Showing posts with label Film Reviews. Show all posts
Showing posts with label Film Reviews. Show all posts

Briar Rose by Jane Yolen

Becca grew up listening to her grandmother, Gemma, tell the story of sleeping beauty. The story was haunting yet Becca and her sisters never tired of hearing it. Then, Gemma dies leaving behind a box of photos, news clippings, and other objects that are keys to unlocking the past that she kept hidden from her family. Becca has never known who her grandfather is or where Gemma came from. Before Gemma died, Becca made a promise to her that she would find out about her past. That promise sends her on a plane to Poland to figure out who her grandmother was. There is so much more to the story but the suspense is one of the best parts and I don't want to spoil it!

The story is set around the Holocaust and has some descriptions that really get to you. I had never read about the Holocaust in such depth and it was extremely scary and sad. Jane Yolen did an amazing job writing this story and the ending is really great. It changed my views on many things when I heard about the kind of experiences Gemma went through. I can not imagine what I would feel if I was in Becca's situation as she learned about her grandmother. It is such a harsh story but at the same time is filled with a kind of bitter triumph. I know that this story isn't true but it really put things in perspective and made me extremely grateful for my life and the things that I normally take for granted. I would highly recommend this book.

All's Well Ends Well 2011 Film Reviews

Chinese: 最強囍事
Year: 2011
Director: Chan Hing-Kai, Janet Chun Siu-Jan
Producer: Raymond Wong Bak-Ming
Cast: Donnie Yen Ji-Dan, Louis Koo Tin-Lok, Cecilia Cheung Pak-Chi, Carina Lau Ka-Ling, Raymond Wong Bak-Ming, Yan Ni, Chapman To Man-Chat, Lynn Xiong, Stephy Tang Lai-Yun, JJ Jia, Nancy Sit Ka-Yin, Bau Hei-Jing, Angelababy, Lee Heung-Kam, Ha Chun-Chau, Jo Koo, Michelle Loo, Mak Ling-Ling, Wilson Yip Wai-Shun, Maggie Li, Margie Tsang Wah-Sin, Alvina Kong Yan-Yin, Marie Zhuge, Ciwi Lam Sze-Man, Zoie Tam Hoi-Kei, Fruit Chan Gor, Xie Nan, Wang Yuan-Yuan, Elva Ni
The Skinny:
Predictably scattershot and only partially amusing, All's Well Ends Well 2011 is still a decent Lunar New Year comedy with laughs, groans and a multitude of stars. And hey, it's much better than All's Well Ends Well 2009. Huge selling point: the film has Donnie Yen applying makeup to women while hanging out with an effeminate Louis Koo. It's like Flash Point 2.

All's Well Ends Well 2011All's Well Ends Well 2011
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Review
by Kozo: What’s Lunar New Year without one of producer Raymond Wong Bak-Ming’s All’s Well Ends Well movies? Who really knows? Every January or February, if there isn’t an All’s Well Ends Well movie jammed into the local cinema, you only have to flip cable channels until you run into the 1992 original, which gets so much play every year that it borders on tiresome. Basically, if it’s Lunar New Year, there has to be an All’s Well Ends Well movie playing somewhere. This axiom is, of course, only applicable to Hong Kong, which is fine because these films are meant for Hong Kong audiences. Local pop culture, local stars, local laughs – the All’s Well Ends Well films are all about those. If you’re a Milkyway fanboy, now’s the time to turn around.
Hold on, genre junkie, you may wish to give the 2011 a second look because of one reason: Donnie Yen. The Ballistic Kiss auteur makes a ballyhooed (and high-paying) comedy appearance in All’s Well Ends Well 2011, with surprising if not completely gut-busting results. DONNNNIEEEE stars as Arnold Cheng, a cosmetics salesperson who's recruited to work for a Hong Kong beauty brand called, uh, Beauty. His old beauty school chum Master Sammy (Louis Koo) needs Arnold’s help because even though he only works at a discount retail chain, Arnold’s makeup skills are without equal. Soon Arnold is running the Beauty counter at an upscale department store, but the snooty customers aren’t impressed by a Chinese cosmetics brand. Can Arnold charm the ladies with his rapid-fire slimming punches, or will the neighboring Bobbi Brown counter reign victorious in retail jiang hu?
Actually, it doesn’t matter. There's nominally a story here, but it's just a bare-bones outline that exists to string gags and big name star appearances together. So who cares if Beauty becomes a popular brand? It's all about the names, and All’s Well Ends Well 2011 is loaded with them. Louis Koo's Master Sammy, a fey make-up guru who pretends to be gay to massage hot chicks, is hired to work for business lady Dream (Yan Ni of A Simple Noodle Story), but is distracted by the many girls who work in the office. Chief among them is his supposedly frumpy assistant Claire (Cecilia Cheung in her first film role since 2006), whose positive attitude attracts bizarre rich guy Smoothie (Chapman To). Meanwhile, Arnold is mooning over his first girlfriend Mona (Carina Lau), an eccentric writer who leans on Arnold while she’s trying to write her latest piece of fluff fiction. Also, producer Raymond Wong makes his usual onscreen appearance but the less said about that, the better.
All’s Well Ends Well films have a playbook and co-writers and co-directors Chan Hing-Ka and Janet Chun (La Lingerie, among other local comedies) don’t deviate from it. Their jokes are sometimes topical and sometimes clever, and other times they’re esoteric if not forgettable. You’ve got movie parodies, mahjong scenes, mistaken sexuality, jealous husbands, cross-dressing, crazy ex-girlfriends, Chapman To’s naked ass and Raymond Wong's bare chest covered in baby oil. Yeah, some of that sounds downright nauseating, but you’ll have to get through the bad stuff to get to the good stuff. What is the good stuff? Louis Koo and Donnie Yen, mainly. The former Flash Point partners play against type very well. Koo is an ace at this sort of self-effacing comedy, but he expands his range slightly, playing an effeminate playboy in a very amusing manner. His romance with Cecilia Cheung strikes few sparks but Koo is so game that it largely compensates.
However, the official title of “The Compensator” must be given to Donnie Yen, who’s not an ace comedian but is a good enough sport to poke fun at his own manly image. No, Donnie doesn't act gay or idiotic, but he does brandish makeup brushes and glare seriously at homely housewives like he’s auditioning for the Bey Logan remake of Sex and the City. There’s comedy gold here, and a large part of it is simply the idea of seeing Donnie wrangle with Ronald Cheng over a game of mahjong, or take on ten women in an Ip Man-inspired makeover scene. Lunar New Year comedies can sometimes succeed if the stars are popular or interesting enough that seeing them act silly is worth it – and in Donnie Yen’s case, it’s totally worth it. All’s Well Ends Well films from recent years have had star power, but not on this level. Yen is a major plus for this installment, as is Cecilia Cheung in her comeback role. Her character and performance aren’t noteworthy, but hey, at least she’s here.
Just seeing the stars may be reason enough to watch All’s Well Ends Well 2011. Besides all the big names, there’s minor appearances by Nancy Sit, Angelababy, Stephy Tang (sporting an amusing fake chest), director Wilson Yip, plus your usual assortment of local celebs, bit players and babes du jour. Product placement and production values go hand-in-hand here, with the finale set at Macau's super-lux Venetian hotel-casino. The actual climax is nothing new, wrapping up the film's multitude of middling, only mildly diverting romances. Not surprisingly, we get the mega-mega happy ending, which is only notable because Donnie Yen and Carina Lau apparently weren't able to make it to Macau (their lone appearance in the finale likely involved green screen). All's Well Ends Well 2011 is reputed to be the last of this long-running series, which we should only believe if it's 2046 and they still haven't made another one. If this really is it, then hey, all's well that ends well. Given this installment, the All's Well Ends Well series sort of does. (Kozo, 2011)
Sources : http://lovehkfilm.com/reviews_2/alls_well_ends_well_2011.html

A Chinese Ghost Story - Film Reviews

A Chinese Ghost Story  - Film Reviews

Liu Yifei and Yu Shaoqun make like Joey and Leslie in A Chinese Ghost Story.

AKA: A Chinese Fairy Tale
Chinese: 倩女幽魂
Year: 2011
Director: Wilson Yip Wai-Shun
Writer: Charcoal Tan
Action: Ma Yuk-Sing, Alan Chui Chung-San, Fan Chin-Hung
Cast: Louis Koo Tin-Lok, Crystal Liu Yifei, Yu Shaoqun, Kara Hui Ying-Hung, Louis Fan Siu-Wong, Wang Danyi Li, Gong Xinliang, Lin Peng, Li Jing, Tsui Kam-Kong, Fung Hak-On
The Skinny:Wilson Yip's remake of the 1987 Chinese Ghost Story is OK for big budget audience fare, but it's impossible to forget that the original film exists and was also a whole lot better. Really, putting together a satisfactory remake of A Chinese Story was probably an impossible proposition. It remains impossible.

Review
by Kozo:
Unless you’re completely cinema illiterate, you should know that Wilson Yip’s 2011 fantasy adventure A Chinese Ghost Story (called A Chinese Fairy Tale in mainland China) is a remake of the 1987 Ching Siu-Tung classic A Chinese Ghost Story. Yip’s new version modifies the love story between klutzy scholar Ning Choi-Shan (Yu Shaoqun) and forest spirit Siu Sin (Liu Yifei, playing a fox demon and not a ghost, as SARFT would require), creating a love triangle between those two and ghostbusting Taoist monk Yin Chek Ha. Previously, Yin Chek Ha was played by a unibrow-sporting Wu Ma, but here he’s embodied by the much hunkier Louis Koo. The film opens with Yin and Siu Sin falling in love before duty impels Yin to remove Siu Sin’s memory. Siu Sin is freed back into the forest while the tortured Yin continues in his quest to bring down the evil 10,000 year-old Tree Demon (Wai Ying-Hung).
Cue the beginning of the 1987 Chinese Ghost Story, with the arrival of Ning Choi-Shan. Tasked with finding water for a drought-suffering village (led by Hong Kong Cinema veteran Tsui Kam-Kong), Ning heads into the mountains where he meets Siu Sin in a loving slow motion shot stolen straight from the 1987 film. Yin Chek Ha shows up to rout the other evil spirits, but the presence of the amnesiac Siu Sin causes his face to contort with great emotional pain (Louis Koo calls this “acting”). Unwilling to let Ning become food for her evil spirit sisters (Lin Peng and Gong Xinliang), Siu Sin hides him, and the two slowly begin to bond. Meanwhile, the Tree Demon still exists, and it’s none-too-happy. Eventually, everything and everyone will collide in a winner-take-all battle for love, destiny and box office earnings. You know, just like the original.
Truthfully, there’s nothing terribly wrong with this remake of A Chinese Ghost Story. The film recalls the original with a number of solid reverential nods; the filmmakers reuse Leslie Cheung’s classic song, and the film possesses the same costumes, character designs, and even the same "feel" as the original. Director Wilson Yip keeps things moving briskly, and collaborates with cinematographer Arthur Wong to create a spruced-up vision of that old Hong Kong Cinema feeling. Liberal use of dutch angles, blue backlighting and wirework add to the grateful familiarity. The visual effects are improved, but Yip lets the roughness of the production shine through, eschewing realism for a patently fake setting that’s obviously the work of the art department. Hong Kong Cinema was once celebrated for being deliriously, gorgeously fake, and Yip wisely retains that manufactured quality in his remake.
However, given audience familiarity with the original film, the new love triangle seems an odd fit. Granted, it gives Louis Koo and Liu Yifei more opportunities to share screen time, and Koo as a tortured romantic lead is something that female audiences would likely support. Also, Yin Chek Ha is called upon to be the butt of many jokes, and Koo is an ace at this sort of self-effacing comedy. Liu Yifei lacks Joey Wong’s seductiveness, making her Siu Sin less enigmatic and alluring than Wong’s take on the character. But Liu possesses the proper ethereal qualities to play Siu Sin, and looks great in the character's trademark robes. She also handles Siu Sin's emotional scenes well. All things considered, Liu is a fine choice for the role.
Unfortunately, the character of Ning Choi-San suffers. Yu Shaoqun gets Ning’s endearing klutziness down, but he lacks the handsomeness of Leslie Cheung, which certainly added some attraction to the original film's star-crossed romance. Also, the love triangle twist essentially kneecaps Ning and Siu Sin’s romance. With Ning marginalized by the script changes, he seems more like an interloper than Siu Sin’s fated love. The fault isn’t in Yu’s performance - it’s just that the film never seems to favor him, casting him as a pale replacement for the more passionate Yin Chek Ha. The supporting roles shore things up slightly. Wai Ying-Hung acts up a storm as the Tree Demon, and Fan Siu-Wong is surprisingly good as Yin Chek Ha’s estranged Taoist comrade. In his minor role, Tsui Kam-Kong (a.k.a. Elvis Tsui) doesn’t do much, but it’s great to see him simply because he’s Tsui Kam-Kong.
A Chinese Ghost Story is fine for mass entertainment, but it’s hard to ignore the film’s biggest issue: it really has no reason to exist, besides the obvious “cha-ching” that the remake industry promises. Ultimately, it would be better if the Chinese film industry remade bad or forgotten movies (like they did with Painted Skin) instead of super classics that don’t need improving. Or, if you’re going to remake a movie everyone has seen, make it really different instead of changing only a few details while retaining most everything else. But they didn’t, and the result is only a modified clone of the classic original. In the end, this is a money play with little courage behind it – the filmmakers wanted the cash that comes with the brand, but feared the backlash to change things too much. The ultimate defense: the filmmakers did this for money, so the capitalist in us all of us should understand. But we don’t have to like it. (Kozo, 2011)
Sources: http://lovehkfilm.com/reviews_2/chinese_ghost_story_2011.html