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| Movie Reviews | |
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| Tweet Topic Started: Feb 22 2013, 11:39 PM (682 Views) | |
| halo1234 | Feb 22 2013, 11:39 PM Post #1 |
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What was the last movie you saw? Be it the latest cash cow rip off of Ah Boys to Men or an Golden Globe winning film, share it here, give it a rating and a review of whether you think it's worth watching or not! |
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| halo1234 | May 17 2013, 08:07 PM Post #2 |
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Movie: Star Trek Into Darkness Rating: 3.75/5 Comment(s): Employing the original cast from 2009's "Star Trek", which includes Chris Pine (voicing James Kirk), Zachary Quinto (voicing Spock) and Bruce Greenwood (voicing Christopher Pike), "Star Trek Into Darkness" runs a similar plot as its predecessor. We see the archetypal wronged, revengeful antagonist played by Benedict Cumberbatch (voicing Khan) in this sequel. Unlike traditional villians portrayed as belligerent madmen with anger management issues, Cumberbatch must be commended for executing his role as the antagonist with a certain poise and style that is difficult to achieve. With masterful vocal delivery and control of facial expressions, his character is seen as possessing a deathly calm and a silent menace at once, exuding both charisma and an awe-inspiring aura of fear. Such competent character portrayal aids the execution of a commendable plot as we see how Khan expertly manipulates James Kirk et al to get what he wants. J.J. Abrams deserves credit for attempting to add elements of complexity and depth to the storyline, and this clearly differentiates this movie from the previous release. The resultant plot twists and suspense created will sustain your interest. Furthermore, the pairing of the two protagonists in the film (Kirk and Spock) was sweet, and it simultaneously allowed Abrams to play off the running theme of logic and rationality versus emotions through these two characters. Side characters like "Bones", "Scotty" and Hikaru contributed to the humor within the movie. While character portrayal was effective in general, the actors' efforts was marred slightly by a strange sense of cheesiness permeating throughout the film's 133-minute running time. Maybe it is the over-exploited tropes of self-sacrifice in leadership bunched together with occasional clichéd dialogue, perhaps it is the tacky designs and special effects employed (the inside of the USS Enterprise looked like some toy ship), but there is just something about "Star Trek Into Darkness" that makes me unable to take the movie seriously as a solid A-grade piece. While I acknowledge that the movie has indeed evolved from the original four years ago, there simply isn't enough fresh elements to make a concrete, lasting impact, save for the points highlighted earlier. The need for "Into Darkness" to stick to a distinctive "Star Trek" image prevents the film from reaching its full potential. The saturation of talk on self-sacrifice prevents us from crying when the sacrifice is really made; the nagging reminder in the background that this is a science fiction movie blocks out opportunities for this movie to become more than that. It is clear that J. J. Abrams struggles to straddle between his previous 2009 effort and an attempt to recreate a "X-Men: First Class" Part Two of sorts. Unfortunately, this over-reach in aspirations has caused him to fall short in this regard. Nonetheless, for all of the cynicism revealed in this review, "Star Trek Into Darkness" remains a decent film packed with satisfying doses of action, an intriguing plot, and a cast that gels well together with impressive dynamics. Definitely recommended to watch. Edited by halo1234, May 17 2013, 08:15 PM.
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| halo1234 | May 25 2013, 02:19 PM Post #3 |
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Movie: The Great Gatsby Rating: 3.5/5 Comment(s): I usually do not begin my movie reviews with negative criticism, but for this one, I'm going to be brutally honest right from the outset. Plot-wise, Baz Luhrmann failed to provide a convincing explanation of the background story as much of it was narrated directly with a few accompanying silent scenes. The inadequate exploration of the protagonist's past (played by Leonardo DiCaprio) and his relationship with Nick Carraway, the narrator of the story (played by Tobey Maguire), and Daisy Buchanan (played by Carey Mulligan) inadvertently weakened the emotional impact of the movie, and left the audience slightly confused at some points. One was left to question the extent to which the protagonist's love for Daisy is genuine, and whether the entire narrative arc bears any semblance of realism in the first place. I mean, seriously, if you really missed someone so much, you wouldn't throw a party costing millions of dollars per week just to get the girl's attention, but rather hail a cab or boat and go across the river to her house and ask her out. Like every other non-millionaire guy does. In short, "The Great Gatsby" is characterised by a gnawing sense of confusion and cynicism lurking in the background, like a mist which permeates the cinema yet never quite manifests into physical concreteness. In addition, the repeated reliance on the soundtrack for the movie was a bit of an overkill. If so, why does it warrant such a high rating? Fundamentally, I disagree with the excessive criticism directed at this film, however valid they might be on the surface. I felt that Buhrmann was employing the aforementioned ambiguity and confusion as a deliberate plot device. The almost fictional account of Gatsby's massive parties is ridiculously unrealistic. As the audience, we want things to make sense. But Buhrmann must be lauded for going against movie norms and tropes, in this case, by intentionally frustrating the audience by dishing out an unrealistic portrayal of America's Golden Age. Because this very emotional response of the audience, this very disbelief evoked as a result of the cognitive dissonance experienced, could be seen as the disillusionment of people's perceptions towards the American Dream. When we consider Gatsby to be a living personification of the nebulous nature of the American Dream, much like the mists on the river, all the pieces fall into place. If Gatsby, in being "the most optimistic person [Carraway] has ever known", has hope blind himself into self-delusion, then we start to see things through his lens, and empathise with him with a deep sincerity. While Buhrmann rightfully deserves criticism for failing to capture the essence and spirit of the era to the fullest extent, and for failing to give us a satisfactory account of the characters' pasts, he deserves praise for highlighting the cynical attitude towards the American Dream both on-screen and off-screen (in the audience). At this point, many would dismiss my review as a stubborn defense of poor film directing techniques. However, Buhrmann deals with the notions of love, marriage, wealth and gender expertly, and such thematic treatment would also hint at how his exaggerated depiction of America's extravagance in the 1920s is deliberate. Buhrmann brilliantly shows the subjugation of women even during this era of prosperity as the female characters in the film are portrayed as abused, sexually used, or living in unhappy marriages or dead. This bleak picture is made worse when Buhrmann mars the idealisation of love which the protagonist holds. Instead of the fairy-tale rekindling of long lost love after five years apart, this film sees love being used as a covert weapon for male possession of their partners. Daisy, being caught in a double bind of duty (to her husband Tom) and her past (love interest of Gatsby), is forced to choose her partner as she cannot love both of them even though she does. The climatic confrontation between the two antagonistic male leads is simply perfect, as we see how both are so eager to demonstrate their love for her, yet Daisy's pained agony written on her face clearly shows that such selfish possession may not be love at all. The story ultimately culminates in tragedy, we get a sense of catharsis as we are warned of the perils of blind optimism. Yet, this very tragedy is what makes us want to believe in the unbelievable, that we get a sense of how it is bliss to be ignorant in hope, that is what makes us still feel a sense of respect and pity for the protagonist and his fate at the end. Ultimately, while "The Great Gatsby" may be deemed to be mediocre on a superficial level, closer appreciation of the film opens up an entire nexus of intricacies and nuances that can only be described as deeply moving, beautiful, and great. |
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| halo1234 | Jul 14 2013, 12:47 AM Post #4 |
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Movie: Despicable Me 2 (2d) Rating: 3/5 Comment(s): With an unbelievable, almost one-dimensional antagonist, mediocre plot structure and limited emotional engagement, this should have been a sub-par movie. Yet, the brilliant excesses of cuteness and humour in "Despicable Me 2" actually made the 98-minute film qualify as decent entertainment. Sure, it is a hack on the part of Pierre Coffin and Chris Renaud, definitely, but who can resist little yellow incomprehensible minions? No one, so leave your brain at the door and just immerse yourself in 98 minutes of simplistic naivety, innocence and cheesiness befit for a kid. It is pointless to type out a lengthy review for this one because, at the end of the day, this is undeniably an unpolished, unsophisticated and unsurprising piece of work. Yet, the movie deserves some reprieve for its underlying desire to please. It is this energy that fuels the whole film and makes "Despicable Me 2" an endearing piece throughout. Edited by halo1234, Dec 5 2013, 12:56 AM.
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| halo1234 | Jul 21 2013, 02:35 AM Post #5 |
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Movie: The Social Network Rating: 4/5 Comment(s): A build-up of entrepreneurial success and visionary inspiration laced with a foreboding undertone of betrayal and manipulation, this is a masterful movie which is humorous, breath-taking and unsettling all at once. Jesse Eisenburg's role as the protagonist is one of stunning complexity, ambivalent morality, and naive narrow-mindedness. The inter-weaving of the court hearings with the actual narrative maintained and built tension throughout the film, mixing humor and suspense in a subtle blend for two and a half hours. While the plot is not entirely believable and borders on the incredulous or melodramatic at times, "The Social Network" proves to be a very tight and effective film which gives a beautiful take on one of the most brilliant online advents of this century. A passion which gushes out into a stream of triumph and tragedy in equal measure - the equipoise and balance of this film is impeccable. Edited by halo1234, Jul 21 2013, 02:41 AM.
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| halo1234 | Sep 21 2013, 05:54 PM Post #6 |
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Movie: Ilo Ilo Rating: 3.5/5 Comment(s): Being the first Singaporean feature film to win an award at the Cannes Film Festival, Anthony Chen's "Ilo Ilo" explores the relationship dynamics within a typical household in the 1990s. Credit must be given to the movie's dedicated exploration of the role of the anathematized domestic worker within the family, dysfunctional parenthood, childhood defiance and development, alongside materialistic and non-materialistic concerns within Singapore. Chen employs a saturation of symbolism involving pets, lottery tickets, and cigarettes to weave a poignant narrative of love and neglect, hope and its exploitation and the decay of the family unit - all relatable to the Singaporean context. Set almost two decades ago, the dated intra-cultural references may seem to reflect Chen's lack of adaptability in genre, but it may also serve as a useful time-freeze comparison between then and now, probing questions on what has changed (or hasn't). Among the film's strongest merits are its sophisticated portrayal of the domestic helper and her attached stereotypes, the trials of motherhood, and the depiction of the domestic helper's integral role in the child's development. Particularly interesting was the controversial sexual tension fleshed out between child and maid, representative of both character's intimate relationship and growth, used both as a tool to create shock value as well as reflect a candid, sincere honesty between the two. If anything, Chen seems overly ambitious, trying to cover a tad too many ideas within the movie's running time, at times sacrificing depth for open-ended ambiguity and a lack of resolution. The use of cliched tropes is forgivable to an extent for it provided a platform to show the director's nuanced social commentary. I liked how Chen avoided being overly dogmatic in establishing good versus evil dichotomies, but garnered empathy for almost all of the main characters in the movie at once. Given such thought put into piecing together this comprehensive narrative arc, it is with a slight sense of disappointment that the ending was an abrupt one. Yet, the film's conclusion in itself is a potent one, lacking all melodrama and overbearing mushiness, its restraint, simplicity and sincerity will overwhelm you. Ultimately, "Ilo Ilo" is a tight, touching and astute reflection of what it means to be Singaporean. Tragic, bittersweet, yet beautiful all at the same time. Recommended. Edited by halo1234, Sep 21 2013, 05:55 PM.
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| halo1234 | Dec 5 2013, 01:49 AM Post #7 |
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Movie: That Girl In Pinafore/我的朋友, 我的同学, 我爱过的一切 Rating: 3.5/5 Comment(s): This is one of those movies where the Chinese titles do not translate to its equivalent in English. And just like one of those movies, director Chai Yee Wei attempts to capture a nostalgic past in Singapore set in the 1990s. Such a setting is not new - we've seen it countless times in Anthony Chen's massively acclaimed feature film "Ilo Ilo", as well as the "I/We Not Stupid/Naughty/[Insert adjective with negative connotation here]" franchise which Jack Neo has milked through and through. Here, in "That Girl In Pinafore", Chai attempts to create an ambitious narrative on love, parenthood and cultural conflict while nostalgically reminiscing the past hype of Xinyao (Songs about Singapore). Acknowledgement must be given for his attempt to reflect the complexity of growing up and adolescent relationships, as well as to make this movie a patriotic shout-out to the essence of the Singaporean spirit. Filled with an abundance of crude and slapstick humour, a commendable soundtrack, as well as undeniable chemistry between the protagonist couple and in the clique as a whole, this makes for an entertaining two hours. However, the film becomes mildly overbearing and preachy at times. From the saccharine (but irresistibly catchy) ballads professing love to Singapore, to hints of an anti-Western rhetoric conveyed through a mother's insistence on her daughter's American education which drives the conflict of the plot, Chai seems intent on shoving his "I less-than-three Singapore" directorial message down our throats (alongside other orifices). The abrupt twist towards the end was also a cheap shock tactic. With that said, there are attempts at subtlety. Merit must be awarded for the depiction of the unfortunate breakdown of the mother-daughter relationship, as well as the disparity between teenage idealism and reality. All of this builds up to the heart-wrenching close of the movie, where love and a parental relationship is denied, and the days of Xinyao are over, revealing the cynical side of Chai. Ultimately, the cliched and the intricate balance out, and we are left with a bittersweet rendition of "细水长流" by the individual who brilliantly personifies the essence of the whole film. The slow, saddening death of music in Singapore, yet a hopeful reminder that local culture, love, and renewal flows on. Edited by halo1234, Dec 5 2013, 01:52 AM.
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| Genius | Dec 23 2013, 11:55 PM Post #8 |
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Total Recall (2012) - 69% (there are some parts that are actually better than the original) The Sixth Sense - 65% The Girl With The Dragon Tattoo (2011) - 75% (will the sequel ever be done?) Looper - 75% |
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| dead_decibel | Jan 20 2014, 12:36 AM Post #9 |
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Will try to post more Movie and Album/Song reviews this year! #resolution Her (2013) Following his big screen directorial films Being John Malkovich, Adaptation. and Where The Wild Things Are, comes music video director Spike Jonze's new Oscar-nominated feature film Her. Possibly one of the most 'foreveralone' films seen in a while, it’s also one that is also very thought-provoking and poignant. Wonderfully shot, along with a very original and well-written screenplay, Her features an all-star cast, and is about divorcee Theodore (Joaquin Phoenix) 'dating' his newly-installed computer operating system ‘Samantha’ – an extremely intuitive artificially-intelligent system voiced by Scarlett Johansson. As Samantha begins to grow from its (or her) experiences, she becomes so emotive and humane up to a point where one starts to doubt if she was actually just a programme. Even though artificial intelligence and its potential capabilities have been evident in movies over the past few decades, this is certainly one of few where it goes into such an extent that personal physical and bodily boundaries of consciousness becomes a bit of a grey area. The film also begs the question - living in the digital age, would we one day become complete and dependable slaves to any form of technology that appeals to us? (The film is set sometime in the near future) Similar to his previous works, Jonze injects bits of his style of humour in his self-written script, and also sought help from Arcade Fire and Karen O of the Yeah Yeah Yeahs to compose the film score and soundtrack, making the movie in overall an entertaining experience and a must watch. Rating: 4.5/5 |
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| dead_decibel | Feb 17 2014, 01:24 AM Post #10 |
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American Hustle (2013) I initially expected this movie to be something similar to Silver Linings Playbook (David O. Russell’s previous work) – to the likes of a romantic comedy-cum-heist/crime/mafia theme, as seen in its trailers. Although the cast of the film was similar (Bradley Cooper, Jennifer Lawrence, Robert de Niro), the direction and overall feel of the movie was however entirely different. American Hustle is loosely based on true events about the 70's/80's ABSCAM incident, but blends in interesting direction, humour and a rational storyline and screenplay about the con artists/FBI detectives involved in the scandal. The addition of 70’s pop rock music as part of the era the film is set in further complemented with its theme. It's a pretty mature movie which contains a lot of dialogue. The film felt a little bland at first, but I slowly became drawn to its non-linear storyline as well as the strong performances of the ensemble cast. Kudos to Christian Bale for gaining ACTUAL weight to play his role even more realistically, Amy Adams for her pseudo (yet believable) British accent, and Jennifer Lawrence for her surprisingly versatile acting – she’s no Katniss Everdeen here. Rating: 4/5 |
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