movie review

Movie Review: PEOPLE OF NOWHERE (2016)

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MOVIE POSTERPEOPLE OF NOWHERE, 2min, Israel, Documentary/Music Video
Directed by Lior Sperando

Music Video about the wave of Syrian refugees who try to make their way into Europe.

Seen at the July 2016 Under 5min. FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

Gripping, vivid and gut-punchingly real People Of Nowhere, directed by Lior Sperandeo (with huge credits to the Drone Operator Joel Davis and Music Design by Ravid Kahalani) is a sharp, powerful look at the Syrian refugee crisis. Coming in at just under two minutes, it is a testament to the skill of the filmmaker that such incredible emotion can be rendered by such a short piece. Shot with no dialogue but with exceptional sound design, the piece People Of Nowhere  showcases the seemingly endless masses of human life that arrives on coastlines when fleeing Syria.

Many times with clearly nothing but the clothing they are wearing, families clammer of their boats to safety. The viewers do not know their names, their stories, or from what specific hell they are fleeing from. We do not know what languages they speak, what their education level is, or if they know where they are going. We we can see is a rapid series of terrifying moments. Men pulling women (their wives?) off of beached rafts to safety, women reaching for and clutching children, babies screaming and being wrapped in thermal blankets, people of all ages being treated for shock, covered in scrapes and bruises, collapsing from exhausting, clinging to each other.

With the rapid-fire editing style and the quick succession of cuts, followed by the powerfully moving sound design, what stands out about Vito’s piece is the raw humanity of it. The viewer knows nothing about the people they are seeing, yet they are seeing everything about these people- their desperation, their motivation and their pain. The need for sheer, basic survival and the willingness to live and the lengths we are all able to go to in order to ensure the safety of ourselves and those we love.

Vividly colorful, powerfully edited and heartbreakingly beautiful, People Of Nowhere is a profound statement. One which ultimately begs us to remember that despite the chaos of our politics, we are all part of the same humanity.

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Movie Review: HOWELL, 4min, UK, Horror/Comedy (2016)

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MOVIE POSTERHOWELL, 4min, UK, Horror/Comedy
Directed by Leon Williams

Howell is attending a supporters group meeting, along with others that share his condition. He has many issues…but he is trying his best to find himself.

Seen at the July 2016 Under 5min. FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

Howl directed by Leon David Williams and starring Leo Bane, is a curious film that straddles the lines of satire and dry comedy. It seems to focus on what appears to be a support group for an unknown affliction. With emphasis on assimilating into normal life leads the viewer to believe that the protagonist is returning from a seedy previous life. The comedy arises in the escalation of strange things our hero fixates on to identify with his new normalcy- such as playing frisbee with his best friend, and culminating in a hilarious scene where he has dinner with his girlfriend and Ex at the same time- and the Ex appears to be a small domesticated dog.

The answer, of course, is that our Hero is a reformed Warewolf. A viewer may be able to grab that reveal from a curious flashback that occurs early in the film. However our hero’s visits to group and his montage of activities showcase his success with integrating his dog-human dichotomy.  If the viewer grabs onto this knowledge early on the end could be lack luster. Yet the humor is palpable, although possibly less apparent to a North American audience acclimatized to a less dry style of humor.  While this reviewer picked up early the secret of our half-Canine hero, it is certainly not a mark against the filmmaker. It could very well be the intent of Williams to have this secret become clear to the audience, so that they can better enjoy the schict of the piece.

Howl, because of its stylistic choices, may not be a film that will have everyone in the audience laughing. But if you appreciate this type of humor, it’s an enjoyable film. It offers laughs, comic spectacle and the ever-important howl at the full moon.

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Movie Review: LOREN THE ROBOT BUTLER: TEACH ME HOW TO DOUGIE! (2016)

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festival posterLOREN THE ROBOT BUTLER: TEACH ME HOW TO DOUGIE!

Seen at the July 2016 Under 5min. FEEDBACK Film Festival in Toronto.

Directed by Paul McGinnis

Loren, a proper British robot and formally the head butler for a very wealthy family, has been replaced with a Roomba and stored in the basement. Now the kids program him to teach them stuff.

Movie Review by Kierston Drier

Light, bright and whimsical, Loren The Robot Butler, written, directed and creatively lead by  Paul McGinnis, entices the inner child of us all. The film’s premise is established in just a few quick moments, and with the help of a charming opening tune, explaining that an outdated robotic butler sits unused in a family’s basement, and spends his retired life teaching children. Perpetually upbeat and sporting the quintessential British Accent, our friendly butler protagonist speaks directly to the audience as though they are the very children of the household where he is kept. At the children’s request, he takes on the mission to teach them how to “Dougie”, from the well known 80’s rapper Doug E. Fresh.

The humor comes easily on several level- most liminally, from the contrast of a British robot butler, attempting to recreate hip-hop music. The upper-crust British sound and robotic movement parodying the relaxed sway of the music beat and hip-hop/rap dialect. Further, there is humor in the form of breaking of the fourth wall with the audience, and from the shock that our robot friend not only executes the dance- but does so exceptionally well!

This piece is a delightful romp through the whimsical world of song and dance as seen through the eyes of a child, but there is a level deeper. It does speak to the element of old technology trying to keep up with the new, modern and current.

The most astonishing, staggering and interesting part of Loren The Robot Butler, however, is not it’s comedy or its use of social commentary. It is it’s artistry. At first glance, this piece could be mistaken as a completely CGI 3D animation. In reality, the entire piece is performed by three puppeteers, manning the upper bottle and each leg independently. The amazing truth is, this exceptionally complicated dance move is performed in perfect execution by highly trained professionals  (Lead by McGinnis) manning one doll behind a green screen, resulting in seamless and flawless dance that passes as computer generated. This is a feat of puppeteer mastery and specialized skill rarely seen in Cinema since Dark Crystal, (Let’s not talk about Team America) and at the very least should be applauded.

Whether Lorne The Robot Butler  is a proof of concept for a delightful children’s TV show, or a demo reel for some exceptional puppeteers, it is regardless a lovely, light comedy sure to entertain.

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HELL OR HIGH WATER (USA 2016) ****

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hell_of_high_water.jpgHELL OR HIGH WATER (USA 2016) ****
Directed by David MacKenzie

Starring: Dale Dickey, Ben Foster, Chris Pine

Review by Gilbert Seah

The term HELL OR HIGH WATER is the phrase used in contracts that demand payment regardless. It is also the title of the new film directed by David MacKenzie (ASYLUM and his last excellent film STARRED UP) and brilliantly written by Taylor Sheridan (SICARIO), the script of which won the 2012 Black List of Screenplays.

The film begins with an exciting bank robbery. The bank is robbed by two brothers, Toby (Chris Pine) and the recently out-of-jail Tanner (Ben Foster). It is a case of Good Crook, Bad Crook variation of Good Cop, Bad Cop. Toby, the good crook needs the money for payments on the house his children has inherited from his recently deceased mother. Toby is separated from his wife and children. The payments must be made HELL OR HIGH WATER or Toby will lose much, much more as the property is spouting oil.

The film does not have one main protagonist but three. Toby appears to be the main one, but his volatile brother and the retiring sheriff after them are also given due attention. Sheriff Marcus (Jeff Bridges) is the most interesting of the three, a wise-cracking, gruff and smart veteran who constantly cracks racist jokes at his indian deputy Alberto (Gil Birmingham). The film could very well be another version of the Lone Ranger and Tonto.

The film is well performed by everyone especially Bridges who turns out an Oscar Winning performance. His mannerisms and drawl fit perfectly his character of an aging, fed-up law enforcer. Chris Pine proves he can do more than Captain Kirk in STAR TREK.

MacKenzie knows how to create excitement. The camera is placed, for example in the getaway car, all jittery but capturing the desperation of escaping the cops. The shootout scene at the end of the film is also meticulously staged. The film also contains a superb climax – a verbal showdown between Toby and Marcus. The music by Australian actor, singer song-writer Nick Cave is a pleasure, also adding atmosphere and mood to the film. The film is interspersed with his songs.

The film was originally titled Comancheria. The reason can be seen in one of the film’s best written and key scene when Tanner confronts a comanche in a casino. Comanche means ‘enemy of everyone’, the comanche tells Tanner. “Then I am one,” he retorts. “An enemy?” asks the comanche angrily. “No, a comanche.” The description of Tanner’s character is spot on, Tanner being a volatile man who cannot get along with anyone, less his brother and has been in prison in and out a couple of times. Another scene, which is so funny that has to be seen to be believed is the age old waitress who serves the sheriff and his deputy in a restaurant asking, “What can’t I get you?” The film and script is full of inventive surprises and smart humour, which adds on to the plot.

The story also bears a truth about human beings. If you ask most people what the main goal or aim in life of a man is, the ultimate answer is to see their children do at least as well or better than them. For Toby, whose only expert advice he can give his son is: “Do not be like me,” the one way he can be a good father and satisfy his goal in life is to provide for his two sons by making final payment on the house before disclosure by the bank.

Director MacKenzie has made an excellent film on a well written script with prized dialogue. It is good to see that he could do the same for a script without dialogue as in the case of his last film, STARRED UP, where the dialogue in heavy accent need not be understood for the film to be appreciated.

HELL OR HIGH WATER premiered at Cannes at Un Certain Regard. It is an excellent entertaining and rewarding film hat comes highly recommended. And the film gets my vote for Best Original Script this year.

Film Review: PETE’S DRAGON (USA 2016)

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

petes_dragon.jpgPETE’S DRAGON (USA 2016) **
Directed by David Lowery

Starring: Bryce Dallas Howard, Robert Redford, Oakes Fegley

Review by Gilbert Seah

Like Disney’s last flop THE BFG directed by Steven Spielberg, this reboot of the live action Helen Reddy PETE’S DRAGON is a strong on special effects blockbuster fantasy lost in its special effects.
From the very start of the film, the audience sees young Pete (Oakes Fegley) in a car with his parents on his first camping adventure. “What does ‘adventure’ mean”? Pete questions innocently – the perfect question in a family film. Then, there is the overdone dialogue like the boy being told that he is he bravest person his mother knows. Pete is an orphan who meets his protective dragon. Disney’s version of death is a hazy slow-motion flying of things in the car as it crashes and kills Pete’s parents.

Pete lives 6 years in the woods with Elliot the dragon till he is discovered by ranger Grace Meecham (Bryce Dallas Howard). Robert Redford plays Grace’s father who claims he has seen a dragon in the woods when he was young. The film is set in the 80’s for no reason except that the original film was made in 1977.

The 1977 version and this version is largely different. The fishing community that adopts Pete is replaced by a hostile timber community. While the original was playful with songs and oddities which is a good sign for Disney’s formulaic label, this reboot is sentimental brown stuff.

More unbearable cutesy bits follow. If the dragon doesn’t fall from the sky to make funny faces, Elliot the dragon has this amazing cute look upon seeing a butterfly for the first time. Actors Robert Redford and Bryce Dallas Howard have to constantly don astonished looks on their faces.

PETE’S DRAGON is fantasy given a realistic treatment. But the story is unimaginatively predictable and formulaic. From the very point Elliot, the dragon is captured, the audience can tell what is to happen next. Add in silly songs at all the inappropriate moments, unbearable cute bits and you have the perfect formulaic Disney movie – the sentimental feel-good film I always try to avoid.

PETE’S DARGON is director’s Lowery’s first big budget movie. Disney is good for recruiting talents like Lowery who will deliver their big beget formulaic and unimaginative films. Another example is Asian American Justin Lin who broke into the film scene with his breakthrough BETTER LUCK TOMORROW. Disney got him to make his biggest dud, ANNAPOLIS followed by the unimaginative FAST AND FURIOUS franchise.

But PETE’S DRAGON has its charm. That is if you are around the age of 6, the age of the kid and enamoured by fairy tales like befriending a giant dragon. Like the BFG where the girl has a big giant as her friend, the stories lead nowhere except to predictability land. At best, PETE’S DRAGON looks like a poor man’s version of E.T. At other times, it is cutesy Disney material aimed at the family and kids and ends up nothing more than a bore. There was a screening clash with this film. I should have gone to see SAUSAGE PARTY. At least that lewd film would have had more imagination.

 

 

 

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THE INFILTRATOR (USA 2016) ***

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the_infiltrator.jpgTHE INFILTRATOR (USA 2016) ***
Directed by Brad Furman

Starring: Bryan Cranston, John Leguizamo, Diane Kruger

Review by Gilbert Seah

THE INFILTRATOR is a true-life crime thriller based on true events outlined in federal agent Robert “Bob” Mazur’s 2009 memoir The Infiltrator: My Secret Life Inside the Dirty Banks Behind Pablo Escobar’s Medellín Cartel. Directed by Brad Furman who also made the similar THE LINCOLN LAWYER, THE INFILTRATOR shares the identical gritty, ethereal style.

The film is set in the mid-1980s. Colombian kingpin Pablo Escobar’s cartel is flooding Florida with drugs and all the crime that comes with them. Mazur ( Bryan Cranston) is a mild family man working in U.S. Customs with a wife and two kids. But he begins leading a double life, going undercover as Bob Musella, a slick money-launderer with ties to legitimate business.

Furman takes his audience into a world of penthouses, private planes, stripper clubs, bespoke suits and dining so that a feel of the high life can be ‘appreciated’. Two fellow agents (John Leguizamo and Diane Kruger, the latter playing Musella’s fiancée) help Mazur while he as Musella deals with a variety of sordid characters including Escobar’s right-hand man (Benjamin Bratt).

In real life, Mazur’s sting operation led to the indictment of over 100 drug lords and the bankers who cleaned their money, and to the collapse of the Bank of Credit and Commerce International, one of the world’s largest money-laundering banks.

The main flaw of the film is Furman’s failure to provide the motive for Mazur’s dedication in the undercover operation. In the film, Mazur promises his wife that this will be his last operation. His unrelenting boss (Amy Ryan) expects a lot from her staff and from Mazur, demanding more and more, saying that her staff has not proven their worth. Why would Mazur or anyone for that matter risk their own lives or family for a job that provides no reward or a boss that shows no gratitude?

Despite good actors that Cranston (displaying another acting aspect from BREAKING BAD) and Leguizamo (proving he can play comedy and drama) are, the uneasiness and desperation of the story comes from Furman’s direction. The film is evenly spaced with edge-of-the-seat suspenseful segments. One such example is Musella’s briefcase bursting open to reveal a tape recorder during a key meeting with the bad guys and another has him and his wife suddenly met with a crime associate in a restaurant during their wedding anniversary. As the camera reveals details in other parts of the film like a clock ticking, Furman keeps the suspense strong. The action sequences like the bike/car shoot out are also excitingly executed.

Furman’s film is noticeably short on humour. A bit of relief is however, provided by Olympia Dukakis as Musella’s aunt who helps him along the way.
True to life as THE INFILTRATOR is, Furman’s film is a brutal watch, in fact too brutal to be classified as entertainment. Furman gets his point across in terms of the gruel drama that Musella had to go through.

 

 

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FLORENCE FOSTER JENKINS (UK 2016) ***

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florence_foster_jenkins.jpgFLORENCE FOSTER JENKINS (UK 2016) ***
Directed by Stephen Frears

Starring: Meryl Streep, Hugh Grant, Simon Helberg

Review by Gilbert Seah

As one magazine writer aptly put: Meryl Streep has added one more talent to her curriculum vitae – the ability to sing flat.

Based on true events, the film is based on the character Florence Foster Jenkins (Meryl Streep), an heiress and socialite in New York who owns a music club, the Verdi. She, though ill in health, lives for music, aspiring to become an opera singer with the help of her husband St. Clair Bayfield (Hugh Grant) and her pianist Cosmé McMoon (Simon Helberg). Florence’s first words in the film: “Music is my life!” But the truth is that unknown to her, she has generally poor singing ability.

It is no doubt that a large part of the film’s humour is derived from Florence’ awful singing and the observation of the reactions of those listening to her. Frears’ camera relies too heavily on both. The camera lingers on McMoon, Florence’s pianist as well as Bayfield’s facial mannerisms too much for comfort.

As far as performances go, Hugh Grant stands out extremely well as the loving long-suffering yet cheating husband. Streep delivers another unforgettable performance, maybe even another Oscar nominated one. Simon Helberg (from TV’s THE BIG BANG THEORY) is amusing to watch and shines in one key scene. But it is relative newcomer Nina Arianda as the trampy admirer Agnes Stark who steals the show and every scene she is in.

The story has the audience believe that Bayfield is married to Florence but has not consummated their marriage. The marriage bond is still a loving one – aided no doubt by the fact that Bayfield has full access to her wealth. Bayfield has a mistress Kathleen (Rebecca Ferguson) living in Bayfield’s apartment that Florence has paid for. When Florence shows up one morning unannounced, the film turns into a bedroom farce, something the British are always good at.

The overlong film has two big climatic plot points. One is Florence’s grand performance at Carnegie Hall. Will she be able to perform to the satisfaction of everyone and not be ridiculed? The second is whether Florence will find out the truth about the secret that Bayfield has been keeping from her – that she cannot sing. Director Fears plays the first one out in grandeur and the second using Grant’s full acting capabilities.
The film looks and feels like New York City 1944. The vintage cars (used rather sparingly), props, wardrobe and hair help create the atmosphere. Music by Alexandre Desplat is always a pleasure to the ears though his music is clouded by the songs Streep sings.

Despite being a one-joke film with the one joke (Florence’s flat singing) stretched out too long, Frears’ film is still enjoyable, with sufficient comical distractions.

FLORENCE FOSTER JENKINS is as the ad says, a film that will be enjoyed more for the power of music and the power for one to accomplish more beyond ones means. Those in the theatre and music business will certainly find this film more amusing, being able to recognize all the famous classical operatic songs as well as the travails stars have to go through. FLORENCE FOSTER JENKINS is a feel-good audience film that should delight Streep fans.

 

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LITTLE MEN (USA 2016) ***1/2 Directed by Ira Sachs

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little_menLITTLE MEN (USA 2016) ***1/2
Directed by Ira Sachs

Starring: Greg Kinnear, Jennifer Ehle, Paulina García, Alfred Molina

Review by Gilbert Seah

As Jesus said in the Bible, “And a child will lead them.” In the case of Ira Sach’s occasionally brilliant new film LITTLE MEN, pre-teens lead the way for the adults that have gone astray.

The film begins with the death of 13-year old Jake’s (Theo Taplitz) grandfather. Jake’s dad, Brian (Greg Kinnear) inherits the grandfather’s building and move in. Below is a store that the grandfather leases to a seamstress, Leonor (Paulina Garcia) and her son, Tony (Michael Barbieri). Trouble arises when Brian needs to raise the rent money as he is short of income. Leonor is unable to pay. A bad state of affairs result when Brian evicts Leonor.

Though premiering at the Toronto Inside Out LGBT film festival, there is no explicit gay theme on display in the film. The friendship that develops between the two boys hints that one might be gay (the other pines over a girl in he neighbourhood), but still one can never be sure. The hint arrives when Jake’s mind immediately rushes to think of Tony when asked to write a poem above love in his English class. No use in labelling. No matter whether one of the boys is gay or not, it is of no importance. Sach’s little film astounds in many avenues, particularly in the subtlety department. But the bond that exists between the two boys is nothing short of wonderful. They stand up for each other. Tony gets beaten up in school for Jake. Both boys refuse to talk to their parents when they learn that their parents are not getting along.

The film is seen mostly from the points of view of the two boys, which makes the film more interesting.

The script has two characters, Brian’s sister and Brian’s wife which could easily have been moulded into one character. They collectively could serve the same function as one person.

When Brian finally confesses the problem to his son Jake, Jake offers a solution so simple that the adage “and a child will lead them” comes to mind.

Films about kids often have them speak in adult dialogue that would unlikely come from them. This occurs regularly in many of Neil Simon’s plays, Woody Allen films and also in this film. But here at least, the boys still behave like boys. They play video games, ignore their parents, get into trouble (and fights) in school while growing up and learning about life. The great thing about all this is that they teach their parents a thing or two on the way.

Sach’s film succeeds tremendously from the performances of it two young actors. They are able to elicit sympathy and humour, strength and vulnerability in their characters. One of the best performances occurs in the segment in a training dialogue between Tony and his acting coach in his new school.

The film contains a non-Hollywood but rather clever under-stated ending. LITTLE MEN is a good example of how brilliant a little film with a good script and direction can turn out.

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
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Film Review: SUICIDE SQUAD (USA 2016)

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suicide_squad.jpgSUICIDE SQUAD (USA 2016) *
Directed by David Ayer

Starring: Will Smith, Jared Leto, Margot Robbie

Review by Gilbert Seah

SUICIDE SQUAD is the third D.C. comics extended universe film, following the awful BATMAN V. SUPERMAN that barely made its money back from its costly production. SUICIDE SQUAD has so far received awful reviews, including this one from your humble reviewer. It has also been reported that Suicide Squad fans have petitioned to shut down Rotten Tomatoes after negative reviews.

The film has been reported to be rushed out to meet time schedules with lots of editing and rushed scripting by David Ayer (FURY). It shows!

The Suicide Squad initiative functions as an unorthodox work release program. The modern incarnation, the Suicide Squad, is an antihero “strike team” of incarcerated, death row supervillains. Acting as deniable, covert assets of the United States government, it undertakes high-risk, black-ops missions in exchange for commuted prison sentences. The group operates out of Belle Reve Penitentiary under the directorship of Amanda Waller (played with dead seriousness by Viola Davis).

The members of the squad in this film is taken from different the different volumes of the comic books. In the aftermath of Superman’s death in BATMAN V. SUPERMAN, intelligence operative Amanda Waller assembles a team of dangerous criminals – the deranged Harleen Quinzel (Margot Robbie), also known as “Harley Quinn”; elite hitman Floyd Lawton (Will Smith getting star billing), who longs to be reunited with his daughter Zoey; pyrokinetic ex-gangster Chato Santana (Jay Fernandez), who refuses to fight after accidentally killing his wife and children and opportunistic thief Digger Harkness (Jai Courtney) who is supposed to use his boomerang among others. Each member is introduced at the start of the film with a famous tine. Harleen is introduced with the song “Super Freak”; Lawton with “Spirit in the Sky” etc. The Suicide Squad are offered reduced sentences in exchange for their services and implanted with nanobombs so Waller can terminate them should they go rogue. Flag (Joel Kinnaman) leads the squad under instruction from Waller.

Though billed as a comedy action film, the film’s comedy lie mainly in the one-liners. THE SUICIDE SQUAD’s comedy is similar to that of GUARDIANS OF THE GALAXY. Margot Robbie and Oscar Winner Jared Leto (as the Joker) steal the movie. Leto is plain creepy delivering a performance of equal stature to Heath Ledger’s.

One of Waller’s recruits is Flag’s girlfriend, Dr. June Moone, an archaeologist who has become possessed by a malevolent spirit witch known as “The Enchantress” after touching a cursed idol. She and her brother form the villains of the film that have to be taken out by the squad in an extended action sequence in which a barely recognizable downtown Toronto (where the film is shot) is destroyed. (Dundas Square can still be recognized at least.)

Beware. Characters that die midway in the film can suddenly appear live and well in later parts of the film. There is a 2-minute meeting between Waller and Bruce Wayne (Ben Effleck) midway during the end credits, indicating that it might serve as an entry point to a sequel.

Like BATMAN V. SUPERMAN, SUICIDE SQUAD is plain awful. The 2 films contain the similar traits of being incoherent and a complete mess. If there are 10 D.C. comics films slated till 2020, heaven help the D.C. Universe!

Film Review: OPERATION CHROMITE (South Korea 2016)

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operation_chromite.jpgOPERATION CHROMITE (South Korea 2016) **
Directed by Lee Jae-han (John H. Lee)

Starring: Liam Neeson, Sean Dulake, Jung-jae Lee

Review by Gilbert Seah

In order to appreciate the film, a bit of Korean/American history is required. The first is a knowledge of the Battle of Inchon.

The Battle of Inchon was an amphibious invasion and battle of the Korean War that resulted in a decisive victory and strategic reversal in favour of the United Nations. The operation involved some 75,000 troops and 261 naval vessels, and led to the recapture of the South Korean capital of Seoul two weeks later. The code name for the operation was OPERATION CHROMITE, the title of this film. Though not seen in the film, the epic battle began on 15 September 1950 and ended on 19 September.

The battle ended a string of victories by the invading North Korean People’s Army (NKPA). The United Nations and South Korean forces were commanded by General of the Army Douglas MacArthur (Liam Neeson) of the United States Army. MacArthur was the driving force (heavily emphasized in the film) behind the operation, overcoming the strong misgivings of more cautious generals to a risky assault over extremely unfavorable terrain.

The plot of the film has General Douglas MacArthur and 8 South Korean troop members led by a South Korean Navy Lieutenant (Lee Jung-Jae) carry out a covert “X-ray” operation. The “X-ray” must succeed in order to carry out “Inchon” Landing Operation. The film concentrates of the X-ray operation and not the Battle of Inchon.

Nothing much is said of this covet X-ray operation in the history books, so a lot of the action going on in the film is likely made-up by the script which takes liberties to create a big budget action film. Extra sentiment is provided whenever possible for example in one scene, by one of the soldiers in the X-Ray operation meeting up with his wife and baby son. General MacArthur also adds his spill on how it is to grow old and hold on to ones principles.

The action segments (chases through the city amidst machine gun fire) are exciting enough but they tend to undermine the reality of a film based on historical events. The segment set on the eve of September 15 to secure a lighthouse, however, is clumsily done as it is hard to see what is going on in the dark of night.

OPERATION CHROMITE is more an action movie than a film based on historical events. The background of the film is the history lesson. Other than that, the group of men that have gone on fighting to make the Battle of Inchon and their exploits are hardly plausible. A parallel can be drawn of the about to be released ANTHROPOID on the real assassination of Rienhard Heydrich.

North Korea would be flabbergasted with premise, story and delivery of this South Korean propaganda piece. The film has already broken South Korean box-office records with an opening weekend box-office gross of $18.5 million on its $15 million production. South Koreans love the film. But the North Korean state-run outlet Uriminzokkiri called the film a product of “ridiculous bravado from ignorant lunatics”.

That said, OPERATION CHROMITE is a pretty bad war film. But for less discerning moviegoers who like that action heroes to be true to life, this film will be a hit, as already proven by the film’s box-office success.