Wednesday, April 29, 2015

Helios (赤道)

For F*** Magazine


Director : Longman Leung, Sunny Lok
Cast : Jacky Cheung, Nick Cheung, Shawn Yue, Janice Man, Ji Jin-Hee, Choi Siwon, Wang Xueqi, Chang Chen
Genre : Action/Thriller
Run Time : 120 mins
Opens : 30 April 2015
Rating : NC-16

The best and brightest counter-terror experts from Hong Kong and South Korea have to join forces in order to foil a nuclear catastrophe in this action thriller. Wanted terrorist Helios (Chang) has stolen the compact nuclear device “Davy Crockett 8” and 16 uranium spheres from a facility in South Korea. The authorities believe Helios’ right-hand woman “the Messenger” (Man) is responsible for downing an airliner in Liaoning. Chinese envoy Song An (Wang), Inspector Lee Yin-ming (Nick Cheung) of the Hong Kong Counter-Terror Response Unit, South Korean weapons expert Choi Min Ho (Ji) and NIS agent Park Woo Chul (Choi) converge in Hong Kong to recover the weapon. Physics professor Siu Chi-yan (Jacky Cheung) joins the team as a consultant. As they race against the clock to prevent a sale of the DC-8 device from going down, a far-reaching conspiracy begins to unravel.

            Helios is written and directed by Longman Leung and Sunny Luk, the pair behind 2012’s crime thriller Cold War. Things look promising enough: it’s handsomely shot, the production values are solid, the action sequences pack a punch, the visual effects are better than most Hong Kong productions – but it’s not long before Helios falls apart. The film’s style comes off as very self-conscious, but the harder Leung and Luk try to get the audiences to take the film seriously, the more unintentionally funny it becomes. Just like gritting one’s teeth too hard can make one look silly, Helios often ends up embarrassing itself in its attempts at being tough and cool. The writing-directing duo also try to make the plot too convoluted for its own good; running in circles with what should be a straightforward thriller storyline, the film coming off as generic in spite of itself as a result.

            With its attempt to insert geopolitics and ideology clashes into a “stop the nuke from going off” story, Helios often feels like a below-average season of 24, with Nick Cheung in place of Kiefer Sutherland. Nick Cheung’s character is so hard-core, he waterboards a suspect with their shirt – this is silly rather than threatening. Jacky Cheung plays the stereotypical professor, complete with beard, glasses, bow tie and sweater vests. 

Chang Chen is not quite scary enough as the titular big bad, but model/actress Janice Man is surprisingly convincing as an ice-cold assassin. Ji Jin-Hee as a nuclear physicist – at least it’s more believable than Denise Richards in The World is Not Enough. Choi Siwon’s legions of fans will probably be thrilled to see him toting a shotgun and kicking ass as the agent in charge of protecting Ji’s character.

            Helios wants to be smarter than your average shoot ‘em up flick but it falls on its face one too many times. One of the elements that really took this reviewer out of the whole thing is the magic translator earpieces that allow the characters from Hong Kong and Korea to communicate seamlessly. This device, reminiscent of the Babel fish from Hitchhiker’s Guide to the Galaxy, instantly kills any realism or grit the movie is aiming for. One can’t help but wonder what the consequences of a mistranslation resulting from a glitch in the software at such a high level would be. Peter Kam’s musical score is also incredibly unsubtle, blaring and almost pouncing at the audience. It’s meant to create tension, but is so obtrusive it detracts from the atmosphere. The final nail in the coffin is the movie’s ending: there’s a huge plot twist really late in the game, only for the movie to end on an infuriating and frankly quite shameless sequel bait note. By the time said sequel rolls around, we probably would have all but forgotten this one.

Summary: Solid production values and a watchable cast can’t salvage this generic, sometimes unintentionally funny thriller that thinks it’s a lot smarter than it actually is.

RATING: 2 out of 5 Stars

Jedd Jong



For F*** Magazine


Director : Levan Gabriadze
Cast : Shelley Hennig, Moses Jacob Storm, Renee Olstead, Courtney Halverson, Will Peltz, Jacob Wysocki, Heather Sossaman
Genre : Horror/Thriller
Run Time : 83 mins
Opens : 30 April 2015
Rating : NC-16 (Violence and Coarse Language)

A leaked personal photo or a dropped Skype call is far from the most terrifying thing that can happen to you online in the horror flick Unfriended. It is a year after high school student Laura Barns (Sossaman) commits suicide after an embarrassing video of her passing out a party is posted on YouTube. Six of her classmates, Blaire (Hennig), Mitch (Storm), Jess (Olstead), Val (Halverson), Ken (Wysocki) and Adam (Peltz) are having a routine Skype call when a mysterious seventh caller enters the conversation. The six friends initially believe that this is some kind of cyber prank, but as eerie happenings unfold both within and beyond the online realm, it appears that Laura may be back from the dead and out for revenge, meaning that they’re up against a high-tech haunting.

            There are many major motion pictures that just don’t feel right when watched on a laptop or smart phone screen. A small screen does undercut the grandeur of something like Interstellar or Skyfall. Here’s a film that is likely at its most effective when viewed on a laptop or smart phone screen. The gimmick here is that the entire movie unfolds on the monitor of protagonist Blaire’s MacBook. The story progresses through interactions on various websites and social media platforms, the likes of Skype, Facebook, iMessage, YouTube, Spotify and even Chatroulette figuring into the plot. One element that makes horror movies particularly scary is the “this could happen to you” factor, Unfriended playing on the ubiquity of a life lived online. “Connection Lost”, a recent episode of Modern Family that plays out entirely on Claire Dunphy’s laptop, uses the format to elicit laughs instead of shrieks.

            Unfriended is directed by Georgian-Russian filmmaker Levan Gabriadze and comes from Jason Blum’s Blumhouse Productions. While Blum is an Oscar nominee for producing Whiplash, his primary stock in trade is low-budget, franchise-ready horror flicks – after all, he has made a killing from the Paranormal Activity series, with The Purge and Insidious poised to spawn several more films. As a Blair Witch Project-type movie for the new media generation, Unfriended has a novelty to it. However, this gets old really fast, and just as how found footage horror movies are now regarded as a nuisance, a whole string of “computer scream” movies could easily become unbearable. Naturally, sequels are already being planned. Still, the effort put into creating a convincing online milieu is praiseworthy. Plotting out the desktop ecosystem and online interaction history of a fictional character isn’t as easy as it sounds and the attention to detail and continuity here is on point.

            While Unfriended’s presentation sets itself apart from the teen-aimed horror movie pack, it still succumbs to one of the most common shortcomings of this subgenre: unlikeable characters.  Strip away the bells and whistles of its format and you’re left with a pretty typical “teenagers get picked off one by one” horror flick plot structure. To begin with, our characters are complicit in cyber-bullying that brings about a girl’s suicide, so they aren’t exactly the nicest kids in town. Still, they are adequately relatable and low-budget horror movies can get away with a cast of relative unknowns – only Renee Olstead is a somewhat recognisable name. There’s the teen high school drama and the skeletons in the closet each friend is hiding from the next but none of this is particularly original or compelling. There are individual moments brimming with tension and a cool ticking clock device, but when you step back and look at Unfriended from a macro viewpoint, there isn’t a lot of overarching suspense. The main “mystery” is perhaps if Blaire and her friends are being targeted by a hacker troll or a literal ghost in the machine, but that question is answered pretty quickly.

            With its cyberbullying theme, Unfriended is topical if more than a touch exploitative of a sensitive subject. The title also walks the line between “moderately clever” and “goofy”, and works marginally better than the rather 90s original title, “Cybernatural”. The specificities of the film’s style means that it will soon become dated and in as little as ten-odd years, will become an amusing time capsule of how we live our lives online circa 2014-15. It is inventive and refreshing, but given a couple of sequels, we have a feeling those heaping praise onto Unfriended now might feel a twinge of regret then.

Summary:Those Meddling Millenials: The Horror Movie” achieves an admirable level of verisimilitude with its portrayal of online interactions, but whatever originality there is in its presentation cannot offset the teen horror clichés that serve as the movie’s backbone.

RATING: 2.5 out of 5 Stars

Jedd Jong



For F*** Magazine


Director : Michael Almereyda
Cast : Ethan Hawke, Milla Jovovich, Dakota Johnson, Penn Badgley, Anton Yelchin, Ed Harris, John Leguizamo, Delroy Lindo, Bill Pullman
Genre : Drama
Run Time : 99 mins
Opens : 30 April 2015
Rating : NC-16 (Some Violence)

Shakespeare is the gift that keeps on giving, artists of all kinds continuing to find inspiration in the Bard’s work centuries after his death. The play Cymbeline provides the basis for this crime drama, which updates the setting of Ancient Britain to the present day. Instead of being the King of Britain, Cymbeline (Harris) is the leader of the Briton biker gang. His daughter Imogen (Johnson) is in love with the lowly Posthumus (Badgley), whom Cymbeline has taken on as a protégé, and has married him in secret. An enraged Cymbeline exiles Posthumus. Iachimo (Hawke) bets Posthumus that he can seduce Imogen and bring him proof. In the meantime, Cymbeline’s wife the Queen (Jovovich) hatches a plot to murder Cymbeline and have Cloten (Yelchin), her son from an earlier marriage, marry Imogen so he can usurp Cymbeline’s place as head of the gang. Also under threat is the fragile truce between Cymbeline and corrupt policeman Caius Lucius (Vondie Curtis-Hall), the King’s empire slipping through his fingers.

            Cymbeline is adapted and directed by Michael Almereyda, known for his 2000 film adaptation of Hamlet. Almereyda’s Hamlet, which starred Ethan Hawke in the title role, was also a setting update – Hawke delivers the “To be or not to be” soliloquy while wandering the aisles of a video rental store. With Cymbeline, Almereyda was clearly inspired by Kurt Sutter’s TV series Sons of Anarchy, which revolves around a biker gang and takes inspiration from Hamlet. Cymbeline was even titled “Anarchy” at one point. Alas, it’s very clear that Almereyda is struggling to jam a square peg into a round hole, but not for lack of trying. The film strains to make its re-contextualisation a successful one, ultimately failing. Cymbeline is generally not regarded as one of Shakespeare’s greater plays and it has been noted that it recycles elements from the Bard’s earlier works, including Romeo and Juliet, Othello and Hamlet.

            Second-rate Shakespeare is still high art, and this adaptation retains most of the original dialogue. Hearing the signature iambic pentameter outside of its intended context can be jarring if handled clumsily, and this take on Cymbeline has butter fingers. The original text has been abridged but not streamlined, the dense, labyrinth plot still pretty confusing. While Ethan Hawke looks like he knows what he’s doing, Penn Badgley and Spencer Treat Clark often deliver their lines as if they were reading the ingredients off the back of a shampoo bottle. Anton Yelchin bites into the Cloten role with glee, but his whiny performance gets annoying pretty fast. Regardless of how good an actor one is, it’s impossible to make the line “On her left breast/A mole cinque-spotted, like the crimson drops/I' th' bottom of a cowslip” sound naturalistic in a contemporary context, and perhaps it was never meant to be that way.

            Ed Harris as the tough leader of a biker gang? Sure, we’ll buy that. Ed Harris as the tough leader of a biker gang trying to make the line “Thou took'st a beggar; wouldst have made my throne a seat for baseness" sound like something the tough leader of a biker gang would actually say? That’s a harder sell. Both Milla Jovovich and Dakota Johnson are very stiff throughout the film, Johnson playing Imogen with an “ugh, whatever” air. Jovovich does get to perform an appropriately moody cover of Bob Dylan’s “Dark Eyes”, one of several atmospheric touches that are limited in their effectiveness thanks to everything else.

            We know we sound like a broken record, going on about how awkward and stilted the film comes off in its presentation, but that’s because Cymbeline could have been saved. It could have worked as a dramatic romance set against a war between a biker gang and corrupt cops, had Almereyda not been so precious about retaining the original text. There’s an attempt at verisimilitude, with characters scrolling through photo galleries on their iPads and looking up locations on Google Maps, but it still rings false. Re-contextualisations can work, if they’re handled deftly enough or if they revel in the silliness of the premise and spin a colourful alternate world around the story. Cymbeline is neither and falls flat because of it.

Summary: Some excellent actors and several mediocre ones are all left high and dry by this unwieldy adaptation that most audiences will find alienating and odd.

RATING: 2 out of 5 Stars

Jedd Jong 

Friday, April 24, 2015

Danny Collins

For F*** Magazine


Director : Dan Fogelman
Cast : Al Pacino, Annette Bening, Bobby Cannavale, Jennifer Garner, Christopher Plummer, Katarina Čas
Genre : Drama/Comedy
Run Time : 107 mins
Opens : 23 April 2015
Rating : NC16 (Some Drug Use and Nudity)

“Rock and roll dreams come through” – so sang Meat Loaf all those years ago. What comes after that? Danny Collins (Pacino) is an aging rock star, a fading shadow of his former self. With a trophy fiancé (Čas) on his arm, a touring show mostly attended by senior citizens and a third Greatest Hits album on the way, Danny is feeling unfulfilled. Danny’s manager Frank Grubman (Plummer) gives him a life-changing birthday present – a handwritten letter from John Lennon that Danny was meant to receive 40 years ago. This gives Danny a second wind as he cancels his tour, checks into a hotel near a New Jersey suburb and tries writing music again. Danny tries to mend bridges with his adult son Tom (Cannavale), attempting to win over Tom’s wife (Samantha) and young daughter Hope (Giselle Eisenberg) and do right by the family he’s only now getting to know. In the meantime, he strikes up a possible romance with Mary Sinclair (Bening), the manager at the hotel.

            The film beings with the text “the following is kind of based on a true story a little bit”, a winking, honest admission. The true story in question is that of Steve Tilston, a folk singer from Bristol who discovered that after reading an interview Tilston did with a music magazine, John Lennon had written him a letter that Tilston only received 34 years after the fact. Writer-director Dan Fogelman takes that starting point and spins into a rock star redemption story, its protagonist part-Rod Stewart, part-Tom Jones, with a dash of Barry Manilow for good measure. With its message of “staying true to yourself”, Danny Collins is mostly predictable and it’s clear that Fogelman is valiantly straining to temper the sentimentality with some edginess in the form of swearing, drugs and nudity. The material is still mawkish, most noticeably when Danny bonds with his granddaughter, a stock hyperactive, precocious moppet. At times, the film reminded this reviewer of the Hannah Montana movie, of all things. Annette Bening’s Mary keeps encouraging Danny to write that one song that means something to him, just as Travis did with Miley, the result in that film being “The Climb”.  

            Al Pacino isn’t an actor one would expect to deliver a nuanced performance – this is Mr. “HOO-AH!” we’re talking about, after all. As a rock star desperately trying to recapture his glory days, Pacino does get to be a little flamboyant but thankfully reins it in for the most part. Danny’s pre-show ritual consists of snorting cocaine, downing whiskey and dabbing his face with self-tanner. The casting seems apt, since Pacino himself is past his prime, and it’s actually okay that his singing voice is terrible, since it adds to the washed-up quotient. He probably is miscast, but Pacino makes the most of it. It’s not quite a glorious comeback for the actor, but it’s definitely better than slumming it in something like Jack and Jill.

            Pacino is backed up by an accomplished supporting cast. Annette Bening channels Diane Keaton adequately, it’s the stock type of the no-nonsense boss lady set on resisting the charms of our protagonist but Bening is nonetheless endearing and strikes up good chemistry with Pacino. Bobby Cannavale and Jennifer Garner make for a convincing upper-middle class couple at the end of their rope and trying not to let it show for the sake of their kids. The conflict between father and son, however fierce, still lacks bite because we know how it’ll all end up. It is Christopher Plummer who steals the show as Danny’s blunt, level-headed and reliable manager/best friend. Plummer has gone on record saying that though it’s the thing everyone remembers him from, The Sound of Music was too saccharine for his tastes. If you’ve ever wanted to hear Captain Von Trapp drop more than a few F-bombs and utter the words “sore-tittied African ladies”, this is the movie for you.  

          The biggest coup here is that Fogelman was able to secure Yoko Ono’s permission to insert nine John Lennon songs into the film’s soundtrack, a rarity in the music licensing world. Unfortunately, the use of some of these tracks is heavy handed – “Beautiful Boy” plays just after Danny first meets his son, because of course. The theme of artistic integrity vs. commercial appeal was addressed with more panache in Birdman – come to think of it, the handwritten letter from John Lennon here could be compared to the handwritten note from Raymond Carver in that movie. Still, it counts for something that Fogelman demonstrates an awareness that jaded audience members are not that easy to win over, instead of diving head-first into the schmaltz.

Summary: Acknowledging his status as a washed-up star, Al Pacino is on fine form here and is backed up by a great supporting cast, but the rock star redemption story is still too formulaic to soar.

RATING: 3 out of 5 Stars

Jedd Jong

Tuesday, April 21, 2015

Avengers: Age of Ultron

For F*** Magazine


Director : Joss Whedon
Cast : Robert Downey Jr., Chris Hemsworth, Chris Evans, Mark Ruffalo, Scarlett Johansson, Jeremy Renner, James Spader, Aaron Taylor-Johnson, Elizabeth Olsen, Paul Bettany, Samuel L. Jackson
Genre : Comics/Action/Adventure
Run Time : 141 mins
Opens : 23 April 2015

(The following review is spoiler-free)

Earth’s mightiest heroes boldly step forth into a new age in the closing chapter of the Marvel Cinematic Universe’s second phase. The Avengers, comprising Tony Stark/Iron Man (Downey Jr.), Thor (Hemsworth), Steve Rogers/Captain America (Evans), Bruce Banner/Hulk (Ruffalo), Natasha Romanoff/Black Widow (Johansson) and Clint Barton/Hawkeye (Renner) have unfinished business to attend to. Loki’s sceptre is being held in a Hydra stronghold, and in the process of retrieving the otherworldly weapon, the team confronts the twins Pietro (Taylor-Johnson) and Wanda (Olsen) Maximoff, the products of Hydra genetic enhancement experiments. Stark and Banner have an experiment of their own, the artificial intelligence system Ultron (Spader), intended as a security net for the world. However, the sentient robot has nefarious plans of its own, violently rebelling against its creators. The Avengers’ only hope may lie in Vision (Bettany), an old friend in a new form. 

            2012’s The Avengers was a monumental event, the glorious apex of Marvel Studios’ diligent world-building. Now, the Marvel Cinematic Universe has truly earned the right to call itself a “universe”, Age of Ultron uniting a multitude of familiar faces while introducing new players. There’s the welcome feeling that the gang’s all here, but not just for the sake of it. This is a significant achievement on multiple levels; writer-director Joss Whedon taking on the Herculean challenge of topping the first Avengers film while charting a course forward for all of these characters. Once again, Whedon demonstrates a remarkable command of the tone, peppering the screenplay with delightfully zippy witticisms (Stark references playwright Eugene O’Neill and the practice of Prima Nocta) yet establishing the stakes and delivering genuine drama when it is required. 

What stands out as the most impressive element of this blockbuster isn’t the wham-bam spectacle, it’s the character development. While many action movies are marketed as being “character-driven”, more often than not, the plot seems like a minor inconvenience at best, fiddly bits of story standing in the way of stuff blowing up. This isn’t the case here. Whedon cleverly builds upon the relationships established in the previous films, including the “science bros” bond between Stark and Banner and the dysfunctional family dynamic within the team as a whole. Whedon is unafraid to have sizeable stretches of the film driven solely by drama or comedy in between the action, without the movie feeling like it’s spinning its wheels until Hulk next smashes something or Cap tosses his shield. The conflict has its place, there is angst but not moping and the bristling tension that arises from disagreements within the team is balanced with the sheer satisfaction of seeing our heroes work in conjunction with each other.

This is not to say that the spectacle is in short supply – far from it. This is a major tentpole release that was guaranteed to do gangbusters even before a single word of the screenplay was written, but if Avengers: Age of Ultron is anything to go by, producer Kevin Feige and the folks at Marvel Studios are not about to rest on their laurels or just let these movies “make themselves”. The film’s opening, which involves the Avengers storming Baron Von Strucker’s (Thomas Kretschmann) mountain fortress, reintroduces viewers to our heroes in the thick of it with a slick, unbroken long take. There’s also a fair bit of globe-trotting, the story taking the team from their home base in New York to the fictional Eastern European city of Sokovia, South Africa and South Korea.

The movie’s signature set piece is the battle between Iron Man in his heavy-duty Hulkbuster armour and the Hulk. Stark is reluctant to fight Banner, shading the knock-down drag-out brawl with more emotional hues than a typical beat ‘em up. The climactic showdown, while familiar in the sense that it’s the plucky good guys against a horde of bad guys while trying to get innocent citizens to safety, is sufficiently different from the “big fight in a big city” finales that have become the norm in the Marvel Cinematic Universe.

After defeating Loki, the Avengers’ primary adversary in this sequel is the titular Ultron, voiced by James Spader, who also performed some motion capture work to play the 8 foot tall robot. Ultron is both a physical and intellectual challenge to the Avengers and his motivations are set up quickly and efficiently. Malevolent artificial intelligence is something of a hoary sci-fi trope and one could argue that 2001: A Space Odyssey’s HAL 9000 still stands at the top of the heap, but Ultron certainly fulfils all the big bad pre-requisites. Spader is a casting coup; his sonorous, supercilious line delivery both threatening and entertaining. There’s also the appeal of the “I’ve got no strings” motif, even more amusing given that Robert Downey Jr. is rumoured to be playing both Geppetto and Pinocchio in an upcoming live-action version of the story.

Whedon has put admirable effort into improving the characterisations we were presented with in the first film. Hawkeye in particular gets his moment in the sun; Renner having voiced his disappointment that the character spent most of the first Avengers under Loki’s mind control. Paul Bettany finally steps out of the recording booth to play cyber-butler JARVIS’ corporeal form, Vision, lending the character an elegant combination of strength and serenity.

The character of Scarlet Witch, with her ability to play dangerous mind games as she enters into the memories and feelings of those under her thrall, presents the audience with an opportunity to explore the deepest, darkest fears of our heroes. Elizabeth Olsen is a haunted, ethereal presence as Wanda, her powers taking their own toll on her psyche. The hallucinatory scenes also shed light on Black Widow’s past, these unsettling sequences feeling straight out of a horror movie.

Much was made about how Fox’s X-Men: Days of Future Past beat Marvel Studios to the punch when it came to putting speedster Quicksilver on the big screen. While Aaron Taylor-Johnson’s Pietro doesn’t quite have a bit as memorable as the “Time in a Bottle” kitchen run from DoFP, his Quicksilver is still pretty cool. The bond between the twins is conveyed convincingly by both Taylor-Johnson and Olsen. Mark Ruffalo continues to be an excellent Bruce Banner, this film showing how the character is at once Dr. Frankenstein and Frankenstein’s Monster and the inner turmoil that results from this dichotomy. There’s also a romance between Banner and Romanoff which can feel a little forced at times but is for the most part really quite sweet. A scene early on in which Black Widow tries to calm the savage beast reminded this reviewer of the interaction between King Kong and Ann Darrow.

It pains us a little to say this and we don’t want to come off as dismissive of the efforts of the army of visual effects artists who slaved away on this film, but the CGI does border on the excessive. It’s not sloppily done and there are a mind-boggling number of visual effects shots, but at times during the Hulkbuster vs. Hulk fight, the two computer-generated characters going at it seem like just that, as if one were playing a video-game. Still, this is a minor quibble and if the film were nothing but pixel-heavy battles, then we’d have a problem. Instead, we have a compelling, dramatic story, characters that are fleshed-out and easy to get invested in, plenty of morsels for hard-core fans and lots of quotable lines and some imagery courtesy of cinematographer Ben Davis that’s destined to become iconic. While there is no post-credits stinger, there is a tag after the main-on-end titles sequence that’s as tantalising as ever. Bring on Phase 3!

Summary: Avengers: Age of Ultron can boast that it’s about the Avengers as characters and Joss Whedon’s ability to deliver excellent dialogue and moving storytelling in addition to earth-shattering spectacle remains unparalleled.

RATING: 4.5 out of 5 Stars

Jedd Jong 

Saturday, April 18, 2015

Hulkbuster Unveiling at Ion Orchard

On the evening of Saturday, 18 April, the life-sized Hulkbuster statue created by Hot Toys was unveiled in front of Ion Orchard shopping mall in Singapore. I was there with a bunch of friends, many of whom were cosplaying characters from the Avengers films. Photo mega-post!

It begins.

Smoke! Confetti!

A sight to behold.

All-American cheer!

Shaun made this IN A CAVE! WITH A BOX OF SCRAPS!

Thrice bitten four times shy.

The craftsmanship on that costume is in. Sane.

The famously muscley Drefan as Thor!

Put the hammer down now!


Bewitched, bothered and bewildered

Agent Hill! 

Captain Photobomb

Never-miss on the left, Miss Marvel on the right.

Draw back your bow

Science bros come to blows


Like, ohmigawd, twinsies!

Nothing says "thug life" like a Black Widow action figure in your belt.

pre-requisite "ASSEMBLE!"

Fellow blogger and Singapore's premiere geeky lady, Red Dot Diva!


ION Man 
Confetti release in 3...



That's the face of geek joy right there.