RAYA

Selamat Hari Raya.

Let's Forgive and Forget.

"Sometimes in order to help He makes us cry.
Happy the eye that sheds tears for His sake.
Fortunate the heart that burns for His sake.
Laughter always follows tears.
Blessed are those who understand.
Life blossoms wherever water flows.
Where tears are shed divine mercy is shown."

- Rumi

GRINDHOUSE

A tribute to the now defunct grindhouse exploitation films. Supposedly it's 2 movies shown back-to-back (for the US theatrical release), but for international release, the two movies are released separately. Maybe it's not fair to rate it separately, seeing that both films are supposed to be seen as one, but what-the-hell lahh..

PLANET TERROR (Robert Rodriguez)


Zombies blowing up. A flood of blood. Severed limbs everywhere. Like that Peter Jackson movie Dead Alive. A direct reincarnation of the old-fashioned B-grade zombie movie. Rodriguez took a direct route, more faithful to the Grindhouse essence. For better or worse. It's fun while it lasts. But personally, the Machete faux trailer is better than the whole of Planet Terror.

Verdict: 3/5

DEATH PROOF (Quentin Tarantino)


I liked Tarantino's part better than Rodriguez's. Although it's flawed, there's enough entertainment value found here that could warrant multiple viewings. Unlike Planet Terror, Death Proof feels more like it could be a 'stand alone' film. And the Grindhouse 'references' are more subtle. Having said that, this IS a Tarantino film through and through. A lot, lot of Tarantino self-indulgent jibber-jabber. Entertaining, nonetheless. The first half of the film with the first batch of girls are excellent and very well constructed. However, it started to steadily go downhill when it got into the second batch of girls, with several lame dialogue lines that I couldnt believe were written by Tarantino. It's a highly uneven film, but also highly memorable thanks to Kurt Russel as Stuntman Mike. And I screamed like a little girl during the car crash sequence.

Verdict: 4/5

A Woman In Trouble

INLAND EMPIRE (David Lynch, 2007)


The movie's tagline says "A woman in trouble". Aahhh seems harmless enough, ain't it? Maybe it's just about a woman dealing with abuses or something. But no. A big fat NO. Not in a David Lynch movie it ain't. Hell, that tagline is probably the most plausible thing that can be related to the film itself.

Inland Empire cares nothing about making any sense or coherency. It's almost impossible to make heads or tails of it. Scenes after scenes of seemingly disjointed plot and surreal circumstances. The very definition of an all-out weird arthouse film. The sequences could very well be plucked out of somebody's nightmare. Then again, so does almost every other film made by the ever enigmatic David Lynch, the only American surrealist filmmaker. But never has he done something in this measure. A cinematic amalgam equivalent to the experience of jumping headfirst into the rabbit hole, but never coming out. And I love it.

I'm having a really hard time in describing the film, in putting it on paper. Still, it's one of the most unique cinematic experience(I do stress 'experience') I have or will ever encounter. Inland Empire is for David Lynch as 8 1/2 was for Federico Fellini. A summation of the artist's themes, style and passion. And check out the end credits, a "reunion" of sorts of Lynch's past films. From Blue Velvet to Mulholland Drive.

Verdict: 4.5/5

QUOTE OF THE DAY

"I despise stories, as they mislead people into believing that something has happened. In fact, nothing really happens as we flee from one condition to another ... All that remains is time. This is probably the only thing that's still genuine -- time itself; the years, days, hours, minutes and seconds."

- Bela Tarr

An Excellent Dish

RATATOUILLE (Brad Bird, 2007)

Brad Bird is a genius. The Iron Giant is my personal favorite animated film of all time. Like Hayao Miyazaki and Satoshi Kon, he is in a class of his own, and like his equals, shall be rightfully remembered as one of the highlights in the history of animated films. Underneath all those cute and cuddly cartoon characters, slapstick jokes, and simple storyline, lies therein a significant amount of depth, and most importantly, a large heart. That, should easily puts it high above its other competitors. Just when I thought that Pixar is starting to lose some of its magic with the somewhat disappointing Cars, they are now back on track. That said, Ratatouille is pure GOLD! Brad Bird and Pixar has proven to be an invincible combination.

Ratatouille is not just about a rat who loves to cook, as preposterous as that may sounds. It's not just about being funny and appealing for kids. It's a lot more than that. This is both a movie for adults and children alike. Children will marvel at the amazing animation, cute characters, and hilarious slapsticks. Adults, will notice its deep thematic undercurrent. It's a mature examination on the power of art. The arts and crafts of creating something. The true appreciation of any form art: culinary or otherwise(be it paintings, music, or yours truly: films). A great piece of art can even pierce through the dark recesses of the soul, and resurface the things that was once thought lost (as happens to Anton Ego: voiced by Peter O'Toole that quite possibly be the best voice acting ever). Indeed, at the same time Bird has crafted a loving abode to film, to filmmakers for pouring their heart and soul in their creation, and to film lovers who appreciate the greatness of that creation.

Like any exquisite dish, Ratatouille is a film that needs to be savored slowly. Let the flavors seep in, and by the end of it all, the film leaves a delightening aftertaste. An envelope of warmth and wholesomeness, that I came out smiling all the way home.

Verdict: 4.5/5

malas. dipresi.

ZODIAC (David Fincher, 2007)

Zodiac marks the return to the serial-killer genre for David Fincher (Fight Club, Se7en) after a 5 year hiatus since Panic Room. And it's a welcome return indeed. Zodiac is a near masterpiece, and the best film I've seen this year so far. Fincher has proved that he is one of the greatest living American filmmaker. Although clocking at nearly 3-hours long, this epic film is so tightly paced and there's not a single wasted celluloid committed on-screen. The amount of detail in this film is staggering. Every little scene is necessary, and every scene is pitch-perfectly directed, to the point that I even think that it's a little shorter than I prefer it should be.

Verdict: 4.5/5

A TRAGIC WEEK

Italian legendary filmmaker Michelangelo Antonioni(L'Avventura, Blow-up, La Notte, L'Eclisse, The Passenger) dies at age 94.

Two of the most influential filmmaker who have ever lived died this week. Not exactly 'tragic' considering their age, but they would be sorely missed.