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Cike Nie Yin Niang (2015)
exploring spirituality
Almost eight years after his last film, acclaimed auteur Hou Hsiao- Hsien was named best director in the last Cannes festival. This is a Tang Dynasty-inspired historical drama, taking place in the ninth- century China, with a woman called Nie Yinniang (Shu Qi) acting as the called Assassin. She is very capable with martial arts and knives and her last mission (ordered by her nun mentor) is to kill her beloved cousin. To be honest, I couldn't exactly follow the story, as the script was empty of meaning and character development. Hou is an absolute minimalist and fond of repeating patterns, giving its film a poetic premise. The cinematography is great (Ping Bin Lee/ In the Mood for Love) and only the visuals represent the bitter emotional complexes of the movie. The pace is sleepy, the actors do not have much to do and the director describes the whole story as if he was in a dreamy delirium: presenting to us multiple versions of the same scene, that seem to happen with no logic and in undefined time.
Star Wars: Episode VII - The Force Awakens (2015)
If only I had more time (and mood) for whining...
With all the built hype around this new episode of the beloved space-opera, it is safe to say that if your expectations come near as immoderate, you shall assuredly meet with disappointments. First of all, I have to admit, that I am not a hater of the latest George Lucas trilogy, neither consider it as something special. These prequels were admittedly well made CGI feasts, very long and child- friendly at some point (The Phantom Menace), but also essential and very committed to the tale that had to be told: the morbid seduction of the dark Force. Within the years, these add-fillers to the saga, gave birth to a permanent lack of satisfaction for these movies and became the routine of an established complaint towards Luca's lost vision and doubt of his skills. Firstly as a storyteller and secondly as a filmmaker.
The fans anticipated and deserved something much better, but we all have to admit, that some people have lost their sense of proportions. We 'd better call the original movies (1977-83) great as cult sci-fi, but not, monumental filmmaking. They offered escapism to the masses and a mythology that Hollywood needed at the times. Their scripts were not so new or innovative, but cleverly managed to fell fresh through their structural growth and political intrigue. And the captivating use of technology made us forgive some amateurish dialogue and performances. Of course there was a landmark music score by John Williams, some brilliant ideas in the technical aspect (editing and the choreography of the action scenes) and many directors consider the whole experience as the most influential to their career. The Star Wars in a parallel universe, that has not so much to do with critical or artistic value, is a legacy surrounded with such special care and glamor, that anybody who will be honored to mess with this brand and take it to the next step, must proceed with "stratospherical" caution. Because, he could –until proved that he has the Force- ruin our fantasy of an ideal sequel. To an original, that qualifies for praise, but no to such gravity and seriousness.
Director / Co-writer J.J. Abrams (Star Trek, Mission Impossible III) is an expert in reinventing damaged franchises that have lost their path to purity and entertainment. He's the right man to ensure a continuing rebirth, just by teaming the best and forgotten elements of the series. In this cinematic galaxy he constructs the remains of Star Wars with a clearly defined way. The fascinating air battles, the lost thrills and humor, they are all on board. It's the same philosophy, the same formula, you love and trust. The veterans Han Solo (Harrison Ford), Leia Organa (Carrie Fisher) and friends are leagued with new blood (Daisy Ridley is exceptional as Rey) and the only thing that differs now, seems to be the motivation of their actions. Without spoiling anything, it feels like a more personal struggle beating in the heart of the movie, than ever before. The resistance is strong, the threat of the darkness is present, but the power that prompts for heroism comes from emotion and faults of the past. The protagonists seek freedom and justice, but you can't help identifying them as tortured souls who are always testing their fate. Because they are so afraid, to suffer alone.
By acquiring the rights from LucasFilms (a deal of $4 billion), Disney has not only closed a profitable investment but this might actually be also, the best possible way for the longevity of the franchise. I enjoyed the movie, its pace and action, but have to admit that the new droid (BB-8) stole my heart. Oscar Isaac (Inside Llewyn Davis) was quite good as pilot Poe and Adam Driver (Frances Ha) was nasty as the presence of the menacing Kylo Ren. Newcomer to the game John Boyega (Attack the Block) didn't stand out for me (he plays a trooper with conscience), Domhnall Gleeson (Ex-Machina) was wasted in a minor role and the appearance of the Leader Snoke (besides a performance capture by the master Andy Serkis) is not exceptional at all. If I had more time and mood for whining, I'd found more that I didn't like in this episode, but let's be fair. It's a satisfying package that delivers.
A Very Murray Christmas (2015)
special for some, not so for others
Resembling at first a gleeful backstage look to a TV Christmas special, this show soon becomes an excuse for a karaoke "Bill Murray and Friends" party. According to its minimal story, the broadcast is canceled because of a snowstorm, but people are still gathering at the bar of the NYC hotel, improvising with Bill, drinking and singing along. Paul Shaffer at the piano keeps the event lively and some of the guests really shine here (we need more of Maya Rudolph by the way).
This -Netflix produced- musical comedy, may be cheerful at times but certainly has a gleeful eye for the awkward. And that's what makes it special for some and not so for others. The humor feels natured eccentric (George Clooney's backing vocals on "Santa wants some lovin'", really?) and although Miley Cyrus is dressed and behaving in accordance to let's say:"appropriate festive norms of Santa fantasy", dialogue and visuals don't turn their back in making sexy innuendos. Of course there is always space for satire (aiming showbiz) and ironic words of wisdom, spoken with Murray's charming melancholia. I personally enjoyed the not-so crazy, but few silent moments of our hero's monologues and actually caught myself wanting more of them. Scenes that echoed Sofia Coppola's and Murray's previous work together are surely missed (they 've been 12 long years since Lost in Translation).
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Spectre (2015)
Back to basic, old-school tricks, for the most famous and most sponsored movie agent of all time.
For better or worse, Bond had spoiled us lately with his down-to- Earth and scratchy adventures. The 24th entry in this franchise isn't Spectr-acular but services well its purpose and should easily satisfy the hard fans. Personally, while I wasn't bored to death (here I am writing about it, man), I rank it as the most average adventure, of the Craig-Epoque. Which isn't a praise, either a serious complaint.
Spectre is introduced to us with the best possible way. With a carefully orchestrated camera work, taking place at Mexico's "Day of the Dead" parade and Bond himself, performing a catwalk in the roofs. Cheering his narcissistic style as he arms his gun, James is ready for breakneck action. And absolute (always chic) destruction. Expect to be impressed by explosive demolitions and endless dogfights inside a helicopter. Following this tense opening scene, you are welcomed to the theme song (Sam Smith's The Writing's on the Wall) accompanied by tasteless credit images of a sexy ..octopus! And then you have it. M (Ralph Fiennes this time) reproves 007's unorthodox actions in an overused, dated but so need-to-be-there, joke.
John Logan's script (with the help of other three, Writers on the Wall) draws from the shadows of the past and especially the three previous films in the series (Casino Royale, Quantum of Solace and mega-hit Skyfall) to support the refresh of Spectre's mythology. Everything that occurred is a puzzle, not convincingly structured and designed, but works fine if you're: let's say, well-intentioned to justify the organization's existence. You don't buy it? It's your problem. The story implies that the writing's were always there (on the Wall).
Our villain is a Maniac and he can cut you like a knife, in a surgical chair (which happens). Named Ernst Stavro Blofeld. Two-time Academy Winner of Mannerism Award Christoph Waltz, in a role that would fit more, in an Austin Powers sequel. I really believe, he had more to do playing the same guy in 2011's The Green Hornet (no kidding). That Maniac is supposed a Genius who controls the network security of many countries. I don't want to spoil it to you, but what he does (and specifically does not) in the most crucial time of his Maniac Master Plan, proves that he is not suitable for his title. On Blofeld's side, there is also, another opponent to Bond, who believes that is an enemy, but in fact, is nothing more than an admirer to our hero. He's Mr. Hinx (Dave Bautista). Another Maniac who punches, like he's never punched before.
Enough already with the misfires. Sam Mendes promised to lighten the atmosphere and kudos to him for trying. He transported James Bond to the previous stage of evolution, where the triptych Run-Fun-Gun is the basic ingredient. He is pulling non-plausible situations to the extreme contrasts and puts his hero in an archetypal, relieved non- serious and non-sceptical world. Where, of course, willing exotic young (Léa Seydoux) and exotic not-so-young (Monica Bellucci) women complete the fantasy. That kind of escapism is an impressive value to many fans and shouldn't be underestimated.
Although I can't stop wondering, if Daniel Craig wasn't indeed sarcastic at all, stating in an interview, that he wished he broke a glass and slash his wrists, if he was offered to reprise his role again. Was he tired? Was he truly disappointed? Could this be the Rise of the Ungrateful State of his Career? I'm afraid, it's a combo. This is not just an impulsive confession. He has seen The Graffiti on the Wall and the sketches of the downfall course. He actually has a point, of no-return.
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Carol (2015)
Such movies scarce in our times, don't you agree?
Offering a magical combination of atmosphere, bold script and accurate performances, you would have to search back in the era of Classic Hollywood, to make the relevant comparisons. I'm betting, it will break your heart. Carol Aird (Cate Blanchett) is an attractive woman of the '50s. She's also on the eve of her upcoming divorce with her husband (Kyle Chandler). The latest victim of her seductive manners is an introvert young woman in a mall. Therese Belivet (Rooney Mara) wants to break free from a dead-end relationship with her boyfriend and searches for something else. Something, she cannot share to anybody.
This is the kind of drama, which does not care only for its heroes, but for the world and the changing rules. Carol respects and appreciates women's fight for equal rights and beyond a romantic love story at its core, spreads a great amount of feminist dynamism in the story (based on Patricia Highsmith's The Price of Salt). What we are given here, is a familiar but –admittedly- fascinating narrative line. Two souls, not as tortured as in Brokeback Mountain's gay couple, but with emotions at similar level expressed, make a journey of self-discovery and acceptance, through their difficult choices and dilemmas. It is a painful procedure of self- awareness and it plays wonderfully in the interplay of the characters, as if you can feel the cracks before the sudden sound.
Todd Haynes (director of Far from Heaven), continues his wanderings in the land of forbidden passions, now with a greater sense of romance, taste and technical knowledge. Displaying again his foolproof criteria on choosing the crème de la crème of associates (in editing, cinematography, costume and production design) he brings an almost fetish quality in the way people, color and objects are positioned in his frames. But thanks to his talent and gusto, this effect is not been used with a cold stylish approach. It gives the whole set, an elegant, warm and extremely emotional value.
What is left to say for Blanchett's talent? Her instinct, look, voice, and physical complexion is unbeatable. An electrical performance, from start to finish. More touching though, here is Mara, and the way she lets herself to get carried away. The normality of her restraint as an actress is what makes her, the most suitable person for the role. At the end of the film, you wish you could hold her in your arms.
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Macbeth (2015)
Welcome to Scotland, 16th century.
Local forecast call for partial clouds, pretty much threatening I'd say. Visibility is once again hampered by fog and wouldn't suggest a walk nearby Dunkan's (David Thewlis) palace. His General (Michael Fassbender) curses and murders everything, that gets on his way and seems capable of blocking the prophecy of his destiny. He and his Lady (Marion Cotillard) ignore the exit-polls and succeed, where others have failed. In order to secure the election victory for the crown, they kill and stab and decapitate. Thirsty for power, glories and blood, the diabolical pair is about to experience a king-sized fall.
The thing that impresses you the most, in this Shakespearian cover, is how effectively, does the use of authentic language, work. I really think that it makes the words, sound still more worrying and barbarian, than they are. Mad Fassbender and First Lady Cotillard are exceptional in their roles and couldn't be more excited to see them work again with this director (the trio is expected to return next year, for the Assassin's Creed adaptation).
Justin Kurzel has done an impressive job here. He slows down the bloody Braveheart action and boldly devotes his movie to the tragedies. Don't misunderstand me. His Macbeth is still harsh and graphic. But is also as fragile, as sexy and as emotional as it should be.
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The Hunger Games: Mockingjay - Part 2 (2015)
Who's hungry, for the final show of the Hunger Games?
Last year's Part 1 rehearsal, that at some point almost burned commercially and turned the whole thing into a soap-opera, is Thank- God forgotten, and now we 'are ready for the "wished" action-packed terminal point for the successful franchise. Capitol strews ashes on its carpets to welcome the militant Katniss Everdeen (Jennifer Lawrence), who is always the head of the revolution, with the assistance of the young fighters Gale (Liam Hemsworth) and Peeta (Josh Hutcherson). The tyrannical President Snow (Donald Sutherland) will strike back to our protagonists, with his leftover weapons. Deadly pitfalls in all parts of the metropolis and mutated reptiles.
After storming the global box office the last four winters (nearly 3 billion dollars in its pockets), you can count that Mockingjay Part 2 is not our last visit in the guerilla of Panem Districts. Lionsgate has already implied, that possible prequels are on their way. Personally speaking, if it wasn't for the presence of -always charismatic- Lawrence, that never-ending series wouldn't be the same. And tolerable. And excusable and
and
No need to get into the details of the epilogue's story, as it repeats the same pattern. The emotional state of the rebels offers some intrigue but the baffled persistence in the center, of the faded love-triangle (who gets the bride?), no longer engages. To put it gently, even the hard fans of Susan Collins' books must be tired at this moment, with this, anti-climactic, romance. What about the rest, then? Do we keep anything, from this valiant YA movie saga? Yes, we do. At least there is a minimum ideological stigma, somewhere in there. Young girls and boys stand against authoritarian regimes and pursue a better tomorrow. Equitable and fair for all. It is a simplified message of course and it doesn't really matter, if on the way of achieving this purpose, violence is reproduced (almost multiplied, I'd say).
Going back to the current movie's value, let's suppose for a minute, you're not who you think you are. You 're blessed to be called Francis Lawrence. "The Director". The one, who accomplished the mission in Catching Fire (easily, the most remembered chapter) and you are told some Really Bad News. a) The arena theme is already exhausted, b)The inspiration of the symbols is sooo last year and c) The picking off petals from daisies (my heart belongs to Katniss) is the only thing that distracts –and not involves- the viewer's attention, from the not-so-well execution of Snow Vs. Everyone thing. "Quelle Catastrophe!" you say if you are a recognized European Auter, "No S#it I' m never doing this" if you are a member of classic Old Hollywood's storytellers. But you are "you know who" and say "Ok, No big deal, Bring it on".
What do you do then, to maximize the effect, towards the epic final war? Because you are Francis Lawrence "The Director" and in the past you have perfected the worst stylized cgi monster attacks in a big studio film (I Am Legend and I Am "The Director"), you apply the same technique here. Again, no one is there, stopping you to pay tribute to Cameron's Aliens. Copying atmosphere and camera direction (not with the same successful results), in a tricky way, makes your movie more exciting, suspenseful and unoriginal. He could at least, be more inventive in the action sequences, as he fails to reach any point in our engagement with the drama. Who cares? Everyone knows and predicts the finale; the moral message is well received and digested two films ago; The only reason, for this 2 and a half episode, is to prepare you (to offer you the privilege, best to say), to witness Katniss's parade to her worthy battle. Ironically, everyone seems to have learned a lesson here.
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