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The story: Now, Tommy (Fabian Loo), who is currently undergoing his national service, uses his weekends to horror blog. One of his stories references two recruits (Noah Yap and Eric Lee) who, in 1967, unleash a dark World War II era spirit, resulting in terrible consequences. In another story, Tommy writes about a commando leader (Mark Lee) from the 1980s who returns from overseas jungle training with a bloodthirsty animal spirit. In the final story, Tommy marvels at the real world where social media is infested with more frightening creatures than what he could possibly imagine. This is a follow up, containing a set of new stories, to 23:59 (2011).Â
The classification board of Singapore deserves the same recognition as any screenwriter or director, because as evidence points to, there is a creator missing from the notes.
They have to juggle on capturing intimidating yet marketable work that does not attain the horrible income damaging NC16 or M18 rating. The guidelines and the horror earning common one’s like Singe’s earns is the explanation behind this.
What results is this local product that is somewhat thrilling and amusing but not too much. Even the parts that it has to fill are mildly amusing.
Producer Eric Khoo noted that the film’s blend of comedy and horror came from the Hong Kong films that were cheeky and funny but they cater to a more adult audience which this film does not.
A movie rated PG13 means there is more explanation and less of being visual. In the almost non existent first story for instance the recruits who disturb the beast from its eternal slumber face dire consequences and most of it occurs off camera.
The manner in which the movie ends is drastic from what is shown and becomes a white knuckle chase and a dozy anti-climax.Â
Now, the censors will claim that filmmakers can go wild and if they want to target certain audiences then they can restrict the age rating, but the reply from local artists has been while aiming at the local market, there isn’t much economic sense in putting a lot of effort in unless it targets the widest audience.
This leads to rather dull films such as this one.
There are captivating signs of the trash cinema style director Gilbert Chan attempts to show, such as the zombie cannibal angle in the 1967 tale, or the succubus woman eater of the 1980s story.Â
Once again, a lot of it is teasing with the payoffs shown in a blink and you miss it way. It feels as though it is a trailer cut out of a longer movie.Â
Although partially redeemed by the last tale, which attempts to warn us that many times the stranger you are sexting could want more than a raunchy conversation, what is most scary about this horror movie is the immense possible outcomes look wasted.
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