REVIEW: CITY UNDER SIEGE (DVD)

Film: City Under Siege *

Release Date: Out Now

Director: Benny Chan

Starring: Collin Chou, Aaron Kwok, Chrissie Chow

Genre: Action/Sci-fi

Country: Hong Kong

Reviewer: Adam Wing

There are good films, there are bad films, and then there are films so bad they’re good. I’m not quite sure why I mention this, because make no mistake about it, City Under Siege is a really bad movie. Occasionally, and I’m being really positive on this one, Benny Chan’s latest touches on greatness, but that’s only because the rest of the film is so ill-conceived and hopelessly dire, it’s easy to get caught up in the crassness of it all.

Hong Kong director Benny Chan’s (Connected) sci-fi action film pits a naïve circus performer against his dangerous colleagues after being contaminated by a biochemical that gives them superhuman powers. Aaron Kwok leads a superpower cast that also includes Shu Qi, Wu Jing (SPL), Zhang Jing Chu (Aftershock), and Colin Chou (Flash Point). City Under Siege features explosive action choreography by Nicky Lee (Invisible Target) and Ma Yuk Sing (Storm Warriors), and did I mention the fact that Shu Qi is the leading lady, I don’t care how bad this movie is, consider me contented.

Sunny (Aaron Kwok) is a naïve, not to mention highly strung, circus performer who dreams of inheriting his father's knife-throwing skills. He’s also very annoying. However, his hostile colleagues continue to bully him, relegating him to lowly clown status - lowly, annoying clown status it has to be said. On a tour to Malaysia, Cheung (Colin Chou) and some of the other performers discover a cave occupied by the Japanese army during World War II.

Instead of finding treasure, the performers are sprayed with a mysterious chemical that turns them into superhuman mutants – complete with terrible make up effects that make early episodes of Doctor Who look like factual evidence. Back in Hong Kong, Cheung and his gang wreak havoc on the city by pulling off a series of daring bank robberies; they also throw lots of knives and stuff, in poorly rendered CGI slo-mo I might add.

With the city controlled by fear, Sunny becomes the city's latest crime fighting hero with the help of Shu Qi’s opportunistic reporter Angel (now we’re talking), not to mention two supernatural phenomenon experts from Mainland China (Wu Jing and Zhang Jung Chu). If you’re looking for positive factors to emerge from this review, Shu QI, Wu Jing and Zhang Jung Chu deserve much better – the rest of the cast and crew do not.

Basically, City Under Siege is a complete mess of a movie. The lead character is prone to childlike emotional outbursts, and Aaron Kwok’s performance is undeniably awful. I wish the guy would work out what kind of actor he is, because on this evidence, standout performances in Murderer and The Detective feel like a long time ago. Much of the blame lands at the feet of Chan of course; it always mystifies me when a top-flight filmmaker fails to see just how bad his creation actually is. Presumably he didn’t shoot the entire movie in the dark, and at some point he must’ve watched back some of Kwok’s cringe worthy delivery. Tone, self control and charm, if they aren’t on Kwok’s Christmas wish list this year I’ll eat my Brussels sprouts.

The storyline is poorly developed, and the emotional subplots are laughable and unconvincing. Honestly, two parts action monstrosity, one part romance, it’s the most unconvincing love story of the year – and I’ve seen all three Twilight movies. Well, two of them at least. Which one is it with the topless action figures and the ropey CGI? You know the one, Kristen Stewart mopes around all day looking like she just signed on for part four. That one. Ridiculously unconvincing and drained of emotion, which brings us neatly back to Benny Chan’s latest assault on the senseless.

It’s a good half hour before Shu Qi turns up, and boy does she belong in a different movie. I’m not denying the fact that she’s made some pretty bad career choices over the years, but City Under Siege has got to be up there with The Wesley’s Mysterious File. Her character is one-dimensional for sure, but she does make for arresting imagery, and that smile could melt a thousand latex faces. The same can be said for Wu Jing, who’s a standout performer in everything he does. Even a film as bad as this one, even a film in which he’s asked to cry, unconvincingly it has to be said. That’s the word of the day with City Under Siege though; ‘unconvincing’ never got a better write up. Even the kung-fu spectacles take a beating, relying far too heavily on wire assisted anarchy and a reckless disregard for gravity.

I was a massive fan of Benny Chan’s Connected, but his skills behind the camera are pretty much unrecognisable here. He can just about handle an action sequence, but any attempts at emotional depth are laughable. That said, I’m putting most of the blame on Kwok. His inability to ‘reign it in’ brings new meaning to the word embarrassment. When you hit the ‘pause’ button every time another person enters the room, you know you’re on a slippery slope. Aaron Kwok I salute you, you and all your ill-conceived dagger throwing antics.

If it’s crappy make-up effects, evil circus performers, grown men crying unconvincingly and an overacting Aaron Kwok you’re after, City Under Siege is going to rock your world. If it’s quality filmmaking you’re craving, Benny Chan’s latest probably isn’t the best way to see the New Year in. The new year or any other year for that matter.

REVIEW: DETECTIVE DEE AND THE MYSTERY OF THE PHANTOM FLAME (DVD)

Film: Detective Dee and the Mystery of the Phantom Flame ***

Director: Hark Tsui

Starring: Andy Lau, Jialu Zhang

Genre: Crime/Fantasy

Format: DVD

Country: China

Reviewer: Adam Wing

 

Judge Dee, or plain Dee to his friends, is China's answer to Sherlock Holmes, and has been immortalized in both the East and West for decades in several novels and TV outings, though I have to admit, I don’t read that much and this is the first I've heard of him. As for veteran Hong Kong director Tsui Hark, now there is a name I’m familiar with, though not so much in the last decade or so it has to be said - does any of this bode well?

 

Most people had considered Hark's glory days of the Once Upon A Time in China series all but gone, though I am still a big fan of 2000’s Time and Tide, even if anything since then has been pretty much forgettable. Tsui teams up with screenwriter/producer Chen Kuo Fu (The Message, Double Vision) to bring the legendary detective to the big screen for the first time in Detective Dee and the Mystery of the Phantom Flame, not the catchiest of film titles I’m sure you’ll agree. Mixing fantasy, adventure and period styling, Detective Dee and the Mystery of the Phantom Flame lights up the screen with raw enthusiasm and incinerates all that stands before it. Probably.

 

All round superstar Andy Lau plays the iconic detective, pulled out of imprisonment to solve a series of murders with the help of Li Bing Bing (The Message), Deng Chao (Equation of Love and Death), and Tony Leung Ka Fai. Carina Lau stars as the almighty Empress Wu, and the spectacular action sequences are choreographed by action legend Sammo Hung. Detective Dee is an old-school Hong Kong production through and through, not to mention one of Tsui's biggest box office hits to date.

 

Plot wise, it’s a heady mix of old and new. A series of mysterious deaths involving internal combustion threaten to derail the coronation of Empress Wu (Carina Lau). The only person that can solve the case is currently in jail, but it’s not long before he’s released to investigate the case with Wu’s loyal aide (Li Bing Bing). Mysterious assassins lurk in the shadows and all hell breaks loose as Detective Dee sets out to solve the case and save the empire, but not until he’s had a shave of course, we can’t have Andy Lau looking like a tramp now can we? Fat suits yes, homeless no.

Detective Dee takes a little time to find its feet and anyone new to Hong Kong filmmaking might find the occasional lack of coherence confusing. What they won’t find baffling however is the dazzling use of CGI throughout. The special effects aren’t up to current Hollywood standards of course, but then again, neither is the budget. Credit where credits due though, Tsui Hark and his team have created a beautiful period piece with exquisite locations and spellbinding imagery. It’s a sight to behold for the most part and the look and feel of the movie make for a surprisingly fresh night in. The action choreography is fast flowing and vibrant, it’s certainly not Sammo Hung’s best work, but it entertains in all the right ways. Besides, he’s not working with Donnie Yen here, even though Andy Lau more than holds his own against a variety of CGI assisted assassins and beasties.

Anyone accustomed to detective thrillers will probably find the outcome obvious, it’s really not that hard to figure out, but Tsui does throw in a few red herrings along the way, not to mention a talking deer that really doesn’t feel out of place at all. Upon reflection, it seems quite odd that the townsfolk are willing to believe in talking animals and flying detectives but not spontaneous combustion, but hey, that’s why they call it fantasy filmmaking, right? Suspension of disbelief is mandatory, besides, the frenetic pace barely lets up once Dee hits his groove and by that time you’ll be having too much fun to care.

Performances are strong, even though there is very little time for character development. Carina Lau is the standout as Empress Wu, but Andy Lau makes for an imposing figure and lets face it, sometimes charisma is really all you need to get by. He really doesn’t have enough time for anything else; such is the speed at which the movie unfolds.

There are plenty of holes but it’s nice to see Tsui Hark rediscovering some of his early style and verve. Detective Dee feels both traditional and modern at the same time, presenting us with a fresh spin on the detective genre. Hong Kong fantasy cinema has been missing something of late, welcome back Tsui Hark - it’s been a long time coming.

GOOD NIGHT IN: THE A-TEAM (DVD) ***

"Following the ridiculous exploits of John "Hannibal" Smith (Liam Neeson), Templeton "Faceman" Peck (Bradley Cooper), Captain "Howling Mad" Murdock (Sharlto Copley) and Sgt Bosco "B.A." Baracus (Quinton "Rampage" Jackson), soldiers framed for a crime they did not commit. Going dark, the team must utilize their unique talents - and eccentricities - to clear their names and find the real villains.

A fun but frustrating reimagining of Stephen J. Cannell and Frank Lupo's seminal eighties TV series, the first-hour flies by with epic set pieces and some of the most insane stunts ever seen. The second half drags on a little too long but it's still entertaining, as long as you leave your brain at the door and allow yourself to enjoy the ride."

GREAT NIGHT IN: KEVIN BRIDGES - LIVE IN GLASGOW (DVD) ****

"It's hard to believe that Keving Bridges is only in his early-twenties after delivering such a confident, not to mention hilarious, performance as this on his home turf. Revel in his tales of growing up, feast on his swipes at religion, fat people and spring break, and celebrate his very first appearence on National television - by no means his last... comedy gold!"

FINALLY GOT ROUND TO WATCHING: THE GIRL WITH THE DRAGON TATTOO (DVD) ****

"A disgraced journalist (Michael Nyquist) is aided in his search for a woman who has been missing, or dead, for forty years by a young female hacker (Noomi Rapace) in one of the great, essential thrillers of the decade, holding its grip as tightly as Lisbeth Salander's grasp on that dildo, right until the, dare I say it, slightly disappointing outcome - Rapace's performance is truly astonishing."

REVIEW: THE HOLE (DVD)

Film: The Hole ***
Release Date: 17th January 2011
Certificate: 12
Director: Joe Dante
Starring: Chris Massoglia, Haley Bennett, Nathan Gamble
Genre: Family Horror
Studio: Entertainment One
Format: DVD
Country: America

Rumour has it, visionary director, Joe Dante (Gremlins, Innerspace, Small Soldiers), only took on The Hole after uncovering a bottomless pit in the basement of his new home. Exploring the mysterious cavity, he soon discovered that his deepest fear and darkest nightmare was coming to life. Without hesitation, he slammed the trapdoor shut, bolting it securely, and Looney Tunes: Back in Action (2003) was confined to the dark abyss forever. After licking his wounds (for way too long) Dante is back with another one of those family-friendly chillers he mastered during the eighties.

Dane, played with likeable ease by Chris Massoglia (The Vampire’s Assistant) discovers the bottomless hole with his brother Lucas (Nathan Gamble) when left alone in their new residence by their workaholic mother. Along with Julie (Haley Bennett), the drop-dead gorgeous next door neighbour, the boys must uncover the home’s haunted history if they are to stop evil being unleashed (and no, we’re not still talking about a carrot-munching bunny and that annoying yellow canary)…

For the first half of the film, Dante tries the trusted approach and keeps the monsters off-screen, suggesting the unthinkable lurks beneath, allowing his characters to breed empathy by just being themselves. It’s fun too, whether we’re witnessing Dane lusting over the neighbouring water nymph or Lucas annoying him like all little brothers should. Obviously, there’s room for a little creepy foreshadowing, and Dante delivers with a subtle yet spooky scene when the gang are reviewing the footage they shot moments earlier.

It’s in the horror where The Hole excels; confronting the kids with evidence of their fears such as a broken-boned child made over-familiar by the Ringu trilogy or a toy clown stalking the attic and going for a swim as if he’s Chucky’s long lost midget father somehow manages to work, even if we’ve seen it all a thousand times over. The latter is especially scary, even when Dante does the unthinkable and allows the creature to talk. It’s been argued that The Hole is the perfect introduction to scare-starved tweenies, and it probably is, but even for massive horror junkies there's enough going on to warrant plenty of interest, so it’s a shame that when the real villain of the piece finally reveals itself, disappointment is dragged further than the rusty belt it’s carrying.

The performances of the actors equally disappoint as the film develops; Massoglia and Bennett are rarely threatened, with the latter disappearing entirely during the finale, and her inability to convey fear at the pivotal moment frustrating to say the least. I don’t care who you are, hanging precariously over the edge of the highest point of a disused rollercoaster ride is enough to muster a slight grimace, surely? And yet Dante saves the best, or worst, until last, with a final battle lacking any kind of tension whatsoever. It may have looked pretty in 3D, but without the technology, the scene almost ruins all the good that came before it.

Of which there is refreshingly plenty, even if its difficult to put a finger on what keeps us entertained for so long. Snappy dialogue helps (“Most people move out of Bensonville, not in it”), as do genuinely eerie moments involving a swimming pool, a bathroom cubicle and the Gremlins-inspired assault in the attic - welcome respite from a slightly plodding midway point. Meanwhile, the gorgeous visuals, especially when the otherworld is finally explored, with it’s bent-out-of-shape buildings and gothic surroundings, are as pleasing on the eye as the by now to-be-expected cameo by Dick Miller (which is actually also a little disappointing, truth be told).

You can probably see where this review is headed. Fear not though, because although Dante lazily relies on heavy nods to past horrors in order to send chills down our backs, he also manages a few neat tricks of his own, and more importantly, creates such likeable characters that we would probably watch them snarf every film directed by Aaron Seltzer and Jason Friedberg, back to back, and still enjoy the ride. It might even give Bennett reason to grimace.

Plenty of holes to pick at, but Dante is thankfully back on form with a film that will satisfy children mostly, yet with enough panache to maybe send a chill or two down the backs of even the hardened horror fanatics. Either way, you’ll certainly be entertained.

REVIEW: CIRCLE OF PAIN (DVD)

(Review By Adam Wing)

Mixed Martial Arts fans rejoice - it’s the movie event you’ve all been waiting for. I know, I know, sometimes I forget you can’t type sarcastically. With a title like Circle of Pain, I wasn’t sure what to expect when I pressed play on the remote control, but my expectations weren’t exactly soaring if I’m completely honest. I was hoping for a horror movie at the very least, and when I realised the only name I recognised was former TV Superman Dean Cain, I convinced myself that I’d be watching a horror movie in which he has a terrifying encounter with Mr Pain. Probably in a circle, or maybe not, perhaps I was taking the film title a little too literally.

Dalton Hunt (Schiena) has retired from the Revolution Fight Club (RFC), even though he still has one match left on his contract. He lost his passion after a sparring match with best friend Wyatt (Cain) left Teri Hatcher’s former on-screen love interest in a wheelchair for life. If his performance in Circle of Pain is anything to go by, the only thing Dalton has to feel guilty about is not finishing him off. Five years after this tragic event, he is forced to fulfil his contract. Which means, you guessed it, "one last fight" and yet another action movie cliché.

His opponent is a scary, Mohawk endorsing badass called Colin. That’s right, his name is Colin. Wait just a second - there’s more. His opponent is a scary, Mohawk endorsing badass called Colin ‘The Brick’ Wahle (Herring). That’s better. Dalton must train harder than ever before (that’s not a cliché is it?), because if he doesn’t, Victoria (Ling) and her evil cronies will kill his family and friends. Even the elderly couple across the street.

Wait just a second, what do you mean that’s not how it goes? The truth is, if Dalton chooses not to fight, Victoria has no intention of killing his family or friends. Not even the elderly couple across the street. Instead, wait for it - she has a despicable plan to throw his ex-family out on the street. Not even his current family. He’s pretty much single at the start of the movie, so you know, what’s an evil boss lady to do in a movie like this? That’s pretty much the entire plot of the film, brought to you by Daniel Zirilli, the director of Fast Girl and The Stonecutters. Like I’m expecting you to watch them anytime soon…

Fans of Asian cinema will no doubt recognise leading lady Bai Ling. She appeared in cult favourite Dumplings, as well as Hollywood offerings like Crank 2: High Voltage, Wild Wild West and The Crow. The rest of the cast is largely made up of TV actors with credits like Lost and CSI NY to their name. I doubt you’ll recognise them unless you’re fans of MMA, but it’s fair to say that leading man Tony Schiena has quite the colourful past.

Tony won hundreds of tournaments around the globe, but an accident in which he broke both his ankles resulted in him retiring from fighting and concentrating on developing new fighting concepts. He was a prominent figure in the field of security in England, The Middle East and Africa, and became the striking coach for the US MMA M1 Team. Not only that, he is a member of the International Police Association, the International Bodyguard and Security Services Association, and various other security and martial arts organizations. Tony was also honoured with the rank of Lieutenant Colonel of the Hungarian National Guard, but despite all this, his movies are rubbish. Talking of which, he can next be seen in the 2011 offering The Door, which will presumably be rubbish as well.

Circle of Pain is a terrible movie whichever way you cut it. The acting is wooden, the fight choreography lifeless, and the filmmakers run out of ideas halfway through. So much so in fact, Circle of Pain turns into a soft porn movie ahead of the final showdown. Not such a bad thing I hear you cry, at least we can praise the producers for covering all bases. The sex scenes add nothing but flesh to the mix, and seem out of place with the rest of the movie. My favourite offering, of which there are three, takes place in the kitchen diner of Colin ‘The Brick’ Wahle’s plush pad. The young girl, listed in the credits as ‘hot girl’ no doubt, is quite possibly a prostitute, we never really find out. The male participant can best be described as a supporting player (it's an awkward position), has the smallest part imaginable (somebody stop me) and yet still manages to bag himself a sex scene. He must’ve thought it was his lucky day.

Circle of Pain is one of the least entertaining movies I’ve seen in a while, with no redeeming qualities whatsoever. Well maybe three, but who’s counting? Only die hard MMA fans will take anything away with them from this, and maybe the naked guy in the kitchen, I didn’t google his name. I’ll have it ready for next time. Some things are worth fighting for, this isn’t one of them. Circle of Pain is quite possibly the most appropriately named movie of the year, make of that what you will.

TOP 5 ALBUMS OF 2010

5.

Melissa Auf der Maur - Out Of Our Minds

4.

Jimmy Eat World - Invented

3.

My Chemical Romance - Danger Days

2.

The Gaslight Anthem - American Slang

1.

Against me! - White Crosses
  

JOIN US ON FACEBOOK

REVIEW: THE EXPENDABLES (DVD)

Title: The Expendables
Starring: Stallone, Statham, Li, Rourke, Lundgren, Willis, Roberts, Austin, Schwarzenegger
Reviewer: Adam Wing
RElease Date: Out now

Like most teenage boys growing up, I wanted to be an action hero. Back in the day, Arnie, Sly and Bruce were my biggest heroes, and in truth, not much has changed over the years. The death of the 80’s action movie was a catastrophe, not just for me, but for the whole damn world.

Modern day action heroes are weighed down by emotion, they have feelings and shit now. I mean really, when did it stop being ok to sleep with the leading lady before the end of act two? Why do they always talk first, act later? When did they stop being sarcastic, and why did Hollywood stop blowing shit up just for the hell of it? Rocky Balboa and Rambo not only re-established Sylvester Stallone’s career, they presented him with an opportunity. Very few action heroes make the grade these days, except for Jason Statham of course; even my dad thinks he’s awesome. So when Stallone decided to put the world’s greatest action heroes together on screen for the first time, the only question I had to ask myself was... what the hell took you so long?

Let's be clear on this, if you’re expecting a review from a critical perspective, you’ve come to the wrong place, because The Expendables is not a great film in the traditional sense of the word. The writing is lazy, the plot is paper-thin and the action sequences could have, and probably should have, been a whole lot bigger.

This isn’t Stallone doing irony; he’s not trying to spoof the films that made his name. What we have here is an 80’s action movie, pure and simple. It looks like an 80’s action movie; it feels like an 80’s action movie, and if you don’t like 80’s action movies, The Expendables wont rock your world. When it comes to casting a movie, you don’t get much bigger than this. Jason Statham, Jet Li, Dolph Lundgren, Randy Couture, Terry Crews, Eric Roberts, Mickey Rourke, Steve Austin, Bruce Willis and Arnold Schwarzenegger. I mean really, it would’ve been nice if Van Damme and Seagal had made an appearance, but there’s always room for a sequel.

Stallone and Statham take centre stage, which as it turns out, is a wise and rewarding move. I’ve always been a big fan of Statham; he’s the one modern movie star that belongs in an 80’s action film. Very few actors make the grade these days, but you would always bet on Jason to save the world, and he would do it with the appropriate sarcasm, style and wry smile.

Li and Lundgren get plenty of screen time, and it’s strangely satisfying to know that Dolph still hasn’t mastered the art of walking and talking at the same time. Don’t get me wrong, I wouldn’t want it any other way, he still looks like he could ‘break you’ with the merest suggestion. Jet doesn’t really have a lot to do, which feels like a wasted opportunity, but he does trade blows with Lundgren’s conflicted comrade, and there’s plenty of jokes about his height if you like that sort of thing.

Crews and Couture fill in the gaps, probably a good thing, I’m sure Couture knows what he’s doing inside the ring, but when it comes to delivering dialogue he’s out for the count. Terry Crews is much better, in fact if anyone deserves more screen time it’s him. Well I say that, what I really wanted to see more of was Mickey Rourke. Mickey plays Tool, a former operative who has his own tattoo parlour. He doesn’t really have a lot to do either, but his scenes with Sly are laced with emotion. I say emotion, again with the whole ‘not in the traditional sense of the word’ thing. It’s great to see the pair of them together though.

David Zayas takes on big bad duties, fans of TV’s Dexter will certainly recognise the face, but his character is riddled with moral inconsistencies and a severe lack of personality. But then again, he is playing the king pawn in Eric Roberts' chess game. Roberts does his usual scene-munching thing, proving yet again that when it comes to one-dimensional bad guys, he’s the best of the best (see what I did there?).

I can’t really remember Steve Austin doing much at all for the most part, but he sure nails standing in the background looking mean and moody. Austin does take on Couture in the big action finale, and it’s probably the films greatest achievement. Or at least it would’ve been, had it not been for Statham getting his hands on a really cool plane.

I think I’m forgetting something, nothing important really, just two of the worlds biggest ever action stars. It’s nice to see Arnie and Bruce for nostalgia, but in truth, their appearances are throwaway at best. Arnie makes a grand entrance before doing and saying nothing of worth. Bruce is certainly more entertaining and perhaps a sequel could throw them both into the mix, but if you’re tuning in to see the three heavyweights collide, there's a good chance your misguided optimism is leaving in a body bag. The sparring doesn’t really work, save one amusing line, and the scene, much like the movie title itself, isn’t worth salvaging. It’s great to see them together of course, that goes without saying, but you do get the feint whiff of missed opportunity.

The Expendables could’ve been the biggest action movie of all time, but it isn’t. The action sequences are entertaining enough, but they don’t quite live up to the high expectation provided by the big name cast. We’ve all ready established that The Expendables isn’t a great movie, not in the traditional sense, but that’s not to say it isn’t entertaining. Statham, Stallone and Rourke are great value for money, and any film that dares to put these guys in the same film together has got to be doing something right. I’ve been waiting for this movie since I was a child, that’s over twenty years of expectation to contend with.

The fact that I still loved every pulse-pounding minute is testament to Stallone’s achievement. The Expendables isn’t the action movie to end all action movies, maybe they’re saving that for the sequel, but it is a whole world of fun. I loved it, and in the words of Lee Christmas, now there's a statement.

TWISTEDWING JOINS SHADOWLOCKED

Twistedwing creator Daryl Wing has joined the contributors list at Shadowlocked, writing features and reviewing new cinema and DVD releases. Check out their excellent site now using the link on the right.

REVIEW: BATTLE ROYALE (BLU-RAY)

Film: Battle Royale
Director: Kinji Fukasaku
Release Date: 13th December 2010 
Review: Adam Wing

Ask any film fan what their favourite Japanese movie is and there’s a good chance you’ll hear the words Battle Royale more often than not.

In the future, the Japanese government captures a class of ninth-grade students and forces them to kill each other under the revolutionary "Battle Royale" act. It’s a straightforward concept laced with black humour and random bursts of violence, a film in which the late Kinji Fukasaku takes us on a dark journey into the minds of an archaic youth. We fight themes of friendship, trust and betrayal, brought to life by an energetic young cast and a director at the top of his game.

Battle Royale has been available on DVD for some time, but now you can pick up a copy on shiny Blu courtesy of those good folk at Arrow Films. The Battle Royale blu-ray comes complete with two versions of the film, the original theatrical version and the directors cut, not to mention a third disk with a wide array of extras. So even if you’ve seen Battle Royale a thousand times before, you wont have seen the whole picture until you witness it in glorious high definition.

Battle Royale is not only one of the most controversial films of all time; it’s also one of the most entertaining. Ultra-violent, twisted and unforgettable, Kinji Fukasaku’s modern classic is a sparkling jewel in the crown of Japanese cinema. Of course, I’d be surprised if you didn’t know that all ready, surprised and deeply disappointed. It’s easy to forget just how uncompromising this film actually is, which is probably why a rumoured Hollywood remake has never seen the light of day.

It’s easy to forget just how good some of the young cast are too. Everybody remembers Kill Bill’s Chiaki Kuriyama, legend that is Takeshi Kitano as the put upon teacher, and Death Note’s Tatsuya Fujiwara in the lead role, but its female student #11 who steals the show every time.

We all have our favourite characters. Mine just happens to carry a sickle and goes by the name of Mitsuko Souma (Kou Shibasaki). Said to be the most beautiful girl in school, her seductive smile is referred to in the novel as her ‘fallen angel's smile’. She kills a total of nine students, making her the second most dangerous participant in the Program.

In the novel, her childhood is a relentless parade of rape and abuse, and in the manga, an abusive stepfather beats her after her real father runs away. The extended version of the film provides us with a flashback, where a young Mitsuko returns home from school to find her mother drunk, and an unknown stranger trying to molest her in the bedroom. In self-defence, Mitsuko pushes him down the stairs, killing him instantly.

If that wasn’t bad enough, she’s an outcast at school as well. Rumours persist that she sleeps around, and classmate Hirono Shimizu is convinced that she stole her boyfriend from her. There was something else, that’s right, did I mention the fact that Kou Shibasaki looks great in a school uniform? Not that I needed another reason to love her you understand, but it sure does help.

We all have our favourite scenes, and Takako Chigusa’s (Chiaki Kuriyama) morning run is an obvious highlight. Kazushi Niida, a boy she despises because of his immaturity, approaches her on the island. When she refuses to team up with him, he threatens to rape her. If only Kill Bill had been released a few years earlier, he would’ve known that this was a pretty bad idea. She gouges his eyes out and crushes his penis, before finishing him off with an ice pick. Like I say, a pretty bad idea when all is said and done.

For me though, it’s the kitchen scene that walks away with top prize. A group of girls are refusing to kill each other, hiding in an abandoned lighthouse as they try to work out what the best course of action is. After witnessing Oki's accidental death, Yuko blames Shuya for the unintentional bloodbath. When the girls find Shuya and bring him in, she poisons his food. Or at least, that’s the general idea anyway. The food however, is eaten by Yuka Nakagawa, who instead dies rather painfully.

The girls turn on each other in a violent gunfight, maybe it’s just me, but there’s something incredibly satisfying about Japanese schoolgirls and guns. The twist in the tale is played out beautifully, as Yuko survives the deadly confrontation. A lot of the violence in Battle Royale is outrageously over the top, but it’s all the more entertaining for it. The dark vein of humour that runs through the heart of the picture is vital to the films appeal; a quality found lacking in the disappointing sequel that followed after Fukasaku’s death.

The director’s cut of the movie adds dramatic weight to proceedings, providing welcome back-story for some of the main characters. The ending is also extended but with varying degrees of success, the unnecessary epilogues feel indulgent and fail to provide the closure that was perhaps intended. At the end of the day though, the extended version of the film is just another excuse for yet more Battle Royale, and for me that was never going to be a bad thing.

If you’ve yet to see this modern classic then shame on you, Japanese cinema really doesn’t get any better than this. On blu-ray, well, it positively shines. Kinji Fukasaku combines intelligent social commentary with raw unadulterated action, throwing in the occasional Japanese schoolgirl for good measure. We all have our favourite movies, and there’s never been a better time to rediscover one of the all time greats on blu-ray for the first time.

REVIEW: AFTERSHOCK (DVD)

Film: Aftershock
Director: Xiaogang Feng.
Release Date: 27th December 2010
Review: Adam Wing.

Human drama takes precedence over special effects in Xiaogang Feng’s memorial to the 240,000 victims of the Tangshan earthquake. On July 28, 1976, a massive earthquake struck Tangshan, China, devastating the city in just 23 seconds.

Feng Xiaogang (The Banquet, Assembly) sure knows his audience, and Aftershock has gone on to become the highest grossing local film in Chinese history, cementing Feng's status as the go-too guy for blockbuster entertainment. Aftershock was the first Chinese film made for the IMAX giant-screen format, enlisting the service of special effects teams from both the US and Korea.

The opening act is quite possibly the most enticing segment of this over-reaching drama, a film that attempts to depict the emotional tale of a family torn apart by disaster. Once the initial CGI downpour is over, Feng’s movie walks on much safer ground, but it’s the fine cast that keeps it from crumbling. A cast that includes Xu Fan (Feng’s wife in real life), Zhang Jingchu, Li Chen (Assembly) and Chen Daoming, Aftershock is available on R2 DVD courtesy of Metrodome Distribution.

Based on the novel by Zhang Ling, the film follows a family who fall victim to the Tangshan Earthquake. Li Yuanni (Xu Fan) and her husband, Fang Daqiang (Zhang Guoqiang), are enjoying a little quality time in the back of a lorry when the earthquake strikes; their two children are alone in the house upstairs. Fang is crushed to death whilst trying to rescue his children, Fang Deng and Fang Da, but the two children are discovered trapped beneath a concrete block.

Li is forced to make an unenviable decision, one that threatens to derail the rest of her life. Unable to save both children, she is left to choose between the life of her son and the life of her daughter. Li chooses to save her son, but unbeknown to her, Fang Deng has survived the quake and is adopted by a couple working for the People’s Liberation Army. What follows next is textbook stuff, and it’s hardly a spoiler to suggest that the two lives will come together for a tear-jerking finale.

Xiaogang Feng sure knows how to reel in an audience, ignoring the stunning effects for a moment; the talented director makes the most of a haunting score and some arresting imagery. The two children perform admirably, providing the opening act with an emotional core. Then it’s time for the grown ups to take over.

The start of the second act is intriguing enough, as the two adults make a go of their lives irrespective of the fact that their pasts are hard to ignore. It’s a shame that they don’t really have much to do; Fang Deng meets a man, gets pregnant and then meets another man, who we never actually get to know. Fang Da’s outcome is not dissimilar, settling down with a girl and having a baby, all the while encouraging his mother to move on with her life. The performances are engaging but the script is lightweight, and the middle section of the movie drags its heels for far too long. The eventual outcome is obvious from the start, but it takes an eternity to get there and when we do it feels unsatisfactory.

What’s more, Feng and scriptwriter Su Xiaowei feel the need to exploit the 2008 Sichuan earthquake in order to hammer their point home. Was it really necessary to base the climax around yet another disaster, does it really help to get their message across? We all ready know how it’s going to end, the inclusion of a second disaster feels forced, almost as though Feng is encouraging a younger audience unaffected by the original tragedy to spend their pocket money on theatre tickets.

That’s commercial cinema I suppose, you don’t become the highest grossing local film in Chinese history by appealing to a narrow demographic, but in widening his commercial intent, Feng has perhaps missed the point of the film in the first place. The closing moments ensure that we know what the score is, that Feng has provided a ‘fitting’ memorial to the victims of the ’76 earthquake. I’m not convinced that he succeeds in his quest, Aftershock is too contrived and too calculated, Feng has hit all the right notes but his ultimate vision is still out of tune.

Fine performances help take the sting out of it, as does an enticing opening act, unfortunately the remainder of Aftershock is instantly forgettable, unlike the disaster that claimed the lives of 240, 000 civilians.

NOW ON FACEBOOK

KEEP HER HAPPY: THE TWILIGHT SAGA 'ECLIPSE' (DVD) ***

"Bella once again finds herself surrounded by danger as Seattle is ravaged by a string of mysterious killings and a malicious vampire continues her quest for revenge. In the midst of it all, she is forced to choose between her love for Edward and her friendship with Jacob - knowing that her decision has the potential to ignite the ageless struggle between vampire and werewolf. With her graduation quickly approaching, Bella has one more decision to make: life or death, while we actually get to enjoy a little bit of action to compensate for the slushy romantic bullshit. Finally, a storyline that doesn't feel padded, pacing that doesn't feel sluggish and some much-needed humour - Edward is still dull as dishwater though, and the new blood are every bit as lame."

GREAT NIGHT IN: THE COLLECTOR (DVD) ****

"From the writers of the last three Saw movies (don't let that put you off) comes a new vision of terror when unsuspecting burglar Arkin (Josh Stewart) breaks into a house only to find 'The Collector' has got there before him - and it's not diamonds he's after. Holding the family hostage, the maniac has transformed their home into a horrific maze of lethal traps. In this extremely tense, ruthless and fasinating horror, Arkin must decide whether he will risk his own life to save the family he was willing to fleece, and then figure out how to escape a terrifying, unpredictable villain in one of the best horrors of the year."

REVIEW: THE SILENT ARMY (DVD)

Film: The Silent Army **
Release Date: 6th December 2010
Certificate: 15
Running time: 90 mins
Director: Jean Van De Velde
Starring: Marco Borsato, Abby Mukiibi Nkaaga, Andrew Kintu, Thekla Reuten, Jacqueline Blom
Genre: Drama/Action
Studio: High Fliers
Format: DVD
Country: Netherlands

According to the Office for the Coordination of Humanitarian Affairs up to half of the world's child soldiers are based in Africa. In the end titles of the film Blood Diamond (2006) it is claimed that "there are still 200,000 child soldiers in Africa", so it’s little surprise director Jean Van De Velde (All Stars, Wild Romance) felt the need to remind us of their plight with his latest film The Silent Army.

Eduard is a relatively successful restaurant owner in an eastern African country when his world is turned upside down with the sudden death of his wife. Running a business and raising his 9-year-old son all by himself fast becomes a struggle, not helped when Thomas’s best friend Abu disappears with other children after a night raid by the rebel army.

Desperate to have his buddy back, Thomas persuades his father to search for Abu, who proceeds to a refuge camp in the middle of the conflict-infested area for clues to the child’s disappearence.

Meanwhile, Abu is undergoing harsh child solider training, overwatched by former Minister of Defence Michel Obeke. Eduard and Abu’s paths inevitably meet again after a dangerous search through the jungle, when the failing father finally manages to reach the rebels camp, hoping his tenuous friendship with Obeke may offer some kind of hope for Abu and the other children…

Halfway through proceedings, main protagonist Eduardo tries to convince a photographer to join him in the search for Abu, hoping the child’s plight is enough to secure a helping hand and hard evidence of such atrocities. “There are a lot of good stories here”, mumbles the photographer before leaving, forgetting to add “this isn’t one of them”, a line no doubt spoken by the viewer as soon as the credits begin to roll.

If this review reflected the film its based upon then there would be no punctuation whatsoever, especially full stops; each scene in Silent Army has barely enough time to be digested before another is rammed down the viewer’s throat so forcibally. Eduard’s restaurant should really be a fastfood takeaway, selling distasteful nuggets of child abuse with a secret recipe that everyone is familiar with.

It’s hard to believe how director Jean Van De Velde managed to fabricate just such a movie, boasting a scant few points in its favour: an innocent girl picking up a grenade; the impressively tense if not familiar assembly-of-a-gun challenge, a brilliantly nerve-racking phone conversation with an automated receiver, Abu proudly reclaiming his football boot and the concluding showdown involving poison, a young child and an explosive resolution. It’s also short on running time (the biggest blessing of all), an odd feat considering its subject matter.

The first thing to let Silent Army down is its failure to create a believable setting in such an impossible place. The location itself is obviously physically possible, you only have to watch the news to realise such horrors exist, but credibility within the context of the story is sadly lacking. Eduard’s motivations and actions should drive the story, yet his reasons to search for Abu are unclear, other than his son Thomas having a massive strop if he doesn’t. Marco Borsato is no Schwarzenegger, he’s a chef, and Silent Army is certainly no Commando, even if at times it seemingly wishes it was.

Van De Velde also seems determined to clear away any clutter, dispensing of anything that doesn’t serve to move the story along. This, in theory, is a good thing, but concentrating solely on setpieces to create plot devices he has instead masterminded a ninety minute pop video (without the musical score), giving little information or details to bring the audience on board, especially when it comes to empathy. The script drifts too far in one direction, giving the viewer little time or reason to care about anything they are witnessing. It’s true that boredom won’t be an issue here, but such a ho-hum, seen it all before approach will hardly invite praise either.

The director neglects his characters by refusing to allow them time to develop. Instead, he seems happier to highlight the problems faced by children living in Africa with bloody violence. But by showing brutal scenes time and time again, the whole thing becomes gimmicky and somehow more fantastical – the more you see the less you care. The scenes aren't even all that original, but nothing on show here is. Proof is in the pudding, served deliciously by the pantomime villain Michel Obeke, more of a bully than an evil dictator, eventually hinting at some kind of nastiness in the finale by uttering a desperate plea relating to child prostitution - too little too late.

Silent Army offers rich, authentic-looking settings and some striking visuals; however, gaping plot-holes and cartoonish characters soon frustrate, so viewers expecting anything other than volatile scenes of children being harmed will be sorely disappointed.

BURN IT: A NIGHTMARE ON ELM STREET (2010) *

"Wes Craven must be having some depraved nightmares if he thinks Scream 4 will resurrect his career after allowing this unfathomable dishonouring to see the light of day - a bloody disgrace from start to finish. Wake me up, please..."

GOOD NIGHT IN: PREDATORS (DVD) ***

"Dumped on a mysterious planet and hunted for pleasure by those that gave Arnie such a hard time way back in 1987, Predators ignores the flawed sequels and delivers a much welcomed addition to the saga. Leave your brain at the door and watch as the lowest of the low are tortured, maimed and blown apart, with cheesy dialogue, gorgeous blood-soaked visuals and frenetic action. Oh, and some qenuinely nice touches."

GET A FEW FRIENDS ROUND: RICKY GERVAIS LIVE 'SCIENCE' ****

"Hilarious from start to finish, Science is the fourth live smash hit stand up show from Ricky Gervais, following his complete sellout tour - filmed live at London's Hammersmith HMV Apollo. I had the pleasure of watching him at Wembley Arena, witnessing at first hand his ability to challenge every comedy boundary known to man. He especially loves fat people..."