Assombração

Tsui Ting-Yin is a best-selling author and for her new book she decides to change genre and instead of writing love stories focus on the supernatural.When writing a chapter for her new book,entitled Re-Cycle,the supernatural she writes about appears to her in real life in the form of a woman.Afraid at first,Tsui Ting-Yin later follows the long-haired woman that appeared to her in order to be able to write more and is soon plunged into a world of fantasy and horror."Re-Cycle" plays more like a fantasy flick than horror.The film certainly looks truly beautiful and features some jaw-dropping scenery,unfortunately it lacks scares and is simply dull at times.Unlike their previous films,the building of nail-biting tension and creepy suspense did not play as big a part in "Re-Cycle".Overall,I expected more from the makers of "The Eye" and "Ab-normal Beauty".A solid 6 out of 10.

What's the worst in Re-Cycle is an absence of story. Purposeless journey, groundless twists, meaningless dialogs, loose ends all way round. To avoid misunderstanding, the script isn't simple or stupid, it nearly doesn't exist.

The only thing, which shines are creative, scary, stylish, surprising visuals/sets. Those sets with recycled books, rotten town, waiting deads almost took my breath away from either visual or creative points of view. Worth mentioning, last time it happened to me with Silent Hill. Extra marks.

Special effects and scares are not novel for those, who have seen previous Pang brothers features, but they are mixed in quite a fresh way. Across the movie one may also experience feelings resembling The Cell, Silent Hill, and even Matrix.

Avoid if looking for traditional horror movie, but watch rather to widen your imagination and to have several strong scares. Provision yourself with patience to neglect the absence of the story.

All writers ruthlessly re-cycle ideas, characters, memories and experiences. The creative mind is littered with discarded snippets of people and places all waiting to be remembered and put to use. In Re-cycle, Ting-Yin is a successful writer who turned a failed romance into three bestsellers. She is now working on a supernatural novel and strange things are happening in her house. Is this her inspiration, or is her story coming to life? The film's beginning is classically horror, but when Ting-Yin stumbles out of reality it becomes much more fantastic and really feels like a video game. She moves from one bizarre landscape to another, dealing with zombies as she goes.

Beautifully shot, the production is slick, but the story is more melodramatic than frightening.

I blame no one but myself for not loving this movie the first time around, as Re-Cycle is the posterchild for viewer-induced disappointment. For me personally, I expected something that mirrored the Silent Hill videogames – and considering how those Californian simpletons mucked up their attempt at a Silent Hill movie, I was drooling at the mouth to see if Re-Cycle succeeded where they had failed.

Obviously, I deluded myself into believing that Re-Cycle was trying to be something it was never meant to be. Needless to say, I was severely disappointed after an initial viewing. Where were all of the incredibly disturbing, blood-soaked images? Where were the detailed puzzles? Where were the violent death scenes? They were nowhere – and I was angry that Re-Cycle turned out to be its own movie with its own themes. Go figure.

Months later I started to think of the movie more and more. I thought to myself, "Yeah, that movie was mediocre, but that one scene was really cool." Then I pondered, "Wow, that other scene was sweet too, and that other one was awesome." Eventually, I decided to give it another go. That "other go" happened last night, and I ended up watching one heck of a movie.

The fantasy elements kick in at around the 40-minute mark, but Re-Cycle doesn't stoop to boring you during the opening segments with superfluous exposition. From minute one it grabs you with some well-executed (albeit conventional) horror elements that become much less conventional during a second viewing when you identify references to the main theme of the film.

Once the fantasy elements hit, Re-Cycle becomes a non-stop fantasy adventure. I cannot remember a horror film in recent memory with such relentless pacing. Much of this is owed to its fragmented transport of the lead protagonists. They may escape one danger by going through a door, but on the other side of that door is a completely different environment that is no less perilous. Some have criticized Re-Cycle for being scattershot and unfocused, but I would respectfully disagree considering how almost every single horror element references back to the overarching theme of the film. It's no masterpiece, but it works quite well – especially when you identify the references upon a second viewing.

I truly feel sorry for Hollywood fanboys. East Asian cinema already mops the floor with Western cinema in terms of scriptwriting, cinematography, hand-to-hand action sequences, sound, youthful acting talent, and sheer originality (just to name a few). Now, they've given us a fantasy film that mops the floor with the excessively bloated, overrated, self-indulgent twaddle known as Lord of the Rings.

Take the ending to Re-Cycle as an example. The finale within the Transit realm is quite simply the most intense, incredible fantasy sequence I've ever seen. I must admit that I've rewatched that scene about 30 times over the past few days. I'm totally, unequivocally ADDICTED to it. It's so much better than any scene in LOTR.

Better yet, I didn't have to slug through a bunch of generic characters speaking painfully generic dialogue while walking very, very slowly within vast landscapes for 600 friggin minutes like LOTR. Nor did I have to sit through half a dozen superfluous, drawn-out endings stacked one on top of the other. That might be the formula for winning Oscars and attracting moviegoers who like their fantasy films as vanilla as humanly possible, but I personally like my fantasy films with some – oh, I don't know – emotion. In a nutshell, Re-Cycle elicited some excitement (especially near the end), whereas LOTR stagnated in a realm of perpetual boredom.

On a side note, I can't really understand why Oxide Pang is so relentlessly criticized (to the point of unreasonableness) by so many people. It's exceedingly ironic that the people who complain about his scripts are the very same people who shout "masterpiece" when referring to those Japanese horror flicks from the 1960s (which will remain nameless) that have some of the worst scriptwriting in the history of horror cinema. In addition, Oxide's use of camera and sound is exceptional, and probably second only to Ryuhei Kitamura or Christopher Doyle.

Nothing this guy does is ever good enough for anyone, even though his movies are better than 90% of everyone else's. Diary, The Detective, Abnormal Beauty, Re-Cycle, The Eye, and Revenge (from the Bangkok Haunted anthology) combine to form the most impressive recent horror/thriller portfolio outside of Kiyoshi Kurosawa. Compare Oxide Pang to any American horror director and guy becomes an instant legend.

I saw this one on Fantasporto 2007, in Porto, Portugal.

I went to watch this one without expecting anything in particular from it. I like to go into films like this, quits the preconceptions brought by the excess of knowledge about the people involved. Apparently, i know it now, the directors are part of a new generation in the Hong Kong cinema, and they've produced some hits on that basis. To me they were unknown.

The film is complex, but not always for good reasons. It starts with a very smooth environment, borrowed (i guess, but not necessarily) from the psychological "apartment" thrillers by Polansky. This beginning was thrilling and promising, very good moments. The main character played a writer, i was guessing some kind of game with this characteristic (contemporary good cinema loves to explore these things). But no, what we watch are successive radical cuts between sceneries, story, etc. It moves on to present some fantastic scenery, having something to do with Japanese animé, a kind of Miyazaki filmed with live sets instead of animated ones.

But it fails deeply in trying to produce intense drama environment, in order to pass the environmental global message; instead we get a non pretended comedic portion of film (at a certain time laughs were the most heard sounds in the room).

The thing is, to my view, it gathers too many ways of doing it, to many cinematic theories, in a trick of associating the proliferation of materials and waste with the proliferation of cinematic "moods" and so cause the breathless sensation in the line of the intended message. I guess some contention and simplicity would apply perfectly in this case.

Story is completely irrelevant (not necessarily bad), but it is tiring and without motivation trying to follow it or understand it. Nevertheless this is a film with good production values, not always completely believable, but overall solid.

Some imagery is impressive, and well worked out in the relation with the soundtrack (also not bad), but i don't consider it enough to justify the time it lasts. Unless you ave a very special interest for this kind of movie, i don't recommend it.

My evaluation: 2/5