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May 29 09 12:05 PM
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Ageless Chinese Serpent
Jun 26 09 6:15 PM
Revealer of Points
Jun 30 09 4:20 PM
Old School Support
Jun 30 09 6:30 PM
Jul 3 09 6:35 PM
Transformers: Revenge of the Fallen. So disappointing...I don't have high standards, honestly...but a movie has to at least pretend to follow
its own internal logic...
Jul 29 09 9:02 PM
Jul 30 09 3:00 PM
Jul 30 09 4:50 PM
Aug 1 09 11:00 PM
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Oct 2 09 3:35 PM
Hung Hing flunkie
Dec 9 09 2:04 PM
Sep 26 10 12:21 PM
Oct 15 10 11:07 AM
Nov 25 10 4:22 PM
The storm scene describes the film eloquently - a disaster. Echoes of the Rainbow (2009) tries hard to be important, it scattered comedy bits and some end-of-the-world melodrama into a mix-bowl of laughs and tears and forceful nostalgia. I don’t know how people (particularly what happened in Berlin puzzles me) enjoyed this mixture but fools sometimes do. Based on the scriptwriter Alex Law’s life experiences, the script itself might have credentials, but his execution has rendered them useless.
Poor and borrowed techniques have got me wonder what happened to Mabel and Alex some 20 years after their collaborated breakthrough and everlasting success in An Autumn’s Tale. Have they hibernated so long? Judging by the way it looks, the film is pretentious, glossy and lacks originality. Boy enters the movie – from a fish store of many "fishes", particularly symbols of labourers in post-war 1960s Hong Kong that swamp in the fish tank – and boy explores his world with this ever-so familiar device – a distorted, sometimes magnifying lens, receives an instant F grade regardless of whatever achievements it might deserve later on. As if plagiarism has not been defined in the dictionary?
How can people love this boy anyway? The boy’s shallow and cliché dialogues and his dreadful monologue tone disgust me. Something wrong with his tongue? Is that boy a girl in disguise? To be quite frank I’d rather want to see a movie featuring a cute little girl instead. I believe a girl protagonist makes it more challenging to capture the hearts of female audiences, who just happen to like little boys and label it "cinema" when cute boys play leading roles. Movies like Echoes of the Rainbow present very few challenges, perhaps none at all, to discerning audiences. It is about a boy who has a twisted tongue by birth, very interesting, hmm.
If the movie is indeed based on the boy’s view of his world, as intended in the first opening scene, where come the details of his brother’s love relationship that lives beyond the little boy’s understanding and happens outside his speculations? The romantic subplot must have been based on commercial decisions, but it just has nothing to do with the movie, the movie’s protagonist, and his views of the 1960's world. The handsome and athletic young man is also diagnosed with a terminal illness, then he dies, then follows by an ever-so-sad funeral scene. That’s just great. Was I supposed to feel bad for his brother’s sickness and his star-crossed lover that, in a broader speculation, have nothing to do with the main themes of "old Hong Kong"? Feel bad in exactly what way, may I ask? If life ends and extends to liven another life, then perhaps Cheung and Law have spent the past 20 years to become successful idea thieves.
Let’s have a moment of silence for...well, the film.
Echoes of the Rainbow
Quite sadly, the translation from script to screen has fallen onto a lesser hand. Alex Law should have given up directing it and passed the task to one of his many cameos – the teacher who gives punishments - Ann Hui. Ms. Hui is indeed the greater teacher who offered the humble examination and evaluation of human relationship and family values in The Way We Are. In this contrast, Law renders himself useless with those crowd and jury-pleasing filming techniques and a tear-jerking subplot that should be left out. Similar subject matter, particularly nostalgia of "old Hong Kong", have been previously brought up and explored in Mr. Cinema, a better movie in comparison again that suggests Mr. Law should stick to contemporary themes instead of heavier subjects because he didn’t hire Ronald Cheng for the boy role (not that he dared anyway). Kung-Fu Hustle and Sparrow have, on different levels of symbolism, revisited social values of 1960’s Hong Kong with higher calibre; ironically Echoes of the Rainbow, while presenting itself as the holy grail of Hong Kong "art-house" cinema, kneels miserably to those "lowly" commercial flicks. Law has privately added an "f" to his definition of art-house. He ‘arted too much.
Simon Yam’s best actor award has achieved its purposes for saving the movie from hell. This hell involves countless filmmakers who provide cameos of no particular significance, and an actress who should look back her career and make herself useful somewhere else. Sadly, the actress has mentioned that it is her most difficult role and refuses to acknowledge her solid performance in a lesser-known movie - Juliet In Love. Yam has also had better times before Echoes of the Rainbow, but with it he provided the most subtle performance and the greatest interest for the entire film. Not that it was a compliment, but still better than what the awful film truly deserves. I am still wondering if I should call this a film. It felt like a TV commercial – 30 seconds of a boy presenting candy as caviar.
Stealing ideas from international cinema should not have been Cheung and Law’s specialties. However, they have chosen to make a film of stolen ideas and brain-dead garbage. Benny Chan has found company in his return to film school. May it be Berlin’s.
The bilingual message shown right after the opening title has already given out too much:
"And in the end (missing a comma here)
The greatest thief of all is Time..."
Bad grammar I guess. It should read: The greatest thief of all is the director himself.
Apr 24 11 4:18 PM
May 10 11 10:57 AM
Not the worst but it it is bad enough. My negative impression is in the way the facts of the case were presented -- not the person nor the cause. The film's intent was two-fold -- to show the author's life and the events of which she wrote about and ultimately contributed to her precarious mental and emotional state that resulted in her suicide.Iris Chang: The Rape of Nanking (USA 2007)"Worst" is relative. This documentary made for television movie truly felt like it was made for TV with all the negative connotations. Actual interview footage of the author/activist is interwoven with dramatic recreations of her as portrayed by an actress. Cheesy music and excessive adoration of her as a feminist activist for social justice worthy of sainthood sure doesn't help this either. This viewer was left with the feeling that it was more a tribute and memorial to I.C. and her legacy, and therefore less objective about her biography.
Oct 13 11 11:16 AM
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