The Internship by Shawn Levy

The Internship by Shawn Levy

Two salesmen whose careers have been torpedoed by the digital age find their way into a coveted internship at Google, where they must compete with a group of young, tech-savvy geniuses for a shot at employment.

The Internship has the misfortune of being wrongfully marketed by its trailer, which sells one of the film’s throwaway jokes about the X-men movies as if it was the best kneeslapping joke in a cheap goofy comedy. I scoffed when I saw the trailer, but The Internship isn’t entirely what its trailer represents to be. What is hidden from everybody is that it’s also partly a drama delivering a positive message about striving forward and taking risks in life.

For the most part, it’s a charming comedy drama. Vince Vaughn and Owen Wilson play to their own strengths. Vaughn always had a natural salesman type quality and here he really sells that.

The stark contrast between Vince Vaughn and Owen Wilson’s characters, who are old school salesmen, and the young tech-savvy geek kids is overly exaggerated. The film acts as though being an face-to-face type salesman means never coming into any contact with the internet, smart phones and have no knowledge of contemporary popular culture. This is primarily where the comedy is drawn from and it all varies from a laugh to a chuckle to no laughs. The comedy fares better when it doesn’t draw from that character contrast. One noteworthy gag was the Google team building event where they all played a faux Quidditch match. That was knee slapping hilarious. Are team building activities at Google really that much fun?

In the end, the sincerity of The Internship‘s life affirming message is somewhat tainted by the fact that the film plays like a Google recruitment ad. For a viewer that may be taken back by the big blatant advertisement will probably not enjoy the film very much. It didn’t bother me much because there was just enough sincerity and laughs to pull me through the commercialisms. That is the dividing line between audiences who will be charmed by The Internship or be turned off by it, because strictly speaking it is a bit of a mixed bag.

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The Hobbit: The Desolation of Smaug by Peter Jackson

The Hobbit: The Desolation of Smaug by Peter Jackson

The dwarves, along with Bilbo Baggins and Gandalf the Grey, continue their quest to reclaim Erebor, their homeland, from Smaug the Dragon.

To start off, I am not a Lord of the Rings fan. I haven’t read any of Tolkien’s works and only have seen the Peter Jackson’s film trilogy once. I am, however, a Sherlock fan and originally elected not to see The Hobbit: An Unexpected Journey in silent protest of it delaying the third season of Sherlock for an entire year. A friend invited me to a free screening of The Hobbit: The Desolation of Smaug two days before its premiere, so I quickly caught up with the previous installment and read up on the film’s production online to prepare for its sequel. So this is going to be a review of the first film too. Let’s crack on…

My biggest problem with An Unexpected Journey is it launched its story retrospectively from Lord of the Ringsstarting with an older Bilbo Baggins telling the story to Frodo Baggins just before the events of The Fellowship of the RingThe Hobbit is not a prequel, it was written first before Lord of the Rings. It’s the true “part one” and yet it’s being framed as if it was a prequel to a great trilogy. This effectively echoes throughout the two Hobbit films as I am constantly being reminded about what’s to come. It’s distracting and by association makes The Hobbit seem less important.

Whether it’s Peter Jackson’s completist approach to expand the story or a corporate decision from the financiers to cash in on the success of the LOTR trilogy, The Hobbit is too long.  Often the story takes big steps backwards before being able to move forwards. It took forty minutes in the first film to start the journey and for someone who is not coming in sheer excited fandom, the slow pace is a lot of work on the audience’s part.

This is the typical pattern of one story movement in The Hobbit series thus far: 1) An imminent crisis or problem faces our heroes  2) Backstory is given in context to our heroes to the crisis. 3) The group tries to persevere and just as they fail or are about to give up, Bilbo does something that solves the problem  4) The group rejoice about the pure spirit of Hobbits and how impressive it is, cue flute music 5) A new problem comes along. Repeat.

Throughout both films, I had an internal monologue that kept screaming, “Let’s go! Hurry up!”, as if I was watching someone play a video game at snail’s pace. Die-hard LOTR fans will say that I am wrong about this but it’s why those DVD extended editions exist. Even though we’ll never know, Guillermo Del Toro’s original idea of directing the The Hobbit as two films sounds better. But this is just something I’ll have to accept. That’s the extent of my issues because when The Desolation of Smaug is good, it is very good.

Martin Freeman is a great Bilbo Baggins. The role requires exactly what Freeman plays best: acting quizzical from being one mental step ahead of everybody but always feels socially awkward about pointing out the obvious. Freeman’s reactions are entertaining and overall I find Bilbo a much more engaging protagonist than Frodo; he gets things done.

Smaug the dragon is frightening. Benedict Cumberbatch injects an immense sense of threat and power into Smaug’s voice, combined with its gigantic size, creates a memorable movie villain for the ages. It was bone-chilling watching the dragon slither around in the dark, with the imminent feeling he can squash Bilbo at any moment. Hands down, the Smaug scene is the best scene in all five films so far.

The beautiful Evangeline Lilly as Tauriel is a welcome addition to the series. Despite of being Jackson’s creation, she is a well-rounded strong female character that adds a love story. Orlando Bloom returning as Legolas is neither her or there for me. He isn’t an interesting character and seems to exist for his fighting abilities. Both elf characters are unnecessary filler material, but make entertaining filler no less. The dwarves are more fleshed out in this installment, which is an improvement because there was nothing to distinct them apart from each other in the first film.

Another minor quibble I had was the decision of using CGI in the action scenes. The orcs are computer-generated and the action sequences look digitally layered and video game-like. They’re well designed and are well-paced action scenes. But the LOTR trilogy previously established a real world look with its use of  New Zealand landscapes and creature make-up, and I wonder why Peter Jackson decided to go with more CGI as it doesn’t match with the previous films.

Peter Jackson’s deep love for the material is felt throughout both films and this perhaps is the film’s most winning quality. After all, Jackson’s completist approach isn’t self-indulgent or obnoxious, but out of a genuine love, awe and wonder for Middle Earth and its mythology. It’s infectious and is probably the primary reason I was able to sit through the long running time.

Overall, I enjoyed The Desolation of Smaug more than An Unexpected Journey. There is less setup to be done, hence the story moves along much faster. And for that reason alone, I think I will enjoy There and Back Again even more when things begin to wrap up.

The White Storm by Benny Chan

The White Story by Benny Chan

An undercover narcotics operation against a Thai drug lord pits three childhood friends against each other.

The White Storm, the latest film from Hong Kong director Benny Chan is a undercover drug story, but it’s not interested in crime genre elements or in exploring the social issue of drug production in Thailand, but the onscreen chemistry between its three stars: Sean Lau, Louis Koo and Nick Cheung. The story reminded me most of John Woo’s Bullet in the Head in that it was about the disintegration of a brotherhood. The dramatic conflict between the three actors are the price of admission. It has a very interesting A story that could have made a great film, but The White Storm spends a lot of the 134-minute running time telling instead of showing its story. And also like Bullet in the Head, it executes it in the hammiest way possible under the guise of Hong Kong 80’s action nostalgia.

For example, in the story Koo, Lau and Cheung are lifelong friends. The film chooses to exposit this by having the trio reminisce about singing the theme song “Pledge to Join the War” by Adam Cheng from the classic TV show “Luk Siu Feng”, a classic song about brotherhood. And later on in the movie, Benny Chan plays the goddamn song. This is just about the oldest, hokiest joke in the book; they may as well have tied red headbands around their heads. People in my theater, including myself, laughed, not because it’s a funny clever reference but more in surrender of how shamelessly cheesy the writers were willing to go to highlight their bromance. Yes, they are very good friends, we get it!

Sean Lau is the subtle glue that holds all this cheese together. Something I observed about Lau was that he had all the best lines and was the only one out of the three protagonists who was not given a backstory. The lines of dialogue aren’t good in a cool quotable way, but it was exactly what the character would say in a given moment, no more no less. I suspect Lau rewrote a lot of his own lines. He gives a pronounced performance that’s as low volume and non-showy as this production will allow, but yet he comes out as the most engaging character. It’s really a testament to how underrated an actor Lau is.

Louis Koo and Nick Cheung, as good as they are and as much effort as they put in, overact compared to Lau. They are fine actors but are bogged down delivering a lot of expositional monologues stating how they feel. The romantic subplots Koo and Cheung are given almost dangerously dominate the A story. It’s not their fault though, Benny Chan directs with a heavy hand. It’s as if Chan and the writers constantly worry that the audience won’t be able to follow what’s going on, so they overcompensate.

Speaking of overcompensation, Lo Hoi-Peng shows up with crazy acting hair to chew up scenery, and boy, does he ever chew! It’s entertaining watching an old man act bananas but the hair does most of the acting. It’s hammy as hell. But despite of all the ham and cheese, Louis Koo, Sean Lau and Nick Cheung make very good company and are the price of admission. And at its core The White Storm is a good story about three friends, I just wished it wasn’t screamed at me.

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Days of Being Wild by Wong Kar Wai – A Tribute to 35mm film

Days of Being Wild by Wong Kar Wai

Days of Being Wild by Wong Kar Wai

My decision to catch Wong Kar Wai’s Days of Being Wild projected in 35mm film, as part of the latest “A Tribute to 35mm” programme from Broadway Cinemas, was a last-minute one. At first it seemed pointless to relive the nostalgia alone and two previous attempts at finding a partner-in-crime had fallen flat. Time was running out and most of the best seats were already purchased.

But then I caught myself. Was I really going to miss out on a Wong Kar Wai film starring every Hong Kong movie star in 35 mm projection? No, of course not. It would be like rejecting an invitation to a trip on a time machine. So to make a long story short, I bought a ticket.

As I lined up to enter the cinema at The One mall in Tsim Sha Tsui on the day of the screening, the cinema staff handed me a set of souvenirs: a “Tribute to 35mm” plastic folder, four Days of Being Wild still postcards and a piece of 35mm film print as a bookmark. I couldn’t be sure if the 35mm print was a still from Days of Being Wild or not, it doesn’t look like it. It was a delightful surprise nonetheless. (See the gallery below)

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The front row seat in which where I sat became a secret blessing in disguise. People that arrived late failed to obscure my view. It was the perfect distance to the screen, and that made it easier to view the film emulsion and the artistry of Christopher Doyle’s cinematography. Now, on with the review…

Days of Being Wild is a character study of Leslie Cheung’s character York, a rich rebellious playboy in 1960’s Hong Kong who learns that the ex-prostitute (played by Rebecca Pan) that raised him isn’t his birth mother. She refuses to tell York the identity of his real mother throughout his life, which shapes York’s bitter selfish flippant behavior. York’s actions affect the people around him, particularly two women, a reserved shop clerk named Su Li Zhen (played by Maggie Cheung), and an insecure club dancer Mimi (played by Carina Lau); and also two men, a dutiful police officer (played by Andy Lau) and York’s underachiever best friend (played by Jacky Cheung).

Days of Being Wild is more structured in terms of narrative compared to Wong Kar Wai’s later works. It’s an easy story to follow and a great introduction to viewers who haven’t seen a Wong Kar Wai film. Major themes in WKW’s works are all explored here: time and space, unrequited love, and rejection. Having seen all his feature films, it’s a very satisfying bookend to see where all these themes began. This time around I particularly noticed the thematic construct of how a selfish act from one person branches out into other people making selfish acts, hurting other people in the process.

The film’s star-studded cast oozes movie star charisma. Everybody fits the role they play and never does it feel like anybody is acting. Leslie Cheung commands the screen as the lead character. York is selfish, spoiled rich boy but what’s fascinating is the audience is given an inside look behind his devil-may-care attitude, exploring the reasons behind his violent outbursts and his playboy approach with women. Cheung sells it and makes York an interesting spectacle to behold.

I recall Andy Lau being a showy actor who preened a lot for the camera early in his career. It wasn’t till later in his career where he started to master how to use a close-up. But here he removes his “Andy Lau-isms” and plays the truth of the scene as the film’s most righteous character. Hence I stand corrected. Sorry, Andy Lau.

Carina Lau as Mimi is the unsung performance, giving a lot of depth to an otherwise bimbo character. Mimi loves York deeply and blindly, never wanting to entertain the reality that he is no good for her. On previous viewings, I found the Mimi character annoying but surprisingly this time around Lau’s performance spoke deeper to me than Maggie Cheung’s. Like the film’s themes, I’m sure which actor I notice will continue to change on future viewings as well.

Christopher Doyle’s cinematography puts sex in the air. No nudity is ever shown but the passion and heat is sensuously implied. Doyle’s photography tells the story with the subtropical humidity of a Hong Kong summer. Beads of sweat run down the actors’ faces, of whom all look thirsty constantly strutting around in their underwear in small Hong Kong apartments. There are a few rain sequences in the film where the 35mm projection particularly stood out that added to the film’s dream-like nostalgic look.

Watching the film again reminded me of the common Hong Kong criticism stating that Wong Kar Wai totally ignores the commercial aspect in his films, but here Wong clearly demonstrates he believes in the allure of movie stars. I thought about the many times Leslie Cheung combs his hair to a mirror in this movie and questioning why I had the patience to sit through it. The film’s last scene with Tony Leung’s gambler character getting dressed in his apartment, a new protagonist teased at the end of the film for a sequel that was never made, is another example. It’s too bad, for the very same financial reasons, we will never know where the story with the gambler was going to go. (Though one of my souvenir postcards suggests Tony Leung was meant to be a new love interest for the Maggie Cheung character.)

At the end credits played the theme song sung by Anita Mui, a Cantonese cover of Jungle Drums by Xavier Cugat. Mui belted out a deep sorrowful vocal like a 60’s nightclub singer. The song was both classy and eerie at the same time as the audience sat in silence, in sheer awe and profound respect of an era past. I thought about how Leslie Cheung and Anita Mui are no longer with us, how Wong Kar Wai and Christopher Doyle’s falling out and also the current diminishing state of Hong Kong cinema. The credits then reached its end, and in a flash, the film grain was gone and the digital projection returned.


It’s a shame that this event is only screening one Hong Kong film for 30 days only. I am sure more screenings would have filled up just the same. I also sincerely hope there are more 35mm prints of other Wong Kar Wai films or Hong Kong films that Broadway Cinemas can screen in the future. But for now,
Days of Being Wild in 35mm is a recommended experience for any Wong Kar Wai fans or cinemagoers nostalgic for reliving 35mm projection. Like I said, it was like going on a time machine. And as I’d imagine going on a time machine would be like, it was an exhilarating nostalgic ride that went by way too quickly.

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Don Jon by Joseph Gordon-Levitt

Joseph Gordon-Levitt

Don Jon by Joseph Gordon-Levitt

Jon “Don Jon ”Martello is dedicated to his family, friends, his apartment, church and one night stands with women. But none of these compare to the transcendent bliss he achieves with pornography. Dissatisfied, he embarks on a journey to find a more gratifying sex life, but ends up learning larger lessons of life and love from two very different women.

Don Jon marks as the debut film of Joseph Gordon-Levitt, who is the writer, director and star of the film. What’s most praiseworthy about JGL’s direction is how he puts the audience into the world view of his lead character Don Jon. It makes a good cinematic explanation of how Don Jon prefers pornography over bedding real women, a character trait that can easily be viewed as unlikeable or disgusting if mishandled. We never really venture outside his world, but yet Don Jon’s views seem logical enough to keep the audience invested in what happens to him.

Directing duties aside, Joseph Gordon-Levitt’s ability to transform himself amazes me. Having seen him in Inception, (500) Days of Summer and The Dark Knight Rises have familiarized me with the sound of his real voice, but I was still astounded by Don Jon’s macho New Jersey-accented voice. I was carefully listening to Don Jon’s dialogue and couldn’t detect any hints of Gordon-Levitt’s real voice underneath. It is artfully consistent and was the core element that sold me on the Don Jon character.

Scarlett Johansson has been said to be a wooden actress in the past. I think this was probably one of her better performances. This character felt like a real person to me. I have met and dated girls like Barbara. Furthermore, the allure of Scarlett Johansson is cinematically ramped up to eleven. She hasn’t been filmed to this level of sexiness since Match Point. For fans of the Black Widow, I’d even argue that this tops that. This is probably more to the credit of the direction. We feel Don Jon’s hunger for her. And like Don Jon, she too mesmerized me. And not just cause of her looks. She seemed like the ideal girlfriend at first and couldn’t really see her character flaws till late in the film. When I realized her character flaws, I was surprised I didn’t see them before. That was a very compelling moment for me in the theater. Honestly, Johansson’s character distracted me so much, I would need a second viewing to tell you anything about the Julianne Moore character.

Seeing Tony Danza as Don Jon’s father Jon Sr. takes me back to my childhood. He was the only man on TV who can make my dad cackle like a fiend in the English language. Danza’s presence adds warmth and makes for a convincing father. Brie Larson gets to do a Silent Bob type gag that is quite amusing.

The film’s brutally truthful display about the realities of men and women as a source for comedy, while handled tastefully with charm by Joseph Gordon-Levitt, hits a little too close to home. I have had discussions like this with a girlfriend similar to the Scarlett Johansson character. It accurately captures why it’s hard for men to explain the joys of pornography to the opposite sex. As Louis C.K. once put it, men just need to release so they don’t go out and murder somebody. That’s really it, but it’s not a pleasing satisfying statement to convince a girlfriend with. I’d argue that any girl that needs an explanation wouldn’t be convinced anyways because they probably have double standards. The film seems to take the same stance. All that said, the film managed to end on a poignant tender note.

In the end, Don Jon is somewhat of an odd animal. I wouldn’t personally recommend it as a date movie with your girlfriend, for the very fact that it might just open the awkward discussion of “How much pornography do you watch?” with your girlfriend. I still think people should see it as it is a competent debut film.

So on a more politically neutral note, I’d say guys would have more fun with it watching it with their guy friends and likewise with girls and their girlfriends. It’s probably better to be charmed by it separately than leaving the theater together primed for an awkward argument.

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Unbeatable by Dante Lam

Unbeatable by Dante Lam


Hong Kong taxi driver Ching Fai, aka “Scumbag Fai” (Nick Cheung), a former boxer and ex-convict with gambling debts of HK$200,000, flees to Macau and gets a menial job at the gym of old friend Tai-sui (Philip Keung). He rents a room in the flat of Wang Mingjun (Mei Ting), a Mainlander who has a 10-year-old daughter, Leung Pui-dan (Crystal Lee). Mingjun suffers from depression, after a nervous breakdown when her husband left them for another women four years ago, and Ching Fai slowly becomes attached to her and the mouthy Pui-dan. Siqi (Eddie Peng), penniless after a biking trip through the Mainland, meets with his father in Macau, who has lost the will to live after being bankrupted by a stock-market collapse. Siqi decides to enter the forthcoming Golden Rumble MMA Championship, which has a HK$2 million prize reward. To learn MMA, he enrols at the gym where Ching Fai happens to work. Ching Fai agrees to help Siqi with his MMA training, even though the championship is only 10 weeks away. Ching Fai, despite being 48, also harbours a secret desire to compete for the prize money .

See how long that setup was? Unbeatable sells itself as a mixed martial arts film, but it’s actually a drama that splits its story between three downtrodden characters: the old boxer seeking redemption from bad life choices, a suffering single mother with a plucky daughter and a rich kid trying to take care of his father. In a typical movie, the latter two story lines would be subplots that would feed into the main story, but instead director Dante Lam spreads them evenly throughout the story. This turns two supporting characters into two main characters, which unfortunately compromises the impact of the A story, namely Nick Cheung’s redemption story as the old boxer. The mother and daughter subplot, while well-acted, ends up hoging a lot of the screen time away from Nick Cheung. There were many scenes where Cheung’s character wasn’t developing because it was focused on the mother and daughter.

Eddie Peng is serviceable as the young rich kid-turned-boxer Siqi. I don’t find his character interesting, it’s like when Daniel Wu played the villain in New Police Story – a spoiled trust fund baby. Siqi is so naive it is head scratching. It’s hard to buy a novice thinking they can learn mixed martial arts within two-and-a-half months to enter a professional competition. Amateur boxing tournaments exist for a reason. To play devil’s advocate against myself, one can say that the film’s point is his character has an unbeatable spirit (pun intended), and that he’s competing to go the distance as a statement to his rich father. I see that’s what the film is telegraphing but it’s not interesting or compelling. It’s almost downright disrespectful to the integrity of the sport itself. On the contrary, I enjoyed watching this would-be trust fund baby being pummeled by truly unbeatable fighters that were level-headed and took the proper time to train. It’s depressing that Peng is playing Wong Fei Hong in an upcoming remake. Please keep shoving him down our throats, as he may win our hearts some day.

Nick Cheung is the heart of the film and gives a great performance. Fai is a character with a lot depth and emotional range, but the script keeps cutting him short by having Cheung do comedy. The comedy is funny, but the problem is it’s funny to the point of being detrimental to the drama.  An emotional scene is quickly followed by a funny scene. The audience is shifted to laughing and immediately relieved from contemplating Fai’s emotional struggle. I found it taxing to follow because the Fai character was the only character I cared about. Nick Cheung’s media-hyped muscled body is hidden for a huge majority of the film. I remember reading an interview with Christian Bale for American Psycho in which he indicated that the Patrick Bateman’s muscled body were intentionally sculpted to be ‘narcissistic muscles’, not functional muscles. There is a case of that going on here with Nick Cheung’s body, because most mixed martial artist aren’t sculpted like Greek statues. When Cheung fights, I was pumped. But there was too little of it.  

The fight choreography is tough and brutal but it’s ruined by odd camera placements and choppy editing. The glossy arena didn’t help either. If the actors really did train for the film, they should theoretically be able to do 1-3 moves before a editorial cut. Andy On shows up to play what he plays best, a cocky video game boss. When On arrived, the fights started to feel more choreographed. Overall I’ve seen MMA action done better in other films and ended up enjoying the training montages more.

Huang Bao Qiang shows up in a cameo role because he’s popular from the success of Lost in Thailand. How is his presence relevant to the story? Nothing, and here’s my point. There is a lot of box ticking going on in this film, like an investor trying to craft the perfect combination of an award-winning drama and a box-office hit. You have the award-winning body-transformation lead performance, the pretty boy to secure the young crowd and the single mother storyline to make sure everybody squeezes a tear. Unbeatable has already won 2 acting awards at the Shanghai International Film Festival, and good for it. For the rest of us who are not looking to win, I refer you to Gavin O’Connor’s Warrior, a MMA film that had a better story and bigger heart. Lastly, Unbeatable could have been a great film. But by a lack of balance of its multiple story strands, a great film was only telegraphed, not delivered. It could have used more punch.

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