Day: October 11, 2015

GEEK OUT! ALL-NEW ALL-DIFFERENT MARVEL? HO-HUMGEEK OUT! ALL-NEW ALL-DIFFERENT MARVEL? HO-HUM

ANAD_Marvel_teaser

While the success of the Marvel Studios movies has had an impact on Hollywood, it has also changed the face of Marvel comic books. Where once the X-Men held sway as Marvel Comics’ main draw, now it’s the Avengers. Look at the teaser for the post-Secret Wars All-New All-Different Marvel and you will hard pressed to find a single X-Man or Fantastic Four member. Why? Because Fox owns the movie rights to those characters and from a business perspective, why would Marvel promote these characters? See how screwed up it all is now?

Amazing Spider-Man #1

As Spider-Man is back in the Marvel fold – in the sense that Marvel is collaborating with Sony on the character – the Spider-verse is high up on Marvel’s priorities. Except that Peter Parker/Spider-Man has morphed into Tony Stark/Iron Man. What a revolting development! Also, there are titles for Spider-Gwen, Spider-Woman & the Ultimate Spider-Man, all in the same universe! Confused yet? Don’t worry, you will be.

Invincible Iron Man #1

Speaking of Stark, the Invincible Iron Man #1 at least reads like a proper title compared to the anthology nature of Amazing Spider-Man #1. The most interesting moment in this reboot comes in the form of a date with an Indian (female) scientist where the latter recounts that she has invented a cure for the mutant gene with no negative side effects. And there you go, with one stroke of the pen, Fox will have no more mutant characters to make movies about! Will Marvel do this?

Avengers #0

Avengers #0 crams an introduction to all the various A-teams (remember when it used to be X-teams?) in the new Marvel Universe. I must admit that I did not understand a single storyline and was bemused by the fact that the Squadron Supreme – which began as a Marvel parody of the Justice League – is now a fully fledged title within the Marvel Universe. How lame can you get?

So yeah, don’t expect me to re-visit this rebooted new Marvel anytime soon – except perhaps to explore how badly Marvel has messed up the X-Men and Fantastic Four. 

MOVIE REVIEW: WHEN THE ROOSTER CROWS – FOCUSING ON SOUTH EAST ASIAN INDIE FILM AND FILM-MAKERSMOVIE REVIEW: WHEN THE ROOSTER CROWS – FOCUSING ON SOUTH EAST ASIAN INDIE FILM AND FILM-MAKERS

whentheroostercrows

I was invited by my buddy Michael Lim (Singapore Film Society) to a screening of Leonardo Cinieri Lombroso’s When the Rooster Crows, a documentary on diversity and richness of Southeast Asian Cinema. The documentary highlights four indie film-makers viz. Brillante Mendoza (Philippines); Pen-Ek Ratanaruang (Thailand); Eric Khoo (Singapore); and Garin Nugroho (Indonesia).

Ostensibly, I was supposed to contribute to a post-screening panel discussion with Lombroso and Michelle Goh (who acted in Eric’s Mee Pok Man and still looks fresher than the first time I met her 20 years ago!) but really had nothing much relevant to say, except that Eric was a buddy of mine too.

Since I got to watch the movie free of charge, I thought it’d only be fair to share a little review. Conceptually, I loved the way that Lombroso approached the movie not merely as a standard documentary but as a film in its own right. Thus, there was a narrative running through its 88 minutes (that’s a very Eric Khoo number, by the way) that not only featured the subject film-makers and their films but also the context of their muse (their countries of origin).

The manner in which one segment segued into the next seamlessly added to this overall effect and emphasised Lombroso’s observation that even though the four countries highlighted are often differentiated from one other, there were many similarities as well. In particular, in the obstacles that each independent film scene faced in their own countries – whether it be social or political. What was evident was that each scene, as represented by each film-maker, dug deep into the human soul – the belief, the creativity and the fighting spirit – in order to produce works of film art that resonated beyond their respective shores.

One of the obvious takeaways was that each film scene needed to support one another so that South East Asian indie film could be developed and nurtured. Thus, perhaps a more vibrant regional film scene – one that cross-pollinated across boundaries would be a solution to the usual gripes about lack of local support.

For me personally, there was an allegory to be drawn with the music scene here – that we needed to reach out to the music scenes regionally and not be too myopic about confining the building of a fan base to the hard ground that is Singapore. Definitely something to chew on.

More information about the Singapore Film Society may be obtained from its official website.