ebossert
abr 2006 se unió
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Clasificación de ebossert
Note: Check me out as the Asian Movie Enthusiast on YouTube.
This movie is about a novelist who makes life difficult for everyone around him. He's a gloomy fellow who seems to be in a perpetually bad mood. Even worse, he cheats on his faithful wife with an editor acquaintance. Very early in this film, things take a serious turn when his wife dies in a bus accident. Now confronted with this abrupt event, our protagonist is faced with the task of finding closure and moving on with his life.
One of the most interesting things about "The Long Excuse" is that this protagonist is the epitome of multi-dimensionality. He cheats on his wife and has an attitude problem, so you immediately dislike him. But then, he shows a softer side when he volunteers to help care for two little kids, whose father is also a widower from the same bus accident. That sense of responsibility helps to make him more likable. However, half the time I was thinking to myself: "Did this guy still have feelings for his wife, does he feel guilty for cheating on her, or is he just completely confused with how to feel about it?" And it does not end there. I'm not going to tell you all of the other nuances to this man's character because you should experience that for yourself when you watch the film. But what I will say is that there are a lot of different angles that are covered with this character. And if that weren't impressive enough, this movie properly develops the other widower that our protagonist befriends.
In fact, this movie reminded me of Hirokazu Koreeda's film "Like Father, Like Son." One of the reason's why Koreeda's film was so compelling was because it explored so many different angles of one scenario so intricately. After that movie was over, it felt like a complete examination of that particular dilemma. "The Long Excuse" has a similar impact. There are so many different ways that this film explores the themes of mourning and redemption. It's really impressive in its intricacy and scriptwriting.
And that includes the dialogue. The characters in this movie have no qualms about stepping up and telling someone their thoughts on situations that are difficult to talk about. There are a few intense exchanges of dialogue where the characters criticize one another in how they're handling this very touchy situation. It's pretty riveting stuff.
The lead actor is Masahiro Motoki, who you may recognize from films such as "Departures" from 2008, "Gemini" from 1999, "The Bird People In China" from 1998, and "Gonin" from 1995. He is phenomenal in "The Long Excuse." It could be the best performance of his career. It's certainly a very difficult role to tackle, with a wide range of emotion to portray. The fact that Masahiro was able to make this protagonist relatable is a huge accomplishment. I love this guy.
The director is a woman by the name of Miwa Nishikawa, who has directed a handful of impressive films in prior years. My favorite of which is a film called "Sway" from 2006. All of her films are worth watching, and I'm looking forward to seeing what she does next.
This movie is about a novelist who makes life difficult for everyone around him. He's a gloomy fellow who seems to be in a perpetually bad mood. Even worse, he cheats on his faithful wife with an editor acquaintance. Very early in this film, things take a serious turn when his wife dies in a bus accident. Now confronted with this abrupt event, our protagonist is faced with the task of finding closure and moving on with his life.
One of the most interesting things about "The Long Excuse" is that this protagonist is the epitome of multi-dimensionality. He cheats on his wife and has an attitude problem, so you immediately dislike him. But then, he shows a softer side when he volunteers to help care for two little kids, whose father is also a widower from the same bus accident. That sense of responsibility helps to make him more likable. However, half the time I was thinking to myself: "Did this guy still have feelings for his wife, does he feel guilty for cheating on her, or is he just completely confused with how to feel about it?" And it does not end there. I'm not going to tell you all of the other nuances to this man's character because you should experience that for yourself when you watch the film. But what I will say is that there are a lot of different angles that are covered with this character. And if that weren't impressive enough, this movie properly develops the other widower that our protagonist befriends.
In fact, this movie reminded me of Hirokazu Koreeda's film "Like Father, Like Son." One of the reason's why Koreeda's film was so compelling was because it explored so many different angles of one scenario so intricately. After that movie was over, it felt like a complete examination of that particular dilemma. "The Long Excuse" has a similar impact. There are so many different ways that this film explores the themes of mourning and redemption. It's really impressive in its intricacy and scriptwriting.
And that includes the dialogue. The characters in this movie have no qualms about stepping up and telling someone their thoughts on situations that are difficult to talk about. There are a few intense exchanges of dialogue where the characters criticize one another in how they're handling this very touchy situation. It's pretty riveting stuff.
The lead actor is Masahiro Motoki, who you may recognize from films such as "Departures" from 2008, "Gemini" from 1999, "The Bird People In China" from 1998, and "Gonin" from 1995. He is phenomenal in "The Long Excuse." It could be the best performance of his career. It's certainly a very difficult role to tackle, with a wide range of emotion to portray. The fact that Masahiro was able to make this protagonist relatable is a huge accomplishment. I love this guy.
The director is a woman by the name of Miwa Nishikawa, who has directed a handful of impressive films in prior years. My favorite of which is a film called "Sway" from 2006. All of her films are worth watching, and I'm looking forward to seeing what she does next.
Note: Check me out as the Asian Movie Enthusiast on YouTube.
"Bluebeard" is about a doctor who moves into town for business, but suspects that the local butchers are actually murderers.
The first thing to understand about "Bluebeard" is that this is not your typical South Korean thriller that showcases a serial killer. The violence is tempered, with only a small amount of bloody imagery, none of which is particularly graphic. There are no highlight suspense sequences or exhilarating moments of intensity. Instead, this movie builds uncertainly with no therapeutic release for the viewer at all. This is not a crowd-pleasing feat of fun entertainment. It's more like a technical exercise in creating a traditional murder mystery with a lot of misdirection on the part of the filmmakers. This is a glacially paced movie that focuses heavily on psychology. And in that sense, I thought it did a good job.
If you decide to watch this movie, make sure that you're in a thinking mood. "Bluebeard" requires a bit of effort on the viewer's part because you must pay attention to the little details in order to appreciate the misdirections. In classic murder mystery style, I was constantly trying to figure out how to make sense of all the clues and pinpoint the identity of the murderer. And that theory changed as more evidence was presented to me.
I do think that some viewers will find this movie to be too slow for their liking. Again, there's not much "excitement" to this one, and it moves as slow as molasses in January. Even the answer to the murder mystery itself is revealed in a very matter-of-fact way. Some people may not be a fan of that either, especially if they're expecting a more intense conclusion.
But I do think that the positives of "Bluebeard" outweigh any negatives. I previously mentioned the proficiency of the murder mystery elements, but this film has very good direction as well. The director here is Soo-youn Lee, who previously gave us "The Uninvited" from 2003 – a very impressive psychological horror film that I strongly recommend. If you've seen that one, you'll know what to expect from "Bluebeard." Performances are also very good, across the board.
If you're in the mood for a slow burn, check it out.
"Bluebeard" is about a doctor who moves into town for business, but suspects that the local butchers are actually murderers.
The first thing to understand about "Bluebeard" is that this is not your typical South Korean thriller that showcases a serial killer. The violence is tempered, with only a small amount of bloody imagery, none of which is particularly graphic. There are no highlight suspense sequences or exhilarating moments of intensity. Instead, this movie builds uncertainly with no therapeutic release for the viewer at all. This is not a crowd-pleasing feat of fun entertainment. It's more like a technical exercise in creating a traditional murder mystery with a lot of misdirection on the part of the filmmakers. This is a glacially paced movie that focuses heavily on psychology. And in that sense, I thought it did a good job.
If you decide to watch this movie, make sure that you're in a thinking mood. "Bluebeard" requires a bit of effort on the viewer's part because you must pay attention to the little details in order to appreciate the misdirections. In classic murder mystery style, I was constantly trying to figure out how to make sense of all the clues and pinpoint the identity of the murderer. And that theory changed as more evidence was presented to me.
I do think that some viewers will find this movie to be too slow for their liking. Again, there's not much "excitement" to this one, and it moves as slow as molasses in January. Even the answer to the murder mystery itself is revealed in a very matter-of-fact way. Some people may not be a fan of that either, especially if they're expecting a more intense conclusion.
But I do think that the positives of "Bluebeard" outweigh any negatives. I previously mentioned the proficiency of the murder mystery elements, but this film has very good direction as well. The director here is Soo-youn Lee, who previously gave us "The Uninvited" from 2003 – a very impressive psychological horror film that I strongly recommend. If you've seen that one, you'll know what to expect from "Bluebeard." Performances are also very good, across the board.
If you're in the mood for a slow burn, check it out.
FYI, check me out as the Asian Movie Enthusiast on YouTube.
Meet Mija, a young girl who risks everything to prevent a powerful, multi-national company from kidnapping her best friend - a massive animal named Okja.
The lead actress here is Seo-hyun Ahn, who has had a small handful of supporting roles in prior films and series but never really stuck out to me personally. She's very good here; I liked her quite a bit because she portrays a determined, responsible girl who is also likable. Performances by Tilda Swinton and Jake Gyllenhaal, on the other hand, are extremely over-the-top. Swinton comes off well during the opening scene, but after that I got sick of her. She's not good in this. In a similar fashion, Gyllenhaal was almost bearable early on, but gets progressively unwatchable as the film rolls along. It's truly an atrocious performance with no nuance whatsoever. Not a big surprise given his acting history. I've never been a fan of this guy, and probably never will be.
Thankfully, "Okja" exhibits some of the usual positives you get with Bong's films. You have a genre-bending experience, with lots of quirky, partially awkward humor that this director seems to be drawn to. This film also showcases some very nice natural environments early on, which is an added bonus. The score is mostly light and hard to explain. It's almost like something you'd hear at a circus, or maybe a polka dance. In any case, I enjoyed the music here. Special effects are also quite impressive for the big pig. One highlight is the lengthy chase/escape sequence that occurs during the first hour. Probably the most purely entertaining part of the film.
So, what are some things that I did not like? Well, I already mentioned Swinton and Gyllenhaal's lackluster performance, but I also think that there are some pacing issues. "Okja" does begin with a 30-minute setup, which is actually quite interesting, then it throws us into that highlight thriller sequence – meaning that the opening hour of this movie is truly entertaining. However, the pacing definitely drags during the second half, or whenever Gyllenhaal is on screen. The excitement drops off a cliff, and that consequently exposes the shallow "message" of the film. And that brings me to my next point.
One trend I've noticed in director Joon-ho Bong's last few films is that his messages are getting less nuanced but more heavy-handed. For example, I enjoyed "Snowpiercer" quite a bit, but one of the problems I had with it was that it was absurdly heavy-handed and cartoonish at times when hammering home its message. "Okja" suffers even more-so from the same problem because the antagonists are pure caricatures, and there's not as much pure entertainment value surrounding the message itself. You know, I really hope that this does not become a trend with this director.
I would be a shame if Bong ends up like James Cameron – a man who is well on his way to wasting 25 years of his directing career making "Avatar" movies. Or he could end up like Michael Mann, another legendary director who fell off a cliff because he became obsessed with making digital film look great instead of creating interesting characters and stories.
This kind of thing happens more often than you might think. Some directors get so obsessed with certain things that they develop a kind of tunnel vision that ignores all of the other important aspects of making a good film. You may think that this is an overreaction, especially considering how Bong still has yet to make a bad film, but I can see it coming if he doesn't right the ship. His next film is going to be important because if he keeps beating people over the head with increasingly blunt "message" films, it's gonna bite 'em in the rear-end because the "message" will end up superceding the filmmaking quality. And I can already see it beginning to happen with "Okja."
With all of that said, "Okja" is a moderately entertaining affair, but there's no question in my mind that it Bong's least impressive film to date. If you have not seen a Joon-ho Bong film prior to Snowpiercer, I implore you to watch everything this man had made. His filmography is small too, so there's no excuse.
Meet Mija, a young girl who risks everything to prevent a powerful, multi-national company from kidnapping her best friend - a massive animal named Okja.
The lead actress here is Seo-hyun Ahn, who has had a small handful of supporting roles in prior films and series but never really stuck out to me personally. She's very good here; I liked her quite a bit because she portrays a determined, responsible girl who is also likable. Performances by Tilda Swinton and Jake Gyllenhaal, on the other hand, are extremely over-the-top. Swinton comes off well during the opening scene, but after that I got sick of her. She's not good in this. In a similar fashion, Gyllenhaal was almost bearable early on, but gets progressively unwatchable as the film rolls along. It's truly an atrocious performance with no nuance whatsoever. Not a big surprise given his acting history. I've never been a fan of this guy, and probably never will be.
Thankfully, "Okja" exhibits some of the usual positives you get with Bong's films. You have a genre-bending experience, with lots of quirky, partially awkward humor that this director seems to be drawn to. This film also showcases some very nice natural environments early on, which is an added bonus. The score is mostly light and hard to explain. It's almost like something you'd hear at a circus, or maybe a polka dance. In any case, I enjoyed the music here. Special effects are also quite impressive for the big pig. One highlight is the lengthy chase/escape sequence that occurs during the first hour. Probably the most purely entertaining part of the film.
So, what are some things that I did not like? Well, I already mentioned Swinton and Gyllenhaal's lackluster performance, but I also think that there are some pacing issues. "Okja" does begin with a 30-minute setup, which is actually quite interesting, then it throws us into that highlight thriller sequence – meaning that the opening hour of this movie is truly entertaining. However, the pacing definitely drags during the second half, or whenever Gyllenhaal is on screen. The excitement drops off a cliff, and that consequently exposes the shallow "message" of the film. And that brings me to my next point.
One trend I've noticed in director Joon-ho Bong's last few films is that his messages are getting less nuanced but more heavy-handed. For example, I enjoyed "Snowpiercer" quite a bit, but one of the problems I had with it was that it was absurdly heavy-handed and cartoonish at times when hammering home its message. "Okja" suffers even more-so from the same problem because the antagonists are pure caricatures, and there's not as much pure entertainment value surrounding the message itself. You know, I really hope that this does not become a trend with this director.
I would be a shame if Bong ends up like James Cameron – a man who is well on his way to wasting 25 years of his directing career making "Avatar" movies. Or he could end up like Michael Mann, another legendary director who fell off a cliff because he became obsessed with making digital film look great instead of creating interesting characters and stories.
This kind of thing happens more often than you might think. Some directors get so obsessed with certain things that they develop a kind of tunnel vision that ignores all of the other important aspects of making a good film. You may think that this is an overreaction, especially considering how Bong still has yet to make a bad film, but I can see it coming if he doesn't right the ship. His next film is going to be important because if he keeps beating people over the head with increasingly blunt "message" films, it's gonna bite 'em in the rear-end because the "message" will end up superceding the filmmaking quality. And I can already see it beginning to happen with "Okja."
With all of that said, "Okja" is a moderately entertaining affair, but there's no question in my mind that it Bong's least impressive film to date. If you have not seen a Joon-ho Bong film prior to Snowpiercer, I implore you to watch everything this man had made. His filmography is small too, so there's no excuse.
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