This is lazy film making. And the response from the audience I was part of? A considerable amount of audible yawning.
One of the worst films I've seen this year. Let's hope the plug is pulled on this franchise. It's overstayed its welcome.
An absolutely stellar cast are well served by an intelligent witty script with some killer one-liners which are guaranteed laugh out loud. Only occasionally does it get sentimental, but somehow this doesn't matter, because the seductive nature of India weaves its spell not just on the characters but also on us.
It's good to see a film that doesn't treat retirement aged people as idiots. These people are intelligent, funny, curious and I would willingly share a g&t with them. An absolute gem of a film.
The films lasts around 94 minutes. It feels like days. There is no need for the first 30 minutes. No character development, no sharp dialogue, no style, no decent acting, no tension, no plot.
It makes me ashamed of the British film industry. If this is the best you can do, then clear off. Saying f*ck a lot and hitting someone with a hammer does not make a good film.
If you want to see 'violence' with style, you need to look to the Far East. 'I see the Devil' released last year was inventive, stylish and highly watchable. 'Revenge - A Love Story' from Hong Kong also pushed boundaries.
This was a low budget disgrace.
How do British films like this ever get the big screen? There was nothing of merit here. Our director was just trying a cheap trick with a movie building to a supposedly 'shocking' extended final rape scene. But even this was badly done.
What was the point of this film? There was no character development; it had nothing profound to say about British youth. It was just a bad exploitative film where the excessive use of four letter words were used in place of well written dialogue.
Let's hope this is the last we hear of director Thomas Clay.
Why is this so bad? 2 major factors - the writing and directing. Please put your hand up Patrick Tam. If you're going to make a film that centers on a father/son relationship, please make the father 3-dimentional and believable. Here we had a total loser from the first minute; one who railed at his own (self-inflicted) misfortune and had an on/off loving relationship with his 8 year old son.
Can I quickly say that this little boy was by far the best thing in the film and acted everyone else off the screen and is the ONLY reason to watch this film.
The great mystery is why this nonsense garnered so many awards? Somebody called Roger Garcia is quoted on the back of my DVD copy as saying that "After This Our Exile is the first masterpiece of Hong Kong cinema of the 21st century ..." I think he's wrong. And if he's right - then God help HK cinema.
Strangely, in spite of the awful outcome of this sorry episode, I felt little compassion for the central character. This was in part due to the lack-lustre acting by the ensemble cast. Much of the film had the feel of improvisation about it. And there was so much repetition - endless shots of our illegals being driven in a mini van to yet another low-pay employment opportunity. The pace of this piece is funereal.
What really irked me though were the end captions. Nick Broomfield informs us that most illegal Chinese immigrants never make it back to their homeland. Fair comment. But then he declares that the British government have refused to pay off the debts of the Chinese cockle-pickers that survived this tragedy. Does he really expect the government (of whatever colour) to pick up the tab for debts incurred in other countries by people who are working here in the black economy? I think the story of the Chinese cockle-pickers is a story worth telling. It's a pity this film didn't do a better job of it.
It's not. It's quite appalling. And very very dull and predictable. I can only surmise that all those 5 star reviews were written by friends of the production. I have just come from my local cinema where the substantial audience grew more and more restless as this tedious film wore on.
The cast reads like a who's who of British acting talent. Sadly you see very little of most of them. Bill Nighy must have had no more than 6 lines to say and Martin Freeman and Steve Coogan even less.
A truly bad cinematic experience.
This sounds quite good on paper but sadly it doesn't work on screen. Maybe it was too ambitious as a directorial debut from Kim Sung Soo and most certainly it was miscast. Kwon Sang Woo is best known for light romantic comedies and a host of tear-jerking TV dramas in which he excels. I can't blame the actor if he wants to break away from that mould, but somehow he's just too handsome. So having unkempt hair, sporting an incongruous moustache and shouting a lot doesn't convince me that he's been through hell and high water in a police department.
There are a lot of action scenes, most of which sadly fail to impress. Apparently, director Kim Sung Soo is a protégé of Park Chan Wook. He still has a lot to learn. If you want to see a great Korean film about a maverick cop, then check out 'Public Enemy'.
Set in pre-WW2 Japan, the story focuses on a young playwright's attempt to get his comedy script approved by a deeply humourless government censor. As the two men work with and against each other, the script changes and evolves - with unexpected results.
The film is essentially a two-hander (the director has done little to disguise that this was initially a stage play) and the two leads are brilliantly played by Koji Yakusho (Shall We Dansu?) as the censor and Goro Inagaki as the jittery writer.
It is said that there is a fine line between comedy and tragedy. This film treads that line with a light step. The result is a near perfect film that is funny yet also poignant, touching and genuinely moving. Let's hope Hollywood doesn't decide to remake it.
The cast are not helped by a plot that demands that the audience has their tongue planted firmly in their cheek and has some glaringly bad plot holes near the end of the film. But if you can put up with all of that, then maybe you can survive the 90 odd minutes duration. Not one of HK's finest, I'm sad to say.