Reviews
UNDERCOVER PUNCH & GUN Review – Gunning For Nostalgia
There was a span of time from the early 1980s until the mid-1990s where Chinese action films from Hong Kong were produced with such regularity that it seemed like instant classics were constantly appearing in video shops. Films by performers like Jackie Chan, Sammo Hung, and Jet Li came in like a steady stream but the reality was not all of these films were great. The consistently high volume of output from the HK film industry in those glory days meant that for every actual classic that got released, there were dozens of other action films released that were less than memorable. Even these second or third-string titles though often had an enthusiasm and urgency to them that made up for their poor acting, cheap sets, and incoherent scripts. They also always had action that was head and shoulders above anything else being produced in the world at the time. The worst Hong Kong action film during this time would still reward a patient audience with at least one solid moment of kinetic mayhem for sitting through a ninety minute film of questionable quality.
Fantaspoa Review: CEMETERY OF THE LOST SOULS, Giving The Devil His Due
European colonizers brought any number of things with them to the New World (you know, death, disease, forced religious conversion), but in the 2020 release, Cemetery Of The Lost Souls (O Cemitério das Almas Perdidas in Brazilian Portuguese), a Satanic priest was the unexpected arrival to the South American landscape.
WRATH OF MAN Review – Jason Statham & Director Guy Ritchie Bring The Fury
Jason Statham has had a long and varied career as an actor. If you close your eyes though and picture a “Jason Statham” movie, I would hazard a guess that the mental image that is conjured up is one of two possible archetypes from his filmography: one the “action hero”, stoic and invincible, the other the “charming hoodlum” funny and quick-witted with just a bit of grime under his fingernails. Both are capable but in very different ways. These two sides of Statham have never really coexisted in the same film. They feel pulled from two different eras of his performing life- a divide between the days of him as a “character actor” and as a “movie star.” With his latest film, WRATH OF MAN, those two aspects are fully represented under the guidance of the filmmaker who gave him his first big break, writer/director Guy Ritchie (THE GENTLEMEN).
THE BAD BATCH: Animated ‘Star Wars’ Offshoot Takes Off In Top Notch Form On Disney+
As if we needed more reasons to celebrate May the 4th, Disney released the new Star Wars series, The Bad Batch.
MORTAL KOMBAT Review: Between What Works And What Doesn’t, Simon McQuoid’s Freshman Debut Is A Test Of More Than Might
“Why are you trying to fix what isn’t broken?”
THE OTHER SIDE OF THE RING Review: A Tale Of Brutal Spills And Alluring Thrills That Know No Gender
Documentary filmmaker Jeremy Norrie’s latest piece of work, The Other Side Of The Ring, begins in just the way that you’d hope if you were anyone who loves wrestling: An opening shot of Keta Meggett (a.k.a. Keta Rush) throwing a Hurricanrana to a roaring crowd of WOW wrestling fans.
MORTAL KOMBAT Review: A Noob’s View
I just saw the Mortal Kombat movie in the theater, and as a casual viewer and MK noob, I can’t say I was either over- or underwhelmed. Remember, the key words here are “casual viewer.”
Your Next Reads: Five True Crime Books for Your TBR Pile
For those of you wondering, yes, my True Crime book club is still active! I’ve been so engrossed in reading (true crime, items for my 2021 Reading Challenge, for another book club I’m in, and other books as I find them), that I have not slowed down enough to actually write about what I’ve been reading! So, to help catch you up on what has been going on in my True Crime reading, I am going to summarize our last five reads and our reactions:
THE VIRTUOSO Review – A Timely Thriller About Assassinations and Isolation.
Isolation is something every person has become more familiar with over the past year. Keeping distance from others is now more common than any other time in recent history. Deliberate rituals and protocols keep us safe from harm. Human contact is thoughtfully considered and weighed against the risk it causes. All those things have become the everyday reality for reasonable people as the COVID-19 pandemic continues to be an issue worldwide. The world has become a little lonelier in ways it may possibly never fully recover from. I was reminded of all these things as I watched THE VIRTUOSO, a film clearly made before the pandemic but that still feels so deeply rooted in the shared trauma of the here and now.
‘An Elegant Nightmare’ – Retro Review: THE PIANO TEACHER
Though debated as an art form, cinema can do more than just entertain as it can harness raw emotions to solicit reactions ranging from elation to fear. If one looks hard enough, cinematic avenues beyond the mainstream present themselves and the art that one seeks can quickly distort and ultimately disturb the viewer. From personal experience, one key scene in Gaspar Noe’s ‘IRREVERSIBLE’ (2002) caused me to exit the theatre as I dry wretched; Srđan Spasojević’s ‘A SERBIAN FILM’ (2010) prompted severe insomnia for over two days; Pascal Laugier’s ‘MARTYRS’ (2008) rendered me incapable of eating for a day, whilst the less said about Pier Pasolini’s ‘SALO’ aka ‘120 DAYS OF SODOM’ (1975) or Takashi Miike’s ‘AUDITION’ (1999), the better. Pragmatists will critique such reactions asserting the fictionalized stories as ‘It’s only a movie’ but these are often the same people who may blatantly avoid such alternative genres, rendering their criticisms as moot. These style of films do not exclusively exist within a vacuum, however their presence is undeniable and thus should be treated as more than merely a curio. The stark question will always be why venture into this style of modern cinema in the first place? Some genuinely seek a shocking experience, yet for the most part (in my opinion) it is all about witnessing the risk a film maker has decided to take, with the pay-off being the audience appreciation and creating an unforgettable experience. Although touted as a romance or psychological drama, Michael Haneke’s 2001 film THE PIANO TEACHER (TPT) nestles nicely into the aforementioned category of disturbing films – and though it flirts with eroticism, there are enough terrifying elements to make this a gothic horror film. Based on a 1983 novel by Austrian playwright and novelist, Elfriede Jelinek; TPT is a descent into the depths of depravity with the hellish concepts of sado-masochism juxtaposed against the classy and sterile setting of a music conservatory. What transpires is a slow burn, but one that Haneke initiates so masterfully it really gets under the skin. Isabelle Hupert plays Erika Kohut, a middle aged piano professor teaching at the Vienna music conservatory. She is seemingly strict and demanding, with such being attributed to her own sense of perfection and high skill. However, despite her self-assured manner, Erika still shares an apartment with her controlling elderly mother as her father had previously been committed to an asylum years prior. Though professionally brilliant, her personal life is besieged by an unnatural level of control and Erika is a sexually repressed and isolated lady that is fascinated by everything from sadomasochistic fetishes to self-mutilation. Whilst by day she commands respect and fear from her conservatory students, by night she is tormented by parental restraint – even having her own finances micromanaged by her unnamed mother (Annie Girardot). Suddenly, Erika fixates her attention on a young engineer and new talented musician in Walter Klemmer (Benoit Magimel) with whom she meets at a recital. Walter initially expressed his admiration for Erika’s talent, however her aloofness creates a social barrier that prevents him from getting close to her, further enforcing their their Teacher-Student dynamic. Deeming her uninterested, the young and handsome Walter flirts with another student Anna (Anna Sigalevitch), which causes the jealous Erika to covertly exact a vicious act and damage Anna’s piano playing hands. Though Walter tries his best to pursue Erika, she rebukes his advances with a nasty level of humiliation, playing mind games as she pretends to satisfy his urges before quickly becoming distant. Walter is clearly infatuated with Erika and pursues her with enthusiasm, only to sharply alter his perspective when she presents him a document that details her deepest and darkest desires. Justifiably repulsed by Erika’s requests, Walter seemingly exits the dynamic only to return in a brutal fashion that leaves the piano teacher distraught and in an almost catatonic state. Without revealing too much, Haneke snares the viewer into a pit of despair, where idealized notions of love are instead challenged and replaced by primal human desire. Magimel’s Walter Klemmer is everything that Erika lusts after, as he is good looking, talented and seemingly kind. However, Walter’s outward appearance hides a darker and malicious persona that further corrupts Erika’s already twisted mind. There is a shifting power dynamic that quickly alters but only serves to benefit one party and leaves the other in a damaged state beyond any sense of repair.Huppert is excellent as the repressed Erika, whose overwhelming coldness to those around her inhibits her own ability to feel the warmth of love that she so desperately seeks. When the opportunity presents itself, she is unable to articulate any expression of real humanity with her own self destructive desires resulting in the worst possible outcome. Whether willing or unwitting, one could easily opine that Erika quickly becomes the prey given her lack of self-awareness or understanding of social norms. With that, even her cold exterior serves as poor protection for the predatory manner of those she desires most. Ultimately what she seeks from Walter, results not in catharsis nor liberation but the realization that her own growth has been stagnated by the way she has treated others. This perhaps a by-product of her own strange upbringing, which is never explored in full, but certainly implied. Though this movie was released over 20 years ago, one could assert that it is largely polemic as much as polarizing. Although it may have been dogged by controversy in the year of release, viewing it now still leaves a potent taste in one’s mouth; akin to that of a hangover permeated by taste of Chartreuse or any strong alcoholic beverage still lingering in one’s system. There is no miracle cure, but once sobriety (or rather normality) is achieved, we venture back into the same decadence that caused the pain in the first place. Such is the masochistic excellence of THE PIANO TEACHER, hence at the 2001 Cannes Film Festival, this movie won the Grand Prix with the two leads (Huppert and Magimel) winning Best Actress and Actor, respectivelyYet with a retrospective view, one cannot but praise Haneke for what is essentially an antithetical piece that thumbed its nose to the formulaic structure of mainstream cinema. And this is an assertion that can still be applied today, two decades after the movie was released. That is the sheer talent of Michael Haneke. As with his original ‘FUNNY GAMES’ (1997) and the more recent ‘HAPPY END’ (2017), Haneke freely studies the darker side of humanity, with equal parts creativity and shock value. Throughout the course of the film, the audience is (somewhat unsurprisingly) treated to an incredible soundtrack, punctuated with key classical notes that perhaps lull you into a false sense of security. And as masterfully as this is established, the final act is devoid of any such audible purity as we witness a horrific moment of dehumanization. When you peel back the veneer of perceived perfection, there is sometimes a hellish scenario of depravity, a theme that is evident in Haneke’s film. It is reminiscent of the opening scenes of David Lynch’s BLUE VELVET (1986), where the pristine quality of suburbia hides what is essentially imperfect, corrupted and contaminated. TPT is very difficult to get through, but if one can stomach the subject matter then it becomes easy to appreciate the absolute brilliance of this Austrian Director. Quite frankly, what Haneke has managed to paint is an elegant nightmare, and one that will continue to fester in your consciousness days after you have experienced it. Paradoxically, this is as much a careful warning as it is a glowing endorsement.
‘Grave Encounters’: ONE GRAVE FOR THREE MEN Review – Fantaspoa 2021
On a whole, it’d remiss not preface this review with the statement that this journalist is largely unfamiliar with Latin American cinema on the whole. By contrast to the larger, better established European markets as Germany, France or Italy venturing into this nation’s output came with a degree of trepidation. And yet ‘UNA TUMBA PARA TRES’ aka ‘ONE GRAVE FOR THREE MEN’ (OGTM), was a pleasant surprise, though nothing ground breaking – no pun intended. It was included as part of the selection for the recent FANTASPOA Film Festival and given its kitschy entertainment value, it is easy to see why. OTGM starts as a by the numbers crime story with an bank robber/enforcer named Victor (Diego Cremonesi) having his vacation unceremoniously cut short by two colleagues Manuel (Demian Salamon) and Juan (Daniel Pacheco). Understandably fazed by this intrusion Victor reluctantly accompanies his colleagues, on the advice of their mob boss Roselli (Chucho Fernandez) but given this premise, nothing goes to plan.There is a genuinely appealing dynamic between the three low rent criminals throughout the movie. In the opening moments of the film Manuel and Juan bicker over the quality of pizza at a specific venue, whilst Victor’s face portrays equal parts fatigue and annoyance. Through the snappy dialogue, we quickly become privy to the job that these three are pursuing; they enter a seemingly vacant property seeking to capture Carlos (Hernan Marquez) a reckless relative of their mob boss. However, the foreboding silence is quickly destroyed by a seemingly invincible Carlos attacking them and all three retaliating with gunfire and killing Carlos. Problems immediately arise when their boss, calls to check in and informs the unlucky three that their target was needed alive. Understandably vexed by their irreversible act, the three concoct schemes to cover up their mistake – with Manuel proposing the unconventional use of a mysterious shaman named El Chebu (Emiliano Carrazone). For a small fee, the creepy looking El Chebu calls on his expertise to reanimate the corpse of Carlos whilst Manuel and Juan drink whisky and Victor indulges in elicit substance abuse. Though, the effectiveness of the shaman is unknown at this juncture of the story, the impulsiveness of Juan results in a stand-off, resulting in El Chebu acquiring a swag of cash, drugs and leaving the three stranded as they await the arrival of their mob boss.The sudden appearance of two vivacious but street wise women Sandy (Soledad Garcia) and Sol (Daniela Pantano) add an additional element to the mix, as now the tragic trio are left having to deal with new unwanted female guests, a problematic neighbour named Nelly (Monica Villa) and the impending arrival of their mob boss and his heavies. All the while the corrupt and irate Police Chief Rosas (Gerardo Romano) is also closing in on the location, with a posse of his armed police. Cue a hilarious siege scenario, complete with a requisite shoot out and an unpredictable twist ending. The way that the circumstances unravel and gradually become increasingly complicated, may sound tedious but instead of complicating the viewer interest – it makes it all the more hilarious. The three main protagonists all vary in personalities, and hence manage the circumstances differently. Victor is the obvious leader with a more practical outlook (that is before his rampant hallucinatory drug use occurs); Manuel is largely sensitive and friendly, whilst Juan is belligerent and impulsive. Regardless of the dynamic, all three are likable and it’s the interplay between them and other characters is the key selling point of the film. The distinctions in each of their characters, makes their behaviour, largely unique and definitely keeps the audience engaged. None of the three are the slick underworld types that boast the romanticised ‘cool’ factor of say Michael Corleone in ‘THE GODFATHER’ or even any of the ill-fated players in ‘RESERVOIR DOGS’; but their hapless yet well meaning abilities make them more endearing throughout the course of the film. The compounding issues escalate with severity but the Director, Mariano Cattaneo has laced his film with so much humour one cannot help but to laugh; whether it be at the trio’s attempts to cajole their mob boss or even the brief introduction of bumbling two highway police officers who debate retro action movies. By and large, new characters are introduced at somewhat of a haphazard pace but it adds to the manic and decidedly comedic quality of the film.Given the occupations of the leads, the corruption of law enforcement and the dubiousness of the mystic it was somewhat of a relief to have Nelly, the nosy neighbour as the moral centre of the piece. Though initially appearing as cantankerous side character, her history with one of the players is gradually revealed, with her own vengeance arc being pursued and her heroics are a standout. Make no mistake, this is not the award winning ‘CITY OF GOD’ nor is it trying to be. At a cursory level one may think it shares more in common with Robert Rodriguez’s ‘FROM DUSK TILL DAWN’, but such a comparison would be an over simplification of what Mariano Cattaneo has achieved with this film. There are shades of the excellent but seemingly forgotten ‘PERDITA DURANGO’, but this is a genuinely funny and unique comedy. More astute viewers may focus on the title to guide their cinematic expectations, however with a comedy like this, it is more viable to watch this with an open mind and just be entertained.
Mortal Kombat (2021) Review – Fumbling At The Controls
The year is 1992 and it’s a Saturday. I’m thirteen years old and, like most weekends during that time in my life, I’m at the mall. When I wasn’t at the food court horsing around with my friends, or rummaging through the shelves of movies at the music store, I was at the arcade. The arcade was typical of the time period- dimly lit with only the glow from the various machines adding any real illumination to the darken amusement-filled space. It was always crowded and noisy, electronic boops and beeps mixing with loud laugher and even louder conversations as people crowded around the various arcade cabinets. On this particular day the crowd seemed denser, the laughter and excited chatter even louder. Something was happening.
MORTAL KOMBAT Review: Mildly Flawed, But Retkonned Victoriously
Look at all pre-existing examples from Steven de Souza’s Street Fighter (1994) and Andrzej Bartkowiak’s Street Fighter: The Legend Of Chun Li (2009) to Gordon Chan’s ill-conceived take on King Of Fighters (2009), and even Tekken (2010) and its hackeneyed direct-to-DVD sequel. The bright spots within many of these films, and areas of massive potential to world-build in ways that could accommodate their respective fandoms and moviegoers alike, are imminently outweighed by the perpetual failures of their overseers to fully understand the source material enough to conjure solid narratives and better stories.Even the prospects of Paul W.S. Anderson’s Mortal Kombat – a production diluted from comme il faut violence per the games in place of show-stopping martial arts action sequences by Pat Johnson and starring actor Robin Shou to provide a somewhat cohesive and suitable welcome into the universe on the big screen – reportedly fell to studio machinations with an even gaudier sequel, thanks in part to an ill-informed test screening audience, that is, if film historian Brad F. Henderson’s tweets posted back in February are any hint.With any movements onto a third film in any sort of capacity boding with no real results for the next seventeen years, it’s not hard to wonder why any chance for a new film felt like a hopeless one. Personally, I never gave up, no matter how many people told me that a movie was NEVER going to happen, and even if they might’ve been right – and should a new film actually move forward, the lingering question always remained if whether or not it would have been done right.For all intents and purposes, director Joey Ansah’s Street Fighter: Assassin’s Fist (2014), a long and hard-earned effort by a team that managed to craft and cohese a solid webseries/narrative feature film within five years of its own three-minute proof pitch, stood as proof that it was possible to flesh out a meaningful and layered story and a tactful presentation of fighting action that magnifies the characters involved. For me, it was, and remains the high mark of tournament fighting game adaptation for movies.Does that mean that commercial director Simon McQuoid’s own feature filmmaking studio debut with Mortal Kombat should be a similar beast? To answer that question, you would have to look at the history of the franchise, and all the necessary details to conceive what might have been possible on a scale beyond one’s own individual perceptions. As inane as it might sound, Tancharoen’s own empassioned contributions to the franchise in 2011 and 2013 still generate my own curiosity as a filmgoer, his two-season webseries was an impressive feat to achieve in many areas, and aside from the unreleased third film, it might’ve been amazing to experience what he could have done on the very movie he was supposed to direct.Similarly, I would even say the same thing if McQuoid were in his predecessor’s shoes at the time, and for that, there is a huge air of gratitude on my end that he and his people paid attention to this franchise, enough to spot the likes of actor and martial artist Lewis Tan who himself had a role in the unreleased and otherwise scrapped third season in Mortal Kombat Legacy. Barring any suggestions of him playing an already-prevalent game character for that matter, it’s important that we had screenwriters in Greg Russo and Dave Callahan to provide a new story template for McQuoid to allow Tan to build on as an actor genuinely capable on multiple fronts for a film of this caliber, and so looking at the role he plays in McQuoid’s Mortal Kombat as he evolves and transitions from Cole, a mere downtrodden cagefighter to an armored warrior battling some of the universe’s most powerful killers, you’re invited with enough leeway into a treatment of Mortal Kombat that not only avoids saturating you by playing with the same pieces and parts, but instead reallocates its characters and thematic attributions to foundate its broader, more ambitious scope.As far as technical aspects go, the action and spectacle deliver some impressive moments with plenty of gore to whet the average Mortal Kombat fan’s appetite for brimming violence and gore, with some characters meeting their end far worse than others. Each character gets their time to shine with an arc to bring their growth full circle from the moment they appear on screen going forward, including the role of Jax (Mehcad Brooks) in his stoic, introspective recovery from his near-death battle with Sub-Zero (Joe Taslim) (as teased in the first red-band trailer), and even Sonya Blade (Jessica McNamee) as she balances between her dauntless quest to confront Outworld’s enemies and keeping incorrigible criminal overlord and otherwise “chosen” fighter, Kano (Josh Lawson) at bay.Earthrealm protector and Elder God, Raiden (Tadanobu Asano) is not without his share of chiding demeanor and wit as he struggles to cope with the underdog champions he’ll have to train with the help of studious Shaolin warriors Liu Kang (Ludi Lin) and Kung Lao (Max Huang). We also get a feasible introduction of meaty Shokan half-human dragon, Prince Goro, CG-rendered in his exchange with Cole; Frankly, there isn’t a huge difference in graphics from the initial trailer, and so the visuals here may be a bit of disappointment to those expecting better, although it doesn’t distract too much from the pacing and importance of the fight, and Tan’s performance in it as a key sequence that stands pertinent to the rest of the story.The climactic melee between our heroes and villians later in the second hour comes across as more abridged than preferred, and lacks the kind of paced, extravagant and brill showing of our characters fighting one another scenes in Anderson’s film. Rather, it plays off of a similar approach in John Leonetti’s 1997 film, done in a way that, in line with other areas of the film, brings gravitas and a sense of course-correction that fittingly feels like a righting of past wrongs. The editing does seem flawed and questionable in some areas, but the cinematography does takes ample care of what needs to be seen and lensed, especially when it comes to much action and set-pieces.Perhaps the biggest and most essential element to the story in Mortal Kombat here comes in part with getting to know the roles of Scorpion (Hiroyuki Sanada) and Sub-Zero, and their bloody and dark history as taught and revisited time and again throughout the franchise’s multimedia attributions. Some things are left as only suggestive and implied, as we begin to connect Cole with the rest of the world of Mortal Kombat that looms around him, and it serves less so as a stumbling point in Russo and McQuoid’s storytelling than a setup to build interest in learning more about the Hisashi bloodline, and the people that co-exist who can possibly help further culminate this particular cinematic reboot into franchise fruition.For better or worse, McQuoid’s Mortal Kombat works in the same way that some remakes and reboots are able to function, and though my own list of such films is of a limited variety, it still bodes as significant proof that it is possible to establish a cinematic, live-action avenue for adapt video properties. The red-band trailer for this movie sells it accordingly, and so while the film still endures its share of minor corporate shortcomings, it doesn’t mean the film is a failure.If you’re asking on a one-to-ten star scale what my final opinion is, I give it an eight. A lot of what may irk some viewers about this film doesn’t faze me as much (especially given all the indies I’ve watched all these years), but where there are filmmaking faux pas, there is room for improvement. Sans certain character familiars in conjunction with the many easter eggs seen in this film notwithstanding, I nonetheless fully support what this film accomplishes in establishing a fresh, nascent and compelling story on ground familiar enough that it easily invites everyone, both new and common to the Mortal Kombat franchise, a seat at the arena.Mortal Kombat is now playing in theaters and IMAX, and is available for the next 31 days on HBO Max at no extra cost.
It’s All Fun and Games in MURDER BURY WIN
Why do you play games: for fun or to win?
Movie Review: The Paper Tigers – “FEROCIOUS FERVOR”
Late one evening, a venerated martial arts master Sifu Cheng (Roger Yuan) is quickly dispatched by a superior opponent cloaked in shadow, who respectfully bows and fades into darkness as the master succumbs to his injuries. Though jarring, it quickly sets a shocking tone for ‘THE PAPER TIGERS’ (TPT) before quickly doing a flashback into the past with three young pupils being mentored by the aforementioned fallen master. The young children are friends Danny, Hing and Jim (played by child actors Kieran Tamondong, Bryan Kinder and Malakai James). Through the literal lens of VHS, these memories show how this trio develop into talented and lethal martial arts fighters, winning challenge matches in high school, at rival dojos and even on the street. Teens Danny (Yoshi Sudarso), Hing (Peter Adrian Sudarso) and Jim (Gui DaSilva-Greene) quickly gain notoriety for their prowess and are dubbed as ‘The Three Tigers’, growing their reputation thus prompting overseas fight opportunities. They afford their opponents little mercy, boasting equal parts swagger and skill as they quickly dispatch opponents with a single kick or punch. As soon as the nostalgia goggles refocus, TPT ushers us back into the present day. Danny (Alain Uy) is a middle aged corporate type balancing life a single father in conflict with his ex-wife Caryn (Jae Suh Park) as they share joint custody of their young son Ed (Joziah Lagonoy). Hing (Ron Yuan) is a now a portly herbal medicine expert on workers compensation due to a leg injury; whilst Jim (Mykel Shannon Jenkins) has diversified his fighting skills and operates as an MMA instructor. Though living separate lives, the three are brought together with news that their master, Sifu Cheng has died from a heart attack. United by suspicion as much as solidarity, the three Tigers unite once again to determine the real cause of Sifu Cheng’s demise. On their quest for answers , the Three Tigers encounter a ‘friendly’ adversary in Carter (Matt Page) from their teen years, a trio of talented but obnoxious young kung fu exponents (Andy Le, Brian Le and Phillip Dang) and the memories of the past as their martial arts training resurfaces out of necessity more than nostalgia. At a cursory glance one may be forgiven for assuming that TPT is a simple revenge story, yet this would be an inaccurate assessment. More uniquely, TPT uses this call back to the classic 1970s martial arts films where revenge was primary motivator for fighting. However, rather than subscribe to a trope or appear derivative, the focus of TPT centres on its characters. Each of them has to accept that the iconic status they established in their youth, has been eroded by the rigors of adult life. Danny, once known as ‘Danny Eight Hands’, is now a middle aged father struggling to be the ideal parent, often putting his work as an insurance consultant before his son. The promising herbal doctor in Hing suffers from a constant leg injury making him less nimble than he was before, though his mastery of Traditional Chinese Medicine is now more pronounced. And though seemingly the most adept of the three, the now middle aged Jim has traded the graceful high kicks of Sifu Cheng’s Kung Fu instead embracing the grappling style of MMA.There are a few sub plots such as Danny’s co-parenting and the ever present element of bullying, yet TPT doesn’t allow itself to be bogged down by side stories. In fact, the film weaves these efficiently into the DNA of the story thus retaining the audience enthusiasm throughout. Director Bao Tran delivers with a deeply engaging sincerity, demonstrating not just a passion for action films but also a masterful discussion of character dynamic. Tran’s style is an effective fusion somewhat reminiscent of the smart comedy of Tina Fey or Judd Apatow, with the added bonus of 80s Hong Kong martial arts cinema. The world that Tran has created deserves the utmost attention, as you become so immersed in the characters that are relatable and yet the laughs-per-minute quotient is also remarkably frequent. There is a real freshness to this movie with Tran devising something so original, thereby making his vision profoundly potent. Herein is an earnest quality to Tran’s direction, with a vibrancy in each shot whether it be the inviting setting of a lounge room with friends to the more unsettling night time scenario of a moonlit pier. None of his characters become trivial filler, as the combination of a strong script and very effective directing foster a palatable connection to the protagonists. There is such powerful chemistry between the three, that one could easily believe these are indeed childhood friends.
GODZILLA VS. KONG Review: The Two Legendary Kaiju Finally Come To Blows
Warner Bros. Pictures
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