Police Story 2013 by Ding Sheng

Police Story 2013 by Ding Sheng

 

Mainland Chinese police Captain Zhong Wen tries to reconcile with his estranged daughter Miao Miao in a bar, which is interrupted by a group of criminals taking over the bar, turning it into a hostage situation.

It must be said that the anticipation for a Jackie Chan film has changed over the years. Chan himself had announced in last year’s Chinese Zodiac 12 to be his last film with major action in it. We cannot go in expecting to be wowed by death-defying stunts or exhilarating fight choreography anymore. Instead of fights, he has chosen to switch into the dramatic.

Police Story 2013 is not a continuation of the original Police Story series, the title is in name only. Chan’s character Zhong Wen is not Chan Ka-Kui, Jackie Chan’s Supercop character from the original Police Story series. Zhong Wen is not hotheaded, not prone to solving conflicts with violence or even a great hand-to-hand fighter. The only similarity both characters share is their whole-hearted belief of the law and their obligation to do the right thing. Otherwise, Zhong Wen is a dramatic character exploring themes of old age and dealing with the consequences of being a poor father, and therefore it is a role that the older Jackie Chan naturally fits into. In comparison to Chan’s dramatic turns in The Karate Kid remake and The Shinjuku Incident, this performance is the most honest.

The fights, which are not choreographed by the Jackie Chan Stunt Team, are shot close and choppily edited. And sadly, there are not that many of them. For Jackie Chan fans that are hungry to watch a good fight or a stunt will be disappointed. Originally there were not going to be any fights in the film.

Director Ding Sheng, who previously worked with Chan on Little Big Soldier, constructs some tense moments and keeps the audience guessing with red herrings. Liu Ye plays the villain in true scenery chewing fashion, the cat-and-mouse game between Liu and Chan is the price of admission. Jing Tian, having been played the most annoying female police officer in Donnie Yen’s Special ID earlier this year, fares much better in a more fleshed-out role. I’m curious to see what part she will play in the upcoming Chow Yun Fat-Wong Jing God of Gamblers rehash From Vegas to Macau.

As for the hostage situation itself, the bickering hostages are very annoying and it begs to question how they would be able to yak on the way they do without risking execution. The final reveal in the mystery plot is pedestrian, as one would expect a more epic conflict. Immense effort has been made to shift things to a ground level and while it succeeds at creating a gritty realism, it works against the film in terms of payoff. With a back catalogue full of dangerous stunts and action scenes, who could imagine a Jackie Chan movie made so humbly and low-volume?

Police Story 2013 ultimately is an incidental addition to the Jackie Chan canon and does not hold a close candle to the original Police Story series -though much better than the awful New Police Story-, but I did not expect it to be either. It was entertaining for its running time, but I won’t watch it again. The 3D is a shameless cash grab as minimal design has been put in and it is counter-productively dulling down its colorful cinematography. Overall the average Jackie Chan fan might be happier to see it as a rental. Nothing here is worth being angry or disappointed over.

You might be thinking, why am I being so forgiving? Why am I giving Police Story 2013 a pass? The answer: I am not ready to live in a world without Jackie Chan movies in it.

Related Links
Chinese Zodiac 12 by Jackie Chan

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Prisoners by Denis Villeneuve

Prisoners by Denis Villeneuve

When Keller Dover’s daughter and her friend go missing, he takes matters into his own hands as the police pursue multiple leads. But just how far will he go to protect his family?

Prisoners has the strongest ensemble cast of 2013 and everybody brings their A game. Keller Dover is Hugh Jackman’s most raw and complex role yet, as Jackman plays Dover’s wavering belief of the justice system and descending morality to a realistic precision. Things get murky as Dover takes matters in his own hands on an unconfirmed suspect Alex Jones (Paul Dano) and traps himself between being desperate, angry and helpless.

Jake Gyllenhaal, sporting a neck tattoo and facial tics, creates the realistically compelling Detective Loki. The character is a fascinating inward look to how police detectives conduct their investigations, interrogate suspects and how the job centers on being emotionally removed from the crime itself. Loki is even darkly funny at times because he is so distanced from the crime and committed to procedures that normal things seem outlandish to him.

Roger Deakins’s cinematography brings layers of shades into the perpetually cloudy and otherwise flat-looking suburbia. The moody atmosphere embodies a sinister undertone; whether the location is a forest, a kitchen or a washroom, it feels like someone is lurking behind the corner. Mirroring its main characters, the cinematography impressively supports the story with a growing sense of insecurity.

Denis Villeneuve directs ambitiously, as Prisoners juggles between being a character study of two families dealing with a kidnapping, a crime mystery plot and the theme of the institution versus the individual. Retrospectively, in total Alfred Hitchcock-coined  “refrigerator logic” terms, the film does not entirely deliver on all three. Maria Bello, Viola Davis and Terrence Howard’s characters do get sidetracked. The story thematically switches between whatever is the most interesting in the given moment, which in the moment is powerfully engaging.

The Secret Life of Walter Mitty by Ben Stiller

The Secret Life of Walter Mitty by Ben Stiller

 

Walter Mitty is a daydreamer who escapes his anonymous life by disappearing into a world of fantasies filled with heroism, romance and action. But when his job is threatened, he takes action in the real world embarking on a global journey that turns into an adventure more extraordinary than anything he could have ever imagined.

I am typically not a fan of Ben Stiller’s comedy – whenever he dons a wig and plays a crazy character, it is one-note and awkward. Stiller fares best when he is a normal person reacting to an awkward situation, instead of being the source of awkwardness and the nebbish Walter Mitty character certainly plays to those strengths. Stiller’s other brand of ‘costume play’ comedy in the fantasy sequences is fortunately reduced to a minimal. Here he is at his most naturally charming and while Zoolander fans may disagree, but this is now officially my favorite thing Ben Stiller has directed and acted in.

Kristin Wiig is also naturally charming as Mitty’s love interest and gets to shine in a musical sequence where she does a cover of David Bowie’s Space Oddity. Sean Penn has a funny supporting role as artsy photographer Sean O’Connell, a role that smartly sources Penn’s trademark intensity for laughs.

The production design is impressive, with its visual compositions practically lifted from hardcover graphic design books and nifty editing transitions accompanied by cool looking fonts, which to some extent owes itself to Stranger Than Fiction. Stuart Dryburgh’s photography delivers a true sense of awe for New York’s urban cityscape and Greenland’s natural landscapes. The story reason is to make Walter Mitty look like an ant in a big world, but that overwhelming sense of the environment towering over man seeps over onto the audience.

The reality of the film’s own world is suspect, like the logistics of how an employee is able to leave work and fly off to a foreign country, or how big of a jerk the new corporate supervisor played by Adam Scott is being. None of this matters because the story is a fable after all. The viewer may feel in moments that they need to give the story the benefit of the doubt, and if that moment should occur, go along with it. The Secret Life of Walter Mitty is imaginative and humorously made, and even in its weaker illogical moments is ultimately compensated by its charm. The lesson of someone who realizes he is missing out on life by daydreaming is just darn compelling, and it is emotionally cathartic watching Mitty wake up.

Personal Tailor by Feng Xiaogang

Personal Tailor by Feng Xiaogang

“Personal Tailor” is an unique business which specializes in allowing their customers to escape their day-t0-day life and live their dreams by staging specific scenarios that are tailored to meet their requests , no matter how ridiculous or far-fetched, every client is able to “live the dream”.

It is a phenomenon how Feng Xiaogang has established himself as the voice of the people in terms of Mainland Chinese cinema. Nobody else that makes films as didactic and on-the-nose as he does and still be so loved and supported. His latest comedy Personal Tailor is a series of vignettes about its four employees taking on different clients and making their dreams come true. The clients include a chaffeur who wants to be an important authority figure, a schlock B-movie director who wants to learn the essence of good taste and a working class cleaning lady who gets to be rich for one day. The vignettes vary from farce, satire, the absurd and even sometimes the fantastical. Reality is out of the window but it is the fable-like quality that holds the piece together.

Longtime Feng Xiaogang leading man Ge You plays his classic comedy archetype, the swindler with the heart of gold. That character will never get old. Bai Baihe from last year’s hit Love is Not Blind and Li Xiao Lu from Xiu Xiu: The Sent-Down Girl are both charming and funny. Jackie Chan and Huang Bao Qiang also make small cameos to ease the investors, however neither should be a reason to see the film.

The star of the film is Feng Xiaogang himself, who in each vignette gives us his thoughts and commentary on topics like social class, materialism, rich vs. poor and reality vs. dreams. It is fun watching the four leads run around in costumes and trying to drive their client’s ambitions down so their business turns out a profit, but their characterizations are not developed. They are merely puppets to a Feng Xiaogang puppet show and only exist to deliver the director’s multiple messages. The heavy messaging has long been a trope of Feng’s films and it must be said that Personal Tailor is the most thinly veiled of all his works. If you haven’t seen any of Feng Xiaogang’s urban comedies, Personal Tailor may not be the place to start.

Lastly, the movie is too long. The segment where the team ventures out in the wild to apologize for man’s appalling crimes against nature is too far fetched and ‘tree huggy’ for my taste. Personal Tailor is by no means Feng Xiaogang’s best work and it probably wouldn’t have a very long shelf life after its Lunar Year theatrical release. For English speaking audiences, the film actually has good subtitles but its humor probably will be lost in translation. Even for Feng Xiaogang fans, this isn’t a movie to own in your Blu-ray collection. To them I say, go see it in theaters while it’s current and  get your laughs from the latest Feng Xiaogang social commentary. It is a sincere hopeful message, but for me, it’s still too didactic.

HK Auteur Top Ten Films of 2013

Top Ten of 2013:
1. Blue Jasmine
2. About Time
3. The Act of Killing
4. Pacific Rim
5. Man of Steel
6. The Heat
7. The Call
8. Before Midnight
9. Gravity
10. Journey to the West: Conquering the Demons

Honorable Mentions:
Berberian Sound Studio
The Conjuring
To the Wonder
The Hobbit: The Desolation of Smaug
Behind the Candelabra
Prisoners
Firestorm
Captain Phillips
Snowpiercer
Don Jon

Genuine Surprises:
The World’s End
The Guilt Trip
Man of Tai Chi

Downright Hated:
Unbeatable
Special ID
Cloud Atlas
Iron Man
3


Still Yet to See (Will be Updated):
The Wind Rises
47 Ronin

Anchorman 2: The Legend Continues
Philomena
Christmas Rose
Inside Llewyn Davis
The Way Way Back
Nebraska
Mud
Dallas Buyers Club
Nebraska
Like Father, Like Son
Blue is the Warmest Color

Verdict:

It seems this year I have gravitated to films that have impacted me on a deep emotional level on a lower volume than something to the likes of a loud and big special effects film or quirky idiosyncratic emotions from an indie picture. Even a film like Man of Steel moved me in its quieter dramatic moments. Anything that reflected upon life or anything about relationships between people were more personal to me this year.

Second to being touched were films that made me laugh, notably Pacific RimAbout Time and The Heat were films that I laughed from start to finish. It is an achievement that is often easily dismissed, but that earns huge props in my book.

One thing that I admittedly avoided were films with heavy subjects. The only movie that really peaked my interest was The Act of Killing. I was glad to have seen Terence Malick’s To the Wonder and Werner Herzog’s Youtube PSA about texting while driving, but I just didn’t want to think deep existential thoughts about life this year. I don’t know if there are more films like these out there this year.

I would have liked more Asian or European films to be on the list, but thus far nothing has earned any spots on my Top Ten, only my Honorable Mentions.

Most of the films yet to be reviewed are because they haven’t been released yet in my area, and I will probably get caught up in February when Oscar season comes around. I ask you to be patient with me.

Lastly, I figure I need to see more bad movies, which I  gladly would if I was able to review films professionally. There are films much more horrid than the ones I’ve listed here.

Again, as I’ve said before, I’ll try to keep it interesting. Bring on 2014!

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.

Frances Ha by Noah Baumbach

Frances Ha by Noah Baumbach


Frances Ha
is a character study of its lead character, Frances Halladay, a dancer in her late twenties trying to find herself career wise and work through with her friends and surrounding community.

The title character Frances and her friends, notably New York hipsters, are not particularly interesting company. Having seen Baumbach’s previous film Greenberg, what is Noah Baumbach’s fascination with these hipster generation-Z characters that have an aversion for employment? Is Baumbach critiquing them, implying they should better people? No, Baumbach just navel gazes at the New York hipster sheik. Did I learn anything new about this generation’s youth? No, because I already know people like this and generally avoid them.

For instance, Frances seems to be afraid of the typical career ladder and desires something more. Dancing, what’s she’s established as her job, doesn’t seem fulfilling. But being a waitress is out of the question because her privileged upbringing makes it humiliating. Meanwhile, things start to become financially difficult. She then starts to lie pathologically to keep up with her friends who have gone ahead in life. Is she active in discovering her passion? No, she just mopes around, hoping it’ll hit her one day.

And like that, the movie goes on and on. Even at 89 minutes, it felt long watching these characters mope along talking about nothing. Greta Gerwig is very good in the lead part and displays a considerable amount of depth playing a quarter life crisis. She captured that boomerang generation mentality to a tee. It succeeds at what it does as a character portrait, but it’s truly interesting only when her character gets active. I just wished more things, whether comic, dramatic or tragic, happened so that she can be more compelling. For me, only the last 15 minutes were interesting. After all, there’s only so much quirkiness one can take.

Firestorm by Alan Yuen

Firestorm by Alan Yuen

Firestorm, the latest action thriller starring Andy Lau, is a character study trying to burst out of its commercial contraptions. The commercial aspects is a cops and robbers film with the volume turned up to eleven. Every moment is crucial. One can almost take the last frame of every shot, matte it and make a comic book out of the whole movie. The hidden arthouse aspects are the character study of its two leads and the morality play of right and wrong, which emanates later in the story. Director Alan Yuen keeps things moving along, artfully combining these two components in such a way that there’s never time for the audience to stop and think. For most of it, Firestorm is a fun ride.

Andy Lau leads the film sufficiently as the film’s righteous hero, but the heavy lifting comes with a cost. Senior Inspector Lui is mostly an action-oriented role. And he only gets interesting till the later portion when the Infernal Affairs-like morality play begins. It’s only then Lau holsters his gun and gets to chew some scenery.

It is great to see Gordon Lam, Hong Kong’s most versatile working character actor, finally play a lead role in a feature film. Out of the two leads, Lam has the more complex character. Andy Lau is billed as the lead on the poster, but the story is arguably more about Gordon Lam. He’s never given a bad performance and here he is the heart of the story. Yao Chen, who I thought would be a love interest for Andy Lau’s character (as it usually would), is the romantic love interest for Gordon Lam. I doubt a modern working woman in this day and age will tolerate a convict boyfriend to the level that she does, but Yao Chen brings a much-needed believability to the situation by reacting.

For what the film does for Gordon Lam, it falls short with veteran actors Hu Jun and Ray Lui, who are oddly undeveloped villains. This is not the way to use actors of their calibre; they deserve better. Michael Wong also has a cameo as Andy Lau’s boss. Does Wong treat Chinese film producers to dinner every week or has comprising photos of them? He tries to be subtle, which for him means trying to whisper his lines in a high-pitched voice as if he breathed vials of helium before each take. He is god awful as usual, but fortunately there is very little of him.

The action sequences are all entertaining and it is impressive how they are all set in in busy Hong Kong locales. There’s a sufficient amount of design going into the 3D for its action scenes; everybody uses tracer ammunition (which highlights the bullet trajectory) and there’s a noteworthy portion with birds. One particular high wire action set piece got too ridiculous. Let’s just say if I was dangling at a high altitude, I wouldn’t purposely slam the scaffolding that’s hoisting me. The finale shootout in Central’s Queen Street is the price of admission. Suffice to say, mayhem ensues. For any Airsoft fans out there, with all the Hong Kong police uniforms, SWAT gear, guns and muzzle flash that appears onscreen, this will be Disneyland for you.

To match its drama with an epic operatic grandeur, Firestorm‘s story is built around the metaphor of an oncoming typhoon blowing towards Hong Kong. As my creative writing teacher once said about one of my short stories, “Your pathetic fallacy is pathetic.” Sorry, it is too over-the-top at times. For example, Peter Kam’s bombastic operatic score is akin to a Final Fantasy game. It sounded like a choir of angels was chanting for Andy Lau’s survival through the gunfire. The work Peter Kam done on Isabella and Throwdown has shown subtlety and used music as a way to bring the audience into its world. I noticed that the quiet contemplative score sounded one octave away from the Infernal Affairs score. This is not Kam’s fault. I imagine this is the product of financiers citing references based on past box office success. Let’s face it, current Chinese and Hong Kong cinema is becoming a producer’s medium.

I was aware of how much commercial box ticking was going on throughout the film, but they were never overtly blatant enough to bother my enjoyment. Whenever Firestorm was being too loud and bashing my head, it was the hidden artsy choices, like Gordon Lam in a lead role, the undercover story arc with its morality play, which lifted it back up for me. It’s a fun time at the movies and if you’re going to see it, the 3D version will not disappoint.

Related Link

A Simple Life by Ann Hui

Machete Kills by Robert Rodriguez

Machete Kills by Robert Rodriguez

The U.S. government recruits Machete to battle his way through Mexico in order to take down an arms dealer who looks to launch a weapon into space.

Every new additional reiteration of Machete is becoming less funnier than its predecessor. Machete was funny when it was first a trailer in Grindhouse. It was mildly amusing when it was made into a feature film. The sequel, Machete Kills, is now just a bland joke that has been worn out by its many retellings. Robert Rodriguez, the joke teller, can’t seem to get enough of his own joke. Furthermore, he doesn’t seem to care how much we like the joke at all.

This film went right through me. As soon as it was finished, it was forgotten. Danny Trejo is an unique onscreen presence and I’m glad he is still working at age 69. Trejo has shown range in many of his supporting roles. Unfortunately, Rodriguez uses Trejo blandly as the film’s straight man, having react deadpan to the supporting cast of crazy cartoon characters surrounding him. Much of the film’s gags feel cheap, and it has nothing to do with b-movie irony. The most noteworthy example being the El Chameleón character, an assassin who is a literal shapeshifter, is a cheap excuse to open up guest star spots to help market the film. See? This all seems funnier to Robert Rodriguez than it is to the audience.

Robert Rodriguez claims to like his characters, and proceeds to populate his film with a cast of supporting characters that are on the surface visually interesting, but doesn’t do anything with them. It’s as if Rodriguez is perpetually trying to sculpt the perfect action icon, but never delivers the pathos to fully sell the character. Instead, the characters are all handled in a throwaway fashion, tossed aside once their iconography is fully formed.

The saving grace of Machete Kills is Mel Gibson, who really devotes himself to the role, milking his dialogue and sells his Bond villian-like character as if he were playing Macbeth. Gibson’s performance matches with the film’s ridiculous tone, but adds that missing pathos that Rodriguez is unable to provide, making every other actor slapdash by comparison. But when Gibson’s Luther Voz claimed to be a Star Wars fan who decorates his evil fortress with Star Wars memorabilia, I gave myself a light face palm. Evoking Star Wars as a source of humor is just about the lamest joke in the book.

That’s how this film slashes itself (pun intended). It is lazy and half-assed; it doesn’t know what to do with its own talent and has expended all of its irony. It’s sad to see Robert Rodriguez fall to this level. He is a very capable and multi-talented filmmaker who can shoot, score and edit, but maybe he just shouldn’t write his own scripts. I do not care about the upcoming Machete Kills Again… In Space. Please wow me with Sin City: A Dame to Kill For.