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Kung Fu Panda 7/10

July 8th 2008 09:48
By the promotional poster, I was reminded of the mildly amusing but generally stupid 90's flick Beverly Hills Ninja, which based all its charm on the hapless Chris Farley as he stumbled his fat ass towards becoming the Great White Ninja. Uh huh. Well, Kung Fu Panda in plot sounded quite similar to me. A fat hapless panda voiced by Jack Black, king of the underdogs, stumble towards becoming the Dragon Warrior. But luckily for this film, Jack Black is much more charming and endearing, and they are other winning features to make this more than just another kids movie during the school holidays.


The film begins in spectacular fashion. A chinese style animation dazzles the screen to set the scene, and play homage to the always exciting martial arts genre. Then the goofy humour kicks in. A sign that as well as an thoroughly engaging action movie, it is also a comedy catered for children, young adults and generally people who don't like movies that take themselves too seriously. The action then screeches to a halt and we are introduced to Po the panda's dull life as the son of a noodle shop owner, who is for some reason a goose. Not long after, Po crashes into the sights of Oogway (Randall Duk Kim), the all wise tortoise and Po is chosen to be the Dragon Warrior. Cue everyone's shock and disdain, Po failing miserably at impressing the disgruntled Kung Fu master Shifu (Dustin Hoffman) with his torturous training and not fitting in with the ultra cool Furious Five. But they all have to suck it up, because the former student gone bad Tai Lung (Ian McShane) has broken out of prison and is coming back with a vengeance to steal the title of the Dragon Warrior. Will Po save the day?

I got a huge Star Wars vibe from Kung Fu Panda. The all-knowing master and his curious but visually stunning departure, the diligent fighters, the one who fell to the dark side, the chosen one to save everyone. This time, the creators borrowed themes to make something warm hearted and relatable rather than mock the hell out of it and leave the audience feeling a bit empty. It was a nice change.


One thing I must mention is how amazing the animation was. The cinematography was breathtaking, the backgrounds were a beautifully crafted recreation of the Chinese landscape and reminicent of their famous artwork, the action sequences were a thrill to watch. At times it was a bit chaotic with so many things happening at once so quickly, but I'm sure that's to make the film worth going back and watching again and again. The kung fu choreography was so intricate and stunningly executed by these unbelievably adorable looking characters. There was also high use of the slo-mo, which surprisingly didn't feel cliche and tacky, but quite welcome to highlight just how amazing the action is.

The casting overall a bit poorly done. Po, Shifu and Oogway were perfectly cast, but the Furious Five seemed like a waste of the voices cast. Other than Tigress (Angelina Jolie) and Crane (David Cross), the Furious Five don't talk all that much, and when they do, their lines weren't memorable. Only at the credits did I discover the rest of the Five - Monkey (Jackie Chan), Mantis (Seth Rogen) and Viper (Lucy Liu). Looks good in promotions, but their presence in the actual film was unremarkable. They could have saved a lot of money by hiring unknown voice actors instead, because we really only cared about Jack Black, that's what people were coming in to see.

I felt a little underwhelmed at the end as the climactic battle between Po and Tai Lung wasn't as thrilling to watch as the battle scenes leading up to it. The prison break out had me on the edge of my seat, the bridge battle made my eyes widen in amazement, the bun-battle (you'll get it when you see it) was both fun and impressive. But the last sequence used mainly slapstick and pratfalls to gain laughs from the kiddies rather than try for something epic, which was a shame. I was also disappointed that Po and the Furious Five never team up in battle, which really would have been awesome. The ending was also a little too understated and didn't leave us on a high. Oh well. Perhaps in the sequel.

Kung Fu Panda wasn't a complete barrel of laughs, but it had its moments, and those moments were really funny. Others got chuckles from the younger audience through lots of slapstick and the trademark random jokes Dreamworks is known for. Not always consistent with the action but the best bits are simply superb and when the sequel comes out (as if they can resist milking the story of all its worth by throwing out ten more films), hopefully the makers will have smoothed out the glitches and then they shall fulfill Kung Fu Panda's destiny to become full of awesomeness. And give Pixar a run for their money.
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Hancock 8/10

July 3rd 2008 12:16
This one was a bit of a surprise. A good one. Will Smith is the very unheroic John Hancock, a man in possession of great power, but still doesn't hold much responsibility for them. He stumbles in drunk and surly into times of need and trashes the city while trying to save the day. He gets the job done one way or another, but no one is impressed at his crazy antics (except for the audience, who were quite entertained by this unorthodox hero). One day, he happens to save the life of a struggling but good hearted PR Ray Embrey (Jason Bateman), and for once, someone is grateful that Hancock stepped in. Wanting to repay his debt, Ray offers to become Hancock's publicist, to improve on his image because after all, the people are supposed to love a superhero, not regard him as a big drunken asshole. So Hancock reluctantly agrees, and that's where the action really begins.

In a lot of ways, Hancock is very predictable. Hancock is the angry jaded loner wallowing in self pity, not knowing of his past, or even what he is. It's kind of Wolverine-ish, and it's even addressed in the film cheekily. Ray Embrey is the nice guy who can't help but be nice, even if he gets nothing out of it. And his wife Mary (Charlize Theron) is disapproving but in the end also kind hearted, slowly warming up to Hancock. There are smart mouthed kids and disgruntled bad guys that get their asses kicked in a ridiculously over-the-top manner that was hilarious and Hancock slowly learns and becomes the hero everyone needs him to be.

But, there was a really big twist on the story that really caught me by surprise. Granted, I didn't do that much research into the film before I saw it, but for me it was unexpected and a great new direction for the story, which up until then seemed like a routine superzero-to-superhero story. I loved it, and it had such emotional punch near the end thanks to the cinematography and the amazing performances.

The actors are all charming. Will Smith makes a great change with this character, and he makes Hancock an iconic modern day hero, the grown ups' superhero if you like. Jason Bateman was in his usual goofy but loveable nice guy role which he always does well, Charlize Theron was gorgeous and made what could have been a cliche role very real, the villain was tacky but he wasn't too important in the end, strangely. It was all about Hancock. The camera was shaky (it must be a trend) but used to good effect to heighten a sense of realism and raw human empathy to the characters (plus it didn't make me sick and it was never disorientating) while the action sequences were reminiscent of X-Men but had its own flavour to it. I discovered later that the director was Peter Berg, responsible for 2007's The Kingdom which I didn't particularly like because it overused the handheld camera, but he doesn't make that same mistake here. The effect he wanted for The Kingdom was something he definitely succeeds with in Hancock.

Overall, I was charmed, and greatly entertained. And was it just me, or was I seeing references to Arrested Development?
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Tokyo Sonata 7/10

June 14th 2008 15:03
Tokyo Sonata was screened that the Sydney Film Festival last Wednesday and I got to check it out. The director, Kiyoshi Kurosawa, was there to give some quietly thoughtful insights into his film about family. Having previously done work mainly in the horror genre, Kurosawa stated that he wanted to explore issues of family, something he had only done in a minor degree up until this point and it seemed by the reception that he made the right decision with Tokyo Sonata.

Ryuhei Sasaki (Teruyuki Kagawa) is a highly positioned administrator in a big corporation who is suddenly replaced by cheaper labour overseas and becomes, in a blink of an eye, unemployed. Being middle aged and only qualified in one field, he has no chance of getting another job remotely similar and is faced with becoming a janitor to continue supporting his family. Completely humiliated, and desperate to maintain authority in his household, Ryuhei decides to keep his shameful secret and pretends to go to work each day. Meanwhile, his wife Megumi (Kyôko Koizumi) is slowly becoming bored with her housewife life and starts dreaming of breaking free, his sons drift away from his grasp and start going after what they think will make them happy in unconventional ways, and his lies start to fall apart around him.

The film has an overall soft and understated feel, letting the audience settle in to the ordinary-ness that is this family. The stories then slowly increase in tension, making the personal tragedies feel just that little bit more close to home. Now, I don't know if it's because I'm an Australian born Japanese (in other words, not the real thing), but sometimes this understated manner muted the characters too much for me to fully engage with their experiences and I'm not sure if the social shame associated with unemployment in Japan, as well as the almost epidemic identity crisis that's hit pretty much every generation of Japan in the last few decades, were really made clear to the Sydney audience. To me it felt a little underdone, a little too polite in its addressing of a growing problem in Japan. I'm not saying Kurosawa failed, he did a fine piece of work, the elegant camera movements alone were wonderful to watch, and the stories were told beautifully without overdoing the drama or camping up the humour. But... I think he was capable of more. I'm hard to please, I know.

I didn't really like the sons (one was too emotionless, the other was too... pretty-boy-like), but I really liked Koizumi. I don't know any of these actors, but she seemed to me like she was quite elegant and carefree in her youth, and she still has that essence about her now. So casting her seemed to me like genius. By just looking at her, you can see a fire in her that she isn't allowed to let burn because of her obligations to her family and this fact is slowly killing her and it is just heartbreaking. I don't know who Kagawa is either, but he has this really worn out, tired expression all the time, and although you don't always like the guy, you do understand his plight and truly wish for him to not become defeated by his predicament.

In the end, though, everyone in the screening left in good spirits. The characters went through great hardship, with an overpowering sense of helplessness and lack of control of one's own life that we all feel too often, and they, in their own unique ways, overcame them. This is considered Kurosawa's best work to date, so that means it's not too bad. Good, even. See how a good story is told, and look forward to more touchingly told stories we just have to be getting from this guy in the future. We just have to.


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From the moment the film begins, you are confronted by endless desert, and gentle but extremely haunting music reflecting years of death, anguish and sorrow. Earth And Ashes is from Afghanistan, directed by Atiq Rahimi with what appears to be untrained actors (most likely to add to the honesty of their portrayals), and it grabs you with its beautiful simplicity in storytelling and breathtaking cinematography of the Afghan landscape.

Dastaguir is an old man travelling with his young grandson to meet his son at the mines where he works. He bears heartbreaking news about his family, and must get to his son before the news reaches him first, or Dastaguir fears his son will be driven mad with grief and pain. But almost fatefully, his grandson Yassin always manages to hold back Dastaguir from reaching the transport he is waiting for to get to his son, as Yassin is desperately searching for "the lost voices" in the nearby abandoned military tank and seems to stubbornly ignore everything his despairing grandfather asks of him. During their long harrowing journey (more so for Dastaguir than for the still innocent Yassin) to the mines, they encounters several people with equally tragic tales to their own and all give him blessings from god, but Dastaguir struggles to come to terms with his loss, and how he must remain on Earth with so much pain to carry with him


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Punch-Drunk Love 8/10

June 1st 2008 14:04
It's sad for me to say this, but I just can't seem to get into Paul Thomas Anderson. That being said, I thought Punch-Drunk Love was wonderful.

PT Anderson movies always seem to creep me out a little. And they are ridiculously long, full of all these complicated ideas which sometimes makes me want to denounce God all over again. Punch-Drunk Love, although it does have the director's eccentric flavour, was much simpler to follow and had delightful touches of the whimsical to make this a very original and also likable love story


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Breasts. Huge breasts. And cars. Fast cars driven by women with huge breasts. End of review.

No, seriously... actually, how can I be serious when reviewing a film titled "Faster Pussycat! Kill! Kill!"? You can't, and nobody should try. I don't know the history of Russ Meyer except that he made softcore porn and really liked big tits, but I assume this was a serious attempt at a thriller in the only style he was familiar with, in which case I'd have to say he failed miserably, because I was laughing all the way through. But if he intended to make a satirical film with empowered women which at the same time indulge us in our very basic desires to watch hot girls wrestle each other in dirt... well I still can't say he did an amazing job but I sure was very entertained


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Letters To Ali 5/10

May 28th 2008 04:49
Letters To Ali is an Australian documentary I watched for my Australian Literature class and I probably would never have heard of it otherwise. When it premiered at the Melbourne International Film Festival, people said it was a very important film, and one that should never have had to have been made. Upon seeing the film, I'd have to agree that it is important and that there should have had to have been a moral reason to make such a film, but another reason why it shouldn't have been made was that it was the majority of the time unbearably boring. And as the film is about the grossly inhumane treatment of asylum seekers in the various detention centres in Australia, I find it almost insane that such a topic could not liven up such a dull documentary.

Trish is a sympathetic doctor who had began writing to a young asylum seeker, "Ali" and with her family had gone to visit Port Hedland, where he was detained. They travelled 8000 km to do so. Trish was then moved to write about her experience in a newspaper article called "Walking In Their Shoes", to bring more media attention to the issue of the treatment of Asylum seekers and the blatant breaching of the UN Refugee Convention 1951 of which Australia is a signatory. The article caught the attention of Hong Kong film director Clara Law. Law decided she was going to make a film about this woman, and her trying to save "Ali" from detention or deportation. Sounds interesting enough. But instead of focussing on Ali - the boy who fled war-torn Afghanistan after witnessing his brother and his neighbours being killed, was smuggled into Australia on a barely seaworthy boat stuffed with 300 other asylum seekers and spent years in detention in a facility more secure than most Australian prisons - Law decides to focus on the giddy family, and on her own journey with this family to Port Hedland. Wow, well as fascinating as it is seeing middle class teenagers playing with their piercings and countless shots of the road, I kinda expected a little more insight into the kid they were writing to. It's his pseudonym in the damn title of the film after all


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Indiana Jones is back. Yeah, I was confused too. Like, weren't they worried Harrison Ford was going to break his hip or something?

I never got into the whole Indiana Jones franchise, and have only seen bits and pieces. Hello giant rolling ball, monkey brains and lots of torchbearing. But I figured since it's been 19 years since the last Indiana Jones, this was an event I shouldn't be missing. And since I am not a devotee, I won't be able to give a detailed review on what I thought, since I know I must have missed at least half of the inside jokes and am not completely familiar with the style. But I'll give it a newbie's go


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21 7/10

May 18th 2008 15:44
Well, I now have a new domain called "screen best", which of course is due to me misreading the instructions and thus I chose this tre uncool title to now signify my reviews. Boo. But oh well. Once again I am up late in the evening, the only time nowadays for me to be at my pretentious uni student film buff best.

But none of you care about how I ended up with this stupid webpage, you want to know about the film 21, starring Mr smirky Jim Sturgess, Kate Bosworth and Kevin Spacey


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Gone Baby Gone 8/10

April 19th 2008 03:59
Since I think that Ben Affleck is a douchebag, I was skeptical about his directorial debut, which he also co-adapted while putting his little brother in the lead role. But I came out impressed. Mr Affleck, you may be a douchebag, but you do possess some promising talent.

Gone Baby Gone begins in the streets of Boston. It's depicted in a bittersweet, tender manner as Patrick Kenzie (Casey Affleck) narrates. He's a small time Missing Persons Private Detective with his girlfriend Angie (Michelle Monahan) his associate. They watch the case of little Amanda McCready's dissapearance on TV as the aunt and uncle beg for her return. Next thing you know, they're knocking at their door, asking for their assistance, although with resistence by the uncle , Lionel McCready (Titus Welliver) and the Captain of Police (Morgan Freeman, in his usual "woeful authority" routine). The couple speak to the slag of a mother Helene (an amazing Amy Ryan) and slowly start to unravel the case, with the assistance of two police detectives (Ed Harris in his usual growling mode and John Aston). But as Patrick gets closer to the twisted truth, the more his religion, his morality and his emotions are confronted


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