The new Batman film is a more realistic take on the Batman myth. On the production side, the film avoids the triteness of doing a "comics-y" editing like other superhero movies. This time around, the director goes for a slow non-linear portrayal of Batman's history. The story includes the inner struggles of a hero caught in anger and how he redirects his emotions to save beloved Gotham city. It also allows us to see the science behind the powers of batman--his mobile, his ability to fly, his ninja-like movements, and his super strength. A hero is not really all extra-human; on the contrary, he banks on all his human potential to do something incredibly "un-human"! (Isn't that what our humanity is all about?) The film threads on something only movies can show us clearly, that is, the nuance, the gray areas in our search for justice. Feelings are ambivalent. Fear and power is something we can use either for the good or for its opposite. Batman is invited to lead Gotham's destruction but opts to save it instead with his position of influence and super-heroic powers. (I'm not sure if the director and writer intended this film to criticize and comment on foreign relations and governmental policies of nations. Is it doing a Michael Moore commentary on Bush's policies? If it does, it sure did hit the mark cunningly, subtly!) My vote: 8 out of 10. Hoping for a better performance from Katie Holmes and a better capturing and editing of the fight sequences (you can't seen anything at all!)
Reviews
10 Reviews
Sin City
(2005)
you'll leave the cinema uhm... with nothing?
4 June 2005
Warning: Spoilers
Contrary to the heading, the movie indeed was a visual fest. Here you'll see storyboards come to life with the editor not sleeping on the job. He plays with the shots, cuts them to effect fast paced action and wows the audience with a smörgåsbord of cinema techniques. The cinematography too is commendable. One gets the feel of lights and shadows, of danger and evil lurking around, of real film noir! The movie wouldn't work that well if it were in full color. Good that the director stuck with the comics' original color. Lastly, if you're in for an action (slash) violent treat, this movie is for you. Because of the explicitness of brutality, one will get numb somewhere in the middle of the film and then comes the down slope (?) of the movie...
...the movie is a three part episode thinly connected with each other. Perhaps if one will give more time for reflection she can connect the episodes with each other (really, what for?!).
Honestly, I have no idea what the film is about. I haven't gotten my hands on the comics to which this was based. After the hefty load of visuals, what next? The story is empty and you'll definitely leave the cineplex with nothing.
The movie though can inspire a discussion on what movies can show as regards violence and gore. What is art? How far can art go? A lot of plot twisted hyperboles were present in the movie, such as the invincible character of its protagonists and the monstrous nature of the characters (well, it's sin city, that's why!) . But the question still remains, what is sin city about? What does it want to tell its audience? Does art not aim to uplift the human condition? Does cinema mimic life for mimicry alone or does it want to tell something to the voyeur audience? Isn't the voyeuristic character of cinema designed to give its audience a glimpse of who and what they are? Is cinema simply for cinematic technique appreciation alone or for something else more?
With these questions, perhaps Sin City is not a waste after all. You'll leave the movie house with baffling questions about art, cinema, and life in general. Then, the movie is not a failure after all... you might not like it but let me tell you, there's more to the violence and gore than meets the eye.
...the movie is a three part episode thinly connected with each other. Perhaps if one will give more time for reflection she can connect the episodes with each other (really, what for?!).
Honestly, I have no idea what the film is about. I haven't gotten my hands on the comics to which this was based. After the hefty load of visuals, what next? The story is empty and you'll definitely leave the cineplex with nothing.
The movie though can inspire a discussion on what movies can show as regards violence and gore. What is art? How far can art go? A lot of plot twisted hyperboles were present in the movie, such as the invincible character of its protagonists and the monstrous nature of the characters (well, it's sin city, that's why!) . But the question still remains, what is sin city about? What does it want to tell its audience? Does art not aim to uplift the human condition? Does cinema mimic life for mimicry alone or does it want to tell something to the voyeur audience? Isn't the voyeuristic character of cinema designed to give its audience a glimpse of who and what they are? Is cinema simply for cinematic technique appreciation alone or for something else more?
With these questions, perhaps Sin City is not a waste after all. You'll leave the movie house with baffling questions about art, cinema, and life in general. Then, the movie is not a failure after all... you might not like it but let me tell you, there's more to the violence and gore than meets the eye.
Crying Freeman
(1995)
Denied Potential
4 June 2005
Warning: Spoilers
The title is a big come-on: "Crying Freeman." It elicits thought. "Crying" and "freeman," the two words seem to cancel each other out. But then again, it is precisely the nature of man's being free--his freedom is not absolute! Not only because all man's actions have dire consequences following it but also, his choices are already limited by his design, by his thrown-ness.
That being said, the movie has great potential. It is supposed to play around that theme having creatively combined the two words together. However, this movie is so much unlike the anime. It is from the point of view of the woman touched by the Crying Freeman. It could have gone through the psyche of its protagonist--his battles within, the dissonant drives and desires tearing him apart--and it would have worked much better. Unfortunately, the movie stuck to the love angle, the hero and the damsel-in-distress story, and it drained the movie of all potential.
That being said, the movie has great potential. It is supposed to play around that theme having creatively combined the two words together. However, this movie is so much unlike the anime. It is from the point of view of the woman touched by the Crying Freeman. It could have gone through the psyche of its protagonist--his battles within, the dissonant drives and desires tearing him apart--and it would have worked much better. Unfortunately, the movie stuck to the love angle, the hero and the damsel-in-distress story, and it drained the movie of all potential.
Little Black Book
(2004)
What is this film about?
15 April 2005
Warning: Spoilers
Is it a parody of reality shows? Is it a love story? Is it a satire on media and new technology? Is it a prolonged music video of Carly Simon's songs? Is it about man's relationship with cosmic forces? I don't know. Forty minutes into the film and I still don't know where this film is heading. Hackneyed editing and dull voice overs, didn't do much to save the film. The movie wants to be brisk but it ended up losing the first forty minutes to nothing. The conflict started only at the 40 minute mark! Actually, this is the only commendable part in the movie--when the lead star was asking her friend about truth and lies in a relationship! After the famous verbal-hit-all-spill-all battle royale in the K-show, it's a downward spiral again when cosmic forces are called in to give a romantic twist in the movie.
There were thought-provoking questions though like, "if you're totally fulfilled in a relationship and found out that (the guy) cheated on you, would everything be a lie?" (sic) That's something noteworthy to ponder about. But after all your musings, this film fails to deliver what it aims to give.
What is the 'little black book'? Maybe the director and screenwriter left the answer in their own little black books. Won't recommend you see this.
There were thought-provoking questions though like, "if you're totally fulfilled in a relationship and found out that (the guy) cheated on you, would everything be a lie?" (sic) That's something noteworthy to ponder about. But after all your musings, this film fails to deliver what it aims to give.
What is the 'little black book'? Maybe the director and screenwriter left the answer in their own little black books. Won't recommend you see this.
Romance
(1999)
a feminist movie
5 February 2005
Warning: Spoilers
What if a woman rises above societal norms and expresses her own sexuality? This is the central premise of the film. Men are always in control of their sexual energies--they do with their ding-dongs as they please and women are always just at the receiving (and waiting) end. Not so in this film. The woman transcends what the macho society orders hence, inverts the sexual political structure. She can now say what she wants, what position she prefers, when, where, and how. In Romance, the woman is not just a needy woman awaiting sexual alms from men. She is given the sexual dignity she rightly deserves. She is not only a sexual object, or a child bearing thing, she is someone who has a voice, a need, her own rhythm, a dignity. The movie gives the woman mileage to air what she thinks of herself, of men, and of their relationship. One may not agree with everything she does and says, but that's not the point. The point is in romance, the woman is equally important as the man.
The film though is a drag (with a few totally explicit eye opening sex numbers). One could easily fall asleep with the monotony of characters' dialogue and narration and the frugal use of sound; the pale colors of the set also adds up to the lulling effect of the whole film. However, these are not without meaning in the over-all mood of the film. And precisely because of this that one sees through the film's beauty--costumes and set design (whites and pale tones) are symbolic of blandness and/or the lack of passion/romance; quiet atmospheric sound allows us to hear the woman's soliloquy clearly; and the explicit sex scenes (oral, sado-maso, rape, masturbation, cum shot) show the naturality and the indispensability of sex in romance. The sex scenes don't hide anything from the viewers not because it aims to be controversial or erotic but rather, it wants to make the viewers understand the woman better.
The film though is a drag (with a few totally explicit eye opening sex numbers). One could easily fall asleep with the monotony of characters' dialogue and narration and the frugal use of sound; the pale colors of the set also adds up to the lulling effect of the whole film. However, these are not without meaning in the over-all mood of the film. And precisely because of this that one sees through the film's beauty--costumes and set design (whites and pale tones) are symbolic of blandness and/or the lack of passion/romance; quiet atmospheric sound allows us to hear the woman's soliloquy clearly; and the explicit sex scenes (oral, sado-maso, rape, masturbation, cum shot) show the naturality and the indispensability of sex in romance. The sex scenes don't hide anything from the viewers not because it aims to be controversial or erotic but rather, it wants to make the viewers understand the woman better.
Jason Goes to Hell
(1993)
this film should go where Jason went
5 February 2005
Warning: Spoilers
The opening sequence is a failure. A closer contact between Jason and the victim could have drawn us into the movie much better. The old formula of sex/nudity + a slasher doesn't appeal anymore. The camera technique, editing, and sound don't work together to keep its audience at the edge of their seats. After the first sequence, you'll know that there is nothing much to expect in this film. For a horror flick to work, the opening sequence should say it all and must entice the audience that this film will scare them to death till the end).
This last installment of the Friday the 13th series simply doesn't have "it" to make you want to finish the film. It doesn't bother with the story anymore. It felt like its only goal is to be more brutal than the previous killings. It introduces new characters every after a killing which further alienates the viewers from the film. No depth; no emotional tie up with the characters; each character is simply another object awaiting their gory mutilation. Unless you have a penchant for murders and brutality then this movie isn't just worth your while. Or even if you have a thing for gore, this movie has nothing new to offer--it's a been there, done that kind of thing. So uninteresting.
I don't understand why the producers of this series, knowing that this is the last, would not put much thought on how to end Jason's classic plight. OR maybe, it's just that the series have exhausted all there is to exhaust of Jason and this movie hasn't got enough juice to quench the audience for an hour and a half of the worn out, dried up Jason story.
This last installment of the Friday the 13th series simply doesn't have "it" to make you want to finish the film. It doesn't bother with the story anymore. It felt like its only goal is to be more brutal than the previous killings. It introduces new characters every after a killing which further alienates the viewers from the film. No depth; no emotional tie up with the characters; each character is simply another object awaiting their gory mutilation. Unless you have a penchant for murders and brutality then this movie isn't just worth your while. Or even if you have a thing for gore, this movie has nothing new to offer--it's a been there, done that kind of thing. So uninteresting.
I don't understand why the producers of this series, knowing that this is the last, would not put much thought on how to end Jason's classic plight. OR maybe, it's just that the series have exhausted all there is to exhaust of Jason and this movie hasn't got enough juice to quench the audience for an hour and a half of the worn out, dried up Jason story.
Jamón, Jamón
(1992)
raw flesh shoved at you every second
4 February 2005
Warning: Spoilers
"Jamon, jamon" revolves around lust and machismo. It's basically about sex, sex, and more sex! From the very start of the movie, with a bulge shot of Raul (Javier Bardem) to the rape scene of Silvia (Penelope Cruz), the film presents a sordid tale of "love" among twisted minds and perverted people (as each character partners with another throughout the whole film.) You cannot mistake this movie for a wholesome film because sex is literally shoved down your gut every second as it is peppered with symbols of dogs, pigs, a parrot, ham (as the title so gives away), pearls and what have you, which emphasize on the already obvious theme of the movie--sex, while showering you with loads and loads of sex sequences. At one point, I began asking myself what the point of the movie is. The characters are given no dignity and the director doesn't give one any reason to sympathize with them.
A ray of light or salvation for this film comes when Silvia after being forced into sex stands up and fights for her "womanity." She runs to her lover Raul and again, engage in sex. This time though impassioned sex/love making happens which is all too different from the previous ones. But later, Raul backslides and again gives in to money and the flesh leaving Silvia behind. Here, I accepted the fact that this movie is really about nothing. My feeling is validated by more surprises from other characters who aborted the purported salvation of this film. The movie ends with ham clubbing... hence, "Jamon, jamon." (I'd club this film with a ham too! grrr.)
One good thing about the film is its title. The English translation of the film literally is "ham, ham" but my DVD subtitle says, "Of Love and Ham." I believe this is really the essence of the film--the pathos of looking for love in a community so driven by lust, greed, and selfishness. It is literally shown in the symbol of broken pearls and a pearl shoved in a pig's ass! The quest for love in such a forlorn community is like giving pearls to the pigs. Silvia could be anyone; she could be you or me... wanting some real love. Sadly, she risked it all to people who knew nothing more than giving in to the cravings of the flesh. For this I give the film a 4.
A ray of light or salvation for this film comes when Silvia after being forced into sex stands up and fights for her "womanity." She runs to her lover Raul and again, engage in sex. This time though impassioned sex/love making happens which is all too different from the previous ones. But later, Raul backslides and again gives in to money and the flesh leaving Silvia behind. Here, I accepted the fact that this movie is really about nothing. My feeling is validated by more surprises from other characters who aborted the purported salvation of this film. The movie ends with ham clubbing... hence, "Jamon, jamon." (I'd club this film with a ham too! grrr.)
One good thing about the film is its title. The English translation of the film literally is "ham, ham" but my DVD subtitle says, "Of Love and Ham." I believe this is really the essence of the film--the pathos of looking for love in a community so driven by lust, greed, and selfishness. It is literally shown in the symbol of broken pearls and a pearl shoved in a pig's ass! The quest for love in such a forlorn community is like giving pearls to the pigs. Silvia could be anyone; she could be you or me... wanting some real love. Sadly, she risked it all to people who knew nothing more than giving in to the cravings of the flesh. For this I give the film a 4.
a happy film about a funny family
2 February 2005
"A Home at the End of the World" is about a mix of unique individuals trying to find comfort and solace in each other. The film deals with a postmodern family--a gay guy, a hippie mother, and an orphan living together under one roof. It is unconventional in the sense that the film avoids working on stereotypes and moral prejudices. The film successfully tackles controversial issues such as gay relationships, drugs, sex, "marriage", commitment, and authority while refusing to go by labels. The film subtly injects its own moral stand on these issues zeroing in on what is most important--the happiness and growth of individual persons.
In terms of story-telling, the film sticks to its subject, i.e. finding a refuge for lonely wounded souls without being overly melodramatic.
You'll love the characters in "A Home at the End of the World." They will grow on you and you'll wish that you'll have the same sort of bond they have.
In terms of story-telling, the film sticks to its subject, i.e. finding a refuge for lonely wounded souls without being overly melodramatic.
You'll love the characters in "A Home at the End of the World." They will grow on you and you'll wish that you'll have the same sort of bond they have.
Spirited Away
(2001)
Animation par excellance
1 February 2005
Warning: Spoilers
highly philosophical and deeply profound. I've seen this film for more than 5 times now and each viewing is still a new experience. It makes one reflect on family relations, growing up, embodiment, and one's name (so philosophical that it borders on not being able to be understood by the audience). If you're not in it for the insight, fill yourself with the beautiful graphics and display of colors. Spirited Away is a visual delight transporting you to a totally different world of spirits, spells, and magic. It is so realistic that one may get that spooky feeling after watching the movie (I did feel this because of No-name). The art complements the story; the animation gives life to the plot.
Spirited Away is a wonder--the best of the best Miyazake animation films. With so many subplots, the film is able to sew together every bit of information and symbol it has solid tight. Every question answered, every character full of meaning. Sometimes, animation is better than real life. Spirited Away sure is a winner.
Spirited Away is a wonder--the best of the best Miyazake animation films. With so many subplots, the film is able to sew together every bit of information and symbol it has solid tight. Every question answered, every character full of meaning. Sometimes, animation is better than real life. Spirited Away sure is a winner.
Yamakasi
(2001)
stunts are amazing!
31 January 2005
Warning: Spoilers
There's nothing noteworthy about the story. Very thin plot--I even felt the story was forced just to have a film on the yamakasis. Plot/conflict is based on an incredible story of a boy needing a transplant because of an accident? Why? There could have been a better plot for the yamakasis since they are not really misfits and/or outlaws. They're just extreme sports lovers who are in it for the adrenalin rush.
Enough said about the plot. Yamakasi is basically about amazing stunts and maneuvers. They are breath taking! Yamakasi stunts defy gravity and inertia. True to it's subtitle, "Modern Samurais/Ninja" Who thought flying can be for men too!? For the stunts and (literal) flying... this film gets my thumbs up.
Enough said about the plot. Yamakasi is basically about amazing stunts and maneuvers. They are breath taking! Yamakasi stunts defy gravity and inertia. True to it's subtitle, "Modern Samurais/Ninja" Who thought flying can be for men too!? For the stunts and (literal) flying... this film gets my thumbs up.
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