Category Archives: Film

We ushered in 2012 with a sigh of relief.
Import film crisis was over. People seemed to completely forget the crisis by the beginning of the year. Cinemas were added across the country again. We flocked to cinemas regularly like we always do.

Some of us noticed the shift from film reel to digital projection in cinemas. We see films in sharp clarity sans flickering and often awkward change of reels. Some of us miss the grainy look of film, but some welcome the high-def reality with open arms.

But despite the change in technical quality and the price we pay for that, we still go to movies. Be it alone, with friend, or dates, we cannot have enough of those 90-minute or more than 120-minute escapade in a darkened room shared with other strangers, enjoying what is being shown on a big screen. No 3D big size TV can replace the communal enjoyment.

After all, cinemas make us a social person.

And as what I always do since last year, I rank films based on very personal effect that the films gave me. Some of us always look for that tingling sensation throughout and after watching the films. Such effect sucks us in deep that we cannot think of anything else during the film, and we talk about it long afterwards.

I am a sucker for that sensation.

Hence, with the desire in mind, herewith the list of my personal top 10 cinemagoing experiences in 2012:

1. AMOUR
Date of watching: November 26, 2012 – Blitz GI, Jakarta (Europe on Screen)

Amour

Earlier the day, I received a short text from mom, saying that my dad fell gravely ill. His mind went blank for a moment, and he lost balance. Eventually he gained consciousness, and has been put in an ongoing intensive care treatment.
I received the news with a great surprise. Not only because the news came all of a sudden, but it came on the day I was supposed to watch a film with similar premise: a man witnesses his wife slowly sinking into Alzheimer.
A part of me prompted cancellation from going to watch the film, but eventually I braced myself.
As much as I had prepared myself, tears uncontrollably started rolling with greater intense since we see for the first time Emmanuelle Riva did not respond to Jean Louis Tritignant’s questions. The scene alone shook me. I kept thinking of my dad, and my mom in reverse position reenacting the scene. Maybe. Maybe not.
But the personal reference kept coming throughout the film, so much that I chose to shut my eyes in a few scenes, yet the sound heard still echoes the pain as created by the actors.
These actors do not act. They live their characters. Thus it draws me close to the film, and I have to thank Michael Haneke for creating an effortlessly beautiful film about devotion. Love is shown between the two leads with such intensity that we cannot help but crying for them. I was. I am as I am recalling the film right now.

This is the ultimate film that defines my cinema-going experience this year.
This may be close to destiny, in the sense that a real life crosses with reel life, and it happens unexpectedly, and obviously unplanned.

In a way, magic does happen in cinema. I am fortunate enough to experience that in a grand note.

2. COLDPLAY LIVE 2012
Date of watching: November 13, 2012 – Blitz GI, Jakarta (Special Event)

Coldplay Live 2012

Spectacular. You don’t use the word often to describe a film, but this film deserves the accolade. Coldplay’s music comes alive in striking colors and beautiful presentation, thanks to the band’s genius in planning their concerts. But besides that, you have to give credits to filmmakers who cleverly edit and capture the right moments to be presented on big screen.
And it was an unforgettable night of watching the film in awe with other fans. People sang along, gasped and a few screamed together. Some exited the cinema with red cheeks and teary eyes. Sometimes, a documentary concert this beautiful came to our life, and we are grateful enough to see it on the mighty big screen.

3. LIFE OF PI
Date of watching: December 3, 2012 – Blitz GI, Jakarta

Life of Pi

If there is a film that makes us believe in the power of 3D to tell a story … Wait. I mean, to tell a good story with a good storytelling, then this film does it with a striking justification. Ang Lee takes us to his fantasy world from the first rolling credit showing shots of animals. Immediately I was enchanted with a beautiful clarity of the 3D, and I sat up straight. I sat up straight throughout the film, jaw dropped and often gasped at the film.
I said on Twitter that if there is a film that is closest to being a heaven of cinema, then this film is the answer. To date, I am still holding my opinion up high.

4. THE CABIN IN THE WOODS
Date of watching: August 11, 2012 – Studio eX XXI, Jakarta

The Cabin in the Woods

I saw this the first time on its first midnight show release. I couldn’t remember when was the last time I had such a huge blast in cinema! We said “what-the-fuck” throughout the film, as it keeps taking us to unexpected direction, and that makes a jaw-dropping moment in cinema. Consider it a huge compliment. And the less I say, the better you watch it again, and again.

5. ARGO
Date of watching: December 9, 2012 – SF World CInema, Bangkok

Argo

I could not remember when was the last time I was at the edge of my seat being entertained and thrilled at the same time. The desire went on and on until I kept wishing for the film to never end. This is a highly engaging political thriller without gimmick of tech wizardry. In fact, it relies on old school tool called story telling. Watching this film means we surrender to the skilled craft of story telling by, unexpectedly, Ben Affleck, and wait until the last car chase scene in the airport that makes you clinch your fists in thrilling climax.

6. THE PERKS OF BEING A WALLFLOWER
Date of watching: December 13, 2012 – Shaw Lido, Singapore

The Perks of Being a Wallflower

Many teen films give sweet sensation that ends after end credits roll. This one is an exception.
Long after exiting the cinema door, I could not help but smiling throughout, despite the rain that greeted me the afternoon I watched the film. Smiled, because the trio performances provided by Emma Watson, Logan Lerman and Ezra Miller (a revelation) feel genuine, sincere and honest. No big scenes of guys getting girls in loud music, but this one gets to the hearts of both young and old ones alike. One of the best teen films in a long time.

7. LEWAT DJAM MALAM
Date of watching: June 22, 2012 – Blitz GI, Jakarta

Lewat Djam Malam

Others may choose the nationalism sense of pride in seeing Sony Pictures Classic’s logo at the beginning of The Raid: Redemption or in 5 cm.. But I could not help feeling proud in watching this classic film on big screen, for the first time after complete restoration by World Cinema Foundation. The transfer is crisp clean, and more importantly, it preserves the dignity of the film, proven with its timeless story on psychological effect of war to ordinary citizens stuck in unfortunate circumstances. I could not believe that in 1954, we could make a beautifully harrowing thriller, with advanced story telling that puts many recent films to embarrassment. The heroic Iskandar, the femme fatale Laila, the leading lady with a wit Norma, these are all modern day standard of strong characters on screen. We really struck gold then.

8. THE MASTER
Date of watching: December 11, 2012 – Apex Siam, Bangkok

The Master

I was lucky enough to see the latest Paul Thomas Anderson’s film on big screen, and this is a rare opportunity. Why? Apart from none of his films ever made local cinemas, each of his film consistently feels operatic, be it in the look of the film, or how Anderson crafts the story and its characters. Shot in 70 mm, and is supposedly seen in the format, I only managed to see this in the glorious old style of 35 mm print. Still, the larger-than-life feeling watching the film remains intact. I felt swept to the huge Pacific sea as Joaquin Phoenix rested on big ship. And I shivered as Anderson put extreme close up in Phoenix and Philip Seymour Hoffman while they banter in prison, making us watching an acting masterclass in session. Johnny Greenwood’s mythical score even heard more believable in big screen. It was a rare opportunity, indeed.

9. THE AMAZING SPIDER-MAN
Date of watching: July 4, 2012 – IMAX Gandaria City XXI, Jakarta

The Amazing Spider-Man

Since this list is highly subjective, then I may as well going deep here.
Sure, by any means, this reboot is unnecessary. Still, it is a decent film on its own, with believable chemistry between the leads, and a standout song-in-a-film moment. It is right when Coldplay’s “Till Kingdom Come” played when Peter Parker starts learning the ropes of being a superhero, with montages of him running, jumping in the air, skate boarding, and breathing a sigh of relief over his new identity that I, sitting on a giant IMAX screen, was stunned in silence. I was hooked to the scene, and the whole atmosphere the song injects to the film. Then I realized, it was there, from this film, that the song ushers this heart for another that also saw the film together. The whole scene was unforgettable.

10. TEST PACK
Date of watching: September 10, 2012 – Blitz GI, Jakarta

Test Pack

Surprised? Me, too.
It is not a perfect film. Neither is this list. But once in a while come a film we realize its imperfection, yet we cannot help being drawn to its charm.
I went to see the film right after being passed out, thinking of canceling the film altogether, fearing that I might sleep throughout the film. Instead, I was completely succumbed to how Acha Septriasa and Reza Rahadian behaved and talked to each other, I willingly put my empathy to their characters, and I woke up the next morning still completely amused by them. You cannot help but liking them, despite oddities in the storyline. Call it the power of acting, and effortless direction, but this film makes a pleasant viewing anytime.

And for other memorable experiences in cinema this year that I also cherish deeply, in alphabetical order:

The Artist (seeing a contemporary black-and-white silent film in cinema, screened with digital projection, is a kick of joy for anyone);
Detachment (a no-holds-barred film with powerful performances from Adrien Brody that I would associate him with this film from now on);
The Dark Knight Rises (a majestic treatment of a superhero film that deserves repeated screenings on the first two days of release);
Looper (jaw-dropping sci-fi/action film that left me stunned, despite watching it at a midnight show);
Lovely Man (saw the first time on screener, then saw it again on a big screen, only to be amazed by how the film holds up, and still cries when Claire de Lune is played); and,
The Muppets (Need a further explanation? Kermit and Miss Piggy and the rest of the gang on the big screen? Come on! ).

See you in cinema next year.
Or next week.

Life begins with nothingness.

So does my personal experience in watching the film. Armed with overwhelming warning, expectation, hope and other kind of buoyant adjectives that only propel further confusion, I decided to enter the darkened cinema hall with no prior thoughts nor set of presumption.

The only thing we can hold true is the title itself: The Tree of Life.

Seemingly poetic, the words that make the title unveil themselves through a series of imagery that would rival the best National Geographic photography works ever invented. We may be tempted to describe the whole film as a visual poetry. There are those, I am sure, that prefer to describe the entire film as a masturbation work of an artist under bout influence. There is a possibility that one treats the film as an artistic exhibition worth being displayed in a world-class art gallery, but not cinema.

These are examples of a few labels that may be applied to the film. These labels comprise the film. Just like life itself.

In fact, if life is a film, then it might as well be The Tree of Life.

Especially when life is filled with curiosity to explore what constitutes as mankind. Through the whisper of voice overs, the striking visual galore and microscopic close-up scenes, Terrence Malick observes life from the eyes of a child who simply wants to understand his own being.
As a boy like any other boy, he carries equal influence of being raised by a set of parents, namely Mother (Jessica Chastain) and Father (Brad Pitt).
As a boy like any other child, he carries within himself eternal attempt to balance the contrasting teachings from both parents.
As a boy like any other beings on earth, he lets nature guide his action, sometimes at the cost of his wonderment of doing things he does not wish to do in the first place.

The internal struggle of human being, something Malick has never grown tired of exploring in the past four decades, is given a larger-than-life proportion in this canvas. Alexandre Desplat’s operatic score enhances the ethereal beauty of Emmanuel Lubezki’s mesmerizing cinematography that is derived from Jack Fisk’s production design. Mark Yoshikawa orchestrates the film with various paces of editing that keep one audience enthralled, so much so that he barely moved an inch in the first hour.

Me. It should be you.

But like life, to each his own cinema-going experience. In short, like life itself, we may perceive things differently, because as the Brad Pitt character says, “Subjective is something that is true to you. Can’t challenge it to anybody, because it is coming from you.” Something like that.

Thus, watching The Tree of Life is akin to how we behave towards things in our surrounding. For every one hooked, shuddered and cried, there are others who choose to walk out. For every one that defies and denies the film worthy of entrance fee, there are those who embrace this as the film that can propel the function of cinema as a place to experience visual treat.

If you choose the latter, then you should know that the treat comes at the cost of Malick’s venture in finding God. More than just using Bible quotes and the endless images of outer space, ancient times, and other-worldly shots, the director ushers us to discover ourselves through our relationships with parents, sibling, people, and nature. Being a keen observer, he leads characters to scarcely sparse dialogue, making each line quote-worthy. The lines eventually immerse in our sense, and we begin to surrender.

Note that it was not an easy give-in process. You don’t get any spoon-fed linear narrative here. The moment you decide to stay after the first 20 minutes, mind-blowing images like how one usually describes the experience taking chemical drugs continue to bombard and leave us perplexed. Slight conventional drama follows, allowing us to take a breath while trying to connect the dots of what we see earlier. Before we may or may not succeed in doing such, another arrays of pictures set in.

“You have to be the master of your own life,” again, the Father character said. It is a continuous process that one shall undertake to make the life goes on living. Understanding the film is another continuous process one shall take to complement the task above.

Do I understand the film? I don’t. Do I “get” it? Hardly.

Do I understand life? I don’t. Do I “get” where life is headed? Hardly.

In the end, after the house light is lit up and end credit rolls, we may return to nothingness. But this time, there’s an undeniable mark within us that we are already exposed to one’s attempt to uncover life and humankind in a masterpiece of filmmaking.

Let The Tree of Life grow in us.

Let it be a start to understand life.

Experience it.

(Images are taken from the digital booklet of The Tree of Life original motion picture soundtrack. Solely used for personal purpose.)

Dear Grandpa,

How are you? Enjoying yourself being polished and showered in gold? Has the cold weather been good to you? I’m sure you can handle the weather, considering how much you like to show up in your birthday suit all the time.

Bad weather aside, I can only be amazed at your endurance in surviving assassination attempts, wars, and so many historical events throughout decades. You’ve always managed to show up with a dignified pride, not at once giving a hint of aging. Guess your stark and everlasting beauty is what makes people admiring you go crazy and rush off to have their natural handsomeness Botoxed. You’ve never said “no” for all those maddening antics.

But this year, the time when you are supposed to be celebrated with a big bang, you’ve shown signs of, I’m not sure how I put it, lack of self-confidence? Suddenly you’re not sure if you’re able to throw a big bash again, the way you’ve always done for the past eight decades?

Grandpa, I know how your heart is undergoing major surgery right now, and at any given moment, the outcome may determine your well-being. But no matter what the results may be, they can tell you one thing: you are not going to die. You will be forever celebrated, cheered, and championed.

After all, there’s no reason of backing off from celebration.

Look at how your admirers behave for the past year.

Remember how once you favor literature adaptation? It comes back in a very graceful manner this year. Watching it makes me feel like having an Atonement of all the bad sins in bad films I’ve watched in a year.

And remember the epic scale of Giant or any dramatic films in 1950s? Look no further than Paul Thomas Anderson’s majestic There Will Be Blood, Grandpa.

I bet you can also recall the heydays of paranoia drama, the way The China Syndrome or … And Justice For All were built. Michael Clayton does it with an equally impressive result, Grandpa, and I’m sure you will marvel about the film’s director, Tony Gilroy, considering that the film is his directorial debut.

And Grandpa, maybe it is the time you reward one of your overlooked hopefuls, the Coen brothers, as they bring their most intense work to date, i.e. No Country for Old Men. It may not be your cup of tea, but if you could look beyond the film’s bleak look, you will see nothing but brilliance of filmmaking, Grandpa.

Your cute little grandchildren, Juno, sneaks in, because she (yes, Grandpa, we’ve got a film with first-name leading lady character as its title!) and her acerbic wits will tell you that smartness is still highly regarded in the present world of mindless films.

Beyond those five, you have every reason to be proud of your future aspirants.

You thought action is dead? Paul Greengrass and his The Bourne Ultimatum inject a dose of unbelievable energy to restore our faith in the genre.
You thought animation merely circles around kidlet’s fantasy? Persepolis challenges my perception towards what happened in Iran during Islamic Revolution in 1978, and Ratatouille cements Brad Bird’s status as a pioneer (aka a brat with a brain) of animated flick. Oh, Grandpa, don’t get me heartbroken again with curiosity of how The Simpsons Movie fails to crack in. Too brash?
Never mind. At least you can also be proud of how Tim Burton never loses his magic in Sweeney Todd and his barbaric yet menacing acts, and both 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford generate excitement to root for Western all over again.

See, Grandpa, how you should be proud of cinematic achievement in 2007?

Thus, Grandpa, this major surgery at your heart, at your core of living, is something I’m sure you can pass off easily. You’ve survived bigger events than this, and you will live on.

So will film.

Love,

XOXO.

Reflecting any pains that Leonardo DiCaprio (might) endure(d) while filming The Departed, particularly in the scene where Jack Nicholson punches Leo’s gripped arm, it is politically incorrect that I almost shared the same pains upon knowing that the film in the spotlight won this year’s Oscar for Best Picture.

While the film is a highly watchable flick, I wonder if this signals the decline of American cinema.
Has the land become extinct due to the drought of fresh ideas and compelling stories?
Has the land been busily sharpening its sophisticated look with the help of CGI, without at once feeding the brains?

And all that deserving winners (Alan Arkin, Helen Mirren, Marie Antoinette‘s Costume Design) do not make up the fact that this year’s Best Picture is a remake of a Hong Kong instant classic film. Isn’t it ironic that one land suffers from dry-spell of stories is conquering other land suffers from dry-spell of box-office takings, yet still abundant with interesting ideas?

Try to read between the lines of what IndieWire (as taken from Associated Press) reports below:

“The Hong Kong director of the gritty gangster flick that Martin Scorsese adapted as his Oscar-winning hit “The Departed” heaped praise on the man he said inspired him to make films. “It is an honour to have been able to help Martin win his first and long overdue Oscar,” said Andrew Lau, whose 2002 film “Infernal Affairs” provided the story for Scorsese’s movie set among the gangs of Boston. “He has always been my hero, his films were why I got into making films.” AFP

What does this mean?

With all due respect to Scorsese, whose “The Age of Innocence” is a very personal favorite of mine, and whose “Taxi Driver”, “Raging Bull”, “Mean Streets”, “Casino” and “Good Fellas” are, IMHO, considered works of art, I can only wonder whether he has entered his swansong years.

If yes, then let him bask in his belated glory, while we, appreciative audience, will continue wondering and searching a very few good, compelling, original films that make us proud to watch them.

Writing the above sentence gave me a bump. For a few seconds, I completely forgot about my tootache. Darn my teeth!

Not much time left, so here’s a continuous quickie:

BEST DIRECTOR

I thought The Departed is an exceptional film, something like an oasis for Martin Scorsese after his successive dry spells in “The Aviator” and “Gangs of New York”. But look at his classics, “Mean Streets”, “Taxi Driver”, “Raging Bull”, and even “The Age of Innocence” (the latter being my personal favorite). As refreshing as an oasis can be, The Departed still falls short behind those classics, but way better than his previous two films in this century. Add that with the fact that the film is a remake of “Infernal Affairs”, I doubt if it is greatly rewarding to award someone for his cover-version effort. Still, sentimentality plays a major part here, and I doubt if Clint Eastwood can pull off his fame this time.

Will win: Martin Scorsese for The Departed.
Should win: Paul Greengrass for United 93. His direction is a fine example of an exquisite, tender approach to otherwise a highly sensitive issue.

BEST ORIGINAL SCREENPLAY

I can’t shake off my disbelief on how meticulous the details are presented in The Queen. Peter Morgan did an extremely fine job here, balancing emotional and factual sides nicely in a work that elevates itself above an average TV-movie.
On the other hand, Guillermo del Toro churns out one of the richest fairy tales that linger on our minds long after we walk out of his Pan’s Labyrinth.
However, the Scriptwriter Guilds Association chose a crowd-pleasing Little Miss Sunshine as their annual awards’ winner in this category. I agree that the film has a handful of one-liners (“Go hug Mom”, anyone?), but I am not sure if it is strong enough to fight a gigantic presence of a faun and a stature of a queen.

Will win: Michael Arndt for Little Miss Sunshine.
Should win: Peter Morgan for The Queen.

BEST ADAPTED SCREENPLAY

I may not really fall head over heels into it, but I still applaud William Monahan’s skillful approach to transfer Asian graceful-action shootings to American exploitive style. The one I’m rooting for here is Patrick Marber, who was previously denied for his daring take on “Closer”, one of the most intriguing dramas on adult relationships. Penning a screenplay entirely told from its antagonist? Now that’s something.

Will win: William Monahan for The Departed.
Should win: Patrick Marber for Notes on a Scandal.

BEST FOREIGN LANGUAGE FILM

One of the strongest line-ups in years. How I wish to see “Volver”, “Blackbook”, “Cafe Transit”, “Curse of the Golden Flower”, “Love for Share”, “Farewell, Falkenberg”, “White Palms”, or “Something Like Happpines” were nominated. But still, none of these can beat Guillermo del Toro’s creatures.

Will win: Pan’s Labyrinth, directed by Guillermo del Toro.
Should win: Pan’s Labyrinth, directed by Guillermo del Toro.

BEST ANIMATED FEATURE

Hey! “Ice Age 2″ is not that bad!

Will win: Cars.
Should win: Happy Feet. The film really pushes the envelope of what computer-graphic animation should be, i.e. putting audience in anxiety over roller-coasting camera works.

BEST CINEMATOGRAPHY

Will win: Emmanuel Lubezki for Children of Men.
Should win: Dick Pope for The Illusionist. Love its other-worldly look.

BEST EDITING

Not really a fan of editing styles in both Babel and The Departed, both Editor Guilds’ (ACE) winners. But if I really have to choose between the two, I guess I’ll settle for Thelma’s The Departed.

Will win: Thelma Schoonmaker for The Departed.
Should win: Clare Douglas, Richard Pearson, Christopher Rouse for United 93.

BEST ORIGINAL SCORE

I did my thorough observation. Hope it gets published, or if it doesn’t, I’ll publish it here.

Will win: Alexandre Desplat for The Queen. However, I’d like him win for “The Painted Veil” instead, which was not nominated despite winning Golden Globe earlier.
Should win: Philip Glass for Notes on a Scandal. It’ll be a make-up for his previous losses, especially for his haunting works on “The Hours”.

BEST ORIGINAL SONG

C’mon, at least Dreamgirls should win something.

Will win: “Listen” from Dreamgirls.
Should win: “Listen” from Dreamgirls.

BEST COSTUME DESIGN

Girls and gays, I know how Patricia Field should be getting some recognition for both her clever picks among those designers’ galore, but against both king and queens of China and England? Nah.

Will win: (I can’t believe this) Consolata Boyle for The Queen.
Should win: Chung Man Yee for Curse of the Golden Flower. A 40-kg crown? That’s something.

BEST DOCUMENTARY FEATURES

Like you need to ask.

Will win: An Inconvenient Truth.
Should win: An Inconvenient Truth.

BEST MAKE-UP

Will win: Pan’s Labyrinth. That guy is sitting for hours to be made-up as a faun!
Should win: Pan’s Labyrinth. Oh, there’s a vomitting giant toad, too.

BEST SOUND

My take: Dreamgirls.

BEST SOUND EDITING

My take: Letters From Iwo Jima. A perfect show-off for war films. Remember, “Pearl Harbor” won in this category five years ago.

BEST VISUAL EFFECTS

My take: Superman Returns. Digitizing Brandon Routh’s rumoured bulging asset? That’s something.

BEST ART DIRECTION

“Moulin Rouge!” won this category five years before, so I’ll go the same.

Will win: Dreamgirls.
Should win: Pan’s Labyrinth.

BEST SHORT FILM, ANIMATED

Again, I did my thorough observation on this. Let’s hope it gets published.

Will win: The Little Matchgirl. Yes, it’s that HCA classic.
Should win: Lifted. Coming soon this summer.

BEST DOCUMENTARY, SHORT SUBJECTS

My take: Recycled Life. A nice unintended publicity that came right after the nominations were announced. But don’t ask me what sort of publicity it created. Look for it yourself, ok?!

BEST SHORT FILM, LIVE ACTION

Will win: West Bank Story. Yes, it’s “West Side Story” being moved to the Middle East.
Should win: Binta and the Great Idea. Love it.

(And I just notice the bigger letters for “Rosebud” than anything else. Nice gesture of AMPAS who denied “Citizen Kane” from winning the Best Picture 66 years ago!)