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Breakfast at Tiffany's (1961)
Audrey Hepburn certainly has her theatrical skills to pay for her admirable beauty. I remember reading a comparative review about Natalie Portman, with critics stated she's the present times' Audrey Hepburn. Upon hearing some good remarks from my officemate how Audrey did well on her movies Roman Holiday and Breakfast at Tiffany's, then maybe it is high time for me to see this lady predefine Natalie Portman's paralleled fame. I went to watch Breakfast at Tiffany's. The film was entirely great! I mean the story (first and foremost) was unexpected. Seeing the movie posters makes you think straight how the movie will turn out to be, but make you revoke your first impression upon seeing the rest. It was a good deal of a story. Nothing I could exactly remember in my movie experiences the same lucid story of a woman's desperateness to climb the top to provide for someone, while cloaking her pretentious strength and feebly endure her tangled situation. This is the first time I saw George Peppard and I must say he possessed the classic handsomeness and theatric skillfulness so unheard of that in my opinion (base on my research) was so underrated or underused. Audrey and George were cool together. Their tandem was a bit off because of their apparent differences but easily understandable as each other's milieu were understandable to his/her own. You could quickly discern that the moment they met, "Oh, he's the one." It's predictable, but what I don't hate about predictability is the storyline's beauty coating the entirety of the film to compensate for such "clichéness". You may have predicted it but you still haven't understood the rest yet.
George Peppard's performance was good. The first time I saw him use such skills was finer than any famous actor could claim for and averagely perform the act instead. He's was cool. The character was patient, conservative, looks weak and common at first glance, but straightforward and truer than any man you could imagine in the world. Audrey Hepburn was indeed superb. I can't find a word to truly describe her in this film. It's somewhere between best and average. I don't want to overrate her or even undermine her. She was really fun. It felt watching Katharine Hepburn in a different setting. She's fun, adorable, interesting, keen and makes you keep an eye until she broke the character's inner depths. I saw Natalie Portman's Black Swan before this, and I can see the two actresses' skinny stature comparable. But that was a pun. I can see half of it now why critics consider Natalie Portman as the current generations' Audrey Hepburn. I can't wait to see Roman Holiday and My Fair Lady. Audrey indeed did well in this film and so much of her I wanted to see more.
As Good as It Gets (1997)
As good as it was
There you are the title defines the film itself. I resorted to the thought that I should be seeing a film one of the best actors living nowadays had acted with. I have to site that Jack Nicholson's best performance I've seen so far was since "One Flew Over the Cuckoo's Nest". And I can't help grinning at thought of bringing the remnants of his acting trademarks which I saw in this film. Just creatively witty and this is the first time I saw Helen Hunt! She's just wonderful as well. It's indeed a bit off to imagine a grumpy, OCD writer, a troubled gay neighbor and a caring single mother would join and enjoy the full circle. It was really cool to see Nicholson do the part of bigoted, obsessively compulsive writer. Seeing and hearing Melvin Udall get to his clumsy attitudes amuses me, Nicholson is just cute for the part and he did it nicely. Helen Hunt has a bit of craziness and insensitivity there, but that's her character. The thought of hating it actually pulled through her acting skills. Greg Kinnear was also better. He did agreeably his role and it was splendid. The one impressed the most was the dog. It's funny, but considerably trained dog could have pulled the role. That was innovative. One thing lacking though is the part of Nicholson's character. I wish they could have emphasized more the background of his character's unlikely behavior. It wasn't only OCD that described Melvin's strange attitude but there was something else in there. I was thinking they could have focused on that side more deeply. The scene that struck me, it was only a moment but it was electric for me, was when Melvin was told to return the dog as Simon (Greg) was about to get better and wanted the dog back sooner. At that moment I saw how powerfully Jack Nicholson got into the character's deeply sad side. He was about to lose something that made him feel better. It was as if just the prior thought of it makes it painful for him. He cried! I almost cried seeing that! That was potent! I wish they could have brought a piece of that Melvin's side to Helen Hunt's character. But I realized later, the film went well probably without getting too much on that part. I've learned that a little of something so electrifyingly sensitive and catchy is best shown in seconds and in a single time only. As powerful as Jack Nicholson's performance at One Flew Over the Cuckoo's Nest, this has to be his second most evocative performance. It should be understood that the film was more of a romantic comedy. Well I guess the little dramatic side of it makes it stands out.
Joyeux Noël (2005)
Made my ties towards my religion firmer...
This film made my thoughts over the old Germany changed. Well I guess somewhere in my subconscious told me that these merciless enemy of the world during the old times were actually as knotted and determined like any other country would fight for their aspirations. Sadly there are millions who are caught in between the warring countries' ambitions and idealisms. And the complicatedly sad truth about it is that those who took part as pawns of the warring countries had in no way desired what they leaders wanted. They're mixed up, confused, longing for their families, scared, lonely and angry.
I had this film long before. I just let it sit in my collections not knowing the brilliance it carries. I only owned it in the first place because it's a highly rated foreign film whose translation of German title I don't even know. I had the chance, the isolation to watch this film and it give me the chills over the beauty of the truth I never thought had been part of world history. The film per se is superb. The cast, the settings, and the sounds everything, as typical as they are, but like I always wanted over a film, whether it is cliché or contentious the story stands out. It's totally new to me! Warring countries fraternizing with each other? I mean if you've first heard of it and idiot enough not to think it's clearly impossible to happen. But the instance each party experiences led them to form such truce. It's heartbreaking, bitter sweet, poignant, touching at its best and really beautiful. Indeed nothing more is despicable than those who never thought of the efforts and lives sacrificed for the country's best. The leaders as they may be as necessary as leading the entirety could be as appalling more than the enemy for putting their men in no-man's-land while joyfully feasting over their wealth and safety. I saw through the characters inner thoughts. It was indeed the beauty that led this film as better as it was. I saw "The Pianist" and "Schindler's List", compared the two and filled my thoughts of hatred over the old Germany. But not everything was it seems to be. This film made its light seems ridiculous, impossible but in anyway such impossibility is probable when you know a man's heart speaks truly than they're countries' will.
A worth of film certainly. It made me cling to my religion tighter than ever. But really there are those well in the church that seem to know so well but knows nothing at all being in the war could bring forth.
Annie Hall (1977)
The first of Woody Allen's excellence that made Diane so naturally refined...
I remember watching "500 Days of Summer" and commented how good, typical the story was. I posted some recollections watching the film here in IMDb and I recall one user commented "watch Annie Hall". Ironically I had the film before "500 Days of Summer" and the irony is that I first saw the latter than the former being owned first than the latter, so that's ironically confusing. Anyway I had Annie Hall before because I heard it was Diane Keaton's award winning film. After watching this film I never thought of smiling and recollecting most of the best scenes in the movie. While washing dishes it made me smile unknowingly how I recall they played tennis, quarrel over killing two spiders the size of a Buick, horribly driving a Beetle, toyed over scattered lobsters, and broke up and make it up. Seriously, Woody Allen had to be one of the brightest mind I've ever saw, no wonder he fished three Oscars for that brilliant talent! This is his second film I saw since "Whatever Works", though it should be noted that Annie Hall preceded it, well I'm a modern guy, I saw nowadays before classics, that's pretty normal. And Diane struck me like ever. She's so much better in this film, not only I saw her dashing archetypal beauty but her acting skills were so natural and refined. She indeed deserved the Oscar.
I thought I would go weary watching films after 10 hours in the office, but I had the accidental choices I never thought would bring so much as an "accident". It's very straightforward, sentimental, cute, funny and unarguably worthwhile.
The Pianist (2002)
A similar ground in different sides...
Had to be top achievement of Adrien Brody, and I never doubt the pinnacle of his performance for this. Set again the old ages of the 20th century this film made me recall Steven Spielberg's "Schindler's List" ringing in my head. It was as heartrending, fearful, expressive and disastrous as the characters of Spielberg's film experienced, though in a different view of course. This film again showed us the misery of innocent people experienced in the hands of vile Germany. But then it left me a room to think in my head that not everything of Germany is as vile as the mainstream thinks. It's the same lesson I picked when watching Schindler's List. And the suffering of the protagonist opened once more parts of life you never thought would happen to anyone. And there are so many things you would never thought of letting go or letting it happen before your eyes and conscience. Such burden and misfortune one has to carry just to survive, Adrien's character lived up to that. We saw it, the struggle and transformation. It was the beauty this film carried, no wonder that for me an Oscar is not ample enough to appreciate the brilliance of human experience excellently told to the mass.
Funny it is when my brother's girlfriend recommended me this film and after watching it, I can't get over it. I was even impressed to myself when I shared it to my officemate that she told me how vivid my recollections where. I can't explain it, but probably because of my craving for a beautiful story made me grasp the film in just one go. Just like "Joyeux Noel" an opposite of this film, though with same worldly issues and situations, strengthened my attachment to them.
There so much to tell about this film and I'm really looking forward for the book the film is based. There so much of the detail probably I've missed but the film is brilliant enough to compress those in my opinion.
Jacob's Ladder (1990)
The creepy trick layers the dramatic tone of this film
This gave me a man crush on Tim Robbins after seeing him acted so well. And all this time around I was thinking "Where did I saw Elizabeth Pena before?" and "oh, alright that's here, that's got to be her? No way!?" I never heard of this film ever but browsing here in IMDb gave me chances to catch a glimpse of never before seen films that got so much of beauty of its area. This is the first film of Tim Robbins I saw, and the much classic and acclaimed "Shawshank Redemption" has to be him! There are still so much films in line in my list for this man (e.g. Shawshank Redemption, Mystic River, The Arlington Road, The Player, Hudsucker Proxy, The Secret Life of Words and more).
Many would say the story of Jacob's Ladder is rather predictable or maybe I'm just new to this area that I didn't grasp what the film truly meant. It was a horror film in the first place, but it was more of a drama side actually. Its quiet terrifying how much of an ordeal one has to go through before accepting death. It's sensible but disturbing. Jacob's horrifying experience had to be a realization, a fight disguised in hideous recollections, repeatedly telling him to let go, make peace of you and accept death. There so much punishment he experienced only to think that everything was for his good. I'm quiet confused why Gabe is uncredited in this film but nevertheless he's the character that waited for Jacob's redemption and peace sit in. This film dramatic side gives me the chills, appreciating the beauty of the character's experiences. But I would not deny the creepy side. That hospital scene could indeed make anyone sick more than ever. The demons were really disturbing, the atmosphere was eerie and I wish I could see the deleted scenes to emphasize more what I missed. But the current release is fine, it holds true to its intentions and I would recommend this to anyone.
Escape from Alcatraz (1979)
Had to be my first Clint Eastwood ride
To be honest this is the first Clint Eastwood movie I ever seen, though it existed long before I was born. Prior to my knowledge the Best Picture "Million Dollar Baby" had captured the attentions of many and I first saw it in my hometown but I never really get to watch it in full concentration. Anyway it's in my queued list this time around, it's sure a must-see.
I'm astonished that Clint Eastwood had so much fame and achievement during his old days and even now, his directing skills never rusted. Escape from Alcatraz holds true to the way he thinks and put in course the wit of his films. The exposition didn't struck me that much, to be honest I don't even remember (in the film or even from the plot I've read since time my mind can't remember) how Clint's character got there. Sure do he had some grave crime to atone for, besides Alcatraz is not just any ordinary penitentiary. It's like a jail fortress situated in an isolated island and film pictured out so many dangers any escapee would confront. As explained by one of the characters, escaping from Alcatraz carries with it dangers a prospective absconder would face. It's tougher than anyone can imagine. The prison itself is loaded with security facilities not to mention tons of men guarding every nook and corner of the jail. Let alone as well pass the hostile waters surrounding the island. But funny though that Clint's character outwitted the intricacies Alcatraz holds.
Honestly the film is predictable; from the title itself you can already see the ending. However, what's impressive with Clint's film is you can't possibly imagine the resourcefulness his characters employ. It seems absurd or rather unpersuasive to concoct such brilliance for a character with so much little of a history foretold. There are hints you can spot in Clint's films that support the protagonist's wittiness. The little information his character is surrounded the more the audience are hauled into the story, that's the beauty of it. Take for example his behaviors. You can tell that he has a calm demeanor and some sort of clear-cut code. You can tell already that this is a man that can outfox situations most people think could not. I'm impressed how everything seems explainable, but there also flaws that, well are negligible. All around I'm delighted to watch this film again in a quieter environment. There are truly some things I missed out that could fill the point I've deducted in rating this film. Either way it was great. I recommend it.
The Secret Life of Words (2005)
Poetic is not enough for how evocative this film is
This is the second Tim Robbins film I saw so far as I post this comment. There are still a load of superb films his career had laid for and I'm looking forward to it, especially Shawshank Redemption and Mystic River. I've haven't imagined yet Tim Robbins character could go deeper in an opposite sex relationship, whose history is so much saddening one can imagine. I can't judge Sarah Polley character's repetitive behavior and unremitting silence could hold for. There might be inconceivable misfortunes or harrowing experiences her character had endured to keep her silence seem unbreakable, her trust inaccessible, she's just strangely introvert and seem to shut down everything around her for years. It's pretty tough for viewers to put themselves in the shoes of Sarah's character. But I'm astounded as how hurtful indeed the truer repercussions of her agonizing past could have done in her present life. When I knew about her trauma there is so much of an ordeal a woman could bear than being plain dead a long time ago. It caught me off guard indeed while watching the film. Prejudging wouldn't be a cool idea. The words and sentences are playful throughout the film. It's the interesting part because many viewers had different views how to put the words Tim and Sarah's characters are telling. Even the people around give puzzling ideas how they convey their thoughts. I guess the film's title paid well in this manner.
Going to Tim Robbins. He's totally cool here from the last time I saw him in Jacob's Ladder. But his character's ordeal is nowhere cool than miserable. I'm impressed how they manage to link the characters and made relationship seem improbable to at least possible. It worked. Though how saddening the truth had been it's something that could be used to discover something else that might save you. This film made it possible.
It's been a while since I wrote a comment for a movie. I rarely find the luxury of time praising a well crafted movie that doesn't give a damn of any social issues. And it's totally rare for me to have the lucky chance finding a foreign movie that doesn't need to tell its masterpiece beauty. First of all, all the time I was watching the movie I thought I was staring at Dustin Hoffman playing well a disabled nobleman being taken care of by a straight-thinking commoner. I know the overreacted dire issues this movie is being pestered, but I don't really care what other people say how the movie should have been. It's an obvious sign already that this movie topped 111 (and may still elevate) in IMDb top 250 movies that a lot of sensible reviewers appreciated its simplicity. The reason indeed probably why the crew casted a black man instead of Arabian to portray the character because maybe simply Omar Sy just had the skill to fit in to the character's delicate vessel. Why so locked with the racism issue? Other may had been suggestive but it's not an extreme case to horribly condemn the movie of its simple choice. I just don't understand people who can't keep their bloody mind open. Well either way the movie had its story straightforwardly rendered and its worth approving rather than condemning. I even laughed so hard when Driss (Omar) just naturally cackled all over the man dressed like a tree singing at the top of his voice, man that was really a humorous punch. The drama Well done.
Ten stars would be more than it deserved.
Adam's Rib (1949)
Indescribably fun and interesting!
If I were a hardcore critique over movies of any genre and generation I couldn't even describe how genuinely entertaining Katharine Hepburn and Spencer Tracy's combo had been. This is the second film the hit duo I ever saw (it's kinda hard to find these nice classic films these days), the first being Pat & Mike. Nevertheless they were even superb in this film! Since I saw "The Philadelphia Story" I gradually grasp how stunningly splendid watching Katharine Hepburn's flawless feat. She indeed didn't only possess those lovely accent, watertight visage and timeless beauty. I wouldn't doubt how she got those four major Oscars! (I still need to complete my collection, I've still need to find "The Lion in Winter" being one of her Oscar victories). Spencer Tracy's performance to my surprise ticked my lethargic senses. He wasn't that striking in Pat & Mike, but seeing his performance in this film convinced me he's indeed an actor worth searching for. No comparison, he can equal Hepburn's superbly intelligent flaunt as a husband who cannot easily submit his complacently but principle-centered ego over his wife's independently, uncompromising and intrepid character. Not only Adam's Rib outwitted its time by its brilliant cast, but the story itself is wily and simply compelling. For any age watching this outstanding comedy classic (and yeah! Even if its black and white
) they would understood the hilarity and reasonably thick substance of story formed into an interesting film.
Where the Wild Things Are (2009)
Purely childish but whilst pinching your inquisitiveness
First of I had no background what the movie formerly originated, but to me it was like recalling Pan's Labyrinth or Bridge to Terabithia—which the two essentially had nothing to possess in similarity as to theme or flow of the story. They are akin to the sense that they are both fantasy. In the deepest sense also they are similar as to children's inexplicable magnitude of imagination. This latter one however can be argued by many viewers depending on their interpretation. That is why I loved very much how Pan's Labyrinth showed that kind of surreal delineation so as well with Bridge to Terabithia. Where the Wild things are could have been better except for little things of course. I didn't like the actor (Max Records)—well this is pretty subjective reasoning, but what I most precisely refer would be the character: Max. I got the feeling that he's the type you'll get bored with all those petty lies he babble and boast in front of you. But I deem that I just don't find his character that interestingly convincing. Well if we are to talk about his behaviors and attitude, it can be well mitigated by tracing how his current family is made of. His sister for example is too pre-occupied with his friends. Her mother is even bombarded with work stuff and is even elsewhere with her boyfriend. It's all alone to poor Max how to keep himself taken. And because of emotional distraught, fatigue, hunger he got into this weird island bravely all on his own. The parallel thing is that, this has the same ideological interpretation with Pan's Labyrinth's Ophelia and Bridge of Terabithia's Jess. They got into their own world, and we viewers sit there and watch them go to the trouble of their longing hearts. The conclusions were also typically similar, for a standard family-themed movie. It is to my discomfort however that the mixing of the sound was too "childy", that word doesn't even exist. The movie for me was too much into compelling kids rather than pulling a major percent attention of older age, probably I just get weary of such stuff. Well this doesn't qualify as an objective criticism, but to answer for that I say the movie is good in other aspects. The story was pretty genuine, graphics and effects were brilliant, the wrapping was good. All in all a family-coursed movie that can nip your interest on its own.
One of the not-so-best rom-com but worth watching over and over
When I saw this, I quickly recalled some of the best rom-com movies I've since such as Just Like Heaven, Garden State, 500 Days of Summer, 13 going on 30, Annie Hall, Barefoot in the Park and the others I can't remember at all! Thought comparably, thy fantasy mix are none of the movies I recalled resemble (except of course Just like Heaven and 13 going on 30, which, to many aren't even an inch of beauty compared to the others I've mentioned). Heartwarming—that was the first adjective that popped in my mind. As always I've been enchanted to stare at Christina Ricci's roundish, beatific but wittily adorned visage. The cast was just simply funny. Grant and O'Hara were admirable as Penelope's parents. Woods and McAvoy were an additive to the rom-com fun. Even Peter Dinklage's presence made me felt the movie's fantasy side (no irony with that). The characters were wrapped by a decently structured screenplay. They've totally got a skill in creating this film a true uplifting, sad-to-happy-ending story that didn't only focused on the character's obvious problems but hinted viewers some possibility to end a happy-ever-after love story. Creative, though I can't say the best rom-com I've ever seen (Garden State, 500 Days of Summer and of course Annie Hall are more worth of giving praise) its truly worth watching by its own genre.
(500) Days of Summer (2009)
An "un-boasting", hilariously packed, heart warming and riveting romance comedy!
Few of the things I loved about the movie, well to start with were the characters, I mean the actors. The two lead performers: Joseph Gordon-Levitt—whom I saw in a psychologically captivating drama "Mysterious Skin", where he really brilliantly exhumed an unlikely role which perfectly projected what the film meant truly. Zooey Deschanel, well this is the first time I saw her, but I've been anticipating watching her movie together with Aaron Stanford in their comedic duo Flakes (Aaron Stanford's films were always friggin rare to get!), had performed very well her witty role. When I was observing how Gordon-Levitt pulled his performance, I got to say this man has a hell of a talent. His acting has something rarely brilliant in it that you want to sit still on your couch how this man could trigger the interesting feat, but well talking about his acting is another long story. Zooey Deschanel was incredibly funny too. I never imagined how she "unconsciously-convincingly" deliver her lines were you get to analyze its funny, though her character never meant it to be that way. I was entranced how the movie progressed, very interesting admittedly. There may be flaws but I hardly notice them anyway, getting entertained about the story and thickness of the plot is what's important. All in all this isn't at all an average romantic comedy you would lovely share with your partner, friends or family. It's really worthwhile. It's simple and complicatedly brilliant in its own way. Rather than indulging with highly-budgeted, misinterpreted romantic comedy films out there, it's a penny worth to see this, trust me.
Batoru rowaiaru (2000)
Chillingly riveting, unusual but very creative work piece
It's been a while since I saw "Super Heroic Trio" that made me numb and squirm (well I saw it when I was only 10 or 11) and this movie is another chance that made me feel that way, well a little lesser than the previous one. At first I thought the storyline and plot of Battle Royale was cheap, unconvincing and simply a product of bad casting, but I sit back, relaxed and watch the movie and attempt for a review myself. It turned pretty cool! I never thought this movie was full of story, misery, coolness and chilling creativeness. Imagine your country rankled by cruel, ironclad law passed forth for disciplinary cause. The Japanese actors were surreal their acting, well sometimes I judge it myself a little too rancid, but they've pulled of well the play and their role budge in coolly. This is the second time I saw Tatsuya Fujiwara on screen and I was even surprised that the strong, fierce, independent girl named Takako Chigusa was actually Chiaki Kuriyama, whom I first saw in Quentin's renowned Kill Bill. The dimension of each characters were fine, streamlined shortly, and even though their characters in the story were only short-lived I must say they've effectively strut their character well on screen. They've conveyed well the situation if one is faced with eminent dilemma that will surely shock your senses and spirit. They were just high school students, here comes the vindictive law enforcing strictly its mechanics and system, and they have no choice but to fight for their lives. One thing or another, they've really portrayed well their reactions though still stormed by their childhood memories and struggles. I loved the drama and action. Speaking of action it was, how do I put it, innocently superb! For their young age role they know how to wield convincingly weapons given to them, and it's a plus point for this movie on how they've successfully pulled that stunt. The message was fine, live and move forward, all in all they've wrapped everything brilliantly.
Shaun of the Dead (2004)
Disgusting and entertaining
I guess I got already inoculated by previous "zombie" movies I've seen, all of them coated with serious story lines. Some were convincingly magnificent (e.g. Dawn of the Dead), some are slightly stupid (like 28 weeks later), while others where plain stupid but entertaining (such as Land of the Dead). But when it comes to disgust and entertainment, as far as I can remember, Braindead had made laugh almost to death, while the rest of my friends squirmed and screamed in disgust watching it. This is the first time I saw a British film that made this zombie hype excitingly and worthily watchable. Since I saw Simon Pegg first in Hot Fuzz I know he excelled well more enough in Shaun of the Dead. He's performance here is even deeper. His comedic talent isn't saturated to the extent of impairing his dramatic abilities. Nevertheless the film worked well. It was hilariously charming and plain, simple scary. The cast were also awesome, see Kate Ashfield there for example. She's a straightforward, understanding, simple and frank girlfriend of Shaun (Simon Pegg), but just like Ed, Diane, David and the rest of the cast swayed me with their offhand and persuading performances. The comedy and bit of drama was cool. It mixed well how the story of the film progressed, very much anticipating. But if I were to compare its cheesy factor of horror zombie flick familiarity I guess Braindead was cheesier in that term. But the rest was cool and brilliant. I deem it's cooler than the latter. I've watched this film few times and I get to love the character more and more. It never wears out for my taste.
Hot Fuzz (2007)
An overall fresh comedy coating the mystery...
I've been wondering if there are few decent British films being comedic but full-packed, there are lots. Hot Fuzz to begin with is seriously entertaining. I thought that its sharp, fast-paced, eccentric movie style is a turn-down but no, it made me curious. Getting puzzled I was fascinated how they sheathed the whole story with mystery, revelation and evenhanded action, comedy and a little bit of drama. Simon Pegg brought well his character. I've used to stereotyping him as only fit for comedic roles, but the moment I saw his scene with Nick Frost near the end, I thought "This guy is pretty convincing". He can act well, the way his job demands. Speaking of Nick Frost he was always funny. He was deliberately suitable to play his role. Pegg and Frost's combination is really laughable. I was also surprised that Jim Broadbent appeared in this film, he played well his character. It's not ennui to watch this film over and over again. Edgar Wright's brilliance in pulling all together in this film made it always fresh from the oven. Though there were similarities with his recent Shaun of the Dead (which admittedly was the best) Hot Fuzz nevertheless was way cool in comedy and story. Entertainment unexhausted I believe I strongly recommend seeing this film to anyone delighted with its comical wittiness in action, comedy and mystery.
Inglourious Basterds (2009)
A war movie? More of a carefully schematic film with sharp plot
I'm led to believe that this has to be one of the finest articulations Quentin Tarantino dealt with every movie he made. I was surprised he had its story completed for almost a decade. Putting that aside it was more astonishing he had Pulp Fiction, Kill Bill vol. one and two, a collaboration with Robert Rodriguez for a fairly impressive Grindhouse performance, all in process while having this secretly furnished. Well it pays well, because he had the movie an utter success. Others may tell it isn't, but why bother messing with them anyway? The film likewise I've always felt with Quentin's atmospheric trademark always contain something erringly new. The path of the story proves this, but the tone of Quentin's quality is always there. You get into the tension, the excitement and chilling exposition. That I always had the fun for Tarantino's films, and Inglourious Basterds is a living proof for that. To start, the selection of the characters was marvelous. Some I knew (Brad Pitt of course, Daniel Buhrl, Diane Kruger and Eli Roth) while others the first time I saw (such as Melanie Laurent, surprisingly Christoph Waltz and Michael Fassbender who were all brilliant). There were more characters in the film whom I first saw and were entertainingly surprising for their performances. This lead me to Christoph Waltz whose character was so fascinating that you wouldn't wonder if he's acting which fine spaces of black and white. His character, though antagonistic in first impression was interestingly residing in gray area waiting to unfold his real motifs. No surprise he had an Oscar for a nomination, and it is yet to be revealed. This I was always amazed by how cunningly Tarantino embedded in his articulate scripts. It appears however that some viewers see Quentin's long, expressive script as tedious and arduous, fit for some of its part to be labeled as "unnecessary" and have it removed. One of my friends commented that the film was disgustingly good and detailed but he was bored by the long lines of dialogues. Well I assumed he wasn't the type of a typical movie commenter who sees the value of the story rather than the value of the movie to become mistakenly popular. Objectively, his long script is meant to build the air of the setting, the mood of the particular part of the film. And I believe he was always doing well on this. Inglourious Basterds is another living proof for this. Remarkably other characters that are unpopular or seemingly greenhorn for the role were also reasonably impressive. Take for example the role of Melanie Laurent, Michael Fassbender, August Deihl, Denis Menochet and rarely is Daniel Buhrl. They were convincingly successful in pulling of their role and managed to bring the air of thrill and excitement on screen. Melanie Laurent possessed the shaking fear of a hunted Jew and managed at the same time to entrench her vengeance after them. Michael Fassbender was eloquently entertaining for his role, but sadly I admit he got killed instantly in the film and I wish to see more of him. August Deihl's character as Major Hellstrom was also captivating. I even got to hate his character. A piece of Nazi officer who's rudeness backed by his fidelity of his country's goal had made well his character "hateable". Denis Menochet in the beginning also did well, it is implied or left to the viewers what fate awaits him and his family in the film after Colonel Hans Landa (Waltz) did his job there. And it was a long time since I saw Daniel Buhrl's short appearance in Bourne Ultimatum. But I was impressed by his character in a drama, thriller movie in 2006 entitle "Cargo". Almost every part of it was good. And I would definitely sit once more in my coarse couch to watch it once more (like I always did with a lot of Tarantino's film). If one put this film as a war movie I would prefer it as sharp, scheming well planted piece of success Quentin had effectively
I've been always impressed how animated films spent their bucks and efforts having those fingertips work and mind squeezed with ideas that would induce viewers to new level of sensation. Since I saw recently Up, Kung Fu Panda, Ratatouille, Wall-E and Bolt, I got fascinated how animated films nowadays revolutionize compared to early ones (such us Finding Nemo, A Bugs Life, Shark's Tale and more). Films such as these are at the outset, being fit for anyone of any age. Too much with the intro the film is full of creativity. However I guess the original creativity wasn't materialized with such extent when it was materialized into an animated film. The storyline was thin, easily understandable but the characters were somewhat fascinatingly mediocre. I don't find it absolutely amusing how the characters developed and interact with each one. Take the case of Lock Flintwood with other characters such as the police guy, the weather girl and his father. It seems his existence is a joke, but I guess anyone watching this wouldn't feel that deeply because the film in the first place is meant to be like this. At any rate probably my mood wasn't at full scale to appreciate the film well. Nevertheless their creativity was fun and considerably ingenious. You got to see giant pancakes whalloping the whole school topped with butter and drizzled with syrup. The characters also just funnily, whimsically or unimaginably coast through the scene with less regard to how they actually did it. Like Flintwood for example, hopping and flying unscathed when he got sucked in the spaghetti whirlwind. But you wouldn't bother anyway how he did that, because this is in the first place an animated film not meant to crush reality just to flaunt entertainment. But I guess the film fails to clearly deliver its inner layer of lessons and values (to children specially) even to adults (because the rest of the film, I believe disinterests them to appreciate what the film is all about, you get amused by the food, the characters' odd characters). The bottom line its totally ordinary fun.
Kung Fu Panda (2008)
A Funny, Hearty Christmas treat I've seen
This is another proof Dreamworks made the best of their "Dream-Works" creations. Like Up I saw another hearty treat from them when I lounged myself for a marathon last 2009 Christmas. Kung Fu Panda got all the wits, talents, comedy, excitement and a bit of drama materialized into 3d entertainment. (I loved Martial Arts movies), and from the long years I saw them in real action pace I wondered how exhilarating would it be in 3D (I saw enough in 2D). Unthinkably and funnily it materialized through Dreamworks. Their sincerity and wit mixed in the story made it a modern-classic novelty success. I must say the cast are also brilliant (especially Jack Black). Jack Black's humor got well into the character of Po. The rest are humorously awesome. You'll even forget their playing the one! I mean, I didn't realize for a moment that Monkey was Jackie Chan, and Viper was Lucy Liu. Even Dustin Hoffman's voice as far as I remember (well, most recently I was fond of a lot of his old films!) is unrecognizable. One may think the story excites only kids but it caters anyone who finds entertainment open in their heart. I remember watching "A Bug's Life". I've seen it in VHS for almost five times and still didn't get tired of its simple but enticing story. Although it may seem thinly inviting in cover, I assure you its action and play is superbly enough.
The Philadelphia Story (1940)
I've just recently commented one of my favorite classic romance, comedy and drama movies. This one has to be "one". When it comes to old comedy films I always recall people who talk fast without even rupturing a bit of exaggerated expression on their visage (which were nowadays). I'm surprised Katharine Hepburn is really so talented she pulled this kind of flair effortlessly. James Stewart was incredibly funny too and admittedly this is the first time I saw him. The supporting casts were also delightfully witty. Ruth Hussey's simplistic wittiness blends well. I laugh hard when she prattled sarcastically to C.K. Dexter Haven (Cary Grant) about their previous acquaintance ending up disposing her camera off the ocean. I find the character of Seth Lord (John Halliday) funny also. His wit is sharp, straightforward and dangerously funny (this I believe he demonstrated towards Tracy Lord—Katharine Hepburn's character). And there's the girl Dinah Lord (Virginia Weidler) who's age and exuberance reflects well a healthy and fun youth. I find the film very uncomplicated and well scripted, so as well the characters were played very well. I just need to watch it once more again because of the details. Not that the details were inconceivable, but I would put it that way because the characters talks evidently fast. Take for example Katharine Hepburn. Well I got the problem. Nevertheless I catch few of the details with how they progressed to the wits and conversation of the film and I would love to give it another try sitting on my couch and watch their parade once more. It is agelessly funny, even at my age.
A Streetcar Named Desire (1951)
Well that's a word to describe. I love thinking home every Christmas and do myself a favor after a tiring voyage from school. Marlon Brando had always never failed to portray that eccentrically misleading character, which leaves people wandering until the end of the film what side does his character envelops. I could describe the film as surreal, deep and understandably compelling, though not that compellingly entertaining compared to other genres like adventures or thrillers. Admittedly I was even puzzled how Vivien Leigh's character (Blanche Dubois) establishes. I was provisionally entranced by the way she spoke and delivers her thoughts effortlessly. One would thought of her to be mentally stable were in fact she's absolutely not. Her own issues and mental problems didn't outwitted Marlon Brando's character (Stanley Kowalski), which is also a throw back and addition to Brando's naturally captivating eccentric character. I got myself in the middle of two huge boulders upon staying tuned with the story. Which of the characters should I believe? I always got this contemplation when I watch films involving commonly the protagonist and the other. Marlon Brando's brute, peculiar yet straightforward character and Vivien Leigh's esoteric then knotty character led me to listen closely how the story progressed. It was good they had such baffling plots effectively plotted in the film. I watched it almost four times and never get tired of being impressed how the lead characters managed their roles. The supporting ones where also notable. They've built the atmosphere just how the two lead roles managed it all throughout. Karl Malden's character made me bits of laughs and nods. Kim Hunter was also undeniably striking. No wonder she got an Oscar achievement for this job well done.
All a while when I sit on my couch, set either my laptop or DVD component, this film belongs to my watch-again-list of old times just like "The Philadelphia Story", "On the Waterfront", "It's a Wonderful Life", "Gone with the Wind" and other old films that candidly portrayed drama, romance and comedy.
Fun past time entertainment
I got a bit of problem when watching British films plainly looking and hearing their dialogue. Well it is evident that British accent is different than the American. But I loved watching them because there are undoubtedly a lot of quality British films out there. The entire film made me ride on the laughs and jogs of the characters, not exactly knowing what they're into. All I know is about this circle of crime profession and a bunch of thugs and junkies. Well least to say, I do know what accountants where, and the accountant here was a freaking B***h. Gerard Butler always had this funny charisma I saw since P.S. I Love You (which I honestly didn't entirely liked at all) and The Ugly Truth. I saw it again in this film. The comedy didn't fail me; it was plainly simple and witty. Crime and action weren't new to me. But this is the first time I could remember well how they incorporated crime, action, sex and comedy. It was reasonably entertaining. It got the hype and drollness I remember from Daniel Craig's Layer Cake, only that the latter, though better, was less jesting. The characters were also uniquely blended. They got conspiracy, thrill, mystery, plot, action and humor. Toby Kebbel and Mark Strong were also remarkable, specially the latter one. Mark Strong always reminded me of some powerful secondary lead crime boss or even a primary one. The whole setting and story were solid for me and I recommend for those who look for jiffy switch of action, crime and comedy, RocknRolla isn't a bad option.
Excitingly newer than that its predecessors
Funny to tell that I've first reviewed Half-Blood Prince than this one. Order of The Phoenix, as it is generally regarded as the thickest book of J.K. Rowling had much to be shown on scree. I've even thought before it came that probably Goblet of Fire has more twists and story. Equally however Order of the Phoenix simply stood than the latter because of its more enthralling and bewildering revelations. The filmmakers did well honestly with the book. But of course there is this clause that "Everything in the book aren't entirely visualized in a motion picture". But this what made the consecutive Harry Potter film solid in the film industry. Order of the Phoenix has to be a fatty revelation. The latter books of course would be considered to be "fattier". As a distinguishing but similarly striking quality of the film, Order of the Phoenix possessed this darkish aura which I felt evidently since the Prisoner of Azkaban. The third film was my favorite and seeing this fifth installment gave me new excitement and merited expectations on how J.K. Rowling's remarkable creations materialized on screen. I loved the film's dark air which complemented well how the story progressed. The duel scene at the near end was also spectacular. Since I saw Harry's first encounter with Voldermort, slew a Basilisk, fought Dementors, join the Triwizard tournament and now created an army of his own to fight alongside Dumbledores loyal supporters. Likewise the characters of the film are understandable and the actors playing them are reasonable how they acted their character well. One more thing lovable about the film is you see the characters alongside the actors to grew together. I've felt this evidently since The Godfather. A success to David Yates guiding the accomplishment of this fifth film.
Star Trek (2009)
Cool, eventful, envisioned and re-established movie
I've never been an avid follower of Star Trek nor Star Wars series. But I always remember when I was young how I got fascinated watching the older version of these movies in a defunct VHS format medias. I can't even remember the older version of the only Star Trek movie I've ever watched, but admittedly it was one of the best classic sci-fi films I've ever witnessed. I can tell that Star Trek has to have more lead compared to Star Wars. The latter considerably to be an entertaining film as well but Star Trek has the sharper phase and delightfully different attitude in its story. Forget to mention I didn't quite like much the remake of Star Wars, as how they were visualized and dramatized. I can clearly see the pale dramatization of characters in Star Wars than in Star Trek. This is the only variance I could see between the two. Though they undeniably equal in terms of effects, uniqueness of story and plot they have differences. At any rate, this fresh remake of Star Trek movie had got to be one you need to absolutely see. Chris Pine effectively characterized his role as the son of George Kirk (Chris Hemsworth), and Zachary Quinto had me reminisced a lot of his character as one of those Vulcan habitants. The story was also very much solidly established. I'm impressed how they managed to have such considerably effective paperwork of script to visualize this uncanny, heavy-effect sci-fi film. The crew certainly deserves a worth of a recognition and payroll for such job well done. I was enthralled and thrilled with the joyride of this film. The people, the acting crew had made their roles convincingly well and it is a great deal to be acquainted with their effort-full job. Eric Bana did get a grip of that antagonistic aura of a villain, somewhat confused, vengeful, cruel and honored. I consider this film to be a worthwhile choice of seeing over and over again.
On the Waterfront (1954)
One heck of Brando's best film!
This is the very first, old film I watched in my entire life. Seeing it in black and white never confounded me however in understanding the story of the film, which is the important one. This film made me understand how Marlon Brando is often cast as a misunderstood character. Starting bad and ending up good. Karl Malden was also a striking actor! So as well with Eva Marie Saint, whom others played well their characters. My father mentioned to me how good "Waterloo" was, a film about Napoleon Bonaparte's defeat which starred Rod Steiger—and yes Rod Steiger! I didn't even notice him playing as Charley! Marlon Brando's older brother. Nevertheless the film was a real hit. The story is very substantiated, simple and good, and has its brilliant depths. Take for example the character of Marlon Brando. He's a kid, a confused kid, stupid, bum but he has guts, courage and will, and Brando had portrayed that very well. The film didn't only fascinated me with its story per se. The drama, crime, romance and wits are balanced. The characters were also simply structured. You kind of hate them like Johnny Friendly (Lee J. Cobb), kind of laugh at them like Father Barry (Karl Malden) and kind of confused like Terry and Charley (Marlon Brando and Rod Steiger). And even though the film was undoubtedly old, presented black and white, you still hear the story there. The story is beautiful. Very simple, and Brando certainly deserved the Oscar he won.