JANGAN PANDANG BELAKANG (Ahmad Idham, 2007)


"Apa ke he nye, yop?"

Memang aku skeptik dengan filem ni pada awalnya. Bukan sebab aku bias kpd Ahmad Idham atau Metrowealth (ataupun pada filem melayu keseluruhannya). Tapi sebab filem-filem genre horror ni memang susah nak dibikin elok sekarang ni, susah nak melompat keluar daripada klise-klise filem-filem seram yang lampau. Dan memang, susah nak bagi orang rasa takut. Lagi-lagi untuk peminat kuat filem-filem seram. Patutlah kebanyakan filem-filem horror dari Barat(British terutamanya) dah macam tak mau bikin filem seram yang 'tradisional' macam ni. Menyumbat unsur-unsur satira atau komedi untuk menutup lobang-lobang 'klise' tu.

Aku puji Jangan Pandang Belakang. Walaupun babak-babak melodrama awal yang agak lama dan menjengkelkan tu hampir-hampir merangsang aku untuk keluar dari panggung. Ditambah lagi dengan pelakon wanita utama ntah-sape-nama tu yang macam haram tak reti berlakon, kontrol cun je keje (Walaupun memang cun jugak sebenarnya). Tapi bila dah masuk part seramnya tu, dipendekkan cerita memang seram lah kan. Keras juga aku pegang kerusi.

Filem ni lebih kepada gaya 'episodic', menayangkan satu demi satu episod seram yang memang secara strukturnya, tak bawak apa-apa perkembangan pada jalan cerita. Tak kisahlah, asalkan 'episod-episod' tu dilaksanakan dengan baik dan berjaya buat jantung penonton gugur dari semasa ke semasa. Pembinaan tension, atmosphere, dan sound effect yang sangat boleh dipuji. Dan aku terperanjat juga dengan gaya arahan Ahmad Idham yang 'humble', yang secara keseluruhannya tak 'lebih-lebih' macam kebanyakan pengarah filem 'mainstream' lain. Tak ada dah pelakon-pelakon yang menjerit melolong mengalahkan penonton sendiri. 'Pacing' nya pun sabar, tak terburu-buru nak tayang hantu depan-depan (sekurang-kurangny pada awal filem). Banyak bermain dengan kuasa imaginasi penonton sendiri. Apa yang kita tak nampak itu lebih seram, macam masa babak-babak Opah berinteraksi dengan 'kawan' Darma.

Tapi aku rasa kejayaan filem ini adalah disebabkan Pierre Andre. Skrip dia yang bijak. Ada passion (bak kata Ogy - ya, aku tengok AF. Kenapa?). Memang dia buat homework. Buat kajian tentang kisah-kisah hantu yang biasa kita dengar(yang boleh kita kaitkan), dan sejarahnya juga. Sempat juga diselitkan elemen-elemen komentar dan humor secukup rasa.

Aku berani kata, ini filem Seram Melayu terbaik pernah aku tonton. Aku ulangi, yang PERNAH aku tonton ok.

Verdik: 3.5/5

SUMMER MERDEKA CUP 2007

(Ini iklan tak berbayar)




Ya aku tau cam haram. tak ada special efek. tak ada pelakon hansem (hahaha). kamera goyang (sebab takde stand). blablabla

...tapi aku pedulik hape.

Special thanks to:

- Mamud merangkap produser.
- Miji. sebab kasi pinjam digicam. dan jadi watak 'extra'. haha
- Teng. dia watak utama. dia bajet kacak.
- Keli dan Sarap for additional music.

DEATH IS THE ROAD TO AWE

THE FOUNTAIN (Darren Aronofsky, 2006)

God, how I've waited to watch Darren Aronofsky's(Pi, Requiem For A Dream) latest offering. And it doesn't disappoint. In fact, with the lukewarm 'critical receptions' this film has received, I was actually surprised that it's *this* good. That's putting it mildly. It's FANTASTIC. Like Malick's The New World, The Fountain definitely ranks up as one of the most underrated films of the new millennium.

In the same tradition as Kubrick's 2001: ASO or Tarkovsky's Solyaris, The Fountain is *more* than just "science-fiction". I couldn't call it anything, really. It's already respectable that Aronofsky was brave enough to take the risk of making this kind of film in the first place. Considering the box-office reception, sadly I doubt that he would ever make anything like this again.

Spanning over a thousand years, with three parallel stories. One during the Spanish insurgent, one in the present, and one 500 years from now. Each with a different "incarnation" of Tom(Hugh Jackman) and Izzy(Rachel Weisz). No doubt the unititiated would scratch their heads over trying to make heads or tails of the story. But underneath the mysterious and ambiguous surface, at its core, is an epic love story about everlasting love that crosses the boundary of death. Indeed, the center of the film is about death. That to me, made the film feels more like Tarkovsky than Kubrick in its philosophical approach.

This is the kind of film this generation *needs*. Literally. The kind of film that not only shows something that you've never seen before, but also takes you on a journey *with* it. An out-of-this world journey, a spiritual journey. Though I cant quite put my finger on the film, on what it's all about, but the sense of awe of just experiencing the film is what's important here. It can't be "talked" about, can't be put into words. One *must* experience it first-hand. Heavy in symbolisms, I had considerable trouble to grasp their meaning, most I would possibly never could fathom, but they're coupled with visuals that are so transfixing, so beautiful, that it doesn't matter. Aronofsky leaves much to the audiences interpretation, restraining from expositions, leaving clues here and there. The 'adventure' of just piecing together(or try to) the 'puzzle' is reason enough to watch the film over and over again.

However, I do admit that this film is definitely not for everyone. Most would probably dismiss it as utter rubbish. Call me pretentious or whatever, but a work this ambitious, this passionate, deserves the praises. The very definition of an auteur presenting his *own* artistic vision, his *own* "universe", in film. To make a film the way he wanted to. The best way to enjoy the movie? Leave your logic, open your mind, journey inwards, 'feel', and you'll be blown away.

oh, and by the way, Clint Mansell's music is just superb. It haunted me for weeks. Even before I saw the movie.

Verdict: 4.5/5

Ne Me Quitte Pas

MUKHSIN (Yasmin Ahmad, 2007)


Sesiapa yang tak suka filem ini, memang kau tak ada perasaan.

Mukhsin adalah filem nostalgia. Kalau tak semua, pasti ada cebisan2 yang akan mengenangkan balik zaman kanak2 dulu. Mungkin filem ni ada 'charm' yang tak henti2 buat aku tersenyum, ada jiwa yang lekat dengan jiwa aku, dan disebalik 'naivity' kisah Orked dgn Mukhsin ini ada 'kematangan' yang mengangkatnya lebih daripada sekadar filem tentang cinta monyet budak-budak. Betul-betul, satu filem yang cantik, rohani dan jasmani (if that makes any sense).

Macam Yasmin katakan, filem ni bukan saja tentang watak2nya, pemandangannya jugak adalah karakter. Sawah padi, pokok-pokok yang Mukhsin panjat, dan intricate details dalam filem ini ada 'peranan'-nya. Ada kesinambungannya terhadap development watak-watak. Dan juga membawa aku ke dunia Mukhsin yang seakan-akan sama dengan dunia yang pernah aku lalui dulu.

Mohd Syafie Naswip memang memikul tanggungjawab sebagai 'title character' dengan sangat baik. Dialah nadi filem ini. Casting yang sempurna. Syarifah Aryana aku rasa agak 'janggal' sedikit sebagai Orked, macam tak berapa 'selari' dengan Orked yang Amani lakonkan (macam lebih matang daripada her adult-counterpart). Tapi Aryana ada kualiti tersendiri, 'understated' dan bersahaja. Lakonan yang matang. Amat layak dipuji, lebih-lebih lagi sebab dia masih budak. 'Scene-stealer' sudah pasti Pak Atan dan Ayu (Pak Atan muda ini lebih best daripada Pak Atan tua). Tak payah aku cakap lebih pun korang boleh tau sendiri.

Yang uniknya, 'mood' atau 'theme' (i dunno the right word) ketiga-tiga filem Sepet, Gubra, dan Mukhsin ini masing2 berbeza. Ada personaliti sendiri. Mukhsin lebih 'mainstream', lebih 'colorful', juga lebih simple daripada yang lain-lain. Tapi ini bukan satu kekurangan. Ada juga falsafahnya. Falsafah 'rahmat' (macam Fadz cakap); seiring dengan lagu tema 'Hujan', simbolik dengan kali pertama Orked nampak Mukhsin. Dalam kereta. Ketika hujan. Mukhsin itu adalah rahmat. Begitu juga semua makhluk ciptaan Tuhan. Menarik juga memandangkan kebanyakan filem-filem lain menggambarkan hujan ni hanya melambangkan 'kesedihan', 'tragedi' dan apa-apa lain yang klise. Mukhsin jelas kontra dan mem'positif'kan 'hujan' tu.

Orang tertanya-tanya dengan kemunculan Orked dan Jason (both adult counterparts). Bagi aku, cerita Mukhsin ini adalah 'diceritakan' oleh Orked. Memori dia tentang Mukhsin, tentang hari-hari dia dengan Mukhsin. Apa yang dia ingat (atau apa yang dia mau gambarkan). Dan memandangkan ini cerita daripada hati Orked, sebahagian daripada hatinya turut masuk. Apa yang benar-benar dia mahukan. Maka muncullah 'dream life' dia dengan Jason, yang 'happily ever after'.

Lagi yang aku perasan, suasana di kampung Orked, tak terasa macam 'ketinggalan zaman' dibandingkan babak-babak dalam bandar yang jelas nampak perbezaan zamannya (Pondok telefon kuning, etc). Ada sense of 'isolation'. Terasa 'immortality' suasana kampung tu, betapa maju pun dunia, kampung itu tetap sama. Kehidupan yang sama.

Ini yang aku nampaklah.

Bagi aku, Mukhsin adalah entry yang paling entertaining. Walaupun tidak 'mencabar' macam Gubra (pilihan aku), tidak se'segar' Sepet, tapi Mukhsin adalah pelengkap kepada 'sekuel2'nya tu. Menontonnya dalam panggung, dengan lagu 'Hujan' dan 'Ne Me Quitte Pas' yang masyuk, memang bagaikan satu 'rahmat'.

Verdict: 4/5

THIS. IS. SPARTAAAAAA!!!!

300 (Zack Snyder, 2007) aka 300 Pahlawan Berani Mati(??)


<I'd probably get flamed for this.>

The first box-office extravaganza of the year. A testosterone-ridden gorefest. Coupled with a fantastic trailer earlier on, how hard can it be for the movie to just kick-ass or at least, be entertaining enough for 10 bucks' worth? But disappointingly, 300 worked better, a lot better, as a trailer than a feature length film.

Based on the graphic novel by Frank Miller, 300 takes a spin on the legendary tale of the ancient Battle Of Thermopylae, where 300 Spartan warriors fought to the death against millions of the Persian army under the emperor Xerxes. The film stars Gerard Butler (Dear Frankie) as the Spartan king, Leonidas. Like Sin City, the visuals are indeed the main course. So does the perfectly built, steroid-overdose, six-packed Spartans that should very well *appeal* to not only females, but males as well. Straight or gay take your pick, but I'll put my money on the latter to literally go ballistics over Leonidas physical prowess (and *especially* the captain's son, too) long after the movie's over.

As unique and 'cool' as the visuals are, the novelty wears off pretty fast. A fault that is mainly due to the overbundence of 'slo-mo', to the point of exhausting. Imagine every scene (battle scenes or no) there would be a slow motion moment, presumably to parade the stylistic voyeur of the visuals or to give some screen time for the characters to strike the 'coolest', manliest battle poses. Don't get me wrong, there are some truly stirring shots. But I can't shake off the feeling that those scenes just work best as illustrations (the movie just basically lifts off the panels of the graphic novel), not in a motion picture.

Worst of all are the dialogues. Other than the ready-made quotes like "Tonight we dine in hell!!!" and "THIS. IS. SPARTAAAA!!", they're just equal to the standard of a video game. Not to say that those lines are any better, they just have the privelege of being *shorter*. I just wished the characters would just shut up on blabbering endlessly about "honor", "valor", "freedom" (who the hell cares, anyway??) and just get on with the bloodshed. And in that deparment, the film succeeds, if only mildly. The action pieces are definitely well-choreographed, with decapitations and torn limbs abound. But the lack of genuine "thrills" is disheartening. Again, it's the slow-motion's fault. Where's the sense of 'excitement' if the movie took like 10 seconds just to show Leonidas swing his sword. Another 10 seconds to show the head departs from the body. And another 10 for a 'cool pose'. Yeah yeah maybe I'm exaggerating but you get the picture.

The plot is just an excuse for the action to take stage. No surprise there. Very much similar to a video game where the hero move on from level to level, fighting off hordes of enemies with increasing difficulties. And dont get me started on the 'homoerotic' undercurrent. Maybe it's just me, but some of the scenes looked *more* than just "brotherly love". *shudders*

Simply put, this is just another mindless action flick offering. All style and no substance whatsoever. Honestly, I really *do* want to like this movie. I really want to, just to start off a good year for movies. But there's only enough for one can bear.

Verdict: 2/5

Fast Food Nation (Richard Linklater, 2006)

Richard Linklater is my favorite "new-generation" film director, and obviously, at the tops of my favorite film directors ever. Dazed And Confused, Before Sunset, and Waking Life; these are masterpieces of modern filmmaking. The ones that I won't get bored watching over and over again. And respectably, his other "lesser" films are still worthy of his reputation; maybe with the exception of The Newton Boys. But for his 2nd film of 2006 (after the very good A Scanner Darkly), Fast Food Nation landed as a disappointing endeavor from the auteur. Ambitious, no doubt, but ultimately unsatisfying.

The film boasts a large ensemble cast: Greg Kinnear, Paul Dano, Bruce Willis, and even Avril Lavigne. Based on the book by Eric Schlosser, who's also in the writing credits, the film tackles the fast food industry. Or *attacks* it, to be precise. Everything from the food itself and the corporate malfeasance, to its effects towards society as a whole.

The "slacker" flow that has been Linklater's directorial 'stamp' is most probably the film's downfall. It worked great in Slacker(obviously), SuBurBia, and pretty much most of his other films. But here, tackling an important, socially-conscious issue that is the fast food industry, needs *energy* and resonance. Which Fast Food Nation failed considerably. Bland characters come and go, bringing very little dramatic tension too if I might add, and the story of each of them felt disconnected somehow. It tried to convey too many messages. Instead, little did they translate effectively. For a lack of a better word, it's "unfocused". Although there *are* some memorable scenes and performances (particularly by Bruce Willis and Paul Dano), but by the end of it I felt a kind of 'emptiness'. The film does raise some thought-provoking issues though, particularly the scene where the characters tried to free the cows but they won't budge. More of a metaphor to the society, too comfortable in their current condition or too scared to change. They (or we) are as helpless as the cows.

Not to say that I hated this film, that would be overly harsh. But it is, as I said, unsatisfying and quite forgettable(then again, maybe not for the cow slaughtering scene). It didn't resonate as much as it should. Maybe it should have stayed in the novel.

Verdict: 2.5/5

Oscar 2007

Well, hurrah for The Departed! And finally Scorsese gets his due. Maybe it's not his strongest film, but it's still better than the others (aside from Letters, which I haven't seen yet).

The show as a whole sucked (Ellen was surprisingly unfunny). But I'll give credits to the Oscars for being rather *unpredictable*; for better or worse. And earlier on I thought Little Miss Sunshine was gonna give a surprise by winning Best Picture, seeing that it won for Best Original Screenplay.

There are certainly some disappointments, most notably Pan's Labyrinth and Emmanuel Lubezki losing. Other winners are satisfactory, I guess.

Here's hoping for a better host next year.