jaychou_21's Reviews

Cloud Atlas (2012)

9/10

16 December 2012

It is quite impossible to put into words how moving, breathtaking and thought-provoking this film is. Stupendous, ambitious and profound, "Cloud Atlas" is a once-in-a-lifetime movie of epic proportions.

Comprised of six interrelated stories from different times and places, the movie is about how people's lives are connected with and influence each other. It shows that an act of kindness goes a long way, and contemplates how our actions and decisions could eventually change the course of other people's lives. It is, in a way, an illustration of the six degrees of separation that fleshes out karma and reincarnation.

The film is structured as a sort of mosaic - the fragments of each of the six time periods scattered all throughout the movie, revisiting each narrative to propel the story into one humongous piece of art.

The complex story lines require utmost degree of attention and a deeper level of appreciation to be fully understood. In the long run, the perplexing narrative is not as complicated as it seems.

Though most people would find this three-hour mental exercise to be too confounding to the point of being burdensome, the attentive and emotionally attached will be gratefully rewarded. The film's metaphysical elements mixed with its sprawling visuals, awe-inspiring script, heartrending music, astonishing cinematography, amazing cast, and superior technical values offer a peculiar blend of cinematic nirvana, something I would call a beautiful entanglement that is better left untangled.

I expect this film to be in strong contention for the Academy Awards, particularly in the Make Up and Special Effects categories. I'm hoping though that its stars won't be overlooked, especially the supporting cast.

The actors play a multitude of contrasting characters it's like you're watching a grand stage play with extreme makeovers and multiple costume changes. The make-up was so well done you wouldn't recognize Halle Berry or Hugh Grant in some of their minor roles. (Make sure to watch the closing credits and you'd be pleasantly surprised to find out which characters each actor portrayed.) The ensemble cast is spectacular, and I'm particularly smitten by Jim Sturgess' and Doona Bae's performances. Their Neo Seoul love affair alone is enough reason for me to watch this movie again.

"Cloud Atlas" is unlike any other film. It goes beyond your average movie-going experience as it defies cinematic conventions, transcends real-life preconceptions, reintroduces obscured emotions, and permeates the subconscious, leaving you tremendously overwhelmed.

With a $102 million USD budget, "Cloud Atlas" is one of the most expensive independent films of all time. It deserves not only to be seen, but more importantly, experienced. Go see this whenever you have the chance. You may not make any sense out of it, but the mere act of witnessing this out-of-this-world splendor is a dreamlike memory to behold.

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The Bourne Legacy (2012)

7/10

The legacy is lost.

12 August 2012

With very little connection to the first three movies, the storytelling in "The Bourne Legacy" is hollow, the action is sparse, and does not truly follow the legacy left by its predecessor.

I believe Jeremy Renner is fully capable of taking over the franchise so closely associated with Matt Damon. The fans of the Bourne trilogy that followed the adventures of Jason Bourne still can't get over the fact that their hero is gone and has been replaced by Renner, a very suitable leading man, physically and emotionally. Rachel Weisz and Edward Norton added gleaming support to the rather lackluster structure of the film, screenplay-wise.

Robert Elswit's arresting cinematography and John Gilroy's smart editing makes the film look first-rate. The chase scene in Manila is reminiscent to the iconic Moscow car chase scene in "The Bourne Supremacy." Though the motorcycle chase sequence shot in our busy streets will never be able to equal the adrenaline rush elicited by the first three films, it's fair to say that it comes close. The rest of the action scenes were solid and not overdone.

The script was infused with jargon and sufficient action to divert the viewers from the movie's lack of soul. Even the great performances by Renner, Weisz, and Norton couldn't save the movie's thin plot and bleak conclusion. The ending was unappealing and abrupt it left most viewers at a loss. You can easily paint the disappointment etched in their faces as they hesitantly stood up from their seats and slowly left the theater.

There are many questions left unanswered, such as why Outcome chose the Philippines as its laboratory for the sought-after pills. If the writers' intention is to leave room for future vicissitudes in the franchise's continuity, then it makes for a lame excuse. The idea alone of making a Bourne movie without Jason Bourne is ludicrous. In this respect, the fimmakers have succeeded in making the Bourne fans feel cheated and the new audience underwhelmed for trying to force a puzzle piece that just doesn't fit.

For something so highly anticipated and over-hyped, "The Bourne Legacy" is a huge letdown. I gave this movie a 7/10 just because 25% of it was shot in Manila (a preposterous judgment for an equally absurd film).

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The Healing (2012)

7/10

Symptoms persist

5 August 2012

"The Healing" is a horror film by Chito S. Roño starring Vilma Santos and Kim Chiu. The movie revolves around the risks of believing in faith healers and the consequential phenomenon of evil doppelgängers.

I am glad that this is not a horror flick taken from worn-out concepts. The idea of doppelgängers is not popular in our culture, but the writers managed to come up with an engaging storyline combining it with superstition and folklore.

After watching the R-18 version of the movie, I can easily tell which scenes were omitted from the R-13 version. I commend director Chito Roño for his audacity in this project. The movie is raging with startling murder and death scenes. It departs from the usual fare and becomes one of the most gruesome Pinoy movies in recent years.

In terms of writing, the movie is unstrikingly average. After the first character dies, you already knew how the rest of the story would go. The script heavily employs elements of "Feng Shui" and the "Final Destination" series. The suspense relies on the viewer's anticipation on how the next victim will die.

There were glaring loopholes in the story at the end of film, which makes me think that they're trying to come up with a sequel. I felt that the conclusion was either rushed or not given much thought, which was disappointing considering the number of script consultants from Star Cinema that this movie had when I checked the closing credits.

By the end of the movie, the biggest question left upon the viewers is the mystery behind the film's intriguing color schemes. It appears that the film was somehow divided into chapters with the enigmatic use of color coding. You can see the characters prominently dressed in blue, red, and yellow as some sort of a uniform. The set design, costumes and props complement the same colors ubiquitously shown at certain parts of the movie, though no clear explanation was given to explicate the meaning behind it. It's so vague it becomes pointless. One could be forgiven for thinking that the 'blue chapter' was just a lame ploy to bring into mind Ate Vi's Bear Brand endorsement.

Other minute observations: The opening credits did not complement the material. The use of special effects was so-so. The casting was great and the actors showed some believable acting (especially Vilma Santos and Janice de Belen).

Though Filipino horror has yet to find its true strength, you can fairly say that it has evolved with this film. With its well-defined characters and a taste for gore, "The Healing" is a notch above the rest. It's better than most local scare flicks produced in recent years, notwithstanding its flaws and weaknesses. As a horror film, its impotent scares is insufficient to produce a desired effect. It fares better as an accidental slasher film.

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The Amazing Spider-Man (2012)

7/10

It's like watching the first Spider-Man movie all over again, only this time with better lead actors but a less substantial storyline

29 June 2012

Warning: this is not a superhero movie.

Okay, I kid.

There's a modicum of truth to it though, as "The Amazing Spider-Man" is not the superhero movie you wished it would be.

This is the fourth film that portrays Peter Parker and his alter-ego on the big screen and is a reboot of the Sam Raimi film series with Andrew Garfield replacing Tobey Maguire as Spider-Man.

Fans of the original series were dissonant upon learning of Andrew Garfield's selection as the new Spider-Man, with some saying he's too skinny, or he looks too meek, and all that blah. Well guess what? Andrew Garfield made the character his own. He delivered the goods with his acting chops and boyish charm. Sure, he did not look as good as Tobey Maguire in his spandex suit, but his physical and emotional embodiment of the protagonist was more than enough to make up for a rather so-so physique.

Likewise, Emma Stone used her all-American girl good looks and personality to give life to Gwen Stacy (previously played by the equally stunning Bryce Dallas Howard). Stone has the makings of a quintessential leading lady she could have given Kirsten Dunst's Mary Jane a run for her money.

On the downside, the most palpable shortcoming of the film is its superficiality. It's entertaining, yes, but there is hardly any depth to it. The plot is a lot more predictable than expected, and the characters are not well-defined, Dr. Curt Connors in particular.

Given the groundwork of the first 3 films, I was sure that the script of this new series' first offering could be better. Alas, I was wrong. It comes as a surprise to me, knowing that Marc Webb did such a fantastic job when he directed "(500) Days of Summer" starring Joseph Gordon-Levitt and Zooey Deschanel. Where he triumphed in the former, he failed in the latter. What's good though, is that Webb nailed the action on this one.

Shooting from a subjective point of view proved to be very effective as it gives you the feeling of flying with the main character. You can almost experience that sense of velocity when Spider-Man swings through the streets, as if you've just been rescued by him. I bet it would be even more thrilling when seen in 3D (too bad three-dimensional graphics make me nauseous). If I may add, the visual effects, sound mixing and sound editing are outstanding, too.

Now If you were to ask me which one is better, I'd still go with the original. Sam Raimi did a terrific job with the first franchise and remained loyal to the comic books. Nevertheless, you'd have to give props to this movie for trying to identify itself as a reboot, not a remake. It's pretty much a repackage of what we've already seen and what we have always known about our favorite web-spinning hero, so where's the untold story here? It's obvious that the studios are still trying to cash in from the millions of moviegoers who can't get enough of Spider-Man. Whatever the producers are up to – and I'm pretty damn sure that they're cooking up a sequel – it better be good.

P.S.

To those who intend to watch the movie, here's a tip: If you have seen other films based from Marvel Comics characters, you should know better than to leave the cinema as soon as the credits started to roll.

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Rock of Ages (2012)

6/10

Great music, mediocre covers, bad movie

16 June 2012

"Rock of Ages" tells the story of small town girl Sherrie and city boy Drew who crossed paths while pursuing their dreams in Hollywood. Their romance is told through the hits of Def Leppard, Guns N' Roses, Bon Jovi, Journey, Foreigner, and other rock 'n roll icons.

If it weren't for the great musical inspiration from which this film laid its groundwork, "Rock of Ages" would have fallen severely flat. Director Adam Shankman tried to burn the house down, but their fire phoenix got trapped. With what an amazing cast (Tom Cruise, Julianne Hough, Catherine Zeta-Jones, Alec Baldwin, Paul Giamatti, among others), how could something as phenomenal as this fail to uplift?

The poorly-written script is to be blamed for its downfall. Consumed by its own vanity, the dismissive plot is full of clichés and cringe-worthy antics. In the script's own words, 'like a man-child stuck in a rut,' the screenplay kept toying with the subject but did not capture the true spirit of rock 'n roll nor the affinity of its characters toward the material.

With 17 musical numbers (if my memory serves me right) and only a handful of standouts, "Rock of Ages" is limited in terms of audience engagement and is clearly void of soul. It's like a rocked-out version of Glee, though I can't decide which one is tackier.

Nevertheless, the film offers a healthy dose of guilty pleasure. From the dazzling charm of Julianne Hough to Catherine Zeta-Jones' commanding presence to a scantily-clad Tom Cruise, the film does what movie musicals do best: delight the viewers with short-lived moments of rapture. Thanks to its powerhouse cast, glitzy cinematography, and stunning set design, "Rock of Ages" is saved from becoming the least cinematically-appealing musical film of the last 10 years.

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Uncle Boonmee Who Can Recall His Past Lives (2010)

6/10

Elusive.

27 September 2011

Incoherent, unpredictable, mystical, yet undoubtedly original, "Uncle Boonmee Who Call Recall His Past Lives" is a pseudo-profound cinematic venture that reeks with allegory and mythical undertones. After watching this film, I've come to a conclusion that it is certainly not for everyone.

Despite its strange recurring themes about supernatural beings, spirits, Buddhist philosophy, karma, and reincarnation, it will bathe you with its gentleness and natural ornateness. It is intimate and surprisingly elegant, though not without its flaws.

Much like Terrence Malick's "Tree of Life," this motion picture lacks a linear narrative. It doesn't have what most of us would require from a movie: a plot. It heavily relies on hypnotic images captured into still wide frames that often drag longer than the easily-bored viewer can bear.

Then there's the noticeable absence of a musical score. You never get to hear music until the last few minutes of the film; all you'll hear besides the dialogues are crickets, the rustling of leaves, a water buffalo, the sound of an electric fly swatter zapping flying bugs, footsteps, a waterfall, and a talking catfish that made love to a disfigured princess.

Simple and ambitious; primitive and modern; eerie and comforting; senseless and driven; and dull and brilliant, this Thai film gives you a one-of-a-kind viewing experience. If you are into esoteric art films, this is something I would highly recommend. If you loathe movies that seem to have no meaning, then this is not for you.

Confounding as it is, "Uncle Boonmee..." is a film that doesn't need to be understood; it simply has to be FELT.

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The Dance of Two Left Feet (2011)

8/10

Fluid as poetry, graceful as dance

24 July 2011

15 minutes into the film, I thought to myself: "This is art."

Sprinkled with beautiful poetry, crafty musical score, marvelous cinematography, masterly camera work, and ingenious editing, "Ang Sayaw ng Dalawang Kaliwang Paa" is filled with subtle intensity as it sets poetry in motion.

The terrific orchestration and choreography represent the ties that bind us, and shows that even the smallest of body movements can compensate for the lack of words or the intentional evasion of verbal expression.

Evocative music created by the artful use of native instruments awaken hidden desires and the incorporation of heartfelt yet lesser known OPM songs underscore the viewer's emotions.

Paulo Avelino and Rocco Nacino are a joy to watch. Their dance sequences will be etched in my mind for quite some time. And of course, Ms. Jean Garcia didn't disappoint. I never thought she could dance well and read poems to a crisp perfection. Her opening number reminded me of Natalie Portman in "Black Swan." I wasn't impressed with the FEU Dance Company's performances though. However, the university itself served as a good setting for the movie.

The works of literature featured in this film were all from Filipino writers, mostly from Ophelia Dimalanta who deserve special mention for her superb writing skills, which complemented director Alvin Yapan's vision of the film.

The enigma of the poems might have indirectly influenced the movie's ending. There is something so innate in the story and/or within the characters; an unspoken awkwardness that is strangely comforting. The conclusion is somewhat confounding though. It left me slightly bemused, but it's the kind of bewilderment you'd like to take to bed with you.

Watch this beautiful film and be captivated by its rhyme, riddle and rhythm.

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Fable of the Fish (2011)

8/10

Big catch!

23 July 2011

Suffice it to say that the movie exceeded my expectations; but that won't do it justice, so kindly allow me to expound. First of all, a foreword: 'Fable of the Fish' is unpredictable.

"Isda" is a compelling story of a woman who gave birth to a fish. It stars Cherry Pie Picache as Lina, and Bembol Roco as Miguel, a couple that could barely muster a living but is yearning to have a child. Alas, their offspring turns out to be some sort of a milkfish.

Equipped with an engaging plot, commiserable characters, and above average production values, Adolfo Alix, Jr.'s "Isda" is a big catch. The unique storyline is enough to pique your curiosity, but wait 'til you see the movie.

"Isda" is a drama through and through, but it manages to be humorous without even trying. One can't help but stifle their laughter as the story verges on the ridiculous.

The movie's strength lies in its plot, which is pretty simple yet pretty odd. Imagine someone in your neighborhood giving birth to a fish; how would you react? Do you think the parents could easily accept that twist of fate? What repercussions will it leave to a society that never fails to raise questions? Does God create mistakes?

As silly as it seems, Alix confronts these absurdities with sincerity and conviction. He approaches the subject with modesty as the movie earnestly narrates the plight of a married couple that have fervently hoped for a child, but whose prayers were answered in a way they never expected.

Much like David Fincher's "The Curious Case of Benjamin Button," this film has a prevailing tone of seriousness that could bend beliefs and erase doubts. It would make you embrace the bizarre as something usual.

The kind of treatment given to this urban legend makes the surreal become real. Top-notch acting made it all the more believable. Cherry Pie Picache is every inch an actress in this film. She received solid support from the rest of the cast who also managed to keep a straight face despite the screenplay's ludicrous origins.

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The Woman in the Septic Tank (2011)

9/10

So hilarious you will be moved to tears

19 July 2011

We watched this film on its gala premiere at the Cinemalaya Philippine Independent Film Festival and it was pure ecstasy.

‎"Ang Babae sa Septic Tank" chronicles a day in the life of three ambitious, passionate but misguided filmmakers who are dead set on making an Oscar-worthy film.

This intelligent comedy is a social commentary, a musical, a docu film, an over-the-top melodrama, and an overdosage of hilarity all rolled into one. Go see this and prepare to laugh until you drop! This movie-within-a-movie sets the bar high for future local comedy films. The plot is interesting, the script is well-written, the production values are grander than the usual indie film, and the casting couldn't be any more perfect.The performances are superb: Kean Cipriano and JM de Guzman are surprisingly good and they make up for an impeccable tandem; Mercedes Cabral and Cherry Pie Picache both delivered remarkable cameos, and Eugene Domingo's star shone the brightest in this film. She will reap awards for her role in this movie.

Written by Chris Martinez and directed by Marlon Rivera, "Ang Babae sa Septic Tank" is a work of true genius. Imagination, creativity, and raw talent converged to create this well-executed comedy that is smart, modern, and relevant.

This is, without a shadow of a doubt, the wittiest local movie I have ever seen.

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The Tree of Life (2011)

7/10

Too picturesque to be ignored, yet too vague to be easily appreciated

2 July 2011

"The Tree of Life" is almost like a poem – poignant, subtle, and full of enigma. It is so simple yet so profound.

This film unfolds in a way you could never imagine. Coming from a fan of artsy films, that's saying a lot. To the average moviegoer however, it may appear to be more of a slideshow of wallpaper-worthy images than a full-length feature film. At times it's as if you're watching the National Geographic Channel.

If what you're looking for in a movie is merely entertainment value, you will find this film very tedious and perplexing. But if you want a unique cinematic experience, then go see this. Just a heads up, though: this movie requires your undivided attention. You have to put your heart, mind, and soul into the film to understand this bold, daring, and ambitious piece of art.

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Mary and Max (2009)

8/10

Unique.

2 July 2011

"Mary and Max" is a complete departure from the usual Disney fare or Japanese animés, both in visual presentation and storytelling style. Unlike most animated films, this one is not very 'kid-friendly' as it deals with themes including childhood neglect, teasing, loneliness, autism (Asperger's Syndrome in particular), obesity, depression and anxiety. Despite its slightly mature nature, I like everything about this film – even the narration.

The script was well-written with emotionally appealing lines ("He smelt like liquorice and old books, she thought to herself, as tears rolled from her eyes the colour of muddy puddles"); the voice talents were superb (the voice cast included Philip Seymour Hoffman, Toni Collette, and Eric Bana); the clay animation is crisp and polished; and the characters are relatable. If you still think that animated movies are only for kids, try this one for size.

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Atonement (2007)

9/10

The best British film I've ever seen!

22 February 2008

Warning: Spoilers

I finally had the chance to see this much talked-about film last week and what a fulfilling viewing experience it was! It lived up to my expectations and didn't fail to deliver in all the scrutinous aspects of film-making.

To begin with, Atonement is a crafty interpretation of Ian McEwan's best-selling novel of the same title. Christopher Hampton did a great job on the screenplay, though I wasn't very impressed with Joe Wright's work as the director. The (over)usage of juxtaposition between Briony's perspective and the 'real' event worked most of the time, but the recurring flashbacks would be too much for the ordinary moviegoer. I'm not certain if it is Wright's style or technique but he deviates to mislead the viewers at some points in the movie. There were also some unnecessary scenes that could have been deleted without affecting the story.

The film's art direction, set design, costume design and cinematography successfully captured the essence of the plot and the emotion of the characters, as well as the atmosphere of the film's setting. It takes us from the laid-back splendor of the Tallis estate on the summer of 1935 to the dreadful scenes of World War II. I particularly liked the long shot on the Dunkirk beach, where the singing soldiers' somber songs of valor and hope combined with Robbie's longing-turned-desperation to see Cecilia again touched a part of my heart. But my favorite part of the movie has to be the sequence starting from Cecilia composing herself in front of the mirror, with opera playing in the background, interspersed with the shots of Robbie typing his 'anatomical' letter of apology to Cee, leading up to the scene in the library. It was pure grandeur.

One of the most memorable things about the movie is the superb musical score by Dario Marianelli. It's the first time in recent memory that I've seen a movie where a typewriter is used as a device to present most of the film's musical score. The incorporation of the typewriter rouses the viewer's emotions and builds up tension, thus adding to the thrill. It was used masterfully in the scenes where Briony read Robbie's letter and during Paul Marshall's wedding - the ascending pace of the typewriter's sounds matching that of the simultaneously increasing volume as the scene drastically progresses makes up for a magnificent (and not to say dramatic) finish.

In the acting arena, Saoirse Ronan (pronounced ˈsɪrʃə ˈroʊnən though honestly, at first I thought her name sounds like seahorse lol) is a sensational discovery. She is the perfect choice for the role of the young Briony Tallis. Ronan understood the guileless profundity of her character. Her expressive eyes speak and convey a wide range of emotions that provoke our thoughts and challenge our capability to judge. She portrayed Briony very well and judging from her striking performance in the movie, Ronan is a very promising new talent and she'll definitely make it far. I'm pretty sure she'll give Abigail Breslin (Little Miss Sunshine) and Dakota Fanning (I Am Sam) a run for their money.

Not to be outdone is the very talented but underrated James McAvoy as Robbie Turner. His strong and arresting performance in Atonement as the ill-fated housekeeper's son who fell in love with his master's daughter clearly shows why he received a Golden Globe nomination for Best Supporting Actor. You can see depth and derive profound understanding of his character just by looking in his eyes and observing his gestures. I felt that his work in this movie was overlooked by the Academy members. Maybe in the next couple of years he'll finally wow them and get his long-overdue Oscar nomination.

While Ronan and McAvoy breathed and lived their characters, Keira Knightley gave a satisfactory portrayal as Cecilia Tallis, Briony's elder sister and Robbie's dearly beloved. Her acting was 'OK' throughout the movie but she didn't exert the same amount of passion, fire and spirit as her co-actors did. I didn't see anguish or turmoil in both her facial expressions and body language that would convince me that she is in a war-torn time and place. She gave too much finesse that it seemed like she's not affected by the ongoing chaos at all. And finally, her unnaturally hasty line delivery just seemed very anticipated and rehearsed, that's why I didn't feel the intensity of her acting in this movie. Same goes with Romola Garai as the 18 year-old Briony Tallis. She was good, but I know she could have done better.

The one that gave body to the whole film was the 77 year-old Briony, played by the legendary Vanessa Redgrave, who did her meaningful part excellently, substantiating guilt, remorse and enlightenment. She may have appeared on screen for only a mere 5 minutes or so but her performance was pitch-perfect. The closure she gave - "with no rhymes, no embellishments" - brought tears to the eyes and tugged my heartstrings when I least expect it.

The ending was executed perfectly. It wasn't over the top nor exaggerated - just the right tone and mood to give the audience an emotional upheaval and a heartrending realization of the meaning of the word atonement.

In a nutshell, Atonement is more than just an artsy film about two lovers separated by war and betrayed by the consequences of a child's naïve understanding of the world around her - it's a lesson about integrity, strength, endurance, hope and compassion, and how the absence of those can deprive us of happiness, change the course of our destiny and ever ruin people's lives.

This film just blew me away so it currently ranks 15th on the list of my most favorite movies of all time (14th had I not seen Hayao Miyazaki's Howl's Moving Castle the day after), securing its position as the best British film I've seen so far.

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