with 3D glasses), which seems to be digging at the changing times of cinema where 3D invades the arena of conventional 2D cinema.

A GROCERY STORE CALLED FOREVER by Wu Nien-Chen

Wu Nien-Chen's A Grocery Store Called Forever takes a more heartland approach with an elderly lady's struggle to manage the relevancy of her grocery store in modern times where convenient store chains are prevalent. Wu's film relates extremely well to citizens with a simple story and theme, but is able to say a lot to one's heart. It is a good case example where good short films do not necessary have to be a complex one.

THE DEBUT by Chen Kuo-Fu

There are short films such as Wei Te-Sheng's monologue commentary piece that fails to connect with most albeit accompanying footage of his journey on-route to Venice Film Festival 2011 where his feature film Warriors of the Rainbow: Seediq was part of the Official Competition selection.

There are also some that begin in good premise but not ending with a satisfactory note, such as Shen Ko-Shang's Bus Odyssey that adopts a black and white treatment and ends at a climatic high with an abrupt act of violence disrupting the bus' serenity.

Once in a while, a homage piece is observed as in the case of Chen Kuo-Fu's The Debut that depicts a scene of a teenage young songstress who is discouraged by her poor debut performance. The audience will later realise that it is one of the early days of Chinese pop legend Teresa Teng.

GREEN ISLAND SERENADE by Hou Chi-Jan

One of the interesting short films Unwritten Rules by Cheng Yu-Chieh sends a team of young Taiwanese filmmakers trying to figure how to manage political references within their production given a number of considerations. Approaching it with a light-hearted mood, it is great to see how satires can still be comfortably possible within certain taboo context.

Another favourite of this opinion is Hou Chi-Jan's Green Island Serenade, which presents great visions and mood as the entire five minutes features the transition of a radio singer Chi Lu-Hsia whose song (also the title of the film) is delivered from 1954 to 2011. There is no narrative structure or explicit storyline but a simple song time travelling over nearly 60 years through well-devised cinematic composition and techniques has impressed very well.

SOMETHING'S GOTTA GIVE by Hsiao Ya Chuan

Chung Mong-Hong, who previously made the well-received The Fourth Portrait, delivers a sinfully gratifying piece with Reverberation. Having the bullies receiving lethal repercussions of their own morally wrong acts, it is uncertain if the message is right. One thing for sure is that what goes around comes around and for some reasons this opinion takes guilty pleasure in enjoying the sight of the demise of the bullies.

Hsiao Ya Chuan's Something's Gotta Give sees a fine lady who is compelled by unorthodox fancy concepts to experience her eventual awkward situation. Attending a friend's wedding that is taking place late at night in a bareback dress that requires silicone bra, misfortune greets her when her silicone bra malfunctions and seeks help at a closing lingerie store. It kinds of hint at how the society embraces trending changes in contrast to conventional values, which may also be reflective of contemporary Taiwanese cinema.

LA BELLE EPOQUE by Hou Hsiao-Hsien

Finally, master filmmaker Hou Hsiao-Hsien presents an observational piece, La Belle Epoque, about how things are better with age. Shu Qi is seen receiving gold bars from her mother, which are much more valuable in today's context (0.999 fine gold). A later scene unites the family for a photo-taking session, where the mother is intentionally placed in the centre, before the short film ends with a shot of a well-grown tree. The gold, mother, and the tree is symbolic of how age transcends time to inflate its value. Not one of Hou's best but still an admirable piece of work.

Despite an irregular tempo of quality over the series of 20 short films, one thing that this opinion appreciates is that short films are no less challenging to produce over feature-length films. It is even more difficult to tell a fulfilling story that impresses within a shorter time span.

(10+10 screened during the 1st Singapore Chinese Film Festival)

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Making a bold step ahead of others into uncertainties is definitely courageous. For the better or worse, it is an admirable effort by a pioneering champion who ventures out of comfort zone so as to initiate change. Change is what is observed in Singaporean filmmaker Ong Kuo Sin's Judgment Day, a film that studies the delicate details of mankind within Singapore's society through an intriguing "end of world" theme setting. It is by far one of the better productions from Singapore's commercial film industry of late.

Four days ago, a sudden collision in outer space caused a meteorite to divert its course and head towards planet Earth. Its impact is calculated to annihilate the whole mankind. The time ticking towards mass extinction is so short that any apology from the government is deemed irrelevant. Therefore, go ahead and do whatever you want within the next 3 days. Leave behind no regrets.

The movie talks about 4 different stories featuring extreme decisions people make during extreme situations. And if the world did not end, how are they going to clear the extreme mess?

Before the world comes to an end, you are left with 72 hours. What would you do to leave with no regrets?

Singapore's mainstream cinema tends to chalk up superficially appealing genre productions like comedy and horror. These are easy to digest and serve as better consumables over precious weekends, especially in a productivity-driven society like Singapore's where time is a valuable resource. Expending time rapidly over piling workload and responsibilities, people tend to lose track and sense of time easily and often view life as a mundane entitlement that will never be taken away.

The filmmakers thus decide to take time away from people to see their response to such external drivers that are out of their control. What better ways than to introduce a 72 hours countdown to the end of the world? With a dense heart, the news anchor and Singapore's Prime Minister (cameo by Adrian Pang) delivers a disheartening breaking news of an extraterrestrial impact upon earth that would annihilate mankind. Civilised law and order is expected of the people, and it is exactly what the people followed in Judgment Day (although most expect chaos to break loose).

Plot plausibilities aside (calm social behaviour and the continuation of daily business activities do puzzle), the film attempts to discuss a few thematic issues through a multitude of stories involving different characters. There is a couple (Chua En Lai and Rebecca Lim) who is in a relationship dilemma plagued by a reminiscence of compassionate communal spirit in contrast to the typical indifferent individuals. There is a family who enters into an awkward tension induced by a father's (Henry Thia) final wish to become a woman, which later allows them to realise the definition of true love and sacrifice. There is one that banters along the borders of moral codes of ethics involving two police officers (Mark Lim and Wang Yuqing), which is further confused by benign intentions. There is one on forgiveness that is strained and tested by the infidelity of a married couple (Alice Ko and Tender Huang) within a tempting career-driven society. Finally, there is one on faith where a medium's religious beliefs are faltering as he soon feels that it may only a symbolic source of hope and code of conduct for mankind.

Great premise and setting, the only thing is that it's too much for proportional development where some of the stories are dwelled upon more over others. Likewise for character development. There are certain cast members who feel slightly out of place, but generally they give commendable performance to help drive the story and move the audience. Take for instance Henry Thia's dramatic performance is a welcomed far cry from his standard slapstick antics. Instead of rolling eyes, Thia is actually close to tearing eyes.

Technical merits are booming as photography, colour-grading, and sound design are impressively proficient. Also of note is Joshua Chia's original score for Judgment Day that aptly accompanies the film for that sense of soul-searching apocalyptic melancholy.

Besides the character-driven themes on compassion, sacrifice, ethics, and faith, the film also features broad key messages for the audience to ponder on. Judgment Day commences with a 72 hours countdown towards imminent doom, which is disappointed by a scientific miscalculation (which is hard to believe by today's standards) and resumes normal life.

People's lives are rebooted even though doomsday didn't arrive. The 72 hours urge people into a bottleneck in decision-making, where everyone listens to their own selfishness and allows it to make the call. Thereafter, remorse soon greets the outcome of their decisions and gradually allows consideration of others to take priority. This forms a before and after scenario for interesting food for thought.

We've have been living our lives for others based upon a prefixed set of social and moral values that determines how we should lead our lives. It will thus be difficult for us to take a bold step away from our schedule of routined activities to truly lead a life in seek of true happiness based upon our respective definition of a happy life.

As Bill Clinton once said that the price of doing the same old thing is far higher than the price of change, we should follow the footsteps of Ong and try out different choices to enhance life vibrancy. One shall hopefully be able to look forward to a dynamic variety of Singapore films in the near future should more filmmakers be bold to take the step of change as well.

The only constant is change, which time will tell.

Arresting visual imagination is what one gathers from filmmaker Joseph Kosinski's only second feature film, Oblivion. Effectively devising a credible post-apocalyptic feel throughout an original realm constructed by Kosinski's vision, impeccable production values are also instilled through sight and sound that warrants a larget format experience. Kosinski's vivid science fiction imagination does however fall short of constructive narrative fluidity and content to further give viewers a greater rationale in appreciation of its already compelling aesthetics.

Tom Cruise stars in Oblivion, an original and groundbreaking cinematic event from the director of TRON: Legacy and the producer of Rise of the Planet of the Apes. On a spectacular future Earth that has evolved beyond recognition, one man's confrontation with the past will lead him on a journey of redemption and discovery as he battles to save mankind.

With just a previous feature production under his resume, Kosinski is firmly telling the community that he is a competent genre filmmaker. Showcasing visionary flair through detailed construction of various production elements from the set to costumes and props, Kosinski captivates viewers with a heightened sensory experience of earth during the 2070s.

Capturing footage in the US and Iceland, Kosinski isn't a sci-fi filmmaker who relies heavily on visual and special effects to deliver. Carefully scouting for actual set locations further enhances possibilities that software tools and techniques may not be capable of. The ruined debris of a baseball stadium feels so much more authentic with the scene being shot on location in scenic Iceland. This helps to portray his filmmaking range as his previous film TRON: Legacy was one that relied much heavily on effects.

If only he adopts similar strategy towards Oblivion's narrative department.

Adopted from Kosinski's own graphic novel, it is certain that visual concepts hold a dear spot within his mind and intentions. With a loose plot that doesn't seem to be keen in developing details, the film's story may fall flat for most seasoned viewers. A great science fiction classic doesn't derive solely from stunning concepts but also a captivating story with memorable characters.

Thanks to Tom Cruise' magnetic screen presence, even the most mundane task he performs looks so interesting. Cruise also has apt knowledge of physical reenactment of combat stances during close quarter and rifle-wielding contacts. The rest of the characters (sadly yes, not even Morgan Freeman and Olga Kurylenko) however seems to be having insignificant roles who are scripted to mouth a few liners for screenplay progression purposes. Andrea Riseborough on the contrary, impresses with her edgy performance as Cruise's remote assistant from base during Cruise's droid maintenance missions.

Thematically there isn't much to observe less for scenes depicting earth in an impoverished state where rigs are deployed to draw up valuable life-sustaining resources. There are also certain subtle references noted within characters' dialogues hinting at nuclear warheads' adverse impact on human life and environment despite being utilised in defence of earth and mankind.

Purely motivated by concepts, it is a pity that the science behind all the fancy mechanism at work isn't detailed for an addition dimension of knowledge. There is a pod-like aircraft manoeuvred by Cruise's character and curiosity may be subjected towards the technology (i.e. is it solar-powered given earth's resource-lacking state?)

Without further to retain the audience's attention, Oblivion deploys a few more technical credits in other departments for the job. Take the soundtrack (by Anthony Gonzalez, M83, and Joseph Trapanese) for instance that has a groovy hybrid feel of futuristism and contemporary, much similar to Kosinski's TRON: Legacy scored by Daft Punk albeit less impactful.

At the end of the day (and perhaps the world), there is a plot twist that serves to engage the audience towards the end. Hoping to enable certain food for thought, one may either savour it tastefully or regurgitate with certain degrees of confusion. This opinion finds it rather savoury albeit not one warranting a complete genre satisfaction that is expected of Oblivion.

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With a critically-bashed previous instalment behind this sequel, it may possibly be evident that the franchise is all muscle and firepower without any else to consume. Despite being blockbuster worthy with a relatively effective 3D treatment and loads of action sequences, G.I. Joe: Retaliation should however easily become one of 2013's most forgettable films with other (possibly more capable) blockbusters slated for release later this summer.

A follow-up to the 2009 release of G.I. JOE: RISE OF THE COBRA, which grossed over $300M worldwide, Paramount Pictures, MGM and Skydance Productions, in association with HASBRO, commenced the di Bonaventura production of G.I. JOE: RETALIATION.

In this sequel, the G.I. Joes are not only fighting their mortal enemy Cobra; they are forced to contend with threats from within the government that jeopardize their very existence. The film stars D.J. Cotrona, Byung-hun Lee, Adrianne Palicki, Ray Park, Jonathan Pryce, Ray Stevenson, Channing Tatum with Bruce Willis and Dwayne Johnson. Directed by Jon M. Chu, and produced by Lorenzo di Bonaventura and Brian Goldner, from a screenplay by Rhett Reese & Paul Wernick based on Hasbro's G.I. Joe characters.

Under the helm of Stephen Sommers, G.I. Joe: The Rise of Cobra crumbled under critical opinions and presented cinema audience a loud and senseless piece of filmmaking. Depending on how one views it, G.I. Joe: Retaliation's Jon M Chu should have a wider space to better it but unfortunately only achieves marginally so.

Back to its loud and senseless traits, Chu devises the sequel with a series of weakly-scripted action set pieces that contain little or no relation to one another. From a pair of screenwriters (Paul Wernick and Rhett Reese) who have written Zombieland, it is indeed disappointing to witness so.

Without much content, this opinion looks towards both the cast and production technical performance.

Having almost the entire prequel's cast refreshed, one inevitably looks forward to more surprises with a heightened sense of expectation. Bringing onboard Dwayne Johnson as one of the leading Joes does impress with his macho factor (which Johnson should be capable of effortlessly). The screenplay places his character Roadblock under various superficial scenarios that should do little to test his performance range. A worthy note is S. Korean star Lee Byung-hun who renders one of the most competent act within the ensemble, who is sadly not provided much to explore potentials.

Cinematography is indeed apt as visuals are often dynamic and fast-moving. Under the hands of Stephen Windon, who has previously captured Fast Five and The Fast and the Furious: Tokyo Drift, events are taking place rapidly in high clarity. Issues are however taken with a few editing touches that feel like anything but the final cut.

Visual effects are well-crafted by ILM VFX artists that complement the impactful sound to give a action-thrilling experience. If there has to be nitpicking, a few of the rifle shots do sound a little less than spot-on. 3D visuals are bright and clear, particularly when viewed in RealD 3D, but it should be of note that the film wasn't shot in 3D and was post-converted from 2D. This comes as surprising since Chu's Step Up 3D was shot in 3D and it also happens to be one of the better films with the most impressive 3D visuals.

Much is said, it really does boil down to the Hasbro franchise loyalty instilled within specific viewers. Only G.I. Joe aficionados should apply.

Opening this year's Southeast Asian Film Festival (SEAFF) is U-Wei Hari Saari's Hanyut, an epic Malaysian cinematic adaptation of Joseph Conrad's Almayer's Folly in the Malayas during the 1890s. Reprising for the third edition, the SEAFF 2013 is back with a new set of twenty films curated by the Singapore Art Museum's Sam I-Shan along with film programmer Philip Cheah and arts administrator Teo Swee Leng. Hanyut was also the first of a total of twelve pre-screening discussions scheduled this year.

In Joseph Conrad's novel Almayer's Folly, Almayer believes that his Eurasian daughter from a marriage with a Malay woman must be accepted as a European woman in a European society. In this epic film, veteran director U-Wei instead shifts the point of view to the Malay wife who insists that her daughter accept her "Malay-ness". The different characters-from the British colonialists, Dutch incumbents, Malay citizens and Arab traders-see the world in their own image. What does culture and change mean, and what does it mean to be Malay?

An epic film production no doubt, as Hanyut takes us back to the years just before the 19th century where European colonisation was rampant in Malaya. This provides a good context of Malaya's history, particularly with an animated navigation chart of the region as the opening sequence to further hint of nostalgia and decadence. U-Wei has certainly placed much efforts into achieving the right look and feel, with the customised naval vessels of authencity (which he managed to have established boatbuilders from Terengganu to build, as shared during the post-screening discussion) to the rural village architecture.

Production values of such are what many regional filmmakers can mostly dream of, as U-Wei shared that they were outcomes of several years of fundraising efforts. It takes much patience and perseverance to create films intended, which was a lesson I gathered from U-Wei's recount of his pre-production experience. Much like how its central character Kasper Almayer (Peter O'Brien) was consumed by the very desires of wealth, who believed that only perseverance would get him to the legendary mountain of gold hidden by his Malay spouse Mem's (Sofia Jane) late father.

Racial elements of dilemma were felt in Hanyut, as U-Wei is not satisfied with having the story revolving about Almayer. His daughter Nina (Diana Danielle) with Mem, who's of Eurasian heritage by birth, was sent to Singapore for a Western education in a church. This further displayed the true intentions of the Europeans' colonisation campaign that was largely driven by needs of resources. The Europeans probably despised the natives of the land they colonised. Almayer only wished for Nina to find a Caucasian husband as he understood how Malay men are allowed four wives, of which he disagreed.

While some of the native "Rajahs" (Kings/Rulers) remained neutral towards the European's colonisation in face of rewards in return, it was also contrasted against the presence of few freedom fighters who risked everything for the sake of retaining sovereignty and love. It was Dain Maroola (Ady Putra) who had shown us the true values of mankind, as opposed to what had mostly been practiced by others in the film. Greed is common to people regardless of racial and cultural background, which may well lead to the downfall and betrayal of certain values that people should hold dear to heart.

Living a dream of riches will kill an actual life of love and peace. It is seen in Almayer and likewise the native Rajah along with his "Orang Kaya Tinggi". Almayer lost the company of his loved ones through his deranged visions of a life of wealth and luxury in Europe (as he was born in Malaya and has never been to Europe). The Rajah and his entourage only cared about maintaining status quo that would readily shift in their favour under changing circumstances. Observe how the Rajah pledged full allegiance to the British and allowed them to have a hand in the ruling of their land despite being bestowed the duties of ensuring the intactness of the land and its people.

Love knows no boundaries, where it is depicted as a double-edged sword that yields with different effect under different intentions. We see how love heals and makes people happy. We also witness how love turns into jealousy and misery when it doesn't follow the right path. Betrayal is usually derived from a sense of love that went for a wrong turn, which leads to a vicious cycle of never-ending sorrows until one forgives and forgets.

Speaking of which, Hanyut's ending couldn't have been more impactful with Almayer inability to forget the pain despite having an opium smoke pipe in his hands. Those who do not forget are much tormented by their painful memories. It is only through forgiveness and letting go of past baggage will one be able to move on peacefully in life. As U-Wei said during the post-screening discussion, what can be worse than a man who wants to forget but finds himself incapable to? Not even after smoking opium, in the case of Almayer.

As the film fades to black with a definition of Hanyut as "drifting off into ominous peril without any real way of getting back", it is truly an epic journey of men setting themselves adrift towards degeneration that inspires others (in this case, the audience) of the horrors of being so.

The horrors of one's folly.

Humanising a morbid genre makes an interesting watch with heartwarming and hilarious results. Filmmaker Jonathan Levine's latest endeavour, which is based upon Isaac Marion's similar titled novel, sets a romance tale within a post-apocalyptic era that takes viewers through a zombie's perspective to seek out what makes the world a better place and what doesn't. While the relatively brisk pace enables a fun watch that is easy to digest, one cannot help but feel that certain plot and character development are likewise rushed.

A funny new twist on a classic love story, WARM BODIES is a poignant tale about the power of human connection. After a zombie epidemic, R (a highly unusual zombie) encounters Julie (a human survivor), and rescues her from a zombie attack. Julie sees that R is different from the other zombies, and as the two form a special relationship in their struggle for survival, R becomes increasingly more human – setting off an exciting, romantic, and often comical chain of events that begins to transform the other zombies and maybe even the whole lifeless world.

The story is set within a time where three possibilities for mankind are possible. Either one remains as a surviving human being, or being infected to turn into an undead. An undead begins as a walking corpse, but some degenerates further into skeletal "bonies" who have far forgotten how being human is like. On surface, the setting allows the humans to be pitted against two degrees of adversity. But on a closer observation, it portrays varying degrees of moral degeneration for those who've strayed away from humanity.

And this makes good material for a Young Adult fiction genre, which inevitably takes on YA enticing themes such as romance and fresh ideas that attracts their curiosity such as, well, a zombified nation that seeks to cure itself.

During one of the average days of groaning and mindlessly bumping into one another, 'R' (Nicholas Hoult) and his best friend 'M' (Rob Corddry) decide to venture into the city to find food for their hunger where R encounters love at first sight with Julie (Teresa Palmer). R is a walking corpse who has forgotten his name but vaguely recalls that it begins with an R. While most of the other walking corpses do not recall their human past, R and M are two who vaguely holds on to their memories and even develop a friendship that is showcased in the film in the form of zombie conversations with comedy effect.

Corpses feed on human flesh for survival and it is also interesting to note that R's favourite is human brain matters. For he is able to savour the memories of the brain's host just so to be able to feel human again. Much like dreaming that only humans are capable of, as corpses are not able to fall asleep. This is, by opinion, one of the best symbolism of humanising a morbid subject.

Soon enough R and Julie develops a rather peculiar relationship where R furthers his pursuit of feeling human while Julie begins to shred off her stereotypical impression of zombies. In honesty, it is probably more of overcoming fear in Julie's case. Who wouldn't be frightened by the mere sight of a walking corpse? What is unknown to both is how R's physicality begins to evolve with the influence of human elements.

Interesting contrast here where R who represents the supposed lifeless community feels so much more alive than most of the humans who are lifeless in the eyes of Julie. When Julie retains hope that someday there might be a cure for the zombie-syndromes, her father (John Malkovich) is cynical about it and refuses to believe anything else other than his capabilities to ensure survival.

Yes, cynism is possibly a greater enemy over zombies to mankind.

Likewise, as per R's opening expressive monologue the Bonies are those among the walking corpses who have given up on themselves and hope to turn towards a darker side that feels far stranger than humanity. The Bonies are in fact, what the corpses hope not to be as they admirably yearn for the state of living. The corpses are those who are zombies by circumstances and not by choice who still hold on to the slightest traces of hope that someday a cure will be unravelled.

Hope is the corpses' greatest ally against the Bonies.

Amidst a story of hope and humanity in strife against those who do not believe, Walking Dead makes a good cinematic experience that also evokes "Romeo and Juliet" to show the world that only love makes the world a better place. This couldn't have been a better piece of YA material as opposed to say, The Twilight Saga, particularly when certain similar traits are witnessed. R makes a better zombie who's inspired by love as opposed to Edward who's simply confused by the flush of emotions he gathered as a vampire.

Despite an upbeat pace induced by brisk editing for easy consumption, the film feels somewhat shortchanged in terms of detailed story and character development that might have better enhanced the film by opinion. Nevertheless, Warm Bodies is a relatively competent piece of cinema that sends our rising generation a positive message that is set within some of the most morbid subjects for a fresh take as a zombie romantic comedy.

Much unlike several other films on problem child in a family, this story written by Wentworth Miller and directed by South Korean filmmaker Park Chan-Wook narrates via aroused senses through cinematic techniques that are not seen in any other films. Projecting a coming-of-age journey through intriguing composition and effective editing, Stoker is a technically revering production that drives the audience wild with implied disturbing elements of violence and psychosexuality.

After India's (Wasikowska's) father dies in an auto accident, her Uncle Charlie (Goode), who she never knew existed, comes to live with her and her emotionally unstable mother Evelyn (Kidman). Soon after his arrival, she comes to suspect this mysterious, charming man has ulterior motives, but instead of feeling outrage or horror, this friendless girl becomes increasingly infatuated with him.

For those who are initiated to Park, Stoker marks two firsts for the filmmaker. It's his first English language film as well as his first feature film with a screenplay not written by him. Park has however introduced his long-time collaborator Chung Chung-Hoon to helm the cinematography as he is after all very much known for his visual style of filmmaking.

Observing several exposures of intriguing frame composition and camera movement, it is probably now a known-fact that Park (and perhaps Chung) at times employs out of convention filmmaking techniques. This also includes certain violation (or disregard) of cinematic camera rules. However, never is there a single jarring moment instilled by any technique practised as observed by this opinion.

Opening with visually arresting footage and editing that is accompanied with an interesting poetic monologue expressed by the central character India Stoker (Mia Wasikowska), things get on a really good premise.

"I wear my father's belt tied around my mother's blouse and shoes which are from my uncle. This is me. Just as a flower does not choose its color, we are not responsible for what we come to be. Only once you realize this do you become free. And to become adult is to become free."

It is soon clear that it will be a teenage girl's coming-of-age tale that is plagued by situational incidents that may or may not have influenced her eventual upbringing to whoever she may become. Described as a cool and calm girl of great brilliance in similarity to her late father, who had perished in a car accident on India's 18th birthday, she is the best juvenile role model that many other parents yearn for. This is soon set to be depicted as otherwise, which of course develops over the 98 minutes in shocking fashion.

Jolts are dished out with a psychological impact through intentionally devised images. For instance, there is a scene of India masturbating to certain thoughts in her shower. What makes it disturbingly complicated are the nerve-wrecking flashback visuals that are inserted in between to allow the audience a shocking revelation of India's inner world of thoughts.

Also present are breath-taking depictions of violence that are artfully relayed to the audience, which are considered subtle given viewers' knowledge of Park's use of extreme violence in The Vengeance Trilogy. Sometimes one ponders how is it that Park is able to portray violence so beautifully.

By conventional narrative structure, there isn't much to savour in terms of storytelling as this is a mysterious character study of India's journey as she turns 18 to become the eventual adult she will be. Miller's script invites the audience to question the actual factor that is pivotal towards her personality outcome. Is it the unnerving Uncle Charlie who attempts to seduce with an unknown ulterior motive, or is it the group of rebellious guy schoolmates who bullies her at school? Given that India has a heightened sense of sight and hearing, her detailed observational skills enables her to see what others do not realise and hear what others cannot.

Perhaps India has to owe her acknowledgement of her dark personality to her doings.

Stoker is perhaps a narrative bore that doesn't say much beyond the deliberate atmosphere of mystery and dread, but is by opinion a compelling character study that haunts and wakens one's senses to something and somewhere that one will never have thought of venturing into.

Affairs get real and risky despite having Dwayne Johnson around to take on the drug world in a desperate attempt to save his son whose admirable integrity remains firm against the temptation to snitch on an innocent under a questionable law enforcement policy. For a change, narration takes priority with drama over action that sees Johnson putting on his earnest performance till date in an otherwise adequate film if not for the drag in the second third.

In the fast-paced action thriller "Snitch", Dwayne Johnson stars as a father whose teenage son is wrongly accused of a drug distribution crime and is looking at a mandatory minimum prison sentence of 10 years. Desperate and determined to rescue his son at all costs, he makes a deal with the U.S. attorney to work as an undercover informant and infiltrate a drug cartel on a dangerous mission - risking everything, including his family and his own life.

Big and tough is the general impression one gets from Dwayne “The Rock” Johnson and the films starring him. From a wrestling superstar to a silver screen macho hero, Johnson is always standing tall with his fists upon those against him. Rarely is the case where the contrary takes place, where four random street junkies pummel Johnson down to the ground without a fight.

For a pleasant change, Johnson doesn’t spoil a film.

He plays John Matthews, a father who is desperate to rescue his arraigned son Jason Collins (Rafi Gavron) for being framed by his best friend’s drug delivery to him that was meant to help the sender reduce his drug trafficking sentence. Within minutes of receipt, Collins is chased profusely by law enforcers and put behind bars facing up to thirty years of jail time.

Exploiting a law enforcement scheme loophole that helps junkies reduce their sentence by ratting out their fellow drug dealer (thus the film title), Collins finds no one within his social circle for such reason and admirably stays firm despite being physically picked upon in prison. Matthews decides to dirty his hands instead and offers US Attorney Joanne Keeghan (Susan Sarandon) his help to enable an arrest of a drug dealer.



One may expect the next scene to showcase Matthews performing heroic gun-slinging crackdowns against vicious criminals like an invincible cowboy. Director and co-writer Ric Roman Waugh however depicts otherwise with Matthews working like an average Joe (albeit tall and muscular) who displays signs of anxiety and uncertainty in his demeanour and readily surrendering his hands up when facing a loaded pistol.

Possibly Johnson’s most earnest performance to date, he takes on a new dimension by breaking away from his macho image and breaking down before viewers. Risk can be greatly felt throughout Johnson’s negotiation of the drug world, from his novice attempt to contact street junkies to finding armed punks waiting at home along with his terrorised family.

Indeed an implausible story (supposedly inspired by true events) that casts a bad light upon the structured legislation, coercing despondent civilians to join in the dangerous war against drugs, the film surprisingly focuses more on the drama over action. But fret not, as action does explode in two or three key scenes in the second half of the film.

If ten to fifteen minutes leaner, Snitch might have worked better as a tighter paced action crime drama that boldly adopts an influential character-driven approach instead of a sense-numbing action-driven one to deliver.

(Preview screening courtesy of Filmnomenon and Golden Village Pictures.)

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Envisaging a luscious setting that is saturated with dynamic colours and imaginative art direction is how director Sam Raimi captivates his audience on first sight. Looking beyond the CG-licious Emerald City and the Yellow Brick Road, it is arguably a lengthy visual exercise to merely convince viewers that anything is possible if one just believes. Adding certain signature filmmaking traits, such as the occasional jumpy scares as Raimi does in his better genre, there is sufficient reasons to sit through Oz the Great and Powerful for the technical sight and sound along the way but not for the symbolic journey down the Yellow Brick Road.

When Oscar Diggs (James Franco), a small-time circus magician with dubious ethics, is hurled away from dusty Kansas to the vibrant Land of Oz, he thinks he's hit the jackpot--fame and fortune are his for the taking--that is until he meets three witches, Theodora (Mila Kunis), Evanora (Rachel Weisz) and Glinda (Michelle Williams), who are not convinced he is the great wizard everyone's been expecting. Reluctantly drawn into the epic problems facing the Land of Oz and its inhabitants, Oscar must find out who is good and who is evil before it is too late. Putting his magical arts to use through illusion, ingenuity--and even a bit of wizardry--Oscar transforms himself not only into the great and powerful Wizard of Oz but into a better man as well.

Beginning with a well-designed opening title sequence of circling patterns and motion graphics, one might observe that the film begins with a black and white canvas of a boxy aspect ratio in tribute to the 1939 original. Before one thinks that the film will be a comfortable prequel of sorts to The Wizard of Oz, Raimi has to ensure that no explicit reference of similarity can be in his film due to copyright issues.

With that in place, he may have the restriction of references but the flexibility of new ideas and ways of implementation.

Managing to work around almost everything from flying baboons to brief hints of scarecrows and lion, the ruby slippers are however nowhere to be seen or reminded. The new elements of re-imagination are often mesmerising to one's eyes, which are dished out plentiful in CG. 3D images shot on the RED camera are gorgeous as the details remain clearly visible under comfortable brightness through the 3D glasses. With some of the scenes being clearly devised for that "amusement park ride" thrill, it is also recommended for one to journey to the Land of Oz in IMAX 3D.

Switching the protagonist from a young Dorothy to a cheeky Oz, the Wizard of trickery imposes an even sense of whimsical nonsensicality that seems to be mocking at everything and everyone less women and gold. He is a selfish and mean character who doesn't care much about those around him. Therefore it is very difficult to see how it is possible for his transition from the sloppy carefree spirit to Oz the great and powerful wizard as this opinion finds him hard to believe.

Without all the clear pros of the original, particularly the symbolism that the classic was filled with, Raimi's film is clearly an outstanding film of entertainment. Be it the three alluring witches or the adorable flying monkey and China Girl, the characters are fun to watch albeit superficial character development. Take for instance Mila Kunis' Theodora whose beginning presence is magnetic but soon fizzles out to Michelle William's charming performance as Glinda. Rachel Weisz may have a vicious demeanour in the film but doesn't add further to one's impression of her role.

James Franco likewise felt like he has it too easy cruising his performance with a relentless grin on his face throughout the 130 minutes. While Dorothy's interaction with the Scarecrow, the Tinman, and the Lion were metaphors in the original, Oz's interaction with the various characters he meets feels more like a series of meaningless flings particularly with the three witches.

Nevertheless, the true value of Oz the Great and Powerful is in its production values. With very capable technicalities one finds it difficult not to enjoy the film as it is depicted. Much like how Oz deceives people with tricks up his sleeves into believing that he is the one who will be saving all from the clutches of the Wicked Witch, Oz the Great and Powerful manages to entice people into satisfactory indulgence by theatrics.

Raimi and Franco sure know how to put up a good show.