My snarky reviews of Movies, TV series, Food and other happenings...
So, the famous KLCC joint is finally in Singapore. If my memory serves me well, the famed nasi lemak there was tasty but not really memorable. What I do remember was the exceptional rice and chilli. Anyways, the Singapore branch at Vivocity opened to quite a fanfare, and after a bit I finally went down to try. 8-plus dinner on a weekday night barely had any queue. The service was acceptable and prompt and they leave you alone after taking your orders. The Nasi Lemak here was good but slightly on the higher side of average restaurant-priced local food: 2 pieces of chicken, a small bowl of rice, half an egg, some floss, cucumbers, stewed onions and ikan billis and a small plate achar. The rice was really fragrant and lemak with coconut, and the curry sauce was generous and spicy and tasty. Pity the rice was a tad too little compared to the delicious curry. The otak-otak was definitely way over-priced! And while the rice dish came out within 5 mins, the otak-otak only came out when I'm almost done with my rice. Anyways, the otak-otak itself was too dry and the spiciness overwhelmed the fish. However, regardless of all that, the most erogenous fault in the restaurant is that they do not serve water!! Instead they charge you $1 for a bottle of mineral water!!! And on top of all that, there's still 10% service charge and 7% GST.
Verdict: Definitely over priced and only the Nasi Lemak is worth considering, however, by principle, will not be coming back since there's no free water nor waived service charge for charging for water.
An absolute crowd-pleaser for the whole family. Pixar has done it again with a four-quadrant winner that resonated across generations and culture. It may not be as (pseudo)-intellectual as Inside Out but it definitely pack a great emotional punch especially in its third act, with a strong story line on the evergreen theme of family vs self and obligation vs passions that never turned schmaltzy. Great voice work all around in particular Anthony Gonzalez and Gael Garcia Bernal, with great music and score from Kristen Anderson-Lopez and Robert Lopez, the duo that gave us the hits from Frozen, and Michael Giacchino who is back - at last - with a mariachi-tinged score that delivered on the emotional journey.
Directed by Lee Unkrich, who also gave us the last real Pixar tearjerker, Toy Story 3, Coco continued Pixar's animation technological supremacy. The film was gorgeous to behold and tiny nuances like the translucency of the skin, the glow of candle light and the luminosity of the …
If nothing else, this was a singularly stunning, breathtakingly gorgeous, absolutely beautiful piece of film. Just give Roger Deakins his Oscar now! As for Dennis Villeneuve, the man is now five for five since his 2010 breakout film Prisoners, and he will surely be in the running for Best Director again this year. His film in itself - prior viewing of the 1982 original not necessary, but does inform the experience - was a surprisingly simple, yet layered noir/science fiction story that was effectively told despite its length (163 minutes) and also, ironically, satisfyingly unresolved. Ryan Gosling stood out and may get a nod but he is in danger of not breaking out of his comfort zone.
The IMAX experience was really worth it here. Not only as a canvas for Deakin's sumptuous cinematography, but also for the excellent sound design and mixing. So far, only this film, Dunkirk, Mad Max: Fury Road pioneer Avatar has really, properly utilised the capabilities of IMAX.
A competent film from the directors of "Little Miss Sunshine" that tried to juggle too much including gender politics, LGBTQ rights, themes of love vs ambition and of freedom to love with a love story and a love triangle, and unfortunately, in the end, underserved all of them to the point that the actual titular tennis match was the most exciting moment of the whole 121 minutes. In a similar vein, the supporting actors, including the scene-stealing Sarah Silverman and Alan Cumming, and surprisingly nuanced Austin Stowell and Elisabeth Shue, were more interesting to watch than the leads: a miscast, albeit competent, Emma Stone (who had no chemistry with Andrea Riseborough) and a funny, but lightweight Steve Carrell. Directors Jonathan Dayton and Valerie Faris delivered a by-the-numbers story but may have bitten more than they could chew such that although the narrative moved forward, it moved erratically and without focus. Furthermore, with such a well known historical momen…