San Lazaro

 

Odd and yet surprisingly insightful, with just the right amount of tongue-in-cheek commentary about life, love and Youtube as a learning tool, Wincy Aquino Ong's San Lazaro peddles itself as another Asian horror movie that makes you assume that its focal point is a supernatural entity when in fact, it's all about inner demons---the kind that reside within, the kind that's powerful enough to disregard one's conscience, the type that can gnaw at one's being.

Going by the trailer, it's quite easy to tell that San Lazaro is not the type of  film that is capable of generating the same buzz as Cinemalaya entries like Ang Babae sa Septic Tank or Rakenrol. Neither does it have the mainstream draw of the adaptation of the Eros Attalia novel, Ligo na U, Lapit na Me. And while the premise of having two old schoolmates embark on a road trip to a far flung provincial town with the primary objective of taking a demonically possessed sibling to be treated by an exorcist may trudge on B-movie territory, the film manages to achieve a well-orchestrated dissonance, one that defies genres and intentionally throws off viewers but not without some satisfying revelations.

It can be likened to your uncle's trusty Volkswagen Beetle that's old, personally put together and full of character. Old, not because there's anything unoriginal about the script or the story, but rather old in the sense that it's the best vehicle available given budgetary constraints and its novelty. It's a bumpy and unpredictable ride but what's important is that it gets you to your destination.        

Aptly described as a horror flick, a road movie and a buddy comedy, San Lazaro gives its viewers a weird, disjointed journey into the lives of three individuals haunted by personal ghosts. There's awkward Sigfried (Wincy Aquino Ong) who's never had a girlfriend since birth, brassy Limuel (Ramon Bautista) whose bravado comes with a cache of tranquilizers [strong enough to put down an elephant] and troubled Biboy (Nicco Manalo) who may or may not be under the control of a malevolent spirit. 

Armed with a quirky selection of storylines which include a white collar crime and a woebegone search for Captain Barbell, told alongside the ill-advised transport of an unstable passenger who's spent too much time talking to an antique garden ornament, this is one film that revels in its geekiness and yet manages to tap into certain uncomfortable truths that are funny but not entirely laughable. The horror aspect of it has a distinct Filipino flavor; the random topics that make up the conversations between the characters can come across as either glib or smart but not to the extent of grating, verbal diarrhea, as can be seen in other productions. There's also a general sense of unease that accompanies the staggered flashbacks given the characters' seemingly close-eyed determination to suppress unwanted memories. The deadpan delivery of both Ong and Bautista effectively blurs the comedic and dramatic, while Manalo's commitment to the role serves as a reminder that there are greater forces at play that should not be ignored. 

All said, San Lazaro is not your typical horror flick; it's predominantly a dark comedy with some jarring and amusing turn of events. With special appearances by Bianca King, Julia Clarete, Ely Buendia and Kean Cipriano, and spot on performances from the likes of Allan Forte, Tony Gallano and Earl Ignacio, it's a film with a number of interesting sequences, some even shot with an obvious nudge and wink to make you in on the joke. Hammy, creepy and sobering at one go, from the minute the award-winning opening sequence by Burnwater Design Studios rolls alongside original music by Mikey Amistoso and Jazz Nicolas, you know that you're in for an adventure.

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Surely Someday

It is often said that "imitation is the sincerest form of flattery." If that be true, then Guy Ritchie should be floored by the level of appreciation that Shun Oguri has shown for his use of slow motion effects and time lapse photography. Yes, the actor best known for playing Hanazawa Rui (Hana Yori Dango) and Suzuran faction leader, Takaya Genji (Crows Zero) has gone to the extent of crafting an outrageous, coming-of-age film that pays homage to [if not totally replicating] the cinematic style of Lock, Stock and Two Smoking Barrels, minus the narrative punch provided by a clever screenplay and the kickass factor contributed by Vinnie Jones or Jason Stratham.

I remember my sister telling me about this movie project in the same breath as sharing the latest rumors about Oguri being a horny dog, but I never really placed much thought into it since: (a) she couldn't tell me the title of the movie at that time; (b) Shun Oguri always struck me as the kind of actor who worked best in an ensemble, which, to me, meant that if he didn't have the draw or star power to carry the lead role, then chances are, he wouldn't have the ability to helm a full-length movie feature; and (c) I couldn't care less about which girl/jpop group member he banged at allegedly took to a motel.

About this time last year, I was doing some prep work for that Arashi post that I've always been meaning to do but never got around to doing, and even though the said post never materialized, I ended up watching a number of Japanese variety shows hosted by Japan's "national idols". One of the shows I managed to catch (thanks to fans who shared the said episode on a streaming site without the permission of the subber) happened to be Oguri's promotional guest stint at Arashi ni Shiyagare where I finally learned the movie title which was シュアリー・サムデイ or going by the boys' phonological speech, "Shuari Samudei".

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In this dramedy of errors, penned by writer Shogo Muto, five high school friends barricade themselves in a classroom with a home-made bomb in protest of the cancellation of their school festival and the corresponding "annihilation" of their dream to perform as a band. Brimming with hope and the promise of being surrounded by adoring fans through their music, Takumi (Koide Keisuke), Kyohei (Katsuji Ryo), Hideto (Ayano Gou), Kazuo (Suzuki Ryohei) and Yuki (Muro Tsuyoshi) mount a successful campaign for the reinstatement of the festival but when they fail to defuse the prop time-bomb  they had set up to facilitate negotiations with the school administrators, the damage caused by the explosion would later prove to be monumental not only to the lives of these boys.

Surely Someday provides a spry yet unbalanced story about how chance encounters and circumstances can produce a ripple effect that would link two seemingly unrelated events that in the long run would produce irreversible consequences. There's a network of people involved in this slapdash tale, such that the connection drawn between these wayward teens and a former prostitute (Konishi Manami) would span a number of years, beginning with a summer childhood adventure to Kabukicho and a botched up sting operation. The film hurtles back and forth between the past and the present as all five find themselves tainted, unable to move on from the incident.

Now a feckless bartender, a third-rate college virgin, a fledgling yakuza, a street busker and a hikikimori find themselves in trouble once again as their past catches up with them. They have no choice but to make amends, find each other and reunite long enough to take care of unfinished business; what's more, they need to retrieve 300 million Yen before yakuza boss Kito (Yoshida Kotaro) sends his men to ice them.

Fun and upbeat, Surely Someday is a film that can not be taken seriously no matter how hard it tries to infuse its storyline with some edgy scenes and grim but oft times, shallow existentialist musings about lost youth and opportunities. It's full of high school hijinks and flailing commentary about people who put their life on hold, set to punk-rock music, peppered with drugs, money laundering, even some violence and undignified [non-metaphorical] boot licking. Decidedly the result of a well-meaning and excitable collaboration, the movie tends to be overbearingly gratuitous in its execution and unbelievably self-conscious in acquiring a modicum of street credibility amidst the fanfare. This is no Go or American Graffiti but a rollicking, hyper-comedic Japanese production containing familiar elements of what made a movie "cool" in the late 90s.

For a directorial debut, Surely Someday is quite a mediocre offering---it comes chock-full of novice mistakes, betraying the lack of vision or originality on the part of Oguri to work behind the camera and instruct his fellow actors towards achieving a good take. He seems to have approached the film as he would a goukon by calling in favors from friends and co-workers (judging by the number of cameos), giving them free rein to act and [over]react as they see fit without any instruction. There are indeed times when the scenes felt like an impromptu comedy sketch, given the hammy delivery of lines and the cast's acting choices.

There's also the sudden shift in tone with very little lead in, thus catching the viewer by surprise as the droll buffoonery of its first act gives way to an adorable yet short-lived segment featuring the characters' childhood, interrupted yet once again by some clumsy action, more melodrama and a failed Sugar & Spice routine set in the present. Oguri's artistic choices do not often work; the overdone 10-second recapitulation of each character's three-year activities, the white footprint suit donned by the yakuza boss,  or even  the slow motion off-target gangster shoot out set to the tune of Schubert's Ave Maria (which brings to mind the game Hitman), tend to be whimsical additions rather than valuable set pieces.

Despite its flaws, Surely Someday is, by all accounts, not a bad movie. There's enough story in it to keep a viewer entertained provided one can overlook the uneven acting. It would have been much better had there been competent and assured direction from Shun Oguri, however as it stands today, it's quite clear that his ambition appears to have exceeded his ability.

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 Photo credits/Movie Stills by Asiabeam and Ramen

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GARO: Red Requiem

Heralding the return of Keita Amemiya's popular and beloved golden knight to television is another Garo film---where fans of the series can find our brooding hero roaming the city streets in search of a horror who evades capture by slinking into mirrors and preying on patrons of a techno club made up mostly of cosplayers and goth chicks. Garo: Red Requiem has a protagonist who looks like he just stepped out of an anime feature fighting alongside a priestess with legs for days, in what can only be described as a Xena outfit. It also has a demon goddess with nothing on but pasties and a tulle skirt, a mystical blade, and a passing mention of a patriarchal system under question---in short, it has all the material that one needs (to borrow Chris Hardwick's words) to induce a nerd erection.

Strictly made for fans of the 2006 series, this film offering cuts to the chase with the introduction of disciples Kurusu (Shinji Kasahara) and Shion (Hiromi Eguchi) setting up shop at a club where their master, Karma (AV-idol Saori Hara), can entice and devour as many souls as possible. On the other side of town, Makai knight Saejima Kouga (Hiroki Konishi) is put to action by lending assistance to Makai Priests Akaza (Masahiro Kuranuki) and Shiguto (Yousuke Saito), albeit with some interference from headstrong priestess Rekka (Mary Matsuyama), in slaying an Apostle Horror whose true essence looks like a cross between a prehistoric dinosaur and a raging bull with a snout made of a rotating flat blade.

    

 

Disturbingly dark and at times laugh-out-loud funny though it may be, there's something about the Garo series that is uniquely Japanese yet universally appealing. It's as close as one gets to having a supernatural/horror-fantasy manga or anime series come to life without the blockbuster treatment.

With the exception of flashbacks, some "expository" discussion on the existing order of Makai knights and the role of its priests/priestesses, the film can boast of back-to-back action at par with the ones that can be seen in the television series. It's crammed with extended fight sequences where you see our heroes battle it out with the villains under strobe lights and a leering crowd, and for once, audiences get an extra treat seeing more of Hiroki Konishi  (yes, I'm not that big of a fan of the armor) in his long coat that flaps in the breeze when his clunky golden armor gets magically nabbed into another dimension.

The special effects used are a combination of CG monstrosities [care of Omnibus Japan], rubber suits, and costume marvels with the better images seamlessly blending in, deriving inspiration from visuals of the same genre; while the more conspicuous flaws---like the use of scale models and  visible matte lines---showcase the limitations of its budget. For fans of the series and any tokusatsu in general, this aspect is a non-issue, but for those expecting the type of special effects usually produced in Hollywood, expect this film to be more of the kitschy-supernatural/fantasy sort. That being said, Garo: Red Requiem still has oodles of what makes it irresistible to people who enjoy stories that center on good versus evil and the darkness that exists within the human soul. 

 

Another thing that has remained consistent throughout the years is the show creator's knack for creature design and character visuals; the styling detail and imagination used in conceptualizing these supernatural horrors and their humanoid counterparts is impressive and truly out of this world. Add to that dark-cloaked phantoms, demonic winged creatures and a powder-white little person scurrying in the dark, and you have for yourself an eerie, other-worldly prelude to the last quarter section of the film.

Saejima Kouga stands as an archetypal romantic hero who's quiet and inexpressive, and has recently learned the importance of asking others for support. It's nice to know that he gets to pass on this wisdom to Rekka, along with some drivel about it being a Makai knight's duty to seal horrors and how saving one person's life is the same as protecting the lives of countless others. Ah, the great fabric of life... Heroic platitudes aside, the Kouga of late retains his cool demeanor, however, no longer bellicose or as disagreeable as the one introduced six years ago. Whether or not you buy this new and improved version of the golden knight, take heed that despite this newly-acquired gravitas, the writers of the film are not above having him defend scantily clad women strewn across a dirty club floor (now that's something you don't see in your typical Sunday sentai or toku).

 

As mentioned earlier, the film introduces two new allies for Kouga who will eventually make an appearance in the Garo: Makai Senki series. Though slightly hardheaded and recklessly bold, Rekka is a welcome addition to the list of strong and capable high-flying female protagonists that one sees in the Garo universe, whereas before, one can only think of Jabi in contrast to Kaoru, who's more of a damsel in distress. The priest Shiguto doesn't really get much to do except be a lackey but he does get to handle a prototype of the gouryu which is the equivalent of a supernatural proton pack and ghost trap combo used by the priesthood.

And since the show is also about human frailty and redemption, the film attempts to capture the precise moment when humans give in to evil as depicted by Kurusu's transformation from a middle-aged artist (as played by Akira Naoko) to Lady Karma's stout devotee and on the flip side, elder Akuza's fall from grace and path to salvation. The Makai Priest's sacrifice is apt yet predictable, however Kurusu's love and obsession with Shion lacked the kind of tragedy that screamed heaven-be-damned to match the beauty of its snow white feathery conclusion.

As a precursor to the show's second coming, Garo: Red Requiem fits in nicely with its previous offerings; personally, it's far more watchable than the Garo Special: Byakuya no Maju  and probably more  of a mainstream project than the spin-off Kiba: The Dark Knight Gaiden. In terms of storytelling, tone and visual effects, it has elements to it that fans of the series are familiar with, but essentially it's designed to be a standalone film---so as not to alienate people who have yet to discover how awesome the series is.     

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Crossing Hennessy

Easily one of my favorites from 2010, Crossing Hennessy is one of those movies that make for pleasant and easy viewing, having one of the cutest and probably most misleading trailers produced to entice people to see it. Be forewarned, it's not as romantic or funny as it was made out to be, but fans of Ivy Ho would no doubt still appreciate and recognize the said writer's style and fondness for metaphors in this latest offering. Another thing that might be of interest to viewers is that not only does this movie mark the return of Tang Wei to the big screen, it also happens to be Ivy Ho's second directorial feature.

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Proving that a cup of tea, an egg tart and a mutual interest in mystery novels can be as good as any device to jumpstart a relationship, Crossing Hennessy is one of those love stories that decidedly leaves out much of the giddy romance in favor of brewing a more stable and organic relationship between the two characters presented onscreen. Typical of an Ivy Ho film, it explores an aspect of love with thoughtful regard to everyday, real-life circumstances, making it fairly ordinary despite its whimsical appeal. Light, thoughtful and quirky, it might not necessarily fit the bill of a typical Hong Kong romantic comedy, but it's certainly worth taking a look at for its simple and unpretentious treatment of what it's like for a person to let go and move on.

Opening with a low-key and uneventful first meeting, Crossing Hennessy brings together two people who at first glance appear to have nothing in common and follows them through a series of innocent encounters that would later allow them to form a bond  that's strong enough to help them make a decision upon reaching their own proverbial crossroad. Arguably more of a belated coming-of-age film than a romantic comedy, Crossing Hennessy makes a case for a normal, healthy relationship by pitting the mundane against the dramatic, with the intimation that maybe true love need not be so complicated nor toxic. 

You learn to let the small things go so that you can take a stand on bigger issues. That's how it goes.

Loy (Jacky Cheung) is a bachelor with no dreams or motivation. At forty, he still lives under the roof of his imperious mother (Paw Hee-Ching)  and is spoiled by his dutiful aunt (Chu Mi-Mi), content to spend the rest of his days dallying about, occasionally dreaming of his deceased father.

Set to inherit a family-owned appliance store, his mother believes that the only way for him to get his act to together is to marry him off to force him to think about the future. To accomplish this, his mother sets him up on another matchmaking session, this time with the so-called "queen of bathroom fixtures", Oi-Lin (Tang Wei), whose aunt and uncle own a shop on Lockhart Road. So Loy gets introduced to an equally reluctant Oi-Lin over dimsum and tea, where the chatter of their chaperones and go-between drown out the awkward silence that surround their firm resolve to part as strangers. They get through the whole affair without so much as exchanging a word but since their relatives were not the type to be easily discouraged, the two once again find themselves forced to be together.

After breaking the ice by openly admitting that they're not interested in each other, the two eventually settle on building an easy-going friendship, one that would allow them to humor their well-meaning relatives and lead them to come to terms with their personal woes---he's hung up on a recently divorced ex-girlfriend (Maggie Cheung Ho-yee) with whom he's reconnected with, while she's fiercely committed to lending support to a hot-headed boyfriend (Andy On) who's facing time in jail for several legal infractions.

Falling neatly under the category of slice-of-life cinema, Crossing Hennessy is a prelude to a love story wherein the romance between its two protagonists is merely hinted at rather than exhibited for public view. The film leaves out much of the amorous encounters and saccharine dialogue ever present in your run-of-the-mill romantic comedy and deliberately channels the viewer's attention to ordinary events and everyday objects as a testament to the fact that not all unions have explosive or fiery beginnings. Going against movie convention, Loy and Oi-Lin's relationship develop gradually, without warning---some might even be surprised by Loy's sudden admission of being in love when all signs point to a platonic relationship.

Indeed, love at first sight has no place in this film, neither do sparks or fireworks that burn bright and consume one's being. As many would no doubt observe, the pairing makes more sense from an intellectual standpoint, it does not blatantly appeal to the emotion, being a film without overt romantic gestures. It has a narrative that comes to a slow simmer; and as expected of any Ivy Ho Film, it's not an instant crowd-pleaser but more the type that lends well to multiple viewings, with some odd surprises in store. On the upside, it's rather craftily set up to propose thoughts on what makes a relationship endure. For example, it's been suggested that a woman in the long run would prefer a sense of humor over brute force and that a man who's truly in love would endeavor to do right by someone on his own accord. In this regard, Ivy Ho remains consistent with her body of work---whether or not you're a fan of hers, a majority of her films continue to explore love and its different dimensions.

In the sentimental wringer, Comrades: Almost a Love Story, time and chance play a crucial role in bringing two people together; in July Rhapsody, a secondary-grade teacher undergoes a mid-life crisis when faced with temptation and infidelity; while in Claustrophobia, two carpooling co-workers embark on an affair, made possible by confined spaces and proximity. With maybe the exception of Comrades, most of Ivy Ho's films suffer from a dearth of physical interaction but what this does in the long run is highlight the ever so subtle shifts in her characters' emotions and the steady resolve that marks each story's turning point. Crossing Hennessy best exemplifies her preference for this particular method even though it might not end up pleasing all her viewers. The point of contention this time around being that nobody really knows how and when love ends, more so, how it begins.

To a certain extent, this is really a story about personal growth and new beginnings, perhaps a bit more of Loy's than that of Oi-Lin's. Some might even lament its simplicity and lack of dramatic incident but the identifiable situations the the characters go through as well as the symbolism of some events integrated into a dream sequence or a particular scene all the more make up for it. Jacky Cheung makes Loy such an easy character to like and relate to while Tang Wei is as lovely as ever as the prospective match who eventually lets her guard down while conversing over tea. The chemistry is not explosive yet the easy banter between the characters provide a good fit and is in keeping with the movie's light, comedic tone.

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 Photo credits: Stormedelf at Asianwiki.comhttp://asianwiki.com/Crossing_Hennessy

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BECK's Heav[enl]y Silence

"Please don't put your life in the hands

Of a Rock 'n Roll band and throw it all away"

- Oasis, Don't Look Back in Anger (1996)

Last month, I received the subtitles prepared by SkewedStudios Fansubs and Scanlations to the live-action version of BECK with instructions from the project leader to typeset the same, bearing in mind to place it on uber-hakaduper-higher-than-the-highest priority on my list of pending projects. Coming into it, I must confess that I was totally oblivious to the existence of the manga penned by Harold Sakuishi and inexcusably ignorant of the lauded anime version of the series. All I knew at the time was that fans of the manga were stoked to see it and girls were quite happy with the selection of pretty boys appearing in it.

Judging by the trailer, BECK, to me, came off as another "band movie". I wasn't all up in arms to see it but I could surmise that it was going to turn out just fine since its cast would be enough to draw people in. However, how much of an impact it would leave on its audience was difficult to imagine, I couldn't tell how well it would fare against other existing manga-to-screen adaptations like Nana and Solanin, not to mention the Akanishi Jin vehicle, Bandage, which also came out the same year.

After months of waiting, it turned out I wasn't completely off the mark; BECK was neither impressive nor disappointing. It was at times turgid and uninspired but overall, ho-hum okay in a sense that it was hard to hate (but don't expect me to re-watch it). Decently made but certainly nothing to rave about, the movie had a great ensemble of young stars, it played well against the opening strains to one of [punk] rock's most recognizable tracks and it even made for a fairly effective coming of age story except for one major glitch...

You don't get to hear Koyuki sing.   

For those unfamiliar with the story, BECK follows the rise to fame of an indie band composed of a talented guitarist named Ryusuke (Mizushima Hiro), ultra-cool and sought-after bassist Taira (Mukai Osamu), energetic frontman Chiba (Kiritani Kenta) and two newbie recruits in the person of drummer Saku (Nakamura Aoi) and second guitar/vocalist extraordinaire Koyuki (Sato Takeru) to complete the line-up.

Like any film adaptation of a manga series, BECK covers multiple story lines, highlighting the personal journey of each character in varying degrees. Life, love, music and friendship are all featured in this film; and while Ryusuke holds the more outlandish sections of the movie with a rather queer affinity with the band Dying Breed and a gangsta encounter brought about by a deboed bullet-ridden guitar named Lucille, the movie's heart and soul belongs to bullied outcast Koyuki, who not only finds meaning and purpose through the band's music but also manages to enchant and inspire thousands of people whenever he sings.

But again, the problem is that you don't get to hear him sing.    

Now what started as a fateful encounter with a fellow band member, followed by an abbreviated music lesson composed of guitar riffs played on a stratocaster, would soon culminate in one big music festival (the likes of Woodstock) where different kinds of band music would take front and center. It was to be BECK's moment of glory and the clincher----Moonbeams with Koyuki on vocals. His voice was supposed to be so pure and special that it would stop people in their tracks. His was the voice that summoned visions of a better world, a brighter future; so much so, that it caught the attention of sassy, elusive Maho (Kutsuna Shiori) and even gained them the respect of their peers. It was his voice that caused a squabble between the band and its high-octane singer, so all logic and common sense demanded the unveiling of that "Greatful Sound" (sic), which unfortunately, nobody got to hear.

Was it so ethereal that I couldn't hear it? Was it supposed to transcend all boundaries of sound that no rendition could give it justice? Or was I supposed to be happy with just seeing the lyrics on the bottom of the screen? The music in itself was great. Anyone who's been to a concert can attest to that fever pitch, that high, that comes with hearing the opening strains to a song complemented by the sound of the singer's voice, but in this case, you hear nothing....which is why BECK's stage performance felt so incomplete.

Oh well, so much for the mute singing wonder.

N.B. Turns out that Moonbeams as featured in the movie was composed by J-indie rock band Spank Page. If you want to hear what the final song was supposed to sound like, you can check out their performance of  BOY; their version of Don't Look Back in Anger is not so bad either.

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Images courtesy of Ramen Lover at Asianmediawiki and Just Reveal.

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สอง - Hello Stranger

Went on an impromptu trip to Bangkok a month ago and while I didn't really have much money on me, I was determined to take home a Thai movie DVD to add to my collection. Others might have thought about bringing home Thai silk, fisherman trousers, miniature Buddhas and other knickknacks, but I had my eye out for an official dvd release with English subtitles of something light like Seasons Change or Fan Chan, maybe even a film festival entry I missed like Love of Siam. It seemed like a sound idea at the time, unfortunately for me, our travel itinerary didn't give me much time to poke around---the Big C which was beside our hotel was closed for renovations and the video stores I happened to walk into at Central World predominantly had Hollywood movies on their shelves. There was a limited number of Thai movies to choose from and most, if not all of them, didn't carry English subs.

I had no choice but to declare my movie excursion a bust. So with only a bag of tamarind and a pair of trousers to show for my trip, I went home to Manila without the elusive DVD. Later, I found out that Thai movies were usually released without subtitles as part of the industry's policy to combat piracy and that I had a better shot at buying the above mentioned flicks as distributed in Hong Kong and Taiwan than hunting them down in their country of origin.

It was a wild goose chase from the start.

To cheer me up, my sisters agreed to do a Thai-movie marathon with me and since they were not in the mood to see another horror flick, and were too queasy to see Meat Grinder despite my prodding, we ended up doing a romantic comedy line-up, which explains this series of posts on Thai movies. 

There were quite a number of films to choose from but we ended up picking Hello Stranger for the following reasons: first, it was Thailand's top grossing film for 2010, so despite having reservations about it being another GTH romcom project, we thought it was worth taking a look at because (from what I heard) it was well received in countries like Singapore and Indonesia. Second, saw the trailer and recognized the actor who played the spooked film projectionist in Coming Soon and the boyfriend fighting off temptation in Hormones, so being somewhat familiar with his looks (ahem! Christian Bautista 0_o) work made it a no-brainer. Third, and this is what really sealed the deal, the movie was co-written and directed by Banjong Pisanthanakun---the person behind the hilarious segments featured in the 4bia and Phobia 2 anthologies. He might have been more known for films like Shutter and Alone, but this writer-director also knew how to tickle his audience's funny bone. So all systems go!

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Hello Stranger basically tells the story of two Thai tourists who meet each other while on holiday in South Korea. He's (Chantavit Dhanasevi) a sulky, brokenhearted tourist, who opts to go on a package tour over the Songkran Festival despite having been dumped by his travel-companion/girlfriend, while she's (Nuengtida Sopon) on a personal trip to enjoy the sights as a kdrama enthusiast en route to her friend's wedding. They're strangers in a foreign land but through the force of circumstances, they end up being travel buddies who agree not to tell each other their names so as not to complicate their newfound [yet temporary] friendship. 

If there weren't any tv series here, would there be any tourists?

The two of them spend their time in South Korea together, visiting tourist spots, partying like the natives and living up the kdrama dream. They tease and bicker, share their sorrows and get to know each other that by the end of the trip, they find something resembling love even though they're both afraid to admit it.

There really isn't much to say about the plot of the movie, (for like Bangkok Traffic Love Story,) Hello Stranger runs the course of a typical love story wherein two people meet, fall in love and hurdle whatever personal issues or conflicts that are thrown into the mix. However, what differentiates Hello Stranger from its contemporaries is its specific brand of comedy. It's something that's clearly designed to win over kdrama afficionados (who would automatically be in on the joke), without necessarily throwing off or intimidating random moviegoers.

It has a script that hits the right notes, referencing Korean pop culture with a combined sense of awe and curiosity whilst poking fun at hallyu tropes and icons that hold sway over the region. There's a considerable amount of lampooning  involved and believe me, it'll make you laugh out loud and even stomp your feet at the lengths they went through to achieve this.

Writers Banjong Pisanthanakun and Chantavit Dhanasevi have a knack for putting a spin on cliches, infusing the movie with the kind of humor that's easily cognizable by Southeast Asian viewers. They make use of everything from the language barrier to the local cuisine to create funny scenarios that would put a smile on  the face of not only die-hard kdrama fans but also any hard-nosed viewer.

Shot on location to feature not only scenic spots but usual hangouts to provide a comprehensive view of South Korea, the whole movie plays out like a mini-excursion to a land that people have come to know through various cultural/media exports.

Apart from its stunning production value, the movie can also boast of the undeniable onscreen chemistry of its leads who by default become the viewer's guide/representative in this foreign country. Chantavit Dhanasevi impresses as the snide outsider who brings some mischief and perspective in all the hoopla behind Korean  movies and series while newcomer Nuengtida Sopon exudes the irresistible charm and infectious excitement of a fangirl who's surfing the Korean wave. Their scenes together are both outrageous and surprisingly touching; their interaction with the locals, particularly the elderly, is pure gold and classic comedy.

Perhaps the only complaint that one may find about this movie is that it ran a bit long. Co-produced by a Korean company, it appears that it was somewhat necessary to jam in every tourist spot and scenic location in South Korea into the story---which explains the rather lax and sinuous road that  had the movie clock in at  a whopping 127 minutes. Now despite being an obvious vehicle to promote cross-cultural friendship and tourism, Hello Stranger is something that's easy to recommend to anyone looking for fun, easy viewing; some might bemoan how the movie's ending left viewers hanging but considering how the whole concept behind the project was to reflect how much Korean culture has invaded the consciousness of its viewing public, then the ending of the movie can be interpreted as something in keeping with South Korea's cinematic style and imagery.

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Read My Lips : 駄目!

It's no secret that I'm a Ninomiya Kazunari fan. I may be perceived as someone who has an Anti-JE stance in terms of general entertainment, but I have loads of goodwill towards this kid. Way before I discovered him to be an unabashed idol---who liked to cop a feel at band members and whose sarcastic remarks [screamed Napoleon complex at the get-go] and laidback attitude could potentially polarize viewers---he already won me over with his hilarious portrayal of a virgin boy in Stand Up and his outstanding work in the film Ao no Hono-o. There's no easy way to say this, but this kid had me fooled. He might look like a hunched gerbil with black gums and an abnormally scrawny torso but I love watching him all the same. He's the exception.

Now before anyone starts to think that I've gone fangirl loco* over this boy, let me get straight to the subject of this post. To make a long story short---I loved the Neener and therefore, I was doomed... doomed to suffer through 2 hours, 10 minutes and 49 seconds (give or take) of the English dubbed version of GANTZ because I was stoked to see it and had nothing else to do, and of course, having the emotional quotient of a toddler, I dove in without fully taking into account the fact that I would be listening in to nerve-grating audio and horrible dialogue. O, woe is me! To have seen what I have seen and have heard incongruous dubbing!

To sub or to dub?

I know it's an age-old dilemma that film buffs and anime lovers alike have debated upon  for years without reaching a satisfying conclusion. Whether the intention is to appeal to a wider audience or to meet the demands of purists and netizens, there are admittedly pros and cons to each side, which is why film production outfits are forced to make a judgment call. Proponents of both schools have come up with reasonable arguments for utilizing either method, but at the end of the day, when all is said and done, film distributors would always render a decision based on profit; taking a huge gamble by giving the viewers the option to either put up with it or skip it. And while it all boils down to personal preferences and the relative exposure  of each individual to foreign films and different cultures, I'm of the opinion that since subtitling and dubbing exist for the purpose of translating materials for an audience that doesn't speak the original language, it should follow that both be as accurate or in keeping with the film's context as possible. Furthermore, it should be unobtrusive to the viewing experience as a whole, or at the very least not be so off-putting as to draw attention away from the film.

Coming into GANTZ, I was already at a bit of a disadvantage. Having read parts of the manga, I already had a preconceived notion of how the story should play out; having watched a number of Asian dramas, I was already used to reading subs and therefore preferred the original version over the "localized" release this time around. But if there's such a thing as bad and  good subtitles, then surely there's also such a thing as good and bad dubbing. Just as subtitles are expected to be clear and concise, the quality of dubbing should also be held at a certain standard. The problem with this version of GANTZ is that the dubbing didn't seem to complement the movie at all, the voices didn't match the characters and most of the lines were delivered either in a stilted manner or a cloyingly cartoonish tone. There's an obvious rift between what you hear and what you see onscreen, it's a dissociation that lasts from start to finish, giving you a feeling that things weren't conveyed properly because the voice actors were less than convincing. It may all sound trivial, given that it's a sci-fi adventure movie, but the English audio certainly worked towards diminishing the fantastical elements of the story, making dialogue-laden scenes free of  action sequences a total buzz kill. Plus, anyone who's seen Ninomiya Kazunari before would no doubt lament missing out on his vocal inflection---there's a world of snark, angst, conceit and self-consciousness in Kurono Kei's character that simply didn't come across in this big screen adaptation. Another issue I had was how the dialogue sounded unnaturally choppy, the sentence construction was awkward at best, particularly during Kanata Hongo's brief, crazy-eyed monologue.

Some may argue that part of the reason why GANTZ turned out to be an utter disappointment was because the script for the film didn't even come close to replicating the graphic violence, wicked humor and plain awesomeness of its source material---to which I say, this argument is not without merit (but I'll save that for another post once the second installment comes out).  Point is, the English dubbed version of this movie pushed it from generic, mindless entertainment to a catastrophically BAD big budget movie, given that it already failed to establish a working story with characters whom you would care about and want to survive should aliens infest the planet. It's a bit too early to say this, but this duology might eventually come down as a prime example of what not to do when making a live-action version of a popular manga series. Still, for those who might want to see this film, take my advice and wait for the official release, don't settle for the English-dubbed version because, trust me, it's absolutely cringe-worthy. 

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* loca -- What can I say? I suck at foreign languages. 
Featured movie stills care of nurikocam - http://twitpic.com/21o828
Suggested Reading - To Sub or to Dub: The Challenge of "Translating" Films for Foreign Audiences

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หนึ่ง - Lonely Hearts and Bangkok Traffic

I must confess that I have a rather ambivalent attitude when it comes to watching Thai films. It's not that I have a particular reason to love them or even have sufficient cause to hate them, it's just that Thai movies are pretty hard to come by in my part of the world and my choices are very much limited to whatever's available for international distribution. Interestingly enough, my foray into Thai cinema started with two Nonzee Nimibutr films---the classic ghost story Nang Nak and the erotic period piece Jan Dara---which made a huge splash in the international scene at the turn of the century. Most of the stuff I've seen after that were  commercial picks or mainstream productions, a few were good but most of them didn't leave much of an impression.

By force of habit, I watch at least two to three Thai films a year. And since the focus of Thai cinema appears to have shifted gears in terms of genres in the last two years, the last batch of movies that I had the  occasion to see turned out to be all romantic comedies. I didn't feel like doing a proper review since there's very little to deconstruct by way of style and substance but given that Bangkok Traffic Love Story, Hello Stranger and A Little Thing Called Love turned out to be three of our Southeast Asian neighbor's top grossers in recent memory, I figured it wouldn't hurt to share my thoughts; pick on parts of the aforementioned movies and be done with it.

Furthermore, given that it's also the month of hearts, this 1-2-3 Thai movie roundup that features an old maid, a jilted lover and an ugly duckling wouldn't seem like such an odd fit. So without further ado, I hereby present to you a capsule review of an urban love story; the first in this line-up being yet another ode to the modern, single woman living in the big city...

 

In Bangkok Traffic Love Story, thirty year-old Mei Ly (Sirin Horwang) is the last among her friends to remain unattached and unmarried. Devastated over being the only singleton in a bunch of happily married folk, she makes up her mind to address the situation and sets her eyes on a mild-mannered engineer named, Loong (Theeradej Wongpuapan), whom she believes to be the one that destiny has sent to her. But alas, true love doesn't come easy as the object of her affection follows a work schedule that requires him to stay up and work on the Skytrain System when the rest of the world is asleep.

With her work cut out for her, Mei tries to get Loong's attention---planning chance encounters in the train station, staking out that video rental store that he frequents to get porn, even going as far as asking neighborhood hottie, Plern (Ungsumalynn Sirapatsakmetha), for advice in ways to win over this elusive, one of a kind bachelor.

As chick flicks go, Bangkok Traffic Love Story provides a hilarious albeit exaggerated take on how women nowadays are expected to have it all, as Mei juggles the demands of her family and career alongside her quest to win over Loong. Fluffy and formulaic, this movie offers cheap laughs in depicting the plight of a female singleton by hurling Mei into extremely awkward and embarrassing situations, utilizing lowbrow humor to punctuate her helplessness and desperation. Much of what happens in it is typical of its genre---with Mei undergoing one setback after another, with little or no hope of success or indication that she would find the love she's chasing after. As a result, the movie inevitably stumbles and stutters as it shows Mei's path to romance to be more difficult and tiresome than her daily commute around the metro.

Bangkok Traffic Love Story follows a predictable course to a requisite happy ending, impeded by a distended script that fails to tie everything neatly together as evidenced by the rough transition between scenes. It could have greatly benefited from proper editing since the movie sometimes feels like a random compilation of comic sketches and running gags, none of which, unfortunately, made it easier to sit through all 129 minutes of the film.

Like most romantic comedies to come after Ally McBeal and Bridget Jones's Diary, the movie features a female lead that is a trifle quirky and sassy; someone accessible and by all respects a fool for love. The only hitch is that it's been done a hundred times before and worked to the bone that viewers are already way too familiar with the mechanics of the story to the extent of either becoming annoyed at or indifferent to the vagaries of singledom.

It's a sad fact but female characters in such films tend to fall under certain archetypes and when the story is about a single lady nearing the end of her so-called "shelf life", one can very much expect her to be either a lovable klutz who's trying to find her way in life or a fierce dragon lady who's knowledgeable in everything except the matters of the heart. At times you get a slight variation thereof but you can always expect them to eventually get drunk and/or commit a major blunder in the course of the movie, preferably with mascara running down her tear-stained cheeks.

Nevertheless, romantic comedies as a rule aren't entirely judged on the the basis of its story nor its witty script. A lot of it rides on its execution and the ability of its audience to relate to the main character or the situation that s/he is in, which surprisingly, is something that the creators of this movie got right in select scenes.

There's nothing really special or memorable about Mei as a character. She's flighty and unsure, doesn't have a plan in life and gets in a whole lot of trouble. By all respects, this movie could have easily gone down the path of Sophie's Revenge minus the glossy finish but while Bangkok Traffic Love Story may not win any points for originality, it certainly gets credit for showcasing the everyday challenges of a woman who's trying to find  emotional stability in this day and age. Writers Benjamaporn Srabua (Metrosexual), Nawapol Thamrongrattanarit and Adisorn Trisirikasem (Fan chan) might have missed the mark on the comedy but they  were certainly able to create something that genuinely captures the loneliness that a thirty-year old singleton feels. From the diminishing number of friends who can keep you company, to the depressing reality that when your phone rings it's either your boss or your mother calling, to reluctantly competing with young vixens more adept in "the game", to surprise dinners designed to set you up with the son of a family friend---the saving grace of this movie is its ability to tap into the experience of every single woman who's going through life on her own.

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Goth: Love of Death

Two high school students come together to investigate a string of murders---not because they're teenage sleuths who want to catch the culprit, but because they want to admire and inspect the killer's handiwork. Visually stunning, like an amalgamation of nightmares and dreams, Takahashi Gen's movie adaptation of the Otsuichi light novel, Goth, succeeds in establishing a mood and tone which befits its source material but draws back from delving into the darker elements of the original work in favor of producing a compact storyline that's easier to follow.

This is another one of those movies where you either get it or you don't. I guess it all depends on what you expect coming into it but allow me to tell you up front that this movie is not so much a murder mystery as it is an impressive attempt at capturing the disposition of the characters through the use of sight and sound. I'm sure that those who've read the book and the manga on which this movie is based can vouch that the cinematic feature doesn't even come close to being as dark and twisted as author Otsuichi imagined or intended it to be, but I think that the changes introduced to it were necessary given the style and structure of the story.

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A serial killer is on the loose and he's preying on beautiful young women, leaving them on display as lifeless pieces of art in public places, keeping only the left hand of his victims as a memento of his work...

Will you teach me how to smile like that?

A second victim has just been found at the local park and present at the crime scene, cordoned off with the rest of the onlookers who came to witness the grotesque exhibit, high school students Morino Yoru (Takanishi Rin)  and Kamiyama Itsuki (Hongo Kanata) individually take in the scene, silently acclimating themselves to the ghastly atmosphere, unable to tear themselves away by reason of morbid curiosity.

Instinctively picking each other out, the two lock eyes, quick to identity how the other must have a similar reason for staying behind and looking more engrossed than the average member of the crowd.

The following day in school, the they measure each other up, eager to see whether they shared the same abnormal fascination with death, decay and human cruelty.

Compelled by a common desire to seek the killer out, misanthropic Morino and the outwardly genial Kamiyama decide to conduct an investigation of their own, hoping to be the first to uncover and witness the killer's next gruesome art form. They start off by meeting after classes, exchanging notes and doing research, gaining any and all information available on the killer and his three victims. They then proceed to visit the places where the bodies were found, going as far as reconstructing the crime scene, with Morino assuming the victim's position as described in newspaper clippings. The two approach the case as they would pursue an after school activity; discussing every detail of the murders as if it were a  normal conversation topic. This so-called hobby of theirs, posed no real threat or danger, that is, until one of them stumbles upon a diary that contains a detailed account of the murders, including directions to the location of the fourth victim which the authorities have yet to discover. Suddenly, they find themselves closer to the killer than ever, and as they continue to track him down, it becomes apparent to both of them that they have different motivations for seeking him out.

Slow, surreal, cool and baffling---Goth is basically an experiment in storytelling, one which partly succeeds in creating a pseudo-mystery and character study, made possible only through the use of striking images and well-placed musical cues. Writer-director Takahashi Gen brazenly condenses Otsuichi's light novel by stripping whole sections and events narrated in the book from the film version, deliberately retaining only parts of the story to make up a significant whole. His vision of Goth essentially takes on the form of a psychological thriller, one that prefers not to explain as much as to show how two people who appear to be so similar, can turn out to be different at their very core.

Shot entirely in soft focus, cinematographers Ishikura Ryuji and Kugimiya Shinji imbue the film with an ethereal and fairytale-like atmosphere---giving earth colors a richer tint and texture while allowing primary and secondary colors a more prominent and incandescent presence throughout the film. Watching Goth is like being immersed in a dream that can  potentially turn into a nightmare at any given moment; it cultivates an escalating sense of foreboding which comes in sharp contrast to the utter brightness of certain scenes and the delicate, almost angelic, features of the characters seen onscreen.

From a visual standpoint, Goth is definitely one beautiful and arresting piece. it manages to entrance viewers with its overwhelming use of light and vibrant colors, more so, when the same is used to stage a frightening or creepy spectacle. It has elements in it that would no doubt fit in nicely in a horror movie or a slasher flick but Goth never breaks its cadence or succumbs to clichés in reaching its conclusion. Instead, it proceeds without an obvious hint of urgency, bearing the quiet confidence that those who have been enticed to follow these two characters will see them through the end of their journey.

To accomplish this, Takahashi Gen and his able team of writers, namely, Gram, Takashi Hotta, Michio Kashiwada and Midori Saito made crucial changes to the original material in order for the audience to see only Yoru and Itsuki. They smartly dispensed with the use of the voice-over device that could have given away the story and likewise scrapped the endless parade of serial killers that could have graced and cluttered the screen. And while the movie may have lost out on the initial shock and clarity that comes with having easy access to a  psychologically disturbed individual's head as demonstrated by Otsuichi's narrative, what it gained as a result was this dark and quiet intensity---one that's borne out of the inability to predict how the two characters in it would behave or feel.

The movie takes its sweet time to explore and compare the frame of mind of its two characters through subtle references, tell-tale signs, without so much as making a direct reference thereto in the spoken dialogue. As a result, viewers are inevitably forced to draw their own conclusions, and therefore every little thing becomes a matter of interpretation. How much thought and attention one puts into it will alter one's emotional attachment to these two deceptively kindred souls; the appreciation of the whole movie, becomes a matter of thought and introspection.

There are those who kill and those who are killed.

Takahashi Gen makes good use of his source material despite taking creative liberties in  pruning and merging plot points to make the whole thing cohesive. He even manages to build up suspense during the movie's final stretch without having to resort to graphic displays of blood and gore whilst maintaining  the film's moody atmosphere. Some set pieces may appear severe and overbearing by way of style and function but overall, the design concepts for Goth (from Yoru's gothic lair and the sterile muteness of Itsuki's bedroom to the dingy cafe where they often meet to discuss the killer's next move) provide insight into the personalities of its two characters. The movie also greatly benefits from the inspired musical composition of Murakami Jun that evokes tension and wonder through a single, base melody that combines the light percussive rhythm of a xylophone with the funereal sound of a choral interjection. Simple and repetitive, it captures the image of wheels in motion, the essence of the human mind at work, albeit with a few surprises in store.

Actress Takanishi Rin as the solitary and gloomy heroine of Otsuichi's story looks and moves like the live-action incarnate of Enma Ai. She plays Morino Yoru with a quiet countenance, delivering lines with marked nonchalance, and yet there's something about the expression on her face that would make one to believe that there's more to her than meets the eye. She appears detached and guarded but she also comes across as innately weak and fragile. In stark contrast to Takanishi Rin's guilelessness is Kanata Hongo's chilling portrayal of a young man who has a genuine appreciation for the most gruesome things. He's dispassionate and duplicitous, he has this impenetrable wall that shields away his thoughts, making him an ambiguous element, an apathetic creature. Having played a number of surly characters in the past, Kanata Hongo embodies the incalculable nature of Kamiyama Itsuki---with his lean frame, effeminate posture and priggish delivery---he captures the bearing of someone who holds the world in contempt. Together, they make one curious pair and one heck of a character study. They're soulmates and polar opposites; outsiders in search of a place to belong, both pretending to be someone they're not. Serial killers aside, Goth really is about the relationship between Yoru and Itsuki. These two teenagers make up the heart of the story. They're in fact the mystery to be solved and by the end of the movie,  it's up to you, the viewer, to put in the last puzzle piece.

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For a more detailed discussion of the book on which this movie is based on, you can check out Thea's fantastic review over at The Book Smugglers---Manga Appreciation Week: Book Review- Goth by Otsuichi 

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