All posts by Wan Kong Yew

Babel, or the Necessity of Violence

I hated The Poppy War but Babel is such a big deal in the speculative fiction genre that I feel obligated to read. Plus, I’ve had numerous people point out to me that it’s a very different book. This does actually cover some of the same ground and shares similar themes but it really is a much better book and I’d attribute that to Kuang’s writing skill having greatly improved since then. The characters this time around are much more convincing and it’s exhilarating how this is at once a love letter to Oxford and a condemnation of what the British Empire did to be able to afford to build the place. Even so, it has too many flaws for me to consider it a great book. It fails particularly towards the end as the climax is so obvious and made possible only because the great and mighty of the Empire act so dumbly.

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Grave of the Fireflies (1988)

I’ve left this, perhaps the most heartbreaking of the Studio Ghibli films, for among the last. I couldn’t help but be partially spoiled in advance as this is so well known but it turned out to be very different from what I expected. For example the famous firebombing scene takes place at the very beginning. It sets the stage for the trials of the brother and sister duo but doesn’t really play a part after that. In fact it seems to me that what causes their deaths isn’t the war at all and I found the situation that the two found themselves in to be implausibly contrived in order to maximize their suffering. Contrary to expectations, I didn’t much care for this film.

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Polite Society (2023)

I didn’t actually believe that this would really turn out to be a comedy action movie but I suppose I really should have believed in the poster and all of the clues. It’s so weird watching this after Ms. Marvel because it’s doing so many of the same things and even has the same actress playing the villain despite not having any superpowers involved. In some ways, it’s even better since having people with superpowers resort to fisticuffs in the end always looked dumb. There are some points in this film where it crosses the line over into cringe territory but I’d say it’s a decent action movie in the growing girl power genre.

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Rain Town (2024)

We’re continuing with the recent spate of Malaysian films I suppose as my wife insisted on catching this in the cinema to support local filmmakers. I admit that the idea of a Malay director, Tunku Mona Riza, directing a mostly Chinese cast in intriguing and I do like how it’s set in the town of Taiping. Unfortunately the material she has to work with is television drama level crap. It feels like something out of the 1980s with its moral conservatism and naive take on the human condition. I do want to watch something interesting set in Taiping but this isn’t it.

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Marvel’s Guardians of the Galaxy

Videogames that are adapted from movie properties have a reputation of being so awful that they’ve become a meme and I’ve always avoided them. So it’s quite a shock to come across one that bucks the trend so much that gamers go out of their way to recommend it. Having to shoulder the baggage of being a well-known Marvel property, this game has steep hurdles to climb. So I’m pleased to report that it actually exceeded my expectations. The mechanics are only average and there are some annoying bugs. Yet the story is absolutely top-notch and I daresay better than any of the films are that part of the MCU trilogy. This game is clearly influenced by the movies but it uses none of the familiar stars. It draws instead from the wider comics universe and doesn’t hesitate to use original characters of its own to create a fantastic story.

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The Red Shoes (1948)

This was added to my list because it’s a film by the Archers, the partnership between Michael Powell and Emeric Pressburger. I can’t say that I like it all that much even if it is known as one of the best British films of all time, but I am astounded that this really is all about a ballet production. In fact, its central feature is a performance that goes on for nearly twenty minutes and most of its cast are professional ballet dancers. There’s a delicious uncertainty for a long while as to where exactly this film is leading but it becomes more conventional once two of the main characters fall in love with one another.

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Sansho the Bailiff (1954)

I believe this is first film we’ve watched by Kenji Mizoguchi, one of the great directors of Golden Age Japanese cinema alongside the better known Akira Kurosawa and Yasujirō Ozu. This one is naturally one of his best works, apparently adapted from a folk tale. It’s a real tearjerker, piling tragedy after tragedy on top of its characters yet doesn’t feel over the top because of their folkloric origins. It’s absolutely brutal in portraying how pitiless the slave-owning society in medieval Japan was like. By the midpoint, I was ready to watch the protagonist lead a slave rebellion and burn it all down. This being not only a Japanese film but one that is all about imparting a Buddhist sense of mercy, this is very much not what happens.

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