DOCSLIB.ORG

CITED FILMS by JACK NEO, ERIC KHOO, and ROYSTON TAN Jack

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CITED FILMS by JACK NEO, ERIC KHOO, and ROYSTON TAN Jack appendix b 271 APPENDIX B: CITED FILMS BY JACK NEO, ERIC KHOO, AND ROYSTON TAN Jack Neo Homerun. 2003. Jack Neo (director, writer, and actor), Daniel Yun (executive produc- er), Titus Ho (producer), and Chan Pui Yin (producer). DVD, distributed by Vid- eoVan Entertainment Industries Pte Ltd. I Do, I Do. 2005. Jack Neo (director, executive producer, producer, writer, and actor), Lim Boon Hwee (director), Daniel Yun (executive producer), Asun Mawardi (ex- ecutive producer and producer), Jareuk Kaljareuk (executive producer), Titus Ho (producer), Chan Pui Yin (producer), Seah Saw Yam (producer), and Boris Boo (writer). DVD, distributed by Scorpio East Entertainment Pte Ltd. I Not Stupid. 2002. Jack Neo (director, writer, and actor), Daniel Yun (executive pro- ducer), Chan Pui Yin (producer), and David Leong (producer). DVD, distributed by VideoVan Entertainment Industries Pte Ltd. I Not Stupid Too. 2006. Jack Neo (director, writer, and actor), Daniel Yun (Executive producer), Chan Pui Yin (producer), Seah Saw Yam (producer), and Rebecca Leow (writer). DVD, distributed by Scorpio East Entertainment Pte Ltd. Just Follow Law. 2007. Jack Neo (director, producer, and writer), Irene Kng (Executive producer), Teck Lim (executive producer), Sok Mien Koo (producer), Simon Le- ong (producer), Hazel Wong (producer), Sek Yieng Bon (writer), Boris Boo (writ- er), Wei Lyn Tan (writer), and Michael Woo (writer). DVD, distributed by InnoForm Media Pte Ltd. Liang Po Po: The Movie. 1999. Jack Neo (writer and actor), Bee Lian Teng (director), Eric Khoo (executive producer), Daniel Yun (executive producer), and David Le- ong (producer). VCD, distributed by VideoVan Entertainment Industries Pte Ltd. Money No Enough. 1998. Jack Neo (writer and actor), Tay Teck Lock (director), Hsiao Yu-Hua (executive producer), and J. P. Tan (producer). DVD, distributed by Alli- ance Entertainment Singapore Pte Ltd. One More Chance. 2005. Jack Neo (director and writer), Michael Woo (director), Toh Lan Sin (director), Irene Kng (executive producer), Boris Boo (producer and writ- er), Simon Leong (producer), Hazel Wong (producer), and Ho Hee Ann (writer). DVD, distributed by Scorpio East Entertainment Pte Ltd. That One Not Enough. 1999. Jack Neo (director, writer, and actor), Meileen Choo (pro- ducer), and Mark Lee (writer). VCD, distributed by VideoVan Entertainment In- dustries Pte Ltd. The Best Bet. 2004. Jack Neo (director and writer), Daniel Yun (executive producer), Titus Ho (producer), Chan Pui Yin (producer), and Boris Boo (writer). DVD, dis- tributed by VideoVan Entertainment Industries Pte Ltd. 272 appendix b Eric Khoo 12 Storeys. 1997. Eric Khoo (director and writer), James Toh (executive producer and writer), Jimmy Wee (executive producer), Jacqueline Khoo (executive producer), Brian Hong (producer), and Ho Yoke Weng (director of photography). DVD, The Eric Khoo Box Set, distributed by Scorpio East Entertainment Pte Ltd. August. 1991. Eric Khoo (director, writer, and cinematographer). Screener. Barbie Digs Joe. 1990. Eric Khoo (director). Screener. Be with Me. 2005. Eric Khoo (director and writer), James Toh (executive producer), Jacqueline Khoo (executive producer), Freddie Yeo (executive producer), Brian Hong (producer), Wong Kim Hoh (writer), and Adrian Tan (director of photog- raphy). DVD, distributed by Scorpio East Entertainment Pte Ltd. Carcass. 1992. Eric Khoo (director and writer) and Nazir Hussain (director and writ- er). Screener. Home Video. 2000. Eric Khoo (director). Screener. Mee Pok Man. 1995. Eric Khoo (director), Jacqueline Khoo (producer), Foong Yu Lei (writer), and Ho Yoke Weng (director of photography). DVD, The Eric Khoo Box Set, distributed by Scorpio East Entertainment Pte Ltd. No Day Off. 2006. Eric Khoo (director). Screener. One Leg Kicking. 2001. Eric Khoo (director and executive producer), Wei Koh (direc- tor and writer), James Toh (executive producer), Daniel Yun (executive producer), Jacqueline Khoo (producer), Mabelyn Ow (producer), and David Park (director of photography). DVD, distributed by Alliance Entertainment Singapore Pte Ltd. Pain. 1994. Eric Khoo (director, producer, writer, and cinematographer). Screener. “Sex, Lies, and … ” Episode in Television Corporation of Singapore television series Drive. 1998. Eric Khoo (director and executive producer), Brian Hong (producer), Deni Yeow (writer), and Nic Low (director of photography). Screener. Symphony 92.4 FM. 1993. Eric Khoo (director). Screener. When the Magic Dies. 1985. Eric Khoo (director), S. C. Chiew (writer), and Paul Fan (di- rector of photography). Screener. Zombie Dog a.k.a. Eat Shit Fuck & Die. 2004. Eric Khoo (producer), Toh Hai Leong (di- rector), and Tan Fong Cheng (producer). Screener. Royston Tan 15 (feature film). 2003. Royston Tan (director, writer, and editor), Eric Khoo (produc- er), and Tan Fong Cheng (producer). DVD, distributed by Force Entertainment (Australia). 15 (short film). 2002. Royston Tan (director, writer, and executive producer) and Lim Ching Leong (director of photography and executive producer). Screener. 24 Hrs. 2002. Royston Tan (director, producer, and writer). Included in Royston’s Shorts (DVD, produced as part of the Asian Film Archive Collection by the Asian Film Archive, 2006). 4:30. 2006. Royston Tan (director and writer), Eric Khoo (executive producer), Jac- queline Khoo (executive producer), Gary Goh (producer), James Toh (producer), Makota Ueda (producer), Liam Yeo (writer), and Lim Ching Leong (director of photography). DVD, distributed by InnoForm Media Pte Ltd. 48 on AIDS. 2002. Royston Tan (director and producer), Ong Hee Yah (executive pro- ducer), and Mohd Sharif Bangi (director of photography). Screener..
Load more

Recommended publications
  • Social Construction of Singapore's Humor Industry
    Intercultural Communication Studies XIX: 1 2010 Lin & Tan How Cultural and Linguistic Pluralism Shape Humor: Social Construction of Singapore’s Humor Industry Trisha T. C. Lin & Phoebe Shu Wei Tan, Nanyang Technological University This study views Singapore’s humor industry through the theoretic lenses of social construction. It aims to examine the unique characteristics of Singapore humor and investigate how Singapore’s rojak culture (Chua, 1998) and social actors (content creator, market/audience, and government/policy) have shaped the trajectory of the humor industry. Data were collected through interviews with TV comedy producers, stand-up comedians, and theatre practitioners, as well as through three-month-long observation of local comedy scenes. Thematic data analysis (Miles & Huberman, 1994) was used to analyze transcribed interviews, observational field notes, and second-hand documents. The findings show Singapore humor is characterized by over-the-top visuals, frequent use of “Singlish” and Chinese dialects, satires of current affairs, and influences from western culture. The fear of failure, mianzi (Hwang, Francesco & Kessler, 2003), is Singapore’s cultural trait that hinders the development of Singapore’s humor industry. Its humor content creation relies on a formulaic approach, in order to cater for the perceived needs of mainstream audiences. Moreover, the content censorship, which serves as a crucial means to maintain order and harmony in this multicultural and multiracial society, still restricts creativity in humor creation and partially accounts for the lackadaisical Singapore humor industry. Humor is an innately complicated social phenomenon which can be found universally in all cultures, and plays a central, necessary part in social life (Billig, 2005).
    [Show full text]
  • 08/09 Annual Report
    08/09 ANNUAL REPORT 510 Thomson Road #12-05/06 SLF Building Singapore 298136 Tel: (65) 6354 8154 Fax: (65) 6258 3161 Email: [email protected] Website: www.ncpg.org.sg About the National Council on Problem Gambling The National Council on Problem Gambling (NCPG) is an independent council comprising 20 members with expertise and experience in public CONTENT communications and media, psychiatry and psychology, and counselling and legal services. Its terms of references are to: • Provide advice and feedback to the Ministry of Community Development, Youth and Sports (MCYS) on public education programmes to promote public awareness on Section problem gambling. Chairman’s Message 01 • Decide on funding applications 01 for preventive and rehabilitative programmes. Section • Assess and advise the The NCPG at a Glance 03 Government on the 02 effectiveness of treatment, counselling and rehabilitative Section programmes. Key Milestones 07 • Decide on the applications for exclusion of persons 03 from casinos. Section 04 Year in Review 12 Section 05 Looking Ahead 19 Section 06 Annexes 21 SECTION 1 Several public consultation exercises were conducted to seek public and stakeholders’ views on the casino exclusion measures. The Casino Control (Problem Gambling – Chairman’s Message Exclusion Orders) Rules 2008 was gazetted in December 2008 and the Family Casino Exclusion was implemented in April 2009. Casino Self Exclusion and the Third-Party Casino Exclusion on undischarged bankrupts and recipients of Public Assistance and Special Grant will be implemented by end 2009. This year, we welcomed practitioners from the social, community and education sectors once more at the second Singapore Problem Gambling Conference held in August.
    [Show full text]
  • MEDIA FACTSHEET (15 Mar 2013) Singapore Unveils 320 Hours of Comedies, Entertainment Programmes and Documentaries at Hong Kong I
    MEDIA FACTSHEET (15 Mar 2013) Singapore unveils 320 hours of comedies, entertainment programmes and documentaries at Hong Kong International Film & TV Market (FILMART) The Media Development Authority of Singapore (MDA) will lead 37 Singapore media companies to the 17th edition of the Hong Kong International Film & TV Market (FILMART) where they will meet with producers, distributors and investors to promote their content, negotiate deals and network with key industry players from 18 to 21 March 2013. More than 320 hours of locally-produced content including films and TV programmes will be showcased at the 90-square-metre Singapore Pavilion at the Hong Kong Convention & Exhibition Centre (booth 1A-D01, Hong Kong Convention & Exhibition Centre Level 1, Hall 1A). The content line-up includes recent locally-released film comedies Ah Boys to Men and Ah Boys to Men 2, about recruits in the Singapore military directed by prolific Singapore director Jack Neo; Taxi! Taxi!, inspired by a true story of a retrenched microbiology scientist who turns to taxi driving; Red Numbers by first-time director Dominic Ow about a guy who has three lucky minutes in his miserable life according to a Chinese geomancer; and The Wedding Diary II, the sequel to The Wedding Diary, which depicts life after marriage. Also on show are new entertaining lifestyle TV programmes, from New York Festivals nominee Signature, a TV series featuring world-renowned architect Moshe Safdie and singer Stacey Kent; reality-style lifestyle series Threesome covering topics with Asian TV celebrities Utt, Sonia Couling and Nadya Hutagalung; to light-hearted infotainment décor home makeover show Project Dream Home and Style: Check-in, an interactive 360 content fashion lifestyle programme which uses social media to interact with viewers.
    [Show full text]
  • Cinémathèque Quarterly Vol. 2: April June 2017
    Cinémathèque Quarterly Vol. 2: April_June 2017 About National Museum of Singapore Cinematheque The National Museum of Singapore Cinematheque Contents focuses on the presentation of film in its historical, cultural and aesthetic contexts, with a strong emphasis on local and regional cinema. Housed in the museum's 247-seat Gallery Theatre, the National Museum of 4 Editorial Note Singapore Cinematheque offers new perspectives on film through a year-round series of screenings, thematic showcases, and retrospectives. 5 Feedback Mechanisms: On Film and The City Design: Studio Vanessa Ban, assisted by Kong Wen Da Printer: First Printers, Singapore 24 “To Each His or Her Own Ambition”: A Concise Distributed by the National Museum of Singapore History of the Chong Gay Organisation in Singapore NMS: Wong Hong Suen, Kathleen Ditzig, Hannah Yeo Stephanie Yeo, Olivia Lim 38 5 × 5: Alex Oh × Rennie Gomez © 2017 National Museum of Singapore All rights reserved Published in Singapore by 44 Young Critic’s Pick — Review of Kelvin Tong's National Museum of Singapore, an institution of National Heritage Board. Grandma Positioning System by Mary Ann Lim The views and positions expressed in this publication are those of the authors only and are not representative 46 Young Critic’s Pick — Review of Jack Neo's of the editorial committee or publisher. The National Museum of Singapore shall not be held liable for any The Girl and Boo Junfeng's Parting: Nostalgia and damages, disputes, loss, injury or inconvenience arising in connection with the contents of this publication. Space in Singapore by Ho Xiu Lun 2 All rights reserved.
    [Show full text]
  • Learning Through Collaboration and Co-Production in the Singapore Film Industry : Opportunities for Development
    This may be the author’s version of a work that was submitted/accepted for publication in the following source: Wong, Caroline & Matthews, Judith (2009) Learning through collaboration and co-production in the Singapore film in- dustry: opportunities for development. In Rose, E & Fisher, G (Eds.) ANZIBA: The Future of Asia-Pacific Business- Beyond the Crisis. ANZIBA, CD Rom, pp. 1-25. This file was downloaded from: https://eprints.qut.edu.au/27761/ c Copyright 2009 please contact the authors This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// www.anziba.org/ conf.html QUT Digital Repository: http://eprints.qut.edu.au/ Wong, Caroline and Matthews, Judy H.
    [Show full text]
  • APPENDIX B Information on the Singapore Booth at the Marché Du
    APPENDIX B Information on the Singapore Booth at the Marché du Film, Cannes The Singapore film community is represented at the Marché du Film in Cannes, where the Singapore booth is located within the Film ASEAN Pavilion on the riviera (number 117, Village International). Village International at the Marché du Film is the annual forum for world cinema. Information on part of the Singapore delegation/companies at 69th Cannes Film Festival Company Contact Akanga Film Asia Fran Borgia Akanga is the film company behind the two Singapore films [email protected] (Apprentice, A Yellow Bird), selected for the Cannes Film www.akangafilm.com Festival 2016. Akanga Film Asia is an independent production company created in 2005 in Singapore to produce quality films by the new generation of Asian filmmakers. Our projects aim to create a cultural link between Asia and the rest of the world. Titles produced by Akanga include Ho Tzu Nyen’s Here (Cannes Directors’ Fortnight 2009), Boo Junfeng’s Sandcastle (Cannes Critics’ Week 2010), Vladimir Todorovic’s Disappearing Landscape (Rotterdam 2013), Christine Molloy & Joe Lawlor’s Mister John (Edinburgh 2013), Lav Diaz’s A Lullaby To The Sorrowful Mystery (Berlin Competition 2016 – Silver Bear Alfred Bauer Prize), Boo Junfeng’s Apprentice (Cannes Un Certain Regard 2016) and K. Rajagopal’s A Yellow Bird (Cannes Critics’ Week 2016). Clover Films Lim Teck Clover Films Pte Ltd was established in 2009 and [email protected] specialises in the distribution and production of Asian http://www.cloverfilms.com.sg/ movies, with an emphasis on the Singapore and Malaysia markets.
    [Show full text]
  • Intra and Intersentential Code-Switching Phenomena in Modern Malay Songs
    3L: The Southeast Asian Journal of English Language Studies – Vol 24(3): 184 – 205 http://doi.org/10.17576/3L-2018-2403-14 Intra and Intersentential Code-switching Phenomena in Modern Malay Songs WAN NUR SYAZA SAHIRA WAN RUSLI Faculty of Social Sciences and Humanities Universiti Kebangsaan Malaysia AZIANURA HANI SHAARI Faculty of Social Sciences and Humanities Universiti Kebangsaan Malaysia SITI ZAIDAH ZAINUDDIN Department of English Language, Faculty of Languages and Linguistics University Malaya [email protected] NG LAY SHI Faculty of Social Sciences and Humanities Universiti Kebangsaan Malaysia AIZAN SOFIA AMIN Faculty of Social Sciences and Humanities Universiti Kebangsaan Malaysia ABSTRACT Code-switching has been used in many languages by many different groups of people or speech communities, but little is known about how and why they are used as communicative strategies in modern song lyrics. This paper aims to explore and describe the recent phenomenon of English code-switching in modern Malay songs. 25 modern Malay songs were selected and analysed using Content Analysis. The analysis was made based on Poplack’ Theory as well as the functions of code-switching proposed by Appel and Musyken. Two types of code- switching commonly used in modern Malay songs were discovered. They were intrasentential and intersentential code-switching. The classification of the functions of code-switching was then made based on the six functions of code-switching, which are referential, directive, expressive, phatic, metalinguistic, and poetic. The findings of this research also indicate other functions of code-switching that demonstrate bilingual creativity among songwriters in Malaysia. In conclusion, the findings of this study indicated that code switching in Modern Malay songs is not just a random switch from one code to another but carries certain social functions that emphasize on the establishment of people’s intimacy, solidarity and local identity.
    [Show full text]
  • Singaporean Film Industry in Transition:Looking for a Creative Edge
    Caroline Wong SINGAPOREAN FILM INDUSTRY IN TRANSITION:LOOKING FOR A CREATIVE EDGE e nature and role of intangible resources that shape an uncertain and changing environment such as the film industry ,LAP� L AMBER � Academic PublishingT Caroline Wong SINGAPOREAN FILM INDUSTRY IN TRANSITION:LOOKING FOR A CREATIVE EDGE l Caroline Wong SINGAPOREAN FILM INDUSTRY IN TRANSITION:LOOKING FOR A CREATIVE EDGE The nature and role of intangible resources that shape an uncertain and changing environment such as the film industry LAP LAMBERT Academic Publishing lmpressum/lmprint (nur flir Deutschland/ only for Germany) Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Oaten sind im Internet Ober http://dnb.d-nb.de abrufbar. Alie in diesem Buch genannten Marken und Produktnamen unterliegen warenzeichen-, marken­ oder patentrechtlichem Schutz bzw. sind Warenzeichen oder eingetragene Warenzeichen der jeweiligen lnhaber. Die Wiedergabe von Marken, Produktnamen, Gebrauchsnamen, Handelsnamen, Warenbezeichnungen u.s.w. in diesem Werk berechtigt auch ohne besondere Kennzeichnung nicht zu der Annahme, dass solche Namen im Sinne der Warenzeichen- und Markenschutzgesetzgebung als frei zu betrachten waren und daher von jedermann benutzt werden durften. • Coverbild: www.ingimage.com Verlag: LAP LAMBERT Academic Publishing AG & Co. KG Dudweiler Landstr. 99, 66123 Saarbrucken, Deutschland Telefon +49 681 3720-310, Telefax +49 681 3720-3109 Email: [email protected] Herstellung in Deutschland: Schaltungsdienst Lange o.H.G., Berlin Books on Demand GmbH, Norderstedt Reha GmbH, Saarbrucken Amazon Distribution GmbH, Leipzig ISBN: 978-3-8383-6193-2 Imprint (only for USA, GB) Bibliographic information published by the Deutsche Nationalbibliothek: The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de.
    [Show full text]
  • Aesthetics of the Pathetic: the Portrayal of the Abject in Singaporean Cinema
    ACCESS: CONTEMPORARY ISSUES IN EDUCATION 2012, VOL. 31, NO. 2, 138–147 Aesthetics of the Pathetic: The Portrayal of the abject in Singaporean cinema Chua Beng Huata and Meisen Wongb aNational University of Singapore; bCenter for Metropolitan Studies, Berlin ABSTRACT A central figure in documentaries and commercial films in 1990s Singapore cinema is the abject figure in various guises, ranging from the urban poor to migrant sex workers from the other parts of the region. These abject figures make their living on the street and are thus fully visually exposed to every passing eye and lens. Set against the backdrop of Singapore’s triumphal national economic success story, these figures are aestheticised in visual representation, and stand as immediate disruption, critique and indictment of the long ruling government. Ironically, the same figures could just as easily be represented as ‘heroic’ figures of strength, self-reliance and individualism, qualities that are essential to Singapore’s success. Introduction to the abject The abject—literally one who is low in position, condition or status and even degraded— has enjoyed a particularly enduring status in film: as individuals living in penurious circumstances, immortalised by Charlie Chaplin’s iconic portrayal of the street urchin; as characters whose narratives are reflections or reactions to the Real by Italian neorealist cinema; as compelling alienated anti-heroes who embody non-mainstream values in Martin Scorsese’s Taxi Driver (1976); and, generally, in the characterisation and representation of the grotesque or the kitsch. In all these instances, the portrayal of abjectness is a reaction to impoverished conditions of reality.
    [Show full text]
  • Singaporean Cinema in the 21St Century: Screening Nostalgia
    SINGAPOREAN CINEMA IN THE 21ST CENTURY: SCREENING NOSTALGIA LEE WEI YING (B.A.(Hons.), NUS) A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF CHINESE STUDIES NATIONAL UNIVERSITY OF SINGAPORE 2013 Declaration i Acknowledgement First and utmost, I owe a huge debt of gratitude to my supervisor, Dr. Nicolai Volland for his guidance, patience and support throughout my period of study. My heartfelt appreciation goes also to Associate Professor Yung Sai Shing who not only inspired and led me to learn more about myself and my own country with his most enlightening advice and guidance but also shared his invaluable resources with me so readily. Thanks also to Dr. Xu Lanjun, Associate Professor Ong Chang Woei, Associate Professor Wong Sin Kiong and many other teachers from the NUS Chinese Studies Department for all the encouragement and suggestions given in relation to the writing of this thesis. To Professor Paul Pickowicz, Professor Wendy Larson, Professor Meaghan Morris and Professor Wang Ban for offering their professional opinions during my course of research. And, of course, Su Zhangkai who shared with me generously his impressive collection of films and magazines. Not forgetting Ms Quek Geok Hong, Mdm Fong Yoke Chan and Mdm Kwong Ai Wah for always being there to lend me a helping hand. I am also much indebted to National University of Singapore, for providing me with a wonderful environment to learn and grow and also awarding me the research scholarship and conference funding during the two years of study. In NUS, I also got to know many great friends whom I like to express my sincere thanks to for making this endeavor of mine less treacherous with their kind help, moral support, care and company.
    [Show full text]
  • Download Film I Not Stupid Too 2
    Download film i not stupid too 2 click here to download Nonton I Not Stupid Too Subtitle Indonesia, Download Gratis Film Drama Subtitle download film i not stupid too ∞ download i not stupid too 2 subtitle. CD 1 www.doorway.ru?v=JsdKL9lK4eM. Nonton Film I Not Stupid Too () Subtitle Indonesia. Nonton Movie dengan pas dan bagus. Watch movies streaming download film online. I Not Stupid Too (). A comedy about the difficult relationships parents have with their children today. Set in Singapore's fast-paced society, eight year old. Sebuah Film Singapura dan sekuel film , saya tidak bodoh. Sebuah komedi satir, I Not Stupid Too menggambarkan kehidupan, perjuangan dan. Download Subtitle Indonesia I Not Stupid Too. Sebuah Film Singapura dan sekuel film , saya tidak bodoh. Sebuah komedi satir, I Not Stupid Too. I am Not Stupid too + Sub Indonesia () p WebDL Link download Via Google Drive. Movie 1: Movie 2: www.doorway.ru sub 1. File Film. I Not Stupid Too – CD 1. I Not Stupid Too – CD 2. Subtitle Indonesia. I Not Stupid Too – CD 1. I Not Stupid Too – CD2. semoga. Nonton I Not Stupid () Film Subtitle Indonesia Streaming Movie Download. Nonton I Not Terry, a spoilt brat is just too lazy a student. Download Film I'm Not Stupid Too. Posted by cinemax Posted on with No comments. I'm Not Stupid Too. Data Rilis: 26 january Quality: CDRIP. Watch online and download I Not Stupid Too drama in high quality. Various formats from p to p I Not Stupid Too. Other name: Children are not stupid 2.
    [Show full text]
  • Patricia Mok 莫小玲 Actor
    PATRICIA MOK 莫小玲 ACTOR. HOST. COMEDIAN. Ethnicity: Chinese Nationality: Singaporean Height: 1.65m Hair: Black Eyes: Dark Brown Languages Spoken: English, Mandarin, Chinese Dialects Patricia Mok (莫小玲) FLYing With... Pat Mok @patdevogue @Patdevogue Patricia Mok’s Showreel Curriculum Vitae Awards / Achievements Year Title Category ATV Awards 2008 Nomination for Best Drama Performance by An Actress (Just in Singapore) 2008 亚洲电视大奖 2008 最佳女演员(一房半厅一水缸) ATV Awards 2006 Nomination for Best Comedy Performance by An Actress (My Sassy Neighbour) 2006 亚洲电视大奖 2006 最佳喜剧演员(我的野蛮邻居) Star Awards 2005 Nomination for Best Comedy Performer (KP Club) 2005 红星大奖 2005 最佳喜剧演员(鸡婆俱乐部) Star Awards 2004 Nomination for Best Comedy Performer (Comedy Nite) 2004 红星大奖 2004 最佳喜剧演员(搞笑行动) Star Award 2003 Best Supporting Actress (Holland V) 2003 红星大奖 2003 最佳女配角 (荷兰村) Top 20 Most Popular Female Artistes, Star Awards (1998 – 2009) 1998 - 09 Star Awards 红星大奖 红星大奖 20 大最受欢迎女艺 Film Year Title Production Company Director Role 2018 Food Nation Boku Films Pte Ltd Mei Mei 美美 Liang PoPo the Movie Raintree Pictures Ah Lian 梁婆婆重出江湖 Money No Enough 钱不够用 Raintree Pictures Supporting Role That One Not Enough 那个不够 Raintree Pictures Supporting Role I Not Stupid 小孩不苯 Raintree Pictures Discipline Master HomeRun 跑吧孩子! Raintree Pictures Supporting Role We Are Family 2006 Hong Kong Supporting Role 左麟右李之我爱医家人 I Not Stupid Too 小孩不苯 2 Raintree Pictures Discipline Master Lead Role Happy Go Lucky 福星到 Chua Movie Pte Ltd (Donna) Dance Dance Dragon 籠眾舞 Raintree Pictures Supporting Role As pregnant Taxi Taxi
    [Show full text]