23:59 tells the tale of some army cadets in training on an island who have the misfortune of running into a local ghost with revenge on her mind.
The strongest points of this film are the the unique army barracks setting (for a ghost story) and the attempt to develop the main character arcs.
A better execution of the basic concept would have given a vicarious experience of what it is like to be an army recruit under these circumstances. The gold standard for this kind of thing in my opinion is FULL METAL JACKET (1987). Unfortunately, this film largely fails on that front.
On the character development front, we have, among others, one character who goes from being a skeptic to a believer in ghosts, and another who goes from being a bully to an empathetic person. Unfortunately, the first seems rather like an endorsement of superstition, and the second failed to be pulled off in a way that seems authentic. At least I still had reservations whether the bully's remorse was sincere. That actor's wooden performance may have contributed to my impression.
Apart from these issues, there is also a problem with the overall structure of the movie. Frequent flashbacks add hints about what had happened, but they are introduced in such a clumsy way that one cannot help but think of them as film-maker contrivances, and that takes us immediately out of the movie. Also, the story becomes more confusing because of the way the film is constructed.
The ghost character is yet another variation on the "Stringy-haired ghost girl" archetype, called onryo, which, it seems, has been milked dry in Asian horror. Perhaps it is worth noting that a Singaporean film availed itself of a ghost originating in Japanese folklore.
It is really all too bad. The premise is fresh and with better execution could have yielded a decent horror flic. As it stands, this is not a good film.
The strongest points of this film are the the unique army barracks setting (for a ghost story) and the attempt to develop the main character arcs.
A better execution of the basic concept would have given a vicarious experience of what it is like to be an army recruit under these circumstances. The gold standard for this kind of thing in my opinion is FULL METAL JACKET (1987). Unfortunately, this film largely fails on that front.
On the character development front, we have, among others, one character who goes from being a skeptic to a believer in ghosts, and another who goes from being a bully to an empathetic person. Unfortunately, the first seems rather like an endorsement of superstition, and the second failed to be pulled off in a way that seems authentic. At least I still had reservations whether the bully's remorse was sincere. That actor's wooden performance may have contributed to my impression.
Apart from these issues, there is also a problem with the overall structure of the movie. Frequent flashbacks add hints about what had happened, but they are introduced in such a clumsy way that one cannot help but think of them as film-maker contrivances, and that takes us immediately out of the movie. Also, the story becomes more confusing because of the way the film is constructed.
The ghost character is yet another variation on the "Stringy-haired ghost girl" archetype, called onryo, which, it seems, has been milked dry in Asian horror. Perhaps it is worth noting that a Singaporean film availed itself of a ghost originating in Japanese folklore.
It is really all too bad. The premise is fresh and with better execution could have yielded a decent horror flic. As it stands, this is not a good film.