jusco15 Reviews

The Green Hornet (2011)

jusco's review: The Green Hornet

[2/10 · 2 February 2011]

Wow, what a massive, full blown trainwreck. A complete disaster and quite seriously one of the worst films I've seen. Is it that bad? Take it from me, it is. In fact, what was Seth Rogen thinking? I expected at least a half-decent film coming from the comedic mastermind that produced works like Knocked Up, Superbad, Funny People, et cetera, et cetera, but The Green Hornet was a disgrace. Basically, it's a film about playboy-turn-misunderstood-superhero and his Asian butler-turn-martial-arts-trained-partner as they go around fighting crime, at the same time dealing with possible homosexual undertones between the two that lead to constant estrangement over who is better than the other (I was kidding about the homosexual undertones… kind of). Yes, it's lousy as it sounds.

I felt embarrassed for Seth Rogen. He's a great and hilarious actor, but I cringed every time he said something along the lines of "Really?" "Wow!" "That was way awesome!" "You were awesome!" "That's amazing!" "Are you serious?" "No way!" "So cool!" Did you really co-write this with your counterpart Evan Goldberg? You two need to reflect and rethink your thoughts because it needs some serious fixing. In fact, it wasn't just Seth Rogen I was embarrassed for. I was even more embarrassed for Christoph Waltz and Cameron Diaz, less Jay Chou who butchered the film with his horrendous English. Please, I understand your wanting to break out into the Hollywood scene, but this was a pathetic attempt. I ceased any sort of purposeful endeavour to decipher his coded dialogue just ten minutes into the film.

I observed intently both Mr. Waltz and Mrs. Diaz for some form of redeeming factor; after all, they are more than capable of producing something extraordinary, the former with his iconic Nazi in Inglourious Basterds and the latter in films such as There's Something About Mary and Gangs of New York. But I could only sigh in despair when both talents were tasked to play such limited characters and small roles, disallowing them to steal the show or at least distract us from the annoying, unwatchable combination of Rogen and Chou.

Ultimately, the story goes down the only path it can go down, the perturbed dialogue is painful to listen to and the characters are so shallow that the actors have no room to play around. Totally unforgettable and a total waste of my time. Do me a favour… no, do yourself a favour and skip this poor, pitiable film.

Animal Kingdom (2010)

jusco's review: Animal Kingdom

[9/10 · 2 February 2011]

David Michôd's solid crime thriller from Australia lives up to all the hype and critical acclaim already lavished upon it. Not only does Animal Kingdom contain astounding performances, it is also perfectly paced with an engaging plot that isn't overdone and stays true to the gritty realism of the ominous film. It begins with teenager 'J' Cody moving in with his grandmother, 'Smurf' Cody, who coincidentally happens to be the matriarch of a family drenched in crime. Her three sons, 'Pope', Craig and Darren, maintain all sorts of dealings, from armed robbery to drugs, and 'J' is naturally swept along into the 'family business' where dangerous repercussions await the entire Cody family.

I won't dwell much on the plot itself so as to not spoil it for you, but be assured, though it may not be as thought-provoking as Memento, it's got enough twists and turns to bewilder. The real treat here is the first-class acting from the entire cast, and out of the entire cast Ben Mendelsohn stole the entire show for me. His character 'Pope', the eldest Cody son, doesn't make an appearance till about fifteen minutes in, but the moment he steps into the picture he chillingly captivates the audience with his foreboding eyes, facial expressions and vocal tone. I was immediately reminded of Anthony Hopkins in The Silence of the Lambs; Ben Mendelsohn was just as terrifying and eerie. I couldn't help but watch in dreaded anticipation at his next move. I'm surprised and disappointed at the lack of nominations for any major awards for his performance; one of the best I've seen in a long while.

Other standouts include Jacki Weaver, rightfully nominated for an Academy Award for playing the mother of all mothers, 'Smurf'. Calm, composed and cool are just three words to describe her character. In fact, we don't even know what's going on in her head except the fact that she's an unbelievably tough yet loving grandmother. Who else has so much power over her tattooed three sons who are drug sniffers and murderers? Yet, they can only comply when she asks them to kiss her; they love her to death. Ironically sweet.

You can probably recognise Guy Pearce in his role as Nathan Leckie, the police officer who wants to help 'J' escape from the clutches of his family after they all find themselves involved in a messy situation. You're made aware of the high quality of the cast when they act on par, or even exceed this veteran's performance. And how about newcomer James Frecheville who plays our main, 'J'? For the majority of the film, he understandably struggles to live up to the standard posed by his co-actors and actresses. His attempt at portraying a teen thrust into a highly unnatural style of living with colourful family members is rather stagnant and lacking proper emotional conveyance. Yet his turning point comes three-quarters of the way in, when he proves himself worthy of the role when he breaks apart in a bathroom with an intimate, solitary crying scene.

Animal Kingdom is a powerful film that examines seemingly strong but unstable family ties when caught in a web of deceit and murder. Every character is unique, their strengths and weaknesses coming into play whether it's for better or worse. The performances and story are supported by the brilliant cinematography and soundtrack. You'll be dumbstruck to the very end by one of the best thrillers you'll stumble across that will completely blow your mind.

How to Train Your Dragon (2010)

jusco's review: How To Train Your Dragon

[7/10 · 22 January 2011]

Well done, DreamWorks. When you set your mind to it, you can create good animation films, despite being under the gigantic shadow of Pixar most of the time. How to Train Your Dragon is an excellent and enjoyable film with Vikings and Dragons, mixed with good, pure humour, thrilling, jaw-dropping actions scenes and chases – on dragons, of course. Jay Baruchel voices Hiccup, a Viking who is so not a Viking. He's that puny, stick figure in comparison to his disappointed and huge, buff dad, Stoick (voiced by Gerard Butler) who also happens to be the village's chief. Hiccup can't kill dragons to save his life. But what he does instead is accidentally catch the most powerful and deadly dragon in history, a Night Fury, and befriends it. He feeds him fish (no eel), makes a harness and trains him to fly while riding on his back.

It's your typical story, and the dragon flying scenes are almost mirror images of Avatar's grandiose scenes; Hiccup is that weakling and underdog, yet it's just human nature to cheer him on. Along the way we want to see him defy the odds and succeed against everybody's expectations. Quirky and fun, this extremely well-made animation teaches a great lesson for kids: don't be afraid to be yourself and believe that you can achieve great things. Of course, it's just as entertaining for adults, and along with Shrek and Kung Fu Panda, DreamWorks has struck gold with another animated masterpiece.

High School Musical (2006 TV Movie)

jusco's review: High School Musical

[7/10 · 22 January 2011]

Confession: I like High School Musical a lot; not just the first but all three. Does it have cheesy dialogue and unrealistic romantic story lines? Yes. But what it does have are catchy songs, which greatly appealed to the singer in me. Yes, I sang the songs daily with a friend when the first film was released, and to a hopeless romantic in high school, the possibility of finding the perfect match (Vanessa Hudgens at that! Now, that was love at first sight) was exciting and appealing; too good to be true, but exciting and appealing nevertheless.

Zac Efron plays Troy, the jock and most popular kid in school, who is forced to sing a karaoke duet during his Christmas vacation with a shy bookworm called Gabriella, played by the beautiful Hudgens – something strikes. They later find out they're in the same high school class and are obviously attracted to each other, bonded by music and singing. The problem? It goes against the 'status quo': Troy should never venture out of the basketball court and Gabriella needs to stay put in the science lab. A perfect criticising mockery of the hierarchies found in high schools where popular doesn't mix with unpopular. Can they overcome peer pressure and chase after what they love doing? Go ahead, I'll give you one guess, should be plenty.

It's a fun film with fun songs. Who doesn't know the songs 'Start of Something New' or 'Breaking Free'? Note: It's Drew Seeley who sings Troy's parts, not Zac Efron – they overdubbed Efron's vocals since his voice wasn't good enough, all done without his knowledge. Poor guy, but Efron, who does have a good voice (as heard in Hairspary) does sing in 2 and 3. The choreography also gets a mention. It is directed by Kenny Ortega, the man behind the Michael Jackson concerts that never happened, so there has to be some sort of standard. A batch of fresh young talent, it's a DCOM that surprisingly works well.

Shaun of the Dead (2004)

jusco's review: Shaun of the Dead

[8/10 · 2 January 2011]

What do you get when you put the apocalypse, zombies and the chaotic duo of Simon Pegg and Nick Frost together? You get Shaun of the Dead, a marvelously crafted, written and acted comedy with everything thrown in: troublesome parental relations, a girlfriend who's drifting away, idiotic and exasperating friends and of course, a ton of zombies and Simon Pegg armed with a cricket bat to bash their heads in. Brilliantly written by both Pegg and Edgar Wright, it is the first and solid debut of three films that form the Blood and Ice Cream Trilogy (Hot Fuzz, the second film, is even more hilarious and a must-watch).

Pegg plays Shaun; 29-years-old, struggling to please his girlfriend and doesn't know what to do with his life. Frost plays his housemate, Ed, who is just… well, crude. The two find themselves awaking one morning to find the apocalypse at their doorstep; or more specifically, too many zombies wandering in the streets trying to eat people up. Shaun teams up with his friends and parents and decides to do something about it, for once in his life. So begins the mass killing of zombies accompanied by the audience's laughter the entire journey.

This is a hilarious film and both Pegg and Wright have already established themselves among the best in comedic writing. Though there are those who don't find zombies as exciting, the humour is enough to give it a watch. The clever plays by the cast combined with the irresistible and gory bashing of zombies makes for a film that provides Shaun with a new focus and meaning in life. It doesn't quite contain deep and moral lessons for us, but it's entertaining, and that's all that matters.

Four Weddings and a Funeral (1994)

jusco's review: Four Weddings and a Funeral

[7/10 · 2 January 2011]

This delightful British romantic comedy kicked off Hugh Grant's career and rightfully so. There's something about him that is highly enjoyable to watch; we laugh at his witty remarks, we cringe when he is clumsy and makes stupid mistakes, we are happy for him when he finds true love. Sure, it's formulaic as evidenced in his later films; Notting Hill, About A Boy, Love Actually, just to name a few. But he is the master of playing romcom leads, and it's a wickedly pleasant indulgence to watch him in action. In Four Weddings and a Funeral, he charms both the audience and an American lady he meets at a wedding (the first of four), and we follow his exploits in attempting to win her over, amidst a hilarious bunch of friends and another suitor.

This is a comedy that is actually funny, with plenty of smart dialogue to laugh at. Granted, it is all Richard Curtis' doing (the master of comedic writing: check Blackadder, Mr. Bean, The Vicar of Dibley), but the cast does deliver it spot on. Special mentions goes to Simon Callow and David Haig for playing two of Hugh Grant's friends, Charlotte Coleman for playing his flatmate and Rowan Atkinson, as always, steals the show with a brief but hilarious scene as a priest-in-learning. Andie MacDowell is sweet and will steal anyone's heart with her portrayal of Hugh Grant's love interest. A solid, well-picked cast.

Despite an overall light-hearted tone, there is one particularly emotional scene that is both tragic and moving, and features the beautiful poem, Funeral Blues, by W.H. Auden. It is in this scene where Four Weddings and a Funeral proves itself as not just your typical romcom, but is deeply layered and even meaningful. The mood switches from happy and carefree, to solemn and heartbreaking, to happy once again. It's the perfect feel-good formula that will get you smiling and this is one romantic comedy that manages to pull it off extremely well.

The Kids Are All Right (2010)

jusco's review: The Kids Are All Right

[7/10 · 26 December 2010]

The Kids Are All Right is a deeply touching, moving family drama. It's all there; the ups and downs, the rebellious and frustrated teenagers, the arguments between the uptight parents, a third party that threatens to aggravate further the harmonious household. The only difference? The parents are both female; yes, they're lesbians, and their children were conceived by the same, anonymous sperm donor. Add into that mix the sudden appearance of said sperm donor, and you've got yourself a funny and emotional, yet sweet dramedy.

The performances are terrifyingly real. Julianne Moore and Annette Bening act as if they really were a couple for the past two decades. Every word that they utter, every facial expression, seems so natural and genuine. When they discover horrifying secrets, when they are torn apart, we are heartbroken with them; it's pure torture to watch them for fear of ourselves ending up a crying mess.

Add to that Mia Wasikowska and Josh Hutcherson as their children and you've got one of the greatest family performances I've ever witnessed. Wasikowska's charming demeanour draws the audience in and we are pained together with her as she struggles to cope with the escalating situation. We feel for her; it's so unfair for a girl of 18 to go through all this drama. Yet the way she handles it all shows her character's growing maturity and proves that Wasikowska is a brilliant and rising actress. Unfortunately, Mark Ruffalo's performance as the blood-related, socially awkward third party wasn't on par with the rest; he just existed to be scorned and hated by the end. It's a shame he wasn't able to generate one bit of sympathy.

Is this a film about homosexuals? Far from it. The fact that the parents are lesbians is quite honestly the last thing that this film focuses on. This is a story about an every-day family, one that attempts to cope with the ins and outs of life, the various misfortunes and hardships that are dumped upon them. Through their tough, heart-wrenching journey of mistakes and meaningful lessons, Lisa Cholodenko has provided us with an authentic and heart-warming tale of morals, life and love.

Children of Men (2006)

jusco's review: Children of Men

[10/10 · 24 December 2010]

This is a powerful film. It is not a film to be watched lightly; in fact, you can consider it as disturbing as George Orwell's 1984 or Aldous Huxley's Brave New World. The commonality between the three works? All portray a futuristic dystopian society that though may initially seem unrealistic, eventually causes you to think twice: "Hey, this isn't all that far-fetched. In fact, this is really scary." Where to begin? Children of Men, directed by Alfonso Cuarón (also known for directing Harry Potter and the Prisoner of Azkaban and Y tu mamá también), is set in 2027's London. The premise: global human infertility. A baby has not been born in 18 years, implying the upcoming extinction of the human race. And what do people usually do in times of distress or trouble? Create even more problems for themselves, thus leading to collapses and breakdowns, destruction and terrorism. In addition, UK is the only nation still maintaining an actual functioning government, attracting people from around the world. And conveniently, UK's slogan is this: "Illegal immigration is a crime." And the list goes on.

In the midst of this rather bleak environment (bombs exploding, people dying), there is a disillusioned man by the name of Theo, played by Clive Owen, who is tasked to help protect and safely escort an African refugee named Kee out of the UK before she is arrested as an illegal immigrant. Just what is so important about Kee? Well, nothing much, except for the fact that she's pregnant and possibly holding the key to salvation of the entire homo sapien race.

This is an amazing film on so many levels. I'll briefly touch on the points. First, the acting. Clive Owen gives a superb performance as Theo, who attempts to act tough and apathetic, but who really has a caring heart and a strong sense of responsibility, duty. And of course, Michael Caine never fails to impress; in this, he provides the much-needed humour by acting as Theo's rather eccentric friend, Jasper. His hobby? Smoking weed, naturally. The rest of the cast is just as solid.

Second, the cinematography is to be highly commended. The camera work is quite possibly one of the best I've seen in any film. It contains several single-shot sequences that are just mind-blowing. You can easily get sucked into the scene, as if you were really there on the grounds, especially during the intense battle scenes. The advantage of such continuous and fluid shots is the ability to engross the audience completely, never giving them time to take a breather.

Third, the soundtrack works ever so efficiently. It was unique enough for me to notice but not so overpowering as to distract you from the film itself. It creates an original and innovative feel by combining multiple genres of music, drawing the right emotion out at the right time.

But ultimately, Children of Men makes you think, and it makes you think hard. In the beginning, I was hesitant. Mass infertility? It all sounded a bit implausible. Yet, the genius of it is how it handles effectively other matters to provide the necessary realism to construct the futuristic and broken London. It is not a film that thrives on the plot of Theo protecting Kee and her baby, but rather on the intensive reflections on life itself.

This is essentially a study and analysis of human behaviour, of human emotions and of the effect of disheartened desperation. It leads to the cruelty that unfortunately resides in many of us. It leads to the apathy, the despondent feeling of giving up because life is just not working out. It leads to the death of faith. Jasper points out (in reference to Theo's deceased son): "And then, by chance, he was gone. You see, Theo's faith lost out to chance. So, why bother if life's going to make its own choices?" But the beauty of this film is the faint hope that weaves itself in and out. Let me tell you, it is a roller coaster ride. Things happen so shockingly fast, all you can do is just sit and stare in disbelief. It's tough to watch at times. But this is also a film of self-awareness, of maturity, of growth. Theo goes through that transformation and journey, of discovering the need to grasp tightly to that hope, despite the widespread misery (and he certainly goes through some unimaginable hardships). It's what keeps him going, it's what keeps the audience watching.

It's interesting then, when comparisons to Christianity are made. And these are not worthless comparisons. There are many things to be learnt from this film, and even more to meditate on. Issues of politics, racism and human relations are introduced, and of course that faith, that possibility. If only we can implement this hope in our very lives!

Pan's Labyrinth (2006)

jusco's review: El laberinto del fauno (Pan's Labyrinth)

[10/10 · 24 December 2010]

I was hesitant to watch Pan's Labyrinth with high expectations despite hearing nothing but rave reviews, lest I end up disappointed, but I was foolish to even worry in the first place; del Toro has created a captivating masterpiece. A Spanish-language dark fantasy (watch in Spanish with English subtitles), it's a fascinating journey into a young girl's adventurous mind and the courage, often lacked even by adults, which she musters to overcome her fears and the hardships she faces.

Very simply, the premise is this: Ofelia, a young girl, travels with her pregnant mum to a mill in the middle of the Spanish woods where her stepfather, a heartless Captain, is leading a group of men against the remaining remnants of several Spanish Maquis. She stumbles across a fairy and a faun located deep inside a labyrinth who assigns three dangerous tasks for her to complete. For what reason, and whether she completes them, you'll have to watch to find out.

The strength lies in several areas, but most notably in Ivana Baquero's stellar performance as Ofelia (she was only 11 at the time!) and the various supporting roles. In fact, it's unfair to label the other actors/actresses as supporting characters as they held considerably main roles as well. Maribel Verdú, as the caring housekeeper, Mercedes, carried out an especially powerful and astounding performance (I knew I recognised her somewhere; ah, right! She was in Y tu mamá también, portraying a very different character).

In addition to the acting, the Cinematography and Art Direction is superb (it didn't win those Academy Awards for nothing!). The shots (especially the panning shots) are so natural but integral to the film, providing well balanced pacing and expertly works the audience's emotions.

But what establishes this film as different from other fantasy films is not only the creepy fantasy element (do remember, it is a dark film), but also the intense and thrilling background story of the conflict between the Fascist regime led by the Captain against the rebelling anarchists. In fact, the war element is just as strong as the fantasy element. They both surprisingly and naturally work well together.

Highly recommended, and if you have the chance, do watch it. It's been a while since I was so emotionally attached to a film. You're in for an electrifying ride, I guarantee it.

Personal Highlights: In one of the tasks entrusted to Ofelia, del Toro crafts one of the most riveting and suspense-filled scenes in the entire film, carried out brilliantly by Ivana. According to del Toro, Stephen King, the master of horror, squirmed during this very scene!

Cencoroll (2009)

jusco's review: (Cencoroll)

[7/10 · 24 December 2010]

My first impression of this half hour short film was that it felt like I was watching a more mature Pokemon, except without the cute creatures. Cencoroll is an independent anime singlehandedly created by Atsuya Uki, which supposedly took over two years to complete. Taking that into consideration, it is a visual delight. There are four main characters: Tetsu, Cenco, Yuki and Shu. Tetsu, the high school student, is in control of his 'pet' aka weird shapeshifting creature, called Cenco.

Yuki, a fellow student, accidentally discovers Tetsu's secret, and all three of them eventually make an enemy, Shu, who also controls such creatures. Confrontations leads to battles between the creatures; thus the reason why I felt it was a mature Pokemon. The unique aspect is the entire tone of the film. What I mean by that: it is all very subdued and subtle. There are intense fights, but even those seem peculiarly mellow. It is strangely calm but it provides the necessary humour and surprisingly draws you in. Though bizarre, Cencoroll is highly original and a treat to watch.

Lock, Stock and Two Smoking Barrels (1998)

jusco's review: Lock, Stock and Two Smoking Barrels

[6/10 · 24 December 2010]

It's like Snatch's twin brother, which I guess is understandable considering it's the same director. Guy Ritchie's first film is in typical fashion; bizarre, erratic, whimsical. Once again following several interlinking story arcs, it is a puzzling crime film with a lot of laughs and deaths. Four young men find themselves in debt to a crime lord (£500,000!) and they conspire to steal money from their weed-growing next door neighbours. On top of that, two antique guns and a whole bunch of characters find themselves unknowingly involved and pitted against each other; a perfect setup for a comedic and violent tragedy. Containing smart dialogue and sharp, stylish camera work (different from Snatch's editing, but still unconventional) and relatively solid performances all round, Lock, Stock and Two Smoking Barrels is a solid debut from the British director. Unfortunately, if you end up watching both Snatch and this, you'll be sick of the similar styles and tones. However, it is still hilarious and of course, shocking, and it's well worth a watch. Though Snatch may have had more laugh-out-loud moments, I personally enjoyed the crafting of this film better; the editing was not as distracting, thus allowing smoother flow, and I also found the ending brilliant. But please, I beg you Mr. Ritchie, don't do it again. We've had enough of heavily-accented British crime comedy films, especially from you.

Lost (2004–2010)

jusco's review: Lost: The Complete Sixth and Final Season

[10/10 · 24 December 2010]

I'm a bit behind in the fact that I wait for the DVDs to be released before I enjoy the season in its entirety. So although it's been half a year since LOST officially ended, I only just received my copy and thus am finally in par with the other LOST fanatics. It's a bit hard to write a spoiler-free review but I'll do my best.

For those unfamiliar with the show, it's about a group of survivors who land on a mysterious island in the middle of the Pacific after an airplane crash. Their lives begin to intertwine through a series of thrilling and at times, deathly events. The unique richness of the show is brought by the numerous flashbacks of the characters, providing depth and enjoyable development (the cast is extensive but is handled extremely well). The theme of 'destiny' is implied, but I'll stop before I give anything away.

Despite my hearing of the last season to be rather controversial and disappointing in comparison with the previous seasons (but then again, which season hasn't received complaints about being controversial and disappointing?), I was extremely satisfied and thrilled with the turnout. In other words, it was a spectacular season. I may sound a bit biased since I am a dedicated follower, but for the most part, even the top critics agree on this point.

It was only after the season ended that I realised just how strong my attachments to the characters were. It's perfectly understandable though, considering I've literally interacted (in a virtual manner) with them for the past 6 years, plenty of time to become more than acquaintances.

There were plenty of awe-inspiring moments as well as tearjerkers: finally!.. Tears from Sawyer!, the deaths were absolutely shocking and heartbreaking, the reunions.. never had I cried so much in the entire show before. But one thing that cannot be denied is the genius of how the creators managed to tie down the numerous mysteries into one definite ending. True, complaints about the various unanswered questions arose, as well as how the ending was far from satisfactory. But think about it. Considering how many thought provoking and mind-wrenching mysteries they introduced, they did an extremely good job of wrapping things up into a nice, concise, sound ending.

Anyway, it's not about the quality of the ending in my opinion, but rather the journey that lasted 6 years. That was one hell of a trip. All respect goes to J.J. Abrams and his team for one of televisions finest and most outstanding shows, gripping from start to finish. It's been an honour and pleasure travelling with you for the past 6 years. I'll miss you a lot, for all the memories, tears, laughs.

RIP LOST 2004-2010

She's Out of My League (2010)

jusco's review: She's Out of My League

[7/10 · 24 December 2010]

How many romantic comedies sprinkled with vulgarity and obscenity have you seen that have been utter failures? Sure, there are a handful that have been successful especially the films involving Judd Apatow, but for the most part they drown miserably in their own pitiful pool of horrific filmmaking. But very surprisingly, She's Out of My League is one romcom that does work.

The story is centered on Kirk, who has extremely low self-esteem and Molly, who is beautiful and constitutes a perfect 10 (Kirk, on the other hand, is only a 5 at most). They begin a relationship after a fateful encounter but along the way things go wrong. The typical "average guy and perfect girl" romantic story, but then again there are plenty of those guys out there ('raises hand') who can immediately relate to Kirk. That's right, I was cheering him on the entire way, which is probably why I enjoyed it so much.

The romantic part outdoes the comedy part in this case – a few hilarious scenes, but on the whole it grasps the attention of millions of guys out there who felt it a duty to stand behind Kirk until the very end where, as we all guessed but was relieved to see come true, a happy ending awaiting, leaving the male audience sighing and losing themselves in wishful dreams for something similar to happen in their own lives. This is a film that manages to steer away from cheesiness and is unusually convincing. It's also notably not as raunchy as initially expected. Overall, a light-hearted, feel good romcom that touches the hearts of guys like you and me.

Snatch (2000)

jusco's review: Snatch

[6/10 · 24 December 2010]

Snatch is an eccentric, original film that combines both gangster and comedic elements to create a relatively successful and refreshing film ('original' is subjective; it's supposedly too similar to Guy Ritchie's previous film, Lock, Stock and Two Smoking Barrels, but then again I haven't seen that yet). The plot follows two interlinked story lines set in the London criminal underworld: one revolves around an attempt by several parties to steal an 86 carat diamond, the other about a boxing promoter and his unfortunate dealings with an unmerciful gangster. Despite the seemingly simple plot, the various twists and turns are surprising and even hilariously absurd. Think deadpan comedy with imposing guns and terrifically witty dialogue. It's like watching a slapstick cartoon come to life. Edited rather stylistically, contrary to the conventional theatrical manner, it moves at a faster pace than most films and has a cool, fitting accompanying soundtrack.

This film features an impressive ensemble of actors (I just now realise the lack of female characters; this is a 'manly' film). But the two standouts were Jason Statham and Brad Pitt, two widely-known actors; the former known for being one of the iconic 'action heroes' in films such as The Transporter, Crank and The Expendables, the latter known for being a 'pretty-boy-but-still-immensely-talented actor' in films such as Seven, 12 Monkeys, Fight Club, just to name a few. Imagine my surprise then at Jason Statham's impressive delivery of Guy Ritchie's brilliantly written dialogue. I was unimpressed with his action flick performances, but in Snatch, he proves he is capable of more than just throwing punches and shooting guns. Brad Pitt had an interesting character to play; how did he pull off so well an Irish gypsy (or derogatorily known as 'pikey') who excels in bare-knuckle boxing, is obsessed with his mum and whose heavily-accented words are completely indecipherable? One of my favourite of his performances.

Snatch thrives on the ability to entertain audiences with its unique deliverance, laugh-out-loud dialogue and outrageous happenings. However, that's as far as it goes. Halfway through the film, the dialogue starts to feel a bit stale and overdone, the style of editing is a bit vexing and the story seems to go nowhere. Some of the performances were mediocre, as if the actors were unable to grasp the true character they were tasked to play. This was one of the films where the entire journey failed to overrule the unsatisfactory ending. This film is smart, make no mistake, but Guy Ritchie shouldn't have overdone it for his own good.

Tales from Earthsea (2006)

jusco's review: ゲド戦記 (Tales From Earthsea)

[4/10 · 24 December 2010]

I honestly don't know where to start. Despite my love for Studio Ghibli, Tales From Earthsea was a disaster. It's true, Goro Miyazaki did have an unbelievable amount of pressure from the entire world just because he was the son of Hayao Miyazaki; but so, so disappointing. Based very loosely on the books by Ursula K. Le Guin (according to her, the plot was "entirely different"), it is a typical, generic fantasy film. Young and main hero who struggles with his own fears? Check. Wise wizard aka caring mentor? Check. Pretty and determined young lady who eventually helps the hero find his way? Check. Oh, don't forget the dragons and magical sword.

To be fair, most fantasy stories are generic, but the problem was how it felt more like a random mix of disjointed elements than a well-blended, coherent film. Sad to say, I felt I was watching a lame fantasy film like Eragon, just with pretty animations. Even the animation felt sluggish at times, though I have to admit there were a few breathtaking scenes. It seemed as if Goro Miyazaki was trying so hard to find the balance between staying faithful to the books and forging an original, innovative film. It's a pity he failed to please any side.

The biggest redeeming factor was the theme song, Therru's Song. It is one of the most beautiful Ghibli songs and talks about the loneliness that plagues one's heart. The film might have been a flop, but the message it brings across is an important one. Only when you finally accept the fact that you will die someday, will you then be able to live to the fullest.

The Other Guys (2010)

jusco's review: The Other Guys

[7/10 · 24 December 2010]

I don't watch a lot of comedies. This isn't because I dislike the genre; no, it's quite the contrary, but the problem is that the number of bad comedies easily outnumber the number of good ones. A good comedy must be well-written, well-timed, well-acted and well-delivered (refer to: Little Miss Sunshine and Hot Fuzz). So I was extremely and pleasantly surprised at how funny The Other Guys was. I deliberately skipped it in cinemas but since it was the one film on the airplane I still hadn't seen, I gave it a try and found myself laughing from start to finish.

The plot: two police officers, Detective Allen and Detective Terry, are the losers and laughing stock of their colleagues. Receiving no respect from the other officers, they are left dealing with paperwork. But when they stumble upon an opportunity to prove their worth, 'the other guys' step up to the challenge to show that they can actually accomplish something.

Two things stood out.

First, Will Ferrell's performance. I have to admit I hadn't seen very many of Will Ferrell's films, but I got a glimpse of his brilliant acting in Stranger Than Fiction, one of his few serious roles which he executed superbly. He does it again in this film. I now see why he's labeled as one of the leading comic actors around (though I'd have to watch his other films to be able to confidently state that fact). Mark Wahlberg's performance was refreshing as well, though he wasn't up to Will Ferrell's standard.

But what was undeniably holding the film together was the script – a round of applause for Chris Henchy and Adam McKay, the scriptwriters. The dialogue was pure comedy and solidly written. It's not rare to happen upon a comedy that runs entirely on one-liners and bursts of short comical scenes, but it's rare for it to work. Since when does an argument involving tunas devouring lions on land by constructing breathing apparatuses with kelp become so hilarious? If you get a chance, watch it. I guarantee you'll be laughing your head off.

The Social Network (2010)

jusco's review: The Social Network

[9/10 · 24 December 2010]

Many would probably agree with me that upon hearing David Fincher was directing a Facebook film, there were two general reactions: 1) a Facebook film?? are you kidding me?? 2) David Fincher and Facebook?? shouldn't it be David Fincher and provoking thrillers, like Seven or Fight Club or Zodiac??

Well, Mr. Fincher, you have officially and successfully pulled it off, and we're more than willing to shut up now.

This is a film based on the founding of the Internet social networking phenomenon site, Facebook, which I highly doubt needs an explanation (unless you're one of the rare few not in the overwhelming 500 million who has an account). But please be aware, this is far from factual. If you're looking for a faithful documentary or biographical film that portrays the humble beginnings of the website and the eventual lawsuits over the disputes about who actually owned the shares, you're looking in the wrong place. But if you're looking for a film that is intelligent and witty, you're in the right place.

I emphasise again that this is a smart film. In fact, probably much smarter than what most people are used to, but the genius of the film is how it is able to effectively bring us along with the fast paced turn of events without confusing the audience. It contains brilliant dialogue that must be attributed to Aaron Sorkin, the scriptwriter. From the first scene, you are already thrown into a world of highly astute and quick-witted conversations. But then again, this is Harvard; can you expect otherwise?

Apparently, Jesse Eisenberg's portrayal of Mark Zuckerberg was far from accurate; the real-life Mark Zuckerberg is known to be quiet and reserved. But this can be easily overlooked for Jesse Eisenberg's execution is in perfect style: quick thinking, witty and though at times irritating, eventually wins the audience over to symphathise with him. Andrew Garfield had a relatively easy character to play, Eduardo Saverin, the rich businessman who supports Mark but eventually sues him. But Justin Timberlake – I had no idea he could act so well – was the standout. His character, Sean Parker (the founder of Napster), is so charming to the point of annoying, and he played his role very cleverly.

This film does make you think about the constantly evolving world of technology that is currently dominating our lives. It causes you to question the issue of privacy, the issue of morality and the issue of Virtual vs Reality. How many profiles portrayed on Facebook are similar to the person in reality? How different? How can this type of social networking site benefit us, or even harm us? Is our society too reliant on said site or is it a perfectly harmless way to interact and socialise, to make new friends and acquaintances? Just a few questions to think about.

The Social Network has been described as a cinematic masterpiece. That it is.

The Squid and the Whale (2005)

jusco's review: The Squid and the Whale

[9/10 · 24 December 2010]

Indie films always works its magic on me. Maybe it's because I'm an artsy type of person, looking for some meaning so complex it's impossible to find and comprehend. Or maybe I just simply enjoy the complicated blend of emotions these films invoke because it is so reality grounded, so personal, that I feel for the characters. There is a sort of intimacy that allows me to relate more closely to the people involved in often painful, often heartbreaking, and ironically, often hilarious drama.

The Squid and the Whale is semi-autobiographical, based on Noah Baumbach's own life. Set in Brooklyn, NY in 1986, the story involves a family filled with tension. You sense it right from the start, and you can easily guess what's going to happen. The parents, after being married for 17 years, are fed up with each other and announce to their two boys their imminent separation, leading to joint custody. They were a normal family; in fact, a bit more intellectual and sophisticated than most – both parents are phD holders in English literature, which naturally leads to conversations about Dickens and Kafka over the dinner table. Even the children (one in high school, the other in middle school) seem a bit more mature. But when various rumours that turn out to be truths emerge, relations are all the more strained. What results is a family war, the children forced to take sides with either one of their parents.

At times, this film is excruciating to watch. It is so real and raw (and that can be accredited to the director's personal experiences). Both children figure out their own ways of dealing with the shock, be it through girlfriends or beer. At the same time, the parents are in agony; can this marriage still be saved? Ultimately, though, it seems as though all is lost. Everything seems to sink into quiet solitariness.

However, this film is not all bleak and desolate. In fact, one might even get a glimpse of hope at the end through the older son's exploration of the past, of memories, of one's own actions and regretful consequences (played by Jesse Eisenberg – it's a shame he wasn't well-known before The Social Network, for he truly shines here). Through various prejudices, assumptions and revelations, we are invited to meditate on life. Along with the characters, we are led on a journey of constant discovery. And though everything may seem dismal and unpromising, there is still the possibility of unearthing redemption, however small it may turn out to be. But then again, sometimes that small spark is just what we need.

Pride and Prejudice (1995)

jusco's review: Pride and Prejudice (TV)

[10/10 · 24 December 2010]

Fully knowing that the 1995 television serial is universally considered as the ultimate and best adaptation of Jane Austen's classic romance story, I immediately ordered my copy and eagerly awaited for it to arrive. From the start I can say that, hands down, this series lives up and even exceeds the overwhelming critical acclaim already bestowed upon it; there is no better adaptation so faithful, so true to the material. It is 5 hours and 35 minutes of pure bliss, magically transporting the audience to beautiful, breath-taking 19th century England.

Colin Firth is said to have defined the character of Mr. Darcy, and it is justifiably so. His handsome and initially hard, cold features that eventually begin to break down through the course of the entire series is so enjoyable to watch. And Jennifer Ehle – I have to admit, at first I didn't think her very pretty; Keira Knightley's performance was still fresh in my mind – as Ms. Elizabeth Bennet, is so striking and enchanting; her mature beauty drew me in. It wasn't long before her performance became the definitive portrayal of the character. I loved the feel of maturity, the more sensual sense of the characters (compared to the 2005 film), which I felt much more appropriate to that particular time period. This is a romance story of the highest degree.

I really hate to compare this series with the film. As I said in my film review, each is different and splendid in its own manner; but as much as I tried not to, upon my view and completion of this adaptation, my memory of the film was literally and completely erased (save Keira Knightley, who I still think did a marvelous job). Mr. and Mrs. Bennet's portrayal by Benjamin Whithrow and Alison Steadman respectively was so convincing that no matter how hard I tried, I failed to conjure up the image of the Bennet parents in the film. That just demonstrates how strong the acting is by the entire cast.

No amount of words can describe just how much I enjoyed revelling in the enchanting journey that took me through the romantic and dramatic escapades of the Bennet family and their acquaintances, all set upon London's gorgeous backdrop. There is no doubt that I will revisit again and again, the wonder enticed by this television serial. Five stars and more.

Pride & Prejudice (2005)

jusco's review: Pride and Prejudice

[9/10 · 24 December 2010]

Pride and Prejudice, the novel's latest adaptation by Joe Wright, is a delightfully charming film that surprisingly works well for its limited runtime of 129 minutes. I will not compare this film with the ever-faithful, ever-acclaimed 1995 television serial, for both work equally well but just on different levels. The selling point of this film is the fact that it will easily appeal to the younger generation; it is a great introduction for those unfamiliar with the novel or Jane Austen (as it was for me). A modern rendition of the classic novel, it still manages to maintain the wittiness and romance through the impressive performances of the young and attractive actors/actresses.

Keira Knightley, one of the most beautiful and talented actresses currently, delivers a pinpoint portrayal of Ms. Elizabeth Bennet that sparkles with witty personality. Her execution and deliverance of the novel's smart, memorable dialogue is spot on – her talent is evident, having able to meet the high standards that have always tagged along with this particular character. Her counterpart, Matthew Macfadyen, does an equally good job as Mr. Darcy, and his transformation throughout the film is well acted. Some may be dissatisfied with the youth or the lack of maturity of the cast, but as mentioned above, being an adaptation aimed at appealing to a younger audience, one must allow proper applause for the cast; it is by no means an easy task to effectively act as a set of defining literary characters.

My only complaint was it being too short; there were a few scenes that seemed to arrive much too soon, but it is understandable considering they were trying to compress it into one film. I'll be more than happy to redirect you to the above-mentioned television serial – just under 6 hours, it is given plenty of time for the events to play out.

Highly recommended for those who have yet to succeed in sitting through the novel – it is a hilarious and emotion-provoking film – or for those who desire a fresh and lively look at their favourite novel. Highly eloquent, highly intelligent, this modern telling of an all-time classic is worth the watch.

Confessions (2010)

jusco's review: 告白 (Confessions)

[8/10 · 24 December 2010]

Despite having already read the book and knowing fully well what was coming, I was still shocked. Confessions is a disturbing film, a morbid film and what happens is mind-blowing. It is disheartening, scary even, to see middle school students who are close to demented, with no heartfelt mercy or sympathy, who can kill freely for baffling reasons. At the same time, the adult characters are just as heartless. The teacher, Yuko Moriguchi (played by Takako Matsu) is intimidating – her only purpose in life after the death of her daughter is revenge; far from the typical adult mentor and role model that we are so used to seeing.

But the reason why I gave a higher rating to the film than the novel was because the director, Testuya Nakashima, did a marvelous job at taking a mediocre book with stagnant flow and transforming it into an intelligently crafted suspenseful film that maintains realism and proper flow. The 'blue' look (most obvious in the classroom scenes) and the ominous, monotonous soundtrack just adds to the film's darkness. Though the initial confession by Ms. Moriguchi is rather long winded, the rest of the film will consistently confuse, startle and even upset audiences. You will see children involved in relentless bullying and even cold-blooded murder – the middle school students' performances are astonishingly convincing. By the end of the film, you may feel cheated at such a disgusting and horrifying ending. You will be astounded and maybe even depressed at mankind's depravity – if that was the intention of both the author and director, they succeeded in playing a cruel joke on us all.

Eastern Promises (2007)

jusco's review: Eastern Promises

[9/10 · 24 December 2010]

Eastern Promises is a solid, electrifying thriller from David Cronenberg, also known for his critically acclaimed A History of Violence. What he has brought to the table is an intense, gritty look into the inhumane nature of people, in this case, the Russian Mafia in London. Revolving around a midwife named Anna (Naomi Watts) who stumbles upon a dead teenage girl's diary containing secrets potentially harmful to a Russian Mafia family, her interactions begin to involve the family's driver, Nikolai (Viggo Mortenson), who is anxious to be accepted by his employers as a fellow member. An unusual relationship develops between the two, shaking both lives as they find themselves caught in a web of murder and deception.

From the start, you'll be made aware that this is not your nice, sit-back-and-relax thriller (too many of those around; aren't thrillers meant to thrill?). A throat-slashing murder opens the film, just the beginning of plenty more shocking events to follow. There is no mercy in this crime world, just pure ruthlessness found directed at the one who dares to step out of line.

What better man to play a formidable Russian than Viggo Mortenson himself, whose fierce figure and face, that seems to represent the very nature of evil, incites dreadful shivers through your entire being? This is perfect casting; his deliverance and execution is top class. And Naomi Watts is brilliant in her role as the headstrong heroine who seeks to make a change despite the imminent dangers.

There is not much action in this film. In fact, there are no guns. But, there are knives. And lots of tattoos. And an epic fight scene in a bathhouse that just blows your mind because it is so realistically frightening. At just 100 minutes, it is neither too short nor too long, it's pacing well timed to slowly reveal atrocious secrets and stir up the anxiety and excitement in the audience. Howard Shore's restrained score just adds to the mix, creating a heightened sense of tension. Though many might find David Cronenberg's realistic portrayal of the Russian Mafia too grotesque to handle, those who are able to sit through it will find themselves in for a delightfully thrilling ride.

I forgot to mention: if you do not wish to see Viggo Mortenson's genitals, do NOT watch this. They get more screen time than you might expect.

Harry Potter and the Deathly Hallows: Part 1 (2010)

jusco's review: Harry Potter and the Deathly Hallows Part 1

[8/10 · 24 December 2010]

Bravo, David Yates. You have done it once again.

For those who haven't read the books or watched the previous 6 films, don't even bother. You'll be lost and confused the entire way. But for those familiar with Harry Potter, I dare say you'll be pleased with the faithful adaptation presented to us. It's an entertaining ride from start to finish and despite having a runtime of 146 minutes, there wasn't a moment I felt it too long.

Touching on technicalities, it is undoubtedly a superbly filmed piece. And since the majority of the film is set in the Muggle ("real") world, it provides a new and refreshing experience with beautiful scenery that isn't Hogwarts, all a backdrop for the wizarding characters and their exciting ventures.

And the acting is just brilliant. It's weird to think 9 years ago, Daniel Radcliffe, Rupert Grint and (the ever beautiful) Emma Watson were just little kids thrown into the world of what was to be one of the greatest film series ever. Being roughly the same age as them, I can say I've travelled with them, grown with them, matured with them. That is exactly what they deliver, an extremely mature performance that shows their undeniable talent; and of course, the supporting characters, all veteran performers who just add to the brilliancy.

The pacing was criticised, and justifiably so. If you're looking for a concise and action packed-to-the-brim film, similar to the previous films, you won't find it here. But you will find a dark and emotional work that draws you in if you're willing. Bear in mind, it is only the first half of the epic finale. Oh, and the much talked about 'dance scene' that immediately divided audiences and critics alike? I didn't have a huge problem with it, but it certainly felt disjointed and out of place; not necessary, but I have to say, it was sweet.

Was it the best in the entire series? Some may argue yes, but I personally felt Half-Blood Prince to be superior, though this is a close second. Part 1 is a perfect setup for the resounding finale waiting in store for us next year. This was thrilling as it is; I can't imagine how electrifying Part 2 will be.

Personal Highlights: Other than all Emma Watson scenes (she can truly act), do watch out for a particular animated sequence in the middle of the film that is creative and innovative. Also, Harry and Hermione's visit to snow-covered Godric's Hollow is one of the most beautifully shot scenes in the entire film.

Harvie Krumpet (2003)

jusco's review: Harvie Krumpet

[8/10 · 24 December 2010]

Three words to describe Adam Elliot's (master of clay animation) 22 min and 7 sec film Harvie Krumpet: sardonic and poignant. This Academy Award winning short film follows the title character, a naïve but optimistic Polish who ends up in Australia, and his unlucky life. That is an understatement; he gets struck by lightning, has his testicle removed, is plagued by Tourette's Syndrome, just to name a few. But one single phrase (Carpe diem) causes him to embrace life despite his unfortunate circumstances (hooray for nudist colonies and chickens!). Crafted in both a humorous and distressing manner – you will laugh one moment then sink back into depression out of sympathy for Harvie – and superbly narrated by Geoffrey Rush, this film will make you smile and want to lead a better life. After all, if Harvie Krumpet can do it, you can too.

Keeping Mum (2005)

jusco's review: Keeping Mum

[7/10 · 24 December 2010]

It's hard to find a bad British comedy film; somehow their blood is flowing with the necessary ingenuity to generate laughter. It was my second time watching the black comedy film Keeping Mum, yet I enjoyed it both times. It starts off with the condemnation of a pretty, young lady who murdered and dismembered her husband and his partner, already venturing into the realm of morbid humour. Fast forward forty-plus years and we find ourselves in a small village called Little Wallop, a mere population of 57. We are introduced to a family that is on the brink of falling apart: rebellious teen daughter, bullied son, uptight and unsatisfied mother, unknowing and boring father (who also happens to be the town's vicar). And who else magically appears as their new granny but the lady (now old, but still just as jolly), fresh out of her confinement? Soon things begin looking brighter, and the entire family can't help but wonder if the new granny called Grace was God-sent.

The strength of the film is carried by the strong performances. The reason why I bothered to watch this in the first place was because of Rowan Atkinson – he is, without a doubt, the funniest man alive and I have so much respect for him. He once again wonderfully executes his role as a blustering, dim-witted vicar; he is pure comic. Alongside him, Kirstin Scott Thomas is just as brilliant as his wife who desperately searches for satisfaction from another man (an American with the accent and hot bod). Yet, it is Maggie Smith, one of the English actress greats, who gives a cunning and refreshing portrayal of caring, lovable granny-slash-murderer. You know you're in for a treat when you have Rowan Atkinson's libido activated upon the reading of Song of Solomon or when Maggie Smith smiles wickedly with a butcher knife in hand.

Is this the best British comedy around? Far from it, but those looking for a fun and lighthearted black comedy (yes, I'm aware of the contradiction there; but then again, our generation is capable of making light of serious situations, is it not?) might find this film a delightful romp.