Posts Tagged ‘review’

Metal Gear Solid: Philanthropy

Thursday, October 1st, 2009 by Crap

Metal Gear Solid Philanthropy

As far an fan-made films usually go, its often an embarrassing affair. Low budget productions coupled with adolescents who figure they can achieve more then they set out to do. There’s a reason why the high-gloss of Hollywood production or the careful craftsmanship of independent features is not easy to emulate. It takes careful training, intense logistical organization, and often times some sort of studio backing.

I wouldn’t go so far as to rave over Philanthropy or even cite it as an example opposite of this dilemma, but it comes close. Created by actual film students who seemingly have the abilities to work in the commercial industry, the film overall is quite impressive and surprising. The production level emulates a mid-level TV show which is quite impressive as is. Acting seems professional as well as the costuming, staging, and mise en scene.

Castaway On The Moon: Isolation, Jajangmyeon, & Hikikomoris

Tuesday, September 22nd, 2009 by Crap

castaway on the moonLets face it, Korean cinema has been far from impressive of late. Especially when we put things in contrast to earlier this very same decade that saw an emerging new generation that inventively crafted genre films capable of drawing huge international markets. Whether it was Park Chan Wook, Bong Joon Ho, or Kim Ki Duk, it was obvious that there was a shifting paradigm away from the more classical mentalities of old blood like Im Kwon-taek or even the monotonous flood of mainstream romance comedies or period films on the other side of the spectrum.

Overall, films that were both commercially viable and critically successful on a global scale were becoming increasingly more likely. This was in direct contrast and often times in conflict with a parallel trend that was heavily aimed at drawing in domestic tween markets, with embarrassingly sappy melodramatic fare that was often times both formulaic and utterly mindless. Unsurprisingly, this latter trend won out and the emergence of this domestic innovation seemed to disappear altogether. Park Chan Wook and his contemporaries were still pumping out yearly works for the festival circuit, but it didn’t appear that anyone new was entering the limelight.

Its quite a sad affair and one that has honestly decreased my personal attentions to Korean film making on the whole. Thus I watch less films as years pass and pay increasingly less attention to industry developments. This isn’t to say I’ve completely given up on them but merely that my attentions are focused elsewhere on the globe. I still catch the new Kim Ki Duk or Park film when the opportunity presents itself. And on some rare occasions, still catch that oddball film that may have peaked my interest via a blog post or blind rental. Castaway on the Moon is such a film and one that I viewed wholly by accident.

A look at “Take Out”

Wednesday, September 9th, 2009 by Crap

take out film

In the tradition of both cinéma vérité and Italian neorealist style, it seems that the central image of the bicycle within a bleak urbanized environment has become somewhat of a motif. Dating back to De Sica’s classic Bicycle Thieves and popping up more recently in Sixth Generation director Wang Xiaoshuai’s Beijing Bicycle, it has once again seemingly appeared in Sean Baker and Shih-Ching Tsou’s social realist work, Take Out.

To not rely heavily upon comparative analysis, I’ll be brief. The continuing motif is obvious but probably irrelevant for the most part. Take Out has little to nothing to do with De Sica’s earlier work aside from genre and narrative similarities. If anything, it bears more in common with its Sixth Generation contemporaries across the globe such as Li Yang’s Blind Shaft or possibly Lou Ye’s Suzhou River.

In this manner there is a deep interest in its almost transnational cinematic relationship that seemingly parallels the subject matter of the film. Ming Ding, an illegal Chinese immigrant like most of the characters on screen, is struggling to not only earn a living, but save enough money to send back home to his awaiting family. His supposed frustration over this difficulty leads to borrowing money from a loan shark that he simply can’t pay back.

A look at “The Last Lullaby”

Saturday, August 29th, 2009 by Crap

the last lullaby

On The Last Lullaby, Jeffrey Goodman in a manifesto-like statement expressed his desires to stray away from modern cinematic norms and trends. He called for a seemingly nostalgic return to when film actually mirrored its society in a relevant fashion. Its an honest sentiment and one that I find both intriguing and troubling. On the one hand, looking back through the eyes of history one can easily associate periods of time with cultural artifacts such as film in this context. But the trouble I see is whether or not this is indeed simply “nostalgia” at work or possibly the presence of a larger historical scope to look back on.

Its hard to say whether or not cinema for better or worse, does or does not mirror our own contemporary society today. Surely film has indeed become somehow more rapid, sporadic, and pointlessly styled with little forethought. But it is hard to state whether this is not somehow indicative of our modern perceptions in a more holistic context. Life and temporal perception have indeed become more rushed, mechanized, and rather chaotic thus possibly for better or worse, film has still retained a certain accuracy in social reflection.

Regardless, Goodman does indeed make a great effort to stray away from huge Box office hitters like 300 or Crank which literally bombarded the viewer with an almost orgy-astic attack of excess. The Last Lullaby is anything but, and is indeed a refreshing diversion away from the over stimulation of these recent films. Goodman’s debut is if anything, a refreshing break from the quite literally tiresome fare at the box office of recent years characterized largely by senseless visual style.

Let The Right One In: Violence, Androgyny, & Impressionability

Wednesday, March 11th, 2009 by Crap

Let The Right One In

Last night, I finally got around to viewing Let The Right One In, a Swedish film that got hugely popularized around the time of the larger global release of Twilight. While its fairly safe to say both works can be placed on opposite sides of a particular spectrum, both works indeed center around vampirism, a subsequent adolescent romance, and a release in the Fall of last year. Many critics cited the former Swedish release in retaliation to the overly promoted Twilight based upon a generic young adult novel series as well as starring some teen heart-throbs. While the latter work focuses more on a simple teen romance and the element of supernatural fantasy as spectacle, Let The Right One In merely uses vampirism as a narrative device to elicit questions of morality, violence, and androgynous identity.

A large portion of the viewers criticized the film for its seemingly pastiche “underdog getting bullied” setup that finds resolution through romance, or physical retaliation. While on the surface this seems valid, when one realizes the obvious moral ambiguity surrounding the main character dynamic, it seems somewhat illogical. If anything, it seems the pastiche is being used purposely to offer a critique or satire. By film’s end, both Oskar and Eli have committed violent acts that are ethically wrong but seem to go ignored. Eli kills countless victims and Oskar assists in this outcome several times. What is interesting is how the film successfully sets up the characters in a way in which the audience comes to naturally associate with Oskar and Eli on an emotional level. Their romance is childlike and seemingly innocent but presents a moral dilemma. Viewers easily ignore the violence in the narrative because they sympathize with Oskar and Eli almost wanting them to succeed. The way in which the violence is portrayed on screen parallels this notion, almost all the violent acts happen off screen or in the shadows. The viewer knows the extent of the gruesome acts yet is allowed to keep a distance.