Tower Heist
An A-list cast works at this comic crowd-pleaser about a bunch of regular guys looking to get some measure of justice after being fleeced by a Ponzi scheme. The heist that results is adequately suspenseful, but for a film that is clearly supposed to be driven by gags, there is precious little laughter. Put together with an everything-and-the-kitchen-sink abandon, plot devices and gags from a host of other films are haphazardly thrown into the mix. Even with headliners Ben Stiller and Eddie Murphy, who both have, on occasion, aspired to the heights of comic genius, and strong support from the likes Alan Alda, Casey Affleck and Matthew Broderick, Tower Heist never quite manages to come together as anything other than a pleasing 104 minutes of forgettable entertainment.
Eating Out: Drama Camp
There is more camp than drama in this fourth iteration of Q. Allan Brocka’s rom-com with its host of lovely lads, buff bodies, and heavy innuendo. Eating Out might be thought of as a gay version of the American Pie franchise, and has a thematic focus that is resolutely below the belt. Though the film carries on a story outlined in previous installments, it works perfectly well on its own. The relationship between Casey (Daniel Skelton) and Zack (Chris Salvatore) is in the doldrums, and a stint at an acting school, where Zack gets the hots for roommate Benji (Aaron Milo), increases the strain. There are moments in Drama Camp that are touching as characters work through confused emotions, some well handled sex scenes that provide a hint of soul along with the requisite hot, heaving bodies, but the film sticks pretty much to a strict rom-com formula.
Bunny Drop (Usagi Doroppu)
The idea for Bunny Drop, by Japanese director Sabu, is not new. It traces its cinematic heritage back to the silent era of Charlie Chaplin’s The Kid, and through a host of contemporary adaptations of comedies about men coping with children such as Three Men and a Baby. In the case of Bunny Drop, Daikichi (Kenichi Matsuyama), a 30-year-old salaryman, volunteers to raise 6-year-old Rin (Mana Ashida), the love child of his recently deceased grandfather. The reasons for his choice and how he manages to deal with the child are all well-handled, and while there is good chemistry between the leads, the almost complete lack of friction and the manic attempts to keep things light make the whole concoction too bland to be memorable.
That’s the Way! (Korede iinoda! Eiga Akatsuka Fujio)
Madcap Japanese comedy directed by Hideaki Sato featuring Tabanobu Asano as crazed genius manga artist Fujio Akatsuka, who first makes life hell for the young and serious new editor at his publishing company (Maki Horikita), before inevitably teaching her to loosen up and discover her inner joy. The film makes ample use of magical realism that has the characters entering a world conjured up by the artist’s comic creativity. Akatsuka is a real-life cartoonist, and the film is based on a novel by Toshiki Takei, who actually has worked with the cartoonist as his editor.
Little White Lies (Les petits mouchoirs)
Friends come together and in the close proximity of what is supposed to be a relaxing holiday, loyalties, friendships and suppressed jealousies are tested or exposed. Little White Lies is an ensemble piece in the manner of The Big Chill or Peter’s Friends, with a cast of fine actors who are able to develop situations of intense intimacy, humor and sadness. Writer/director Guillaume Canet handles his material with sensitivity, but at 154 minutes, the film drags a little.
Saint (Sint)
Dutch slasher that makes hay with legend. Saint Nicholas comes to the modern day as a renegade 15th-century bishop who is out for revenge after a lifetime of bloody mayhem is brought to a fiery end. In the present day, there are a bunch of pretty young things intent on enjoying life and making out, but for this festive season, the arrival of Sinter Klaus will only bring a horrible death. Although director Dick Maas (who wrote and directed Amsterdamned) keeps the pace engagingly rapid, the lack of any real characters, and an inexplicable avoidance of real gore, give this film a rather dated feel that will cut no ice with audiences expecting any proper and creatively engineered scares.
Tomorrow, When the War Began
Plucky teens take up arms against an invading army in what can only be described as an Australian remake of Red Dawn, a film with many faults but indisputable cult cred (despite the presence of Patrick Swayze). The absence of jingoistic Cold War ideology is sorely missed, as director Stuart Beattie fails to provide anything in the way of philosophical underpinning other than some painfully bathetic lines about fighting for freedom. It does not help that the young stars, most of whose acting credentials come from soaps such as Neighbors and Home and Away, are impressively unconvincing as hardened warriors. A return to old-school commie-bashing can be expected in the remake of Red Dawn due for release next year, with North Korea firmly cast as the villain.
Tekken: Blood Vengeance
Based on the console fighting game Tekken, Blood Vengeance is a full CG animation movie, detailing events that slot firmly into the game’s story development somewhere between releases five and six. Internet comment on the film suggests a poor integration with the feel of the games and some rather hit-and-miss action sequences. If the fans don’t like it, it’s not likely anyone else will.
That US assistance was a model for Taiwan’s spectacular development success was early recognized by policymakers and analysts. In a report to the US Congress for the fiscal year 1962, former President John F. Kennedy noted Taiwan’s “rapid economic growth,” was “producing a substantial net gain in living.” Kennedy had a stake in Taiwan’s achievements and the US’ official development assistance (ODA) in general: In September 1961, his entreaty to make the 1960s a “decade of development,” and an accompanying proposal for dedicated legislation to this end, had been formalized by congressional passage of the Foreign Assistance Act. Two
Despite the intense sunshine, we were hardly breaking a sweat as we cruised along the flat, dedicated bike lane, well protected from the heat by a canopy of trees. The electric assist on the bikes likely made a difference, too. Far removed from the bustle and noise of the Taichung traffic, we admired the serene rural scenery, making our way over rivers, alongside rice paddies and through pear orchards. Our route for the day covered two bike paths that connect in Fengyuan District (豐原) and are best done together. The Hou-Feng Bike Path (后豐鐵馬道) runs southward from Houli District (后里) while the
March 31 to April 6 On May 13, 1950, National Taiwan University Hospital otolaryngologist Su You-peng (蘇友鵬) was summoned to the director’s office. He thought someone had complained about him practicing the violin at night, but when he entered the room, he knew something was terribly wrong. He saw several burly men who appeared to be government secret agents, and three other resident doctors: internist Hsu Chiang (許強), dermatologist Hu Pao-chen (胡寶珍) and ophthalmologist Hu Hsin-lin (胡鑫麟). They were handcuffed, herded onto two jeeps and taken to the Secrecy Bureau (保密局) for questioning. Su was still in his doctor’s robes at
Mirror mirror on the wall, what’s the fairest Disney live-action remake of them all? Wait, mirror. Hold on a second. Maybe choosing from the likes of Alice in Wonderland (2010), Mulan (2020) and The Lion King (2019) isn’t such a good idea. Mirror, on second thought, what’s on Netflix? Even the most devoted fans would have to acknowledge that these have not been the most illustrious illustrations of Disney magic. At their best (Pete’s Dragon? Cinderella?) they breathe life into old classics that could use a little updating. At their worst, well, blue Will Smith. Given the rapacious rate of remakes in modern
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