2007 / Paul Fox > Douglas Coupland’s screenplay has a subtle charm, that much is for sure, but what’s magically missing is any substance. The film rides the coattails of capitalistic stereotypes while mixing in weak ideals of individualism. On a pure entertainment level, it doesn’t shine, and on an inspirational level, it revels in its de-motivation by taking a one-sided view of ambition backed by a ridiculous plot.
Sunshine
2007 / Danny Boyle > Sunshine crescendos into its finale in a way no other film has this year: It breaks through expectations into something surreal, almost messy, yet dazzlingly calculated. Boyle etches into our memories fear, hope, excitement and despair within a span of two hours by showing us the end of the world and the ways in which our ingenuity tries to prevent it. It’s intelligent and amusing, fusing genres and philosophies, and makes up for the arguable irrationality in the script with a thrill ride that’s as reverent for the body as it is for the mind.
Transformers
2007 / Michael Bay > It’s a not a perfect film, or even a good one. It has silly dialogue, little character development and a storyline that leaves one wanting more. But it does have: 1) Robots in Disguise™, 2) lots of awesome explosions, and 3) Megan Fox. The basic sense of childhood nostalgia that brought me to the theatres walked out fully satisfied (and this includes me yelling at the top of my lungs during many parts of the show). I do, however, feel that that any further films in the series (and unfortunately there seems to be a green light for two more) will simply water down the enjoyment gained in this first one.
Soo: Revenge for a Twisted Fate
2007 / Sai Yoichi > As a revenge noir, Soo has most of the components under its wings, but nonetheless fails to fly. The characters are simply uncompelling and the storyline continuously absurd. In short, it lacked the panache that drove the success and enjoyment of A Bittersweet Life. I wouldn’t be surprised if a little tighter editing could turn this into something a lot more memorable, as its saving grace is its coldness, and that’s both unique and worthy of further exploration.
The Old Garden
2007 / Im Sang-soo > It’s tough judging a new film by a director who you admire and have the highest expectations for. In that regard, The Old Garden is an undeniable disappointment, as Im lets go of his skillful satire and realism for the typical melodrama that drives most Korean films about relationships. Interesting here is the fact that this relationship is surrounded by history (more specifically, the Gwangju Massacre of 1980), and thus provides a backdrop that is less fluff and more grounded. The central theme rings true (that things change, that you must not put yourself and your sense of duty above those you love), but the full execution comes off rather flat and forced.
Rush Hour 3
2007 / Brett Ratner > One was good, two was entertaining, but against the good grace that third time’s the charm, Ratner has thrown us a curve with one of the worst films of the year. Tucker may have put forth the single most annoying performance of the year, and Chan probably just enjoyed learning the secret to horses in pornography (see end credits for further clarification). The only thing that could save us now is a guarantee that there will be no fourth installation of such idiocy.
Voice of a Murderer
2007 / Park Jin-pyo > It’s been quite a while since Korea’s had a film worth writing home about, but Park’s Voice of a Murderer seems to have passed that test with flying colors. Loosely based on the true story of the kidnapping of a popular anchorman’s young son, the film is filled with emotional tension that resonates from the absolute fear of helplessness. What can one do to save one’s child if nothing seems to be enough? Thrown amongst the somewhat exaggerated ineptitude of the police, the parents’ faith in their beliefs and themselves is questioned, leading to another powerful and memorable performance by my personal favorite Korean actor, Sol Kyung-gu. For Park, this is a less melodramatic follow-up to You Are My Sunshine, but one that shows his maturation with its grittiness and efficiency.
Cashback
2007 / Sean Ellis > I wanted to like this more than I did. It’s got quite a few things going for it: An imaginative central character, heartbreak and attractive women (with insomnia thrown in for added flavor). But so much of the world that surrounds this central character lacks depth, enough so that it feels like plodding through a lot of mud to get to its basic foundation. Unfortunately, these basics, in the end, are a little too ideal and simple to be effective and memorable.
4:30
2006 / Royston Tan > Similar to short film director Tan’s first feature film 15, I found myself hoping that 4:30 was at least half the timespan of its final cut. The meat here is spread quite thin, with a few poignant moments that may linger long after. The story of a boy’s loneliness in the absence of a father (or in the presence of a stranger) is a worthy one, and this is one hell of a try at it. Unfortunately, attention spans are tested, and it almost seems like Tan wants us to do a considerable amount of the legwork to make it happen. And while I’m not always against doing that legwork, it would be nicer if its length was fitting.
Protege
2007 / Derek Yee > One Nite in Mongkok is arguably one of the finest Hong Kong crime/noir films ever made, so I was very much anticipating Yee’s follow-up within a similar genre. In Protege, however, Yee has disappointed me considerably, as the film falters from incredibly uneven pacing and a lack of passion and focus that sucks the juice out of what could have been a rather powerful storyline. There are definitely some great moments (such as Andy Lau in the bathroom), but the overall tone is too pedantic and constantly meanders for meaning and approval.