My Last Breath (Luis Bunuel) *****
I'm biased as I'm extremely curious about Bunuel, but this is all you could ever want from a book: its fun, intriguing, informative and addictive. It meanders back and forth through time, across themes and ideologies and along a stream of consciousness, like a wonderful movie. In many ways, I see this as a 'lad's' book (please excuse my outright stereotypification); he spends almost a chapter raving about the joys of alcohol and tobacco (including his recipe for the perfect Martini), and there's lots of cavorting, rioting, perving and scandal. There are some extreme and fucked up notions in here too (an example of a Surrealist piece of artwork described involves a seven year old girl standing on stage in her Communion dress, reciting the dialogue from hardcore porn movie). But that's what makes this such a fun, controversial riot of a read . Yes, there's a lot of history: names, dates, eras, references; but its all contextual and its all relevant. If you have any interest in the Surrealists, the emergence of cinema, or the fantastic life of a subversive filmmaker (he befriends everyone from Salvador Dali to Charlie Chaplin), I strongly recommend this.
Monday, 9 March 2009
Man on Wire ****
A thoroughly rejuvinating and uplifting film, that shows us that anything is possible if you are ambitious and enthusiastic enough. Phillipe Petit's energetic craziness dominates and rubs off on the viewer, as it did his friends and participants. This true story is one of determination, friendship, loyalty and art; which captivates and moves us. One of the most striking factors of this movie is the use of original footage which shows balletic, graceful and breathtaking images of the art of wirewalking. This brings a little-known-about artform to the attention of a mass audience, and allows us to share in the talent, beauty and poignancy of it; whilst telling a funny yet emotional story with (almost unbelievably real) huge characters and animation. The film itslef is brilliantly researched and edited, making use of a variety of styles and techniques to keep our eyes and minds active. A rare, precious documnetary which should be cherished.
DVD Bang Experience
"I like to stand in line like everyone else because that creates anticipation. Buying the popcorn and the soft drink heightens the anticipation" (Setven Spielberg on the experience of cinema-going.)
Back home, you can choose whether to indulge in the ritualistic, experiential act of cinema-going; or the more relaxed, informal version of film-watching by renting a DVD, or downloading from a computer. Here in Korea, however, there is another completely different filmic experience to add to the list, and one which all movie-watchers should be interested in: the DVD Bang experience.
The DVD Bang is a part of a dark, strange, dream-like space in between Korea's sexually repressed overworld; and seedy yet uncontroversial underworld of love motels and "glass rooms". This bizzarre middle world is shared with norebangs (singing rooms) and PC Bangs (computer rooms), but has the worst reputation of the three; as here you have a private room in which you can watch a film of your choice, and a space in which to enjoy it in whatever way you choose, uninterrupted and unquestioned. Despite its bad reputation, the DVD Bang provides film enthusiasts with an exciting new way to experience their favourite medium.
After walking up a few flights of stairs, you will come to what looks like a DVD rental shop, with categorised rows of shiny DVDs. Under the watchful eye of the Korean attendant, you will carefully peruse these until you finally decide on the one to watch (if already familiar with the DVD Bang experience, this choice wil be far easier). There is a small snack bar, and fridge of non-alcholic drinks, if you are one who likes to munch through a film, although the popcorn is not freshly-made, and there are not separate members of staff to serve you. Once you are ready, you will be led down a dark corridor, decorated with hotel-like floral patterned wallpaper, and shown to your private capsule-like Bang (room). The attendant ensures you are comfortable, turns off the light, and leaves.
There are comfy chairs and footrests which encourage you to sit back, put your feet up, and wait for the images to appear on the huge screen before you. It's a similar feeling to anticipating the screen coming on in a cinema, though there are no adverts or trailers here. There are also no other audience members (apart from the friends you came with of course), which results in the hugest disparity between the DVD Bang and cinematic experiences. It is far more intimate and personal here, in fact there is an over-riding sense of privacy (there is not even a projectionist here, you are totally alone in your viewing), thus the semi-seediness can be detected in the air.
Once the movie begins, you are able to get just as lost in it as you would do elsewhere. The lack of other audeince members may encourage you to talk and audibly react to the film more than you would in a cinema, although I never felt the need to do so. There is no option to pause, rewind or fast-forward, so unlike watching at home, this experience provides a proper "screening" of the film. There is an added effect reminiscent of "interactive" or "4D" movies found in amusement parks: that of the vibrating chair! Your seat will shake with varying intensity, dependng on the film's audio track. I found this to be a fun, additional enjoyment to the pleasure of film-watching, but for those who are not so keen, there is the option of turning this function down, or off.
When the film finishes, you will turn the light back on (yourself) and leave the Bang you have inhabited for the last two hours or so, only to walk down the corridor and realise that there are many others like you, doing exactly as you did. You feel as though you are part of club, shared only with other DVD Bang-ers, who love watching movies just as much as you do.
Remember that the image quality will be less than the perfect, and the screen sometimes unclean (bear in mind that in effect, you are still watching a DVD). For this, as well as the "vibrating chair" factor, I have avoided arthouse, slower-paced movies, instead favouring full-on action, fantasy and horrors to share this experience with. Overall, I recommend this wonderfully weird, personal experience of film-watching that is great either with a small group of friends, or totally alone.
Back home, you can choose whether to indulge in the ritualistic, experiential act of cinema-going; or the more relaxed, informal version of film-watching by renting a DVD, or downloading from a computer. Here in Korea, however, there is another completely different filmic experience to add to the list, and one which all movie-watchers should be interested in: the DVD Bang experience.
The DVD Bang is a part of a dark, strange, dream-like space in between Korea's sexually repressed overworld; and seedy yet uncontroversial underworld of love motels and "glass rooms". This bizzarre middle world is shared with norebangs (singing rooms) and PC Bangs (computer rooms), but has the worst reputation of the three; as here you have a private room in which you can watch a film of your choice, and a space in which to enjoy it in whatever way you choose, uninterrupted and unquestioned. Despite its bad reputation, the DVD Bang provides film enthusiasts with an exciting new way to experience their favourite medium.
After walking up a few flights of stairs, you will come to what looks like a DVD rental shop, with categorised rows of shiny DVDs. Under the watchful eye of the Korean attendant, you will carefully peruse these until you finally decide on the one to watch (if already familiar with the DVD Bang experience, this choice wil be far easier). There is a small snack bar, and fridge of non-alcholic drinks, if you are one who likes to munch through a film, although the popcorn is not freshly-made, and there are not separate members of staff to serve you. Once you are ready, you will be led down a dark corridor, decorated with hotel-like floral patterned wallpaper, and shown to your private capsule-like Bang (room). The attendant ensures you are comfortable, turns off the light, and leaves.
There are comfy chairs and footrests which encourage you to sit back, put your feet up, and wait for the images to appear on the huge screen before you. It's a similar feeling to anticipating the screen coming on in a cinema, though there are no adverts or trailers here. There are also no other audience members (apart from the friends you came with of course), which results in the hugest disparity between the DVD Bang and cinematic experiences. It is far more intimate and personal here, in fact there is an over-riding sense of privacy (there is not even a projectionist here, you are totally alone in your viewing), thus the semi-seediness can be detected in the air.
Once the movie begins, you are able to get just as lost in it as you would do elsewhere. The lack of other audeince members may encourage you to talk and audibly react to the film more than you would in a cinema, although I never felt the need to do so. There is no option to pause, rewind or fast-forward, so unlike watching at home, this experience provides a proper "screening" of the film. There is an added effect reminiscent of "interactive" or "4D" movies found in amusement parks: that of the vibrating chair! Your seat will shake with varying intensity, dependng on the film's audio track. I found this to be a fun, additional enjoyment to the pleasure of film-watching, but for those who are not so keen, there is the option of turning this function down, or off.
When the film finishes, you will turn the light back on (yourself) and leave the Bang you have inhabited for the last two hours or so, only to walk down the corridor and realise that there are many others like you, doing exactly as you did. You feel as though you are part of club, shared only with other DVD Bang-ers, who love watching movies just as much as you do.
Remember that the image quality will be less than the perfect, and the screen sometimes unclean (bear in mind that in effect, you are still watching a DVD). For this, as well as the "vibrating chair" factor, I have avoided arthouse, slower-paced movies, instead favouring full-on action, fantasy and horrors to share this experience with. Overall, I recommend this wonderfully weird, personal experience of film-watching that is great either with a small group of friends, or totally alone.
Friday, 27 February 2009
Vicky Christina Barcelona
Vicky Christina Barcelona ***
Once again, Woody Allen lives out his fantasies through the silver screen (although he has surely achieved at least some of these in real life). As a girl, I initially felt somewhat insulted by the outrageous female stereotypes presented to me: the fun, flirty, outgoing blonde; and the stuffy, reserved brunette. The male character was also laughable, particularly his ease of wooing beautiful girls! However, as with most of Woody's films, as I continued watching, I soon forgot about all these gender issues and instead got caught up with the light-hearted and witty fun of the film. The Spanish setting provided some pretty aesthetics, and the imagery worked well within the narrative (Littleman informs me Woody was commissioned to make this by the Spanish tourist board). Penelope Cruz's entrance into the story spices things up nicely, her character is feisty and mental, and she completely overshadows the other two women acting-wise, and in every other way . The voice-over commentary (THROUGHOUT!) is horribly annoying (sometimes even patronising) and the movie would've been a lot better off without it, but then it would have been less signature 'Woody'. Funny in occasional places, this is an easy and pleasant watch, but there is nothing particularly special, and certainly nothing new, here (apart, of course, from the passionate kiss shared by Scarlett Johanssen and Penelope Cruz, which is guaranteed to cause a stir of excitement for many).
Once again, Woody Allen lives out his fantasies through the silver screen (although he has surely achieved at least some of these in real life). As a girl, I initially felt somewhat insulted by the outrageous female stereotypes presented to me: the fun, flirty, outgoing blonde; and the stuffy, reserved brunette. The male character was also laughable, particularly his ease of wooing beautiful girls! However, as with most of Woody's films, as I continued watching, I soon forgot about all these gender issues and instead got caught up with the light-hearted and witty fun of the film. The Spanish setting provided some pretty aesthetics, and the imagery worked well within the narrative (Littleman informs me Woody was commissioned to make this by the Spanish tourist board). Penelope Cruz's entrance into the story spices things up nicely, her character is feisty and mental, and she completely overshadows the other two women acting-wise, and in every other way . The voice-over commentary (THROUGHOUT!) is horribly annoying (sometimes even patronising) and the movie would've been a lot better off without it, but then it would have been less signature 'Woody'. Funny in occasional places, this is an easy and pleasant watch, but there is nothing particularly special, and certainly nothing new, here (apart, of course, from the passionate kiss shared by Scarlett Johanssen and Penelope Cruz, which is guaranteed to cause a stir of excitement for many).
Rachel Getting Married
Rachel Getting Married ***
Like most films about weddings, this focuses on family, rite-of-passage and togetherness. What sets this apart, though, are the over-riding theme of addiction, and less prevalent motifs of loss and blame. Another big focus here is music. Throughout, the soundtrack punctuates the mood and creates atmosphere and feeling. Unusually, every piece of music used occurs live, as part of the action, and most are performed by the characters themselves. This makes for an interesting viewing experience, and the choice of songs and style seem to entice us into deeper contemplations of what this film as a whole is actually about. Despite this, the constant violining and soundtrack-to-the-lives of the characters proves to be really annoying; similarly to the relentless guitarring and serenading that we endured in Once.
As a still-protective big sister, I found the relationship between the two sisters incredibly moving, particularly the scene where Rachel bathes Kim, which to me was the defining moment of this film. There are other very tender moments, too, both for sad (images of a deceased child's colourful toys) and sentimental (the wedding vows) reasons. Overall, I would say that the scenario of a wedding, and the recovering addict as protagonist, make for an interesting juxtaposition, and a film that delves far deeper than many others would dare. It was definitely not as annoying or cliche as it had the potential to be; and it was extremely satisfying to watch Anne Hathaway shine in a less-than-conventional role.
Like most films about weddings, this focuses on family, rite-of-passage and togetherness. What sets this apart, though, are the over-riding theme of addiction, and less prevalent motifs of loss and blame. Another big focus here is music. Throughout, the soundtrack punctuates the mood and creates atmosphere and feeling. Unusually, every piece of music used occurs live, as part of the action, and most are performed by the characters themselves. This makes for an interesting viewing experience, and the choice of songs and style seem to entice us into deeper contemplations of what this film as a whole is actually about. Despite this, the constant violining and soundtrack-to-the-lives of the characters proves to be really annoying; similarly to the relentless guitarring and serenading that we endured in Once.
As a still-protective big sister, I found the relationship between the two sisters incredibly moving, particularly the scene where Rachel bathes Kim, which to me was the defining moment of this film. There are other very tender moments, too, both for sad (images of a deceased child's colourful toys) and sentimental (the wedding vows) reasons. Overall, I would say that the scenario of a wedding, and the recovering addict as protagonist, make for an interesting juxtaposition, and a film that delves far deeper than many others would dare. It was definitely not as annoying or cliche as it had the potential to be; and it was extremely satisfying to watch Anne Hathaway shine in a less-than-conventional role.
More retro "Oscars" reviews
Slumdog Millionaire: *** 1/2
There has been a lot of hype about this (all good press), so the expectations were high. The thing I liked about this was the simplicity of the storyline, which suited the overall style. This was generally a compelling movie, with interesting direction and acting (the most impressive acting came from the youngest actor who played Jamal). However, it was somewhat predictable, and the prevailing love story thread was rather cheesy (obviously the journey taken by the two young boys was far more compelling). I didn't find this movie particularly 'hard hitting' or 'uplifting' as the reviews were saying, but it was certainly moving. I wouldn't say that this was a disappointment, but I do feel that it has been overrated.
Changeling: ****
I am shocked to see that it hasn't even been nominated for 'best picture', a title it would've have been deserving of. I wanted to see Ange doing some amazing acting again (I loved her in Girl, Interrupted, but in nothing since), and was not let down. Her acting has matured and she carried this role really well. The film was artistically and stylistically wonderful, providing engaging and memorable images throughout. The narrative is also captivating, and it would be difficult not to feel completely involved in it. Despite this, I don't think this is one that I'd want to watch again, simply because some of the moments were so harrowing.
The Curious Case of Benjamin Button: ***
Obviously, this was a very commendable movie, and I liked it, but didn't love it. I just felt as though there was a lot missing. The relationship between Benjamin and Daisy was a little bit weird, but I wish they'd gone one step further and made it really freaky, disturbing even. Instead, it just seemed like another boring love story, with a bit of a twist. This should have been less trite and a whole lot more curious.
There has been a lot of hype about this (all good press), so the expectations were high. The thing I liked about this was the simplicity of the storyline, which suited the overall style. This was generally a compelling movie, with interesting direction and acting (the most impressive acting came from the youngest actor who played Jamal). However, it was somewhat predictable, and the prevailing love story thread was rather cheesy (obviously the journey taken by the two young boys was far more compelling). I didn't find this movie particularly 'hard hitting' or 'uplifting' as the reviews were saying, but it was certainly moving. I wouldn't say that this was a disappointment, but I do feel that it has been overrated.
Changeling: ****
I am shocked to see that it hasn't even been nominated for 'best picture', a title it would've have been deserving of. I wanted to see Ange doing some amazing acting again (I loved her in Girl, Interrupted, but in nothing since), and was not let down. Her acting has matured and she carried this role really well. The film was artistically and stylistically wonderful, providing engaging and memorable images throughout. The narrative is also captivating, and it would be difficult not to feel completely involved in it. Despite this, I don't think this is one that I'd want to watch again, simply because some of the moments were so harrowing.
The Curious Case of Benjamin Button: ***
Obviously, this was a very commendable movie, and I liked it, but didn't love it. I just felt as though there was a lot missing. The relationship between Benjamin and Daisy was a little bit weird, but I wish they'd gone one step further and made it really freaky, disturbing even. Instead, it just seemed like another boring love story, with a bit of a twist. This should have been less trite and a whole lot more curious.
The Reader vintage review (a before-The Oscars P.O.V.)
The Reader ****
At last, an exceptional Oscar-nominated film! This is shattering and heart-breaking; a truly a affecting film. At the film's outset, I was surprised at the accent and personification of Winslet's character, which seemed to be a German stereotype, and a rather comical one at that. Was this going to be a light-hearted journey? As the first part of the film (and the relationship between grown woman and growing boy) progressed, this became increasing enjoyable to watch, due to the uneasiness we are forced to feel. Despite being less "curious" than 'Benjamin Button', this relationship was more uncomfortable and controversial than the one in 'Button' could dream of being. The constant usage of the pet-name "kid" highlighted this, as did the parental overtones, and images of childhood innocence: boy scouts, choir-singers, bicycles, etc. I was really enjoying this fickle, flighty and dangerous first section, which heightened the sheer agony of the transition to the shocking and sickening second. We are thrown from a tale of forbidden yet disquieting love, to one of murder, trial and mass-genocide; as Hanna Schmitz is tried for crimes and incidents which occurred during her time as a guard at a concentration camp. It is then that this becomes truly harrowing to watch, especially as her former lover is observing the trial as a part of his law studies. The way these two narratives cross and intermingle, particularly ideologically, is clever and compelling. We as the audience experience what the character Michael does, and take a turbulent journey of conscience and morality. My only criticism of this otherwise brilliant film is the way that it ended. I feel the narrative continued for too long, and that there was too much closure at the end. What I loved about this movie was its ability to truly devastate the viewer, and I would have preferred to be left with a feeling of unresolution and mental torture, than one of closure (but is this just me?). This is one not to miss, though, and I feel an injustice that David Kross was not acknowledged with an Oscar nomination for his wonderful portrayal of Michael.
At last, an exceptional Oscar-nominated film! This is shattering and heart-breaking; a truly a affecting film. At the film's outset, I was surprised at the accent and personification of Winslet's character, which seemed to be a German stereotype, and a rather comical one at that. Was this going to be a light-hearted journey? As the first part of the film (and the relationship between grown woman and growing boy) progressed, this became increasing enjoyable to watch, due to the uneasiness we are forced to feel. Despite being less "curious" than 'Benjamin Button', this relationship was more uncomfortable and controversial than the one in 'Button' could dream of being. The constant usage of the pet-name "kid" highlighted this, as did the parental overtones, and images of childhood innocence: boy scouts, choir-singers, bicycles, etc. I was really enjoying this fickle, flighty and dangerous first section, which heightened the sheer agony of the transition to the shocking and sickening second. We are thrown from a tale of forbidden yet disquieting love, to one of murder, trial and mass-genocide; as Hanna Schmitz is tried for crimes and incidents which occurred during her time as a guard at a concentration camp. It is then that this becomes truly harrowing to watch, especially as her former lover is observing the trial as a part of his law studies. The way these two narratives cross and intermingle, particularly ideologically, is clever and compelling. We as the audience experience what the character Michael does, and take a turbulent journey of conscience and morality. My only criticism of this otherwise brilliant film is the way that it ended. I feel the narrative continued for too long, and that there was too much closure at the end. What I loved about this movie was its ability to truly devastate the viewer, and I would have preferred to be left with a feeling of unresolution and mental torture, than one of closure (but is this just me?). This is one not to miss, though, and I feel an injustice that David Kross was not acknowledged with an Oscar nomination for his wonderful portrayal of Michael.
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