tag:blogger.com,1999:blog-68672909830920523662024-02-19T21:55:54.807+11:00Anonymous Theatre 3000Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.comBlogger150125tag:blogger.com,1999:blog-6867290983092052366.post-21767886686189252772013-03-31T23:00:00.000+11:002013-03-31T23:00:03.717+11:00The Top Films of 2012 - Some Honourable Mentions<div class="separator" style="clear: both; text-align: center;">
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This is the article where I will respond to those little comments from 'oh. where's [insert movie they like]' to 'this guy actually bothered to put [insert film] on this list, but not [insert film]'. So whatever's missing, I'll partly address here. I put in eleven spots (eleven, because I'm really kind) because there has been so many good films released in the past year or so, both coming in from genre and the arthouse. But there are five films that kinda missed out. Here are some of the movies that have just missed the cut because 11 is the limit. <br />
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I should mention that there are movies that I still haven't seen but could be a good candidate for any of these countdowns. Films such as <i>Dredd, The Master, Pitch Perfect, A Royal Affair </i>and many others that are quite obscure or unknown to actually be seen.
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<u>21 Jump Street</u><br />
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I was surprised into how much I was entertained with this movie. If Jake Gyllenhaal and Michael Pena had a friendship beyond convincing in <i>End of Watch</i>, then the bond between Channing Tatum and Jonah Hill has more sweeter moments to its benefit (then again, most buddy cop movies all does the same thing). There's a lot of self reflex and self awareness to the tone of the film, thanks to Michael Bacall and Jonah Hill's screenplay which is pretty much why <i>21 Jump Street</i> surprisingly works. Tatum also presents some of his comedic chops which may be the best thing about him as an actor. Have some fairy dust, motherfucker! <br />
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<u>Bernie</u><br />
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I certainly would say this is an actor's film given that the only thing people could even talk about is Jack Black as Bernie Tiede. And why shouldn't they since Black gives out probably his best performance of his career as the most nicest and saintly murderer since Bjork in <i>Dancer in the Dark</i>. Another aspect that carry this movie to the warmest of hearts is that it's shot in a documentary where real life residents of Carthage speaks out about what actually happened and how much Bernie is a nice guy which turns it into a truly engaging character study.<br />
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<u>Dredd</u><br />
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A very late entry, <i>Dredd</i> is surprisingly fun and works very well as an action movie is supposed to be. Having not read the comic series or seen the original <i>Judge Dredd</i>, I had a blind eye upon <i>Dredd</i> simply due to its poor marketing from Lionsgate and the fact that <i>The Raid</i>, which had a similar premise of a building invasion from authorities, I was surprised to how this is incredibly entertaining. This is action escapism at its most fun; it's visually impressive with its gratituous slo-mo drug sequences (some of the best I've ever seen) and the gorgeous cinematography from Anthony Dodd Mantle. Karl Urban is a gruff and gritty take of the title character, but the other characters especially Lena Headley's villain and Olivia Thirlby's Anderson have a surprising amount of depth and drive the plot.<br />
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<u>Killer Joe</u><br />
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I'll admit; <i>Killer Joe </i>was merely OK and for all the flaws William Friedkin's film contained, there are many moments that are more than mind-blowing. Like Matthew McConoghey beating the crap out of Emile Hirch with a can of soup or Gina Gershon sucking on a chicken drumstick. This and <i>Winter's Bone </i>may make an appropriate double feature, but where that film is about the survival of the family, <i>Killer Joe</i> is a dark, twisted look of a family under debt. It's a cross between a Coen Brothers film and <i>Blue Velvet</i> and McConoghey's one of many comeback performances as the title character is darkly twisted and hilarious.<br />
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<u>Project X</u><br />
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Maybe I should explain to the elders of film criticism why I defended this film and as a result, they asked me to remove my article of it. I did, yet I still stand by my thoughts though; this movie isn't an abomination that a lot of people have suggested. Sure the characters are god awfully framed, the movie's an entire music video and the filmmakers may be charged with crimes against human decency; but I'm 100% sure that Todd Phillips, Michael Bacall and Nima Nourizadeh made a bet into who could create the most amoral movie ever made. And they've succeeded. Yeah, for me, this is dangerously close to 'so bad, it's good' territory (well to be fair it slightly touches 'so bad, you have to see it to believe') since it's just normal 'bad'. I'd be tempted to call it the worst movie of the year, but there are so many goddamn moments that just blew my mind, I can't really attack this rather than defend it.<br />
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<u>The Sessions</u><br />
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<i>The Sessions</i> shows the most honest portrayal of a man with a disability I've ever seen while at the same time becoming very uplifting. While its premise of a man trapped in an "iron lung" finding a connection through sex may range from bizzare to cutesy, it manages to remain down-to-earth thanks to John Hawkes amazing performance along with Helen Hunt's frankness. It's charming, tearful and pretty earnest.<br />
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<u>Skyfall</u><br />
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This movie had just missed out in my actual Top Films of 2012 list and if I had done a ranking of the films I saw, it would have been No.12. <br />
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Unfortunately I am not much of a James Bond fan (seeing how I haven't checked out every movie in the category), but I've seen all of the films based on Daniel Craig's parts including <i>Skyfall</i> to know that I really enjoy the character and his performance. From what I've seen this is Bond's existential crisis, which is reveals a deeper and human side inside of him. In terms of cinematography, this is perhaps the most beautifully shot film of the year as it is unsuprisingly shot by Roger Deakins. What's surprising however is Sam Mendes whose work is known for exploring existentiality (<i>American Beauty</i>, <i>Road to Peredition</i>) directs this as if Christopher Nolan was under the helm with the majority of the scenes under the realm of <i>The Dark Knight</i>. Javier Bardem brings in what could be the most underrated villain in all of Bond's history as the camp, but vengeful Raoul Silva. It's not on par with Anton Chigurh but he still holds an impression. <i>Skyfall </i>is so good that it attracted so many detractors and I don't know why. Is is because it's so familiar to <i>The Dark Knight? </i>Was Javier Bardem an incompetent villain? Or was MI6 a disorganized spy agency? It is just too artsy for an action movie? For all of those reasons, I would assume that you didn't like <i>Skyfall</i> because you really didn't like itNeutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-15911882186923722392013-03-31T20:24:00.000+11:002013-04-27T20:22:38.727+10:00The Top Films of 2012 <span id="goog_1171746426"></span><span id="goog_1171746427"></span><b>This is it, folks....</b><br />
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<a name='more'></a>Personally 2012 was a rough year. It was the first time I have to be committed to rigourous finals and it's a surprise that I got into university I wanted to go with a low, but respectable score of 70. That means I haven't got around watching movies in theatres. At least I made one milestone in my moviegoing life with <i>The Avengers </i>being the first time I watched a film with a group of friends.<br />
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2012 for film, wasn't that great. It had a much better variety of films than last year in terms of studio-produced and genre films together. It was a fairly average year for animation and horror, but it was a successful year for superhero movies both critically and commercially. Unfortunately though there were some big-name films that I didn't really enjoy as much as everybody else probably due to hype or out of disappointment. And speaking of disappointment, I'm going to tell you the movies that won't be included would be <i>The Dark Knight Rises, The Avengers</i> and <i>Argo</i>, a few examples to be named, because at some point after reading this, you'll be wondering how come your favorite movie isn't listed, which will be addressed in the next list. But it was a great year for teen movies (for the most part) and it was a great year for action fare (for the most part). <br />
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<b>For this list I have to put some ground rules on making this list. To be eligible for the list, it must be:</b><br />
<b><br /></b><b>1) Released in the year 2012 at the country the film is produced. So films like <i>The Intouchables </i>or <i>Oslo August 31st </i>cannot qualify because they were released in 2011 at their respective countries. Festival release here in Australia may be eligible.</b><br />
<b>2) released to a paying audience in an Australian release around 2012 up to when this list is published which will be March 31st. i.e. - it must be released in theatres that year. Not to direct-to-DVD<br />3) Only feature films can qualify. Short films, documentaries or any film less than 70 minutes long cannot. </b><br />
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When I see a lot of reviewers compile a list, whether it be a professional or semi-professional, often their movies will be saturated by genre films or ones that are completely obscure. I have nothing against any person doing this kind of list leaning towards films people know or not, but mine will consist a mixture of both arthouse, genre and indie flicks that you, after reading, might want to check out.<br />
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At this point in time, I couldn't help but think compiling this kind of list feels pointless and that everyone, especially the Internet, makes a big fuss out of it. I already got tons of hate for my Triple J Hottest 100 post, but I still stand by the fact that it's just a countdown about something relatively trivial and subjective. Don't get me wrong, I love movies as the next person, but I feel like the Best of 2012 list represents the author's perspective, not the public. But I know you all come here to see me present my cream of the crop, so in alphabetical order, here are my eleven favorite films of 2012. Why eleven? Because I'm pretty generous:<br />
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<b> </b><u>Amour</u><br />
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Remember that opening montage from <i>Up</i> where we see Carl and Ellie get married and grow old til death do they part? Well what if you make that montage as the entire movie where we see the same couple, but it was spoken in French and only focused on the dying wife. That's <i>Amour </i>(no pun intended), a low-key film driven by beyond-powerful performances from Jean-Louis Trintignant and Emanuelle Riva, a gloomy, slow but raw direction from Michael Haneke, that explores the inevitability of death without any sentimentality. It's hard to watch but for those who can get along with its narrative, the film presents many rewards. </div>
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<u>Chronicle</u><br />
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The way I see <i>Chronicle</i> as a found footage film that knocks every one in its genre out of the park is brutal. It combines most of the overused elements in that genre, as well as high school and superhero and turns it into a refreshing, often-spectacular film that contains so much emotional intensity. Solid performances from Dane DeHann, Alex Russel and Michael B. Jordan round out within their characters to make them sympathetic and thought-out, but DeHann gives his character a terrifying yet spectacular arc in his rise and fall as a teenage super.</div>
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The film, to some extent, reminded me of a <i>French New Wave </i>film as if it was set in the 21st century; it contains a reflective and observant views of teenage characters who encounter surreal situations that will turn them more important than ever. </div>
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<u>End of Watch</u><br />
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I seriously did not know what to expect from this film, but <i>End of Watch</i> raises the bar for all movies revolving around cops. David Ayer's film which is primarily shot on hand held and shot from the perspective of Jake Gyllenhal. He and Michael Pena play typical LA cops doing typical routines ultimately ending up in the most dangerous and extraordinary situations. It delivers on adrenaline and doesn't glorify the tactics of the police force, but rather show that Pena and Gyllenhal are more than just partners. Both actors deliver more excellent chemistry than any other two characters in any movie this year. Ayer's portrayal of cops seems very brutal and realistic, to the point where it is emotionally gripping. <br />
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<u>Holy Motors</u><br />
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OK, you're thinking to yourself "haven't you already gave mixed feelings about the movie?". Well I have on first viewing, but by the time it was out on DVD, I watched it again as it's bizzare and surreal content just grew on me and now I think this is an amazing film and is more likely my runner up for the top film for 2012. With Leo Carax's successfully experimental direction and Denis Levant's seamless embodiment of multiple and different characters, this is probably the best love letter to the art of cinema since <i>Cinema Paradiso</i> which comments and pay tribute towards performance art and the business of it. It also portrays an emotionally gripping about the loss of identity as we become isolated and old to the point where we want closure in our lives.<br />
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<u>Killing Them Softly</u><br />
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<i>Killing Them Softly</i> is what I would like to label a post-gangster film and I have no qualms about it. Andrew Dominik's follow up to <i>The Assassination of Jesse James</i> is as equally slow and minimalist as his previous film but it's a comment on the worst of America especially during the financial crisis of 2008 to which much of the mob is unfortunately affected. It has the attitude of a Martin Scorsese film and the violence of Tarantino, but it contains the political message of a Spike Lee movie. Sure you may think that observation is either whiny, hypocritical or heavy handed, but there's no doubt that the major focus is on a criminal lifestyle that is crippled not just by society, but by themselves.</div>
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<u>Looper</u><br />
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It was very close to being excluded from the list until I decided I had to put eleven films since I'm really generous. I have to watch <i>Looper</i> more than once to know whether or not I enjoyed it. But after watching this two times in two days, this is an enjoyable flick that shows movies can be fun when they are mentally consuming, a la <i>Inception</i>. Rian Johnson's mainstream foray reveals the filmmaker as an up and coming talent that Hollywood should pay attention. It's a blockbuster that is character driven rather than device driven as its subject matter on time travel is out of the focus and is only designed as a way to drive the plot. Speaking on time travel, the people who constantly jump in on possible plot holes about how time travel works in this film, keep in mind that time travel still hasn't been invented yet, so there is no way that we know it could work. Wouldn't you want to enjoy the movie rather than carving out how many flaws you could find?</div>
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<u>Moonrise Kingdom</u><br />
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When I saw this movie the first time, I have to admit I was a bit puzzled by what Wes Anderson was aiming for in his latest film. But after second viewing, <i>Moonrise Kingdom</i> pretty much shows why a lot of people enjoy his work. With his intentionally stilted and staged dialogue to his dry atmosphere and this may be his best work to date (not counting <i>Fantastic Mr Fox </i>in animation). Wes Anderson is a filmmaker whose work I could only admire rather than enjoy, but <i>Moonrise Kingdom</i> shows it can be seen in both ways. It's the most whimsical movie of the year, that comes with an oil painting-esque cinematography and 60s pop-ish soundtrack but it's almost, to be fair, the most emo piece of cinema I think I'll ever see.</div>
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<u>The Perks of Being A Wallflower</u><br />
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I had little expectations going into <i>Perks</i>, but the movie flip those off to deliver the ultimate gem of the high school genre. While some people will complain that not all of the taboo issues have been covered or exaggerate this movie as Rich White Kids with Typical White Problems, I don't care. And to go with the latter is practically missing out the point. I see this as a shy teen who develops a friendships with misfits who later learn to embrace the better things in life rather than the angst they experience.</div>
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The only flaw I could find in this film might be that Stephen Chbosky aiming too far on the melodrama, particularly by the closing minutes of the film. But nonetheless it's one to watch if you want to dive into the high school genre.</div>
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If you haven't read my review, I went into more detail about how much I've enjoyed the film including how it's a realistic and honest portrayal of high school life. Logan Lerman and Emma Watson give solid performances but Ezra Miller is by far the standout here as the free spirited class clown Patrick. <i>Perks </i>is an instant classic for many people my age, but for others that are older, there's a lot that they could identify in this film. </div>
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<u>Seven Psychopaths</u><br />
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Martin McDonough's follow up to <i>In Bruges </i>is as clever and funny as its predecessor. It's a self aware satire of Hollywood screenwriting and exhausted tropes used basically from the film's perspective, screenwriters are either bored or uninspired. But in this case, Colin Farrell plays an indecisive screenwriter whose best friend might be one of the psychopaths (hence the title) written in his script. There are many moments in this film that is absolutely dark and shocking, nonetheless hilarious. But the film shares some that have an emotional feel of <i>In Bruges</i>. Sam Rockwell and Christopher Walken all deliver chaotic performances where their characters still retain their likeability and quirkiness that keeps the film together. Rockwell in particular has more energy delivered here than any other film he has been in.</div>
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<u>Zero Dark Thirty </u></div>
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Most people have never enjoy Kathryn Bigelow's latest film or <i>The Hurt Locker</i>, but I admire her ability to present war as a piece of morality and trauma. Sure it's been told before in previous war movies (and much better) but at least she's willing not to take sides or address a possible agenda. <i>ZD30 </i>is two hours and thirty minutes of the CIA manhunt for Osama Bin Laden. Bigelow knows her limits where she restrains any patriotism for a sense of morality - does it even matter if we can't find the guy? Or does using the only tactics offered help? What's at stake here? Those questions are part of what had been displayed in this film as well as the little yet important roles many figures play here. While the main highlights is Jessica Chastain's gripping performance and Bigelow's bleak observations of the mission, it's the technical precision applied that should be lauded; the sound mixing and cinematography are flawlessly brought. What's worth watching is the very intense finale that wraps as the entire film as a challenging, engaging and gripping procedural about the operations of the CIA during the Bush-Obama era. </div>
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Which leaves me to my cream of the crop. Forget <i>THE AVENGERS, </i>forget <i>THE DARK KNIGHT RISES</i>, leave <i>Life of Pi</i> and <i>Beasts of the Southern Wild </i>out of this. Even <i>Django</i>. The most boldest, grandest achievement of cinema in 2012 that brings the word 'epic' to the largest of artistic value is...<br />
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<span style="font-size: x-large;"> <b><u>Cloud Atlas</u></b></span> </div>
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I find myself lost for words for what I could talk about in this movie, that I'm really embarrassed in speaking about it because it wouldn't be of everyone's taste. More than anything this film represents what I want in a film - it's a reflection on the human spirit, it's extremely conceptual, challenging and yet it all plays out for my entertainment. 2012 was the year where ambition was the biggest thing that could be portrayed throughout the scope of film and with the Wachowski siblings and Tom Tykwer holding the heaviest of responsibility, their effort should be more than admired. The structure in where six storylines are told in between many generations is a large part of why this film is, I rarely say this, beautiful. I've never seen cruelty incorporated against the triumph of truth, abolitionism and connection in this audacious mode of non-linear storytelling ever. </div>
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In a year where superhero movies dominated blockbuster cinema and where high school movies have spoken to young audience, <i>Cloud Atlas</i> is a blockbuster that manages to speak to an audience who know what the filmmakers are going for. The only flaw that the movie might contains is the possible small pickets in its narrative that could have threatened its purpose. As of now, I'm still thinking about this film and figuring out more where the movie sits in terms of history. </div>
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And that's the list folks. Sorry if I haven't done a list of the worst of 2012 simply because I haven't seen all the worst ones and I couldn't afford any time to waste my money on them. But if I have to give you the movies I couldn't stand this year, it's gonna be like this:<br />
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-<i> Beasts of the Southern Wild</i><br />
<i>- The Cabin in the Woods</i><br />
<i>- Cosmopolis</i><br />
<i>- Detention </i><br />
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<b>However recapping back here's the entire list in alphabetical order again with my most favorite highlighted:</b><br />
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<b>- <i>Amour</i></b><br />
<b><i>- Chronicle</i></b><br />
<span style="color: red;"><b><i>- Cloud Atlas</i></b></span><br />
<b><i>- End of Watch</i></b><br />
<b><i>- Holy Motors </i></b><br />
<b><i>- Killing Them Softly </i></b><br />
<b><i>- Looper</i></b><br />
<b><i>- Moonrise Kingdom</i></b><br />
<b><i>- The Perks of Being A Wallflower </i></b><br />
<b>- <i>Seven Psychopaths</i></b><br />
<b><i>- Zero Dark Thirty </i></b>Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-6778562832752377802013-03-02T23:00:00.000+11:002013-03-04T11:24:11.953+11:00Review | Cloud Atlas<i><b>172 minutes of spectacular non-stop and passionate storytelling</b></i><i><b>.</b></i><br />
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<a name='more'></a><i>Cloud Atlas </i>is based off a best-selling novel by David Mitchell which I have not read but many others have said that it was an adaptation that seemed to be very unfilmable due to the six stories that is told throughout many timelines. The label may be perhaps a myth because as I said in my <i>Life of Pi </i>review, anything no matter how perplexing the story came from, can be made into an enjoyable and successful film, with such examples like <i>Lord of the Rings, Watchmen </i>or to a certain extent <i>American Psycho</i> showing how a film may equal to its great reputation as the novel. The Wachowski siblings and Tom Tykwer, famous for directing <i>The Matrix </i>trilogy and <i>Run Lola Run</i>, are very visual directors who couldn't resist the urge for indulgence in their films and regardless of how bad they are, that has always been their benefit. With <i>Cloud Atlas</i>, however, they have brought so much effort without the need to add any excess into adapting the novel, giving us one of the best 2012 has to offer and perhaps one of the most underrated films in recent memory.<br />
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We see Tom Hanks who plays an elderly Zachry telling six stories set in different eras, in which many of the central actors play multiple characters in each of them. The first one is set in 1869 where Adam Ewing (Jim Sturgess) rescues a dark skinned slave who can come aboard as one of the crew of the ship. The second film is set in 1934 where a young composer (Ben Whishaw) lives by his mentor's (Jim Broadbent) as he creates his original composition called the Cloud Atlas sextet while keeping a dark secret. Then in 1973, Luisa Rey (Halle Berry) is a journalist who investigates a conspiracy after being tipped off by a nuclear physicist Sixsmith (James D'Arcy). In the present, Timothy Cavendish (Jim Broadbent, again) is an elderly publisher who gets duped by his brother and has to escape from a retirement building runned by a nurse played by Hugo Weaving in drag. In Neo Seoul set in the future, Somni 451 (Doona Bae) a clone forced to become a waitress by a multi national corporation is rescued by Chang (Jim Sturgess, in yellowface, I'll get to that later.) who seesher as the face of their rebellion and their civil liberties. In the post apocalyptic future, Zachry is haunted by a ghostly Hugo Weaving while he attempts to rescue his tribe from an anarchic tribe with a peacekeeper (Halle Berry).<br />
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It will take a very long time for critics and audiences to accept <i>Cloud Atlas </i>and its metaphysical themes and journeys, but upon the first viewing, it's not the level of patience and attention spent on the film, but whether you could understand the nature of the film and here's how. The first five minutes is perhaps the key in how you would enjoy the
film where the main characters of all of the stories are introduced. It establishes a foreboding lead up to the events of each story
that ultimately becomes their journey to overcome oppression, corruption or forming a new "natural order". These are the central concepts that <i>Cloud Atlas</i> is concentrated upon.<br />
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The connections between characters of different eras can be made simple, easier, although obvious as their motivations rely on a different medium of the past whether it's a journal, a series of letters, or a film. As a result, the message of "whether our choices creates the same mistakes" is successfully delivered because of the situation of cruelty we will imminently face.<br />
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Like <i>Holy Motors, </i>the film has different plotlines containing the same ensemble bringing in different personalities that becomes transparent and common in many genres. The first and second plots resemble a period piece that might have been directed as an "Oscar bait" film, the third a political thriller, fourth a comedic farce and the last two threads a hard sci-fi. The cast featuring Hanks, Weaving, Broadbent and Berry all deliver outstanding performances, but the stand outs are Doona Bae and Jim Sturgess who are the saviours of their times.<br />
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On a technical aspect, it is very perplexing with the makeup to be the most positive and negative highlight of the film. Let me address that but more specifically the makeup for the Neo Seoul thread, which has been getting so much controversy about the white actors playing characters with the most slanted eyes.<br />
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For me, as an Asian, it was not really a problem, though I do understand some people's frustration into why neither the Wachowskis nor Tykwer would cast actual Asians rather than putting Caucasians in extensive prothetics. Like many others of my background, I have a huge problem with films today setting up stereotypes of us not only because it's racist, but because it's tired screenwriting; whether it would be us a master in martial arts, being effeminate with that accent every non-Asian finds funny or becoming really stern with our education (which is probably true for us). When an actor of white skin dresses up as an Asian, this takes it to the extreme, most notably with the slanty eyes due to the fact that it's distinguishable with any other race. This isn't the case with <i>Cloud Atlas</i>, as the main point of the film is for the characters to overcome their discrimination and earn their need for equality in the process, particularly with racism and abolitionism. So accusing the film of being racist is contradictory of that purpose. Nevertheless the makeup does little do they distract from the narrative, particularly with Neo Seoul. Though I will say this; Hugo Weaving in that prosthetic looks almost like a Vulcan rather than an Asian.<br />
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The editing from Alexander Berner should be commended for presenting these multiple stories in one structure. Many scenes are cut back and forth to present situations the characters would face later showing how one thread would affect and become parallel with the other. It's like the structure in <i>Inception </i>but instead it's with different time periods. The production design and the special effects is breathtaking equal to its masterful score from Reinold Heil, Johnny Klimek and Tykwer himself. <br />
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There's a sense of profundity in the film's structure that is actually simple, but wide in its quest for freedom, acceptance and truth that you might call this a film that Amnesty International would certainly want to endorse, but it isn't glorified nor is it in-your-face. I assume that you wouldn't enjoy the film as a whole if you actually preferred which timeline you like best because each thread told has the same level of significance of each character and scenario who play out those themes.<br />
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Let us note that <i>Cloud Atlas</i>, whether you love it or hate it, is a movie filled with such an incredible level of ambition and narrative structure equal with <i>2001: A Space Odyssey</i> and <i>The Tree of Life </i>as well as sharing the deepest insight of the human condition with films like Kryzstof Kieslowski's <i>Three Colors </i>trilogy<i> </i>and Charlie Kaufman's <i>Synecdoche New York </i>while giving us the chance to go with it as an adventure (a la <i>Children of Men</i>). As I mentioned, I have not read the book, but this film stands on its own. <i>Cloud Atlas </i>is in every respect a cinematic equivalent of a symphony, with the Wachowskis and Twyker the conductors of the orchestra and the effort brought together help the plots compliment and support each other. It may be this generation's <i>Brazil </i>or <i>Blade Runner, </i>with the concepts, humor and story wrapped together as an entertaining monolith. <br />
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A second viewing or more might make me grasp what I didn't get in the film, but upon that, it remains as emotionally gripping, strong, feminist and funny as it will ever be.<br />
<br />Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-1771769286570679162013-02-20T17:16:00.001+11:002013-02-20T22:03:18.651+11:00Are bronies the worst people ever?<div class="separator" style="clear: both; text-align: center;">
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<i><b>That can be said to any fanbase.</b></i><br />
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I've already written two posts on bronies, grown male fans who enjoy <i>My Little Pony: Friendship is Magic.</i> One of which was an assessment on the first season, the other was how important the fanbase is. Now I'm writing a post to answer the internet's biggest question: are bronies the worst thing ever? Are men who stare at ponies the tipping point in bringing down society in terms of what we're interested in. And if so, does that makes them the most hated fanbase on the internet?<br />
<a name='more'></a>This comes to mind as I'm about to study at Macquarie University in less than a week. Since I am not a very social person, I decided to look at the student groups to which I could join so I can connect with various people and socialize with them more than I haven't. What I found out is that Macquarie has a group for bronies and it has already more than 75 members which is more than enough to make it an 'official' organisation.<br />
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People groan about the mention of MLP on any website, whether something is "ponified" or whether someone wrote dreadful fan fiction of tit or if they're turned on by ponies or put simply how it's bizzare for someone in their mid 20s to enjoy a show that's mainly aimed at Toddlers in Tiaras. Any reason to discuss the show explodes out of proportion. I can clearly understand that, but does that make it worst than every other hated fanbase or meme like the Bieliebers, Juggalos, YOLO or every advice animal macro? The answer is no. And I'll tell you why.<br />
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As someone who watched the first and second season of the show, it was only out of curiosity and then there are some episodes that had me hooked. Creator Lauren Faust had created Twilight Sparkle, Applejack, Rarity, Fluttershy and Pinkie Pie out of every romantic heroine from classic novels from Jame Austen to Emily Bronte, hence these characters have a distinctive personality of what they do. One good thing I can say about MLP: FiM is that for the most part, they do emphasize on messages about being yourself and that friendship is what develop you as a person, despite having to use the latter as a god-like power over villainous characters in earlier episodes. But the best thing about it is perhaps the reaction towards it and for me at least, the show presents such a content and light-hearted tone that makes you more happier than you ever were.<br />
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The only advantage MLP has over current superior cartoons particularly <i>Adventure Time</i> is how they present conflict. I'm not saying that AT is worst in not doing that, in fact it's very great in showing how problems can be resolved in a shorter and less violent way, but in their case, the conflict presented is primarily based on good vs. evil. We only see Jake and Finn fighting the Ice King simply for the sake of fighting evil when in actuality he's a lonely, misunderstood figure who wants to connect with people, only for the duo to see it as bait for his Schemes. Jake and Finn in every episode never fight with one another which for me is very unusual. Conflict that is outside of one's self is perhaps the one way to make a creative work more interesting because that is the core in storytelling. In terms of realism, the fact that we never see Jake and Finn break off because of something personal is very uncommon with most friendships depicted in TV and movies. Troy and Abed at some points can't stand each other, but that doesn't mean they're out of touch entirely, it even can be said for Fry and Bender, Mordecai and Rigby, Beavis and Butthead, almost everybody in these cartoons has some sense of conflict. With MLP, we seen some tension between Rarity and Fluttershy about their tastes in fashion and Rainbow Dash with Applejack in a running race so they present some difference in interest within their friendship.<br />
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<tr><td class="tr-caption" style="text-align: center;">Don't ask me about who is who. The important thing to remember is that this is interpersonal conflict.</td></tr>
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MLP at its worst cannot present friendship through communication. In one episode, we see Pinkie Pie get crazy about her friends for not attending her party and she sees it as not wanting to be with her where in reality, these ponies are incredibly busy and haven't she already hosted a party before for her pet alligator Gummo? The gap in logic within the show is omnipresent enough to not care for the characters because they don't act the way that normal people do. Another thing that brings the show down is its voice acting. Apart from a great guest role from <i>Star Trek: The Next Generation</i> and Breaking Bad John De Lancie, the casting can be very grating for most people such as the voices for Rarity, Rainbow Dash and Pinkie Pie who are airheaded, self-satisfied characters who pretty much don't know any better. <br />
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But going back to my main point, why bronies are more despised than every fandom and is it actually the worst? Is it because of the show itself or is it the fact that most people that are not the target audience enjoy it? Well for every fanbase, it's normal to receive their fair share of haters, but in the digital age, it's inevitable for something weird or bizarre occurring to become widespread (Gangnam Style and Rebecca Black are examples of that)<br />
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Bronies aren't really the first fanbase to show that someone of another demographic enjoys a piece of pop culture that isn't considered for them. So many kids I know listen to classic rock and jazz instead of Top 40 or indie rock; the <i>Die Hard </i>franchise had a female following and <i>Bridesmaids </i>vice versa.<br />
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Another example is that James Deen, an adult star who has a fanbase of more than 20000 teenage girls which may parallel the brony phenomenon with the unexpected following considering that women are not fond of porn. In both cases, there are fears that the followers will be "degraded into whores and pedophiles upon watching. It threatens our morality and our taste in entertainment". I would call "bullshit" on that statement because what we watch doesn't make us do something that isn't ethical. But it's that we do something unethical to create an exact replica of what we watch. <br />
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<tr><td class="tr-caption" style="text-align: center;">Hey girl. It's important that I put the meat into you</td></tr>
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The problem isn't the bronies themselves, however. The problem is the
place that they're in. They have been incredibly overexposed not just on the interwebs, but in political talk shows, radio stations and podcasts;
it's not the show that's they're shoving, it's themselves and they sometimes reveal very creepy and disturbing traits that the fanbase wouldn't want to be represented and they actually care about what you think unlike every other fan. You can say
the same for every other fanbase who experience the same exposure as
them; they'll have their fair share of haters and they'll state
reasons why they couldn't stand them or the show they enjoy simply because they're unexpectedly everywhere and you wish you would spend a minute without hearing about them. (read: 50 shades of Grey, Twilight). The bronies
have their fancy little conventions and they might be hanging around to the nearby toy store where they sell pony figurines to buy. Why can't they hang out there? (though, a toy store would be too awkward). My statement isn't "please lock yourself in your mom's basement and do your business" but it's that if they are discussing their interest anywhere else beside Twitter or Facebook, then everything is perfectly normal. It's like watching porn (yes, I am going back to the James Deen analogy); It's absolutely unacceptable to watch rough sex anywhere in the public, whether it'd be on the train to work or when you have company at your house. But if you did that by yourself and privately so, nobody complains.<br />
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An argument that I can clearly accept against the bronies is that they can influence the show they have thoroughly enjoyed. Season 2, while having a decent opening two parter, fell apart as they try to attract more bronies by inserting references to films adults remember such as <i>The Big Lebowski</i>, <i>Indiana Jones</i> and at some point <i>Star Trek</i>. Most fanbases have an influence to the creator's work and they can have different outcomes for the non-fan if the demand from them is huge. For most teen pop singers, to maintain your fanbase, you have to please them more than a scale of 11 and they will buy your music. That's why Justin Bieber has to sing about having sex with his female groupie to keep his prominence. With MLP, it's basically putting every allusion to that thing you love growing up but your kids won't know that suffice as doing an impression. If you resort on your fans to do your work, I maintain that you would be better off without them. It wouldn't be why I give up on MLP, but it's reasons why a show actually decline as it grew popular. <br />
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Another aspect of the "worst thing ever" is the impact. With men watching MLP, does this reduce their masculinity? Absolutely not. The same can be said for fans of things that are really cool to hate like Justin Bieber or <i>Twilight</i>. Doug Walker once said that young people grew up on characters that are not of real life and they might look up to them more than their parents, but once they get older they adapt because the reality compared with a show like <i>Save By The Bell</i> is imminent and has more chance experiencing things that are challenging, or stuff that most people will certainly face. They look at real people that are helping them for the best. (Go to six minutes and you'll see his speech)<br />
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Bronies are more likely to move on with their routine of watching the show or save it as their spare time since they have other things to do. People who grew up with cheesy shows will transcend into society and contribute to it greatly by doing their jobs. E.g. - Tammy, who goes for Team Edward, went on to become a respected lawyer. Samantha, who has One Direction posters in her room, is studying to become a climate scientist. And Bob, who watches My Little Pony every week, may become a doctor who might find a cure for cancer. These people will admit what they read, watch or listen to is stupid, but they'll know their lives are important than anything else.<br />
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<tr><td style="text-align: center;"><a href="http://www.wired.com/images_blogs/underwire/2011/06/LukeAllen1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://www.wired.com/images_blogs/underwire/2011/06/LukeAllen1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">And someday he'll tell you how foot-to-mouth actually exists.</td></tr>
</tbody></table>
Maybe the fanbase isn't getting vitriol due to its obsession with ponies, but that they're at the wrong place at the wrong time. I really appreciate that there's a fanbase who could embrace and open up to things that are not only based around age, but by gender as well which, to me, is incredibly brave. However the reasons for its hatred are about the same as every fandom. Sure <i>Twilight</i> spawned famous fan fiction as <i>Fifty Shades of Grey</i>, yet it's not the fault that it exist. They have hardcore defenders? I don't care. They made music videos out of ponies? Same with every anime. Rule 34? I don't want to go there, but you get the point. You can dislike whenever you want, but by the end of the day, it's dumb; it's a guilty pleasure. Maybe the whole phenemenon comes off as a reaction and we're confused about where it came from or why is this happening. Bronies are going to be remembered as those people who watch ponies with their little girls, but the show wouldn't be memorable after five years or so. And with the group at Macquarie... yeah I'm gonna live with it whether I like it or not.<br />
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I'm Adrian Nguyen and I say love and tolerate.Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-22822894592920476752013-02-17T22:43:00.001+11:002013-02-17T22:44:10.517+11:00Reviews of the 83rd Annual Academy Award nominees for Best Picture<i><b>Let's recap what</b></i> <i><b>is considered the "best" according to old white males.</b></i><br />
<br />
As you all know, I have somewhat of a huge disdain for the Academy Awards and the people organizing the ceremony in the most self-congratulatory, dumbfounded, money-puffing, put-it-in-the-last-minute manner possible. But to its credit, at least they're not like the Grammys or the Golden Globes or any award shows because it is when everything's made to be conservative and civil. Also I grew softer on the Oscars because at least it is trying to maintain the ceremony's entertainment with Seth Macfarlane setting to be the host.<br />
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With this year's category, most of the films nominated doesn't ring special. While it contains a variety of films coming from the indie and arthouse pack or produced by Hollywood studios, I'm not surprised that not one genre film such as <i>Skyfall, The Avengers</i> or <i>Looper </i>made it in. The domestic highest grossing film from that category is <i>Lincoln</i> only making more than $150 million at the box office. After <i>The Artist </i>won, I told one of my high school teachers that the category had never mattered and it is pretty useless as a guide to what is actually the best in film of a certain year. I'm currently piecing together a Best of list and only two of the nominees may make it on to it.<br />
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<a name='more'></a><u><b>Amour</b></u><br />
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<b>Personal Thoughts? </b>Let's start off the category with my most preferred nominee. <i>Amour</i> is French for love and here we have an elderly couple providing each other as the wife is preparing for her inevitable death with both her and husband having to provide and endure each other possible. Michael Haneke shows that death is a slow and painful process and they have to embrace or endure what's left for them to do. With the glacial pacing and the fact that the couple never leaves their apartment, it could have been a dull experience, but Haneke shows the level of closure the couple puts in together. It's a grim outlook towards death and the film slowly reveals this universal concept to be the toughest slice of life. Emmanuel Riva (fun fact: she is the oldest nominee to ever been nominated for Best Actress) and Jean-Louis Trintignant gives us performances that is beyond convincing and heartfelt without giving in to sentimentality and leaving us with a raw warning of the finale of living. <br />
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<b>Any chances of winning? </b>I guess a lot of people didn't really expect this film to get nominated as it was the movie that managed to suddenly got in thanks to the Academy's new rule of the 5% vote. For most of us, especially me, we see it as Oscar Bait as this is a movie about old white people for old white people. It is the first foreign film sincce <i>Crouching Tiger, Hidden Dragon </i>to be nominated in the major category. But if anything, this is the nominee I'm happy to root for in any category.<br />
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<u><b>Argo </b></u><br />
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<b>Personal Thoughts?</b> Despite an inevitable backlash, with detractors saying the film is seen in one narrow minded perspective, Hollywood fluff, and is historically inaccurate, I have to say it's in the middle of good and great. The movie becomes more of a caper rather than a biopic or a documentary as it follows the usual heist formula. It does become exhausting by the middle act due to its tight and intense narrative, but it is still enjoyable. And also "Argo fuck yourself" is the most memorable quote in any movie out last year.<br />
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<b><b>Any chances of winning? </b></b>As Ben Affleck is waving on his series of wins at the BAFTAs, Golden
Globes and many guilds, it's no surprise that the Academy had a hard
look upon itself for not nominating him for Best Director. The Academy may do that "sometimes" situation where two films win Best Picture without winning Best Director. But this is when Affleck wasn't nominated so they might have to settle for <i>Lincoln</i>. It might win <b>Best Adapted Screenplay. </b><br />
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<u><b>Beasts of the Southern Wild </b></u><br />
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<b><b>Personal Thoughts? </b></b>This is my least favorite film in the category as it is a total mess of a film. I might cop some flack for this, but this film does not work on every level it's going for. The direction from Benh Zeitlin is muddled with the most shakiest of camerawork as he fails to balance the realism and whimsy the film wishes to deliver. Quevanzelis Wallis (I might spelt her name wrong, but who cares) only serves as giving out lines of wisdom every five minutes as if it was being profound and her dynamic between her and her father make me care less about both. I don't have much desire to revisit this film as it is a passionless, non-existential and bland piece that features a storyline told by Hayao Miyazaki so many times and yet amazingly well told.<u><b> </b></u><br />
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<b><b>Any chances of winning?</b></b> As much as I don't think this film should be nominated in any category at all, some people actually thought it was deserving. If <i>Argo, Lincoln </i>or <i>Silver Linings Playbook </i>was up for a shocker, this will be the ultimate dark horse.<br />
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<u><b>Django Unchained </b></u><br />
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<b><b>Personal Thoughts? </b></b>I may be the only person on this planet who doesn't share the same sentiment of the consensus with how this is an amazing experience at the movies, but I still stand by what I said about <i>Django </i>(<a href="http://anonynoustheatre3000.blogspot.com.au/2013/02/review-django-unchained.html" target="_blank">my review here</a>). This may be Quentin Tarantino's weakest film to date, but then again I wasn't floored over by <i>Inglorious Basterds </i>or anything from him since <i>Pulp Fiction.</i> However there are some great things about this film including the performances from Christoph Waltz and Leonardo Dicaprio and there was one scene that had me cracking. Tarantino still show what gifts he presents on screen including his placing dialogue as important as anything else in his film. He can deliver intense setpieces that those scenes are a masterpiece compared with the film as a whole. <br />
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<b><b>Any chances of winning?</b></b> To begin with, it was only nominated thanks to the Weinstein's on-time awards campaign. But I don't see the point in seeing them win the big prize other than a possible <b>Best Original Screenplay.</b><br />
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<u><b>Les Miserables</b></u><br />
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<b><b>Personal Thoughts? </b></b>As you can see, I wasn't jaw dropped with this adaptation of Victor Hugo's famous novella (<a href="http://anonynoustheatre3000.blogspot.com.au/2012/12/review-les-miserables.html" target="_blank">my review here</a>). While the saving grace of the film is Anne Hathaway's performance and some numbers that are emotionally captivating, it is nonetheless a bore. The more I thought about it, the more it hits me that Tom Hooper's direction here is catastrophic, almost close to turning the film into a disaster. To its credit, he at least slow down by putting the camera on the tripod while the actors sing their heart out, but unfortunately his framing of the film doesn't work. It is a bad idea to have all the actors to sing every note of dialogue as the film never takes a break, and even his handheld camerawork doesn't do the film any justice. <br />
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<b><b>Any chances of winning?</b></b> I don't see any attention given to this film other than the performances which should at least give the gold to Hathaway for <b>Best Supporting Actress</b><br />
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<u><b>Life of Pi</b></u><br />
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<b><b><b> Personal Thoughts? </b></b></b>The film is very engaging in the middle act, but the beginning and finale of it rings false. I would commend much of the effort on the visual side as the CGI tiger felt realistic and the cinematography is gorgeous. Even Suraj Sharma does a terrific job portraying the title character. My biggest problem with this film is the message as it finishes. I don't want to go into any detail of it, but for me it just contradicts everything the film is going for. If you want you can check out my spoiler-rific <a href="http://anonynoustheatre3000.blogspot.com.au/2013/02/review-django-unchained.html" target="_blank">review</a>.<br />
<b><b><b> </b></b></b><u><b> </b></u><br />
<b><b>Any chances of winning?</b></b> There's little attention towards this film, but it might earn some awards in the technical category including Best Special Effects or Art Direction.<br />
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<u><b>Lincoln</b></u><br />
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<b><b><b>Personal Thoughts? </b></b></b>Well this is more of an actor's film than anything else said about the film. Daniel Day Lewis delivers an awe-inspiring and poignant performance bringing the significant essence of his role as America's first Republican President. The supporting cast is also brilliant with Tommy Lee Jones and Sally Field pulling off career-best portrayals of Thaladore Stevens and First Lady Mary Todd Lincoln. It does suffer from staying true to the historical context of the film as you might be lost to what is going on with the plot or what the hell is the 13th Amendment. An uneven pace even brings the film down a notch as it starts glacially slow until it reaches momentum every half hour for only ten minutes. Also a subplot between Lincoln and his son may paint the guy as the most neglectful father ever.<br />
<b><b><b> </b></b></b><u><b> </b></u><br />
<b><b>Any chances of winning? </b></b>It is second behind <i>Argo</i> as the favorite to win Best Picture, but it can at least award Steven Spielberg Best Director and Day Lewis Best Actor without actually winning the major category. If you predict this film dominating the Oscars, you could be right.<br />
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<u><b>Silver Linings Playbook</b></u><br />
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<b><b><b>Personal Thoughts? </b></b></b>David O Russell's adaptation of Michael Quick's novel of the same name works on many levels, but not all of them. The film as a whole does bring a very realistic and honest portrayal of people with a mental illness with them not wanting to be judged unfairly and that the film's goal is always worked on. The ensemble cast including Bradley Cooper, Jennifer Lawrence and Robert De Niro all deliver terrific performances with the latter doing something that is not considered a quick paycheck. However the coda of the film is a let down with the film unfortunately switches into a formula that most Hollywood romcoms tirelessly put in. I might have to watch this film again because as I think about it, it makes more sense with the narrative presented.<br />
<b><b><b> </b></b></b><u><b> </b></u><br />
<b><b>Any chances of winning? </b></b>This is the film the Weinsteins have aggressively campaigned to sweep at every award show and while the wave of <i>Argo</i> may have lessened its chances, it doesn't stop the chance of rewarding Jennifer Lawrence with a <b>Best Actress</b> nod or for <b>Best Adapted Screenplay</b>.<br />
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<u><b>Zero Dark Thirty</b></u><br />
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<b><b><b>Personal Thoughts? </b></b></b>ZD30 is a very hard film to review without addressing any of the possible agenda some people thought are actually delivering. But I still enjoyed it, even though I might give this film too much credit upon watching it. On a technical standpoint, it is grand; the cinematography, sound mixing and editing adds to the film's spectacularly told narrative, provided by Kathryn Bigelow's attention to detail filmmaking often close to being told as a documentary. Jessica Chastain plays a very mysterious CIA agent who serves as the architect into the manhunt for Osama Bin Laden, and she maintains the film's morale to its very core.<br />
<b><b><b> </b></b></b><u><b> </b></u><br />
<b><b>Any chances of winning? </b></b>It sweeped in every critic's association award for Best Picture, Actress and Director, but since it is not nominated for Best Director in here, the attention to the film dominating this season is rapidly declining. So now there's a slim chance it might win. <br />
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And in conclusion, these are my thoughts and theories of all the Best Picture nominees. <i>Argo</i> and <i>Lincoln </i>are head-to-head to win the top category with the former gaining more momentum in winning Best Picture and Director at the Golden Globes, Critics Choice and BAFTAs. But if there was any nominee that I prefer to win, it would have to be <i>Amour </i>and <i>Zero Dark Thirty</i> as they are both fine examples of filmmaking of 2012. <br />
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I might not watch the Oscars as it occurs on the day I start uni, so once I get to watch a repeat of the broadcast at the awards, it will be all done with.Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-13855472233248993232013-02-10T12:05:00.003+11:002013-02-10T12:05:45.973+11:00Review | Girls (Season 1)<a href="http://www.weeatfilms.com/wp-content/uploads/2012/05/Girls-HBO-poster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="http://www.weeatfilms.com/wp-content/uploads/2012/05/Girls-HBO-poster.jpg" width="268" /></a>To: Lena Dunham<br />
CC: 2012, everybody who watches the show <i>Girls</i><br />
SUBJECT: My thoughts on your show<br />
<br />
Dear Lena,<br />
<br />
I wouldn't go as far as addressing you as madam, because apparently it's not the norm anymore to address you as Monsieur or Dame when you write a letter. Also it would be a bad idea if I actually address you as Ms Dunham. Anyway, how are you? I am fine thanks, but let's talk about your show titled <i>Girls</i>.<br />
<br />
<i> </i><br />
With that show, you have already became a household name in a year which everything is more likely to go viral on the web in milliseconds. With the likes of PSY, Rebecca Black or god forbid Lauren Faust, you have become the voice of thousands of <strike>women</strike> girls living in urban sprawls while climbing their way through uni. And I say this as a man who just finished high school, almost missed the cut off of my preferred courses in every university I observed,but ultimately got an alternate pathway through one of them*. Seems to be the worst scenario to establish your post high-school life. <br />
<a name='more'></a> <br />
Well, my point is I had a lot of setbacks, just like your character from <i>Girls</i>, Hannah. Like her, I was under financial and emotional debt except I have been duped from signing a contract at the gym, failed my driving test twice, and have lost the chance to work at the local library. The only thing me and Hannah have in common have to do with getting a job, yet she still fail to live up with her goals. The thing is I would want to relate and identify with these characters, but the biggest roadblock is this is you. And I want to ask... WHY WON'T YOU LET ME LIKE YOU?<br />
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WHY IS IT THAT YOU CREATE A SHOW IN WHERE WE SEE GIRLS LIKE YOU COULD NOT COPE WITH THEIR ENVIRONMENT YET THEY BRING THEIR BAGGAGE TOWARDS OTHER PEOPLE UNLIKE Y... *sighs. Anyway let's dissect your show.<br />
<br />
So <i>Girls </i>is about the experiences of four Manhattan girls in their early to mid 20s and all their discuss are their relationships, their sexualities, goals in life and vaginas.We see your character Hannah at the beginning already facing financial difficulties. Not only has she not paid rent, but her parents cut her off as well as getting fired for her job. Her friend/roommate Marnie (played by Allison Williams) has to deal with her baggage and her friend with benefit Adam is only there as her emotional support and he rarely has his shirt on. Also within the friendship circle is their British bohemian friend Jessa (Jemima Kirke) and her young, insecure yet naive Jewish cousin Shoshanna (Zozia Mamet). Jessa is this fashionista who just got back fom France and is unapologetic about the numerous amounts of partners she had back them, amongst the other countries she visited in.<br />
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<tr><td class="tr-caption" style="text-align: center;">Apparently this club has less lighting</td></tr>
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I'm pretty sure that your experiences in Manhattan might have anyone INCLUDING those other than white. Well OK, I am getting too ahead of myself in condemning this show because it doesn't have Indians, Arabs, African-Americans or Asians and thus I might be jumping the bandwagon. BUT I do understand why there's is a problem when a HBO show like <i>Girls</i> is not culturally diverse. Sure there is a gay character (counted) and two of the main characters are Jewish, but if you're trying to make a show about yourself living in New York where it's not possible not to encounter anyone that is of different color, then that will be a huge setback. I know it wouldn't be true, but that will at least improve your way in being the "voice of a generation".<br />
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Since <i>Girls </i>had its premiere people had dismissed this show as a <i>Sex and a City </i>wannabe. But from the first episode, it shows that it isn't even giving us a self-referential mention of the show. I can tell you from the bat that I would feel sorry for your character/alter ego Hannah if you wern't completely worthless and that the whole aesthetic of the half hour had been boring. Then again, most pilots are always the starting point of TV shows and would then improve.<br />
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But with Hannah, each episode has to revolve around making mistakes... without realizing that you fucked up every opportunity. And I could identify with that like I said if you're realizing that most of your situations contain risk. Even becoming a writer require a huge risk. Are you telling me that Hannah does these things without realising that they exist for a reason. Here's a list of the following major mistakes your character makes:<br />
<ol>
<li>Getting fired until realising you're getting a promotion </li>
<li>Making a rape joke in a job interview</li>
<li>Trying to seduce your boss because he's very open and touchy</li>
<li>Firing back and forth against Adam but not realising he has feelings for you </li>
<li>Reading your notes in front of ten academics that is dull because your boss tells you to don't write something fairly trivial. Seriously that guy is an asshole from the planet of Assholia </li>
<li>At the season finale, you backed away from Adam by having your gay friend move over until he tells you 'I love you'</li>
</ol>
That's all I could list, except for some or more and what that shows is that either you or your character is the most indecisive, male depending and whiny woman ever to be depicted in any pop culture medium since Bella Swan... or maybe Juno from <i>Juno</i>. But still, every time you fuck up, you always have an excuse for it. I really hope your hamburger phone is connected.<br />
<br />
To sum it all up, Hannah cannot bring herself to confront her problems or achieve her goals. Maybe she has some short-term memory loss or have completely forgotten what's surrounding her and what's need to be done, but regardless of the situation that shouldn't or should get to her, it's her that always causes the mess. Lena, the framing of yourself as a character is almost poor when you do nothing about those problems or trying to reach certain goals and it is made worst when you proclaim yourself once as becoming the voice of a generation. Whether or not it's supposed to be taken seriously, you probably went ahead of yourself there.<br />
<br />
Though I can't keep on whining on about the show.... without actually talking about the other characters. Let's talk about your best friend... I mean your character's best friend Marnie. I wouldn't say she's unlikeable as Hannah was. But even with all of the problems that may be relatable, she's boring. She believes that she handles her relationship with nice guy Charlie so well, but couldn't simply because he's too nice. Even though she is perhaps the more accomplished person of the group, with a real job working at a New York art gallery and a real boyfriend, the kind of person Hannah wanted to be felt that within Marnies's thread, she doesn't really have any balls to lift spirits the relationship because his boyfriend is characterized as a man who treats her like her mother has a terminal illness. We see in a flashback in 2007 during their years in college we see Charlie and Marnie first lay eyes on each other which is one of the sweeter moments presented in the series so far. It's her who has to hold Hannah's huge baggage while trying to bring herself to bring into more goals such as more progression with Charlie. These include trying to conceive when she's with him and when he's not around, she tries to move on without any interference from him. There are moments in which we should feel for the character such as Hannah accidentally getting into their relationship like a wrecking ball slamming into your house. But then it's ultimately turned unsubtle as they have uncomfortable sex.<br />
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Adam is Hannah's fuck buddy and he has at least some moments of sympathy like forcing her to look at how he masturbates or how he pees on her in the shower... OK, they may be shallow, but here's one thing <i>Girls </i>really succeed - making a man more likeable than the female characters. The way Hannah's romantic processes work is how Bella Swan's love triangle between Edward and Jacob turn out in the final <i>Twilight </i>novel. While Hannah is the Bella of the relationship, Adam is a mixture of the two male characters sharing Edward's psychotic mind while bringing Jacob's protective care to the girl he really likes. Don't worry, you and Adam Driver shares some great moments of chemistry, but it's how Hannah doesn't realize his feelings and yet wander aimlessly around Brooklyn to see what will happen to the job market or the male market and how she would butt in without knowing anything about it and what to do. <br />
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Jessa on the other hand is the show's British fashionista and is perhaps another character who is unclear of her goals and motivations due to the numerous men she had encountered with and whether or not she has HPV, she will still be doing it. Well if I have to had any defence of the show, it's this - Jessa is the female Barney Stinson; she's unapolegetic about her sex life but someday she'll have an epiphany giving herself the chance to shape her new life. Like... babysitting for a wealthy couple while flirting with the struggling father. Well, Lena; I should be very thankful that your friend Jemima Kirke actually does a good job playing the sleep-around bitch without a single ounce of slut shaming on her character. Her character doesn't go to great lengths to become intimate with the dad and it gets emotional once we see the end of their relationship. So the moral of the story is - never get emotionally involved with your employer.<br />
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But that stops probably the worst of your show's first season. Shoshanna is a character whose role is to be the silver lining of the show despite being Jessa's cousin and has the least presence than everyone else. She perhaps brings much joy for me since she is the comic relief that tends to lighten the tone of the film. The first time we're introduced to Shoshanna, she is seen with having less problems than the four women had experienced. She's currently at NYU, has a very precious room which comes with a Sex and the City movie poster (as I mentioned before, the show's self-awareness reflex). Her baggage seems rather irrevelent to the rest of the group as she is a virgin... at 22 and she brags about it a lot. Shoshanna might be a Frankenstein of the ditzy, genki Jewish Princess of the entire show and it may be that she is a cartoon of herself. But there are many moments where the character avoids this. Like one time, when the girls are at this warehouse rave party, she mistakenly took crack instead of weed and it brings a new frame in her character as she develops a relationship to Ray, Charlie's band mate and her "spirit guide". By the final episode, Shoshanna is perhaps the only person who accomplished anything (i.e. losing her virginity to Ray after getting jealous at a party. Also she pretty much sums up everyone on the show.)<br />
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Maybe my biggest problem with you Lena is that you have little self-respect. You got all these opportunities in life such as a possible career, a prospering relationship or finding a way to pay back debt and just teeters out for the sake of showing these people are flawed. Most of your audience, young women in their 20s or below, wouldn't identify with these characters. It's not the matter of presenting "this is what you see in us and you should be sympathetic" but more in "you see us now. What are you going to do about it?". The show<i> </i>shouldn't be called <i>Girls</i>, but instead the <i>Lena Dunham Variety Half Hour</i> because your character has more screen time than anyone here.<br />
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I at least stated good things about <i>Girls</i>. Like Shoshanna being the typical breakout character lifting much of the show's spirits or Jessa being the most realistic portrayal of white people, even Adam being the most likeable character and the performances from Zosia Mamet, Jemima Kirke and Adam Driver are great here. There's also a great moment about getting a HPV which is perhaps the most subtle moment of the show, although it was almost derailed by your character's attempt in black comedy.<br />
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I'm trying hard to stay out of the cynicism circle and instead become an optimist cos I am going to give the show a second chance by watching Season 2. If the show improves, then I'll watch Season 3, but if the show fails, then that's all I'm gonna take with it. This season seems to look promising from the final episode and it promises change with each character.<br />
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So Lena, I hope your show will NOT going to fail and I hope you would feel good about being... well, yourself. And move towards the American Dream, goddamnit!<br />
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Your sincerely,<br />
<br />
Adrian Nguyen<br />
The Professional Snob<br />
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*PS: I got into my most preferred university so I'm pretty happy.<br />
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Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-24144483855205601382013-02-05T20:18:00.000+11:002013-03-03T09:17:58.695+11:00Review | Django Unchained<i><b>Can slavery ever be a fantasy?</b></i><br />
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<a name='more'></a>The name Quentin Tarantino<i><b> </b></i>makes me anxious. His films has always struck a chord with mass audiences and not just hardcore cinephiles and critics from his violent aesthetic to his passion of film integrated on the screen, making him one of the greatest directors of his generation. Watching <i>Django Unchained</i>, I have at least some anticipation coming into this movie while I had some skepticism.<br />
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Tarantino for a while had reached a peak in his career after he made his first two films (i.e. <i>Reservoir Dogs</i> and <i>Pulp Fiction</i>) or maybe when he made <i>Jackie Brown</i>. Now he makes movies that are about revenge based on Asian action cinema, spaghetti western and B-movies, especially blaxploitation. I have a problem with his last films <i>Kill Bill: Parts I and II </i>and<i> Inglorious Basterds</i>. Don't get me wrong, I still liked those movies particularly with the former. My beef happens to be that he's a pure example of style over substance followed by his abidance with his storylines becoming so simplistic, reaching from beginning to the end. His passion for film becomes overbearing and derivative as it's only there to say that he knows how much of an impact it had on the scope of cinema. <i>Kill Bill </i>was fun at best, but with the two parts, the whole movie is very uneven, it's no doubt why there's not a heap of love for his film. <i>Inglorious Basterds</i> uses the same plot device, but it's overwhelmed by scenes featuring subtitles that are just downright boring and overacted. But both films had a lot of merit and this is supposed to have at least some aspects I liked.<br />
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<i>Django Unchained </i>however is Tarantino's attempt to be realistic and honest; in many interviews he had stated that he had always wanted to make a statement on slavery particularly in the Civil War era until Abraham Lincoln abolished it completely. But his take is going to be executed as a genre film. Like <i>Inglorious Basterds</i>, this is more of a fantasy rather than a history lesson under the style of the filmmaker we have already known for. But in the case of <i>Django Unchained, </i>it<i> </i>may be perhaps his weakest film to date<i>.</i> <br />
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Dr King Schultz (Christoph Waltz) is a retired German dentist turned bounty hunter offering to free one slave that is Django (Jamie Foxx). Under his wing, Django learns to become a savior of all slaves by killing the most wanted criminals and many other slave owners as he takes on revenge on the men who abducted his wife Broomhilda (Kerry Washington). She's being held by plantation owner Calvin Candie (Leonardo Dicaprio), who is soft spoken, charming yet psychotic. As they enter his world, his dangerous capabilities take over as his caretaker (Samuel L Jackson) takes a suspicion on them.<br />
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The main part of my disappointment with this film is exactly the same problem I had with <i>Inglorious Basterds </i>and <i>Kill Bill </i>- it is spectacularly mediocre. But before I get into that, I'll just say some good things about the film.<br />
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In all of his catalog, Tarantino has a knack for stylistic dialogue that often clicks with you once you finish watching and here, this is very transparent with a very high amount of slick confidence as spoken by many of its characters, despite the gratituous use of the n word. Thanks to that, much of the performances particularly with Christoph Waltz and Leonardo Dicaprio are well convicted. Waltz, employing the charming, yet dangerous schtick he once brought as Hans Landa, is exceptional here, but Dicaprio is a scene-stealer embodying his villainous role with a great amount of charisma. The story is very even sticking with its motivation to bring Django's wife to justice; There is also one humorous scene featuring all the KKKs featuring not one, but two blink-and-you'll-miss cameos. Tarantino integrates many homages to spaghetti westerns and B movies particularly the movie <i>Django</i>. Not to mention that he can pull off intense, bloody setpieces that would have you on the edge of your seat.<br />
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Which leads to the biggest fault of the film - it's unrestrained. There's a limit for self-indulgence taken by filmmakers, but Tarantino crossed this film so many times before and this is one of them. Firstly, the integration of genres felt derivative and transform as an imitation of it instead of a tribute. While his passion for cinema is there, it feels really unoriginal and uninspired for a modern audience. The story felt more fanatical than realistic, but maybe it's the ambition Tarantino had going. He had shown the ugliness of slavery, but to a point where it comes out of nowhere. From a standpoint in editing, the portrayal felt clumsy and emotionally forced. E.g. - we see a scene of Christoph Waltz then we cut into a guy being pulled by vicious dogs for two seconds, afterwards cutting back to him. It also shows his inability to bring an agenda which to say there is one means that you're giving a film a disservice. The n word may seem harmful against African Americans but at the end of the day it's very fragile and it can only happens to individuals which often occur in <i>Django Unchained</i>. <br />
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The soundtrack is surprisingly poorly placed and does not fit into the movie at all given that Tarantino does place so much music with such coolness. There's a mashup of James Brown and Tupac that comes out of <b>SPOILER: </b><span style="background-color: white;"><span style="color: white;">a shootout in which Jamie Foxx shoots a lot of white people after Waltz, Dicaprio and many of his companions are shot dead</span>.</span> I'll admit while that intergration of music is badass and cool, it feels lazy. If you're one of the few people who edits videos at an amateur best, you can do that with every action scene. E.g. - the shootout in <i>The Matrix</i> played out along with the music of Knife Party. A track from Rick Ross is also apparent and it turns the movie into its own head.<br />
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Unfortunately, the worst part is that <i>Django Unchained</i> have neglected its African American characters so it comes off as irony from many perspectives. 1) When the movie attempts to address a political issue that had oppressed a race for many generations and the outcome is the characters not having to be fleshed out and 2) when the white characters are more interesting than the blacks. Jamie Foxx plays the title character who has little to do, despite having some motivation to save his captured wife. He lacks the chemistry with Waltz's character, then again it's because he has to be trained as a bounty hunter. Django has a mere ten lines of dialogue and his character is only fully framed by the beginning of the last act. Kerry Washington's role is to be the damsel in distress and also have been offered nothing other than screaming. She is basically a macguffin to remind us that this is how Django's motivation is set out. But even worst, Samuel L Jackson seems to overact as Steven, Candie's mentor whose established as a boorish, one-dimensional cartoon but then grow as the next villain of the film. Also Tarantino is on-screen doing an Australian accent making much of his style more crazy than first thought<br />
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Overall, <i>Django Unchained </i>is a disappointment<i>.</i> While the pacing is even, the performances from Dicaprio and Waltz are great, I feel like it fails to live up to the goals Tarantino had put in. The more I think about <i>Django</i>, the more I thought his imitators such as Oliver Stone and Martin McDonough had put much control on their work. I do see I'm in the minority when it comes to this film, as everybody believes it to be one of his best work.<br />
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But coming back to the question, can slavery ever be a fantasy? Hmm.... not quite.Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-15382851340913500162013-02-02T21:40:00.001+11:002013-02-03T09:59:40.742+11:003 companion pieces with Zero Dark Thirty<div class="separator" style="clear: both; text-align: center;">
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I've haven't been doing a lot of reviews since I graduated from high school and so far I have written two reviews for two movies. So with this in mind, let's talk about Kathryn Bigelow's anticipated awards contender <i>Zero Dark Thirty</i> depicting the CIA's decade long manhunt for Osama Bin Laden. So here are my quick thoughts:<br />
<a name='more'></a>This is an extraordinary piece of film making by condensing ten years of information finding the most wanted terrorist responsible for the US occupying parts of the Middle East and the September 11 attacks into 157 spectacular minutes of entertainment. While some people may have many problems of the characterization of each character in that film, particularly Jessica Chastain's Maya, the architect behind the manhunt, I thought all of them (whether it'd be Jason Clarke, Chris Pratt, Kyle Chandler, etc.) have served their purpose very well. Unsuprisingly Chastain's performance is brilliantly played out in which is an obsessive, mind-focused and alienated agent working out several measures to capture Osama Bin Laden. The film goes into three different acts - FIRST: Torture/interrogation; SECOND: Bureaucracy and THIRD: The (spoiler) death of Osama himself. Bigelow lays a high amount of moral ambiguity and a immense attention to detail on how the CIA operates alongside Mark Boal's screenplay, both of which is framed properly without being political or patriotic. On a technical side, it is grand. The cinematography is incredibly gorgeous and the sound mixing is excellent. And the final act is incredibly gripping with the final shot of Jessica Chastain maintaining the moral implications of capturing the guy. <br />
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Overall... excellent movie.<br />
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But in here, let's talk double features. I always imagine what would happen if you make one movie go head with head or head to head in the same movie theatre and if I managed or owned one, I would wnat to do that. In this feature, I look at three possible movies with a range of similarities with ZD30 and how they could become its double feature.<br />
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<span style="font-size: large;"><b>Argo</b></span><br />
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Before ZD30 was out and got the critical attention from everyone of each corner of the film community, <i>Argo</i> came out in September with a similar reception, proving that Ben Affleck still has a spot in Hollywood as one of the most prolific filmmakers working in Hollywood after his big break with <i>Gone Baby Gone </i>and <i>The Town</i>. Affleck presents in the film the Canadian Caper, a rescue of six Canadian diplomats during the Iranian Hostage Crisis from 1979 to 1981 in which he stars as Tony Mendez, a CIA agent willing to save them through two Hollywood producers by developing a fake film in which the hostages are meant to be involved.<br />
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I think a lot of people will prefer this over ZD30 for many reasons and I can understand that. One is that while ZD30 still play for thrills, <i>Argo </i>sticks with it 100% of the time. Given that it's studio produced, it is set up as your normal popcorn flick which tells history solely for the sake of entertainment. It didn't really threatened the realism Affleck aimed for, but it might have affected the pacing of what is overall a heist flick.<br />
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Obviously ZD30 and <i>Argo</i> both follow the operations of the CIA that is solely lead by an underdog agent, both of which became successful. While Tony Mendez is characterised as a man who wants to spend time with his son after the mission, Maya meanwhile serves her functions as an obsessive, hands-off, i'm-getting-to-the-bottom-of-this person that Chastain wonderfully portrays. If <i>ZD30</i> was about CIA operatives in theory, then <i>Argo </i>would primarily be the CIA operatives in practice.<br />
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<span style="font-size: large;"><b>Zodiac</b></span><br />
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ZD30 and Zodiac shares similar motivations of the protagonist and similarities in story. IN the latter, Jake Gyllenhal plays a political cartoonist Robert Graysmith who was searching for the notorious Zodiac killer who had spent almost three decades killing innocent people while scaring and playing tricks on the LAPD, and the main media outlets including the <i>San Fransisco Chronicle </i>to which Graysmith and Paul Avery (Robert Downey Jr, bringing an understated performance here). Graysmith becomes involved with the mystery neglecting much of his family and spending more than five years to find the truth about the Zodiac and the letters he left around.<br />
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It's the same with Maya except there's no background behind her other than a slim take on her social life in which her only friend was a female CIA agent. While in <i>Zodiac</i>, part of Graysmith's character arc is around his family including his marriage with Chloe Sevingny. While we see the terrorists shooting and going into suicide missions, the Zodiac does his thing by chillingly killing his victims.<br />
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Both movies extend their storytelling within a procedural with their visual eye; directors Kathryn Bigelow and David Fincher put into further detail on the investigation without going to any agenda despite leaving much moral ambiguity within. Did I mention that both movies have beautiful choice of cinematography. <br />
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<b><span style="font-size: large;">The Silence of the Lambs </span></b><br />
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This is an appropriate companion film with <i>ZD30 </i>because Maya shares many traits with Jodie Foster's character Clarice as a person of interrogation. But Clarice contains more patience regardless of how scary the person she talks to, in this case Hannibal Lector. Maya is dominant to the people she's talking to, whether it's a CIA agent or a tortured person. In both cases, the two women interrogates with potential suspects who may be lead-ins to the manhunts of the most atrocious criminals; Buffalo Bill and Osama Bin Laden.<br />
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The point is that both movies have strong female characters, in which most films produced by studios rarely present onscreen. Maya and Clarice's only function is to do their job within the CIA or the FBI. While the latter may have some depth, there is a lot of ambivalence within their character arc that is fully fleshed. But what they do is become a leader in a command that has been run by men. It may not be interesting for most female audiences and it might have not achieved full empowerment for both women, but in an era where we currently have fewer than ten world leaders of the opposite gender and the only significance of their power is that while not taking any action for their country, not to mention the inequality of females in the workforce, blah blah blah, feminism..., Maya and Clarice acts as a role model for all women. And this is where <i>ZD30 </i>and <i>Silence of the Lambs</i> are both appropriate watching back to back.Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-48197181873450326872013-01-26T21:31:00.001+11:002013-01-26T21:31:27.151+11:00The 20 Best Movies I Haven't Seen in 2012While every cinephile<b><i> </i></b>and moviegoer are busy having to spend money on all the films they watched in theatres last year, I was very busy. It was my final year in high school and while everybody regarded it as the most important year of your life, I might agree. Psychologically, it was devastating for me and the rest of the year to leave out everything and study for your final exams in which we call the HSC. Then it was calculated into a huge anomaly called an ATAR (the Australian Tertiary Admission rank) to which I will never understand how it would calculated and despite that, I still got into a university and the preferred course I wanted to do (suck on that!). Though what I'm against is the amount of ecstasy coming off from finishing your formal education is the amount of freedom which turns out pretty empty when you're trying to plan for the future.<br />
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That is why I didn't get a lot of time to see the movies I wanted to see and those films are based on a little thing called word of mouth. <br />
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So here are my list of the best movies in alphabetical order I haven't got around watching but will try and catch up. I haven't included <i>Django Unchained</i> and <i>Silver Linings Playbook</i> because they will be out by the end of the month.<b><i> </i></b>Some of these movies may make it into my "Best of" list which you may not see until midway through the year.<br />
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<a name='more'></a><b><i>Arbitrage</i></b><br />
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I was pretty unfamilar with this film until I heard it made it into some critic's list of the best films of the year including Roger Ebert. I don't know if I actually like Richard Gere, but hearing that this film delivered the best performance in years playing a corporate owner down on his luck really interest me. Plus the parallels between this and another notable movie about stock trading <i>Wall Street</i> made me curious to see this.<br />
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<b><i>Bernie </i></b><br />
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I haven't got around to watch most of Richard Linklater's filmmography (never seen <i>Dazed and Confused </i>or the <i>Before Sunset </i>and <i>Sunrise</i> series, though I try to) but at least I've seen <i>School of Rock</i> and <i>A Scanner Darkly</i>. Speaking of <i>School of Rock</i>, Jack Black is in <i>Bernie </i>and from what I heard that this is his best performance of his entire career playing a small town's most likeable funeral director. And it's not the only big highlight I heard from, but perhaps the production of the film that plays out like a documentary. Might want to check this one out.<br />
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<b><i>Chronicle</i></b><br />
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Maybe the reason why I didn't went and watch <i>Chronicle</i> is because I have never been a fan of found footage. Not because I have anything against it... yet, but because I haven't watch so many of the genre. The only experience was for <i>Project X </i>and <i>Cloverfield</i>, in which the latter is actually a good movie. But given the huge word of mouth about this film mixing found footage with the superhero genre had grabbed my interest. Though to its discredit, the fact that it's responsible for reviving the genre means we're gonna have more cheaply produced films under the same name.<br />
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<b><i>Cloud Atlas </i></b><br />
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Possibly my most anticipated film on the list since it's not out yet here. But it's only due to the divisive and complex nature it had on critics and audiences alike. I heard overwhelmingly positive word of mouth from festivals including at TIFF and Fantastic Fest saying it's one of the most powerful and ballsy movies of the century, while I heard negative stuff coming from the fact that it is confusing, the makeup on the wholly white cast playing Koreans are offensive and that the only people who'll enjoy this will be stoners. The latter being just distasteful.<br />
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<b><i>Compliance</i></b><br />
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Hearing about the very controversial and hard-to-watch nature of this Sundance hit actually had me interested. I really like movies with such high moral complexity without having to evolve into ambiguity while putting the audience in intense situations with certain characters and scenarios. The premise of a fast food chain whose staff goes into a moral downward spiral from a prank caller seems incredibly intense so I might give this a try.<br />
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<b><i>Cosmopolis</i></b><br />
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I've only heard mixed buzz about the film. From when the time it was released at Cannes to when the movie was out in theatres. But that doesn't stop me from retaining my interest in the film simply because it's David Cronenberg and as much as I don't get enthused from trailers, the trailer really got me interested to watch. This might be Robert Pattinson's big turn in his career although I've heard that he played the same character here as Edward Cullen from <i>Twilight</i>. Let's hope this thriller is null of thrills and I hope most of all that this movie does not suck.<br />
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<b><i>Detention</i><br />
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Upon making this list, I absolutely know nothing about this film until the name "Edgar Wright" shows up. I've always been a massive fan for Wright's ability to combine certain genres and reincorporate them into a crazy yet entertaining story. The film which is about a serial killer targeting a high school, seems like an average high school horror flick does seem to bring my interest only a bit and I think I've heard of the director Joseph Kahn who has made many music videos for Mariah Carey, Chris Brown and many other pop singers in my head.<br />
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<b><i>Dredd </i></b><br />
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I have to admit that the one thing that deterred me from the film is the trailer Lionsgate had delivered given how it mirrors <i>The Raid</i> action sequences and that movie occurred way before this movie was out. The studio has a long history of terrible marketing in their films unless it's <i>The Hunger Games</i> or <i>The Expendables </i>only because they're franchises. But the reception for this film is surprisingly overwhelming in the fact that it's entertaining<i> </i>though it's pretty gory. I haven't got around watching the original <i>Judge Dredd </i>film with Sylvester Stallone, but this may be a rare occassion in which I watch the remake before the original. <br />
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<b><i>End Of Watch</i></b><br />
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This was out a week before I actually finished my "final" final exam, and so far it has a very tealented cast consisting the likes of Jake Gyllenhall, Michael Pena and Anna Kendrick. It's called the best cop movie in years by Roger Ebert, which he put on the list of the best films of 2012 and so did Brad Brevet of Ropeofsilicon.com, who I really trust in knowing what movies to watch. I haven't heard anything about this film yet, even though some of my friends saw it the other day and thought it was refreshing to watch. I'll give this a shot.<br />
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<i><b>Haywire</b></i><br />
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When mainstream audiences hear the words "Steven Soderbergh" without any warning of what's his next film will shake up to be, I don't really blame them. Like with Linklater, Soderbergh was a filmmaker that I didn't went around watching his catalog though I did watched the Oceans Series. The guy knows how to direct actors with limited range whether it'd be A-list or B-list or even no experience in acting prior. Hearing the buzz about Gina Caruno's performance is one factor but so is a cast of Antonio Banderas, Ewan McGregor, Michael Fassbender and Channing Tatum. I was thinking about putting this or Soderbergh's other film <i>Magic Mike</i> on the list, but since the latter's premise didn't really interest me in the slightest, I might give <i>Haywire</i> a try.<br />
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<b><i>It's Such a Beautiful Day</i></b><br />
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This is certainly the most obscure film on the list since I know nothing about this film, but I've heard absolutely positive things about this little flick coming from Tom Clift, an Australian movie reviewer that I look into in terms of writing film reviews. Clift placed this film as his best film of 2012 beating the likes of <i>Looper, Cabin in the Woods, The Avengers </i>and <i>Cloud Atlas</i> stating of the brilliance in depicting an animated stick figure who wonders around the human condition. I may want to check this out.<br />
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<b><i>Killer Joe</i></b><br />
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Haven't heard much of but a lot of people had me with "never going to hear 'chicken-lickin' the same way again" upon watching this film. Also it's nice to hear that this cemented Matthew McConoghey's credibility as an actor playing the crazy titular character.<br />
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<b><i>Killing Them Softly </i></b><br />
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The fact that poor word-of-mouth coming from the dreaded F Cinemascore (seriously, who takes that for granted) doesn't deter my anticipation of <i>Killing Them Softly</i>. I was very impressed with Andrew Dominik's film <i>The Assassination of Jesse James By the Coward Robert Ford</i> and while I haven't seen <i>Chopper</i> considered an Australian masterpiece, I'm still looking forward into watching this. I've didn't watched this film because it was in the middle of my preparation for the HSC.<br />
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<b><i>Liberal Arts</i></b><br />
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It was in my local theatre for one week only and yet I only heard good to great things about this indie flick directed by Josh Radnor, the lead man in <i>How I Met Your Mother</i>. For a film that's about a man who's in his mid 30s, down on his luck going back to his alma mater, developing feelings for a younger student the same intellect as him, played by Elizabeth Olsen, this will either be a good movie or a typical indie flick starring that unbearable Manic Pixie Dream Girl. <br />
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<b><i>Pitch Perfect</i></b><br />
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OK. This is my least anticipated film of the year, but it doesn't mean I'm not at all interested in watching it. I heard some good things about Rebel Wilson's comedic performance and Anna Kendrick's singing. It is described as <i>Bring it On </i>meets <i>Glee</i>. I'm not a fan of <i>Glee</i>, but I used to watch <i>Bring it On </i>many times as a kid. So hopefully it should actually be a good movie.<br />
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<b><i>Rust and Bone</i></b><br />
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I am looking forward to this film because of many factors. One was that it was directed by Jacque Auidiard who last film <i>A Prophet</i> was one of the best films of 2009, two: he performances from Marion Cotillard and Mathia Schoenoerts have been hugely buzzed. And three: the story in which a handicapped whale trainer and an unemployed father falls in love together is incredibly cathartic to me. <br />
<br /><b><i>Safety Not Guaranteed</i></b><br />
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Again, it's one of the biggest hits at Sundance last year; given how it's based on a meme, this hooked my interest into an indie film about time travel. What's next? Bad Luck Brian: The Film?<br />
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<b><i>Sinister</i></b><br />
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I actually want to watch this film purely due to the fact that the film is written by C. Robert Cargill who is well known as Carlyle, one of the former main reviewers of Spill.com, whose reviews of films are informative, down to eartth and most importantly entertaining. Sinister is considered the one only refreshing horror film produced by a studio and had got pretty much good word to mouth.<br />
<b><br /><i></i></b><b><i>The Grey</i></b><br />
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I'm ashamed that I didn't see this film and I heard a variety of things about this film which happens to be about Liam Neeson and wolves. Some thought it was a poetic masterpiece, others thought it was it was a waste of time because of the ending. <br />
<br /><b><i>The Master</i></b><br />
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Finally and not least the movie that had been placed in several end-of-year lists is Paul Thomas Anderson's latest film <i>The Master</i>. Coming from the fact that Joaquin Phoenix, Phillip Seymour Hoffman and Amy Adams deliver electric performances that earned several accolades seems legit. 70mm or not, I will check this one out as soon as I can. </div>
Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-62468616156094097212013-01-12T13:26:00.000+11:002013-01-12T13:26:22.202+11:00Review | Life of Pi (2012)<i><b>A feel good story with a meandering first and final act</b></i><br />
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I don't really know how a film like <i>Life of Pi</i>
can be considered "unfilmable". Is it because the source material
contains content that most filmmakers would be too afraid to tackle or
is tthat they don't think it's possible to frame the film properly?
Since having seen <i>Life of Pi</i>, I think any book or material from
any other medium can be filmed, but it must have the right director, the
right actor and the right crew who should carry the film and bring the appeal of the book it's based on to a certain audience. Best case scenario would be <i>The Lord of the Rings</i>. Directed by Peter Jackson, who at the time had directed some B movie schlock had directed such an incredibly big and dense story of all three books under a large budget and all he did was to frame everything grand making audiences feel like they're in the <i>LOTR </i>atmosphere.<br />
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<i>Life of Pi </i>has the right director from Ang Lee who directed films such as <i>Brokeback Mountain</i>, <i>Lust Caution </i>and <i>Crouching Tiger Hidden Dragon</i>, the right actor and the right team in special effects to actually deliver a story based on Yann martel's best selling adaptation that is emotionally contained as it establishes itself as a heavy handed, then becomes so visually engaging that it goes off the rails with a contradictory and saggy ending.<br />
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Pi Patel (Irrfan Khan plays the older self) explains his miracle story to a man who is inspired to write about it. lives with his family who owns a zoo near Pondicherry in India. The younger Pi (Suraj Sharma) often ponder about the true meaning of life and follows closely to not just Hinduism, but Christianity, Islam and Judaism much against his father's wishes. He and his family are forced to move the zoo to Canada as they face financial difficulties. The ship carrying the animals and the family suddenly enters a storm where it then sank. It seems that Pi was the only person on the lifeboat until a tiger named Richard Parker comes into his company. As the boy and his tiger try to survive while sharing the same lifeboat, they embrace each other and provide for their struggle.<br />
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You got to hand it to Ang Lee who has the guts to handle a story who can bring Pi's survival and a friendship with an almost CGI looking tiger to a poignant peak as well as bringing out many eye popping moments that you can instantly feel so emotionally attached and buy into their relationship. Richard Parker and Pi together helps him cope with surviving. The tiger designed is incredibly realistic that you're more likely to be jump scared making it easier to actually immerse.<br />
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There are also some intense scenes of the two confronting the wrath of mother nature. It's perhaps the biggest scenes Lee has ever done in his career not only because of those events, but because it allows him to frame certain scenes in interesting aerial and long shots. The middle act is visually pleasant than any other film in 2012 with the cinematography from Claudio Miranda the other highlight of the film.Even the 3D does boost the film's energy.<br />
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The performance from Suraj Sharma who plays the young Pi is really impressive considering that he would go into his spiritual journey. <br />
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<i>Life of Pi </i>is a tale of a boy and his tiger well told with some boring establishment of the characters but later the tale is being turned over by its own head with possibly the second worst ending in any movie for 2012. (<i>the Devil Inside </i>being the first) I can't go into detail of my gripe with these acts without spoiling the review. So if you haven't this movie, please stop reading at this end.<br />
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<u><b>******* Spoilers begin here! *********</b></u><br />
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When the movie began, it starts with Pi starting to follow not just one, but five religions all at the same time against his father's wishes since he believes in science and thinks that actually advances society. This is a spoiler because this is where the film just gets into my nerves. I don't follow religion as close as anyone in and outside this movie has, but whenever religion comes up, it's not really as challenging as it thinks it is. This movie is supposed to be about overcoming struggle and bonding with other characters who are not your same type and all the movie wants to be is a look into existential beauty aiming to be as profound as it can get. These films such as <i>American Beauty</i> and <i>The Tree of Life</i> all have films visually pleasing to the eye, but decipher a tough slice of life and the consequences. <i>Life of Pi</i> however visually pleases the audience but unfortunately Pi's character constantly mention that he made it out because of God just cops out any standard the movie sets.<br />
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But the final half hour is perhaps what defeat the whole purpose of the film and also change the movie's intent. After Pi comes into Mexico, Richard Parker leaves and as he was recovering in hospital, officials from the Japanese Ministry for Transportation questions him about his experiences. When they didn't believe his on-the-boat story, Pi does offer an alternative one. It is about how he the chef from the ship, his mom and another person are the only people on the lifeboat; the chef was abusive (remembering how he refuse to offer any vegetarian meals and make racist remarks about Indians), trying to eat her off because he was hungry and Pi retailiated by drowning the guy. It serves as a more realistic metaphor for the actual story - the hyena being the chef, the mom the zebra and Pi playing the role as Richard Parker. Since these officials are more about seriousness rather than sensationalism, they believe on neither story. We go back to the present in where the current Pi asks the novelist which story did you "prefer" and he states that he liked the one with the tiger.<br />
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My gripe with the ending happens to be that Pi, having to reach the end of his survival journey, managing to make the whole film emotionally manipulative and turn the character to an unlikeable one since he tells the story to the officials that that was the tragic story. Lying about it is one thing, but when you ask him which story you prefer, it's not only baffling but it's also offensive to the audience in contradicting the events of the film that has already been portrayed having to be bought into the film the minute the film started. I may be narrow minded since I didn't read the book, but even when it actually happened and you have to thank "God" in the end, it is not only a great way to break the film's emotional weight, but it also confuses itself as a realistic film rather than a fantasy to which Lee actually shown and it's left to the audience to unnecessary interpret this as something else. Personally I prefer the story about him with the tiger because it shows the scenario and that's much tolerable than anything the film presents.<br />
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And speaking of "god", wouldn't it be a sin to actually deceive about your ordeal? The alternative story Pi tells betrays any sense of organic courage given by his parents, or his beliefs in any religion.<br />
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<u><b>******* Spoilers end here! *********</b></u><br />
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With that said <i>Life of Pi</i> is supposed to lift up anybody's spirit but unfortunately it left me cold. While Suraj Sharma's performance and the duo dynamic between Pi and the tiger are the major highlights, it honestly less challenging when they reac any kind of subtext. But it doesn't stop me with what I really liked including the scenes with Pi and the tiger, beautifully lit and framed by Lee and Miranda that you're able to buy in the dynamic of the middle act. Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-58369528190388281942013-01-06T23:00:00.000+11:002013-01-10T15:01:09.503+11:00Reviews | Holy Motors (2012)<div class="separator" style="clear: both; text-align: left;">
<i><b>Holy shit! Where is my costume? I'm really late for work</b></i></div>
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<a name='more'></a>So let's start off 2013 with the one of the most talked about movies from the arthouse cinema last year, <i>Holy Motors</i>. Let's just say off the bat that I can tolerate movies that have an experimental style that would baffle audiences and often they become great movies. Prime example? <i>Fear and Loathing in Las Vegas</i>. Not only were the visuals hyper surreal in that film and Johnny Depp speaks like a 40s broadcaster, but the film carries an important point about the American dream and the numerous attempts in retrieving it turns the notion off its head. It maintains that notion while telling us the observations of the downfall of America. That was what made <i>Fear and Loathing</i> more than weird, it's fun as well.<br />
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That could be said with <i>Holy Motors</i>, but it actually doesn't do that. It's one of those films from last year that I have to see because only two kinds of people were talking about it. The cinephiles and the internet all of whom create a large amount of buzz and were drooling this surreal and confusing film as if it's a rise up above. I understand why some people would love to think that when a film is confusing, it has some sort of profundity to it. But I would like to quote from Lindsay Ellis a.k.a The Nostalgia Chick "confusion and despair are the same thing" which is what I felt about <i>Holy Motors</i>. I was perplexed with this film, but then I felt underwhelmed.<br />
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To actually try to explain Leo Carax's <i>Holy Motors</i> is almost like having to recap to someone what did you do in your entire year and every detail counts. But to put it in simpler terms, let's talk about <i>The Simpsons</i>. Remember that episode in which Bart is wondering what every individual in Springfield is up to and for that matter, those people have their own short stories; 22 to be exact. Well this is what <i>Holy Motors </i>is. A series of situations as reenacted and masqueraded by Mr. Oscar (Denis Laurant) who goes all over Paris with his chauffeur Celine in a limo almost reminiscent of that in <i>Cosmopolis</i>. He ahs a series of assignments and for each one, it involve dressing up as a homeless elderly woman, a motion capture performer, a troll, a gangster. In these assignments, he has to act as those personae as those people would typically do.<br />
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That's all I could some up about <i>Holy Motors</i>. First let's start off with what I admired about it. I really liked the cinematography of the film and some of it maintain the off-the-wall visuals the film really deliver. When Levant reenact these characters, he perform these people incredibly seamlessly and reenact scenes that are typical to every aesthetic of some genres presented in cinema such as a drama, a gangster film, a musical, even a porno. The idea Carax presents here is his love for cinema and that's hinted through black and white stills of some guy doing something. It's a love letter to performance art and it's pretty clear of what he is trying to do with this film. There was one scene in which Oscar plays another character as the leader of a marching band and that got me somewhat interested in the film and the direction it's heading.<br />
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But as soon as Oscar takes off his journey as the character performer, the film become underwhelming simply because for every character he plays and the events occuring are glaringly repetitive. Probably the fatal flaw the film suffers is the lack of connection between events.<i> Holy Motor</i>'s storylines parallel with each other, but unfortunately there's little consistency that would help the film up to its feet.<br />
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<tr><td class="tr-caption" style="text-align: center;">The ugly truth about being single</td></tr>
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I never really grasp how the trollish Monsieur Merde would have in common with the rubber suit performer other than the fact that Oscar is playing both of them. Though I could bring how he dresses up as two hitmen in different costumes together as they both have similar jobs. If Carax wanted to pay homage to performance art, why does it have to be one sequence after another while in between Celine constantly remind Oscar "hey, this is what you have to dress up or you'll be late". It may sound like a reference to <i>Alice in Wonderland, </i>but I prefer the events taking place as an allegory for working in the entertainment industry like Hollywood where actors have to be scheduled to be in certain films under their wing. However since no one, including the people in the scenario and Oscar himself, cares much on what had happened, it's not brought up again in the movie. In substitute: the movie just doesn't have Mr Oscar to face any consequences of the characters he play.<br />
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It's perhaps the same problem I'd had with <i>Cabin in the Woods</i> in the way that the events of the movie strangely occur while we are the only people are observing this, but that no one in the movie is actually notice why or how is this happening. That plot device is like passing by a kid involved in a hit and run but you didn't see the kid because the people walking just didn't care. And those events only deliver a thinly veiled idea that isn't presented into a well-shaped plot.<br />
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The movement of events also adds to the repetition of the film as its pacing is all over the place. At the beginning, the film is incredibly slow moving like a snail, but when there are tension within these scenes the momentum jumps right up until it slows down to a scenario that I couldn't care less. Those intense moments include Oscar as Merde while caressing over Eva Mendes who plays a model, dressing her up her with a burqa while we see his erection and those assignments where he plays hitmen in where I don't want to spoil for you. These occurrences felt like it was there for shock value and you care little about him the more the scene went on.<br />
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Much of the film's abstract plot restricts any external logic. We don't know why Oscar do these appointments or how he feels about it, despite hearing some bruised old man at one point asking if he's exhausted from those trips. That's all the movie has provided in terms of working with that thread.<br />
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I don't really think <i>Holy Motors</i> is very important as an experimental film critics and audiences are believing it to be. It may be a film that is open with so much interpretation, but I'm not quite sure if it failed or succeeded because I didn't really see what's the expected outcome Carax is trying to bring across. If these vignettes were separated on its own as a series of short films, then it would've been more fascinating. But it's a very confusing and disjointed mess that doesn't go from Point A to B or to C even if it was intended not to do so.<br />
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However I will say this. This is a film that has so much creativity and artistry going on that I at least respect how Carax could handled it in this kind of filmmaking that is extremely unconventional. It is also one of those movies that grows on you that you wish you want to admire this film again with more than one watch. <br />
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Also the mis-en-scene of the cemetery which Monsieur Merde passes by had some engraved URLs which was somewhat interesting. It might deliver a comment on how deaths of real people will ultimately be spat on by trolls, to which Merde is. That's perhaps the one profundity I have found out from watching this. <br />
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Overall, this is a film that I yearn to revere more of, but unfortunately <i>Holy Motors</i> has little story to convey the events driving the film and as it went on it blurs the line between experimental and tolerable. And it's always important for a movie, unconventional or not, to contain a story. And the only way I can care about the movie is whether the narrative works and for me to do so I need to be interested in the characters, the screenwriting or the visual direction. You may think the other way around and either way is equally suitable. But without it, the movie has less emotional weight than it can carry and <i>Holy Motors </i>fell barren.Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-32602967516478195122012-12-23T23:18:00.000+11:002012-12-23T23:18:58.116+11:00Review | Les Miserables (2012)<i><b>A one-note musical that could've been worst</b></i><br />
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<a name='more'></a>Before we get into this review, I want to make this real quick. I have never heard of <i>Les Miserables </i>until now, either the classic novel from Victor Hugo or the many musical adaptations that came with it. I feel really embarassed not to know how much of a huge iconic piece of work the book has become working on the themes of the French Revolution, slavery, the rich and the poor and love. Since I was not familiar with any of these works, I would like to review this under single own terms of the movie.<br />
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In Tom Hooper's adaptation of <i>Les Miserables</i>, in an era right after the French Revolution began, Jean Valjean (Hugh Jackman) was sentenced to nineteen years imprisonment for stealing a loaf of bread. He jumped parole and is on the radar of Inspector Javert (Russell Crowe). Eight years later he became the mayor of the town in France; during his time, he finds an ill and struggling mother Fantine (Anne Hathaway) and agrees to look after her daughter Cosette. Few years later and the struggle between the poor and the power also known as the June Rebellion. Cosette grew up into an angelic teenager (Amanda Seyfried) with a fellow revolutionary falling over her while Valjean will have to run from every footstep of Javert because he's on the hunt for him.<br />
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Given how I wasn't that all impressed with Hooper's previous effort, <i>The King's Speech</i>, I would want to give him the benefit of a doubt because for this film, it requires such a higher scope with aspects like production design, acting, cinematography and musical rotation needed to be put in place. The visuals and the tone provided are gritty in a musical with some good cinematography from Danny Cohen and some huge art direction. I really liked how Hooper has placed some attention to detail as he puts long takes into the sequences. For example, when Anne Hathaway sings I Dreamed A Dream, the camerawork remains with her and so she's trying to convey some heartbreaking emotion. That's a great scene.<br />
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And speaking of Hathaway, she was unbelievable as Fatine, the vulnerable and unstable mother of Cossette. She contributes much to the film's emotional weight that she's the obvious highlight of the entire film. Also moving were the child performers who are much better than their adult counterparts, which I'll get into later. Isabelle Allen plays the young and iconic Cosette making much of a moving presence while Alastair Brmmer who plays the youngest member of the ABC, is also remarkable as the motivated kid leading the rebellion.<br />
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With all that said, there are glaring flaws within this film. For this film and <i>The King's Speech</i>, I've found out my problem with Tom Hooper's direction and that is since he is all for theatrics and visuals together, these films' narrative have either fell flat or turned into a giant mess. And that's what <i>Les Miserables </i>could have been. The film have little dialogue and for a musical that clocks around two and a half hours, this is one continuous stretched-out number. 99% of the film has one sequence after another. The problem is though the film never takes a break and whenever they can, it's only for 10 to 30 seconds. It is one gruelling exercise and this film really needs slow moments because audience needs to learn patience and admire atmosphere. And with this, it shows that Hooper feels like if they go to a break, we would then become bored. I asked an old man sitting next to me who have seen the musical whether that was like this, I realize that Hooper followed too closely with its respective musical. So the more the movie relies on its musical sequences, the more they quickly lose their focus on the plots which involves a love story between Marius and Cosette in which the former ignore Eponine's interests for him, the ABC Revolutionaries and Valjean's run from Javert. And most unfortunate is that the film becomes excruciatingly tedious.<br />
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For a film that often consists of sequences, you'd expect most of the cast to have some passion being in this film. While Hugh Jackman has an eminent ability to hit a high note, and while his character has a lot of depth, he doesn't have much charisma to broaden it out. I have also felt that there are a number of performers who are really miscast. Russell Crowe sings like he's Bane actually singing and that his comeuppance feels too soon and sudden. Amanda Seyfried who plays the older Cosette is left out for almost three quarters of the movie and therefore she is not a well-developed character and has little left to do in this film.Helena Bonham Carter and Sasha Baron Cohen who plays the grotesque innkeepers, overstays their welcome and adds little in their comedy relief. So here the cast couldn't really carry much of the film because of the heavy handed direction of Tom Hooper.<br />
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So <i>Les Miserables</i> is a massively disappointing adaptation of Hugo's novel and for Hooper who has to live up from the expectations coming off from <i>The King's Speech</i>, it comes as not exceeding much. The film is overwhelmed with huge production design and overblown performances trying to conveythe biggest emotion possible. The numbers as ambitious as Hooper's direction, are almost repetitive and never leaves the movie out. The saving graces for this film are the visuals of the film which create a gritty atmosphere, the filmmaker's attention to detail and Anne Hathaway's sandout performance which is sad given how she only appears for like ten minutes. This might've have been the epic that the musical and book has set up but it ultimately comes as boring.Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com1tag:blogger.com,1999:blog-6867290983092052366.post-91122511923755825642012-12-19T23:51:00.000+11:002012-12-23T09:57:16.212+11:00The Worst Songs of 2012<i><b>Pop music at its masturbatory.</b></i><br />
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<a name='more'></a>I don't normally write about music on this website. But I really want to bring in the attention of the worst in the landscape; the music the radio normally plays. Also known as Top 40. The website I usually write has a nitpicky, but optimistic tone within. I have hope that anything out of movies, TV or music can be good, even better and these mediums are a form of art. It intrigues, it entertains and have you invested because you are bored and have some spare time. But I have to admit one thing: it doesn't apply to music and I have officially gave up on popular music or any kind of music that is radio. In fact, I have already lost hope with radio music last year when the stations started playing club-oriented music over and over. And that's being played to death right now. Calvin Harris is more overexposed than ever, every female singer-songwriter like Florence Welch and Taylor Swift seems to have sold out by singing over EDM and dubstep. All it takes is one exact formula. However the more I hear that, the more I got tired and not being angry about it.<br />
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The point is any songs that are EDM oriented are not going to be on a list and that list will be the worst songs of 2012. These are the eleven worst songs that I have to listen. In the car, in public places, online and on the radio. This is because I had enough with the music landscape run by the morally corrupt and money hungry executives of the entertainment industry and after this, next year I won't be doing the same list ever again.<br />
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Keep in mind that I am in no way a music expert or a critic. I am just a guy who is forced to listen to the radio and have to be shoved to my throat.<br />
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But first some dishonorable mentions:<br />
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<b>Carly Rae Jepsen - Call Me Maybe</b><br />
There's no doubt that the song is pretty catchy. The beat, the chorus just goes under your skin and it's the usual-cutey song about some girl having a crush on a boy and wants his number. Gee. Why does this sound so freakin' familiar? Well because it's about something related to a phone. What a surprise. What makes this song worst is its impact. The fact that everybody trying to post themselves lip syncing to the song is just amateurish. And the meme that comes with an <i>Arrested Development </i>pun. That is not hilarious in the slightest. There's even an article about how Call Me Maybe can explain the Euro debt crisis in simple terms. It's a joke right?<br />
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<b>Muse - Survival</b><br />
Oh how the mighty have fallen. Muse have been an enjoyable band since their existence and as cheesy and self-indulgent people feel about their music, it is at least fun. Then <i>The 2nd Law </i>have happened and it is the least essential album the band has ever recorded. I'm not quite sure what was the lowlight. Madness or Unsustainable which is pretty empty. No it's Survival. This song was out as the main anthem for the London Olympics and even it fits in well with its context, it is completely passionless. The lyrics don't add up and it feels so overbloated with its grandeur<b>.</b><br />
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<b>Birdy - Skinny Love</b><br />
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Here's a cover of a good song about love being missing and personified as someone distant. It ewas at least sincere and original. But Birdy, a 14 year old girl from Europe changes this completely. Only popular because one contestant from X Factor sang it without knowing who was the original artist is, Birdy's version is incredibly mawkish and weepy<b> </b>losing much of the goal Bon Iver sets in focusing more on the listener being teary. But importantly she turned one of the most authentic songs ever recorded in indie rock into a cookie-cutter white-girl-with-a-piano song which loses any creative spark of the song.<br />
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There you have it... oh wait. You haven't checked out the actual list. Let's delve in.<br />
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<b>#11. Will.I.Am and Britney Spears - Scream and Shout</b><br />
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Scream and Shout is the worst to come from Will.I.Am who has been watering down pop charts with boring and surrealist club music with minimalist beats and telling other artists to do the same. Just because it's minimalist doesn't make it radically artsy or enjoyable in the context. The lyrics OREO, REO, REO gets really repetitive and the beat drop doesn't pay off because it's so low in dynamic. Britney Spears is much less recognizable here and I'm surprised because she doesn't have anything to offer here. As much as I can't stand Britney, in other songs at least you can tell she's singing from auto tuning her vocals. To sum how I felt about the film, it's boring. BOOOOOORING. But if I have to give credit where it's due, the song wouldn't even have an impact. I don't think talentless artists and house DJs are going to look at Scream and Shout as an influence because already The Time [Dirty Bit] and Like a G6 did that.<br />
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The music video isn't good either and it goes in the same pace as the song itself. The product placement is everywhere while the aesthetic and visuals look plain cheap for a music video sung by Will.I.Am. Will. Leave please. And please people. Don't buy so much of the same crap featuring beats with droning. You don't pay money to hear something you get from licking LSD.<br />
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<b>#10. Justice Crew - Boom Boom</b><br />
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How the hell did a dance troupe who won Australia's Got Talent in 2010 became a pop stopper? When was it that Justice Crew was given the opportunity to sing? With a seven-man troupe, the song Boom Boom is about dancing in the club and trying to impress the girl in that club. Also it's about "girls around the world". That is all about this song. The worst part about the song is the chorus BOOM BOOM HERE WE'RE UP TO CALI/ LONDON MIAMI and it makes no sense. What are trying to tell to that girl with that line? Are you trying to describe her place.<br />
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This song is the run-in-the-mill song about being at a party. It's a song that George Clooney, Chris Brown and Tony Stark could take an intervention over. It's not that it's bad because it's about getting a girl. It's bad because Justice Crew have a zero sense of charisma that make the song so incredibly pathetic. Justice. Stick to dancing please.<br />
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<b>#9. Mumford & Sons - I Will Wait</b><br />
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I don't really understand the attention towards Mumford and Sons. Besides the stupid name and their overbearing banjos, M and S have become the Nickelback or the Linkin Park [early] of folk music. Seriously they are. Every single song I listened had exactly the same content and rhythm which is basically bemoaning about wanting to forgiving a girl who they screwed up their relationship. Every chorus then have some flailing banjo rhythm and that's all. The only difference between Mumford and Nickelback is that at least one of their lead singer is married to a famous and talented actress and that didn't became the butt of all jokes.<br />
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Worst of all are their fans. Like almost every band people find it hip to hate or just hugely popular, they have huge defenders. They simply find them so remarkable and so ingenious it's the only folk music they'll ever listen to because it's on the radio. If you want to find a better folk artist, check out Bob Dylan or Allison Krauss. Their music is much better than this troupe <br />
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Anyway, if their breakout hit 'Little Lion Man' was their 'How you Remind Me', then 'I Will Wait' is their 'Someday'. It's the same formula again and again.<b> </b>That is, they have put in little effort to incorporate or experiment with their music. The banjo playing is annoying than ever. If you intend to standardise your music, that would be one thing. But when you're trying to perfect the sound already familiar to your audience, that is just lazy song writing. Right now, Mumford and Sons's Babel is the listener's choice for Album of the Year for 2012. The people's choice blows.<br />
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<b>#8. Train - Drive By/50 Ways To Say Goodbye</b><br />
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Drive By is a baffling love song in which the title is commonly known for murdering and threatening people outside of your car. Train's Patrick Monohan has got to be one of the worst lyricists I've ever heard for a band with clumsy lyrical word play and attempting to hit a high note. But when the chorus contains the word 'hefty bag' to compare how you would gain attention for a girl you like, that's garbage (no pun intended). When the hell did a piece of plastic that could hold your trash was actually <a href="http://www.youtube.com/watch?v=OPl-O0Z5hys" target="_blank">attractive</a>?<br />
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50 Ways To Say Goodbye has a good melody, but once Monohan's voice comes along, there's trouble. In the third or fourth line he tries to hit a high note about IT'S NOT YOU, IT'S ME ultimately sounding whiny. Unfortunately it gets worst. The chorus is a list of things Monohan would try to excuse if they broke up. SHE MET A SHARK UNDERWATER.../HELP ME HELP ME/I'M NO GOOD AT GOODBYE. These sound absurd, but Monohan wants us to take his situation seriously. If you want a song that list all the stupid things a human being could ever have the decency to do, go watch Dumb Ways To Die which is a really good song.<br />
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These songs are in no way inept as Hey Soul Sister, but it is still infuriating. I don't think I'll ever see good rock music climb back into the rock landscape as far as Train goes... except...<br />
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<b>7. fun. (ft. Jannelle Monae) - We Are Young</b><br />
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This seems to be a milestone. Indie rock seems to be popular because of fun. (not spelt in Fun, but fun lowercase period). This is the kind of music that wouldn't make it mainstream because it is only reserved for hipsters and they don't enjoy anything that hits mainstream. But is We Are Young the kind of song that should be taking the world by storm and changing the landscape of popular music forever? Like <i>Smells Like Teen Spirit</i>? <b> </b><br />
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fun. is the band that sells out, and I'm saying this from the perspective of someone who have actually heard one of their songs before We Are Young. They don't really attract my attention because their early work sounds like a poor man's Vampire Weekend. But when comparing that with We Are Young, fun. are much better than this. <br />
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I learnt that they are popular from <i>Glee </i>and the Superbowl covering and playing their songs, and ultimately it grabbed everybody by storm. I can't stand this song not only because of how did it became popular, but because it has no focus. From the first verse you think it's about some guy who hurt his girlfriend, but when THE BAR CLOSES, it changes out of nowhere. Primarily it's about being young again SO SET THE WORLD ON FIRE.<br />
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This is filled with pseudo-inspiration waiting to inspire young people freedom. But at what cost? And at to what point? The sound is incredibly overblown with drums and autotune and it's sad when you have a featured singer Jannelle Monae, the only talent involved, only singing harmony behind the Na Na Nas. fun. is the kind of band that will only get popular once it is played during 30 second commercials. For the commercial it's fine, but as a full length song? No it isn't.<br />
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I notice in 2012 that artists today have been sounding familiar to classic musicians. With Of Monsters And Men's Little Talks sounding like Arcade Fire, Bruno Mars's Locked Up in Heaven resembling The Police, Usher's Climax emulating The Weeknd. We Are Young along with fun.'s next single Some Nights resembles Queen. And Nate Ruess is no Freddie Mercury. Just because your sound resembles Queen it doesn't mean having the loudest drum beat anywhere or conquering the world.<br />
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I don't really know if We Are Young is going to change the public perception of indie rock, but this isn't it. This is the wrong song. It's also weaker than Pumped Up Kicks by Foster The People and that wasn't going to be the gamechanger, but at least it was tolerable. The only people who are bringing indie rock alive to the mainstream are musicians who are unknown to the public and are mostly name dropped from Pitchfork and the people who are willing to listen to their music. So if you want the genre to be relevant and be represented from a good image, you have to listen to those bands on online radios like Spotify and not what the DJs are telling you what is indie rock.<br />
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<b>6. Cher Lloyd - Want U Back</b><br />
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I have never heard of this 19 year old from England but I did know that she came third in X Factor, most prominently for rapping while covering Coldplay's Viva La Vida. I know that sometimes people do experience success from not being the winner of a reality show. Look at Susan Boyle. She still catches people's hearts from singing I Dreamed A Dream and she was the runner-up. There were two contestants from Australian Idol who didn't win and they still record music based on their creativity, not on conformity. Lloyd is otherwise an exception.<br />
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After hearing her most obnoxious debut Swagger Jagger, Want U Back is about her breaking up with a guy and wants him back. To do so, she has to spread mean gossip about the girls he's currently dating wehich is not the worst part of the song. No. The worst part is her grunting which happens after every two or three lines sung. With grunting, you're encouraging women to actually threaten people and their partners if they mess with you. What a good message!<br />
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Most of these songs about how someone of an opposite gender that treats them badly and are depicted as vulnerable and could get very heavy handed and offensive. It's like that scene from <i>Fight Club </i>in which Edward Norton tries to tell Helena Bonham Carter off because she's not minding his business. And she's like <i>I saw you practicing this</i>. That is what Want U Back is doing. It's telling everybody off including the persona's ex-boyfriend. This becomes irritating not to mention on the verge of becoming a sociopath. It wouldn't be a huge matter if it wasn't for the repeated grunting, the overproduced and loud rhythm, but there's nothing right about being a huge bitch about everything.<br />
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<b>5. Glee cast - Gangnam Style (originally by PSY)</b><br />
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This has never been discussed before on the internet, but I am exhausted from Gangnam Style. I haven't heard a song<b> </b>so overplayed and when you combine how much Katy Perry, P!nk and LMFAO is exposed, it doesn't match. I have also haven't seen a song so infectious by having the listener doing a dance that resemble a guy lassoing since Haddaway's What is Love told people to bob their heads. With that said, I somewhat understand the appeal of the song and what its message is. It, along with the music video is mocking the rich and wealthy in South Korea, particularly the city district of Gangnam to which the song is targeting.<br />
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But the impact of this song is almost annihilating. Maybe if PSY didn't dance the horsey dance, it wouldn't be a big hit. There are a dozen of parody videos doing that dance, so many articles explaining how Gangnam Style represents the harmony South Korea had brought in diplomatic relations, that song is everywhere. You can't escape it. But one part of it is horrible and that is the Glee cover. Unfortunately though, the song due to being in another language is very hard to judge.<br />
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I reecntly watched a Youtube video of the problem with Gangnam Style and that problem is singing it. You can't sing in its language because to the English speaking world you sound like you're speaking giberrish and for Koreans you're being racist. It doesn't even matter if you're pronouncing it right. You're still going to perceived negatively by your peers. So the only thing you can do with Gangnam Style is the dance. And there's a chance that you're reinforcing Korean stereotypes<br />
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That is why I think the Glee version sucks! Even though the singer/character Jenna Hororitz who is Asian and have no experience with Korean pronounce it so precisely, it's still a bad song. The opening beat seems so surreal sounding like a twisted version of the Haka. Worst of all is Jenna's accent which primarily distracts from the entire song. As an Asian, I find this totally appalling and is either self mocking or mocking the song. This is probably the worst cover Glee had ever put out and I don't really watch that show very much so why should I bother. Well... because Gangnam Style will still be with us like the movement of a pilgrimage.<br />
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<b>4. Justin Bieber - Boyfriend</b><br />
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I felt like it's been too easy for people and myself targeting the Biebs<b> </b>in representing the worst in music today. But Justin Bieber, as much as he is trying, has failed to mature himself and still remain at 18 the most immature, non-charismatic male singer in the music industry (Chris Brown not counting). Not to mention that he uses the word shawty out of context. In every one of his song he sings about a girl wanting to love him, but doesn't have something to back up when he's trying to show his street cred. Despite managing to hit puberty as evident from his changing voice, Bieber has got a lot to owe up.<br />
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Boyfriend is Justin Bieber's worst song. If it was him being mature as his colleagues believes so, then that's just bullshit. What's more bullshit is him trying to emulate Justin Timberlake as a solo artist. Timberlake didn't become a rising superstar because girls want him and he knows it, so what else does he do? He singing about shattered relationships and even add some seductive elements into all of them. That is variety.<br />
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As a songwriter, Bieber is lyrically inept and it doesn't help that the song is delivered in a very creepy and kinda threatening manner coming from his rapping and a minimalist and boring beat. And like every song, it's the same problem in which there's nothing backing up the lyrics. He's simply saying he'll be the best boyfriend possible that is just sung off-key and off-note.<br />
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If you didn't like Bieber, you wouldn't be surprised that Boyfriend is horrible. It's the same schick that he applied in every song which is as overly cliched as ever and has more use of swag in a song sung by a white guy. He still has a legion of fans who will still buy his products regardless of how bad it is, and despite this, it shows that the guy is so 2010 and is now unfashionable. There's this new boy band called One Direction and with comparison with the 18 year old and they have much more lyrical flow and still has a lot to back up why they're hot shit by being not one, but four other people.<br />
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Someone should have told him that if he was going to make it big as an adult, write as an adult. And it doesn't matter about making an impression with your oh-so glorious fanbase. You have to encourage this guy creativity. After all he was a gimmick. Biebs, move over.<br />
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<b>3. Flo Rida - Whistle</b><br />
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I'm convinced that Flo Rida is not an artist or an actual person. I think he's a robot. Ever since this dude grabbed our attention in the <i>Step Up </i>movies, he has been grabbing top ten hits thanks to his hooks and has been speaking in gibberish. Clever, ay? Even much cleverer is his whistling which will easily get into your head.<br />
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It's obvious why I despised Whistle since this song is about Flo Rida getting head. I originally heard the whistle used as a sexual euphemism before when Lauren Bacall once told a guy in some 1950s movie and Flo Rida is no Lauren Bacall because unlike her there's no sense of subtlety in this song. And it's ain't because of him. There is no subtlety about getting a blowjob and we blame him because we sing about it. The verses are idiotic in the way that Flo is attempting to hit on a chick right after you hear him babble and the only word that is enunciated correctly is the last one of each line or the chorus. BET eraretign PEOPLE/ BET fdsnbgbren FREAK MODE (what we have here is failure to rhyme).<br />
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I don't mind sex sung in song. I heard some risque songs that were pretty decent (Nine Inch Nails - Closer is one of them), but this is just misguided. Now I am afraid of other artists trying too hard in being sexy by making awkward sexual euphemisms out of actual objects (lick that glass bitch/I could put you in my backpack/this book turns me on, Fifty Shades of Grey)<br />
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<b>2. Taylor Swift - We Are Never Ever Getting Back Together</b><br />
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It takes one song to destroy your perception of that one artist in seconds upon hearing it and already there are a couple of them I could list on the top of my head. Taylor Swift's We're Never Getting Back Together is one of them.<br />
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For those of you who don't me, I have a huge disdain towards country music and I would like to call it the whitest of all white people's music. They have some of the most simple chords with little rhythm going into it that it's easy to play and write a song about. Country has no edge because every time you listen to the lyrics, they sound as corny and bland as those sitcoms you watch on Disney Channel. I would be willing to listen to pop more than country since at least it has something that is interesting.<br />
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Taylor Swift is, as you guessed from reading the above paragraph, is not my thing. I would not want to live in a world where Swift is praised for representing a generation of teenage girls. All she ever talks about are boys either not noticing her, relationships inspired by Shakespeare, imagining your life as a fairytale, all of which are so goddamn bland. What critics and her girly fans see in Taylor is like what critics and hipsters see in Wes Anderson. In what I'm saying is that for every song Taylor has recorded and for every film Wes directed, every one of them look and sound exactly the same. Same subject matter, same chords, same style, everything. But where I can at least see what people think in Wes's films, I think otherwise with Taylor.<br />
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What people at <i>Rolling Stone, Spin </i>or <i>NME </i>see in her baffles me. Swift represents the everyday teenage girl and if that's the case, I would assume that every girl has the hots for a guy who doesn't pay attention to her. If Bjork was first writing songs while she was 19 and her lyrics are surreal and are totally grandeur, neither anyone would care nor would she be labelled that "once-in-a-lifetime" singer songwriter because she wasn't reinforcing stereotypes young girls would look up to. And that's what America has been doing. They have never paid attention to other female singer-songwriters if they don't aim at pre-teen girls, which is perhaps the most easily targeted at today by the music industry for better or worst. They don't sell songs without getting an audience.<br />
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Anyway with Taylor Swift's lead single off from her new album <i>Red</i>, We Are Never Ever Getting Back Together is about a post mortem of her ex-boyfriend. And so we are treated to how this guy is a piece of a... ship that made it sank. That guy is Jake Gyllenhal.<br />
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Am I not surprised? This is why I don't enjoy her music in the first place as all her creative juices rely on having to involve every man in her entire life. Ran out? Go out and date a famous man for less than 40 days and there's your song. I reckon that if she were to record a new album, it will be two people that fucked with her. Harry Styles describing how his taste in music is tasteless, and 4Chan who almost duped her into <a href="http://www.google.com.au/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CDcQFjAA&url=http%3A%2F%2Fwww.guardian.co.uk%2Fmusic%2Fus-news-blog%2F2012%2Foct%2F02%2Ftaylor-swift-boston-deaf-school&ei=bkDQUM73B6e0iQeryoCoDA&usg=AFQjCNHJaGRJITeC_FlCKt_mjGQ-YVAJXQ&sig2=PKSzy_3D-uP2lKnVWUXx_Q&bvm=bv.1355534169,d.aGc" target="_blank">performing live at a deaf school</a>! If that happens, she'll becomes the real life female replica of <a href="http://www.youtube.com/watch?v=U-aaZp34H30" target="_blank">Vaughn from Community</a>. <br />
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If this song shows anything is that Taylor Swift is nothing but a misandrist. A woman who just can't stand men. People often toss the word 'sexist' to describe how men objectify women, but they would give anything in that reverse order a pass because already it's acceptable to trump a guy who takes a dump on you even when he does nothing at all to you other pissing you off. Already Beyonce gets a pass and so will Avril Lavigne. So with We Are Never Getting Back Together, this is a sexist joke of a song because it puts a man in his most vulnerable, getting every chance to turn him into an object thrown onto the ground and "she's an adult".<br />
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Unfortunately, the strangest and worst part about this song is that this sounds like some 14 year old girl wrote it and heard too many of Swift's songs, had a broken relationship leading up to this. Taylor Swift is 22 for Christ sakes and if that's her turning mature, then that's a downhill. In comparing with Want U Back and Chris Brown's Deuces, they are slightly superior than this. Say whatever you will about Cher Lloyd, as witless as that song, at least it's written by a girl appropriate at 19. Say whatever you will about Deuces, as misogynistic and grotesque that song was, at least it had much emotional punch than this song.<br />
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This list contains some songs that gets worst from listening, but with We Are Getting Back Together it reaches the bottom of the barrel for me. The beat is so obnoxious, the lyrics are dumb and infuriating and the subject matters remains as stale with every song she has recorded. And even the defense of the song being 'realistic' or 'experimental' sounds totally off. I refuse to accept songs this bad it's avant-guarde. This song comes off as hypocritical for a girl who sells herself as an innocent pure from the bleaches into that girl who scoffs you off while walking down the lockers <br />
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Taylor, please write something else for a change. The only man in your life you have never sang about was your dad. Please sing something about anything other than boys screwing you over!<br />
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<b>1. Nicki Minaj - Stupid Hoe</b><br />
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<b> </b>2012 has been a dreadful year for music. If I was making a list of the best music I've heard this year, exclusively on the radio, I couldn't even do a top ten nor a top five. It has also been a terrible year for female artists. While the film industry gets all excited about <i>Zero Dark Thirty</i> and <i>The Hunger Games</i> having strong female protagonists, that would be said otherwise about singers this year. Like I mention before Florence Welch had sold out to Calvin Harris being less recognisable in his songs; so has Sia. Karmin turned into a grating rapper/singer, the biggest song of the year was about a girl trying to get a guy's number, Lana Del Rey bombed on SNL and so has her hittin'-mainstream album Born To Die. Many unheard-of female singers serves off choruses for untalented rappers and talented artists such as Adele and P!nk are reduced to singing about shattered relationships that are as huge of a sob story as someone breaking up wiht you in real life<br />
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My point is female singers don't have little to do with music other than be in the background while everybody is partying or they have to sell themselves being told what to sing under a contract or else they won't make it. For me, it's a huge waste of talent and doesn't utilize their abilities in music and what creativity they can come up with. This is no excuse with Nicki Minaj.<br />
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Nicki Minaj has come under my worst to come radar as her prominence as the first female rapper to hit the mainstream becomes enormously big. Nicki, with her animated rapping and her alter ego Roman Zolanski, is only accepted due to her big ass and how she speaks in words that Aaron Sorkin would never jot down in his screenplays. Her tounge consist about boys, herself and her feud with Lil' Kim which is the most unnecessary feud in hip hop history. And every one feud in history is also pointless. Minaj is almost the equivalent of either Angelica from Rugrats on helium or a laughing jack-in-a-box that won't go back into its box and it will still laugh at you no matter what.<br />
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Most female artists have to focus on image rather than their ability to write decent lyrics. Katy Perry is one of them and so is Lady Gaga, but then she tries hard to evolve her music departing from being a frolic-shocker. Minaj only focus on her image 100% at the time and sooner or later there's a small chance it would change. Unfortunately with her latest album Pink Friday: Roman Reloaded, it features four hit singles. All of which I could not stand. But one of the song remains unmatched in terms of how I listen to music. And that is Stupid Hoe.<br />
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Stupid Hoe seems like a milestone. It's a song in which there is absolutely no redeeming factor into listening to it at all. This may seems so soon, but it's already the worst song of 2012. However it may be proud to be THE WORST SONG I HAVE EVER LISTENED TO.<br />
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The song had been given an abysmal reception from everybody especially on Youtube which the video has 66 million views while attaining 600 000 dislikes over 259 000 likes. And that's rare for a music video to have the red status truoimph over green. It happened with Justin Bieber's Baby and Rebecca Black's Friday and like those videos, Stupid Hoe will be watched again and have more views because this video is cool to hate. And I can understand why.<br />
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It's pathetic for someone like Minaj to be angry over haters and the whole "haters make me famous" phrase has been used to death and Stupid Hoe is the song about not just Lil Kim, but people who never really cared for her and me included. When you listen to first verse you seem to think that the song was about Lil Kim. Minaj compares her and herself to Jennifer Aniston and Angelina Jolie respectively while she uses Brad Pitt as a metaphor for her fans. But the lyrics goes nowhere and just doen't know who to aim. You can excuse the lyrics to do be dadaist, but I call bullshit. What kind of lyrics are they? System of A Down. At least SOAD wrote these lyrics with restraint, Minaj just does it freely. They fail to rhyme, they are repeated more than ten times and they're never coherent. It's like hearing the ramblings of a deranged patient. So once Nicki Minaj then change the person in subject, it loses all of its poignancy. And so the song has already become a mess when she starts opening her mouth.<br />
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The beat is perhaps the most repulsive thing I have ever heard. Maybe for all the minimalist beats I hate in Scream and Shout or any other Black Eyed Peas song, this ultimately blurs the line. The "warps" combined with her vocals is beyond annoying and is incredibly hard to hear. Somehow if you mashed that song with Starships, Beez in the Trap and Pound the Alarm it sounds more like something you hear while being prisoned raped rather than being waterboarded.<br />
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This song is worst to hear at any time of the day. I mean LMFAO's Sexy And I Know It had a much engaging beat than this and Rebecca Black's Friday has some focus about a stupid weekday.<br />
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Also, I should comment about Stupid Hoe's music video. It is incredibly ugly to watch and is pretty suprising from Hype Williams, who has directed some videos that I enjoyed like with Kanye West, and Kid Cudi. It's over-saturated with close-ups of Nicki waiting to not only annoy us even more, but give us seizures. <br />
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I just can't believe of how depraved this song would sound. I honestly can't think of anything that I have missed out of what I hate about this song. If Doug Walker had labeled Garbage Patch Kids the Holocaust of cinema, then this is the Holocaust of music. And I advise to people to stay away from this song as far you could. If you hear this on the radio station, change the radio station if you can. Nicki Minaj is as a deplorable rapper and if anyone dared her to become more intolerable than her, no one WOUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUULD.<br />
<br />Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-1039108091234770772012-12-15T21:07:00.001+11:002013-01-06T14:42:56.578+11:005 films in 2012 that everybody liked but I did not (so far)<div class="separator" style="clear: both; text-align: center;">
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The word 'overrated' had become my swear word.But sometimes I swear so I used that word when I had a conversation. But in the context of cinema or any other medium in pop culture, the word had been tossed around like a ball of yarn, that it had really lost its meaning. First thing is that it means that something has been told way beyond its buzz or just a movie that I didn't really enjoy, but everybody else did. My use of the word is around both categories and for me that survived a truly busy and dreadful year of finals, bipolar disorder, I will now declare thee the movies I saw in 2012 that I really could not stand while everybody eats it up. Speaking of busy, I have not seen every movie out this year so movies that a lot of people drool over like<i> Looper, The Hunger Games, Holy Motors </i>and <i>The Master</i>, and films <i>like Life of Pi, Silver Linings Playbook</i> or <i>Zero Dark Thirty</i> aren't out until next year, so they cannot make this list either.<br />
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Remember, not all of these movies are terrible, some are actually good. You'll never know.<br />
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Also keep in mind that with this post, I'm not saying you shouldn't enjoy it because do whatever you want with these movies. But I will rip them apart and your fanboyism will be in shreds<br />
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<span style="font-size: x-large;"><b>5. American Reunion</b></span><br />
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I didn't laugh at this movie once. The hat I spun while watching this was much more entertaining than this. Then again, it's coming from a boy who didn't saw the last three <i>American Pie </i>movies. But I want to address this movie here for one word that grinds my teeth: nostalgia. Even though it has a 42% rating on Rotten Tomatoes, every reviewer have noted the movie's yearning for nostalgia. For me that isn't a good thing because it's a pathetic excuse to give a movie of any genre particularly comedy a slight pass, right next to "leave your brain at the door" and "you're a critic yada, yada, yada". <br />
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<i>American Reunion</i> is absolutely lazy and even not seeing the films, I could figure out how the movie is arranged. Jason Biggs is so uncomfortable with his sexuality that by this era, he became a dad and married Lily Eriksen that he constantly mugs in front of the camera and WHAT A SHOCK, we see his wiener; Sean William Scott is a man-child and yet treats people like crap; we get his mom.... you get the drill. These plots are not memorable in this or any of the other films and yet the general audience give this a pass for rehashed and forceful comedies. No wonder studios are trying so hard to cash in by making another teen movie from the 80s like <i>Bill and Ted</i>, <i>Wayne's World</i>, etc. It's a movie that everybody at the time they were growing up, but not they were grewing up with.<br />
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4. The Avengers</span></b><br />
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Every time I hear a person who didn't dislike this movie, I always assume its some high brow snob who basically hated anything mainstream for absolutely no reason other than to hate a product that is incredibly well-liked. But the more I think about this movie, the more I find out that this is a film with the most generic story told in every superhero film in the biggest crossover movie imaginable. While I do like the movie's action, I do not like how the movie is played out. So here are my issues:<br />
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<li>Loki. He's the most generic villain in this movie and while I can understand how he has a grudge against his brother Thor, I still don't understand why he wants to take over the world. And the stinger in the end doesn't mean anything.</li>
<li>Speaking of Thor, how come he isn't fleshed out? Or Iron Man or Captain America. When do they actually change</li>
<li>This is too comedic. I don't really think a Marvel film like The Avengers should be too serious a la <i>The Dark Knight </i>trilogy. But the bits where it was considered comedic is poorly-timed and unexpected. Going back to point 1 is that SPOILER Loki gets slammed by Hulk, out of nowhere.The movie ends</li>
<li>If Nick Fury was supposed to be leading the Avengers, why doesn't he do anything? All we see is him carrying a bazooka that is all</li>
<li>It is simply the same story told in every superhero movie. A person with powers is gathered to some place, has to save the world from a dude who wants to take over the world, group defeats him, THE END. </li>
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With that said, <i>The Avengers </i>isn't terrible by any means. I would admit that the movie paid off in the final act and there was at least some way to flesh out Black Widow giving her a backstory that puts an almighty interest into the movie. So don't get me wrong with this film. It's still enjoyable, one or more times. But is it one of the greatest superhero movies ever? No. That's like saying calling The Black Keys one of the greatest rock bands of all time because it's too sudden to say that. <i>The Dark Knight </i>wasn't declared the greatest movie of its genre too early or too late, since it was perfectly timed in its release and there was so much expertise and effort brought in. Speaking of <i>The Dark Knight...</i> <br />
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<span style="font-size: x-large;"><b>3. The Dark Knight Rises</b></span><br />
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<span style="font-size: small;">...<span style="font-size: small;">w</span>hat's better than having its successor on the list. <i>The Dark Knight Rises </i>was disappointing. More disapp<span style="font-size: small;">ointing than <i>Prometheus</i> because<span style="font-size: small;"> this movie <span style="font-size: small;">is launched on <span style="font-size: small;">extremely high expectations while <i>Prometheus </i>was meant to be <span style="font-size: small;">new and establish a<span style="font-size: small;"> franchise that would have the potential to entertain</span></span>. <span style="font-size: small;">The one nitpick that people have for Christopher Nolan's film is that while <span style="font-size: small;">it's complex as a whole, it's actually empty <span style="font-size: small;">within<span style="font-size: small;">, em<span style="font-size: small;">otionally <span style="font-size: small;">and concept<span style="font-size: small;">ually</span></span></span></span>. They are correct because if I ha<span style="font-size: small;">ve to criticize <span style="font-size: small;"><i>The Dark Knight Rises</i> for anything i<span style="font-size: small;">t would be for being ext<span style="font-size: small;">remely bloated for 146 minutes contain<span style="font-size: small;">ing</span></span> <span style="font-size: small;">so many</span> <span style="font-size: small;">inco<span style="font-size: small;">nsistenc<span style="font-size: small;">ies</span>, fragile subtexts <span style="font-size: small;">about the rich vs. the<span style="font-size: small;"> p<span style="font-size: small;">oor and running too much time<span style="font-size: small;">. The many contradictions this movie contains include Bane<span style="font-size: small;"> and Selina Ky<span style="font-size: small;">le's motivations and a nuclear bomb th<span style="font-size: small;">at c<span style="font-size: small;">ould be diffused in <span style="font-size: small;">minutes by an engineering company (say Cobol). Not to mention that the story is rep<span style="font-size: small;">etitive<span style="font-size: small;"> an<span style="font-size: small;">d once <span style="font-size: small;">the Batman decides to put the blame on himself with the most <span style="font-size: small;">in genuine</span> line trying to be meaningful it ultimately loses subt<span style="font-size: small;">l<span style="font-size: small;">ety<span style="font-size: small;"> left from <i>The Dark Knight</i>. </span></span></span></span></span></span></span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> </span></span></span></span></span></span></span></span> </span></span></span></span></span></span></span></span><b> </b></span><br />
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2. The Amazing Spider-man</b></span><br />
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The most unn<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">essary remake of the year. And I mean this is a rem<span style="font-size: small;">ake of the fir<span style="font-size: small;">st <i>Spider-man. </i>Director Marc Webb <span style="font-size: small;">is good at <span style="font-size: small;">avoiding genre tropes like in <i>500 Days of S<span style="font-size: small;">ummer</span></i><span style="font-size: small;">, but here he is just shooting a scene-by-scene<span style="font-size: small;"> and plot-on-plot of the first time we ever see Peter P<span style="font-size: small;">arker</span>. <span style="font-size: small;">What makes me cringe i<span style="font-size: small;">s how mu<span style="font-size: small;">ch so many people <span style="font-size: small;">are <span style="font-size: small;">making excuses in defending th<span style="font-size: small;">is movie while piling on Sam Raimi<span style="font-size: small;">'s<span style="font-size: small;">, which I think was a more remarkable trilogy than this film will ever be. He's less whin<span style="font-size: small;">y than Tobey Ma<span style="font-size: small;">cguire's Peter Parker, the story is better<span style="font-size: small;">, it's character drive<span style="font-size: small;">n what<span style="font-size: small;">s<span style="font-size: small;">oever<span style="font-size: small;">, just so they can try to protect a movie that <span style="font-size: small;">was made <span style="font-size: small;">by Sony <span style="font-size: small;">so they can <span style="font-size: small;">have the excuse t<span style="font-size: small;">o <span style="font-size: small;">keep</span> <span style="font-size: small;">it eve<span style="font-size: small;">r since <i>Batman Begins</i><span style="font-size: small;"> had existed.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Here's the main p<span style="font-size: small;">lot:</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Peter Parker gets bull<span style="font-size: small;">ied in <span style="font-size: small;">school ---> Gains interest from potential girlfriend ---<span style="font-size: small;">></span> Bitt<span style="font-size: small;">en by a spider <span style="font-size: small;">---> turns in<span style="font-size: small;">to Spider-man<span style="font-size: small;">, gains next e<span style="font-size: small;">nemy</span></span></span> ---<span style="font-size: small;">> (meanwhile) <span style="font-size: small;">hard-working man gets fired, then turned into a villain -> th<span style="font-size: small;">reatens New York City <span style="font-size: small;">-<span style="font-size: small;">></span> <span style="font-size: small;">Peter Parker saves the day and gets the girl of his dream. THE <span style="font-size: small;">END. Does that sound familiar?</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">B<span style="font-size: small;">ut m</span></span>y b<span style="font-size: small;">ig deal with this film is perhaps for the <span style="font-size: small;">first time in the <span style="font-size: small;">f</span>ranchis<span style="font-size: small;">e, Peter Parker is so unidentifiable. Not that he's unlikeable, but <span style="font-size: small;">perhaps there's nothing to define his personality. First he's <span style="font-size: small;">grief-stricken, the<span style="font-size: small;">n he's lone<span style="font-size: small;">ly, then he play against other people's actions even they do treat him like crap, followed by being smart and becoming an inventor. <span style="font-size: small;">All of th<span style="font-size: small;">is shows that the guy is sufferi<span style="font-size: small;">ng from a<span style="font-size: small;"> <span style="font-size: small;">huge case of freque<span style="font-size: small;">nt</span> mood s<span style="font-size: small;">wings every five minutes. So therefore the film is emotionally rushed once it attempts to be driven through character and for one thing Andrew Garf<span style="font-size: small;">ield is totally miscast</span>. F<span style="font-size: small;"><span style="font-size: small;">or</span> Raimi's Spider-Man, at least they capt<span style="font-size: small;">ure the spirit of him becoming a superhero and have reserved his friendliness. Now that movie will forever <span style="font-size: small;">be a punchline on the in<span style="font-size: small;">ternet.</span></span> </span></span>Emma Stone who is<span style="font-size: small;"> Pe<span style="font-size: small;">ter's love interest G<span style="font-size: small;">wen Stacy</span> <span style="font-size: small;">is just the love intere<span style="font-size: small;">st or the stereotypical girl next door. That's all it is to her c<span style="font-size: small;">haracter. <span style="font-size: small;">The design main villain<span style="font-size: small;"> Lizard <span style="font-size: small;">is so terrible <span style="font-size: small;">and non-t<span style="font-size: small;">h<span style="font-size: small;">reatening while his motivations are rather </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>undefined. With this whole list, I<span style="font-size: small;">'m done with superhero mov<span style="font-size: small;">ies being so innovative and creative<span style="font-size: small;">. <span style="font-size: small;">The more <span style="font-size: small;">defenses I hear from people about this movie, especially th<span style="font-size: small;">at excuse <span style="font-size: small;">of how it must follow the standards of the comics... what comi<span style="font-size: small;">c?...<i><span style="font-size: small;">The Amazing Spider-Man </span></i><span style="font-size: small;">Issue #532<span style="font-size: small;">? <i>One More Day</i>? I'll go f<span style="font-size: small;">or the lat<span style="font-size: small;">ter<span style="font-size: small;"> because se<span style="font-size: small;">riously... who gives a <span style="font-size: small;">rat's ass on what <span style="font-size: small;">comic it's based on<span style="font-size: small;">? Comic <span style="font-size: small;">book readers, yes. B<span style="font-size: small;">ut me? No. Just no.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Also<span style="font-size: small;">, f</span>or the nex<span style="font-size: small;">t <i>Amazing Spider-Man</i>, please don't ma<span style="font-size: small;">ke the entire movie a <i>Twilight</i>-styled l<span style="font-size: small;">ove triangle <span style="font-size: small;">with <span style="font-size: small;">Peter and Mary Ja<span style="font-size: small;">ne <span style="font-size: small;">who<span style="font-size: small;"> is now going to be played by Shaile<span style="font-size: small;">ne Woodley and Gwen Stacy<span style="font-size: small;">. Will you?</span></span></span></span></span></span></span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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1. Cabin in the Woods</b></span><br />
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When I first heard about <i>Cabin in the Woods, </i>it was nothing but praise for this movie. Huge strong praise coming in everywhere from festivals, critics and more importantly the rabid fanbase of Joss Whedon, who is the producer. It still baffles me that people liked it but it also baffles me that people just hated it (hell, it scored a C- Cinemascore from the masses) because they don't put the most cohesive and logical reasoning of their dislike over this movie<i> </i>as they expect a normal horror flick.<br />
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In my review of <i>Cabin in the Woods</i> I downright loathed it and I concluded that it was pretentious and that it wasn't a gamechanger. I got told off by the people who loved it, one of them calling me "butthurt" and despite that, I still stand by what I said. But it wasn't for the reasons why nobody could enjoy it. It wasn't because it isn't scary and it wasn't because I didn't get what I was getting. I could go through my problems with this flick one by one.<br />
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Firstly the characters are one-dimensional and the acting is terrible with the exception of Richard Jenkins who provides the only silver lining in this film. They lack focus and once the technicians and the surviving people meet, they don't communicate or confront them on why they are being slaughtered until the final frames of the film.<br />
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But this isn't the reason why I couldn't like the movie. The reason is that it's so full of itself. The movie has way too much concept and ideas, so what's left is to throw out tired horror cliches to the audience showing how clever they know about the genre and how much they think it is funny to make fun of it. I understand this, but for Drew Goddard and Joss Whedon, it's painting a disdain upon the audience's patience, which I have already lost after I thought about this movie through. So for me, I think there's zero restraint on what they could or couldn't do. <i>Cabin in the Woods</i> is extremely postmodern because it's a pastiche of everything you know about horror. Same with <i>Pulp Fiction</i>, which is postmodern because it's a series of vignettes paid off along with elements borrowed from classic pop culture. My gripe with that concept is that it's on the thin edge of being self-indulgent when there's a misstep within or there is an aspect totally lacking in the film's execution. It's self indulgent if it relies too much on being postmodern. I could love <i>Pulp Fiction</i> so much if there was an actual consistency and connection between plotlines resulting in me not knowing what it's about. <i>Cabin in the Woods</i> however is practically a gimmick movie bringing the plot device of real world vs surreal world while deconstructing many of the horror tropes, but Goddard and Whedon are too focused on making fun of the latter that the film has ultimately lost a sense of focus and more into delving to much into a supposed subtext for the sake of comedy. It's pretty tongue in cheek in its sense of humor along with trying to become meta. But the plot is so uneven and once it reaches the final 30 seconds, it becomes downright insulting. First as a critique into the Hollywood standardisation of any genre, then the mind of the mass audience as if it was directed and written by Charlie Kaufman and then a movie about the apocalypse. See what I mean?<br />
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To prove my point, I'll give you an example of where the film could work on that kind of self-awareness while parodying a certain genre and still be funny. Last month I saw <i>Seven Psychopaths</i> and it's a brilliant film, because one character was aware about serial killer tropes and trying to avoid it using them while writing his screenplay but the film ultimately plays off the movie being a serial killer film with a striking sense of black humor. Another example is <i>Adaptation </i>where Charlie Kaufman portrays himself being a self-loathing storyteller trying to adapt a book with no story. It was meta, but it plays off characters who are based on actual people still currently living. That movie had great performances, was hilarious in its unpredictable story and was critical of Hollywood screenwriting standards and more importantly it had restraint. And that's what <i>Cabin in the Woods</i>, in comparison with these films, lack. A lack of subtlety because Goddard and Whedon basically annoys us with how meta the film is and how clever we are for being "one-of-a-kind" for 95 minutes.<br />
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I just couldn't go behind the film's intentions because it thinks it so smart but ultimately alienating the audience. It wasn't because they're idiots and they prefer <i>Transformers</i> or <i>Paranormal Activity </i>over this<i>, </i>it's because the movie is so cynical and the more you think about the film, the more it just makes you angry thinking about it. That's why I called this pretentious because it's incredibly self-indulgent, relies too much on a current artistic critical theory and as a whole it just doesn't add up. That's why I don't see this as the much hyped game changer and overall the film's execution serves as just false significance. So repeating from what I've initially said, this could have been much better. <br />
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Thankfully I am not the only person who wasn't jumping the bandwagon in liking this movie. I know that Noah Antwiler (Spoony) of The Spoony Experiment who angrily tweeted about it and anime reviewer Hope Chapman (JesuOtaku) got downright baffled about the film's intentions, and as much as her review of the film is so detailed, I completely agree with it. Full review: <a href="http://blip.tv/jesuotaku/vlog-cabin-in-the-woods-cuz-i-had-to-say-something-6098567" target="_blank">http://blip.tv/jesuotaku/vlog-cabin-in-the-woods-cuz-i-had-to-say-something-6098567</a><br />
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It is as excruciatingly vapid as <i>Cosmopolis</i> or nonsensical as <i>The Dark Knight Rises</i> and it's a film I would never want to watch again in my entire life. And this is how I feel about the film. I am the Benson who gets a hissy fit after being thrown by trash. And this film is Rigby.</div>
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Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-20390399680212717042012-12-10T21:18:00.000+11:002012-12-10T21:18:08.642+11:00What I watched after the HSC (so far)I've been watching so many films after finishing my final HSC exams and perhaps it's a routine I'm getting used to and I like it. With all the difficulty of starting myself in finding job and Chris Brown like mood swings, I've been watching more movies than anytime this year.<br />
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<a name='more'></a>As of 8 December 2012, I've watched: <br />
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<b>Let the Right One In (2008) </b>- the first film I watched after the exam and from watching it a second time, it was equally better from watching it a second time. I still stand by the fact that it's my favorite movie of the 2000s, though I still haven't seen <i>Mulholland Drive</i>, <i>Lord of the Rings - The Return of the King</i> or any movies that have the potential to represent filmmaking in the 21st Century. Tomas Alfredson's cold framing remains distinctive as ever and the performances from the two leads leave the characters more fascinating. <br />
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<b>Heat (1995) </b>- Watching this movie, I'm still baffled at the reception of the film. Sure this is a well directed film from Michael Mann with glamorous cinematography and some visually striking shots of LA skyscrapers, but since the film is stretched to almost 3 hours, the film quickly loses its pacing when they switch to several storylines that is not within its focus. And it's really disappointing to see that Al Pacino and Robert De Niro, two of the most prominent performers in film only seen together in two scenes and those scenes are beyond underwhelming.<br />
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<b>The Sessions (2012) </b>- my thoughts, my <a href="http://anonynoustheatre3000.blogspot.com.au/2012/11/review-sessions-2012.html" target="_blank">review</a>. Check this movie out.<br />
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<b>25th Hour (2002) - </b>This isn't the movie about 9/11 people actually expected. This is a movie set after 9/11 but it's about Edward Norton going to jail and spending his last days of freedom with his girlfriend and friends while wondering who framed him. Norton's performance is one of the film's many highlights as well as his curse-ridden monologue of New York. But it's Spike Lee, who owns this movie framed as the perfect farewell letter to the big Apple already suffering from a real life tragedy. I already had a list of best movies of the 2000s, but I would insert <i>25th Hour </i>into the top five if I want.<br />
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<b>Dancer in the Dark (2000) </b>- This is by far Lars von Trier's best film since I've haven't seen <i>Breaking the Waves</i> yet. Every aspect of the movie is emotionally devastating that I cried my ass off in the final shot of the movie. But almost every aspect is stilted from the dialogue to the musical numbers, but I think it may have been intended. Bjork's lead performance is deservedly bombastic as her character is importantly virtuous and despite the sins and grievances she face, her character Selma is willing to sacrifice anything for her son's welfare. <br />
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<b>Gomorrah (2008) </b>- I didn't really enjoy this film. I think there was two storylines that I find more fascinating and with that the performances are pretty convincing. In fact the entire cast is actually persuasive. That said it was too long, the plotlines were disjointed and uninteresting while few of the characters were actually sympathetic. The camerawork is really shaky that it doesn't deliver much realism expected from its lack of restraint. <i>Gomorrah</i> is the <i>Crash </i>of gangster movies in which both movies are told in separate non-linear narratives, but where the latter crashes in conveying a conflicting subject matter the former actually passes. The storylines may not be fascinating, but at least in comparison, the characters contain much persona to carry the film especially when they're at their most unlikeable. E.g. - two boys who decided to become part of the mafia because they watched <i>Scarface</i> too many times. Or a boy who has to get into the underworld to become a man in the town. <br />
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<b>Antichrist (2009) - </b>A profound film that is visually striking yet disturbing on the issue of
depression and the state of psychosis that affects the worst of
humanity. The amount of conviction from Charlotte Gainsbourg and William
Dafoe is highly convincing, but by the end of the third act their
characters are so perplexing that we don't know who would be the hero of
the film. Was Gainsbourg supposed to be rooted for because she is
trapped by her husband's pseudo-medical help? Is she possessed? Did Lars
von Trier intend in mocking religious values coming from the title and
the references of The Three Beggars and Adam and Eve? Is this film
misogynistic? Sure it is, but it's a comment of how women are trapped
with their male counterparts. All of these questions are worth
intepreting, and they stay with you long after you finished the film.
Antichrist is no masterpiece, but it's a fascinating in observing Von Trier's
darkest of dark souls.<br />
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<b>21 Jump Street (2012) </b>- I had a lot of fun with this film and it's perhaps the core friendship between Channing Tatum and Jonah Hill who used to be high school foes that carries my enjoyment with the film. Ultimately the plot is pretty predictable and the character development occurs when Tatum and Hill commit reverse psychology<b>, </b>but the self-aware humor and satirical knock out of high school comedies makes this a hysterical romp. <br />
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<b>The Raid (2012)</b> - if you're expecting plot or character development, you won't enjoy this film. It's all about the excellently choreographed martial arts action delivering some of the most intense fight scenes of this and any other year. It is structured like a video game and it works like a video game. It is all balls to the walls fighting where once the scene takes over you feel completely bruised that you wanted to watch again. It's like the world's most dangerous theme park ride but you want to go again because it is still exciting as hell.<br />
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<b>The Cabin in the Woods (2012)</b> - apparently I was told off by friends when I say I absolutely resented this film, but I still stand by my opinion that Joss Whedon and Drew Goddard wasn't even good. It's too meta to the point it's not against it's narrative or characters and where the film reaches its self-indulgent peak. If you want to know more, my <a href="http://anonynoustheatre3000.blogspot.com.au/2012/11/review-cabin-in-woods-2012.html" target="_blank">review</a> explains it all.<br />
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<b>Reality Bites (1994) </b>- There are generation defining movies and then there are movies defined by a generation. This is the latter and I expressed my thoughts <a href="http://anonynoustheatre3000.blogspot.com.au/2012/11/review-reality-bites-1994.html" target="_blank">here</a>.<br />
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<b>Trainspotting (1997) </b>- So this was what <i>Reality Bites </i>should have been. A portrayal of horrible people stuck unemployed with little to gain and little to lose. But what <i>RB</i> lacks that exists with <i>Trainspotting</i> was self-awareness and consistency with its tone. It captures the disillusion and disenchantment of 90s youth that is stuck with so-called friends, drugs and unemployment. It is Danny Boyle who strikes this film with bizzare visuals of (SPOILER) a dead baby crawling on the ceiling and Ewan McGregor crawling into the world's dirtiest toilet (which I'm not going into further detail) where he swims underneath fresh sea. <br />
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<b>Seven Psychopaths (2012) </b>- I am trying to write a full review for this movie, but if you want my quick thoughts, then here it is. This is a brilliant and hilarious comedy from Martin McDonough on par with his other hilarious previous film <i>In Bruges</i> with a brilliantly standout performance from Sam Rockwell and Colin Farrell. It is about Hollywood and its love for following cliches for the serial killer genre which Farrell's character is trying to avoid a la <i>Adaptation</i>. <br />
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<b>The Life Aquatic of Steve Zizzou (2004) </b>and <b>The Darjeeling Limited</b> - so I saw these two films directed by Wes Anderson which leaves <i>Bottle Rocket </i>as the remaining movie I have yet to see. <i>Life Aquatic</i> for me was too deadpan for my taste. This was where Robert Yeoman's cinematography was too distracting and that Bill Murray's lead performance as Steve Zizzou becomes increasingly sardonic he barely engaged me. While I did appreciate a diorama shot of the Life Aquatic boat, there was nothing special about the film I could recommend. <i>Darjeeling</i> however should have got more praise than it currently have because I think it is Anderson's best film he made (if you're counting live action). Why do I prefer this over his other films? Well this is what I expected from Wes and this was what I wanted from Wes. The characterization of Owen Wilson, Jason Schwartzman and Adrien Brody made them fascinating yet remaining quirky, that you really believe the situations that they have to escape in coming for the trip. <br />
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<b>The Double Life of Veronique (1991)</b> - Kryzstof Kieslowski's film before he made the <i>Three Colors trilogy</i> is visually mezmorizing and is extremely challenging. This is where Irene Jacob (who then appeared in <i>Red</i>) plays two figures of herself - Veronique and Veronika. Both are accomplished musicians whose lives start to fall apart as they take a first glance at each other. Veronique would be her real life self, but Veronika would be Jacob's post-mortem. Before writing this, initally <i>Double Life</i> didn't really engage me due to its glacially slow pace. But the film grew on me with its doppleganger concept Kieslowski aimed to convey in its narrative and Irene Jacob's performance playing both figures who meet their downfall is exhilarating. The cinematography of the film is also gorgeous giving the film a fanatical feeling. In fact, the more I think about the more I could recommend this movie to anyone with this large amount of patience.<br />
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<b>The Perks of Being A Wallflower (2012) - </b><a href="http://anonynoustheatre3000.blogspot.com.au/2012/12/review-perks-of-being-wallflower-2012.html" target="_blank">my thoughts, my review. I loved it.</a><br />
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<b>Argo (2012) </b>- I finally had a chance to see Ben Affleck's latest film and despite the amount of flaws I found within, it is nonetheless an entertaining thriller. The first and final half hours are the most intense scenes in this or any other movie out this year and Ben Affleck (am I the only person who thought it was Keanu Reeves who is in it) gives out a spell-binding performance as Tony Mendez, a CIA agent who assist in helping the escape of six Canadian diplomats in Iran by masquerade as a talent scout whereas the diplomats roleplay as a film crew of a science fiction movie. There is some witty dialogue within the film such as "Argo fuck yourself"and the comic relief from John Goodman and Alan Arkin is much welcome. Personally I didn't find <i>Argo</i> compelling as a whole and one of my main problems is that after a tense moment, the movie then takes a break in where you find yourself exhausted from that scene and it drags towards the next scene that will have an equal degree of conflict. But still, it's worth watching and it shows that Ben Affleck is a talented director third time around. Check it out<br />
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<b>Bad Santa (2003) - </b>This is a film that is not about Christmas, yet it's about a con artist who every year works as a department store Santa while boozing his way into self-destruction. Coming off from a hilarious performance from Billy Bob Thorton as the Bad Santa, the film is simply laugh out loud funny. It may establish itself very slow and crude, but the movie's comedy begins to kick in. Thorton's redemption (if there was any intention)<b> </b>is based on the friendship with an obese and naive 8 year old and they seem to make a really odd couple that it builds more heart the movie needed. <br />
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<b>Persepolis (2007)</b> - Majane Strapi's autobiographical animation still leave me wanting to watch it again and again and it stills remain fascinating. I am currently writing an article about the movie and everything about it, so watch out for that. But about Persepolis. Please watch it. The animation is brilliant and the storytelling is well-flowed describing the events in Strapi's life in the ever-changing nation of Iran.<br />
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<b>Requiem For A Dream (2000) </b>- So I finally watched this film for the first time and even though it's labeled as "the one great movie you would only want to watch once", I think otherwise. I mean there were some movies I would want to watch once due to its content like <i>Boogie Nights </i>or <i>City of God</i>, but <i>Requiem For A Dream</i> is a movie that has much more repeatability than anyone would estimate. It's really intense and it never takes a break. But away from these problems, the performances from Jared Leto, Jennifer Connolly and Ellen Burstyn really sold this film out and it drives how we use a dangerous supplement to fulfill a supposedly impossible dream in life, especially with drugs. <br />
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<b>Drive </b>- Watching Nicolas Winding Refn's mainstream foray for the fourth time made me realize of how much more layer it contains. It's already one of my favorite films of 2011 and I already expressed praise in Ryan Gosling's minimalist performance and his chemistry with Carey Mulligan, Newton Thomas Sigel's eye-popping cinematography and Albert Brook's chilling character. But I just watched <i>Drive </i>now and I had took full grasp with almost everything the movie delivers. If you haven't seen this movie, check it out now. But be warned. It will take a lot of patience to enjoy it.<br />
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<b>Skyfall (2012) </b>- I am currently writing a review for it now. Let's just say I watched it for free and it was worth it<b> </b>Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-5463995687180587672012-12-01T12:03:00.000+11:002012-12-18T20:04:02.765+11:00Review | The Perks of Being A Wallflower (2012)<i><b>A standout high school film in recent memory.</b></i><br />
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<a name='more'></a><i>The Perks of Being A Wallflower </i>has a very peculiar title and sets very peculiar expectations. It's the kind of movie you would groan about because it features teenagers or it has an indie feel that appeals much to the emos and the hipsters like <i>Garden State</i>, <i>Juno</i> or any comedy that premiered at Sundance. The movie is adapted by the author of the original novel Stephen Chbosky and for those of you that have read the book, but didn't enjoy it, there's a fear that he will translate parts that you would dislike. But guess what. This film may be not just my favorite movie of the year so far, but it may be my favorite of the high school genre.<br />
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The adaptation follows Charlie (Logan Lerman) who is starting his freshman year at a new high school. Despite his huge interests in literature and music, he's an introverted loner with a damaged persona following the death of two people that had been very close to him. We're going to see him getting picked on by bigger people as you usually would when you enter your first year. But then he meets Patrick (Ezra Miller), a free-spirited, closet gay senior and his step-sister Sam (Emma Watson) in which Charlie takes a liking for, and they become friends, providing him the needed comfort of high school and help him move into the world of adulthood by increasing his self-esteem.<br />
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Before going into this movie, I have prepared by reading Chbosky's novel and I can tell you it is harrowing. I won't go into too much detail about the book, but it's a very realistic approach on adolescence which features angst and alienation coming from the perspective of Charlie so much and calculates his friendship with Patrick and Sam. I have also used the novel as a supplementary text for my finals exam, which grew my appreciation of it even more. But with transferring the content from the source material to the big screen, the author had made a generally accessible, bittersweet, relatable and unique film that is equally excellent with the novel.<br />
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<i>The Perks of Being A Wallflower</i> is a standout of all the films released in the past five to ten years that is aimed and made for teenagers. It's not a film that contains much excess (<i>Project X, Superbad </i>or <i>21 Jump Street</i>) or exploitative fantasy (the <i>Twilight </i>series, <i>Mean Girls</i>), but plays out as a complex and stripped down take into high school life. Chbosky transcends from cliche which involves climbing the social ladder, bullies or how the adults portayed are unfairly dominant towards the protagonist (aka THE MAN!) and instead gives us a fascinating look by simply bringing a balanced and well-framed portrayal of each character's connection with one another, particularly Charlie. We usually see the fractured personae of Charlie, Sam and Patrick at every stage of the coming-of-age story and it would be taken either as a leading or supporting role. From the kids in <i>The Breakfast Club</i>, Cameron Frye in <i>Ferris Bueller</i>, and now Charlie of <i>Perks</i>, they all have lower self-esteem and lower self-confidence that it's just sad to see them being limited to new stages where they could transform into an adult until they build a friendship. For Charlie, his boundaries are made obvious with his lack of social skills, and his past trauma and the connections he had, both lost and found are perhaps the main factor in keeping him sane and stable. <br />
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I wouldn't go as far as to compare the novel with the film, but I am very happy that Chbosky did not choose to bring literally every sentence of the novel and put it on camera while retaining the realism placed in the main themes and issues that are around teenage angst. For instance the depiction of sexuality here is restrained up to Patrick's homosexuality which is an issue currently comfortable and acceptable in society. There is also a theme about pedophilia, which I'm usually against, but at least in here, they make it understandable in where the relationship between one character and his companion is at least warm and heartfelt and not about having to be all up against. Other themes such as sex, drugs and alienation. He also limits the numerous amounts of pop culture references all of which to 60s and 70s classic music like <i>The Smiths</i>, literature such as <i>Catcher in the Rye </i>and <i>On the Road</i> but still retains the amount of exposure of <i>Rocky Horror Picture Show</i> and despite this, he creates a nostalgic journey of high school life. This is evident in its soundtrack, which seems appropriate for a film that contains a thoughtful character despite the setting being placed in the early 90s. I never even heard of David Bowie's <i>Heroes </i>in my entire life (given that I'm a huge fan of his music), but it feels greatly orchestrated.<br />
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Chbosky also knows how to frame his characters with everyone being well-expressed from the actors' performances. For Logan Lerman, who appeared in mediocrity like <i>Percy Jackson</i> or <i>Gamer</i>, he makes his shy but sweet Charlie more convincing and believable. In this film, Chbosky is also able to bring a talented supporting cast away from the roles that audiences have always known for. Emma Watson, whose character could have easily be the Manic Pixie Dream Girl trope is perhaps impressive as Sam, Charlie's intelligent yet hopeless romantic not to mention that she nails a convincing American accent. Sure, her character seems so familiar in every high school film featuring the male protagonist and Molly Ringwald, but Watson's performance is mature enough to convey this and proves that she is not just going to be known Hermione Granger from <i>Harry Potter </i>for a while<i>. </i>Ezra Miller moves away from his skin crawling sociopath he played in <i>We Need to Talk About Kevin</i> and transform into a free spirited class clown, but when his sexual identity is confronted, he portrays Patrick with some much needed emotional charge.<br />
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The film also utilize the adult cast on par with the teenagers. We have Paul Rudd as Charlie's charming and kind English teacher, Melanie Lynskey as Charlie's late Aunt, Nina Dobrev as his sister and Joan Cusack also makes an appearance as his doctor. All of whom gives earnest and nuanced performances particularly with Rudd who like Ezra and Watson, plays a character completely away from the straight man he usually plays.<br />
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These are the many reasons I love about <i>The Perks of Being A Wallflower</i> but the most important reason why I love this movie is that I identify with this a lot with it. I was neither sociable nor confident in high school as well, but how the connections are built, how the conversations are told and how it affects our confidence are properly depicted. I was struck with how realistic it is in capturing how high school, for teenagers, is a tough slice of life. You don't seem to watch all the time in TV and movies and with this, it's a rarity. To be fair, the film have so much energy that it could try to utilize that on the narrative instead on the characterization and its emotional core, but nonetheless it works.<br />
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This is a film that have some respect for its teenage audience and knows that they are intelligent in getting the grasp of characters and story. And for me, this will be perhaps the only time I'll ever see a coming-of-age story with a perfect blend of great direction, great writing and a great ensemble. It may not be the best film I've seen about misfits, but it is the best film I've seen about misfits... that happens to be in high school.Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com1tag:blogger.com,1999:blog-6867290983092052366.post-4522384462965855872012-11-20T21:54:00.001+11:002012-11-20T21:54:54.048+11:00Review | Moonrise Kingdom (2012)<i><b>A whimsical, nostalgic journey of the auteur, yet experiences some predictable roadblocks.</b></i><br />
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<a name='more'></a>I'm convinced that Wes Anderson has built his reputation as one of the most distinguished directors of his generation by building a franchise of his own. Not in the way Marvel, or DC would do it, but like with Kevin Smith's View Askewnerverse and Joss Whedon's... Whedonverse. I could picture in my head all of the settings of every film he directed, with the possible exception of <i>Fantastic Mr Fox</i>, and all of the characters brought arranged in one block of land featuring angst-ridden children and young adults, dysfunctional families. Sure there's no Jay and Silent Bob, but there will always be a recurring character played by Bill Murray (which I could refer to him as Hill Bill if I want). All of which successfully appeals to hipster niche but then the style may alienate much of the masses. <br />
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His latest film, <i>Moonrise Kingdom, </i>is a purely nostalgic coming-of-story set in a New England island in which Sam Shukusky (Jared Gilman), a Khaki scout with a possible dark side and alienation, meets Suzy (Kara Hayward), who lives with a dysfunctional family with her lawyer parents (Frances McDormand and Bill Murray). They meet in a play dedicated to Benjamin Britten's music and made a pact to reunite during the summer of 1965 and run away on a beach from their respective camp, so their parents and the whole Khaki Troop, led by Scout Master Ward (Edward Norton) and organized by Bruce Willis, as a search party to find them. <br />
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People have argued that Anderson's creativity and the fact that the rest of his filmography follows every attribute that he introduced in <i>Bottle Rocket </i>and strengthened in <i>Rushmore </i>has been good and bad at the same time, hence the director easily fitting into the auteur theory. That wouldn't be my beef with the filmmaker because it's basically one about progress, but my problem though is perhaps the tone of each of his films. I've never been a huge fan of Wes Anderson to begin with. Sure, there's a lot to appreciate what he presents on-screen, but unfortunately I've never embraced it. Not that he doesn't want me to or I choose to. However, the biggest issue with much of his films is perhaps their dry tone. Anderson has a deadpan sense of humor and it is placed in between the blunders in family dynasties and the toyetic, arch and imaginative bits that made him the pinpoint of everything indie. Unfortunately for me, this goes into the way of any possible emotional resonance and forcefully remind the audience each character's flaws giving us less chance to connect with the film as a whole. Quite put in simple terms, his movie becomes less interesting. <br />
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That said much of the dry humor are apparent in <i>Moonrise Kingdom </i>and has all of the features in framing used in his previous films, but it wasn't so much as a complaint, which I'll get to later. This film delivers much of his expected visuals. His rapid camera movement, the use of many aerial shots of particular objects that becomes important to the events of the film and his cinematography worked on by frequent collaborate Robert Yeoman in which he puts in shades of yellow and green as his main color pallette. However the cinematography is much more engaging as the setting and the entire mis-en-scene resembles a well-crafted oil painting. This is perhaps Anderson's most enegetic film, in terms of narrative and visuals combined, given how well and fast paced the film was and the music from Benjamin Britten and the score from Alexandre Desprat serves the film so well. E.g. - the score fits perfectly in a scene where Sam is caught by the Khaki troop and defeats all of them. Once the film takes a break, we get some much needed emotional framing of each character especially with Sam and Scout Master Ward, who contains an isolated emptiness and empty awareness of the consequence. There's also a wonderful shot in which Suzy's house is given the dollhouse treatment in which we see almost every detail of the place.<br />
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The acting is perhaps exceptional, though not including some of the cast. Jared Gillman and Kara Hayward are believable and interesting as Sam and Suzy, the Romeo and Juliet-styled lovers running away from their empty families (despite the fact Sam is an orphan, he is taken care of by foster parents). Their chemistry together carries this strange coming-of-age story into a journey filled with much whimsy and much insight on their benevolent personalities. And I haven't this much bonding between two children carry this much of the film since <i>Let the Right One In</i>. The adults though are mixed. Edward Norton does a noticeable job as Troop Master Ward and so does Bruce Willis who plays the local police officer. They are both interesting, not in that they are also pressed down from self-alienation (as of every Wes Anderson's film), but they are perhaps the only people much caring of the two children, particularly with Sam who have no where to go. Even Tilda Swinton, who plays the woman of Social Services, contain some trait of Nurse Ratched in which she wants to put Sam into custody that brings some tension between the characters.<br />
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Bill Murray and Frances McDormand, who plays Suzy's parents are perhaps the glaring distraction for me in the film. As I mentioned before, my grievance with any of Wes's films is his deadpan humor and he does it with every character and the worst of it is Murray. Part of which always disappoints me about the director and actor working together is that Murray is never given anything interesting to do or utilize his talents that we've known him for during the 1980s. So his presence just wears the film down. Or any of Anderson's films at least, worst of which was <i>Life Aquatic</i>. I wouldn't think Murray would be vitally important during the movie, but for most people, he becomes increasingly much bland and boring. Another distraction is Bob Balaban who serves as the narrator. I don't think he is any good of a voiceover nor he is good in bringing any self-referential or meta humor of the film's intent, but whenever present, it feels way too odd and awkward, even in a movie directed by Wes Anderson.<br />
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Anyway, <i>Moonrise Kingdom</i> continues as one of his enjoyable films starting from <i>The Darjeeling Limited </i>and <i>Fantastic Mr. Fox</i>. It could've started in the era of <i>The Royal Tenanbaums, </i>but that film wasn't as genuine and light hearted as I wanted to be. This is the same style he puts into it, but the more I think about it within this movie, the less it bothered me. It is a connecting, idiosyncratic coming-of-age story that contains various barriers of what Anderson plays out in his film. Unfortunately though, if you can't stand him, you won't like this film. Your attitude towards him is close to deciding whether or not you want to buy a house that involves the color of the wall and is the key to how you decide. <i>Moonrise Kingdom</i> is not the gem everybody has been speculating but its nonetheless fascinating into the mind of the auteur.</div>
Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-84866843222549395622012-11-16T12:57:00.000+11:002012-11-16T12:57:41.980+11:00Review | Reality Bites (1994)<i><b>Hey hipsters, here's your defining romantic comedy! IRONY!!!! </b></i><br />
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<a name='more'></a>Looking at the movie <i>Reality Bites</i>, I have noticed two things: on the poster is the tagline "A comedy about love in the 90s" and the fact there's the word 'movie poster' on it. A little bit too self-referential guys? But hey. If there's anything I could say about the film and how it defines 90s counter culture featuring graduating college students and wannabe rock stars, it's that it makes me want to hate myself and 90s culture more than the current generation stuck on MTV reality shows and pop culture that had always been mainly aimed at girls. And I am saying this from the perspective of an 18 year old guy who is willing to defend my current generation despite the number of any grievances they cause.<br />
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In <i>Reality Bites</i>, we see four students who graduate from college. One of them that we have to focus is Lelaina (Winona Ryder), who is a production assistant for a morning show host. She then gets fired for a certain misdemeanor she caused on-set and she is trying to find a job that suits her "skills" as a filmmaker when all we know is that she does not know how to control camera movement and the film is shot on "shitteo". (lady, the guys from the Dogme movement have put more effort in their films shot on the same camera than you would). None of which works out and she is attracted to another college graduate named Troy (Ethan Hawke), who's in a band. Aww!! If he's in a band, does it mean he'll be the hopeless romantic the film wants us to sympathise? No. Just no. All he ever will be is hopeless. But she is caught up with Michael (Ben Stiller) who works for a TV network that is current MTV if they actually shown music videos. Michael's more sympathetic given how he's nice and caring so we would want Lelaina to fall for him instead of Troy. But no. She goes for the latter.<br />
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See how I gave out the premise? It's a mess. A hopeless mess without any romance, any bliss and any scene where cynicism cannot emerge. <i>Reality Bites </i>raises a few morally dubious questions about its messages about 90s youth and counter-culture.<br />
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First, there's the fact that the characters cannot find a job, particularly Leilana and how being privileged sucks and the excuses they make are just philosophical bullshit they learn from meaningless college course 201. Second, they bring the idea that women in the world would prefer toothless assholes rather than nice guys, hence the phrase "nice guys go last". Addressing the first issue, the reason why Leilana cannot even get a job comes from two things: she cannot define "irony"* which is pathetic considering that she would barely get accepted into a career in journalism and the film's only impact will be spawning a new generation of whiny emos and whiny hipsters who would later use that word as their excuse for their disdain in society. Then there's the fact she got fired from her job. Leilana represents the kind of employee you would not even hire if she is purposely treating you like crap because she thinks you are treating her like crap. So why would you want to hire her?<br />
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<tr><td class="tr-caption" style="text-align: center;">I came for a job. I became an automatic failure!</td></tr>
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The idea that being privileged sucks should be asked to the people involved in the Occupy movement who lie on their lazy asses about how the system have screwed them over and yet there is not solution. I know Leilana, that you don't want a BMW which is given generously by your parents, but given there's a small chance of you saving more money for your own car if you don't get a job in the next 2 years or so, all you can at least do is say 'yes' because they provide you everything you want, thus how you gain privilege in the first place because they are at least rewarding you of your hard work from college.<br />
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The second issue is which <i>Reality Bites</i> is a romantic comedy whose plot line mirrors of that of Generation Y and Z's most popular love story to date, <i>Twilight</i>. The two films both share a trait in which Leilana and Bella are the indecisive and mindless young woman choosing between a poorly-defined nice-guy and a man who is a jerk-off control freak. Where Bella is only manipulating the love triangle between vampire and werewolf for at least three more books, Leilana leaves Michael and Troy hanging up to 85 minutes of the film's running time. Troy has the looks of Kurt Cobain, but has the mind of Fred Durst, if he was actually more hipsterish. He's an arrogant, narcisisstic, whiny, and utterly despicable character with little redeeming qualities. Being in a band does not even suffice as a quality and having to sympathize how empty society has turn you into a cipher rather than a character. More so he's the character Stiller performed in <i>Greenberg</i>. Stiller's character in here, Michael is perhaps likable even though he doesn't do the neurotic schtick that he always do in every comedy. But he's too nice to actually lift the movie out of his backhanded ways. Even though at the end of the day, Michael would also be the asshole if you judge him as a privileged yuppie or that she showed Leilana's film to the networks which, to the film's credit, predicts almost 90% of content shown on current MTV as well as Australian network TV. But then again her film sucks and paints a gloomy portrait of "the real world".<br />
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And that is probably the biggest grievance of the film. It doesn't even mention any positive quality about 90s youth pandering to the people grown up in the era and how bitter and disillusioned about our lives by blaming it on the best things they'll ever have. It's not even fair to call this a "generation-defining" film because it's not easy to identify what people would have grown up with or while it's on. Movies like <i>Clueless, Fight Club </i>and <i>Trainspotting</i> all feature similar attributes where all of these scenarios occurs in the 90s and does it superior than this film. Horrible characters, the idea that being privileged sucks, but they have been given interesting and self-aware insights upon pursuing the need for acceptance and our focus on reality. So how <i>Reality Bites</i> is given the label is beyond me. But it may be evident that the creative force of the film thinks so. Ask Ben Stiller since this is his directorial debut (don't worry, we've seen him direct other things and that's may not his fault) or writer Helen Childress. Or even the cast. <br />
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<tr><td class="tr-caption" style="text-align: center;">Dream's over.</td></tr>
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Since <i>Reality Bites</i> is stuck with being a rom-com rather than a film that would give a voice of the 90s youth, it's an opportunity that is clumsily avoided. Perhaps it could have been hit if they actually address the issues youth are facing in real life. And it's the white elephant in the room. How do I notice this? Well ask Janeane Garofalo, one of the other graduates a sales manager for GAP. She is testing whether or not she has AIDS. Well she isn't in the case, so her character arc lasted for only 20 minutes. Steve Zahn plays the other member and he is perhaps the most fascinating character because he comes out of the closet for Leilana and Garofalo's character Vicki. Unfortunately though he is not openly gay completely if he doesn't . Why doesn't Stiller and Childress utilize his problem? Is it because the movie is too edgy to begin with? Or maybe they're too stuck up with being cynical and letting them know they're cynical. Speaking of AIDS and HIV.... <i>Angels in America</i> did a better job in addressing this issue than this movie. <br />
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Romantic comedies like this breaks off any potential chemistry and Winona Ryder does not have any of it between Hawke or Stiller. Since some of the performances are vague, the soundtrack is just irritating for a 90s flick and the storyline isn't focused enough as well as boring direction from Stiller, it does nothing to bring a possible zeitgeist and already they accomplished glorifying stuck-up individualism that leaves the audience cold. That's the probably the greatest thing I could say about <i>Reality Bites</i>. It's the kind of film that you can be prejudiced about once they gained buzz at Sundance.<br />
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<i>Reality Bites</i> is a hypocritical, dishonest film that anyone could ever watch with frustrating characters and leaving no instinctive imagination on the issues facing youth, past and present. Already the movie is dated and forgettable, but this is genuinely dull. <br />
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*here's the definition of irony - <a href="http://www.youtube.com/watch?v=WY_amJ0YZrM" target="_blank">http://www.youtube.com/watch?v=WY_amJ0YZrM</a>Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-48971274199775350862012-11-15T22:37:00.001+11:002012-11-15T22:37:17.632+11:00An Apology to the Nostalgia Chick...Yep you heard it. This is going a personal post in which I actually experience something hard-hitting and I blamed it on myself. In fact I would for good reason. To say that I said worst things about people and their place in this world would be an understatement. Recently, I wrote a post about director Zack Snyder and how I think he is the worst director currently working. I still stand by that fact, but if I would ever meet him as a person, my thoughts would work differently. Today I'm going to write an apology to Lindsay Ellis, aka. The Nostalgia Chick...<br />
<a name='more'></a>For those of you who don't know her, then you should check her out. The Nostalgia Chick was part of ThatGuyWithTheGlasses.com where she became the female counterpart of Doug Walker's Nostalgia Critic. Her reviewing style, whether it'd be nostalgic stuff or movies and TV shows aimed at young girls, is usually analytical often sardonic, often bringing a perspective close to its context and critical theory. This usually involves feminism in the way women are presented,<br />
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I wrote a post on TGWTGSecrets, a Tumblr about the website and users can submit their personal secrets on reviewers such as her, NC, Linkara, Obscurus Lupa, Cinema Snob, etc. . So far I've written two secrets, but one was aimed at Ellis. If you are reading this and you are thinking about searching TGWTGSecrets and its archive finding that post, then I suggest you don't. It's really bad. In that post, I wrote how her videos made me angry and that included those on Charlie's Angels and Reality Bites. I was frustrated in how Ellis commented that 'feminism is dead' because of the release of Charlie's Angels in which Drew Barrymore, Lucy Liu and Cameron Diaz presents themselves as action heroes wearing scantily clad uniforms. Worst of all, she wore a niqab (mind you, it's not a burqa) in the review in how woman are oppressed and which she is using to keep her physical appearance on hand. <i>Reality Bites</i> was another video I was opposed of. I felt frustrated because in that review, she wrote a figurative letter to 1994, the year in which I was born, in which I assume. Don't forget, I had been missing out the point of her review*, but 1994 meant a lot to me even though not a lot of great things had happened that year, but I was a happy child in that case.<br />
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And then I called her 'a senile old woman' and how Doug sets her up. I even got Todd in The Shadows, one of the reviewers on TGWTG, involved by blaming him for being so bitter and angrier. How I wrote that secret was how the fictitious Mark Zuckerberg would later call his ex-girlfriend a bitch in <i>The Social Network</i> except that I didn't go full-out by building a revenge website. Instead I walked away and I found out that it was posted today or maybe the day before, receiving comments on that post on how it was misogynist, dumb and vile.<br />
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Keep in mind that it wasn't the first time this year that I wrote nasty stuff about a person's opinion online. I once wrote on someone's Facebook wall about he only didn't like The Avengers because he was a high-brow snob and how he was indecent to notable people who recently died.<br />
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So I just wanted to apologize to Lindsay, and also apologize to Todd if I had him involved with my comment. If you are reading this, Lindsay and I hope that you are that I regret any bitter and harsh words about how you review films that are considered 'nostalgic'. You still have a great voice on the internet even though I would not stand how bitter you can be when you try to express a rant. So anyway, I apologize for everything I said about you and I hope you can forgive me.<br />
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*<b>UPDATE: </b>I have just watched the film and what I can say it is one of the most dishonest, whiny and disjointed films I have ever seen. Generation-defining my ass, this makes me want to hate more on people who grew up on the 90s rather than the current years I have to grow up with. I realize Lindsay had been right and should get along with her viewsNeutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com1tag:blogger.com,1999:blog-6867290983092052366.post-1736847170190201952012-11-15T11:36:00.000+11:002012-11-24T20:30:31.835+11:00Review | The Cabin in the Woods (2012)<i><b>An overtly-clever horror film that doesn't redefine the genre. It kills it</b></i>.<br />
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<a name='more'></a>It was first stuck in a studio crisis. It was then saved by Lionsgate. It was shown to film festivals that are unlike Cannes or Venice. People loved it. It was shown to theatres. People hated it. I then watched it for the first time on DVD. And guess what? I don't love it and I don't like it either. It pissed me off.<br />
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For those who haven't watch the film<i>, </i>the pitch is four friends go to the cabin in the woods and where they're staying is not what it seems. Sounds familiar? Well you're not the only ones. so check this movie out if you can. Then email your thoughts to me about whether you loved this or hated it with a passion. <br />
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Actually this is not my full review, here's my deconstruction of it. <b>WARNING: THIS FILM CONTAINS SPOILERS.</b><br />
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Cabin in the Woods focuses on a group of friends, the virgin, the slut, the jock, the genius and the stoner who goes to a cabin in the woods... Yeah I already outlined the plot for you, so you all know. But here's an attention grabber. A group of technicians, in which the males (one played by Richard Jenkins) dress as bureaucrats and the females a scientists (because you will always identify someone a scientist if he wears a lab coat) watches beneath the surface and manipulates the surroundings of these friends and killing them based on what kind of monsters suitable for their slain hence churning out the formula. If the virgin is not killed, then the humanity is threatened with extinction.<br />
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Look. I enjoy movies that are actual puzzles. <i>Inception</i> and <i>Being John Malkovich</i> are examples of this. I enjoy parody and meta humor. But <i>Cabin in the Woods</i> is so much of a puzzle and has so much meta that it is a mess disguised as a puzzle while everyone hails this as a masterpiece. I honestly can't blame anyone who is a fan of Joss Whedon enjoying this because of his name on it since it's fan loyalty. But to only enjoy a film because of someone's name is in the movie's credits is not at all legitimate. The excuse "I liked this film because of (insert name). He knows witty dialogue... he know what he's doing" is completely vague and you're encouraging him round out the same thing in his next film to please you. With that said, the person who deserves full responsibility for this film is Drew Goddard, the writer of <i>Cloverfield,</i> so I am going to take him as a target in this film.<br />
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Before you're going to jump on me and state that I don't understand the purpose, message or any aspect of the film, let me tell you that I have fully got this film and no one is right or wrong when it comes to interpreting a piece of work. I get that it is a critique on the horror genre. I get that the entire film is a metaphor for the Hollywood machine churning out the same generic brand of horror. I get the structure of the film. I understood that it's a comedy as well. But the problem with all of these mentioned is that it is not executed well for me to understand it. Or maybe the film has too much concept or that the concept is too high to enjoy.<br />
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<tr><td class="tr-caption" style="text-align: center;">Careful girl! Some pervert is watching you.</td></tr>
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What Drew Goddard brings with this film is the high amount of invention of the film and I can actually admire that. As I mentioned before, <i>Cabin in the Woods</i> is perhaps an allegory in filmmaking. The drones, representing the creative force of the film, the director (played by.... I would hand out enough spoilers in this review, so I won't give out her name) the executive producer for the financial stress, the cabin in the woods - the production design, the fate of the world - the reaction of the audience regarding the film's content and that's all you have to know. My problem with this (and perhaps everything about the film) is that the setting is way too clever and how they pull it. Each time Goddard and Whedon brings in every horror cliche out, they do it in a way that Charles Manson would approve. It practically criticizes how its overused but puts it in the most tongue in cheek way imaginable. And I got some laughs out of it such as one scene with the foreboding guy at the petrol station. He picks up the phone, makes his cliche monologue and is spoken via speaker phone while the others laugh. That was funny. Or what about when two of the workers stare at the slut making out with the jock as she takes her shirt off? That was also funny. There are other moments that have become the saving grace of the film. But the film takes too much comedy into account that my problems with the film became transparent. Goddard and Whedon wants to mock at it and they want us to mock at it as well, but if we don't, we're not getting the puzzle completely. Right after the whole agency get eaten by every monster imaginable and once one of the workers say a cheesy line for the sake of humor and even a monster where it is completely random, I have completely abandoned all hope with this movie.<br />
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Really, this film could have been better. And I am saying this with huge emphasis on COULD HAVE BEEN BETTER. If Goddard hadn't been writing the screenplay like an annoying fan boy who is trying to get out of film school quick by writing a rushed essay on horror and how they could fix it with the most ridiculous way possible, this COULD HAVE BEEN BETTER AND COULD REACH ANY POTENTIAL OF BEING GOOD. <i>Cabin in the Woods </i>cannot really have a storyline that is so diluted with the big brother concept that they could not bring across any interaction between the workers and the characters. Why are they in this place? Why are the technicians doing this to them? Does it have to do with the group is stupid while the workers are much smarter than them? I would rather have <i>Cabin in the Woods</i> be based off a similar plot device used greatly in <i>The Truman Show</i> or <i>Minority Report </i>or anything perceived by Phillip K. Dick<i> </i>in which a conflict between free will and determinism occurs any day now than Goddard and Whedon continually mocking cliches with no plot. <br />
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Also, Don't get me started on how painfully stupid the ending was, in where we have to stop and witness the apocalypse through a giant hand destroying the cabin in the woods. Watching it and trying to connect thoughts before writing the review, the ending paves out many plot holes that I could possibly identify. If the entire storyline of cabin in the woods serves as a threat to the rituals as operated by the technicians, why wasn't the whole earth is affected when a classroom in Japan can defeat a <i>Grudge</i>-lite parody or when the monster in Berlin was killed? Am I missing something here? How about this, Goddard? Try introducing the trope in which an angst-ridden girl/guy meets a vampire and if she doesn't feel happy with him in two days, insert an atomic bomb into her stomach and the whole town gets nuked if the timer stops. HOW'S THAT FOR A SCRIPT!? Or what about if you bring the ritual's possible apocalypse earlier in the film and we would've cared more for the technicians and not for the <i>Scooby Doo </i>live action cast.<br />
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<tr><td class="tr-caption" style="text-align: center;">Nice foreshadowing!</td></tr>
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The characters also becomes the problem as we have no idea what they are like. As a result, they are just simply archetypes and the performances are brutally vague. The cast which consists of Kristen Connolly, Chris Hemsworth and Anna Hutchinson are all stuck in predictable roles and then gets killed off when either of them do something stupid or are trying to get out. With Connolly playing the 'virgin' (hence she's the best out of the group) you would assume that she has a lot of heart, yet she doesn't have any character depth or overall bland. There's no tension between her or the technicians. She doesn't question and confront Jenkin's methods which is by far sadistic, so what was the entire point of this film when she doesn't do that?<br />
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Ultimately though, all of the flaws of the film all come from the screenplay, but other problems I have with this film are pretty minor including some dreadful cinematography in when the film is shot at night, you can't even watch anything or tell what is going on and the clumsy editing that makes the pacing so uneven. So my overall problem with this film is that it has nothing there to engage me or even care for the narrative, characters and the direction since it is beyond irritating. Horror movies are not about scaring you. It's about pulling the audience in extreme situations and confront it or escape it.<br />
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I do like to point out that of all the flaws <i>Cabin in the Woods</i> contained, there's some good points as I already mentioned that I liked the idea with Goddard and Whedon trying to convey the story enough and there are moments where I have some laughs, though not so geniune. But I didn't mentioned once about Richard Jenkins who puts in an okay performance in this film so that might perhaps provide the silver lining for me.<br />
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If you want to watch a better horror comedy, I suggest you start off with <i>Shaun of the Dead</i> or <i>Tucker and Dale vs Evil </i>cos they have a consistent narrative and more funnier quips than this film. Here, Goddard and Whedon is just making an attempt about becoming cynical by being cynical to its audience. Watching <i>Cabin in the Woods</i> and saying that it was good because of someone's name is in it and with diehard and loyal support is not even a good excuse in defending the movie. It's like buying the new technology from Apple because it's Apple. You have to buy it. With this, you're supposed to enjoy it. And if you think, readers, that I've been nitpicking so much, think about this. I went into the film without trying to know everything about the film, its release or any hype at all. I go to movies to be told stories and at least be entertained. This movie is not good at it. It practically throws its "high" concept in front of the audience's face if they won't understand it and its by far the most insulting thing about the film. And to sum up the entire film's accidental pretentiousness and my frustration, it's practically the scary movies rap from <i>Regular Show</i> played over 300 times in a row.<br />
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<i>Cabin in the Woods</i> is not a gamechanger. It's a disaster. Period.Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-7944034383571578332012-11-13T22:00:00.002+11:002012-11-13T22:00:23.182+11:00Review | The Sessions (2012)<i><b>A heartfelt and honest movie that brilliantly executes a strange premise</b></i><br />
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<a name='more'></a>Hear this out. <i>The Sessions </i>is the true story of which Mark O' Brien, a polio victim who survives and breathes through an iron lung, wants to lose his virginity from a sex surrogate. Sounds strange? Well, you're not alone. John Hawkes plays Mark O' Brien, a poet and a journalist, who has a positive outlook at life, despite his condition, and is very religious. He wants to experience sexual intercourse for the first time in his life, because... he wants to and does so by having sessions with a sex surrogate Cheryl Colin Greene (Helen Hunt) in where he gets to know more about her in and out of it.<br />
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<i><b> </b></i><br />
As bizzare as the pitch goes, <i>The Sessions </i>is brilliantly executed by director Ben Lewin, who is also a real life polio survivor. With movies revolving around a mentally or physically handicapped person, my main problem with them is that the character has never been given a fully fledged arc and is only there to win sympathy from its audience, cheapening the subject matter and not expressing the voices of these characters from the performances, leading to the worst part of the actors being rewarded for doing so. It is obvious for Lewin to gain any sympathy for O'Brien from his audience, but he addressed these problems with full respect of his characterization and giving him much more honest voice.<br />
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The film often relies on sex jokes, particularly in one scene where Hawkes asks his assistant why they refer to their penises as dicks. But Levin brings it delicately also bringing the charm of the film to where it is much needed. It may not be laugh-out-loud ala <i>50/50</i> but it is very earnest. From the amount of nudity and adult themes displayed, this film doesn't tries to be sexy nor does it tries to be too serious about his reasoning for this.<br />
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John Hawkes is perhaps the centre of the film, which is a character study and he delivers one of the most daring performances of the year. After the likes of indie hits like <i>Winter's Bone </i>and <i>Martha Marcy May Marlene,</i> he steps out of his gritty and tacky character to play a very straight-out, occasionally horny but ultimately strong man who as I mentioned before, is very optimistic and virtuous in his pursuit of needs that are obviously unpredictable, but are nonetheless important to his well-being.To put himself in where he is confined to a machine that is his life support is astounding and his character is more of an en devour. Helen Hunt is also brave and is very comfortable about discussing her libido building a personal connection with Hawkes as they both have brilliant chemistry. William H Macy, who plays a pastor and religious mentor for Mark is also enjoyable to watch as he reminds him that his beliefs does not go in the way of his needs even if his sexual desires prevent him from being a good Christian.And it's not just Hunt and Macy that Hawkes have a relationship with, but is also his new young assistants current and former, played by Moon Bloodgood and Annika Marks respectively. They have a fair amount of screen time and form a bond with the guy the same way as he does with everybody else.<br />
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Overall, The Sessions is an excellent film about mental illness put together in its light-hearted and sincere way. I would not think Hawkes would gain anything else other than awards recognition for delivering "man with an iron long" performance very generously and is more deserving than anyone who had played the character before. Movies about a person's mental illness such as <i>Rain Man, Forrest Gump </i>and <i>I Am Sam </i>has always been about how the character think that being normal is better than being handicapped and place it in sentimentality that is not organic and rather forced. But with <i>The Sessions</i>, it doesn't do that and instead ask its audience to sympathise Mark not because of his condition, but rather his attitudes in life that are clearly defined. As a result, it becomes emotionally resonating.Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-76330556983890300912012-08-21T21:39:00.002+10:002012-08-21T21:39:39.435+10:00Review | The Dark Knight Rises<div class="separator" style="clear: both; text-align: center;">
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<i><b>This trilogy settles... with something hollow. And there are some spoilers in this review.</b></i></div>
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<a name='more'></a>The epic conclusion of Christopher Nolan's <i>Dark Knight </i>trilogy (yes, that's what I'm going to refer to these movies) settles with a finale that may set to spark conversations, good or bad. There's a lot to live up to, particularly its predecessor <i>The Dark Knight </i>which had since became an instant classic and turning point for not just the superhero and the comic book genre in general, but the whole of cinema as well. You would expect our villain's Baneto to top Heath Ledger's Joker (when simply it's already impossible and to top off or be on par with TDK.<br />
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It's been 8 years since the events of <i>The Dark Knight </i>and already Gotham is free of any crime. Bruce Wayne (Christian Bale) had left the city and once he return, is left broke, physically and financially. Meanwhile Bane (Tom Hardy) emerges and decide to get rid of Gotham's prospers by taking over the city. How? By blowing up a football stadium, robbing a stock market and blowing up more bridges so that no one can actually escape from his reign. At the same time Selina Kyle (Anne Hathaway) decides to do so by stealing off the rich until she and Batman crosses each other's path. Meanwhile John Blake (Joseph Gordon Levitt), a rising cop on the aide of Commissioner Gordon (Gary Oldman) decides to reveal the true identity of Batman to the ailing people of Gotham and is also joining the fight against Bane's cause. And I forgot to mention that Miranda Tate (Marion Cottilard) is trying to... let's say Cotillard is playing the same character from <i>Inception</i>.<br />
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It took me a lot of thinking in writing this review because while I would compliment Nolan for having the guts in expressing his sense of realism and integrating them with magnificent IMAX sequences making much of his trilogy as a drama than a standard superhero film, I would knock off <i>The Dark Knight Rises</i> into having too much self-importance since it's too busy emphasizing the scope and scale of the film losing much of the depth that made its predecessors more special. <br />
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I would give credit to Nolan for the effort in rebooting the Batman franchise and turning i into t a class of its own. His knack for heavy realism and practical effects in his films, mostly reminiscent of Stanley Kubrick, has turn the caped crusader into a grounded, yet deeper character and already all three films contains itself with almost one theme only. <i>Batman Begins, </i>being about fear, <i>The Dark Knight</i>, which takes into the account of chaos and <i>The Dark Knight Rises...</i> social class conflict and Marxism?<br />
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With the third film, it takes a look back into <i>Batman Begins</i> partly to remind us why Batman actually exists in the first place and the challenge for him is to defeat Bane who may have ties with his previous mentor Ra-Al-Ghul. Unfortunately because of Bruce Wayne's physically weak stamina, it's really easy to guess that he would lose in the battle and that Bane is much stronger than he is. That may be one of my biggest problems with the film and it reminds me of a similar problem with <i>The Godfather Part III. </i>I know they do not deserved to be compared but in both films, the protagonists are introduced as really frail characters and the flaw upon that is already it's too late for any emotional compromise from the beginning to be actually believed. And it's not until Ra Al Ghul actually appears in a dream where the film starts to feel cluttered with its plotlines.<br />
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Like with <i>Prometheus, </i>another recent summer blockbuster, I also thought the ideas presented in a sense of grandeur and more to a reference to Charles Dickens' <i>A Tale of Two Cities</i> and the Occupy Wall Street Movement (whatever seems relevant) are all over the place and inflicting the inconsistency of the film's pacing or in most of the case the plot. In <i>The Dark Knight </i>and <i>Batman Begins</i>, both films put mobsters and money launderers as attributes to the crime of Gotham and as bait for the villains to manipulate. In here, they're putting the fatcats as the baits. Wow. What a subtext. There's not a lot of why and more of how the "1% ruined our society" belief being more preachy. I wonder who will be the other bad guys in the next films. Fox News advocates? It's also due to almost every supporting character that suffers from every contradiction to their personas. Some of the dialogue from Nolan's screenplay feels less intelligent than its predecessor and felt too cliched and generic.<br />
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E.g. -<br />
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<b style="font-family: "Courier New",Courier,monospace;">BATMAN (tied on a rest by Bane): </b><span style="font-family: "Courier New",Courier,monospace;">Why don't you just kill me first?</span></blockquote>
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<b style="font-family: "Courier New",Courier,monospace;">BANE: (still speaking in that Sean Connery accent):</b> <span style="font-family: "Courier New",Courier,monospace;">You will and ... I'm Gotham's reckoning... When Gotham is in ashes, you'll have my permission to die.</span></blockquote>
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(Sorry. I might have took it off from the trailer.)<br />
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Bane seems to be a weaker villain than the Joker because unlike him or Ra Al Ghul, he doesn't have anything that releases any sense of spirit. This is due to his motivations, that is seemingly generic, pretty much taking over the city, dictating everyone's move. He seems to contradict his persona by saying he represents the people, but ultimately turning Gotham into a fascist regime. I'm pretty sure the events of the film is somewhat familiar to the <a href="http://en.wikipedia.org/wiki/October_Revolution" target="_blank">1917 Russian Revolution</a>. Not to mention that his mask is horrifically designed and his voice was, at times, very inaudible. 35% of the time he sounds like if T-Pain already used too much autotune. Which brings me back to probably the biggest flaw of the film being that they contradict their characters and their motivations. And it not just happens to Bane, but Miranda Tate who reveals who she actually is in the final act since it's so poorly timed that it becomes increasingly frustrating as they still already build her character arcs.<br />
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With Anne Hathaway, you'd expect much to live as Selina Kyle who would bring something fresh into her character. Believe or not, she does. Hathaway brings some liveliness into her character though that's because she only does some ass-kicking. But when she tries to deliver some emotional weight it never felt subtle and it didn't convinced me that she would be a damaged person. Unfortunately, she as well suffers from changes in character by becoming a... pussy (no pun intended). E.g. - when Bane and Batman fight, she doesn't do anything but just watch and leave. There's no confrontation between him and Bane, so it's too obvious for her not to be the other villain since we already have one... wait, two villains.<br />
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But then the final act holds me off with this movie. While it reveals Tate's true identity and has Batman determining his place in the world, it still keeps building character arc and even in the final moments, Nolan doesn't know when to stop and we don't get an epic conclusion of the trilogy that we have been waiting for. And having already giving half of the film away, I don't want to tell you what actually comes next. You'll just have to find out.<br />
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Coming off from the problems I have with this film, like I said earlier, I compliment Nolan for having the guts to actually shoot amazing IMAX sequences that is jaw droppingly chilling and exciting at the same time. Some of the practical effects, the half an hour of action during the third act and the gorgeous cinematography from Wally Pftizer, a frequent collaborator are all worth the theatre viewing it deserves. Perhaps the best character in this movie has to be John Blake played by Joseph Gordon Levitt who has the more interesting character arc than anyone in the entire film. Despite, however, ripping a plot hole open in how he knew Bruce Wayne was the Batman. Blake is much more fascinating because he is, as so suggests, is a true believer in the Dark Knight and seems to hold an epitome of such that kind. Despite being underutilized, Michael Caine, Morgan Freeman and Gary Oldman are really good as their respective characters. Christian Bale already deliver a realist Batman in the last two films and as always he's really fascinating to watch.<br />
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This is a movie that has so much ambition that it ultimately become lost in it based on the shallowness of it all and having too little, too much. Too many plots and too many characters to point where it's almost ridiculous. But at the same time you can't forget the amount of sheer effort this trilogy contains to make this superhero genre much more of an art form. All of the Batman movies including Nolan's have one thing in common: they all have a different style. Say what you want about Joel Schumacher who made <i>Batman Forever </i>and <i>Batman and Robin</i> but between Nolan and Burton, he makes his hero more strikingly and equally distinctive as Burton. And for Nolan, how his films stand out is the precise detail he brings into this film. It's not just more about Batman than it is about the stakeholders of Gotham. Yet for this, he only delivers a conclusion that ends on a spot of disappointment to be wilderness.Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-31555950589078456112012-06-30T10:18:00.000+10:002012-06-30T23:15:16.886+10:00MY OFFICIAL FAVOURITE FILMS OF 2011 <b><i>You've asked for it (or maybe you didn't)</i></b><br />
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Previously I've made a list of my favorite films of 2011 back in February prior to the Oscars and I felt it was a list of Best Films I've seen so far. You can click right <a href="http://www.blogger.com/blogger.g?blogID=6867290983092052366#editor/target=post;postID=3155595058907845611">here</a> to see for yourself, but now after catching up with the many reviewers who've made their lists on December or January, I think I'm ready. Why did it take me this long to gather up this list? Good question:<br />
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<b>A)</b> I'm a busy guy who's supposed to be ready for the final year of high school (or am I?)<br />
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<b>B)</b> Because some of these movies released in 2011 take months for it to be released in Australia and some end up getting a 2012 date. Most of them are out in art-house theaters that are 60 miles from my nearest cinema and I cannot be bothered to take a trip (I don't drive actually).</div>
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<b>C)</b> It takes a while to see every movie that is so critically acclaimed so I either rented the movie, watched it online or at a theater.</div>
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Please keep in mind that I haven't watched every film released in 2011 and some of them include <i>Margin Call, Contagion, 13 Assassins, The Skin I Live In, The Guard, Carnag</i><i></i>e, movies I've heard from some people as some of the best of the year. And also note that the films listed are not actually my personal favorites nor are they the best. The films I listed have certain qualities that are remarkable and compelling to the point where I want to watch and think about them again and again. Some of these movies are flawed so you may ask "Why is it in there when you didn't liked it the first time you saw it?". Most of these movies are some that you may have never heard of, but then again it doesn't really matter whether or not it's mainstream. </div>
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Also don't complain what's is and not on the list and yell at me "Adrian, why isn't <i>The Descendants </i>in this list. Or <i>Martha Marcy May Marlene, Harry Potter and the</i><i></i>... yada, yada. It's either because it may not be as great as the consensus say it is or it didn't made the cut. And now that's out of the way, let's see what are the best films of the year that are better than <i>The Artist. </i> </div>
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<span style="font-size: large;"> 15.</span></div>
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<span style="font-size: x-large;"> SUBMARINE</span></div>
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<span style="font-size: large;">So this is the movie that just made the cut, a month after seeing <i>The Artist</i>. Most teen comedies these days are raunchy to where they try too hard to push the limit featuring the most horniest boys who cannot wait to get laid for the first time in their lives (see <i>Superbad, The Inbetweeners Movie </i>and <i>American Pie)</i>. It's pretty much the same plot all over and over. But <i>Submarine</i> is much gentler and more quirkier than them. From <i>The IT Crowd's</i> Richard Ayoade, it's basically a Wes Anderson imitation I would have to admit. But if you look away from that, then it comes neatly with an almost nostalgic look at our youth (or perhaps 70s youth) that is remarkably subtle. Craig Roberts as the pretend genius Oliver Tate is someone who is perhaps the most charming pseudo-intellectual we would want to root all the way.</span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> The kiss between Tate and Jasmin is given to the public. </span></div>
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<span style="font-size: large;">14.</span></div>
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<span style="font-size: x-large;">THE GIRL WITH THE DRAGON TATTOO</span></div>
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<span style="font-size: large;">I've said this before and I'll say it again. David Fincher's retake is superior than the Swedish original. From his visual flair that makes the family in <i>Cluedo</i> look like <i>The Brady Bunch </i>in comparison to the star making performance from Rooney Mara as the damaged Lisbeth Salander. But what makes it superior is not only is this perfect material for a Fincher film where the message is everyone has a dark side, but it's the best adaptation Stieg Larson could ever want improving most of the problems I had with the original. It is also very addictive and I am looking forward to seeing it again on Blu Ray.</span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> The best rape revenge scene since <i>I Spit on Your Grave</i> </span></div>
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<span style="font-size: large;">13.</span></div>
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<span style="font-size: x-large;">THE TREE OF LIFE</span></div>
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<span style="font-size: large;">I can understand that this film is not for everyone, and I can see how flawed this film was. But what wasn't out of my mind was how incredibly cathartic it is and I've never experience such that is huge in a film like this. It's a journey through childhood and as a vast whole, the life cycle of the universe. That's how I looked at it. Terrence Malick's film may never be profound to the casual viewer or anyone who tries so hard to understand every bit of detail, but he shares his sense of grandeur that is visually eye popping ranging from the gorgeous cinematography from Emmanuel Lebinski to operatic openings of the cosmos. Brad Pitt gives possibly one of the best performances of his career while this film gives Jessica Chastain a chance to breakout I can't recommend it to anybody who isn't patient enough to know what it's about, but the repeat viewings makes it better to experience the same amount of emotional cleansing you'll get from this film</span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> Jessica Chastain floats like an angel... no seriously. </span></div>
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<span style="font-size: large;">12.</span></div>
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<span style="font-size: x-large;">HANNA</span></div>
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<span style="font-size: large;">With this and <i>Drive,</i> arthouse action had emerged as a subgenre of the eponymous genre. A combination of <i>Run Lola Run, The Professional </i>and <i>Bourne Identity</i> and... <i>The Wizard of Oz</i>, <i>Hanna </i>is a thrilling yet cold thriller featuring an unlikely kick ass girl in Saoirse Ronan, that is inexplicably small scaled. Carried by a heart pumping score from The Chemical Brothers, exciting combat and a pace that's the speed of writing fast until your five minutes are up this is what <i>Sucker Punch </i>should have been (for me at least)</span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> Tracking shot of Eric Bana take out baddies in a subway </span></div>
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<span style="font-size: large;">11.</span></div>
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<span style="font-size: x-large;">TYRANNOSAUR</span></div>
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<span style="font-size: large;">As far as performances go, Peter Mullan and Olivia Colman deliver a rawness within their characters I've never seen before since <i>Raging Bull</i>. I mean, imagine that movie going through reverse psychology. This directorial debut from Paddy Considine balances redemption and self-destruction that makes it heartbreaking and heartwarming from the beginning to the end. When the movie introduces Mullan as an angry alcoholic who destroys something that was with him all the time and also introduces Colman with a lying husband, there's something special when these two meet together.</span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> Between the first and final minutes of the film, I can't decide </span></div>
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<span style="font-size: large;">10.</span></div>
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<span style="font-size: x-large;">HUGO</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit4Pu-5W-ZUyvva0nZu-2FLQBAlSS2XdxBr6TrGWHhMqoI9iXfHo81cC6ozCRQLHCnXbsRLQ528DUcbeZEQg0m4ztXovjgoNXEn6Fo-nUGFAC3hx-vMtXmK04C8zyLtsRsfmwH8YMr8GLV/s1600/Clock-from-the-movie-Hugo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit4Pu-5W-ZUyvva0nZu-2FLQBAlSS2XdxBr6TrGWHhMqoI9iXfHo81cC6ozCRQLHCnXbsRLQ528DUcbeZEQg0m4ztXovjgoNXEn6Fo-nUGFAC3hx-vMtXmK04C8zyLtsRsfmwH8YMr8GLV/s640/Clock-from-the-movie-Hugo.jpg" width="640" /></a></div>
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<span style="font-size: large;"><span style="color: #666666;">Even though this film was critically acclaimed, has a 94% rating on Rotten Tomatoes and has some champions in the reviewing community, the film is actively bashed by the public. Here's the deal guys: any film that reminds you of the creamy and vivid memories of </span><i style="color: #666666;">Cinema Paradiso </i><span style="color: #666666;">is doing good for you. Since the 3D is excellent along with the art direction and cinematography, this may be a one-time enjoyment but Scorsese enjoys going back and preserving films as a treasure. If </span><i style="color: #666666;">Cinema Paradiso </i><span style="color: #666666;">is about moving forward after film, then </span><i style="color: #666666;">Hugo </i><span style="color: #666666;">is about looking back. Though people may have the problem with the acting of Asa Butterfield and Chloe Moretz, but to me, they expressed an amount of maturity to children never seen in a movie about them before.</span></span></div>
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<span style="font-size: large;"><span style="color: #666666;"><u>Greatest Moment:</u> Sudden train crash </span></span></div>
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<span style="font-size: large;">9.</span></div>
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<span style="font-size: x-large;">MELANCHOLIA</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcsWmfHBi-X3IqLLF-VUBRP_DZWEVEJYfwhbQflD3sPo5G0Fiqytl52oGJzIB2Hl61Z0Oobt6OKkT1wmgKCPWhwB4xRfKzzYFJpM45hc6Jld6pvZDaqltJmfPsoWEQlQdaqDGOpeeGNOZY/s1600/Melancholia_F11_framegrab.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcsWmfHBi-X3IqLLF-VUBRP_DZWEVEJYfwhbQflD3sPo5G0Fiqytl52oGJzIB2Hl61Z0Oobt6OKkT1wmgKCPWhwB4xRfKzzYFJpM45hc6Jld6pvZDaqltJmfPsoWEQlQdaqDGOpeeGNOZY/s640/Melancholia_F11_framegrab.jpg" width="640" /></a></div>
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<span style="font-size: large;">A feature that would certainly fit the bipolar double bill with <i>The Tree of Life</i>, Lars von Trier's film about a wedding leading up to the end of the world is not for everyone, but I really digged it. In terms of content, it's his most accessable movie to date despite von Trier filming it in his trademark camerawork and at the end every female character is degraded without fault.The realities and fantasies of depression is placed adjacently together with two parts featuring a wedding and an apocalypse. Though it is however a journey into the mind of Von Trier whose depression certainly and his old fashioned 'stone on the shoe' approach better executed here. Justine, the melancholic bride-to-be is excellent played by Kirsten Dunst and there are great. And it's a warning for anyone who tends to ruin weddings who plan on going.</span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> The first and final scenes are just as glum as glue </span></div>
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<span style="font-size: large;">8.</span></div>
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<span style="font-size: x-large;">WARRIOR</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7chka4mSrLekezZwC-yOpDA4jVyXPJsMmotENJwlwRHHLnLFVxjlggGtwZ3VXYTHPtwN0Cj2xG4TUo828L9frk7PSJ5-3FrBN64N2BphX4ZwH-GQWvIPsmdMZxI8kma2ss_g5GidewWU/s1600/warrior_quad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="481" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7chka4mSrLekezZwC-yOpDA4jVyXPJsMmotENJwlwRHHLnLFVxjlggGtwZ3VXYTHPtwN0Cj2xG4TUo828L9frk7PSJ5-3FrBN64N2BphX4ZwH-GQWvIPsmdMZxI8kma2ss_g5GidewWU/s640/warrior_quad.jpg" width="640" /></a></div>
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<span style="font-size: large;">Having somewhat of an interest for MMA, <i>Warrior </i>is possibly the best movie ever made around it. Sharing elements from <i>The Wrestler </i>and <i>The Fighter</i>, carrying and balancing its weight of family and redemption with the sport, we may have well seen it a million of times. This is a film that not only showcases great performances from Tom Hardy, Joel Edgerton and Nick Nolte and deciphers who there are, but also pay a huge amount of respect to the sport thanks to many brutal fighting scenes which will make you want to jump out of your seat and cheer for them. So I didn't really mind if it was tad predictable with its story or that it is two and a half hours long. This is by far the best crowd pleaser of the year.</span></div>
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<span style="font-size: large;"><span style="color: #666666;"><u>Greatest Moment:</u> Brother v. Brother</span> </span></div>
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<span style="font-size: large;">7.</span></div>
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<span style="font-size: x-large;">ATTACK THE BLOCK</span></div>
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<span style="font-size: large;">If there was any gripe I have for this film, it's that it isn't a movie that plays off earlier movies from Steven Spielberg like <i>The Goonies </i>as everybody describes it (note: he didn't direct it, but you get my point). But that accounts to about 98% on what I feel about <i>Attack the Block </i>because this is an enjoyable gem from Joe Cornish that is fully sick. Continuing on with what I said, the film felt like <i>Alien </i>meets <i>Boyz in the Hood</i> colliding the two vibes with science fiction horror and street smart attitudes. A gang of rowdy youths hanging out in the Council Estate would be the most unlikeliest heroes to fend off an alien invasion. And that what works. As well as the political message and progressive character that manages to make you care about these people even if <b>(Spoiler!!) </b>they mugged a lady before they were invaded. Casting unknown kids who have never acted in their life but know the language of British youth is a stroke of genius with John Boyeya as the ringleader who becomes more caring for the rest of the film. And I forgot to mention the soundtrack from Basement Jaxx which is truly listenable even when you're not watching the movie. Given its low budget this play as a influence for amateur filmmaking. </span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> Believe! </span></div>
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<span style="font-size: large;">6.</span></div>
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<span style="font-size: x-large;">SENNA</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM80xijAMP5ORI948Vn3zum4dXvPapCscST2aB3wFHoxtY7IQj8MlOFfcSsEBxltB0Nit-zReNUOQ0kdCMcKT3dXQ1ZGfwDeyKukCDVgwe-FJm6PYqKZ3_5quXZFu9eTVS74e2CqS0WGtW/s1600/senna_movie_poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM80xijAMP5ORI948Vn3zum4dXvPapCscST2aB3wFHoxtY7IQj8MlOFfcSsEBxltB0Nit-zReNUOQ0kdCMcKT3dXQ1ZGfwDeyKukCDVgwe-FJm6PYqKZ3_5quXZFu9eTVS74e2CqS0WGtW/s640/senna_movie_poster.jpg" width="640" /></a></div>
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<span style="font-size: large;">For a documentary that takes a very niche interest in Formula One racing, <i>Senna</i> is one that is fascinating on so many levels. Not only do we get to know the gifts of possibly the greatest racer in the sport's history, but we also delve deep into the politics of F1 that had gave his colorful career an impact to the sport and his home country Brazil which treats him as a national icon. With some top notch editing involving almost 99% archival footage, this doco will excite you, bring you in tears and most importantly pays a huge respect to auto racing in general.</span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> His fall from grace will leave you in tears</span></div>
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<span style="font-size: large;">5.</span></div>
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<span style="font-size: x-large;">SHAME</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSyc3NsWePhcYwt0xuzVe4eVzhW7ldIW_AkwpMhqLPrOdITIgX78peBUah1i8iWA9loqae99JCxoDAAi-cieC5nrVDv8p_-m0S1fWx9RrL9HU2HD_ZF7Yht7SRvH75vDB80_rvmbkYS5TG/s1600/shame.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSyc3NsWePhcYwt0xuzVe4eVzhW7ldIW_AkwpMhqLPrOdITIgX78peBUah1i8iWA9loqae99JCxoDAAi-cieC5nrVDv8p_-m0S1fWx9RrL9HU2HD_ZF7Yht7SRvH75vDB80_rvmbkYS5TG/s640/shame.jpg" width="640" /></a></div>
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<span style="font-size: large;">Provocative and stylish, <i>Shame </i>is a movie where sexuality is the raw mask of our loneliness and despair leading to a path of self-destruction. In my <a href="http://anonynoustheatre3000.blogspot.com.au/2012/04/review-shame.html" target="_blank">review</a> this is what I wrote about it:</span></div>
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<span style="color: #76a5af;">Looking back from all the films I've seen from
2011, this is pretty much the most original since we've never had a
subject matter like this explored in film with so much explicit subtlety
and really its focal point is Michael Fassbender whose performance
carries the film with so much density. For most of us, this film
would've been much better had it looked in further detail of sex
addiction in which the film is primarily about. But for me, that is
quite about enough. It's also about self-destruction, failure, the
abuse of our bodies and the traps that lead to our isolation. I might
have the balls to see it again and for me, <i>Shame </i>sets a high standard to films which would display sex in a dark and psychological manner... and it rarely is sexy.</span> </div>
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<span style="font-size: large;">Michael Fassbender is absolutely magnetic to watch in this film. I have a pretty hard time taking sex scenes seriously in the film, but the film's scenes have a purpose - to depict the downward spiral of a loner who is suffering from an addiction.</span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> McQueen takes a long take of Fassbender taking a jog in New York city whilst Bach plays along </span></div>
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<span style="font-size: large;">4.</span></div>
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<span style="font-size: x-large;">DRIVE</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8UoueyanN9NZ-P0wNAyt16AESsSUWFWmmIr0nAf1Bv7MAw5aVArz2FlOl2x79GpiD-EpzbtC9GumVfZLms90OghEOQeOq4EFu4TcBe_Z7AH-p72oq5Z0SHpbLOjS18_pBKQrZaYcMtLP9/s1600/Drive-Movie-Ending.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8UoueyanN9NZ-P0wNAyt16AESsSUWFWmmIr0nAf1Bv7MAw5aVArz2FlOl2x79GpiD-EpzbtC9GumVfZLms90OghEOQeOq4EFu4TcBe_Z7AH-p72oq5Z0SHpbLOjS18_pBKQrZaYcMtLP9/s640/Drive-Movie-Ending.jpg" width="640" /></a></div>
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<span style="font-size: large;">Nicolas Winding Refn's foray into the mainstream contains seductive and addictive roots, from Ryan Gosling who plays an unforgettable character that would make Clint Eastwood blush, to the neo-noir B movie both of which collides with each other. This is what makes <i>Drive </i>phenomenal, to the person who cannot think too much of the latest <i>Fast and Furious </i>movie. With a magnetic 80s soundtrack, some stunning cinematography and a chilling performance from Albert Brooks, this is something that either John Hughes and David Lynch would collaborate and direct. If you want a film inspired by other great films, this is it. <i>Drive </i>has a dozen scenes I would remember in my entire life. Bar none. Along with Fassbender's <i>Shame</i>, Gosling owns this film that ultimately raises the bar in current mainstream acting standards.</span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> The first fifteen minutes featuring The Chromatics' Tick of the Clock is easily crafted as an action scene </span></div>
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<span style="font-size: large;">3.</span></div>
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<span style="font-size: x-large;">MIDNIGHT IN PARIS</span></div>
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<span style="font-size: large;">Initially I planned on the film as the number four film in the list, but when I've watched it twice in a day (with myself, then with the family) it is more enjoyable with repeated viewings. Woody Allen is back in form and sends out a magnificent love letter to the city of Paris and its beauty, similar to his previously outstanding entry <i>Manhattan</i>. It's about going back to what you love and where you belong. There you will see Allen-esque trademarks that are brought along in such a witty and humanly manner. Normally I never enjoyed nostalgia in films unless it's treated subtly, but Allen follows that tangent directing a film about being in a best mood you've actually felt, but it means to be heavily distant to society. Sure it's an illusion, but if you had it with all the shallow people in the world, then do it.</span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> "I see rhinoceros!" </span></div>
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<span style="font-size: large;">2.</span></div>
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<span style="font-size: x-large;">WE NEED TO TALK ABOUT KEVIN</span></div>
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<span style="font-size: large;">When Tilda Swinton is in a film, she will stand out as the main highlight regardless of what you feel about that movie. When she isn't nominated for an Oscar for that film, you feel that something is left out. Swinton delivers such a sublime performance that would leave you harrowing while Ezra Miller plays a son taking her hostage. There are moments of foreshadowing that becomes haunting particularly the first five minutes featuring Swinton . Lynne Ramsay brings the finest adaptation of Lionel Schiver's best selling novel taking only one perspective of a fractured mother into light of a life-destroying event her son caused to such a devastating effect.</span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> Tilda Swinton is soaked in the La Tomatina foreshadowing the entire film </span></div>
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<span style="font-size: large;">1.</span></div>
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<span style="font-size: x-large;">A SEPARATION</span></div>
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<span style="font-size: large;">I don't know what words to say about this other than it putting Iran on the map of world cinema. While <i>The Artist </i>is the movie that represents the year for film in 2011, <i>A Separation</i> is the real best picture. Like almost all of the list here, I saw this film from what I've heard from reviewers (the New York Times, Entertainment Weekly, AV Club) as one or if not the best film of the year along with <i>The Tree of Life</i>. I first heard of it from Roger Ebert who placed it as the best film of 2011 and this is where I got really interested. As it received many accolades including the Oscar for Best Foreign Language Film, my interest grew more.</span></div>
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<span style="font-size: large;">This is a densely layered, fine and briskly paced movie from Asghar Farhardi that places every bit of humanity at its most gripping. Featuring excellent performances that evokes heavy realism this is a film that masquerades as a commentary of a modern Iran simultaneously digging deeper into family life, the legal system within and our morality making most of the characters tolerable even if they have personal flaws. People will see this as a courtroom drama outside of a courtroom featuring a two bickering families, but it extends to us, the audience, and what we would do in these scenarios. It's about the story and about the people played in complex situations. I wouldn't find it flawless as I have a few nitpicks here and there, but I found it including moving and more admirable than any other film of the year.</span></div>
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<span style="font-size: large;"><u>Greatest Moment:</u> The first five minutes speaks to you; the audience. </span></div>
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<span style="font-size: large;"><span style="font-family: inherit;">So there you have it. Those are my top films of 2011. And in case you haven't seen any of these films, go to Netflix and look for these films. I am not saying these films will change the world. These are my personal favorites and the movies I would want to watch more than once. </span></span></div>
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<span style="font-size: large;"><span style="font-family: inherit;">Recapping off, here's the list</span></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">1. A Separation</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">2. We Need to Talk About Kevin</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">3. Midnight in Paris</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">4. Drive</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">5. Shame</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">6. Senna</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">7. Attack the Block</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">8. Warrior</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">9. Melancholia</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">10. Hugo</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">11. Tyrannosaur</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">12. Hanna</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">13. The Tree of Life</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">14. The Girl with the Dragon Tattoo (2011)</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">15. Submarine</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">Honourable Mentions/Movies that almost made the cut:</span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">The Artist - </span></i><span style="font-family: inherit;">Though its Best Picture win somewhat wore off its artistic merit, Michel Havanicius' throw back to the golden era of Hollywood is almost breathless.</span></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">Take Shelter - </span></i><span style="font-family: inherit;">It it wasn't for the film's coda, then the film would have made the list. But Jeff Nichol's use of visual imagery, Michael Shannon and Jessica Chastain's tour de force performances on screen just destroys it all.</span></span></div>
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<span style="font-size: large;">Thanks for reading!</span><span style="font-size: large;"><span style="font-size: small;"><span style="font-family: inherit;"><i> </i> </span></span></span></div>Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0tag:blogger.com,1999:blog-6867290983092052366.post-72428491753574726852012-06-24T16:47:00.000+10:002012-07-11T18:47:01.648+10:00Zack Snyder is Not A Good Director (So fanboys, shut up!)<div class="separator" style="clear: both; text-align: center;">
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I'm going to say this because I had enough. I'm about to say this because he's part of the new generation of directors who have styles reminiscent of well known arthouse and Hollywood directors like Quentin Tarantino or Jean Luc Goddard. Well, I'm not talking about arthouse, I'm talking about Zack Snyder, the filmmaker almost everybody trusted but decided to turn their back for some unknown reason. <br />
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For those of you who don't know, the dude who directed <i>300, Watchmen </i>and <i>Sucker Punch </i>(though I haven't actually seen his remake of <i>Dawn of the Dead</i> and personally his other film Legend of the Guardians doesn't even count in his filmography) has a very distinctive style that could've turned him into an auteur. Almost 85% of it is the amount of slow mo, 10% of it is the stingy color scheme and 5% (though you don't see it in <i>Sucker Punch</i>) is shooting a sex scene on the basis that has more to do with expressing emotion, yet I never really see that.<br />
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Zack, there is a saying that "you can do whatever you want, but you can't put that in a film". Well I'm not quite sure whether the latter half is true, but you certainly shouldn't be doing things that you learnt from film school and use it in your next film you're assigned, so audiences will be in awe thinking "I must be some kind of genius". That's like saying a fast food restaurant would want to serve salads in the attempt of having at least something healthy to encourage billions of customers to lose a few pounds. That ain't genius!<br />
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Before everyone accuse me of being a hypocrite, let me tell you that I've defended Snyder in the past. When I watched <i>Watchmen</i> for the first time, I thought it was amazing but then after watching it at least three times overall, it wasn't what I really thought in my initial viewing. I read the graphic novel more times and it was more amazing than his film since he decides to brand himself with <i>Watchmen</i>. Then a month later I watched <i>Sucker Punch</i> and what lives up to the hype of the film was its tagline YOU WILL BE UNPREPARED! Watching this movie, I can't understand or take what Zack was going for in his film. Is he trying to tell an untold tale of feminism? How that girl you saw across Kings Cross will saves a guy in a tower guarded by a big ass dragon? Or is it being what I call a geek-ploitation flick cos since <i>300</i>, Snyder has been creating the same atmosphere for the same demographic. And what's worse for him is that that demographic only makes about 25% of the mass market (if I'm not mistaken). And 99% of them attends his film<br />
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<i>300 </i>was a simple movie based on a graphic novel written and illustrated by one of the greatest graphic novel writers. A movie where an army of 300 Spartans led by Gerard Butler go to war against the Persians to prevent them from conquering their land. This is the movie where it made me realize that his style is completely bullocks. I watched it the other night and this is the one word in thinking about this movie and I'll never say it against any film I would have to be forced to succumb - self-indulgent. How I felt about the film is largely based on the fact that the direction and screenplay (which is co-written by Snyder) tells us to just go with it. Go with it when Butler's character the King Leonidas would take on a quest to defeat the Persians only because of one "significant" scene where he throws some messenger off a hole.<br />
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I'll say that the only thing I enjoyed about the film and if you haven't noticed, then you should, is Michael Fassbender who plays the energetic Stelios who has a more interesting personality than any of the characters. And it's also cool to pause it if you have it on Blu-Ray. Other than that, the movie is one big mess because Snyder cares too much on the visuals and the presumed pathos of the swords-and-sandals genre to even actually give a shit about the story and characters. Leonidas is such a dick by starting a war for himself to rejecting some hunchback in enlisting in his army on the belief that a deformed person will set them back. Let me address those two issues and that it is to say I am not familiar with the film's context (ironically though, I am currently studying Modern History in high school). First of all, <i>300</i> is historical fiction. It isn't meant to be historically accurate since it's based on a graphic novel that isn't historically accurate. However I'm not quite sure whether the Persians would think of conquering Sparta. Is it implied that Sparta is a sacred land of "philosophers and gay-lovers"? What the hell would the Persians want from Leonidas? Cos "Earth and Water" is simply unjustifiable. Second, why in Lord's name would he reject some hunchback? Does Snyder knows that in ancient or medieval times if you're a soldier who's physically or mentally deformed, you're more likely to deliver your team the victory (maybe I'm missing something here, but that's what I assume). But what's wrong with this film is the mis-en-scene. The color scheme gets more boring 30 minutes in while the Spartans speak more in what you hear from professional wrestlers. And worse of all, this is a film that is so obsessed with itself thinking that it's going to be a centrepiece of the historical epics hence my one word description. This is what the trailer looks like if you multiply its running of time of 2mins and 30secs with 55. Even the internet meme based on it is much more entertaining than the film itself. <br />
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<a href="http://chzmemebase.files.wordpress.com/2011/11/internet-memes-good-news-watchmen.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://chzmemebase.files.wordpress.com/2011/11/internet-memes-good-news-watchmen.jpg" width="320" /></a>Snyder cares more about the mis-en-scene rather than the plot and if that doesn't completely shock you, wait til I say that he's not only a poor storyteller, but a poor adapter as well. <i>Watchmen </i>was a movie no one would possibly think it could be made for the big screen. Well they were wrong and it was released in the early months of 2009. I still stand on what I said in my revised <a href="http://anonynoustheatre3000.blogspot.com.au/2011/04/watchmen-revised.html" target="_blank">review</a>. Now I realized that he removed the pathos of the graphic novel by placing 90% of its content after reading it several times. Snyder does have a reputation for not being a director of actors, specifically actresses. In this case, all of the woman are just whiny and unlikeable making the film more male dominated than it supposed to be. And the way he shoots his women are the costumes. It's stupid for Malin Akerman to wear something you dress at your BDSM ball. Snyder used the same techniques he used in <i>300</i> here. Slow motion here and there, droopy low-key lighting in every scene and one that feels like I'm watching the worst porno in my living room. Though if I had to hand any credit to Snyder directing <i>Watchmen</i>, at least he is the one director who would be get the film right. He does improve in his storytelling though, with the subplots of Dr. Manhattan and Rorscharch told very well. As a film reviewer, I'm not supposed to compare the film with its other medium but this is where I draw the line of what is a faithful adaptation. This is not a terrible film in any stretches of the imagination, but it's a terrible adaptation.<br />
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And then there's<i> Sucker Punch</i>. OK, where to begin. The film is radically different from any of Snyder's films, but why am I saying that when it had two of his three trademarks shot there? It's because there's no softcore sex scene and this is his pet project. That term had been on my mind for a while and to sum it up, here's my definition:<br />
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A pet or vanity project is a film that is directed passionately by its filmmaker. In order for a film to become this, the film must be directed and written by the filmmaker, all directly to the screen. It may be inspired by any cultural influences and the film may be told in any narrative or had been worked on a long term period. This is under the "call it what you want" category where most of the film is left up to your interpretation. Film students, if you want to make a film then here's are some movies to take note: Christopher Nolan's <i>Inception</i>, Terrence Malick's <i>The Tree of Life</i>, Baz Lluhrman's <i>Moulin Rouge</i> and now Zack Snyder's <i>Sucker Punch.</i> <br />
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With <i>Sucker Punch</i>, this is what critics commonly said: it's a 13 year old geek's wet dream. If that's the case, then I would accept the fact that women aren't scantily clad and are roughly the same age as they are. The film flopped at the box office only to be beaten by <i>Diary of a Wimpy Kid 2 </i>in its first weekend<i>. </i>The film was been critically panned meaning that Zack Snyder, even though he's already assigned to direct the <i>Superman </i>reboot, <i>Man of Steel, </i>is virtually unreliable to direct a film given that if your project fails, then you will be held 100% of the responsibilities here. I watched cast and director interviews of the film and there is a certain need for the film to spark a mixed response, not one where you earn 23% on Rotten Tomatoes. <br />
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The pitch here is that a 16 year old girl is sent to a mental asylum by her stepfather and she need to escape with the help of four other hookers and five (maybe?) objects from her different fantasies. Sounds familiar? <i>Pan's Labrynith </i>you don't say?! Well now's my chance to show you why this film is more indescribable than <a href="http://www.youtube.com/watch?v=fJlU_9Vyvqs" target="_blank">Lou Reed and Metallica's collaboration together</a>. First of all, it's the same color scheme, same use of slow motion. Then there's the acting and almost all of the performances are unconvincing.<br />
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Now I actually didn't address Snyder's role as the director of actors to a further extent. In <i>300</i>, everyone seemed to at least tried to be good, particularly Gerard Butler, who has some bit of charisma in him. Same can be said in <i>Watchmen</i>, where Jackie Earl Haley seems perfect as Roscharch and Billy Crudup does an OK impression of Dr Manhattan. Emily Browning on the other hand does quite about enough with her Bella impression. Oscar Issac's character who's the owner of the asylum is over-the-top and that's also one bit in Snyder's films. It needs at least one overacted performance. I mean in <i>300 </i>there's at least five, while in <i>Watchmen </i>there's one. In <i>Sucker Punch</i>,there's at least two. Issacs meanwhile has a character that pushes to the limit. And I liked Issacs. I think he's a talented person. If you watched him in a movie like <i>Drive</i>, you would actually see what I mean. And then Carla Gugino who does the most fake and over-the-top Russian accent... EVER!<br />
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The movie doesn't make any sense. Emily Browning starts dancing and all we can see is her fantasy. When she completed her challenge, everyone gives her a standing ovation. WTF?! Every fantasy seems to diverge to ridiculousness one after another. The first fantasy involves Browning's character Babydoll defeating a giant samurai with no harm on the aid of a guide. Don't know why he's there. Then the girls fight zombie soldiers in WWI. Wait, what? They fight a dragon so they can earn fire, but end up crashing a train.... you what, I don't want to go any further.<br />
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The plot is extremely weird that it shows that the reasons why I didn't like <i>Sucker Punch</i> are exactly the same reasons I can't stand <i>300</i>. The same overused style, the lack of multi-dimensional characters and the fact that the film thinks it's a total masterpiece. Plus, the soundtrack sucks. I haven't heard a mundane cover of Pixies' Where is My Mind since... well since <a href="http://www.youtube.com/watch?v=UcZqx5tOmW8" target="_blank">this</a>. Part of the film's mind is comes from the fact that it tries to explores a 13 year old fantasy too hard. It panders too much that this Babydoll's world is a fantasy and her reality is a figment of her imagination. If Snyder is trying to pay homage to the kooky memories of your favourite manga, then it's not doing good for me. The fact that Babydoll was incredibly invincible in a schoolgirl costume reminded me of Sailor Moon mixed with possibly the dullest, tame hot looking girl you've ever known. It pisses me off that this is catering to young male teenagers and geeks who are still preoccupied with their Call of Duty. Snyder shoots action like any cut scene from any first person shooter game. This becomes dumb, but ultimately it becomes so tedious.<br />
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What makes him get away with this film, what's makes any one of Jason Friedberg and Aaron Seltzer's films more tolerable than him is the people who support him. The fanboys argues that this is a feminist piece of work which only seems valid if you're not a feminist. Do I think dressing yourself up in a fetish empowers women? Absolutely not. Is escaping from an asylum the only way to avoid rape empowering? Hell, no. Well maybe if you actually dealt with it. If I actually assume that the film's sexual politics have any positive impact to women of all ages, then that is actually giving it a disservice. Snyder's view of women in this film is almost the equivalent of that of today's current female pop stars like Katy Perry or Lady Gaga. Their feminine ideals is that the only way to promote yourself is to dress up or act like a slut. Also it isn't feminist when your characters are named after the words you use to pick up chicks. The only name that I couldn't have deep hatred for is Amber because it's an actual name.<br />
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Every time I think about <i>Sucker Punch</i>, the vitriol I have with the movie rise up. And it wasn't until I just saw <i>300</i> that I have some intense dislike for him. There's nothing subtle placed in his direction, there's nothing cohesive in his screenplays, and to say that <i>Sucker Punch</i> has a deeper meaning is a hyperbole. The reluctancy I have in Snyder's job in handling <i>Man Of Steel</i> is though is not that concerning since Superman was not the most interesting person to watch on the big screen. Snyder only cared about the meaning of his project and not the story. I hope to God that Snyder just experiment his style for a bit and only pay attention to detail more often if he wants to be called a visionary genius as he is branded.<br />
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But the actresses Emily Browning abd Abbie Cornish ask us, the haters, to give <i>Sucker Punch</i> another chance. I'm sorry girls, but I already gave it at least one. I don't really want to see it again to know that I have been wrong. And I think that having already seen it once, I don't really want to go back again to see what's wrong with it. <br />
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Personally I hate Zack Snyder. He's a chauvinistic director with no sense of soul or creativity in either his film making or his ability to write a decent screenplay. If he was to be compared with other directors, my ballot would be Michael Bay minus the explosions in term of style, Tim Burton in terms of how he adapt material, mixed with the ambition of Quentin Tarantino where he is completely obsessed with any aspect of the film except for the acting or editing. He may be a nice person and I may judge him if I actually met him, but his films... they're not someone to hang out with. <br />
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<br />Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com4tag:blogger.com,1999:blog-6867290983092052366.post-10704111733432971942012-06-10T11:31:00.000+10:002012-07-02T20:47:53.560+10:00Review | Prometheus<div class="separator" style="clear: both; text-align: center;">
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<b><i>Pretty great but keep your hopes low.</i> There are some major spoilers in this review but don't worry I actually obscured them, so it's safe to read. </b><br />
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<a name='more'></a>Depending on how much you've seen the trailers on a repeated basis, that will set your expectations to a certain degree. With that said, <i>Prometheus </i>is a film that may suffer from the overwhelming hype the film sets out to be. If I had any term to describe a film and how much this disappoints an individual when it did not meet enough of their expectations to a certain extent, it will be a <i>buzz stinger </i>and Ridley Scott's return to the science fiction genre or is-it-an-<i>Alien</i>-prequel is going to be that one example. It may happen to any film and I'm looking at you, <i>The Dark Knight Rises</i> and look people... I know it sounds frustrating when the movie is not like <i>Alien</i> since the trailer makes it look the prequel it marketed for better and for worse, but let be at least thankful that Scott doesn't gives a crap that it wasn't in line with the franchise.<br />
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Here's the pitch: in 2089, a team of archaeologists and scientists are investigating the origin of our species (if you're a Creationist and what I've just said offended you, then I deeply apologize) and land on a planet that may have the answer to the most asked question of all: where have we came from? Elizabeth Shaw (Noomi Rapace) leads the crew that on board includes David, an android taken care of by Weyland Corporation CEO Weyland (Guy Pearce), his officer Meredith Vickers (Charlize Theron), Janek (Idris Elba) the team pilot and Charlie Holloway (Logan Green-Marshall), another scientist and Elizabeth's love interest, on board the ship Prometheus where they make a strange discovery that will threaten their survival on their mission.<br />
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I have to admit embarrassingly enough that I never watched <i>Alien</i> or the sequels after it and since I'm reviewing <i>Prometheus </i>from the perspective of the guy who never did, I assume that those movies are in a class of their own and so will this be. Though the film shares a lot of DNA with <i>Alien</i>, it also brings elements from <i>Blade Runner,</i><i> 2001: A Space Oddysey</i> and the very underrated <i>Sunshine </i>where the crew is the last hope for finding out about our existence. The first five minutes is a grandiose gesture of humanity with brilliant wide-angle shots of Earth as a very deserted planet with no signs of growing civilization. The cinematography in this is beautifully sophisticated and given how the camerawork is shot on a RedOne Camera, I would actually tell people that if they want to direct films that are ultra-realistic or dark, that camera is the way to go. The special effects shouldn't be overstated and so is the art direction.<br />
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<i>Prometheus </i>is a very jarring film, both use in good and bad use. The great thing about the film is that it raises the question about humanity and our origins to such high ambition and the way that it tilts to an amount of tension which you'll actually get from a science fiction-horror film works. Another part are concepts that comes across very interestingly including the origins of human existence, the relationships between David, the android, and his human counterparts and journeys run by corporations. These ideas though are ambiguous and requires such an open mind to think about it through.<br />
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With that being said, what felt strong also felt weak. I don't mind if there's a scene in front of you and ask that you think carefully of what the film is trying to say when it's attempting to tell or reveal any plot. But this is science fiction and the key to all great science fiction is whether the concept would be very understood. <i>Prometheus</i> has all the ideas in the world that they're trying to express, but it has little to incorporate, thus disjointing the narrative. However the film's structure interestingly transform from a human exploration journey to a survival-of-the-disturbed story, but ultimately goes into a loophole of itself. Though there are several tense setpieces which are nods of <i>Alien</i>, it leans to a point of the plot cheating itself.<br />
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Also strong and weak simultaneously were the cast and characters respectively. While all of the performances are fine, none of the characters seemed interesting and the fault comes from Damon Linderbof's screenplay. There's too much focus on the entire cast and either they're only there for screen filler or they're just stock characters. We got Idris Elba as the strong accented captain and Charlize Theron as the cold, isolated corporate supervisor <span style="color: black;">who, might I say is the only interesting when she literally open fire to someone who may betray the crew. </span>Noomi Rapace felt too vulnerable as the main leader of the group and her husband, played by Logan Green-Marshall, the poor man's Tom Hardy is pretty bland. <span style="color: black;">I can't believe when I say this, but I actually looked forward when two of the characters died while searching in the cavern that is leaking with black ooze. They had the worst dialogue of the film and I laughed twice, out of intention. <span style="color: black;">E.g. - when the two guys cannot communicate with Idris Elba, they're too dumb to know what's a glitch</span>. I felt disappointed that Guy Pearce only had five minutes of screen time as the megalomaniac corporate boss Weyland and there's some interaction between him and Theron that confuses me because at one point she's talking about how bureaucratic and power hungry he is but at the end she calls him "father"?</span><br />
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But I cannot overstate Michael Fassbender because if there was anything memorable about the film, it is his mesmerizing performance as David, the android designed by Weyland, that makes him a revelation, equal with his performance from <i>Shame</i>. He captures what it feels to be someone who is not physically human where he's not only immortal and doesn't age, but he's altruistic and loyal to the crew, more like the calmer HAL 9000 from <i>2001</i> and little like the droids from <i>Blade Runner</i>. <span style="color: black;">However, he would then have to poison Marshall's character whether it's based on the anguish that he can't get along with humans or whether it's based on his scientific purposes. So would he be the antagonist? And what lifts him up are the scenes where he discovers a lost spaceship that presents a simulation of the universe and that was just breathtaking</span>. Fassbender invests himself in David perfectly and I haven't seen a science fiction character this fascinating and well acted without error since Sam Rockwell in <i>Moon</i>. <br />
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The final 15 minutes though may leads up to a sequel and <span style="background-color: black; color: black;"> even if they show a stinger where the alien is the alien from </span><i style="background-color: black; color: black;">Alien</i><span style="background-color: black;">,</span> I am looking forward to the what's inevitable. <span style="color: black;">And if I can give a little description of the other alien, it would be that it looked the </span><a href="http://images.wikia.com/watchmen/images/5/5d/Alienmonster.jpg" style="color: black;" target="_blank">squid-like monster from <i>Watchmen</i></a><span style="color: black;">. </span>But Scott tries really hard to make this a stand-alone film influenced by some of the classics that he has directed and the aim to achieve this is well done, yet it still has to stick with a scattered screenplay that gave us little to care about its characters and lost in tone and muddled with its concepts. And since Fassbender is the major strong point, I wondered whether the film would've been better if it explored more on David's perspective and make him the leader of the pack rather than Rapace. If you go into this movie expecting <i>Alien</i> tie-ins, you'll be destined to disappoint yourself and rather blame Scott, the cast or Linderbof. All I can see is go see it if you will since this is good storytelling in science fiction but don't let it rain on your parade.<br />
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<span style="font-size: x-large;"><span style="color: #0b5394;"><b><span style="color: red;">GRADE AND SCORE:</span> B (7.0)</b></span></span>Neutral3http://www.blogger.com/profile/07265287755535444101noreply@blogger.com0