superratty-tmy Reviews

Children of Men (2006)

Should've Been a Best Picture Nominee

[29 January 2007]

If anything, watch this film for an impressive finale.

If the Oscar for visual effects is rated based on the overall effectiveness in contributing to the visual context of a film, then weirdly enough, this movie would get my vote. I hardly noticed any CGI, and constantly asked myself, "hey this bit here has to be CGI, but hmm it doesn't look so." 8/10 Oh, the movie's about a not too futuristic Earth. 2027 or something like that. All the women have become infertile and the world is dying a slow death. The world is a chaotic place with immigrants running from place to place. Terrorists from outside and within fight with government troops day and night and evenings and afternoons.

Then we have Clive Owen, and a pregnant girl.

What to do? Ta da.

Lady in the Water (2006)

To all critical film elitists: LADY IN THE WATER ROCKS!

[10 August 2006]

Lady in the Water Written and Directed by M Night Shyamalan Starring Paul Giamatti, Bryce Dallas Howard, and all the tenants of that apartment.

Now, maybe this will eventually become one of those guilty pleasures, since many many critics have dismantled this movie as senseless, boring, pointless, and many other things. Truth be told, almost all the M Night Shyamalan movies are guilty pleasures of sorts for me. People generally cringe when I say I enjoy Signs or Unbreakable, or even The Village. Well, I watched Lady in the Water and midway through the movie I said to my friend beside me, "You know, I'm actually really enjoying this."

Basically it's about this girl, Story (Howard), who dropped from the wherever she came from, the Blue World, to seek some guy out... some guy who'll change the world. Cleveland Heep (Giamatti) finds her living in the swimming pool of the apartments that he manages and protects us and helps her in her quest. So that's the story. 100% of it revolves around the apartment block, its tenants, and the swimming pool. The story takes on a fairy tale twist. Basically Heep and the other tenants are like characters from fairy tales, aiding the protagonist in her quest to return home, while fending off the evil monsters in the grass.

Giamatti pulls off his stuttering/non-stuttering role well, and Bryce Dallas Howard interchanges between being inspiring and careful very accurately. Shyamalan, instead of taking on his usual cameo performance, actually has a rather prominent role in the film. Most of the supporting cast are unique and interesting. The story doesn't entirely make sense, but hey, it's a fairy tale. Fairy tales never make sense anyway. Casting logic aside, the ride is a truly fun one, taking twist after twist, turn after turn, bump after bump, and growl after growl.

One of the rare positive for a Shyamalan film is the superb photography. Sixth Sense, Unbreakable, Signs, and The Village all had okay cinematography, but Lady in the Water is a carefully filmed masterpiece. The colors were both pale and stark at the same time. The butterflies fluttering with significance, Story telling of her quest while water from the shower keeps her safe... the mood was well set by clever visuals. Then when the credits rolled in I saw that Christopher Doyle was the DOP. Ah, no wonder. Doyle was the DOP for a few of Wong Kar Wai and Zhang Yi Mou's more successful films, and well, now he's done it again.

And James Newton Howard again presents a magnificent piece of composition that never rises to gargantuan proportions, but complements the pace of the film. Whatever seams the film had (and there were a few), the music distracts the viewers from it.

So it would seem that I have nothing bad to say about this film. Well. Here you go

Rating: B+

The Lake House (2006)

Jump in the lake before it's too late

[21 July 2006]

The Lake House Directed by Alejandro Agresti Written by David Auburn Starring Keanu Reeves, Sandra Bullock, Shohreh Aghdashloo, Christopher Plummer

There's no such thing as a perfect movie. Sometimes I love the designs (Big Fish), sometimes I love the CGI (Star Wars), sometimes I love the music (Superman Returns), the performances (Mystic River), the script (Pulp Fiction), the action (The Rock), one particular scene (Psycho), oddities (2046) or just a good idea (Howl's Moving Castle).

The Lake House probably gripped my attention with it's clever concept about a woman in the future communicating with a guy in the past, and how little oddities occur due to the time difference. Like if Alex Wyler decides to plant a tree in the year 2004, it'll just pop out of nowhere in the year 2006 because two years has passed. Stuff like that. Great basis for a story. I was ready to be absorbed into one heck of a romance movie. (I was half expecting Big Fish, sorry)

Then I saw Keanu Reeves. And more Keanu Reeves. And Keanu Reeves. And whatever potential the movie had just... vaporized. I don't mind slow movies, but I mind slow movies when the actors don't warm the screen up. Sandra Bullock didn't help much either. A bit better, but not much. The two of them bored me so much even when interesting plot twists occur I felt bored.

Sigh. I even feel bored writing this review. Ending now.

D

Pirates of the Caribbean: Dead Man's Chest (2006)

Almost Great

[14 July 2006]

PIrates of the Caribbean: Dead Man's Chest Pirates of the Caribbean: Dead Man's Chest Directed by Gore Verbinski Written by Ted Elliot and Terry Rossio Starring Johnny Depp, Orlando Bloom, Keira Knightley, Jack Davenport, Bill Nighy, Jonathan Pryce

So, Captain Jack is back to grace the screen after the first film, The Curse of the Black Pearl, made a surprisingly world beating blockbuster run three years back. Already dominating the box office, Pirates 2: Dead Man's Chest is a almost a lock to end up in the top three of the all time box office charts, with some already imagining it might even sink Titanic.

Well, to start off with, let me say that Pirates 2 is not a titanic flop in any way. If you've been afraid the last few months that this movie will end up being cast aside like The Matrix Reloaded, then rest easy, the film is good.

The film has improved in more ways than one. As enjoyable as The Curse of the Black Pearl was, there were many instances where due to no fault of the crew, the film visually fell short because of it's lack of size (in money and in space). The skeleton people looked as best they could, and the waters as dreadful as humanly possible (with a tinge of realization that it's a set, not a real... boat). Dead Man's Chest does away with all visual doubt. The Black Pearl in it's full glory carries a menace of its own, equalled only by The Flying Dutchman, ship of the villain Davy Jones, made out of oysters and seashells.

The tentacle man Davy Jones

So the story goes that Davy Jones wants Jack Sparrow to pay up his debt, which is (to no surprise) his soul. So the double crossing, triple crossing, quadruple crossing plot unfolds with Sparrow, Will Turner (Bloom), Elizabeth Swann, Ex-commodore Norrington, and other familiar foes. The plot twists in the film surprises well, and the film in it's own right carries substantial weight and food for thought for us viewers to chew on till the finale. It's no secret that Pirates 2 ends on a cliffhanger note, which I believe many will not enjoy. But that's life :P

However, the interesting storyline also is perhaps the greatest weakness of the film. The many prominent plot points are used as "excuses" to set up unnecessary chase, swordchopping, swashbuckling, and squimy twitching, scenes.

Jack Sparrow exceeds expectations, if only marginally, and caused my belly to swell, thanks to all the laughter. The sideline story of the aboriginies is easily the highlight of the film because of the level of creativity, which mind you, required minimal computer graphics. The human element, that's what they would call it. Speaking of computer graphics, as great as all the sets and costumes were, and the by and large innovating animation of the seashell baddies, the giant octopus, known as the Kraken, supposedly the biggest visual highlight of the film... turned out to be quite a bore. Won't say more, other than, well, it's a giant squid la.

Keira Knightly, Orlando Bloom gave par performances, riding on the film's other great qualities. Davy Jones amused and delighted me with his twitches and his nostalgia, but fails to inject fear into my blood. Most of the supporting cast were supporting enough, with none rising above the tide to steer the Black Pearl into greatness.

I love you. You love me. Scriptwriters don't let us marry. Darn them.

And oh yes, Hans Zimmer didn't fare much better than his apprentice from the first film, cos the music was one of the most disappointing aspects of the film. I've always admired/defended Zimmer scores to be purposeful, highly functional, and when necessary, glorious, even if dull notes needed playing, but Pirates was only existent at best, and a nuisance most of the time.

All in all, Pirates of the Caribbean: Dead Man's Chest is deserving of it's record breaking blockbuster status, and as startling as the film is visually, it fails to deliver a consistent pace and balance of adrenaline and thought. Hats of to Johnny Depp, Jack Sparrow, who has single handedly carried this film on his back, but the prominence of his contributing is leading me to wonder if his presence will burn out with the next film.

Then again, Chow Yun Fatt is in the next one.

Savvy?

And I've been saving this line for the last: Johnny Depp should win an Oscar for his role as Jack Sparrow. Should've won it the last time, and should win it this time.

Rating: B

The Fast and the Furious: Tokyo Drift (2006)

The Cars do the talking.

[23 June 2006]

The Fast and the Furious: Tokyo Drift Directed by Justin Lin Starring: Mitsubishi Evo 9, Nissan Silva, Ford Mustang, RX 7, Toyota Chaser, Lucas Black, Bow Wow, Nathalie Kelly, Sung Kang, Sonny Chiba

I think the Mitsubishi should get a best actor nomination for next year's Oscars.

Nice cars. Nice music. Nice bodies. Nice cityscape.

Brainless story. But that's what I watched it for, to have my brains parked outside the cinema and let the brainlessness drive me through a two hour entertainment.

The RX7 has more expression than all the actors.

C - Because it served its purpose in entertaining me with awesome drifts, over-sized exhaust pipes, and kick butt photography for a car racing film.

X-Men: The Last Stand (2006)

X-Men kick butt *minor spoilers*

[25 May 2006]

Directed by Brett Ratner Starring: The X-Men and the Brotherhood of Mutants

Sypnosis: Humans discover a "cure" to suppress the mutant X gene. The source of the cure is Leech, a kid who has the ability to neutralize mutant powers. Magneto wants to destroy the kid and make war on the humans. The X-Men want to stop him.

Actually, that pretty much sums up the entire movie.

X-MEN 3 IS A KICK BUTT MOVIE THAT SHOULD NOT BE MISSED.

I tip my hat off to Brett Ratner for a job well done. Naturally, I'll have to compare him to Bryan Singer a bit.

Bryan Singer is high on subtle emotions, high on storytelling, and low on kick butt. Brett Ratner is high on extreme emotions, high on kick butt, and extremely high on kick butt. So take your according to your taste. Personally I'd go for the Singerish style and subtlety, but that's not to say Ratner did bad. In fact, he did good!

Every moment was a breathtaking moment in terms of action. Phoenix is perhaps the coolest character in the trilogy (ok, maybe Nightcrawler was cooler in X2, but never mind). The graphics were a tad comicish, but no complaints anyway. The score deviated its main theme from the Michael Kamen stuff, but good music anyway. I'll probably buy the CD. The photography was a bit cheesy, scrolling thru every single X-Men with a "we're all gonna die" look before going to war... Couple of pointless action sequences which didn't strike me as pointless at the time cos the action was so cool anyway.

Only real gripe I got, is that he didn't explore the subplots well enough. The movie turned out to be 1 & 1/2 hours long. If only he spent 15 more minutes developing the dilemma of mutants wanting/rejecting the notion of a cure to be human again, the movie would've been PERFECT.

Oh, one more big gripe. Iceman and Pyro are idiots. The biggest fight since Samson fought David in the Bible and it turned out to be Harry Potter vs Voldemort. Such idiots.

But overall. Brilliant. I went "WOOO" the moment I saw the last scene. I clapped when Kitty Pryde beat up baddies (actually my heart clapped at every Kitty Pryde scene). And yes, I... erm... shed a tear once. Definitely the most emotionally brutal and tragic of the three.

I will sound mean saying this, but Bryan Singer's X-Men and X2 set the stage for X3 very nicely. That's not taking away any credit from Ratner, but rather, Ratner lived up to the hype of X-Men, and filled in the gap marvellously. I'm not going to imagine the "what if Bryan Singer made it" scenario.

Very few movies do that to me. This is one of the times where I have to say, Yes I was wrong to doubt Brett Ratner. I can eat my shu, I mean, shoe, now.

Oh, stay till the credits roll out completely. You'll never see what's coming.

*

Rating: A-

I actually said after the show, "Superman can go die."

hm.

Mission: Impossible III (2006)

Tom Cruise is not synonymous with MI

[3 May 2006]

Mission Impossible is one of those movies that I anticipate very much, and watch willingly, even with the huge text saying "TOM CRUISE", which usually is interpreted as "DON'T WATCH". I have always enjoyed Mission Impossible since I was a small kid. I actually liked the first Tom Cruise Mission Impossible. But over the years, one of the gripes I have with MI1 and MI2 is that it's purely a Tom Cruise adventure, with some help from Luther Stickell (Ving Rhames). MI is supposed to be a team effort, team spying, team playing, sort of thriller, but it has always been about Ethan Hunt (Cruise) flying everywhere doing everywhere as the all knowing all powerful secret agent who can take on the world.

Okay, rant is over. When I watched the trailer for MI3 I rejoiced at the idea that the show will be about the Impossible team doing stuff. I thought to myself, that's what MI should be all about. And true to that, Ethan Hunt has a team now! Zhen (Maggie Q), Declan (Meyers) and Luther (Rhames). These characters do get their fair share of screen time, and in that sense, MI3 is a little bit more watchable than previous movies.

That being said, sometimes I felt that the sidekicks exist only as mannequins. In the more explosive sequences, where Ethan Hunt jumps across the blown up bridge, assembles a gun, shoots down planes and baddies, jumps over cars and giants and monsters and octopuses and bang bang bang bang bang (and as my friend Joanne puts it, "not a single scratch, or blood") and I asked myself, "the other agents stand there and do nothing issit?" So, fans of traditional Mission Impossible, do not be deceived, it's still a Tom Cruise affair.

So the story goes that Ethan Hunt wants to marry and settle down, only to have a baddie, Owen Davian (Hoffman) catch her and forces Hunt to find the "Rabbit's Foot" (the codenames for stuff these days are just getting too cool) in exchange for her life. Phillip Seymour Hoffman, while not having a load of screen time, is a presence to reckon with. Despite being the villain, and the master of all chaos, he is perhaps the only truly serene character in the film, and his composure as the evil mastermind affirms his status as an Academy Award winner.

The script is fascinatingly good. JJ Abrams, who has scripted most of Alias and Lost (two big time award winning T.V. series) brings his talent to the big screen, and does it well. The lines are witty, precise, and unpredictable. I particularly enjoyed the chemistry between Ethan and Luther that was so severely lacking in the first two movies.

For those who are interested to know, Michael Giacchino's music for this film is okay, no match for Hans Zimmer. But that's probably cos I'm biased.

Watch this film. It's a good warm up for the bigger hits that's coming, such as SUPERMAN! But anyway, jokes aside, there are some very fantastic action sequences, such as the Vatican operation, where the team attempts to kidnap the baddie right in the middle of Vatican City. If you can endure Tom Cruise's prolonged screen presence, there's a pot of gold that can be found at the end of the movie.

6.5/10

Gubra (2006)

Beats the Defenders, Beats the Goalie. But it hits the post.

[13 April 2006]

So anyway, Malaysians will still remember Yasmin Ahmad's stunner hit Sepet from 2 years ago, about Orked (Amani) who falls in love with a Chinese VCD seller, and their blossoming and tragic romance. Gubra is a sequel of sorts to Sepet, taking place a few years later. Orked is happily married to Arif, but/and things do happen, and... anyway.

I say Gubra is a sequel of sorts because it's not exactly the term I'd use. I suppose a more proper definition is that Gubra is set in the same world some time after Sepet. The issues discussed in the film are expanded, new characters in entirely different settings are introduced, like the storyline of an Imam and his wife reaching out to prostitutes. While these story lines are not physically connected, the themes of honesty/dishonesty/forgiveness/adultery do come together.

I admit, it's not easy writing a review for this film, simply because it's difficult to decide on what to review on. As I watched the film, I felt that everything was more important, and the messages more driven and forceful. Technically, the film has improved vastly in every aspect. But all the energy and potential that is conjured throughout the film is somewhat directionless. Or to put the blame on myself, I felt a bit lost as to where it all led to. The entire film then turns out to be quite a mesh of good bricks left in a pile.

Does being hurt permits one to hurt back, and to break promises? Does repentance really bring redemption? While these are idealistic questions to ask, and are sometimes reflections of reality, the film in the end still came across to me as ultimately wanting to be idealistic. I find that problematic, really. And yes, I am very stumped by the many story lines, and how its all supposed to fit together.

That being said, the good does still shine through. There are many moments where the film lets fly with its montages of romance and reflection. Nostalgia does come to heart, and the "awww" factor is clearly effective. The issues raised are good issues that needs raising, even if it is not handled in it's fullest potential. It is a thousand times better than not talking about anything at all.

It's worth a watch. Gubra is still better than most mainstream Malaysian films. It is a daring film, and for that, all credit is due to the cast and crew of Gubra.

6.5/10

Inside Man (2006)

Getting Inside the Inside Man

[10 April 2006]

My name is TMY. Pay strict attention to what I say because I choose my words carefully and I never repeat myself. Recently I watched Inside Man to see Dayton Russell (Clive Owen) plan and set in motion events that execute the perfect bank robbery. Why? Because he can.

Okay, the above line is paraphrased on the opening lines of the movie.

There's nothing like a good Spike Lee movie. When all else fails, in terms of box office receipts (for those of you blur cases, USA box office has been undergoing an almost 2 year slump thanks to big budget movies being kicked around by low budget indi films. Might write about that one day), I can always count on Spike to deliver.

Also the man who brought us Malcolm X and 25th Hour (which is a VERY good movie, watch it!), Spike Lee delivers a knockout film with Inside Man. That being said, a word of caution is necessary. Inside Man is nothing like his other films. It is not as controversial, not as ambiguous, and not as thought provoking. It's quite mainstream, but mainstream in a highly entertaining way, with excellent performances all around.

Dayton Russell (Clive Owen) robs a bank with a few of his kahoots and holds everyone in it hostage. The negotiator, Keith Frazier (Denzel Washington) and the rest of the world of policemen, try to negotiate a deal with Russell. In the meantime, subplots unfold when the mytestious but powerful Madeline White (Jodie Foster) interferes and pulls some strings both with the cops and with the crooks. So what's really going on between these three entities? That's all the show is about. Needless to say, all three leading actors are top notch. There are only a few scenes where two of these characters interact, but when they do, the scene will stick your head more than the gun totting sequences. (There's only one actual scene where Russell and Frazier meet, and that is easily the best moment in the film) One aspect of the film that really intrigued me (and irritated me as well) is that Spike Lee chose to carry the film through in an atmosphere of 1960's film noir set in the modern day. The music, which instantly reminded me of L.A. Confidential, blows their glorious hero-istic trumpets every single time the cops make a move. It's not even suspense!!! Then the whole thing about dark corners, shadows, mystery, intrigue, and the dangerous female all come into play. We've had some heavily film noir inspired films of late, ala Sin City, but Inside Man is more traditional, in a modern way. Ha.

The entire concept of the film is brilliant. When you think you've seen all the heist movies to not be surprised anymore, you'll be surprised at how clever Inside Man really is. Yeah, sometimes the scenes get choppy when it mashes up with different story lines, and yeah the more delicate sub plots are sometimes a tad tedious. But the heist is everything. And Spike Lee being Spike Lee, there are of course moments where he fins opportunities to insert minor movielistic preachings of social issues, such as the disrespect the Americans have for Asians, the danger of video games and how it influences people (For video gamers, there's a 2 minute sequence where you get a PC game flashed on the cinema! How cool is that!) So do watch it. It's not perfect, but hey it's making more money than V for Vendetta at the box office, so it must mean something (since by the traditional nature of films, Inside Man isn't the sort of box office kick-butt films).

If anything, watch it for the bit where Dayton Russell talks about romance. Some life principles there worth remembering.

7.5/10

V for Vendetta (2005)

Comic Vendetta

[16 March 2006]

It's an absolutely amazing movie.

Based on a DC/Vertigo comic book, V for Vendetta is about futuristic England that has come under ultra conservative totalitarian rule of a Nazi-like government. In comes codename "V", the terrorist/hero (interesting combination, one of the highlights of the movie) who seeks to revolt by overthrowing the government on the heavily symbolic Guy Fawkes day.

In comes Evey Hammond, an everyday girl who stumbles into V and hears his view on government, and the rest of it... is... about... vengeance.

The line that V utters in the trailer "People should not be afraid of their governments. Governments should be afraid of their people" pretty much sums up the theme of the movie. As citizens, do we endorse terrorism? We do not, but watching V for Vendetta, one cannot escape positioning V as the true hero of the film. In some unexplainable way, we see the world through his mask, and almost sympathetically, let terrorism justify itself.

It is an amazing film. Natalie Portman delivers a strong performance as a good girl turned activist, and the Chancellor of England (John Hurt) despite having most of his scenes displayed through another screen, fires bullet rounds of his government propaganda with devastatingly powerful speeches and dialogue. Stephen Rea's character, as Chief Inspector Finch, is perhaps the character that we follow the most closely. He is like us, an audience, witnessing the events unfold, and whether his mind changes is one of the key story lines of the story.

Soundly cut, aptly photographed, and psychotically pleasing to the eye, V for Vendetta is a rare hit for March. It was supposed to be released August/September last year, but was postponed due to the terrorist bombings in London last year (which has some resemblance to the film).

The only downside to the film is perhaps the terrorism itself as well. The film leans too heavily to the terrorist camp, and fires every cylinder there is to let it's pro-freedom ideals take flight. It is too obvious, the stand the movie is taking. Ironically, the movie can easily be described as a propaganda to expose propaganda.

Overall, V for Vendetta is realistically futuristic, elegantly scripted, and politically charged, all achieved without forsaking the comic-book atmosphere. The film is almost what one can imagine as the complete comic book adaptation.

It's nice to have a surprise this early in the year.

Rating: 8/10

Fearless (2006)

This is Jet Li, more or less

[16 February 2006]

If you're familiar with Jet Li's works through and through, especially his stuff from the mid 80s to the mid 90s, then you will understand why Fearless is a beautiful closure to what Jet Li himself has claimed to be his last kung fu movie. The fights were beautifully choreographed, reminding audiences that it is highly possible to film martial arts of supreme quality without the use of digital effects. Jet Li will be missed.

That being said, the film itself isn't anything of particular interest at all. The storyline is predictable, and there is little room for added imagination. I'm sure some will see this film as a message about making a difference for people and the nation with whatever your abilities are. In that sense, there's nothing new as well, because if you recall, "once upon a time in china" is exactly about that as well.

Fearless is in short, a frayed edge. It is beautiful at times, ugly at times, but untapped at most times. The film has immense potential as a biopic, and much was left undiscovered. I'm quite sure this is due to the fact that a huge chunk of the show was cut from what was supposed to be a 140 minute show. Sub-plots and more character exploration were cut to make it a more heart pumping action flick.

And ultimately, that's what it is. A heart pumping action flick.

5/10

Memoirs of a Geisha (2005)

Too Much and Too Little at the Same Time

[17 January 2006]

Memoirs of a Geisha, based on the book of the same title by Arthur Golden, is about Nitta Sayuri's (Zhang Ziyi)journey through life as a fisherman's daughter to a celebrated geisha in Japan. It tells of her adversaries, her romance, and her persistence through life. Directed by Rob Marshall (of Chicago fame) and produced by Steven Spielberg, Memoirs of a Geisha is in short, an experience worth taking, but not one worth cherishing.

The trio of leading actresses perform well, with Zhang Ziyi pulling off Sayuri's persistent yet very often intimidated character convincingly. Gong Li as Hatsumomo is masterful in portraying herself as a misunderstood antagonist. It is hard to discern if one should despise her or pity her, or perhaps even identify with her. Playing Mameha, Michelle Yeoh is the most fluent of the three in terms of language, and also has the most refined acting. The supporting cast, including Ken Watanabe (as the Chairma) does enough to carry the film, though not catching special attention along the way.

The story is well pieced together, yet at the same time, the show lacks most here. Not that there were any major plot holes (I am a believer that all stories have plot holes and goofs), but there is a lack of urgency throughout the film. It reaches the height of it's potential several times, making my heart stop in the process. Scenes of Hatsumomo's struggles with love and jealousy captures the heart, as does the Geisha performances of Sayuri. But where it reaches it's crux for maturity, it does not mature. The film only recognizes its own potential, but does not meet it. The emotional tension strained my thoughts, but it was not near breaking point. In this sense, the drama in the show fails to create drama.

In terms of technicalities, there are shortfalls, but one cannot complain. Rob Marshall did explain how difficult it was to shoot the entire town due to immense difficulty of removing every single telephone pole in the area (not that it has never been done, Indy Jones did it for the Egypt scene), so 80% of the film is shot in specific localities, like along the street, homes, schools, restaurants. Visually it constrains itself of great space, but on the other hand, it makes full use of the little space that it has got. And here is visually excels. The cinematic portrayal of delicate details of Japanese tokens and artistry is demonstrated very vividly, and it is easy to forget that we have missed Japan in a larger picture.

John William's score for Memoirs of a Geisha is a winner by all means. With Itzhak Perlman (of Schindler's List and Hero fame) and Yoyo Ma playing violin and cello solos respectively, combined with the ever masterful composition of John Williams, the score easily is the most distinguishing characteristic of the film. Where the film lacks in cinematic visuals, the score leads you to a beautiful imagination. Where one of the Chinese actresses fall short of delivering the emotional knockout blow, the music whispers the plight into your ears. Truly a champion, the music.

All in all. Memoirs of a Geisha is a must watch for the year, and while I do not expect it to clean up the awards categories (though I think it might nail one or two here and there), be sure to catch the movie, for the good bits are truly good, and is good enough to make you set aside the bad, abeit for a short term.

7/10

* for more of my film thoughts, or if u want to view short films, visit www.myoe.blogspot.com or www.superratty.blogspot.com. enjoy :)

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)

A Chronicle of Mediocrity in the Making?

[12 January 2006]

The Chronicles of Narnia...

One of 2005's highly anticipated movies, Narnia chronicles the adventure of four siblings during wartime Britain who stumble through a wardrobe into the land of Narnia, where they end up fighting alongside Aslan the Lion against the evil doings of the White Witch.

There are two ways of seeing this film, from my perspective. Firstly, let me put it positively. I made a comment to my friend when I came out of the cinema, "When I came out of the cinema after watching Harry Potter and the Sorceror's Stone, I was vomiting blood due to watching a complete cinematic disaster. I came out of Narnia thinking, 'ok, not bad.'" It's not a bad film. But it's not a great film either. There is a certain barrier that Andrew Adamson seem to be unable to lift the film above it. Many of the cinematic sequence are deserving of wows and pows, like the build-up to the final battle, where the eagles soared and the animals charged. The animation of the beavers, and the other animals, were close to perfection.

But there was magic missing. Narnia felt very much like a frayed edge of a beautiful portrait. It just wasn't smooth enough, or great enough. It left me wanting more. A good example of the same feeling would be Bryan Singer's first installment of X-Men. The film made me want more, and unsatisfied. But X2 built up from it nicely and turned out to be one of my favorite movies.

So perhaps Narnia can build on this film. It's not a bad foundation, and if Harry Potter can slowly improve over the years (Goblet of Fire, the 4th installment, is pretty good), Narnia certainly has a greater potential to do even better.

6/10

(this show didn't deserve an Oscar nomination for Visual Effects)

Pride & Prejudice (2005)

The Fallen Pride of the Critics

[12 January 2006]

Pride and Prejudice 2005 is a very good film, to put it simply. It is British in every possible way. Perhaps the script has adapted itself a little more than fans would like, it does not mean that the film lost it's 17/18th century English-ness.

Before the film's release, many people expressed grave prejudices over the trailer, stating that it's too sexed up, and over Hollywood-ized. These people include critics and prominent writers. Die-hard fans of Jane Austen books were unable to see Keira Knightley play Elizabeth well. Basically, most of the reviews came before the show itself.

That is a common problem with film today, and after watching Pride and Prejudice, it is easy to see why there are no more "sexed up" comments, because the movie is not sexed up at all. There is a genuine British conservative-ness in Pride and Prejudice, and most of the lovers hardly even touch each other throughout the film.

Sexed up? No way. Pride and Prejudice is a cinematic experience not worth missing. With beautiful cinematography, consistent editing, and a very convincing performance all around (especially by MacFayden, who plays Darcy), Pride and Prejudice is a testament to how pre-release hype of negativity can be so utterly embarrassing.

8/10

Agent Orange (2004)

An Inspiring Short Film

[12 January 2006]

Well, in all honesty, this film has many plot holes,inconsistencies and goofs. However, I missed all of the above flaws after watching it the first time. It took me two or three more viewings to realize that Agent Orange actually doesn't make sense.

But that isn't the point is it? The point is I actually bothered viewing it a few more times. In fact, I watched it many many times. So what caught my attention? Mostly it's the visuals. Tony Scott is famous for creating visually interesting and unique films, and this film is no different. The fast cuts and fades between shots, and the semi-greenish setting gives the film a very fantasical aura despite it being set in the real world.

It's a 5 minute love story, and a technical achievement. Perhaps it's an experiment of sorts by Tony Scott, or perhaps it's a disaster from a storyline perspective. But really, if we think about it, there's no such thing as a movie that makes perfect sense.

So enjoy the ride while you can.

* 8/10 p/s this film actually inspired me to make a short film. you can view it at http://www.youtube.com/?v=9sy3L2i3F9c.

Sepet (2004)

A Leap for Malaysian Cinema

[5 January 2006]

For those of you who are not in Malaysia, it is important to give you a background of what the local film scene is like. This is written from a regular audience/citizen's point of view, so I could be wrong.

From my understanding and observation, it is the independent films that draw diverse crowds, with little marketing and funding as compared to officially funded projects. This is so because generally, the standard to storytelling is better expresssed in the independent scene.

Rarely do indie films make it to the silver screen for commercial screenings, and Sepet is one of the first to make it. So... there are two ways to write this review. 1) In comparison to other Malaysian films to date, 2) Film as film, period, without any other contextual bindings.

1) It is a very good film. It is among the best film to be made in the last 20 years or so, perhaps, in Malaysian cinema. If there is one film that quite accurately gives viewers a taste of what Malaysian village/town lifestyle is like, Sepet is the movie to go. It is not so much captured in forced dialogue, or marketing of typical trademark Malaysian structures, but rather in the subtleties that are made obvious, like slangs, choice of words, bla bla bla.

2) Film as film, it still is a very good film. I have qualms about how the film is cut in some scenes, and the editing is choppy at best, but that is in no way a turn-off point for viewers. The scenes where I cringed because of technical messups were few, and the scenes where I gazed at the screen in awe were plenty.

The story is good. Interracial relationships is a common issue in Malaysia, and it is good to see it discussed widely. The acting is fairly good, and the songs selected to accompany the film does well to boost the film's quality.

This is by no means what Schindler's List is to the Jews, or Braveheart to the Scots, but it is certainly a big boost for Malaysian cinema. Watch it if you can.

7.5/10

The Promise (2005)

Visual Splendour

[30 December 2005]

When I saw the trailer for The Promise, it didn't look too impressive to me, but I noted that it is a Chen Kaige film, and Chen Kaige is reason enough to watch a film that might not look so good.

So I watched The Promise (or Mo Gik), and I must say that it is not often I watch a film with my jaw down most of the time in reaction to the visual majesty of the film.

When I watch movies, the first thing I look out for are the new things to see, more so than the stories. That's the whole point of the cinema, right? To use our eyes. The Promise delivers full marks on that front, with precise and unique cinematography that captures and compliments the breathless and mystical elements of the film in dazzling colors and sweeping scenery.

At this juncture I must note that The Promise is shot digitally, and employs a wide range of digital effects to create the semi-fantasy world of fluorescent colors and out of this world settings. One of the common complaints about this film is that the CGI, as well as the set decoration in this film looks highly amateurish despite it's grand setting. I have to agree that it's not the finest looking visual effects in the world, but I'm proud of it nonetheless. For a budget 4 times less than movies like Star Wars and King Kong (despite it being the most expensive film ever made in China), the effects are pretty darn good to see. Watch it in context, and it'll be the finest thing that China has ever seen.

As for the acting, I can't say too much about it. A Korean and and a Japanese take up two of the four lead roles, and both of them speak mandarin well enough to pass off as Chinese characters. Cecilia Chung dazzles the screen not only with her beauty, but simple gestures of seduction that would capture any man's attention in an instant. Nicholas Tse, whom I personally consider as someone who cannot act for nuts, manages to act a little bit this time as the cunning Duke.

Action, romance, and dialogue mesh together happily and consistently throughout the film, accompanied by the epic score by Klaus Badelt.

A dazzling experience in the cinema. The film is not without it's flaws, with plot holes occurring every now and then, and moments of extreme cliché. But before these moments shame the film, the next moment of visual cuts in and saves the day.

8/10

Star Wars: Episode III - Revenge of the Sith (2005)

Darth Vader strikes back again!

[2 June 2005]

Star Wars: Episode 3 - Revenge of the Sith Director: George Lucas Starring: Ewan McGregor, Natalie Portman, Hayden Christensen, Ian McDiarmid, Samuel L. Jackson and Jimmy Smits

*

For most of the past seven to eight years since Episode 1: The Phantom Menace was released, most people have been rather upset with the prequel trilogies. While I had to admit that The Phantom Menace and Attack of the Clones weren't as savvy and awe inspiring as the old trilogy, I always said, "Episode 3 will be better because what was lacking in Episodes 1 & 2 was the presence of Darth Vader."

And true enough, Episode 3 - Revenge of the Sith proved to be one of the greatest cinematic experiences I've encountered. And interestingly enough, it wasn't only Darth Vader who made it so good.

There are three aspects of Star Wars that needs to be discussed, the storyline, the acting, and the effects in general.

The storyline is predictable in a sense that we all know what's going to happen. Episodes 1 & 2 had been setting up the Episode 3 to bridge with the old trilogy, and in that regard, George Lucas has succeeded marvelously. While Anakin Skywalker's (Christensen) journey to the dark side is the centerpiece of the story, Lucas paid a lot of attention to the other centerpieces of the story ie. Obi Wan Kenobi's journey from being a mentor and friend to judge and finally becoming the exiled guardian of Luke Skywalker that we see in Episode 4 - A New Hope. Another good example is Palpatine's rise to power. One would imagine and wonder how would a Sith Lord come to power without political hassle. Well, this show has it all. It tells all, it shows all, and it ties everything up in terms of the storyline.

The acting has improved dramatically as well from the first two films. Hayden Christensen, while still rather dull and un-engaging in some scenes has at least managed to pull off fairly convincing expressions in the key moments of the scenes, particularly in the building tension between him and his mentor, Obi-Wan. I must give my kudos to Ian McDiarmid as Chancellor Palpatine, who came across as truly insidious with his schemes and yet sounding charming and sympathetic enough to lure Anakin to the dark side. Ewan McGregor perhaps is the star of the show, for with every line he delivered, there was a lingering thought that suggested "hey, he kinda sounds like Alec Guiness..."

While acting was one of the tools employed to bridge the two trilogies together, special effects was employed as well. Ewan McGregor looked amazingly like a young Alec Guiness, and Anakin Skywalker had the look of Luke Skywalker turned evil. Things like the Corellian Corvette, Tantive 4, in which Princess Leia appears in Episode 4, was heavily used in this film to provide continuity. And not forgetting the moon sized Death Star. In another smart move, Grand Moff Tarkin (formerly played by Peter Cushing in the old trilogy) also came across as Grand Moff Tarking, and the resemblance is striking.

In terms of the digital effects, it's a roller coaster ride from start to finish. Not only are the effects more sophisticated and detailed, it efficiently captures the atmosphere of the film with every frame that passes. Every planet, every clone trooper, every little set, were painted with so much detail it almost felt like the audience was one with the Star Wars galaxy. Revenge of the Sith is by far the most advanced technological success in the film industry to date.

Kudos to George Lucas especially for his efforts in establishing continuity throughout all six films. Little phrases in the show, while contributing little to the storyline, gave added weight to the credibility of six films. Just one example, where a fighter pilot said, "lock S-foils in attack position", which is reminiscent of Star Wars 4 when Red Leader said the exact same line before invading the Death Star and in Star Wars 6 when Wedge Antilles (Denis Lawson)said the exact same line as well.

Watch this film! If you are a fan, this film will send you into nostalgic submission with every reference to the saga as a whole, and you will feel the tragedy of Anakin Skywalker echo through the galaxies for many many years to come. If you're not a Star Wars fan, well, the time is now!

The Force is strong with this film - 9.5/10