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feeling films.

When was the last time you feel good after watching films?

Ask the question to me, the answer is simply: last nite.

Living in a suburban area means I have to deal with the setback of not being able to scout any sophisticated cinemas, thus what you have is what you get. And among the selection of the films offered, my eyes were set on revisiting In Good Company after watching it sometime last year back then in my comfort zone.
What an experience indeed!
I remember I wrote something about the film here, which in this case was a praise, and what made me pleasant most was how the film got better after repeated viewing. For a feel-good film, it is almost flawless I say, since the film can make me feel good while I took mikrolet and becak to reach home. And I keep thinking, how films can actually make me feel good.

don't tell her what we do during lunch hour!

As the wind started getting into my skin, I tried recalling many emotional experiences I have encountered after I finished watching films.

It began when I was on my 4th/5th grade of elementary school, I remember I was hoping to become Jessica Lange’s son and getting involved in her father’s (which would make Armin-Mueller Stahl as my fictional grandfather) war crime after I watch her knock-out performance as a tormented lawyer in Music Box.
A year later, I often imagined that I was one of Robin Williams’s students in Dead Poets Society, and being surrounded with the pals like Robert Sean Leonard or Ethan Hawke.

alrite, you upstage me, you get the Oscar nod, and I'm acting rotten here, unrecognized?!

Of course I didn’t write any reviews at that time, as the habit only began when I was in Senior High School.
Dilligently I pasted ticket stubs at the back of this thick book where I wrote down my daily expenses, and I wrote a little comment next to the stubs. I remember how I started becoming critical after watching Independence Day, as I was mad at the film’s stupid plot. Yet, I forgave the cheesiness of Phenomenon, and chose to cry over John Travolta’s character, the same thing I did towards Ralph Fiennes and Kristin Scott Thomas in The English Patient. And I still shed my tears whenever the film started showing its scenes in a dark cave, after many repeated viewings.

we are looking at nothing but the sand, and soon we'll be Oscar nominated actors! how we love Weinsteins!

As I graduated, and went to colleges where both times I took English as my major, I find my penchant for reviewing films was increasing. From having one-line notes to become one-paragraph notes, I began listing down every single film I watched, be it from cinema or VCD, or DVD, which only came to my life three years ago.
And no matter what medium my film watching is, it’s the emotional experience that counts most.

It was a drizzling night when I took a long walk after I watched The End of the Affair, which made me think about love and faith to be co-existent all through the night. Reading the source novel a few months back enhanced my understanding about the characters more, which needless to say, it is also an indication that the film successfully captures the spirit of the novel.

ralph, i'm not gonna give this hat to you, even you did me good those steamy scenes

And exactly around this time last year, I remember I took the same long walk in Bangkok after watching Closer, one film that made me shut my ears for its frank dialogues. Again, the film’s brutal yet honest look on love made me thinking about all the relationships I had.

And it took me a while to grasp my breath when I finished watching Hiroshima, Mon Amour on DVD, knowing that love actually hurts when it gives the most faithful commotion one can ever ask.

And I couldn’t move myself to do things for days after I watched The Hours at the time when my life was full with uncertainties, and I questioned the meaning of happiness I long to have in my life.
The same feeling gripped me hard when I watched Blue from Kryzstof Kieslowski’s first installment of his Trois Couleurs trilogy. Seeing Juliette Binoche had to come to terms in dealing with her loss made me think of what I have had in life.

question is, am i seen on a big screen? am i? gosh, being a diva in france means to suffer a lot!

The list would go on, and not often they included my harshness towards bad films, in this case what I remember most is Troy, when I really felt like throwing my sandals to the big screen, and rip the screen into two, mashed it to pieces, and asking for my $8 back.
That showed you how much I could be on films I dismiss most.

And of course, the opposites as mentioned in the previous paragraphs is more than enough to convey what I want to say, that to experience films is a pleasure unlike any other kind.

Another question will raise though. How long will I be able to do that?

As much as I want to answer the question with ‘timeless’, I realize that there may come a time when I won’t be able to experience those emotional feelings.

repeat after me: nicole never won, nicole never won ... darn it!

Last night, after sorting out my feel-good moments, I realized my own doings in a way that put me into bewilderment. As most of you know, my decision to move to the city here was filled with hopes of working in the field that has become my passion all this time: films.
Yet, many obstacles seemed to prevent my way to going further than being a distant appreciator. Disappointment of one kind met with another, there weren’t many jolly experiences in store so far.

However, I made peace with that.
No matter what I do or end up doing, it’s hard for me to reduce or decrease my likings towards films, the way I appreciate them in my own way that no one will dare to intervene or prevent me from doing.
When things go awry, I turn to films for a two-or-three-hour of plunging myself into a different world from mine. And even if I fail to secure any jobs in film industry, film remains one thing I treasure most, the one I’m willing to spend my money on, the one I crave most to make me intelligent. Sort of.

Perhaps just like in Sabrina when she asks her father why he chooses to become a chaffeur, he replies with a smile, “So that I can spend much time reading books”.

thank god it's not those bloody horrible padme amedala again

Thus, to feel films is what I’ve been after, and will always be.

 
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Posted by on 01/16/2006 in English, Film

 

The 63rd Golden Globes Awards

UPDATED: January 16, 2006

One good thing about film awards in Hollywood is that you don’t have to watch every single film to give your comments, and on a way lesser degree, your prediction. All we need is the endless supplies of news on many critics’ associations which would tell to which direction the ultimate award event (aka The Academy Awards) will go to, and of course, the gut feeling resulted from skimming and scanning through every single news we encounter. A comprehensive, thorough reading needs not be done in assessing the list, because the same films and names will keep appearing on different critics’ choices. If you find the fact hard to believe, kindly visit Oscarwatch and The Envelope or even the Mecca of film fans, Internet Movie Database to prove my words there.

Again, welcome to the Golden Globes, the only award event where we can see the stars getting drunk on their tables before their names being called to come on stage to accept the awards. This is also the only award where A Star is Born is deemed a classic film on a history of filmmaking despite many critics’ thrashes, the only award where you might remember Christine Baranski’s toilet tissue peeking out from her shoes rather than undeserving Goldie Hawn being nominated for a trash like The Banger Sisters, and the only award where a non-English language film can not compete in both Best Picture category.

Yet, a Golden Globe is a Golden Globe after all, a glitzy, glamorous event where popularity is important above many others, and a path before we involve further in Oscar betting.

Consider this a warm-up, alritey?!

On with the predictions.

BEST PICTURE DRAMA
Will win: BROKEBACK MOUNTAIN
Should win: BROKEBACK MOUNTAIN
Comment: More than the fact that the film has been listed numerously in many other critics’ awards, the film needs to win to prove how Hollywood has departed from its conservative constraints. At least, they recognize Elton John, why not for a much better cause?

BEST PICTURE COMEDY OR MUSICAL
Will win: WALK THE LINE
Should win: PRIDE & PREJUDICE
Comment: Hollywood loves stories about their own inhabitants who struggles with their fame status, and make that alcholic, drug abusive, and many other crimes to contrast with their talented skills. And Hollywood also loves the fact that both leads belting out their own voice to portray their characters. Yet, the reason why I push Pride and Prejudice to win is simply the fact that it brings back a feel-good quality as done in its true-to-original adaptation of literary works.

BEST ACTOR, DRAMA
Will win: PHILLIP SEYMOUR HOFFMAN (CAPOTE)
Should win: HEATH LEDGER (BROKEBACK MOUNTAIN)
Comment: Hoffman has many overdues from his leading role in Flawless, Love Liza, Owning Mahony, to his scene stealing roles in many films, Talented Mr. Ripley being one of them. His portrayal of a respected author should be highly regarded, yet knowing Ledger plays a cowboy with a tormented soul might be another interesting option to watch.

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BEST ACTRESS, DRAMA
Will win: FELICITY HUFFMAN (TRANSAMERICA)
Should win: FELICITY HUFFMAN (TRANSAMERICA)
Comment: Looking at the list of nominees, we can only wonder what Maria Bello is doing here instead of being in the Supporting category. Inserting Gwyneth Paltrow only gives a false hope to her, and both Charlize Theron’s and Zhang Ziyi’s chances dim along with poor reception of their films, commercially for the former, and critically for the latter. Thus, there’s no way Huffman does not win in this category, period.

BEST ACTOR, COMEDY OR MUSICAL
Will win: JOAQUIN PHOENIX (WALK THE LINE)
Should win: JOAQUIN PHOENIX (WALK THE LINE) or JEFF DANIELS (THE SQUID AND THE WHALE)
Comment: Listen to Joaquin Phoenix belting out Johnny Cash’s tunes, you’ll understand why he suffers from mental exhaustion upon completing the film as much soul has been given to his character.
The only biggest threat in this category will come from Jeff Daniels who has earned the best critical raves in his career so far, by far.

BEST ACTRESS, COMEDY OR MUSICAL
Will win: REESE WITHERSPOON (WALK THE LINE)
Should win: REESE WITHERSPOON (WALK THE LINE)
Comment: Refer to my comment for Joaquin’s above, with another addition on the fact how lovable Reese is within Hollywood community.

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BEST SUPPORTING ACTOR
Will win: PAUL GIAMATTI (CINDERELLA MAN)
Should win: MATT DILLON (CRASH)
Comment: It is interesting how many critics’ awards suddenly find themselves rushing to give their awards to Giamatti after he said in a certain magazine that he feels lack of confidence in winning the category. The tactic works very well indeed, and remember how Hollywood likes to redeem its past failures, in this case, not recognizing his more heart-rending performances in both American Splendor and Sideways that surpass his presence in the nominatef film. On the other hand, Matt Dillon proves that he matures well with his most challenging role to date, and an Oscar nomination to the very least is not much to ask.

BEST SUPPORTING ACTRESS
Will win: MICHELLE WILLIAMS (BROKEBACK MOUNTAIN)
Should win: SCARLETT JOHANSSON (MATCH POINT)
Comment: Hollywood likes to reward actors portraying characters of long-suffering spouses, perhaps suggesting that there are many of them living in the town. Yet, when was the last time an award is given to a femme fatale?

BEST DIRECTOR
Will win: ANG LEE (BROKEBACK MOUNTAIN)
Should win: ANG LEE (BROKEBACK MOUNTAIN)
Comment: He is a master of storytelling involving several characters’ point of views without sentimentalizing it a la Steven Spielberg, or without making it visually grand a la Peter Jackson, or without wits a la Woody Allen, or without quick-cutting, fast-paced style a la Fernando Meirelles, yet Ang Lee always carries his films ahead with emotional touches that often knock us from within.
George Clooney might be considered as a newbie in this category.

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BEST SCREENPLAY

Will win: CRASH
Should win: GOOD NIGHT, AND GOOD LUCK
Comment: It’s only my gut feeling that Good Night, and Good Luck should win on this category, as the film’s premise looks good to me, in which it bravely puts no holds barred in depicting one of the bleakest moments in American history. However, at the times of heightened self insecurities in a multi cultural world, Crash will win for its brave initiative in tackling racial issues fairly well, to which no stories overlap one another in this multi-layered film.

BEST ORIGINAL SCORE
Will win: JOHN WILLIAMS (MEMOIRS OF A GEISHA)
Should win: JOHN WILLIAMS (MEMOIRS OF A GEISHA)
Comment: He gets helps from two maestro in classical music, Yo-Yo Ma and Itzhak Perlman, and imagine all of them sharing the same stage on the grand night on March.

BEST ORIGINAL SONG
Will win: “A LOVE THAT NEVER GROWS OLD” (by Emmylou Harris, from BROKEBACK MOUNTAIN)
Should win: –
Comment: Personally, I find Wunderkind feels too gothic for a family-friendly film, unlike any songs from “Lord of the Rings” series with its similar eerie feeling that serve the series well. Other than that, Travellin’ America has too much country twang as sung by Dolly Parton in her iconic voice which may not be a cup of tea of Hollywood. And the country feels of A Love That Never Grows Old never goes out of pitch with the tendering and comforting feels as provided by Emmylou Harris’ voice.

BEST FOREIGN LANGUAGE FILM
Will win: PARADISE NOW (PALESTINE)
Should win: KUNG FU HUSTLE (HONG KONG)
Comment: Too bad the Stephen Chow’s labor of love is not listed as official entry from the country, opting for mediocre Perhaps Love instead. And with the commotion over the distribution of The Promise which surely will diminish its chance to win, Paradise Now should be able to encounter the sentimentality of Joyeux Noel.

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There goes my predictions, and do drop by after Tuesday morning GST+7 or +8 to say anything you want to blurt out!

 
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Posted by on 01/15/2006 in English, Film

 

Jarhead

An anti-hero is a hero of our times.

Need proof?

Rambo is something of the past that only reminds us how silly it once had been to praise a one-dimensional look of a hero, or basically, anyone who kills their enemies while wearing uniform showing off their macho quality.
Moving forward to the end of 20th century, we get to see Three Kings which shamelessly exploits the capitalist minds of George Clooney, Mark Wahlberg, and Ice Cube in seizing every single opportunities to make them rich after the war ends.
In an almost similar note, the guys in Jarhead as led by the buffed-out Jake Gyllenhall and Peter Sarsgaard combine both films’ premises, in a more heart-wrenching way.

These Marine guys were still at the peak of their self-discoveries stage of their adulthoood when they were launched to the battle in Iraq during the Gulf War. Thus, it is highly acceptable to see the once-innocent American guys can get changes of characters during their entire service time as they have to face the harshness of the military life.

Jarhead

Taking from this point, it is what makes the film compelling to watch. The war turns out the be a mere backdrop of the film’s plot which is more suitable to be seen as a passage of adulthood. Think of Stand By Me or The Lost Boys in desert, and we may feel empathy towards every single marine guys in their battle to become a hero on their own terms. Some may succeed, some may not, and some choose to surrender to the desert which gave them nothing but a warm reception when they come home.

Thus, as Gyllenhaal’s Swoff character says, “Every war is the same”, the statement could not be more attuned in defining the characters of each and every marine guy upon completing their time in a war, that they become an anti-hero on their own lives.

 
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Posted by on 01/14/2006 in English, Film

 

Memoirs of a Geisha

“A story like mine should have never been told”.

Then why should it be?
The statement that begins the film is meant to invoke curiosity among audience over a sacred quality of the life of a geisha. Apparently, it turns out to be highly sacred that the filmmakers chooses a particular point of view which does not differentiate the life of a geisha from any other women. The view is on turning the story into a Japanese Cinderella.

Consider this.
A poor girl must face obstacles put by another girls living under the same roof in order to gain her destiny, as destined by a man she longs to be with ever since she meets him incidentally.
I shall refrain myself from telling the end of the story, although by now we feel familiar with the story as has been told many times under different backdrop, such as Gary Marshall’s Pretty Woman and many other followers. And thus, those who expects Memoirs of a Geisha probes more on the nuanced lives of Japan’s highly acclaimed courtesan, will bound to be disappointed.

Memoirs of a Geisha

Perhaps what sets the film apart from many others is the director’s ability to lure the best of the film’s technical aspects. The collaboration of John Williams with two giants of violinist, Yo-Yo Ma and Itzhak Perlman, gives the film a grand atmosphere without ever succumbing to the trap of Oriental music as might be blatantly used to emphasize the film’s Eastern-penchant look. The same goes to Colleen Atwood’s deft costume design which does not intricate in unnecessary details, yet in many ways it is enough to convey us the pivotal look of geisha in 1940s as the story is told.

Yet, the lives of a geisha should be more than parading of extravagant Oriental looks. The intricacies of their lives are the qualities that made the novel which the film is from became a highly praised novel that earned both commercial and critical success in late ‘90s, and these qualities are mercilessly excised from the film, leaving Sayuri’s voice haplessly saying:

“This is memoirs of any other kind.”

 
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Posted by on 01/13/2006 in English, Film

 

The Tin Mine

Before we begin talking about the film, let’s see how AMPAS often unfairly puts its preference towards period films when it comes to nominating films from (Eastern) Asian countries.
Randomly over the past two decades, we see The Twilight Samurai (Japan), The Scent of Green Papaya (Vietnam), House of Flying Daggers (China), and many others being nominated in the Foreign Language Film category, and ultimately, Crouching Tiger, Hidden Dragon took home the coveted Oscar five years ago. The unstoppable trend results in other countries following the same pattern when it comes to submitting their films to be considered in the aforementioned category, for example, Gie (Indonesia), last year’s Putri Gunung Ledang (Malaysia), and now, Thailand’s The Tin Mine is hoping of the same luck.

Yet, the move may prove to be a backlash towards the country itself which has already itself as a country inhabited by fresh and original ideas as seen from the staple of their horror films (Shutter, Nang Nak), drama (Last Life in the Universe), or even the notoriously difficult genre, if not impossible for Asians to conquer, i.e. Western (Tears of the Black Tiger). Seeing The Tin Mine indeed leaves me with a serious question of whether the amazing advancement storytelling from Thai filmmakers starts taking its toll, and choosing to play-safe as suffered from filmmakers in many developing countries.

For a start, the most obvious drawback of the film lies on its indecisiveness to make the film as an adolescence story, or the rise and fall of a tin mine in which the film is titled from. The use of voice-over from the main character seems to suggest that the film tries to bridge the gap between the two, yet at the end of the film, we are left with no impression to reel ourselves in a nostalgic feeling forcedfully appearing on a tad length of the duration that racks up to more than 120 minutes.

The Tin Mine

Although the breathtaking look of the film’s cinematography may be one redemptive quality to make the film still bearable, it does not make a sense at all to keep on waiting every alternate minutes to see the postcard-quality images.
A film is about a story being presented on a big screen for audience to feel, and when the story fails to choose among many of its multi-layered subtleties, it simply fails to connect.

 
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Posted by on 01/12/2006 in English, Film

 

another day of the same paradise

today marks the first anniversary of having someone called as twinnie in my life.
yet, as you can see in both blogs, there has not been any mushy words, in contrast to what both pages look like exactly a year ago.

has the world taken its toll in greatly different way?

if the answer is ‘yes’, how come there’s still a recognition or acknowledgement of the day’s sacred status on the opening of this entry?

there can’t be no definite or satisfying answer to understand the tread that has been linked between two emotional souls. there should not be any interference from external parties to shake the sytem of trust (particularly) i have been trying to build ever since the declaration was unspoken, yet being executed nicely.

walking through figuring out the roots of your country through the museums, hanging out with friends you can count on for good laugh and jolly times, mulling over worth reading books, those are the qualities that define how majestic an anniversary is.

and thus, i celebrate mine.

 
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Posted by on 01/10/2006 in English, Personal

 

wishing of washing

In every single phase of a new life, one has to seek what to do to occupy himself within the first few days. Even if it means screwing around, be it then, no harm done, as long as he’s got himself protected, from any kind, and by any kind.

If getting dirty has falsely been accused with the notion of sexual activities (of any kind), then my getting dirty surely will turn you off. By any means, my getting dirty involves me doing what Doris Callebaut did to launch herself as a sex-bomb of 70s, i.e. doing household chores in a very suggestive way. Well, it was many of them, indeed.

look, it's not my problem if the steering gets wet!

Imagine me in a loose white shirt and batik pants courtesy of Ite, brooming and sweeping the floor mercilessly, chasing every single dirt and dust away, and soaking with foams and bubbles of soap washing my clothes.

This is not the end though. Tomorrow, and the days afterwards, the kitchen and dining room will be the places I crave my lust over everything neat, and tidy.

Now, whoever says I don’t possess any habits of becoming every single one of Desperate Housewives?

 
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Posted by on 01/10/2006 in English, Personal

 

(it’s not even a spring!) cleaning

The first 24-hour of my (new) life begins with, literally, spring cleaning.

Collected dust was getting thicker than the last time I came here, and that was merely less than a month ago. There I was, once again being a king of neatness, tidiness, cleanliness, who already planned out what and how to organize the house in order, and this left me occupied at least for the next few days.

Whew.

And tonight, I chose to occupy myself with John Irving’s The 158-Pound Marriage which took me until its 90-something page to spot Irving’s usual quirkiness, surely provides as a major relief in otherwise sexually-charged literary work.
In a perfect world, the novel should be read with the companion of energetic Joshua Bell’s strings in The Red Violin soundtrack to provoke the erotic passion in myself to absorb the story.
Yet, as tonight marks the eve of Idul Adha, a Muslim festive holiday in accordance to the annual pilgrimage in Mecca, I managed to finish the book with the companion of takbir and tahmid.

I follow the two by heart, I read through the words on the novel by turning on my mind.

Believe me, the chanting gives an inexplicable effect to my reading, unlike any genre of music I’ve relied myself on to.

Talk about spring cleaning, make that cleansing though, of animal-instinct behavior.

cleaning feels like slaving!

 
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Posted by on 01/09/2006 in English, Personal

 

this is my statement,

as represented by the song below, and very well said, indeed!

everyone tells me to know my place
but that ain’t the way i play
so why am i daring to show my face
well, i’ve got something to say …

move over sun, and give me some skies
i’ve got me some wings i’m eager to try
i may be unknown
but wait till i’ve flown

you’re gonna hear from me

make me some room, you people out there
on top of the world,
i’ll meet you, i swear
i’m staking my claim, remember my name

you’re gonna hear from me

fortune smiled, on the road before me
and i’m a fortune’s child
now listen, world
you can’t ignore me

toss me the moon, ’cause i’ve gotta shine
i’m climbing a cloud, and call it mine
you’ll pardon my haste, i’ve no time to waste
that’s how it’s gonna be, you’ll see

’cause you’re gonna hear from me

i’ve got a song that longs to be played
raise up my flag, begin my parade
my comet’s on fire, i’ve got to go higher
watch the world over, start coming up, clover!
that’s how it’s gonna be, you’ll see …

yes!

you’re gonna hear from me!

i've seen myself weighing

– and that ends singapore’s rare 24-hour continuous rain. no parties to celebrate, no jovial greetings to send one away. for i’ll be back. –

(image courtesy of this)

 
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Posted by on 01/09/2006 in English, Personal

 

drifting

moon river,
wider than a mile,
i’m crossing you in style,
someday …

oh dream maker,
you heart breaker,
wherever you’re going,
i’m going your way.

two drifters,
off to see the world,
there’s such a lot of world
to see

we’re after
the same
rainbow’s end

waiting ’round the bend,
my huckleberry friend,
moon river
and me.

drifting through the long, wide river

— packed my things tightly, hopped on to the awaiting boat, started to row, but … i haven’t thought about the exact destination. i can only think of seeing me alone in a big sea, without knowing where to land myself on. whoever thinks the rower is out of his mind, they will not understand. —

(photo courtesy of this website)

 
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Posted by on 01/08/2006 in English, Personal

 

Football Hooligans

Or Hooligans.
Or Green Street Hooligans.
Or the-film-that-gets-released-because-of-the-upcoming-World-Cup.

Upon the first look, the film which keeps changing its title when it is released in different continents (mind you, not a non-English language film) somehow shows its lack of confidence, in which it is trying to accommodate the taste of local flavor. As also spoken in one of many repetitive dialogues of the film, certainly “football” would carry different meaning in the USA, yet “soccer” deems too Yanks. Thus, “Green Street” is used without realizing how the title already spoils a little of the film’s plot, and “Football” is used in the countries where the word can only mean one thing: the sport involving 22 guys chasing one particular kind of ball, which has caused many fanaticism around the world, particularly in the UK as depicted in the film.

The lack of confidence of the title may result from the similar drawback in telling its story which may not be satisfying for hardcore football fans, nor for any other filmgoers. Perhaps that’s the reason why it needs to tell the story from the eye of Matt’s character, an American who, for some less convincing reason, chooses to be stranded in the land of hooligans, and being one of them while having to deal with his own coming-of-age problems. Such a burden is deemed too much for Elijah Wood, an American himself, whose bewilderment and uneasiness is also felt, at least to this particular writer who could not stop wondering, what is he doing there? Does the story make any different had he been taken away, or completely erased? Hadn’t the story been better if it is purely told from the Brits’ point of view themselves?

Hooligans

Of course many people (make that audience) will nod in agreement, but then the film would never be made as no major international stars attached to the project, thus no financiers will back up the project. The unfortunate clausal effect led the understanding why Wood has to suffer delivering a performance that seems to be uncooked while delivering lines that bridge between trying to be serious and gritty, yet cheesy at many times.

By the time all the redemptive quality appears at the final scene, the audience has grown tired of cheering.

 
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Posted by on 01/07/2006 in English, Film

 

Elizabethtown.

Before we come to talk about the abovementioned title, let’s recall what happens to the leading male characters in every Cameron Crowe’s films:

John Cusack needs Ione Skye to help him Say Anything….
Tom Cruise says “hello”, and more, to Renee Zellwegger in Jerry Maguire.
And charms Penelope Cruz in Vanilla Sky.
Patrick Fugit manages to deal with his life after he encounters Kate Hudson in Almost Famous.

Thus, is it surprising that Orlando Bloom feels alive after he meets and gets guidance from Kirsten Dunst in Elizabethtown?

No, it is not, and the same answer can be given to a question: Is the similar theme of boy-meets-girl-who-change-his-life worth revisiting?

After more than a decade of playing on the familiar field, it is apparent that Crowe has grown tiresome of coming up with refreshing takes on the stated theme. Worse, on the film, we are given extra task to define if the film can be considered as a road-trip film about defining life after string of failures, or half-baked romance? The task has to be completed while enduring the length of the film that goes more than 2 hours, yet it seems like a lifetime before we finally see the credits title.

Elizabethtown (Sarandon, Greer, Bloom

Thankfully, Susan Sarandon proves to be a saving grace despite the deadpanned expression of Bloom and the inexplicably wasted quirky style of Dunst. In accordance to matriarch style of Frances McDormand in Almost Famous, Sarandon carries the similar role in her own bravura that leaves us wanting for more. In fact, her stage-act should be the closing scene of the film, which surely will leave audience smiling, remembering her relieving comic presence.

Yet, Crowe chooses to allies with American Tourism Board (if such an organization exists) to blatanly depicts how a road trip in the USA should be taken.

We don’t bother anymore.

 
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Posted by on 01/07/2006 in English, Film

 

The Family Stone

A little, if not peculiar, problem in reviewing this beautiful piece of ensemble is how not to give any unnecessary spoilers to those who read this entry.

Why so?

Simply because of numerous plot twists appearing throughout the film, which surely keeps me glued to the seat, and wanting for more.

Thus, if one dares to say something about this quirky family, the writings should begin with how marvelous Sarah Jessica Parker is in her post Sex and the City days. Her impeccable comic timing helps giving her character a believable look, and not even once she fails to carry the assigned role well. She may look like her famous Carrie Bradshaw when she begins to let loose her character’s uptight behavior, yet she pulls it off within the frame of her being Meredith, the central figure of the film.

the family stone

Having one good actress is more than enough for Thomas Bezucha in his sophomore directorial task, yet he is blessed for having a terrific line-up of A-list actors, acting-quality wise. The ever reliable Diane Keaton gives a heartrending performance in every scene she’s in, Craig T. Nelson does his best in otherwise limited screentime, and Rachel McAdams proves that it is indeed her year of being scene stealer after she topples both Owen Wilson and Vince Vaughn in The Wedding Crashers, and hijacks the entire Red Eye from Cillian Murphy.

I wholeheartedly warrant myself from commenting any further for the fright of spilling more beans here, yet rest assured, the only family you wish to spend your holiday season with this year is the one and only, The Family Stone.

Your wits will prove to be no match for them.

 
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Posted by on 01/02/2006 in English, Film

 

thank you, 2005.

there’s no easy way to describe in words the journey of the past year.

for sure, it began with feats after feats, glory after glory, all of which had brightened my days, and all of which had given promising signals to the year.

yet, when the year marred with series of unfortunate events that rival lemony snicket’s right at the tip of the year, i couldn’t help but taking a reflective retreat to spend my new year’s eve this time around.

if my 2005 began with bright lights despite continuous natural disasters, then 2006 looks uncertain from here, not even a guiding light can reveal what’s ahead.

wait. my guiding light is only a flickering light from my mobile. i’ve nothing left.

may yours be brighter, everyone 🙂

 
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Posted by on 12/31/2005 in English

 

green branches of trees

referring to the title, that’s the view i’ve got from the windows in my room here. sometimes i find myself staring at them for minutes that would drag into hours, while i stroke my fingers along the keyboard in my laptop or while i simply sip a cuppa and sit in my yellow chair.

i am back in my comfort zone.

and the most rejuvenating experience one can get is to have a deep sleep for hours, without any interruption or intrusion of any kind.

looking back at the past seventeen days that i describe as a whirlwind experience, all of a sudden i felt tired when i stepped my feet on the airport, and took a train home last nite. all looking familiar, yet it’s not close enough to call it home.

but no matter what, this is a comfort zone when one can feel relaxed, as what i am now.

 
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Posted by on 12/28/2005 in English