February 28, 2017

Wandering in La La Land

Wandering in La La Land
Captivating hearts one song at a time.

La La Land (2016)
A film by Damien Chazelle

Mia (Emma Stone), an aspiring actress and Sebastian (Ryan Gosling), a struggling Jazz musician, fall in love, and continue to strive to pursue their passion in a city full of dreamers while braving rejections and heart breaks.



As it opened its first sequence, we were immediately served with an ambitious production number. The choreography was marvelous. The camera panned fast, keeping its focus on every dancers. It was incredibly fun; you knew, you would be given more scenes of equal flawlessness. And boy, were we right to expect. Performances shared by the lead actors were too dreamy. The tap dance sequence under the moonlit sky. The scene at the observatory behind various magical backdrops. The quiet moment at Sebastian's house where they sang their beautiful rendition of City of Stars. It kept me to my seat, with bright eyes glued to the screen. The cinematography was grand. Whether it be with silhouettes or with backgrounds of starry nights and sunny skies. The lighting further complemented the beauty of every frame. The palettes gave such nostalgia. Its original soundtrack was perfection. It was already haunting, but Stone and Gosling provided the final touches that made it even more memorable. We knew since Crazy, Stupid, Love that their team up had an irrefutable chemistry with lots of potential. When they danced and sang together, I realized the endless beauty they could offer this cruel world. Talented actors who have both given life to their characters in the most satisfying ways. All these contributed in making every scene a vivid magical tour in Mia and Sebastian's world.

La La Land connected with its viewers with the perfect balance of ambiguity and clarity. It made the audience feel, the way the movie was supposed to make them feel, and more. It delivered what it promised: a delightful musical film about hopes and dreams. Simple, but definitely powerful. The focal point of the film was pursuing your dreams and passion. There was also a right amount of romance in the mix that made it even compelling. It had a more simplistic approach, but it did not lack substance. Yes, the plot did not have a kind of conclusion that would create, arouse discussion over issues with political relevance. La La Land was upfront about what kind of movie it was from the very beginning. Nonetheless, with its mainstream success, as well as the recent Oscar fiasco, the film gained unnecessary negative feedback that were completely irrelevant to the aesthetics of the film. Using its genre as a tool to undermine its strengths was subjective and unfair. For starters, the core message of the movies (people were pitting it against from) was utterly different. Sure, it couldn't be helped. But the refreshing ideas offered by each movie on different aspects of life and subject matters all made impact. They were all glorious in their own unique ways of sharing stories, raising awareness, and creating possibilities. Thus, sometimes, the themes of comparison were only fueled by hatred of the mainstream (guilty of this every now and then).

I believe that people making movies meticulously choose every cell to make their brainchild the picture they have in mind. Of course, the results vary. However, in La La Land every piece just naturally fit together too well—giving the viewers a rare experience of a lifetime. I've been dreaming of La La Land before the world did, but no one cares. The thing is, immense popularity of a subject doesn't always diminish its merit.

December 31, 2016

The Wailing

The Wailing
I think Koreans and Japanese have established that horror films are one of the genres they love to mess with (I mean that as a compliment). They could make anything—seriously, any thing you can possibly think of—an object of fear, and turn it into a scary movie. I've seen a few of them, and I've seen some of the most ridiculous stories they've come up with, and most of them are surprisingly good. So, it's no news that this one got me curious.

The Wailing (2016)
A film by Na Hong-jin

Quiet town Gokseong is disturbed by a series of unexplained brutal murders.



The Wailing, like many other films in the genre, relentlessly toyed with the minds of the audience from start to finish. The story, despite repeatedly pointing fingers at the right direction, posed more questions than clarity. It was ambitious, but at times, made it difficult to suspend disbelief. Dark humor was appreciated. But the extreme absurdity of some actions of the hero resulted to an even more questionable, and comical turn. Jong-gu (Kwak Do-won) was a ridiculously lousy police officer, but he gained sympathy when his daughter Hyo-jin (Kim Hwan-hee) got sick for some obscure reason. From then on, his actions were only triggered by anger or vengeance that paved way for too many unnecessary scenes; making the film much longer than it should have been.

After a good solid hour, the viewers might appear as exhausted and as clueless as Jong-gu (given the narrative's slow pace). But with the reiteration of its true identity—a demonic possession kind of horror film—the next few events started to give more concrete developments. Nothing rational, though (since such genres are gateways to out-of-this-world scenarios that viewers are expected to overlook). Still, it successfully kept  the viewers perplexed; without doing damage on its final reveal. Also, the ending appeared as frightening as the introduction promised it to be. Even the jump cuts used in the beginning (to foreshadow the main antagonist) did not make the ending less creepy. Its grip would scare you despite knowing that it's coming.

In 156 minutes, The Wailing definitely took a long time to build up the twist. But the absence of cheap thrills were replaced with enough gore, mystery, and consistent eerie atmosphere. The first hour might be a struggle. But its dark, chilling, and haunting moments were definitely entertaining.

November 10, 2016

Captain Fantastic

Captain Fantastic
There's a lot to learn from the people who are considered outsiders in society in this moving film by Matt Ross.

Captain Fantastic (2016)
A film by Matt Ross

Ben Cash (Viggo Mortensen) and his wife, Leslie, are living deep into the woods with their six children. Far from civilization, the children are educated to think critically with knowledge in arts, sciences, and philosophy; trained to be physically fit like athletes, capable of using weapons and surviving without technology; and taught to appreciate co-existing with nature. But when Leslie dies after committing suicide, the family is forced to immerse from isolation, and explore the real world to attend her funeral.



Captain Fantastic creates a dream-like structure of living in sync with nature. With the lives of the children appearing too perfect. Well-trained, healthy, and remarkably intelligent. They value hard work, and are taught of the importance of respect and honesty. A utopian vision. Yet, the film does not lack the quality of rawness. Ross writes the narrative with the right balance of idylls and harsh truths. Though actions of the protagonists may seem absurd at times, it still doesn't try too hard.

When the family leaves home to attend the funeral of their mother, the children are exposed to the world they know nothing about. This is shown with subtlety, without totally crashing the ideologies taught to the children. The disadvantages are put into the spotlight (despite efforts of Ben to raise their children differently, he's still limiting their experiences), but without disregarding the advantages of the family's unconventional lifestyle. Ross manages to convince viewers to reexamine their values in a world where technology is starting to take over socialization, while still bringing awareness on dangers of isolation. He shows the two sides of the story without bias, and the result was magnificent. Complemented, of course, by the film's beautiful cinematography and on-point editing. The actors deserve praise, too. The children are a revelation, especially George MacKay. While Mortensen's performance never disappoints.

"If you assume that there is no hope, then you guarantee that there will be no hope. If you assume that there is an instinct for freedom, that there are opportunities to change things, then there is a possibility that you can contribute to making a better world." — Noam Chomsky

Captain Fantastic is entertaining, and eye-opening. Filled with poignant moments that will further make you question today's norms, it is, indeed, a beautiful masterpiece.




(photo not mine; credits to owner)

August 4, 2016

Coming Into Light

Coming Into Light
Great narrative with good music. John Carney (Once, Begin Again) continues to prove he's the king when it comes to the musical film territory.

Sing Street (2016)
A film by John Carney

Conor, a fifteen year old boy—struggling at home and adjusting to a new school—forms a band  to win the heart of a young aspiring model.



I cannot help but smile and dance to the tunes while I watch this brilliant coming-of-age film. The simple narrative just gives me a hopeful heart.

Sing Street is an honest, heartwarming story about adolescent yearning. The need to escape, the harsh reality of life, the nostalgia of young love, the music that saves, the dreams of a blissful future. It successfully encapsulates it all with the perfect balance of humor and poignant moments. It teaches the viewers to take risks, no matter how small. It always starts with the little things, anyway. Talk to that girl you have a crush on. Form a band even if you don't know how to play any instruments. Stand up to that bully. Wear make-up if you feel like it. But Carney also delivers some adult-life realness. Conor (Ferdia Walsh-Peelo) struggles at home because of his parents' everyday bickering. Add up some big adjustments in his new school with new bullies. His brother, Brendan (Jack Reynor), drops out of college not knowing how to maneuver his life and seeks solace in his grand music collection. Raphina (Lucy Boynton) is orphaned and longs to leave Dublin and go to London. Troubles that may seem trivial, but impact the characters' ways of dealing with life. While reminding the audience of these predicaments, it still maintains its heart of feeding the mind wishful thoughts; the heart, a brave feeling; and the soul, more hopeful aspirations. Its wonderful music further makes every scene reach out to the audience. The throwback hits from the eighties and the original songs with the same vibe create sudden nostalgia. Likewise, the closing song 'Go Now' sang by Adam Levine effortlessly appears like a classic piece. But that's not all, the lovable characters also win favors. Walsh-Peelo is such a revelation. I would love to see more of him in the future.

Your problem is that you're not happy being sad. But that's what love is, Cosmo. Happy sad.

Carney really knows what music to play and what buttons to push to get a hold of the viewers' hearts. Because Sing Street is a gem.

June 9, 2016

In the World of Zootopia

In the World of Zootopia
Fine, I'm a realist, cynical even. But that does not mean I do not go marshmallow every once in a while. Because I do. And a movie like this helps.

Zootopia (2016)
A film by Byron Howard & Rich Moore

Full of energy and hope, first ever rabbit cop, Judy Hopps, moves into Zootopia—the mammal metropolis where all kinds of animals live and work—to become the newest recruit of the city's police force. Determined to prove herself to society, she eagerly takes on a mysterious case. With the help of the sly fox, Nick Wilde, the unlikely team pairs up to solve one of the city's hardest case to crack yet.



As always, Walt Disney's animated films never fail to deliver. At the end of their every movie, reminds me why I sometimes indulge myself with such entertainment. It makes me wonder though, how the people behind Disney Animation Studios ever go to sleep with all the creative juices that never seem to stop flowing in their veins. How do they ever just let go of their pens, and laptops, knowing they have so much stories to share?

Thus, it is no surprise that Zootopia has the typical plot and lovable characters that effortlessly win viewers' hearts. But, it is not afraid to go tough when the story demands. Not only does it have on point humor, it also shows wonderful cinematic views, and even references The Godfather. But most importantly, it's honest, and has guts to break the conventional.

Disney raises the bar for great animations every time they release a new film, with its center, good morals, always intact. Truly, Zootopia is a heartwarming food for the soul. Not only for the kids, but for adults [who know about the absurd, horrid world] as well. Judy Hopps (Ginnifer Goodwin) and Nick Wilde (Jason Bateman) are new modern heroes. I can see them turning into another classic idol like Joy (Inside Out), Nemo (Finding Nemo), Woody (Toy Story), and the like. They do not only remind us that it's okay to be different. They also teach us the good way to break stereotypes. Because we may not be able to stop society's prejudice, but we sure as hell can prove them wrong.

July 28, 2015

Noodles for the Hungry Hearts

Noodles for the Hungry Hearts
Quiet and subtle, somewhere in a little room of misery and loneliness, comfort is found. Love, lush and passionate, blooms. But at a wrong place and time, how will it not wither? Wong Kar Wai serves genuine love realness in this elegantly-crafted masterpiece.

In the Mood for Love (2000)
A Wong Kar Wai film

New neighbors in a small apartment in a town in Hong Kong, 1962, Mr. Chow (Tony Leung Chiu Wai) and Mrs. Chan (Maggie Cheung), gradually find about their spouses' affairs, and soon begin their own faltering romance.




Never have I seen such brutality in a film about love this good. The plot deliberately offers a limited portion of the story, yet equally demands and showcases immense, raw emotions. The leads always sharing the most intimate, yet heart-breaking of scenes without the need of touching or even standing remotely close together. Without much words, and few short uttered dialogues, the pain, desire, and longing are expressed and held back simultaneously.

Wong maintains the distance between the leads, often playing with mirrors, showing the protagonists in separate frames. Every scene simply balanced the contained emotions and screaming hunger of the characters. With shots lurking through windows and down the passageways like the viewers are still outsiders. Empty doorways. Dark staircase. Heavy rainfall. Crowded streets and unwanted noises. The stunning, vivid palettes further complete the film's unworldly-adoring cinematography. The camera's focus remains still, encapsulating the characters' paradox of emotions. While the music also fails not to make the pain lingers. The shot slowly pans as the haunting soundtrack plays like a celebration of a found lonely soul and sudden mourning of an immediate separation. I find myself as drawn to Chow and Su as they are to each other. Wai and Cheung are perfection! I root for them. I sympathize as they both try to find solace, but are prevented by the mistakes of their spouses and their own betrayal.

Getting noodles has never been this painful. Now stained, it becomes a clear reminder of a beautiful tragedy. Wong hits exactly where it hurts the most, ultimately leading the ambiguous relationship of the two to its own downfall. Without excuse and empathy, Wong breaks hearts. Not only of Chow and Su's, but far worse, of the viewers'.

It is a restless moment. She has kept her head lowered... to give him a chance to come closer. But he could not, for lack of courage. She turns and walks away.

Definitely among the finest gems in the industry, In the Mood for Love's timeless beauty is beyond words. Just too darn good for the eyes and soul. An instant obsession.

June 27, 2015

Hurting and Loving It

Hurting and Loving It
A tale about a relationship's collapse is probably one of the most common scenarios that relate to every human beings. It is the kind of classic-heavy story you want to hear on a usual gloomy night. But The Last Five Years convinces you to listen to it even on sunny days.

The Last Five Years (2014)
A film by Richard LaGravenese

Based on Tony winning-writer Jason Robert Brown's hit musical of the same name, The Last Five Years, tells the beginning and the downfall of Jamie and Cathy's marriage.

Told in a non-linear narrative, showing two sides of the story (Jamie and Cathy's POV), the film opened with a powerful, moving scene from Anna Kendrick. Beginning in the end, with only minutes, it easily captured the viewers of its heart-breaking conclusion. It was still and painful, and hit straight to the aorta. Then cut to a beautiful start of a love story -- you are chained.



Jamie, a young writer, falls in love with Cathy, a small town girl who dreams to become a Broadway actress. We witness how their love develops as they both strive to make it big in New York City. They seem to be the perfect match. However, conflicts arise when Jamie gets published, while Cathy continues to struggle with her acting career. Playing it back and forth, the film satisfyingly unravels how Jamie and Cathy eventually part ways.

Though predictable, feelings for the two leads are kept neutral, offering both the good and the bad side of each character, and giving it the right balance. You empathize with them. And you fall for them, still. Despite lacking focus on aesthetics, its brilliant music kept this piece strong for its whole running time. Kendrick (Cathy) and Jeremy Jordan (Jamie) perfectly encapsulated all the songs with outstanding performances. Kendrick's vocals made the heart-wrenching scenes a beautiful paradox. The melodies, lyrics further stick with you even with the absence of a great plot.

The musical is such a major success, it is not surprising it made it to the cinemas. Surely enough, LaGravenese did not disappoint as well. I'm in love with this.

December 6, 2014

A Tribute to Rom-Coms

A Tribute to Rom-Coms
Just when I thought I'd have to sit through another full-length movie of crap because of my favorite people, They Came Together actually proved me otherwise.

They Came Together (2014)
A film by David Wain

They Came Together tells the "kind of corny, romantic love story" of how Joel, your "typical romantic-comedy leading man" who works for a conglomerate candy firm, and Molly, the "cute, klutzy" female lead who owns a small candy store, meet and eventually fall in love in New York City.



Basically, it mocks all the cliché scenes in every cliché romantic-comedy films by going cliché — a spoof of its genre. And god, was it hilarious.

The film was consistent from beginning to end. Opening with lines that predict and give in everything about the movie, it maintains its on point attack on the romantic-comedy triteness. I saw a number of rom-coms (and other genres as well) partly trying to play the role of the unconventional but still fail miserably. However, They Came Together surprisingly pulled off its gritty, satiric way of stressing and repeating the obvious. The intently forced, staged scenarios worked in almost every scene. I still cannot help but laugh when I think about the jokes and punchlines Wain and Michael Showalter brilliantly presented all throughout the film (from the too-familiar, almost-similar characters; typical introduction of the setting, New York City; anticipated mushy lines and scenes that require the same use of close-ups and zoom-ins; up to the extremely predictable culmination and resolution). Even the 'thanks-certain-someone' part which was purposely used several times succeeded to give laughter every time.

Not to forget though that it would not have been this good if it wasn't for the Amy Poehler-Paul Rudd team up. Both are irresistibly charming, further making these series of rom-com tropes impossible to hate. Supporting players, Ed Helms and Christopher Meloni (yes, that guy from Law & Order) were also equally hilarious.

They Came Together was unexpectedly enjoyable. I only hoped it to be tolerable, but it turned out to be really entertaining.

November 30, 2014

Some Spaghetti Southern

Some Spaghetti Southern
Quentin Tarantino's latest project showcased almost everything you probably love about the man. After rewriting the history of World War II with Inglourious Basterds, QT, this time, attempted to rewrite the history of American Slavery during the pre-Civil War period.

Django Unchained (2012)
A film by Quentin Tarantino

Partly based on the 1966 Italian Western film Django, Django Unchained tells the story of African-American slave Django (Jamie Foxx), and how he was freed by German bounty hunter Dr. Schultz (Christoph Waltz). The two agree on a deal to capture outlaws with large bounties, and rescue Django's wife from a plantation owner.



Not Tarantino's usual style, the film is told with a linear narrative. Though there are still the use of flash backs, the story flows naturally from beginning to end. The film starts with a distinct western-like score, with Django, chained and bruised, walking in the desert with a few other slaves. As the night progresses, in the deep, dark part of a forest somewhere in Texas, the white trader-owners of Django, the Speck brothers, suddenly and mysteriously meet German-bounty hunter posing as a traveling dentist, Dr. King Schultz. Out of nowhere (and with the perfect location and timing), Dr. Schultz finds the exact person he was looking for Django. He inquires about him and his possible purchase, a couple of more dialogues (because Tarantino loves it), and the sound of the film's first (of the many) gunshot.

Tarantino wastes no time. The first kill is spot on, serving revenge in cold blood (and for the rest of the bloodbath scenes). QT shows slavery's horror without excuse: the lashing, the 'hot box', the branding, the cruelty of Mandingo fighting, and the several atrocious punishments (one scene showed a man being ripped to death by dogs). In this revenge epic, the ruthlessness of slavery is depicted in a way not always accurate but perfectly works for creative, comic sensibilities. Though it may still not surpass my fondness for Pulp Fiction, Django Unchained definitely lacks no violence, and is sometimes stimulating.



Even with the absence of QT's usual chapter-separation technique (and his famous trunk shot), the storytelling and dialogues remained clever and unhurried. However, Foxx appeared to only have one notable line: I like the way you die, boy. Waltz, who gave such a remarkable performance, got all the good ones with his classy, flawless character. Tarantino's Dr. Schultz felt like possessed the unrealistic ability to think of all the right solutions to every problem he gets himself into. His character points the direction of the plot in a way the director makes the most out of it. Not that I did not enjoy Foxx's performance, but with such strong presence from Waltz, Samuel L. Jackson (Stephen), and Leonardo DiCaprio (Calvin Candie), I choose him the least. Because in spite of being the main protagonists, Tarantino seems to have underwritten a tad of Foxx and Kerry Washington's (Broomhilda Von Shaft) roles.

Furthermore, dealing with sensitive issues of slavery, Tarantino managed to stir some of his dark humor approach in this brilliantly written and executed, thrilling film. To the extent of blowing himself up in its last few minutes. With compelling cast, perfect balance of lengthy dialogues and sequences of violence, Django Unchained is a satisfying piece you would expect from Tarantino.

November 26, 2014

Meet The Stokers

Meet The Stokers
Some mystery with visually stunning frames. You'd wish you have an equally charming Uncle, but a lot less cunning, maybe.

Stoker (2013)
A film by Park Chan-wook
Screenplay by Wentworth Miller

The film opens with glimpses of India, the titular character played by Mia Wasikowska, smiling, slyly looking at something unknowing to the viewers. She shares how she feels different from most people — a revelation so clear but cannot seem to make sense yet.



India is an odd, teenage outcast, who is very close to her father, Richard (Dermot Mulroney), growing up. They use to spend a lot of time together hunting, typically leaving her unstable mother, Evelyn (Nicole Kidman), alone at home. However, on her 18th birthday, her father dies of a dreadful car accident. During Richard's funeral, India and her mother meet her charismatic Uncle Charlie (Matthew Goode) who has spent all his life traveling, and whom she never knew existed.

Charlie decides to stay with the family, as he astutely tries to get close to both ladies in the house. Lonely and distant, Evelyn keeps her guard down, allowing Charlie to keep her company. India, however, remains suspicious of his newly-found Uncle's presence. Though she is not responding to his conscious efforts, India appears to be drawn to him as much as she denies herself.

*MAY CONTAIN SPOILERS* The unsettling mood in almost every scene even makes the characters more frightening. As the film seemingly brings us closer to the minds of India and Charlie, we are exposed to violence, and disturbing images (such as a woman masturbating in the shower with thoughts of murder). We start to question India's ideas and motives. Though several scenes may have foreshadowed a lot of what India is like — strongly similar to his Uncle. But Chan-wook (Old Boy) has perfectly maintained the eeriness and thrill as he slowly uncovers the protagonists' real thoughts. With the excellently executed scenes (especially with scenes that unhurriedly build up tension), paint-like cinematography (that would distract you at times) and incredibly keen close-up details (so precise you'd look even closer to the screen), Chan-wook delivers the film's twisted story in a way you would not exactly loathe the unacceptable acts shown. His views for the film have further complemented the screenplay written by Miller (Prison Break).



Though there were enough blood, and convincing characters killing without making a single flinch, personally, Stoker did not have a 'highest peak' I was expecting. The film's first few lines pretty much served as its uncanny synopsis. I did, however, greatly enjoy every masterfully crafted frames and shots. Despite its genre, it exhibited grace (particularly with the editing) while remaining true to its theme. Overall, I think Stoker was still insanely good.

Just as a flower does not choose its color, we are not responsible for what we have come to be. Only once you realized this do you become free. And to become adult is to become free.

As for the actors, what a great ensemble of cast with outstanding performances. I have always liked Wasikowska. I don't think I have ever seen a film of her that brought me disappointment over her acting. Kidman is lovely as always. And of course, Goode who almost made me forget why I fell in love with him in Brideshead Revisited, until this onehas completely blown me away.

November 4, 2014

Philosophically Speaking

Philosophically Speaking
Moving away from his sitcom stardom, Josh Radnor has proven he has so much more to offer. From his equally entertaining directorial debut, Happythankyoumoreplease (2010), and now another creation just as captivating. Probably a new kind of favorite.

Liberal Arts (2012)
A film by Josh Radnor

Jesse Fischer, a 35-year old admissions officer in New York City who returns to his alma mater in Ohio to attend his former professor's retirement party, falls for a student sixteen years his junior.




Ideas might have seemed a bit simplistic in Liberal Arts; yet it has conveyed insightful, objective views about youth, adulthood, and aging. Even with more philosophical thoughts and less romantic scenes (but not romanticism), it still had given enough laughs and warmth. The dialogues are also pretty interesting with the ideas appearing casual, and not severed by a one-man point of view. Three generations of liberated minds sharing opinions about humanity. Poetic justice (in the words of that one critic I read), indeed, has been served in this film. In addition, the actors are truly remarkable. Elizabeth Olsen is always a revelation. And of course, Ted (Radnor, in reference to his previous show, How I Met Your Mother), has shown a job well done  — writing, directing, and acting-wise.

Nobody ever feels like an adult. It's everybody's dirty little secret.

Liberal Arts is the complete opposite of what I expected; and it had a satisfying turn-out. Don't be fooled by its mediocre poster. Its soul is amusingly engaging.

October 2, 2014

The New Keyboardist

The New Keyboardist
I love films. I like how they make me feel a certain feeling. I like how they make sense of little things and speak it even more sensibly. Frank is one of those films that give me that kind of feeling.

Frank (2014)
A film by Lenny Abrahamson
Written by Jon Ronson and Peter Straughan

Frank tells the story of a young struggling songwriter, Jon (Domnhall Gleeson), as he joins an eccentric band, Soronprfbs, led by Frank (Michael Fassbender), an enigmatic musician who wears a large fake head.




The film, though troubling, was very engaging; especially the characters. With their quirks and peculiarities, at first they could easily be thought of as amusing, and even cool, as to how they uniquely express themselves through music. But Frank (the film) refused to give its viewers' expectations of the conventional tale of another soul-searching musical journey despite its common portrayal of an unconventional band.

When Jon, a newcomer and in awe of Frank's talent, started to push the band to lead a path for fame, the story also started to reveal a more darker side, unraveling the damages of each of the characters. Though the film did not exactly scrutinize the real and serious dangers of having mental illness, it still managed to open eyes about today's general idiosyncrasy. Furthermore, the empathetic ending gave a satisfying resolution. Also, Michael Fassbender, even on a very different light, was brilliant as always

Frank, indeed, is an uplifting story about creativity, insanity and judgment; sharing a wry sense of humor, poignant moments, and sincere learning. It is a rare reminder not to neglect a person's true character just because of his/her eccentricities, because there is definitely more to a person than meets the eye.

September 15, 2014

Lost Stars

Lost Stars
Good music, a singing-Keira Knightley, and some Adam Levine. What's not to love?

Begin Again (2013)
A film by John Carney

An unlikely friendship develops between struggling music producer, Steve (Mark Ruffalo) and brokenhearted songwriter, Greta (Keira Knightley), as they collaborate to create new music.



Begin Again possesses the charm of an equally interesting narrative and musical score. Carney (Once) has once again, presented his refreshing take on musical romance. Although nothing exceptionally bizarre has been showcased in the film, its rejection of the genre's triteness makes Begin Again definitely engaging and entertaining. The beginning of the narrative takes quite a slow-pace, but it somehow helped the film to further express its authenticity. I like how it simultaneously shows rawness and classic feel-good moments. Likewise, the vocals provided by my ever favorite actress, Keira Knightley was a perfect match for the film's stimulating music, adding a different but more comforting atmosphere. Aside from the evidently natural chemistry of Knightley and Mark Ruffalo, Maroon V's front man, Adam Levine surprisingly made his role worth his mediocre acting. Overall, it is genuinely satisfying.

August 10, 2014

Just Then

Just Then
Do you still remember the movies you grew up with? Watching Now and Then (1995) sure did help me remember. Although I was not able to see it (Now and Then) back in the days, but the actors in it brought me quite the nostalgia (Oh, sweet childhood.). Particularly, Christina Ricci and Devon Sawa (in that context, if you are a nineties baby).

Ricci is still very famous today. But Devon Sawa is not in the limelight as much as he used to be back in the nineties (he still has movies, as well as television series, but you get what I mean) So if his name still does not ring a bell yet (or if you haven't googled him yet), maybe this photo (along with its very well-known line) will:



It's a still from the movie, Casper (1995). Sawa played the real-life boy, Casper. Despite having only about five minutes of screen time, it was his career's big break. I assure, most kids (or most girls) my age would still remember that scene. Aside from Casper, I also swooned over fetus Sawa in Little Giants (1994). And getting to watch his fetus self again (and sharing a scene with Ricci) in Now and Then further take me down the memory lane. How about we savor and appreciate that magical moment again (because I miss childhood and fetus Sawa)?



Anyway, Honey, I Shrunk The Kids (1989) and its sequel Honey, I Blew Up The Kid (1992), Home Alone (1990), Richie Rich (1994), The Santa Clause (1994), The Little Rascals (1994), and Space Jam (1996) are just among the several nineties films that kind of bring me sudden wistfulness.

June 27, 2014

Definitely A Long Way Down

Definitely A Long Way Down
Life sure is tough. And maybe, people will always stumble upon things that would make them want to stop living. But (hopefully) they will also find enough reasons to keep going. Sadly, this film will make you think otherwise.

A Long Way Down (2014)
A film by Pascal Chaumeil

Based on a 2005 novel of the same name by Nick Hornby, four different people planning to commit suicide coincidentally meet on New Year's Eve; building an unlikely friendship to help each other sort out their lives.



The film's narrative was really interesting. I did have a few good laughs. Each of the characters were remarkable, having their own sense of uniqueness, and (as a matter of fact) were portrayed by captivating actors (particularly enjoyed the performance of Imogen Poots). Unfortunately, it was not enough to engage the viewers for 96 minutes. The sub-plots seem to have failed to make genuine connections. Despite it dealing with sensitive issues of suicide, and life in general, it was dull, and predictable with very little moments to hold onto. I felt like it lacked the poignancy to truly compel empathy from the audience (having been swooned by the film An Education, I was really expecting more feels for this movie). On a lighter note, the cinematography and the music were lovely.

PS: I loved the novel.

May 31, 2014

Of Magical Cactus & Rare Road Trips

Of Magical Cactus & Rare Road Trips
Road trip, magical cactus, beautiful scenery, and Michael Cera. I think I want to join these people and hit the road as well.

Crystal Fairy & the Magical Cactus and 2012 (2013)
A Sebastián Silva film

While traveling in Chile, Jamie (Michael Cera) invites an eccentric woman (Gaby Hoffman) to join his group's road trip adventure in finding a fabled hallucinogen.



Getting past the narrative because there is not much to it but a simple road trip documentation, the film remains weirdly fascinating. With the great portion of the movie involving drugs, well, it sure is fascinating. However, unlike the usual psychological film (because it does not actually fall on that genre), Crystal Fairy & The Magical Cactus and 2012 has the perfect balance for moments of complete high and clarity. With Silva's creative direction, the film's improvisation had coordinated well in its every aspect. But really, the true superstar here was Michael fucking Cera. After his definitive trademark on movies, we see this actor (finally! (side note: I always knew he had it in him)) breaks into the cage of his stereotypical wooing-the-girl-of-his dream roles as an obnoxious coke-snorting American. And he pulled it off. Gaby Hoffman was also remarkable in her performance as a nature-loving hippie. Though the characters are a bit comical, they are actually the ones that engage the audience. Fun, light and easy to watch.

April 20, 2014

Waltzing

Waltzing
We're humans, we make poor judgments about people and things. *SPOILER ALERT* But when you get an indescribable connection with someone you just met, would you go on an adventure with him in a city you have never been to before? Quite the idea.

At first I find it a bit mediocre and pretentious (sorry, I'm a human being). But I was so wrong. There is definitely more to this film than just two people who cannot seem to stop talking and making out. It is one of those movies that do not need to try too hard but somehow still managed to beautifully disturb your senses. And for nearly two decades now, Before Sunrise (1995) continues to captivate hearts of different generations.

A film by Richard Linklater
Written by Linklater and Kim Krizan

Before Sunrise tells a story of how two strangers meet on a train and end up touring Vienna together.


Meaningful conversations about history, people, and life in general are always interesting. But it might appear quite dull after several moments. Yet, in Before Sunrise, Linklater and Krizan have managed to maintain the excitement without sacrificing the mystery and the in-depth sharing of thoughts. And yes, the beautiful landscapes of Vienna are among the reasons. I'd be a hypocrite if I don't admit that simply the very idea of falling in love in a beautiful European city is not romantic enough. Because it already is! Top it off with big ideas and two beautiful actors (Ethan Hawke and Julie Delpy) who have natural chemistry, and there you have it  one of the most memorable romantic films of all time.

Which brings me to its equally amazing sequel, Before Sunset (2004).

A film by Richard Linklater
Story by Linklater and Kim Krizan
Screenplay by Linklater, Ethan Hawke and Julie Delpy

This time, we see Jesse as a successful writer promoting his book in Paris. For almost a decade, the two meet again, sharing stories as they tour around the city.


Without bias and with all honesty, this film sequel is probably among the most satisfying sequels in the history of all movie sequels. In fact, I liked this even more than the first one. And that rarely happens. Almost never. Maybe because unlike in Before Sunrise, we now have a history of who these characters are. And Before Sunset has effortlessly and successfully given us a justified conclusion, with the same Jesse and Celine that we loved. Also, the dialogues are delivered in a more conventional way, and the discussions were made more empathetic without having mediocrity. The romanticism and idealism were retained in the most natural way possible. Truly a charming romantic film that needs to be seen.

Memory is a wonderful thing if you don't have to deal with the past.

Now my expectations for Before Midnight (2013) are too high. Please, don't disappoint.

March 17, 2014

Nothing Tastes Sweeter Than Independence

Nothing Tastes Sweeter Than Independence
We all long for independence. And we all deserve it. But as teenagers, given the freedom of a child while being asked to follow certain obligations of an adult, life could seem a little lot more complicated than it actually is.

The Kings of Summer (2013)
A film by Jordan Vogt-Roberts
Written by Chris Galletta

Joe Toy, a teenage student who seeks freedom and independence, finds comfort living in the woods with his friends.



A typical story of a coming of age film but definitely gives a new kind of feel. At times, implausible but with the right amount of its whimsical vibe, it has successfully achieved the equal balance for family drama and light comedy. With its effortless humor, perfectly timeless musical score and diverse lead characters portrayed by note-worthy actors, this movie has undeniably won my heart. I feel like it did not even try too hard. It's just simply captivating.

I have fallen in love with its soundtrack.

And with Nick Robinson.

March 1, 2014

Stolen Liberty

Stolen Liberty
It makes you wonder, how can slavery actually befall on a person? Everyone is entitled of liberty. But oppression has a long history. People abuse power. And it is much more difficult to defy the majority, especially the authority. Hence, are we not so lucky to have lived in a period where democracy is present? Wherein slavery, in general, has actually disappeared. Or perhaps, only degenerated.

12 Years A Slave (2013)
A film by Steve McQueen
Screenplay by John Ridley

12 Years A Slave is based on an autobiographical book of the same name by Solomon Northup, a son of a freed man who was kidnapped in 1841 by slave-traders.



Without a doubt, the core plot of the film has been explored increasingly over the years. But 12 Years A Slave has its own challenging way of depicting the realness, rawness, and true horror of the lives of the slaves in America back then. Every scene is devastating even without the need for very graphic portrayals of cruelty and violence. It was depressing, but necessary.

The story is heavy enough, but with McQueen's steady close ups and long shots, the movie forces you even more to feel for the characters and their every struggle. It further awakens your senses. Most importantly, it uniquely brings more awareness on this oblivious problem that may still be happening. Along with a beautiful screenplay and profoundly moving musical score, everything just gives you an extra more pound to the heart. Up until the ending, it lived up to the standard it set. The impact is unspeakable.

Forgive me.
There is nothing to forgive.

Also with a great ensemble of casts, Chiwetel Ejiofor's perfomance was outstanding. His expression of almost losing hope but still longing for freedom is remarkable. His eyes speak volumes. Fassbender's Edwin Epps is a character you will truly hate, but will feel more sympathy for. While Lupita Nyong'O is a beautiful discovery. And of course, there's Brad Pitt, who despite being one of the producers has a little exposure, still made me swoon and put me in awe.

I liked that the film has several quiet moments, but are still powerful, inspiring and awakening.

February 4, 2014

Your Not So Classic James

Your Not So Classic James
James McAvoy in Filth was definitely not the actor I fell in love with. But he sure as hell gave an outstanding performance as Bruce Robertson in this wittingly cunning film based on a novel written by Irvine Welsh, the same brain behind the book Trainspotting.

Filth (2013)
A film by Jon S. Baird

A corrupt cop manipulates and hallucinates his way through a bid to secure a promotion and win back his wife and daughter.*




The same rules apply.

Bruce was corrupted, cunning, manipulative and will go beyond the unimaginable just for a job promotion. However, with McAvoy's brilliance, as well as Baird's, before the film ends, I found myself feeling sympathy for this anti-hero character. The beginning of the plot almost lost me for I thought Bruce was merely a soulless protagonist-villain who does not have enough back story (for me) to cling on. The film, with its title, clearly warned us of its graphic and chaotic world, but McAvoy is a revelation, and is actually the true highlight of the film. I hate to admit that I nearly allowed myself to loathe one of my most favorite actors. As Bruce gets into his even darker side, falling into a more serious state of psychosis, McAvoy filled all the holes. Hilarious, interesting and brilliant in its own way.

*imdb