jeebusenroute

Based on the film, "Heaven Can Wait," it is the story of a blind patient (Richie Ren) who falls in love with his nurse (Cecilia Cheung). Just when their relationship seems to be heading in the right direction, the patient is killed in a traffic accident. Soon after, he is in heaven, and one of the gatekeepers tell him that he is the 6th billion person to die, and that every billion person gets a wish. His wish is, of course, to return to Earth to see his love for one last time.

There are restrictions, if this is to happen. He can't tell her that he is who he is. There are many instances where he tries but physically can't. And he must return within 5-10 days. I forget. His final warning is that every person who has returned to Earth has regretted it.

The fact that Onion is blind either works well or doesn't, because seeing as how beautiful Cheung is, it is really hard to suspend belief that she would have trouble doubting Onion's love.

The story is very simple, and you must suspend belief about heaven, the afterlife, and the goodness of people to believe in this movie. I personally LOVED this film. It personifies love without it being cheesy or gratuitous. However, I cannot say that this film is optimistic.

The soundtrack is amazing. It uses saxophones, windchimes, and gives off a tempetuous and bittersweet mood of love lost. Cecilia Cheung even does the title track on this film. It is a haunting and melancholy song, called "Star Wish," which is the actual translation of the movie's title. The setting is in a sprawling hospital, where the nurses live on residency. The main colour motifs are white and gray, giving a wash of purity, innocence and perhaps a sense of calm after the storm.

They could have cast a better "Onion" (Ren), because his overt happiness and just general sense of lacking acting capabilities leave something to be desired. But the person who shows the most promise and natural talent is Cecilia Chueng (Autumn), considering the fact that she was so young, and it was her second film. She brings a naturalness to the film. She is beautiful yet contemplative. She is sad yet fresh.

There really is no flaw in this movie, and if there is, other factors far outweigh the bad.

Following the success of "Infernal Affairs," there have been many films imitating but often failing in duplicating the movie in terms of box office success, script, acting ability, etc. This one delivers . . . kinda. The same problems I had with "Infernal Affairs" are still present in this film.

The story is complicated, but aren't they all? Shawn Yu plays "Fat," an orphan raised by his "Uncle Chai." Uncle Chai is a follower of Brother Dragon, who is played convincingly by Eric Tsang. And the movie follows them through a period of a year or so, where everything important seems to happen. Tsang is a very good actor in my opinion. His diminutive frame precedes and almost underestimates him. However, like in this film, and the other films that I've seen with him in it, he often steals the scenes, and is able to switch from "menacing" to "sympathetic" effortlessly and without seeming contrived.

The film in itself is more violent than your average HK crime/drama, although in some areas, it pussyfoots around where an unflinching camera shot would have been very effective. The twist ending is believable and very well-written.

The flaws of this film include Tsang's eyebrows (You'll know what I mean), Yue's inability to enunciate his words made for listening to the dialogue a chore, crappy acting and stereotypical roles by the female leads that almost made them unbelievable, and underestimated their execution. It may seem like there are many flaws. However, the main focus is not in their romantic lives. So other than that, I thoroughly enjoyed this film.

What an original title for my comment. It was what I thought of in a pinch. Anyway . . . the film is based on Oliver Twist, using basically, only the name of the characters and their abject living conditions to parlay a story about male hustlers and their life in Toronto.

The atmosphere created is pitch-perfect, and the audience really gets the feel of the weather in Toronto during winter. It's dark, damp and freezing cold, much like the the world the boys live in. And in the hollowed eyes of the hustlers, you can feel their hopelessness and exhaustion.

It is told in the view point of Dodge, rather than Oliver, and focuses on his life. Dodge is played by Nick Stahl, who does a great job of evoking the scared, hungry, cold and insecure young boy, who has seen too much. Joshua Close plays Oliver, who seems a little too one-dimensional for my liking, but is really effective in scenes with Stahl (especially the alley scene), perhaps a testament to Mr. Stahl's talents.

The film is definitely disturbing. There is no sugarcoating, and yet, there is no sex in the film, only mild violence. Most is left to the audience's imaginations, even the face of the Bill character, who plays the "pimp" in the film. His anonymity may have been used to increase the scariness of the character and his intentions, but almost became a shtick in my eyes, especially after his deplorable actions after finding out his "woman" had betrayed him. Bill was almost too bad to be a "real bad guy."

The lines are blurred between affection, power, violence and sexual need, perhaps most effectively in the one scene, it is all mixed up into one degrading act for Dodge. Some might have found it grotesque or perverted or used for shock value. However, I found it necessary to understand Dodge's actions and his character. It also helps to underline the pervasive cycle of abuse.

The ending is dark and bleak, and full of symbolic undertones. There are many questions left unanswered. I found the film to be very engaging, bittersweet and a good portrayal of how love is the most complicated emotion of all.