Reviews written by registered user
|35 reviews in total|
I've seen films hailed as masterpieces from Buster Keaton and Charlie
Chaplin. Then I saw Safety Last, and no other silent movie before or
since has quite captured my enthusiasm in the same manner that Safety
has. The first half of the movie was filled with delightful gags as
expected in the traditional silent cinema. Then the climax came, and I
was literally on the edge of my seat gasping with my hands covering my
mouth. In one of the most mind-blowing stunt sequences ever filmmed,
Harold Loyd climbs atop a tall building (slowly and miserably, for
maximum suspense), encountering every obstacle on the way, each one
tightening every muscle in your body to the limit. It's a thrilling
ride like no other.
Our Hospitality is truly a work of art from the silent era. Buster Keaton amazed me with his stunts, which I dare say do not pale in comparison with those of Jackie Chan. The story is filled with wit and suspense. At times you laugh, at times you gasp, at times the world trembles as Keaton delivers death-defying stunts. This is one of the first silent movies I watched in its entirety, and I was thoroughly impressed with the film-making quality. While I wouldn't go as far as to prefer silent movies over their contemporary sound counterpart, I like how soundless movies invite you to pay particular attention to the facial expression--it's all there in the actor's face. I personally prefer Our Hospitality to Keaton's acclaimed "The General."
Pulp Fiction is remarkable in the sense that it doesn't offer anything
groundbreaking; yet when you piece the parts together, the unified film
is refreshing and captivating. Quentin Tarantino as a fan implements
cross-genre references ranging from Spaghetti Westerns to Asian action
films. Not entirely bound by any genre, Pulp Fiction reinvents modern
cinema in many ways, and QT has created a unique identity with his
dialogue-driven stories and implied offscreen violence, among other
A good film does not necessarily need any jaw-dropping scene by itself, but it must work as a total system. While Pulp Fiction may or may not put you on the edge of your seat at any time, the entire film is well crafted to form a memorable and entertaining cinematic experience.
Here is an awesome big budget period war movie from Thailand with exotic
locations, exquisite costume, and exciting visuals--all this is great of
course, but it can't hide the lack of focus in this movie. Every few
minutes, there comes a "break" in the plot, where the pictures fades and a
new section is shown. There are too many of these breaks, which do not have
even transitions. Looking further at the plot, we can see that Suriyothai
is absent from most of the movie, so the beginning narrative remark that
"this is the story about the woman that sacrificed for her country" does not
hold. Instead, this is about the transfer of power from people to people
during the few decades of Suriyothai's life. We could even take Suriyothai
OUT OF THE STORY entirely and it would not change much of its
Overall, Suriyothai is no extraordinary film. It has a great budget, which makes it look lovely to the eye, but it lacks a heart.
I did see the cut version [142 min], which I consider a misfortune on any occasion.
Zatoichi is only the second film I've seen from Kitano (Kikujiro being the
1st). Kikujiro was a nice overview of the japanese director's sense of
humor--the playful child in him. In Zatoichi 2003, the humor is again all
over the place: we have a blond zatoichi, two guys taking a bath in the
bucket--one of which is diguised as a woman; not to mention the famous
tapdance -- all inexplicable and mindless, but tons of fun
I get the impression Kitano is a bit obsessed with the concept of child molestation. In both Zatoichi and Kikujiro, there's an old man who tries to suck a kid's genital. The difference is the mood: in Kiku, the scene is pure comedy, whereas in Zatoichi it serves as a sad scene.
Overall, Zatoichi is a pretty awesome movie. I plan to watch it again in the near future.
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