Three Days of Rain is a play by Richard Greenberg that was commissioned and produced by South Coast Repertory in 1997. The title comes from a line from W. S. Merwin's poem, "For the Anniversary of My Death" (1967). The play has often been called Stoppardian but Greenberg says he wasn't aware of Stoppard's work before he wrote the play but instead claims 1967 BBC series The Forsyte Saga was a much greater influence.
Director:
Michael Meredith
Writer:
Michael Meredith
Stars:
Penelope Allen, Erick Avari, Alimi Ballard
Storyline
It's Tuesday in Cleveland; a storm arrives that will last three days. We watch rain fall as we listen to a DJ and the jazz he plays at WLOH. We also watch separate stories of a cab driver who's suffered a recent loss, a janitor who may lose his job, a junkie whose infant daughter is in the care of the woman's abusive father, a couple who argue after she won't let him give a restaurant dessert to a homeless man, a tile maker desperate for money to buy clay for a new job, and an alcoholic, prevaricating father whose adult son is long-suffering. Each is isolated, each seeks a connection; some find one.
Undercover cop Kit (Wu Jing) becomes a junkie in order to catch Mr Hung (Louis Koo), the mastermind behind a crime syndicate. When the operation goes sour and Kit blows his cover,
Director:Pou-Soi Cheang Writers:Lai-yin Leung (screenplay), Ying Wong Stars:Tony Jaa, Jing Wu, Simon Yam
Storyline
Undercover cop Kit (Wu Jing) becomes a junkie in order to catch Mr Hung (Louis Koo), the mastermind behind a crime syndicate. When the operation goes sour and Kit blows his cover, his supervisor and uncle Wah (Simon Yam) decides to terminate the operation. When Kit disappears without a trace, Wah defies the order from his commanding officer and tracks Kit to a prison in Thailand. Thai Police officer Chai (Tony Jaa) becomes a prison guard in order to raise money for his daughter who has leukemia. He's assigned to keep an eye on Kit. Even though Chai and Kit are in opposing positions and they don't speak a common language, Kit turns out to be a suitable bone marrow donor who can save Chai's daughter. While Chai is determined to keep Kit alive, the warden Ko (Zhang Jin) wants him dead to ensure the smooth operation of the prison, which is the front for Mr Hung's organ trafficking business. Mr Hung shows up in Thailand so he can use his younger brother's (Jun Kung) heart in a heart ...
User Reviews
It has taken slightly more than a decade for someone to pull off an 'SPL' sequel, but not for a lack of trying. Hey, it isn't quite so straightforward to make a sequel to a movie which had the balls to kill off each one of its three main characters played by Donnie Yen, Hung and Yam, and this long-awaited sequel is even more gratifying because it is in many ways as good as, if not better, than the original.
Rather than be tied down by the events of the first movie, incoming writers Jill Leung Lai-yin and Wong Ying have gone for a completely new narrative that honours the themes in the original. Yes, for the uninitiated, 'SPL' stands for the names of the three stars in Chinese astrology that signify destruction, conflict and greed, and just as these elements drove the characters in the first movie to their fateful end, so too do they propel the destinies of the main characters here – Kit (Wu Jing), a drug-addicted Hong Kong undercover cop in an organ trafficking syndicate who finds himself in a Thai prison after his cover is blown; Wah (Yam), his uncle and handler also assigned to the same case; and Chai (Tony Jaa), a guard at the prison Kit is locked up in whose daughter Sa is suffering from leukaemia and needs a bone marrow transplant soon.
As it turns out, the potential donor which the hospital has identified for Chai's daughter happens to be Kit, though both will remain unaware of that stroke of fate until much later. It is a somewhat implausible coincidence no doubt, one that we would readily scoff at in any other movie, but which you'll have to accept as being central to 'SPL 2's' very premise. The other intertwining thread of events has to do with Hung (Louis Koo), the ailing leader of the aforementioned syndicate which he runs with the corrupt prison warden Ko (Max Zhang) at the penitentiary Kit has been sent into. Hung himself is in need of a life-saving heart transplant, although because of his rare Bombay blood type, his only hope lies in his younger brother Bill (Jun Hung), whom he resorts to kidnapping when the latter refuses to donate his very organ.
Whereas the emphasis was very much on Yen's action and action choreography previously, this sequel pays a lot more attention to both character and storytelling. Indeed, each one of the many characters is distinctly defined by their proclivity to preserve their own life and/or that of a loved one, while being forced to confront how far they are willing to go to compromise their own sense of morality, justice or duty. In particular, Jaa gets his meatiest role yet playing a father who is forced to choose between a human cure for his daughter's blood ailment in exchange for his silence on the illegal skin trade happening right under his watch, and the actor gives probably his most nuanced performance to date. Also noteworthy is Koo's villainous turn, whose character justifying his selfish deed by the countless other lives he has saved before.
It is to Cheang's credit that the various narrative threads never get confusing, especially so at the start when he jumps back and forth to explain how Kit landed in prison. Though it may seem like a gimmick, the non-linear manner in which Cheang introduces us to his disparate characters eventually makes for a surprisingly compelling plot for a film of its genre, which often treats the latter as no more than filler in between the crowd-pleasing action sequences. Not that Cheang neglects the latter though – it is for its hard-hitting action that its predecessor was known for, and with action director Li Chung-Chi, this sequel honours that spirit with some truly exhilarating fights of its own.
Because Wu Jing, Zhang Jin and Tony Jaa are martial artists in their own right, there is no need for that sort of distracting camera-work that Hollywood action movies seem to be very fond of in recent years. Yes, Kenny Tse's cinematography is clean, simple and crisp, conveying the balletic moves of the stars who are front and centre in each and every one of the sequences. Li choreographs the poetic mayhem with flair, which consists of impressive set-pieces, such as a shootout at Hong Kong's new cruise terminal following a sting operation and no less than a full-scale prison riot filmed in one single unbroken tracking shot, as well as intimate mano-a-mano fights between the principal characters.
The best is saved for last, as Kit and Chai make their last stand against Ko and his henchmen in the penthouse of the Lotus Medical Centre in Thailand. The scenes towards the end where Kit and Chai tag-team to take down Ko are especially exhilarating, and most certainly match up to the sheer thrill of watching Donnie Yen and Wu Jing go at each other in a narrow alleyway in the first movie. Yes, those wondering if this sequel lives up to the action orgasm of its predecessor need not worry; the combination of Tony Jaa, Wu Jing and Zhang Jin makes for just a lethal concoction of bare-knuckle fights and bone-crunching violence.
But more than just a pastiche of well-staged action sequences stitched together, this sequel is a better film on the whole than the original thanks to an engaging story and some genuinely empathetic characters. Yes, the premise itself guarantees a certain degree of narrative contrivance, but Cheang's film preserves the no- holds-barred spirit of its predecessor while delivering a compelling crime/ morality thriller. It's as good a follow-up as fans will get, and well-worth the decade wait for one of the best action films you'll see this year.
Financial TV host Lee Gates and his producer Patty are put in an extreme situation when an irate investor takes over their studio.
Director:
Jodie Foster
Writers:
Jamie Linden (screenplay), Alan DiFiore (screenplay)
Stars:
George Clooney, Julia Roberts, Jack O'Connell, Dominic West
Storyline
In the real-time, high stakes thriller Money Monster, George Clooney and Julia Roberts star as financial TV host Lee Gates and his producer Patty, who are put in an extreme situation when an irate investor who has lost everything (Jack O'Connell) forcefully takes over their studio. During a tense standoff broadcast to millions on live TV, Lee and Patty must work
furiously against the clock to unravel the mystery behind a conspiracy at the heart of today's fast-paced, high-tech global markets.
Movie Reviews
Money Monster features George Clooney as one those loud obnoxious Finance TV hosts. It also features Julia Roberts as the shows director. However, when an angry investor played by Jack O'Connell, breaks into the studio and holds George Clooney hostage till he gets some answers, George Clooney has to do anything he can to stay alive. I originally went into this movie with relatively low expectations. I thought the plot was going to be predictable and boring, but overall, I found it to be very entertaining. The Good: The performances. You can always expect a good performance from George Clooney And you can honestly say the same thing about Julia Roberts. That being said this is the 3rd movie that features Jack O'Connell in a leading role and let me just say that he is quickly becoming one of my favorite actors. At this point, I think he can do no wrong. The next thing I liked were the clichés in the movie. This movie reminded me a lot of John Q in that it is a normal person standing up for something he knows is right, even though the means might not have been the best. That being said, even though many of the hostage clichés that you get in movies like John Q, the Negotiator, and The Inside Man, are still here… the result of the clichés took a completely different turn. So although I thought they were going to be cliché, they actually turned out to be completely unique. Money Monster was also surprisingly funny. Now don't get me wrong, I wouldn't call it a comedy by any stretch of the imagination because there were moments that were roll-you-eyes obnoxious, most of which came from the TV shows production, but there were definitely moments where I found myself laughing out loud. The Ehh: As I said already I liked how the movie would start a plot point with a cliché and then completely turn it on it's head. I only wish the same thing could be said about the ending. I figured out roughly how the movie was going to end by about 5 minutes into the movie. It was pretty obvious where they were going, but it was still refreshing how they ended up getting there. The Bad: The dang TV show that George Clooney's character hosted. I can't stand shows like Mad Money, and Money Monster is an extreme version of that. Luckily the main story line started pretty quickly so I didn't have to see too much of it. Recommendation: Even though Money Monster is your typical hostage thriller with a predictable ending, the great acting and surprising twists keep you guessing and at the edge of your seat. For those reasons I recommend that this movie should be seen in theaters. Visit Unpopped Review for more movie review from a movie lover, not a movie critic
