By Joanna Goh
If Only I Could
RBKD: “If Only I Could” was complimented for being a welcome change from the usual family dramas, exploring “deeper themes of fate and destiny – something we’d never expect to encounter in a local TV series”.
Toggle listed the following as the drama’s best aspects: theme song, mother-in-law and daughter-in-law’s squabbles, Andie’s chemistry with Rui En.
Rui En’s acting as an aunty was also singled out and named as a defining role in her acting resume.
Click here to read the full review of Toggle’s compliments for “If Only I Could”.
RBKD: CLIF4 was complimented for its heart thumping car chases and memorable action scenes, such as Elvin’s bicycle chasing scene, “the smartly-choreographed fight scene” between Rui En’s Zhijie and Fang Ruoting, and the bus hostage scene involving Zhang Yaodong and Rui En’s characters
Click here to read Toggle’s compliments for CLIF4 in their exact words.
By Joanna Goh
— Toggle (@ToggleSG) October 4, 2016
RBKD: We recommend you click on the link for the full review as we only provide a summary here.
Toggle thinks that it’s time to reboot the C.L.I.F. series after four thrilling seasons. Compared to its predecessors, Toggles finds C.L.I.F. 4 muted and pared-down with less action and more talk except for a few nail-biting fight and intense scenes – episodes 14/15’s bus hostage scene and episode 16’s kickass fight between Huang Zhijie (Rui En) and Fang Ruoting (Grace Teo) were singled out.
The breadth of cases covered were thought to be less extensive this season, focusing more on characters hatching and exacting revenge plans and tackling seemingly-mundane love and family problems etc..
Slide 2: The drama has reached its maximum story-telling lifespan for its current set of characters
Slide 3: To give the actors better roles and character developments
Slide 4: To have the perfect excuse to bring back other actors formerly from this franchise
Slide 5: To flesh out a different side of the SPF and showcase more high profile cases
Slide 6: Making a case for having a mole in the police force
By Joanna Goh
RBKD: Toggle said that “If Only I Could” is more than just a regular family drama: it is based on three characters traveling to the past to change their unfortunate lives.
Check out what the writer likes about the show.
Slide 3: If only we could give Rui En an award for her convincing transformation as an aunty
Slide 4: If only we could give Hong Hui Fang a meatier role in the drama
Slide 5: If only we could give the theme song an award
Slide 6: If only we could pair up Rui En and Andie Chen in another drama – again
Slide 7: If only we could reduce the number of intimate scenes Paige and Elvin in the drama
Slide 8: If only we could get a better payoff from Xi Wen and De Gang’s outcome
Slide 9: If only we could tweak the abrupt non-ending
By Foong Woei Wan
In Crescendo, the current Channel 8 drama about the music business, Jiang Chufan (Tay Ping Hui) is the musical genius responsible for countless songs in the Singaporean songbook and his friend Yang Yiwei (Christopher Lee) is the businessman.
Yiwei is also the hero here. As the chief executive officer of a struggling record label he started with Chufan and another friend, Luo Dawei (Darren Lim), Yiwei takes real risks, from gulping a mystery drink (possibly urine) to appease a Chinese investor to mortgaging his own home to finance the debut of Alixia (Olivia Ong), a Singaporean singer championed by Chufan.
To be specific, Yiwei is a Singaporean hero – the latest in a long line of mavericks imagined by WaWa Pictures in dramas including Secrets For Sale and Game Plan – who runs the quantifiable risks that Singaporeans understand, but might not take.
Singapore, in founding prime minister Lee Kuan Yew’s formulation, is a country that can’t afford poetry and it follows that music is an extravagance too.
In Crescendo, Yiwei, Chufan and Dawei have to face the costs, financial and human, of being in the music business.
In early episodes, Yiwei and Chufan lock horns over the former’s plan to enter a lucrative contract to produce vanity records for a Chinese tycoon’s goddaughter, which will delay the debut of the composer’s talented, disheartened student, Alixia.
And in a strain of melodrama, Chufan is still good friends with Yiwei’s estranged wife Wang Yafang (Cynthia Koh), who sang with the boys back in junior college, during the surge of xinyao, Singaporean folk-pop, in the 1980s.
Later, after the label decides to put Singaporean talent first and promote Alixia in the more significant Taiwanese market, she has second thoughts.
Typecast as a dummy on a Taiwanese variety show, she tires of having to play-act to draw viewers’ attention, when all she wants to do is sing.
She also bumps into Xueli (Ann Kok), a former xinyao singer who is now a walking cautionary tale. Xueli, who is also Dawei’s first love, landed in Taiwan years ago, never made it big and has been reduced to singing at a steakhouse.
But her unhappiness has a way of fading, or being transformed, when she sings Mavis Hee’s I Know And Yet.
And in flashbacks to Yiwei and Chufan’s youth, in the innocent years before the business grew prominent, the music shines: a wealth of xinyao, intimately performed by actors including Bonnie Loo, back when the characters had nothing and yet everything.
Source: Straits Times