Riding the popularity of "Crouching Tiger, Hidden Dragon," Michelle Yeoh's follow up is in Peter Pau's "The Touch." Pau is more widely known as a cinematographer for such movies as "The Killer" and "Dracula 2000." "The Touch" is Pau's second directing effort since "Misty" in 1992. "The Touch" is basically about a religious artifact that is stolen by Ben Chaplin and sought after by Richard Roxburgh, in the attempt to use the artifact's power for his own benefit. Chaplin seeks out Michelle's help because they were once a couple. Throw in some Indiana Jones/Lara Croft/Wisely motifs and you have the gist of the film.

From the very beginning you can tell that Pau is uncomfortable as the director. Although scenes look nicely framed and composed, the actors are left to their own devices. Every cast member ends up over-emoting and chewing the scenery. Not one of the actors comes off as believable or convincing. Michelle Yeoh's charisma, along with the quick pacing, keeps the viewer's attention, at least.

Live action set pieces are increasingly being replaced by computer-generated images (GCI), and "The Touch" is no exception. The CGI doesn't show off Philip Kwok's choreography. Instead the choreography is made laughable in the attempt at compiling actors and CGI sequences. We are left to critique the silly looking effects more than get caught up in the action.

Overall, the plot and the associated action are things seen before in countless other movies, and mostly B-movies at that. The overacting and the amateurish directing don't help to raise the level of this film above a Saturday matinee. Although the filmmakers aimed for the stars and had grand ambitions, they end up making a lackluster movie.