Archive for the ‘TITLE S’ Category

SUCKSEED [SUCKSEED HUAY KHAN THEP | SUCKSEED ห่วยขั้นเทพ]

2011/04/06

http://www.suckseedthemovie.com/

THAILAND 2011  Directed by: Chayanop Boonprakob Written by: Chayanob Boonprakob, Tossapol Tiptinnakorn  Produced by: Jira Maligool, Chenchonnanee Sppnthonsaratul, Suwimol Techasupinan, Wanruedee Pongsittisak  Cinematography by: Naruphol Chokkhanaphitak  Music by: Genie Records  Cast: Jirayu Laongmanee, Pachara Chirathivat, Thawat Pornrattanaprasert, Natcha Nualjam (Nattasha Morrison)

It doesn’t happen very often that a Thai comedy is more than a random potpourri of tasteless, one-hundred-year-old jokes and failed 1910’s/1920’s slapstick references, so it’s a pleasant surprise to see SUCKSEED succeed not only in the comedy department, but in many more ways.

SUCKSEED tells the story of two childhood friends from Chiang Mai, Koong and Ped, who both somehow fancy the same girl, their classmate Ern. Ern leaves for Bangkok after primary school, but a few years later their paths cross again and they accidentally reunite in high school after Ern returns to Chiang Mai in 2006.

To impress the girls (especially Ern) and to challenge his twin brother Kay, a star guitarist, Koong decides to form a band, Koong And Friends, assigning Ped to play bass and basketball player Ex as drummer. At first it all looks like just another one of Koong’s short-lived ideas, but after finding out that Ern is an ace guitarist herself and his brother is entering a nationwide music award with his band The Arena, Koong becomes dead serious about Koong And Friends.

Together they decide to enter the talent competition as well to leave their mark – this way or another. But the odds are against them and things turn for the worse when Koong’s and Ped’s battle over Ern intensifies and Ern switches sides and decides to perform with The Arena at the music awards. Friendship, love and musical success – all seems impossible the closer the competition comes.

SUCKSEED works as good as a comedy as it does as a drama, love story and film about music, thanks to a wonderful script, the perfect cast and an array of participating Thai bands and singers (thanks to Grammy’s stable of some of the best rock/pop bands in the country – a well-calculated cross-marketing measure for Grammy / GTH, but also admittedly a great benefit for the audience). So there’s something in for everyone and, amazingly, I found mostly older people watching the film in local cinemas than teenagers who supposedly are the core audience. That speaks for the quality and maturity of SUCKSEED as a film, and it also proves that it was a good idea to pull in some bands that were most popular a long while ago, like Blackhead.

Still, SUCKSEED is a genuinely charming and smart film that is much more a coming-of-age drama than just a loose collection of motifs and genre quotes: it is very convincing in various departments, yet it is also mostly original, featuring fantastic timing, pace and sense for subtleties, mastering noise and silence equally well, throwing in a lot of pretty creative ideas (like the imaginary appearance of bands whenever the characters lose themselves in the music), twists and intelligent dialogue without ever overshadowing the story or the characters.

One of the film’s biggest achievements is that it always feels natural and organic, no matter what (and no matter what flaws show here and there). I should especially mention that the direction and cinematography are unobtrusive, only taking centre stage when necessary (SUCKSEED features some hilarious and exceptionally creative sequences, first and foremost the stellar scene with Blackhead joining Ped at the market), but otherwise let the story and actors drive the film – something you don’t find too often in Thai cinema.

As for the cast I wouldn’t say that all of them are great actors (and how could they – most of them are newcomers), however, they are the ideal cast for their roles nevertheless and display great enthusiasm, talent and partly also versatility, all of which makes me look forward to their next projects. Here are some promising new actors at work that we will most probably see a lot more often in the future.

SUCKSEED, despite some of its goofy looking poster artwork, teenage ensemble and motifs that generally concern a younger audience manages to transcend its story and make it universally relevant for everybody – SUCKSEED turns out to be heartfelt, fresh and authentic, with far above-average IQ, humor and artistic craftsmanship, let alone a brilliant soundtrack that even those who are not familiar with Thai music will most certainly appreciate.

The film is as funny as it is fun to watch – maybe I am getting senile, but I consider SUCKSEED an accomplished work that I have enjoyed more than most Thai movies in recent years. SUCKSEED is the 2011 surprise hit so far – and the Thai movie to beat in the months to come.

J.

 

 

 


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SUCKER PUNCH

2011/03/30

http://suckerpunchmovie.warnerbros.com/

USA 2011  Directed by: Zack Snyder  Written by: Zack Snyder, Steve Shibuya  Produced by: Deborah Snyder, Zack Snyder  Cinematography by: Larry Fong  Editing by: William Hoy  Music by: Tyler Bates, Marius De Vries  Cast: Emily Browning, Abbie Cornish, Jena Malone, Vanessa Hudgens, Jamie Chung, Oscar Isaac, Carla Gugino, Jon Hamm, Scott Glenn

They say if you want something done right, you gotta do it yourself. And in this day and age, with advanced technological support, it has become truer than ever. I’m sure Zack Snyder would be the first to agree, and eagerly trying to prove he can keep up with his peers such as Christopher Nolan, by making “Sucker Punch.” I personally don’t necessarily see Snyder as a filmmaker, but rather a hyper-action visual artist. His detail in composition, lighting, and movement is borderline impeccable, and usually always aims at one thing – a mind/eye devouring feast. And each of his films is a work of art.

Adding to his usual roles, Snyder directed, produced, and co-wrote “Sucker Punch.” But whereas pieces like “300” or “Watchmen” had been visually and verbally outlined, and simply needed a loyal adaptation, SP manifested from the pit of Snyder’s creative blender. And this is where it hit a speed bump.

The trouble with making ultra-stunning effects is they can easily become your crutch rather than a style. And the audience expects you to raise the bar each time, but that simply can’t persist, because all of Snyder’s bells and whistles jingled and jangled in his earlier pictures, which gave him notice in the first place.

With a blank canvas, Snyder painted a world of Baby Doll, a young woman (although she looked 14 in her Japanimation-fashioned outfit and makeup) desperately trying to survive and escape the insane asylum that she was committed in by her malicious stepfather. It seems, in this dark and dingy institution, only pretty young females are the patients. And even the head psychiatrist is a busty eastern European seductress played by the always sumptuous Carla Gugino. Through her guidance, Baby Doll finds herself able to bend the cruel reality into a spirited fantasy, fighting her way, along with her inmate patients, through Japanese feudal times and WWI Germany, and eventually to freedom. Sometimes there were dragons, other times futuristic robots. But at all times, girls were kicking bad guys’ asses, while in killer heels, dangerously short skirts and deadly décolletages. And?

The entrance to the fantasy world was always accompanied by a song played out in the room and Baby Doll’s irresistible dance that would set all the men in a trance, allowing the other girlie inmates to do their business – collecting items that would piece together the steps for all of them to escape. Till the end, we never saw what her dance actually was; it was always through the expressions of the men that we knew her moves were mesmerizing. And even though the color schemes and costumes contrasted between the two worlds, one element seemed to remain constant amongst the characters – really long eyelashes. Why?

If a film/story can be depicted by a genre of music, “Sucker Punch” would be a techno-trance maxed out on decibel levels. The action almost never seizes, and never quite allowed any downtime to peel back any layers of the characters. And yet, the actions almost always stayed at the same level, too – never really advanced the game from previous scenes. Sometimes, the fight sequences were caught too closely by the camera that was obviously placed on a lawn mower, giving way to vertigo and light reminder of last night’s dinner. This repeated several times throughout the show. What for?

In the end, through the psychiatrist’s final analysis, “Sucker Punch” concludes that the key to setting us free in this cruel world is…us. Really? Is that it? Can this be the punch-line to this episode? Did Snyder really go through all that pain to reveal a message that could be found inside a fortune cookie? I guess the audience got suckered in this one. Snyder needs to get back to what he does best: visualization – dust off his ego and hang up his writer’s hat, for awhile. And let’s hope his new installment of “Superman” will fly a bit higher, under the producing wings of his multiple-hat-wearing peer, Christopher Nolan.

 

 

 

 

 

MIDNIGHT FM [SIMYA-UI FM | 심야의 FM]

2011/02/18

http://www.fm2010.co.kr/

KOREA 2010  Directed by: Kim Sang-Man Written by: Kim Sang-Man, Kim Hwi Produced by: Je Jeong-Hun, Kim Hong-Baek  Cinematography by: Kim Tae-Gyeong  Editing by: Sin Min-Gyeong  Music by: Kim Jun-Seong  Cast: Park Soo-Ae, Yoo Ji-Tae, Ma Dong-Seok, Choi Song-Hyeon, Shin Da-Eun, Jeong Man-Sik, Kim Min-Kyu, Jo Seok-Hyeon, Nam Ji-Hyun, Kwak Byung-Kyu

There are basically two kinds of thrillers: the type that gradually reveals the (secret) connection between the victim and the killer, including a climatic surprise ending, and the type that solely concentrates on a cat-and-mouse game with as many twists and turns as possible, trying to outsmart the audience with genuine ideas lending weight to its dramatization of terror. Either way, both concepts can be highly intriguing and artistic if everything comes together perfectly.

MIDNIGHT FM falls into the second category: the story about a popular TV anchorwoman and late night radio show host who is stalked by a madman starts conventional and sticks to its formulaic routine of attack and counter-attack until the end, interspersed by occasional guessing games and gimmicks, but otherwise predictable moves. Hostages, children, a suspicious fan, police investigations, time pressure and some incidences prior to the actual events are supposed to add extra thrills, but are all pretty much common elements of any genre film today. Meaning, unfortunately MIDNIGHT FM is far from perfect.

While MIDNIGHT FM proves to be a solid and relatively tight film throughout it lacks the extraordinary: it’s a movie you can watch, or cannot watch, either way makes no difference. You’re not going to miss anything that you cannot see on TV every second day of the week or the next best genre film brings to the table as well.

Without real highlight, without anything special to report, I am not sure what to write about: MIDNIGHT FM isn’t great, and it certainly isn’t bad, it’s an ok crime saga, a couple-compatible thriller made for a multiplex-audience seeking mild thrills but would otherwise be easily offended by I SAW THE DEVIL and the likes. MIDNIGHT FM is anything but award-winning material, so don’t let respective awards tell you otherwise (that’s not saying Soo-Ae’s performance isn’t worthy of a Best Actress award). Expect nothing much, and you’ll get exactly that.

J.