Ex (Hong Kong 2010)

Question: when a movie feels a lot longer than it's actual running time, does that mean you're not enjoying it? Yes, that's a rhetorical question because the answer is fairly obvious. For me, Ex (前度) was such a movie, one that emphasizes the old expression that you don't know what you've got until it's gone. I had a tough time with this one.

Zhou Yi (Gillian Chung), is a young woman with her hand in one too many cookie jars. She has a boyfriend, Woody (Lawrence Chou), that she's planning a trip with until she finds out, at the airport, that he shared some intimate moments with another woman. The two begin arguing in front of another couple, Ping (William Chan), and Cee (Michelle Wai), and through sheer coincidence, Ping just so happens to be Zhou Yi's ex. Let's not try and explore how that possibility is near absurd. This is a movie after all. Cee, trying to be the nice one in this group, sticks up for Zhou Yi and offers her a ride. Ping is in the backseat wondering how this all came to be while his ex and current girlfriend sit in the front talking about his bad habits. How's that for an awkward car ride? Zhou Yi reaches out to some friends and family for a place to crash, as she no longer has a place of her own, but she ends up having no place to go. Going even further out on that limb of generosity, Cee and Ping agree to let her stay at Ping's place for a few days until she can sort something out. Zhou Yi wastes no time making herself at home in Ping's flat and it's clear that Cee isn't as comfortable with her staying there as we may have thought. She can see the closeness that Ping and Zhou Yi once shared and is starting to feel that the two of them haven't fully moved on. During her time in Ping's flat, Zhou Yi and her ex talk about the good ol' times and the not-so-good of times they had together. Zhou Yi talks about the various guys she spent time with after Ping, including the aforementioned Woody, a triad bad-boy (Jacky Heung), and Sol (Derek Tsang), a nice guy cab driver that's actually friendly with Ping. Sure, she's a bit promiscuous, but I guess you sometimes have to see what else is on offer before you realize what you wanted was right in front of you all along. During this short time of being back together under the same roof, feelings for one another begin to rekindle but it's not just the two of them anymore. Are Ping and Zhou Yi really as good for each other as they think?

There are a lot of stories going on in Ex as Zhou Yi recounts her tales of past loves through the fun of flashbacks. I don't mind a movie using flashbacks to fill me in on various important little bits of information, but as a major story-telling piece where I'm constantly being taken back to specific moments in time, well that becomes a bit tiresome for me. Add to that the fact that every time we go back in time, Zhou Yi has a different hairstyle, a couple of which look like wigs, and Ping has a different hairstyle and style of glasses each time. I understand that it's the past due to me actually paying attention to the story, so I find the poorly done costume props distracting. I will say that the performances were quite good and Gillian Chung in particular proved that she's more than just a pop-star turned wannabe actress. I found her character to be really obnoxious at first but once you discover why she is the way she is, it makes sense. This girl has been through the emotionally wringer and Chung does a nice job at conveying that rollercoaster of emotion. The director, Heiward Mak, does a nice job making everything look good. He clearly has a sharp eye, but there are occasions where things get a little too artsy for their own good, leaving an air of pretentiousness hanging. Ex is reasonable in length at only an hour and thirty-six minutes, but I have to question the director's pacing, as the story seemed to drag on and on. A movie this short shouldn't feel this long.

A near mixed-bag with more bad than good, Ex is a movie that gets points for effort but isn't getting a free pass due to poor execution. There's a slick sheen on the proceedings and it's not a complete misfire, but as it all unfolds you're ultimately left unimpressed and even slightly bored. (Lee)

Grade: C

Beyond Our Ken (Hong Kong 2004)

Feeling like one of the most indie-style films I've personally ever seen out of Hong Kong, Beyond Our Ken (公主復仇記), is an interesting performance piece for both Gillian Chung and Tao Hong. A story of two women, the man that did them wrong, and the resulting emotional fallout.

Things start off with Ching (Gillian Chung), meeting with Shirley (Tao Hong), and explaining that she used to date Shirley's current boyfriend, Ken (Daniel Wu). The reason she wanted to meet with Shirley was to explain to her that Ken might not be as perfect as he seems to be. Ching explains that after sleeping together, Ken posted pictures of the two of them on an adult website, which resulted in her getting let go from her job. Shirley, naturally resistant to the claims Ching is making, soon starts to realize that they both have had the same experiences with Ken. He used the same lines and the same moves on both girls. Ching wants Shirley's help at getting the nude photos that Ken took of her because she's afraid that he may post more in the future. She tells Shirley about all of the horrible things he did when he was with her and how Shirley needs to stay on her toes unless she wants to be hurt as well. Ken is definitely deserving of the ill-feelings both girls share towards him, because he's clearly a womanizer, a point both girls find clearly evident as they continue to share stories. Meanwhile, Ken goes about his relationship with Shirley oblivious to the two girls meeting with each other and actually starting to build a friendship. Out of the blue, Ching calls Shirley and tells her that Ken has posted more photos of the two of them in the nude, and Shirley is a sympathetic ear in Ching's time of need and is now, more than ever, willing to help her get the photos back. Still in possession of Ken's house key, Ching takes Shirley along to sneak into his home while he's at work, with only Ken's Grandma as an obstacle. So what becomes of Shirley's relationship with Ken? And is Ken really as horrible as the girls seem to think he is?

That is the whole synopsis in a nutshell, of course without giving away any specifics. Beyond Our Ken, directed by Pang Ho-Cheung, is filmed in a interesting, criss-crossed fashion, with transitions between past and present that ultimate piece the story together for the viewer. There are a few big reveals in the movie that make it necessary to be filmed in this manner as to not ruin things from the beginning, and when you see what's really going on, it takes the proceedings into an entireley different direction. Needless to say, it's all really engaging stuff. The acting on display, especially from Gillian Chung and Tao Hong, is fantastic to the point where you couldn't expect more. I believe this was Tao Hong's first major film and she comes out like a true professional, and with Gillian Chung, previously dismissed as just a cheesy popstar, she dismisses her critics with a truly impressive performance as well. There is a slightly amusing irony in reviewing this film now, as the story of Beyond Our Ken seems to run parallel to the real sex scandal that Gillian got caught up in with Edison Chen back in 2008. Where is she now? It's really a unfortunate mess. Regardless, the emotions on display in the film are portrayed in way that seems wholly realistic, leaving you feeling somewhat empathetic.

With a creative sense of cinematic flair, Beyond Our Ken, proves that you don't need a huge budget, special-effects, or even a huge cast of big name stars to make a really great movie. It is however, a perfect example of how the core ingredients of a good story, fantastic performances, along with smart pacing and cinematography are all you need. (Lee)

Grade: A

 

Papa Loves You (Hong Kong 2004)

The movie poster for Papa Loves You (這個阿爸真爆炸) should have been a dead give-away that below-average quality was rearing it's ugly head. Surprisingly, there are some slightly entertaining and even heart-warming moments to be found here. However, don't let those few moments fool you into thinking this is a great movie, cause boy howdy it ain't!

Yam (Tony Leung Ka Fai), is an over-protective single father to his teenage daughter Ellen (Charlene Choi), who happens to be at that age where she wants nothing more than to resist her obsessive fathers ways. Having to come to terms with the fact that his daughter is growing up, Yam continues to grow concerned about Ellen's behaviour and begins following her around to see just what it is she's up to. While dining in a cafe, Yam just happens to stop an attempted hit on Triad boss leader Hung (Eric Tsang), with his "shadowless hands" technique, a move that he only seems to use in cleaning up around the house. This fateful turn of events changes Yam's life considerably. Not only is Hung indebted to Yam, but Yam also develops a reputation around town as being the legendary Mo Ye Fei Ying, an assassin who supposedly took out over 100 men during a knife fight. The boys at Ellen's school, Orange (Kenny Kwan), and Fung (Steven Cheung), become obsessed with Yam, thinking he's a hardcore assassin, and want to learn how to fight from him. Of course, Yam has nothing to teach these boys, but he makes them believe he does and will teach them everything if they promise to keep an eye on Ellen to make sure she stays out of trouble. Things don't end up going so well when Ellen actually does get involved with the real Triads and Yam has to face their leader down, fronting as the legendary assassin. It's definitely not a good thing to be known as an exceptional fighter and triad member, when in reality you just teach piano. That type of reputation eventually creates a problem when Yam is forced into having a showdown with the real Triads in order to protect his daughter.

Let me be as frank as possible by saying that Papa Loves You is a ridiculous film. I know it's meant to be a comedy, and there are a few scenes where that genre label actually seems to fit. However, most of the film is so absurd and even downright cheesy, that you feel embarrassed to be watching it at all. This movie came out when popstars were still running rampant throughout every movie in Hong Kong, so the overall feel of the film has that artificial, childish vibe to it that only those who are familiar with the EEG films will know what I'm talking about. Tony Leung, as many know, is a more than adequate actor and his role here seems shockingly out of place, but he pulls it off to some charming extent. Eric Tsang, who I hold in pretty high esteem in the HK cinema ranks, turns in a "what was he thinking" cameo as triad leader Hung. Honestly, the whole movie will leave you scratching your head with it's questionably entertaining content.

I know my words seem incredibly harsh, but Papa Loves You is mostly deserving of those words. It's complete throw-away, teeny-bopper entertainment that really only serves that one specific demographic. Everyone else should probably steer clear, because calling the movie cute is about the best compliment I can muster. (Lee)

Grade: D

 

New Police Story (Hong Kong 2004)

Symbolizing the long-awaited (by most) return to Hong Kong cinema for Jackie Chan, New Police Story (新警察故事) is almost exactly what you'd expect from everyone's favorite death-defying entertainer. It's got high-flying leaps, well-choreographed fights, and a lot of shattering glass, which is customary in Benny Chan territory. Not the best JC movie on the market, but an excellent return to form nonetheless.

Detective Kwok-Wing Chan (Jackie Chan) is merely a shell of his former self. What remains of the happy-go-lucky policeman of yesteryear is a sad, drunken, mess of a man, who honestly has every right to be that way. It's only been a year since the team under his command was brutally murdered on what appeared to be a fairly routine operation. However, Wing severly underestimated the sadistic nature of Joe (Daniel Wu) and his cop-killing cohorts (say that three times fast). The gang get their kicks by robbing banks and killing as many police officers as they can to earn "points" for their sick game. Wing and his men, including his soon to be brother-in-law (Deep Ng), were led into a warehouse rigged with numerous traps that led to them being picked off one-by-one. Clearly distraught by having his men mowed down, Wing is unable to fight Joe and his croneys off by himself, leaving him with unbearable amount of shame and guilt. Fast-forward to today and Joe and his gang still haven't been caught as they continue to rob banks and kill cops all for the thrill. The newest cop on the force, Frank (Nicholas Tse), has been assigned as Wing's new partner to take on the case. Frank knows that Wing has a score to settle and wants nothing more than to help return Wing to his former glory. Not only does this entail getting him back to the detective he used to be, but by also restoring his relationship with his girlfriend Ho-Yee (Charlie Young), as the two haven't been the same since her brother's death. Needless to say, Frank gives Wing the push he needs in order to get back in the saddle and take down these baddies once and for all.

We eventually see what makes Joe tick, as his father is a chief police inspector who constantly beats Joe at home for being a lazy, good-for-nothing brat. This in turn makes Joe hate authority figures, police included. Growing up I could definitely understand the desire to be angry with authority figures, and while I've never been treated as poorly as ol' Joe in New Police Story, the urge to murder every single cop I possible could never seemed like the right avenue for me. What I'm saying is, the motivation driving Joe and his gang of thugs seems a bit much, but it's an action movie, so no one is really going to care. They just want to see Jackie Chan do what he does best, and in New Police Story he delivers in spades...for the most part. Jackie isn't getting any younger, so naturally the presence of more wire-work is more obvious, but you can still overlook it for the sheer fact that you still know it's Jackie putting his butt on the line for your entertainment. Not many Hollywood-types can claim to go so far. Also of note is Jackie's performance in the film. We're all used to see the wacky, slapstick-humor Jackie in just about every one of his movies, but in New Police Story we see a different side to his acting. He's carrying a lot of emotional baggage and is generally just an unpleasant person to be around. Life has hit the man hard, and his portrayal of such a distraught soul is admirable, if not a bit over-the-top at times. Nicholas Tse is great at taking over the comic-relief role, and even Daniel Wu (Golden Horse Winner for Best Supporting Actor) conveys the troubled-youth angle in a believable fashion. Andy One (on the the gang members) does an excellent job holding his own in the fight scenes with Jackie. All I'll say is I love Legos! Charlene Choi of TWINS makes an appearance as the police departments IT personality, and is really only notable because I know there are a lot of TWINS fans out there.

I really welcomed New Police Story with open arms. Jackie had been reduced to side-kick only roles (for the most part) here in the states, and when he was the leading man, it was a sad sight to see (The Medallion, The Tuxedo, etc.). I really couldn't have expected more out a man well into his fifties, that continues to impress and entertain with his acrobatic ability. It has the feel of a well-polished popcorn movie, but for Jackie Chan fans, it's a ray of hope in what appeared to be a career on the downward spiral. A return to the motherland, is a return to form. Viva la Hong Kong! (Lee)

Grade: A

 

Trivial Matters (Hong Kong 2007)

A wide array of experiences in life, death, and relationships, Trivial Matters is the film version of seven short stories from director Edmond Pang Ho-Cheung aimed at amusing the masses. Problem is, the more stories you have, the higher the risk of a hit-and-miss situation, which is exactly what this package as a whole provides.

Vis Major - The film opens with an off-camera therapist (Jan Lam) trying to get to the root of a married couples (Chan Fai-Hung and Crystal Tin), problems. Naturally, both sides have their own unique spin on the story of their sex life which is recreated through the use of no-name actors as both husband and wife explain their discomfort over the therapist visualizing them having sex.

Civism - Next, we see Edison Chen and Stephanie Cheng in a dance club having a conversation on what it means to be a "civil" citizen. Edison goes into great, and graphic, detail about what it is that makes him such a great helper of the working class.

It's A Festival Today - Chan (Eason Chan) and his girlfriend Wai Ying (Isabel Chan) move in together but they each have a different motive for doing so. Wai Ying wants to save money on the rent and further develop their relationship. Chan just wants to have sex but Wai Ying wants to wait until after marriage. He convinces her that "oral" activities isn't the same as having sex, so she agrees to it because it's Christmas day and she wasn't able to buy him a present. After that, she'll only "service" him on holidays.

Tak Nga - Told from the perspective of a future race living on another planet and in silent-film style, an instructor is telling his class the story of Ai Chi (Kenny Kwan), who writes a letter to the editor of Easy Finder magazine in hopes that they'll name a star after his crush Tak Nga (Angela Baby) for her birthday.

Ah Wai The Big Head - Ah Wai (Gillian Chung) is an insecure secondary school student who often relies on the advice of her friend Kate (Stephy Tang) before making any decisions. Ah Wai mentions that a garage worker by the name of Eagle has taken notice of her and she can't decide if she should date him or not. Kate really doesn't care about Ah Wai's problems and seems to just tell Ah Wai what she wants to hear in order to get rid of her. Kate is busy being in love herself and is planning a trip to Japan with her boyfriend Ronald. When things take a serious turn for Ah Wai and she needs Kate's help more than ever, their quasi-friendship is put to the test. Eventually the girls find themselves in similar situations, but the end result is the opposite of what both girls expected.

Recharge - We're back with Chan and the story of his prudish girlfriend, but now the focus is on his best friend Ah Keung (Chapman To). Through narration, Ah Keung gives the impression that he's no stranger to the "services" prostitutes provide and soon finds himself in a hotel with a woman from Shanghai by the name of Fay Fay (Zhang Zheng). The two of them exchange some small talk and eventually conduct "business" together. However, by the end of their encounter you can tell by the looks on their faces that both have been somewhat changed, even if it's ever so slightly.

Junior - The last story starts with killer-for-hire businessman Feng Xiaogang explaining to his client Peter Kam, a long time customer of Feng's company K&C, that due to his frequent use of their service, he's now eligible for a new bonus scheme they've implemented. Peter now has a coupon worth one free kill as long as the killer is someone from K&C's Junior Hitman Training Program. Enter our junior hitman (Shawn Yue) who finds his target Chan Wei Yeung, working at the bowling alley. When Junior confronts his target, gun drawn and all, Chan is caught hitting the bong red-handed. Instead of doing his job, Junior decides to get high with his target instead.

Based on producer/screenwriter/director Pang's collection of short stories, it's safe to say that not all of the stories portrayed in Trivial Matters translated to film successfully. I haven't read the collection, but I can only hope this was the case. Some of the stories are genuinely entertaining; It's A Festival Today and Ah Wai The Big Head were the stand-outs for me. The former for just being funny in a dark way and the latter for telling an affecting story about friendship. As a side note, I'd like to point out that Eason Chan may have the worst hairstyle in all of Hong Kong cinema. Tak Nga and Junior were quite pointless and Junior in particular felt like an inside joke that none of us were meant to get. The only thing I can say about Civism is that I don't think it's real word and it made me dislike Edison Chen more than I already did because I get the distinct feeling that his "character" in this story is how he is in real life. The attempt at humor in Vis Major was somewhat lost on me, as I've yet to hit that married, middle-aged period of my life but it was cute nonetheless. Recharge, while showing a fine performance by Chapman To, also felt completely unbelievable. A man who frequents the use of prostitutes is suddenly smitten by one girl in particular with no real connection (outside of the sex mind you) to make him feel this way. While I'm at it, I should point at that Trivial Matters isn't too shy when it comes to nudity. Mostly of the female persuasion, but a cameo by Chapman's tubby bottom does make it's way into the film.

Trivial Matters, if nothing else, is aptly named and a fine display of potential from Pang. The variety of stories within seem to aim at having something for everyone, but that alone should tell you, possibly even warn you, that your overall enjoyment of the film will vary. (Lee)



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Twins Mission (Hong Kong 2007)

Twins Mission (Seung chi sun tau) centers on a martial arts school called "Twins", whose members are all twins (get it?). Some of the former members are now performing circus acts, including acrobats Pearl and Jade (Charlene Choi and Gillian Chung). Another former member Lau Hay (Wu Jing), whose twin brother is gravely ill, is commissioned to protect the mysterious "Heavens Bead" from Tibet, with assistance from Uncle Luck (Sammo Hung). However, some evil former Twins members steal the precious bead, prompting Uncle Luck to seek help from ex-Twins leader Chang Chung (Yuen Wah). Chang Chung then sends Pearl and Jade for a mission to uncover the "Heavens Bead". The girls have to fend off the rival twins who try to stop them every bit of the way. The evil set of Twins are after the bead, under the orders of Mr. Mok (Sek Sau). If Mr. Mok has the bead, he'll have leverage with Lillian (Jess Zhang), who owns land that he's after. The only reason she needs it is due to it magical healing properties that will cure her younger sister, Happy (Qiu Lier), who has cancer. Pearl and Jade end up with control of the Bead and try to help Lillian, but Mr. Mok gets the upper hand by kidnapping Lillian's sister Happy. Time for our girls to gear up for a little revenge and rescue.

The Twins are back for their twelfth movie together and boy is this one for the ages. The plot is what one might call a, "train wreck of sorts". There are tons of scenes that seem to exist for no reason whatsoever, and really do nothing to move the story forward in any way. Honestly, they just seem to confuse the viewer. Just when the plot verges on the edge of unbearable, there is a slight break for some action. Before you get too excited, all this means is you now get to see the girls replaced with obvious body doubles while the editing tries it's best to hide the fact that it's really not them. One the other hand, you do get Sammo Hung , Wu Jing, and Sek Sau, who do a pretty good job in their fight scenes, but that's to be expected. That being said, it's still not enough to recommend even to the biggest Twin fan. So in the end Twins Misson throws a lot at you, but the stuff it's throwing is a bevy of bad green screen and C.G. effects, plus tons of "wire-fu" fight scenes that just hurt the final product more than it helps. The Twins Mission is hopefully the last one we'll go on, but somehow I highly doubt it. (Converter)



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House of Fury (Hong Kong 2005)

A near perfect example of style over substance, House of Fury marks Stephen Fung's second foray into directing territory. The jokes are clearly aimed at a younger audience, but thanks to some excellent action choreography from Yuen Wo Ping, the end result is a film that's good enough to please hardcore martial arts aficionados and the little ones as well. Families are more than welcome.

Siu Bo (Anthony Wong), an aging widower, works as a practitioner in ancient Chinese medicine at a clinic which is frequented by his close friend Uncle Chiu (Ma Wu). When he's not running his clinic, he's at home trying to deal with his two, near-grown and constantly bickering children, Nicky (Stephen Fung) and Natalie (Gillian Chung). Nicky works as a dolphin trainer at Ocean Park and swoons over his sisters cute friend Ella (Charlene Choi). Natalie, on the other hand, has a significant other in Jason (Daniel Wu), a musician with a bad Cantonese accent who just wants to make a good impression on the family by doing cute things like bringing a baby pig over for dinner. Siu Bo loves to embarrass his children by telling jokes and stories about how life used to be and all of the exciting things he used to do in front of his children's friends. Naturally, his kids never take anything dad has to say as truth and would rather he just shut up. It's a seemingly typical family relationship that's only unique due to the fact that everyone knows kung-fu and they're not afraid to use it! Nicky and Natalie love to squabble with each other and lucky for us viewers, they make it look so good.

A typical day at the 'office' turns into anything but when Rocco (played by questionably talented Michael Wong) shows up to question Siu Bo on the location of a man named Tai Chi Lung. Apparently this Tai Chi Lung is responsible for paralyzing Rocco from the neck down twelve years ago while Rocco was on a mission in the Philippines. Now Rocco has arrived in Hong Kong to return the favor. Siu Bo plays the fool and sends Rocco and his son Nelson (14 year old karate/taekwondo prodigy Jake Strickland) packing. We know Siu Bo is hiding something and suddenly all those stories about being a secret agent and doing undercover work don't seem so far-fetched. Unfortunately for Siu Bo, Rocco knows he's hiding the truth as well and sends his henchman to beat the answers out of him and trash the clinic in the process. Rocco takes Siu Bo captive and now it's up to Nicky and Natalie, with a little help from their friends, to find dear old dad and discover who this Tai Chi Lung is once and for all. The 'third-act' has a surprise(?) twist to it that you really won't care about. After finding out who's who, you'll more than likely just be eagerly awaiting when the next fights going to happen.

Everyone does what's required of them for the sake of the movie, as it's most definitely not a vehicle in which to show off acting chops. It's all very passable stuff for the most part. Anthony Wong is an actor who makes every performance look effortless (and I mean that in a good way). Gillian Chung does a fine job at playing the stereotypical diva-like younger sister, who transitions nicely into a butt-kicking action heroine when the time is right. Stephen Fung does more than adequate with his fighting scenes. Daniel Wu just hangs out most of the time, coming into play later on in the movie in ways in which I can't reveal here, while Charlene Choi manages to stay on screen just long enough to make it a starring role and not a cameo. Jake Strickland, 14 years old or not, can really hold his own and his skills with a bo are pretty amazing. His acting on the other hand was pretty terrible, to the point where you could really believe he was Michael Wong's son. Speaking of which, the real bad guy of the movie, in more ways than one, is indeed Michael Wong as Rocco. Not only is he the villain in the traditional sense of movie baddies, but his horrible acting makes him even more of a threat. He speaks in English only (except for a sentence or two in Cantonese), and you'd swear that he's just reading off the script while the cameras are rolling. The man couldn't deliver a pizza, let alone a line of dialogue. Be afraid dear viewer...be very afraid.

We definitely aren't dealing with an award-winning storyline here either, but anything more than what we get wouldn't be necessary. It really just serves as filler in-between the real reason you're watching in the first place: the fight scenes, and boy are their a lot of them. Seeing as we have the best in the business responsible for planning out the action, that's a good thing. Yuen Wo Ping, together with Stephen Fung's direction, does an outstanding job at making the actor's look like they really know how to fight. To Stephens credit the shots are cut in just the right way so that your not clearly looking at a stunt double performing some of these moves, and the fact that Stephen lets the actors 'breath' by actually showing us the fights is icing on the cake. There is nothing worse in a martial arts film than tight shots where the audience can't even tell whats going on or who's hitting who. Equally as impressive are the close-ups of the actors actually performing some of these well-choreographed scenes, leaving no question of their capability. At times the action relies a little too much on the wires, or cables, or whatever you want to call them, making for some obvious and ugly looking moves, but these instances are more in the minority than majority. The scene at the closed Ocean Park with Nicky, Natalie and two of Rocco's hench(women) was my personal favorite, minus the wire-fu of course.

It's campy and it's childish, but it's also fun and often times entertaining. You couldn't have asked for a better action choreographer than Yuen Wo Ping to give House of Fury and it's 'almost' entireley A-list cast some much needed credibility. However, you could've asked for a better actor to play Rocco. In the end, not even Michael Wong could ruin House of Fury and that's really saying something. (Lee)

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Diary (Hong Kong 2006)

There's a saying that I use a lot when I'm telling someone my thoughts on a movie. It's not something I want to say about a movie, but it happens more often than not. That saying? “It was great idea, but poorly executed.” Unfortunately, I found myself saying this again after watching Diary, the most recent psychological suspense-thriller from Thailand's hottest export Oxide Pang.

In Diary, Charlene Choi (one half of the Hong Kong super-duo Twins) stars as Winnie Leung, a seemingly harmless perfume store employee who leads a rather lonely life. Remember one sentence ago when I said “seemingly harmless”? Well the catch here is that it turns out young Winnie isn't so harmless after all. She has serious mental delusions...oh who am I kidding, the girl is crazy! Oxide Pang makes it a point from the get-go to inform the viewer that Winnie is far from the ideal of picture-perfect mental health. At times she's intently staring at things that don't seem to exist and at other times she's distracted by sounds and movements of things the viewer is unaware of. As to what these 'things' are, I shall go no further for the sake of not ruining any surprises.

She paces her tiny apartment wondering where her boyfriend Seth (Shawn Yue) has disappeared to, calling him on his cell phone (to no avail) and expressing her feelings of urgency and anxiety to her best friend (played by Isabella Leong). No matter how much Winnie tries to contact Seth, she continues to come up short...until she goes to wait for him at his job. She sees Seth coming out of the building and confronts him, but the weird thing is, Seth doesn't seem to recognize Winnie, because this guy isn't Seth, his name's Ray and the two just happen to look alike. Confused yet? It's OK if you are, because it's bound to happen sooner or later. Like I was saying, this case of mistaken identity of Ray for Seth turns into a lunch date, which eventually turns into acceptance on Winnie's part that Seth just might not be coming back. So Winnie and Ray begin seeing each other and eventually become something of an item. The relationship these two develop is anything but perfect, largely due to the fact that Winnie can't stop talking to Ray about her ex Seth. I mean seriously, what guy wants to keep hearing about his girlfriends ex-boyfriend? Winnie also, from time to time, writes in her diary (hence the movie's title) about her issues with the opposite sex and...other things. You'll see just how relevant it all is by the time the movie ends, trust me.

Now at this point you're wondering about a few things: just how mental is Winnie? Where did Seth go? Why is this story trying to do more than it's obviously capable of doing? Oh the mysteries of the universe. Sure, you'll get the answers to at least one of these questions, but once you do you'll also wonder if the wait was worth it. Oxide Pang, as most of us are aware, is a very capable director in terms of making it all look good, and he does a pretty notable job at creating some simple, yet effective environments for the small cast to work in. The problem is with the telling of the story. It's incredibly over-ambitious in what it tries to do and convey to the audience, often times feeling muddled together. More often than not, we're left wondering what exactly is going on, and not in the, “I know theres a cool twist-ending coming” kind of way either. Charlene Choi shows a side to acting chops that most of us didn't even know existed. She's incredibly believable as the clearly unstable, jittery, possibly schizophrenic Winnie Leung. Shawn Yue isn't going to win any awards with his performance as Seth/Ray. He does his job and that's about all. Isabelle Leong has a small role, providing advice and guidance for Winnie as she struggles to cope with her relationship issues. Again, nothing spectacular.

This is a tough movie to review without giving anything away, because Diary is just that kind of movie. It's all about questions and what you hope will be answers. You also know that your going to have a twist-ending that you're not supposed to see coming a mile away, and again, due to the odd method of story-telling, you probably won't. Diary is a movie with a premise that I wanted to really stand behind and enjoy, and many of you probably feel/felt the same way, but I have to close this review the same way it began: good idea, poorly executed. (Lee)

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