Posts Tagged ‘thai movie blog’

THE 4 MOVIE a.k.a. 4 PSYCHO [LUD 4 LUD a.k.a. LUD SEE LUD | หลุดสี่หลุด a.k.a. หลุด 4 หลุด]

2011/01/24

http://the4movie.com/

http://www.sahamongkolfilm.com/th/filmdetail.php?id=423

THAILAND 2010  Directed by: Ekkasith Thairatana, Chukiat Sakveerakul, Kongkiat Khomsiri, Phawit Panangkasiri Written by: Ekkasit Thairatana Produced by: Prachya Pinkaew Cast: Akarin Akaranitimetharat,  Alexander Rendel,  Chanon Rikulsurakann, Thanapon Arrunneth, Patrapisit Sappasawattichod, Alice Toy, ArttanunPiyaserth, Sirikarin Ployong, Janjira Chumneansiri, Ananda Everingham,  Peerapol Sehnakol, Thitti Vejchaboon, Pakorn Chatborirak,  Thema Kanchanapairin

If certain producers go on like this we will have more omnibus horror movies coming out of Thailand soon than feature films. Here we go again: LUD 4 LUD a.k.a. THE 4 MOVIE is one of the last productions to be finished end of last year and has just hit Thai cinemas in January.

The four segments are directed by writer and first-time director Ekkasith Thairatana, Chukiat Sakveerakul, Kongkiat Khomsiri and Phawit Panangkasiri. Mr. Thairatana’s segment is called CLEAN UP DAY (GRIAN LAANG LOK | เกรียน ล้าง โลก) and is merely an appetizer. The story revolves around a group of guys debating global warming and its causes, leading to the core of the story that identifies humans as the root of all evil and reveals a plot to kill all humans through a lethal virus.

The second film is the sarcastic THE GIFT SHOP FOR THE ONES YOU HATE (RAN KONG KWAN PEUA KON TEE KUN GLIAT | ร้าน ของขวัญ เพื่อ คน ที่ คุณ เกลียด) directed by Kongkiat Khomsiri (SLICE). A white-collar office worker is promoted to be the new manager of his department, but not everyone seems to be delighted. Soon he receives questionable gifts, all obviously sourced from a mysterious shop around the corner of his office called The Gift Shop For The Ones You Hate. Nomen nest omen.

The third entry is directed by Phawit Panangkasiri and called EERIE NIGHTS (KEUN JIT LUT | คืน จิต หลุด): a group of criminals is on the run and hides from the police in an abandoned hospital. There, things get quickly out of hand (literally) with the criminals beginning to fight and a ghost starting to haunt them.

The final episode then is a ghost comedy called HOO AA GONG (ฮู อา กง), telling the story about a Thai-Chinese family that has to watch over the body of the deceased grandfather. The family members feel awkward about the task, and so does the spirit of the grandfather who prefers to be rather active than lying dead in his bed.

Different from other horror anthologies in recent years LUD 4 LUD is mostly straight forward with only a little hint of Buddhist subtexts (as in EERIE NIGHTS) or references to the widespread belief in ghosts a.k.a. spirits. LUD 4 LUD isn’t really much of a horror movie, but mostly plays with our expectations towards the genre while in fact mostly not dealing with any supernatural ingredients at all: only the 4th segment is about real ghosts, while the segments 1-3 are trying to trick the protagonists as well as the audience into believing that something otherworldly is going on, which however is not. Since the last installment is a comedy I am not sure if I shall call THE 4 MOVIE a horror anthology at all.

Out of all entries THE GIFT SHOP FOR THE ONES YOU HATE is clearly the most original, creative and entertaining movie of the pack, leaving the others trailing behind. The first film starts interesting but turns out a lame duck, unsuccessfully trying to blend into the oh-so fashionable environmental debate, while formally kind of copying James Wan’s camera-moves-up-and-down-and-in-and-out-of-a-parking-lot set piece from DEATH SENTENCE. The conclusion then is totally random and renders the rest of the film meaningless.

Mr. Khomsiri’s movie stands out through its inventive idea, good script and proper execution, making it feel like a short feature film rather than a long short and delivering proper dramaturgy and character / story development while finding the right balance between paranoia film and horror-thriller, while embedding his scenario into a context that is very familiar to all of us. It could all happen to you, and that’s why this segment is the most terrifying after all.

The third segment feels too much like an adaptation of NAK PROK (THE SHADOW OF THE NAGA) and disappoints through predictable twists. However, it also features a great Ananda Everingham who looks like he just left the set of RED EAGLE (INSEE DAENG) and some uncomfortable gore (the only real on-screen violence of the quartet that has contributed to the film’s 18+ rating). EERIE NIGHTS is a one-man-show without ghosts, but has a touch of karmic lecture that makes it probably the most meaningful story here.

Lastly, LUD 4 LUD’s only real ghost story makes for a really funny finale, albeit for a stupid-funny one. Don’t expect anything remotely intelligent, HOO AA GONG is just for laughs and as tasteless as it gets, throwing in a big bouquet of masturbation scenes, gay jokes and corpse slapstick. Most of the humor works quite well however, and the ending is the most satisfying one of all films.

LUD 4 LUD is pure entertainment, free of the complexity or intellectual qualities of some of the other omnibus or contemporary horror films from Thailand. If your only concern is having a good time, then there is nothing to worry about.

J.


 

 

BANGKOK KNOCKOUT a.k.a. B.K.O.: BANGKOK KNOCKOUT [KOHT SOO KOHT SOH | KOTE SU KOTE SO | โคตรสู้ โคตรโส]

2010/12/22

http://www.sahamongkolfilm.com/th/filmdetail.php?id=418

http://www.facebook.com/bangkokknockout

http://www.bangkokknockout.com/

THAILAND 2010  Directed by: Panna Rittikrai, Morakot Kaewthanee  Produced by: Prachya Pinkaew, Panna Rittikrai Cast: Kietisak Udomnak, Pimchanok Leuwisetpaibul, Sorapong Chatree, Supaksorn Chaimongkol, Kazu Patrick Tang, Sorapang Chatree

ROUND 1: I am aware that nobody cares about the plot of BKO: BANGKOK KNOCKOUT (those who would are most certainly not interested in the movie in the first place), so I will not spend too much time complaining about it.

A group of stuntmen is participating in a casting tournament for a Hollywood movie. They win, but are captured and instead of going to the States they have to compete against unknown enemies in a rundown real estate compound, while some rich people are betting on them, making – or losing – a fortune.

Of course the plot is stolen (only the plot holes are genuine), but to be fair the story also provides one of the more solid frameworks we’ve seen in movies like this. Just don’t ask questions, don’t expect logic.

ROUND 2: the film mostly features stuntmen from the teams who did some of the Thai action flicks we all know, so it makes sense that the story is drafted around a stunt team. It is clearly one of the smarter moves not to try to turn them into something they are not – as a result, BANGKOK KNOCKOUT feels relatively authentic and honest, and would have come close to the stunt film format I have proposed many times if, well if, they just had eliminated any kind of story for good. Never mind.

ROUND 3: You should think that six years after BORN TO FIGHT it’s about time to change the recipe, but innovation is absent around BANGKOK KNOCKOUT. I cannot see the motivation to do something new or anything that seriously outguns all the earlier Jaa / Rittikrai / Pinkaew movies (despite the director’s claims). By and large BANGKOK KNOCKOUT is more of the same, a pretty solid action fest following the well-known success formula. BKO is fun, fast and features some outstanding stunts and notable set pieces, but it must also be mentioned that the movie bears no surprises.

ROUND 4: Talking about the action I am a bit disappointed. It’s not that it lacks the wow factor, but I didn’t really feel excited about the choreography, nor did I feel the impact, no matter how tough the fights really were (or seemed). Maybe that also had to do with the fact that certain tricks are being used too frequently or have become too obvious, like wires, speeding up of images or armor worn under the clothes. I am not sure what was the intention behind the scene when one of the enemies takes off his shirt and reveals the exact same steel armor that makes many of these raw stunts possible (if you ever wondered how come they can kick and jump into each others stomachs like that, now you know), but it is also no secret that Mr. Rittikrai once again uses “dust” and water excessively to make the blows look better (Hong Kong did that already decades ago, by the way). So maybe there was no intention whatsoever.

ROUND 5: Saying BANGKOK KNOCKOUT is a good movie is like believing in Santa Claus, the Easter Bunny or Barack Obama bringing about change. Technically speaking, the film is a disaster. Many things are executed so badly, you almost feel like watching a Making Of. Abandoned housing projects are being prepped as restaurants, the lighting is so bad that you can see when it comes from a spotlight, weapons are obviously fake (like the big axe that looks like a 20 g toy), editing and directing are not even close to editing and directing, and let’s better not discuss the dialogue or acting (but hey, thanks for the bearable farang villain). The mentality is a bit like “that’s good enough for the audience”: BANGKOK KNOCKOUT misses attention to detail, perfection, even professionalism, but if that insults you, or is just another “who cares” on the very long who-cares-list, is something everyone has to judge for her- or himself.

ROUND 6: with BANGKOK KNOCKOUT, the target audience gets exactly what they want, a no-holds-barred fight movie featuring an array of breakneck, sometimes awesome stunts. If you are into this kind of entertainment you cannot not like this one – BANGKOK KNOCKOUT is must-see action for any die-hard fan. As nobody has promised us a great movie, or any surprises, it’s not surprising however that BANGKOK KNOCKOUT is not a great movie, and not surprising.

Despite BANGKOK KNOCKOUT kicking ass like crazy, it is also a copy-and-paste job, a hardboiled mashup of what’s been done before. It features enough borderline insane action to entertain from beginning to end, but in the future someone will have to rethink action made in Thailand as it all starts to feel like a TV show in its 50th season.

J.


 

 

 

 

 

SIN SISTERS 2 [POO YING HAA BAAP 2 | ผู้หญิง 5 บาป 2]

2010/10/18

THAILAND 2010  Directed by: Sukij Narin  Cast: Rungrawee Barijindakul, Saruta Reungwiriya, Patchuda Panpipat, Tchichacha Jareonpongpreecha, Kanoklada Wichakon, Pornthip Pulsawat

Sleaze is the name of the game, but I guess that’s not really surprising after seeing the first installment: on the surface SIN SISTERS 2 is a moral tale about sex and how baaaaad it is, while in fact the story is just an excuse to show as much sex as possible (that being said, don’t expect what you would consider “a lot of sex”, as we’re talking about a commercial sex movie made in Thailand).

The story that’s hardly a story deals with five women who for whatever reasons are together in one room, chained to a platform, while what’s probably meant to be the devil forces them to confess their worst sins. The one who has committed the worst sin will die, according to the voice from, ahm, hell. And so the romp begins, showing the five in delicate situations, interspersed with some random T&A scenes that will even make a kindergarten yawn.

If I could take SIN SISTERS 2 seriously I’d say it condemns the entertainment business, the decline of moral standards in Thailand (especially in Bangkok) and the decreasing appreciation of religion and its norms and values. But SIN SISTERS 2 hardly features what commonly constitutes a “movie”, and might very well just be a test for the local authorities and the new rating system, toying with the governing body to get some good PR. Who knows. Who wants to know.

But we could also simply say it’s the wrong movie at the wrong time, using a concept that’s been introduced as early as the 1960’s, showing as much nudity as mainstream movies more than 40 years ago while having less substance than any episode of any Thai soap opera airing on any channel in the Kingdom. SIN SISTERS 2 ain’t cinematic material, but since the good old video rental is dead they must have figured there’s no other place to dump their trash than the multiplex.

Avid fans of part one will be delighted to see the sequel, everyone else will most likely not be able to finish the movie, but instead leave the cinema untimely, repeatedly hit the fast-forward button or simply stop the show after not more than 15 minutes into the film. SIN SISTERS 2 is miserable all around, so you might want to take my advice and avoid the movie at all costs.

J.

 

 



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