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.

SEVERANCE (Christopher Smith, 2006)

It's official. If you want a good horror dosage for your friday nights, leave it to the Brits. 28 Days Later, Dog Soldiers, The Descent, Shaun Of The Dead; the guys behind these actually *know* what they're doing. They actually love horror movies. AND, their ideas are *original* too boot. Not some "Asian remakes" or crappy imitators that Hollywood keeps dishing out over and over again. I'd say the last good Hollywood horror film was Slither. Even that was a "homage" of sorts to the B-horror flicks of yesteryears. Not that that was any fault if it was done competently. The same goes to this latest Brit horror/comedy flick Severance. Taking the typical horror movie premise and just spun it around for laughs. But, the difference is that Hollywood just can't beat British humour. I don't know why, just that they have a certain "penache" in their 'comedic approach'. They're more subtle, and witty.

The premise is easy enough, a bunch of people go for a vacation in a remote 'villa', and ended up getting their body parts hacked by a crazy-ass killer. In this case, the 'people' are co-workers of a weapons manufacturing company of sorts. Similarities with 'The Office' are glaring here. Only that you don't really care much about the characters. But then again, since when did we last *care* about a character in a horror movie? At least, this bunch is *colourful* enough.

Severance did what other movies of its genre did: it pokes fun at horror movie stereotypes. And whenever they do, it's hilarious. Most notably the scene where the "typical female protagonist" kills off the "slasher" (within seconds) with a shotgun, and uttered "I hate to be accused of not killing him when I had the chance.". If *that* doesn't beat you over the head with its sense of humour, then you just have no.....sense of humour. Or you've never watched a horror flick all your life. Then you're a loser. ha!

There's also a good amount of political satires thrown in. But I would call this a double-edged sword. It *is* brilliant at times, but also made the film itself wildly uneven (in tone). By the third act it degenerates into the ridiculous, with bursts of over-the-top political gags/references that seemed like I'm watching a different movie altogether. Like a late change of course by the filmmaker, aiming for a *higher* target than it should.

However, I really enjoyed the movie. Sure it's not scary (it's not meant to be). Just some gory stuff with a few cringe-inducing scene. But it *is* still a refreshing take on the genre; one that you could sit back, eat some junk, and laugh your ass off.

Verdict: 3.5/5

The Painted Veil (John Curran, 2006)


Lagi satu versi filem yang diadaptasi daripada novel Somerset Maugham. Ini versi yang ke-3, jadi boleh ke kalau nak dipanggil filem ini filem 'remake'? Banyak betul Naomi Watts berlakon dalam filem2 remake (King Kong, The Ring). Aku sebenarnya tak berapa tertarik sangat dengan filem ini memandangkan stereotaip filem genre romantik+period piece = bosan. Tapi memandangkan penyandang2 utamanya Edward Norton dan Naomi Watts (keduanya pelakon feveret aku), aku pun bagi lah can kat The Painted Veil ni. Dan memang, seperti yang aku jangka, filem ni memberi lagi sebab kenapa diorang ni gilebab 'underrated'. Kalau kau tak rasa 'jatuh cinta' pd ceritanya sekalipun, kau pasti jatuh cinta pada dua watak utamanya ni.

Aku tak baca novelnya, dan aku tak tengok versi2 filem yang sebelum, jadi aku tak boleh komen lebih-lebih. Cuma aku boleh kata tema 'pertembungan budaya barat dan timur' filem ni agak 'ketinggalan zaman' bagi aku. Dan paparan orang putih sebagai 'penyelamat' orang Asia yang mundur agak menjelikkan sekali-sekala. Tapi tak apa, yang jadi kekuatan filem ini sudah tentunya kisah hubungan Walter dan Kitty. Juga sinematografi pemandangan yang menyejukkan mata.

Dan menarik juga tengok Anthony Wong cakap English. Mungkin jadi landasannya untuk ke Hollywood. Jangan jadi macam Gong Li sudah (apa dia buat dalam Hannibal Rising??).

Verdict: 3.5/5

Wordplay (Patrick Creadon, 2006)


Filem dokumentari yang sangat 'educational' dan sangat menghiburkan (mana nak carik tu?). Tak sangka tengok filem pasal crossword puzzle geeks ni boleh buat aku terhibur macam ni. Dulu aku tengok mak aku rajin buat, aku tak faham apa yang 'seronok' sangat.Baru la aku tau selok-belok pasal pembikin dan peminat crossword puzzles (diorang genius) ni dan kenapa sampai orang jadi obses. Sampai Bill Clinton pun obses sekali. Hebat. Teringin pulak aku nak mencuba.

Verdict: 4/5

Ten Canoes (Rolf de Heer and Peter Djigiir, 2006)


Undoubtedly you won't find any other film from last year that is as bizarre as Ten Canoes, a story revolving a tribe of Australian aborigins many, many years ago. Bear in mind, this film is NOT what you would expect considering that somewhat 'misleading' short synopsis. This is no documentary nor another heavy 'socio-political conscious' drama about these aborigins. Instead it is a charmingly funny fable, told in a unique flair that not only made the film accessible, but also complements the 'quirkiness' of the film itself. These "gibberish"-speaking, naked aboriginals are very much identifiable, complete with their own distinct characteristics that are similar to your average individuals. Unlike Apocalypto which more or less depicts natives as some sort of savage "aliens", Ten Canoes *takes* the viewer into their world with a nostalgic atmosphere, also showing that time doesnt change human behaviors as much as we would expect. They exhibit the same feelings as ours(jealousy, anger, desire, happy, sad, etc), do things that are as common as our lifestyle now and even talk dirty to one another. Added with the constantly humorous narration, their world and their story turned out to be not so 'other-worldly' after all. Truly a one of a kind viewing experience.

Verdict: 4/5

Water (Deepa Mehta, 2005/2006)


One of the nominated films in the Oscar for Best Foreign Language Film and also a part of the "Elements Trilogy" (I havent seen the others). Deepa Mehta's controversial film is a social criticism on the Hindu customs in India that closet widows in holy ashrams, which basically alienating them from "higher" society. Controversies aside, for me Water is a refreshment over the standard typical 'Hindustan' film offerings; meaning no musical numbers and melodrama in sight. Deepa Mehta weaves the story with feminist sensitivity (befitting the issue it raises), and although clearly she intends to make a sociopolitical statement, she never forgets the importance of a good story told with art. The film is rich with lyrical imageries, and also boasts a great cast. Particularly the gorgeous Lisa Ray as Kalyani. The 'message' is overbearing at times, but it never really gets in the way of the story itself as the film slowly builds itself into an ultimately moving tragedy.

Verdict: 3.5/5