jaychou_21
Entrou em set. de 2005
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Classificação de jaychou_21
It is quite impossible to put into words how moving, breathtaking and thought-provoking this film is. Stupendous, ambitious and profound, "Cloud Atlas" is a once-in-a-lifetime movie of epic proportions.
Comprised of six interrelated stories from different times and places, the movie is about how people's lives are connected with and influence each other. It shows that an act of kindness goes a long way, and contemplates how our actions and decisions could eventually change the course of other people's lives. It is, in a way, an illustration of the six degrees of separation that fleshes out karma and reincarnation.
The film is structured as a sort of mosaic - the fragments of each of the six time periods scattered all throughout the movie, revisiting each narrative to propel the story into one humongous piece of art.
The complex story lines require utmost degree of attention and a deeper level of appreciation to be fully understood. In the long run, the perplexing narrative is not as complicated as it seems.
Though most people would find this three-hour mental exercise to be too confounding to the point of being burdensome, the attentive and emotionally attached will be gratefully rewarded. The film's metaphysical elements mixed with its sprawling visuals, awe-inspiring script, heartrending music, astonishing cinematography, amazing cast, and superior technical values offer a peculiar blend of cinematic nirvana, something I would call a beautiful entanglement that is better left untangled.
I expect this film to be in strong contention for the Academy Awards, particularly in the Make Up and Special Effects categories. I'm hoping though that its stars won't be overlooked, especially the supporting cast.
The actors play a multitude of contrasting characters it's like you're watching a grand stage play with extreme makeovers and multiple costume changes. The make-up was so well done you wouldn't recognize Halle Berry or Hugh Grant in some of their minor roles. (Make sure to watch the closing credits and you'd be pleasantly surprised to find out which characters each actor portrayed.) The ensemble cast is spectacular, and I'm particularly smitten by Jim Sturgess' and Doona Bae's performances. Their Neo Seoul love affair alone is enough reason for me to watch this movie again.
"Cloud Atlas" is unlike any other film. It goes beyond your average movie-going experience as it defies cinematic conventions, transcends real-life preconceptions, reintroduces obscured emotions, and permeates the subconscious, leaving you tremendously overwhelmed.
With a $102 million USD budget, "Cloud Atlas" is one of the most expensive independent films of all time. It deserves not only to be seen, but more importantly, experienced. Go see this whenever you have the chance. You may not make any sense out of it, but the mere act of witnessing this out-of-this-world splendor is a dreamlike memory to behold.
Comprised of six interrelated stories from different times and places, the movie is about how people's lives are connected with and influence each other. It shows that an act of kindness goes a long way, and contemplates how our actions and decisions could eventually change the course of other people's lives. It is, in a way, an illustration of the six degrees of separation that fleshes out karma and reincarnation.
The film is structured as a sort of mosaic - the fragments of each of the six time periods scattered all throughout the movie, revisiting each narrative to propel the story into one humongous piece of art.
The complex story lines require utmost degree of attention and a deeper level of appreciation to be fully understood. In the long run, the perplexing narrative is not as complicated as it seems.
Though most people would find this three-hour mental exercise to be too confounding to the point of being burdensome, the attentive and emotionally attached will be gratefully rewarded. The film's metaphysical elements mixed with its sprawling visuals, awe-inspiring script, heartrending music, astonishing cinematography, amazing cast, and superior technical values offer a peculiar blend of cinematic nirvana, something I would call a beautiful entanglement that is better left untangled.
I expect this film to be in strong contention for the Academy Awards, particularly in the Make Up and Special Effects categories. I'm hoping though that its stars won't be overlooked, especially the supporting cast.
The actors play a multitude of contrasting characters it's like you're watching a grand stage play with extreme makeovers and multiple costume changes. The make-up was so well done you wouldn't recognize Halle Berry or Hugh Grant in some of their minor roles. (Make sure to watch the closing credits and you'd be pleasantly surprised to find out which characters each actor portrayed.) The ensemble cast is spectacular, and I'm particularly smitten by Jim Sturgess' and Doona Bae's performances. Their Neo Seoul love affair alone is enough reason for me to watch this movie again.
"Cloud Atlas" is unlike any other film. It goes beyond your average movie-going experience as it defies cinematic conventions, transcends real-life preconceptions, reintroduces obscured emotions, and permeates the subconscious, leaving you tremendously overwhelmed.
With a $102 million USD budget, "Cloud Atlas" is one of the most expensive independent films of all time. It deserves not only to be seen, but more importantly, experienced. Go see this whenever you have the chance. You may not make any sense out of it, but the mere act of witnessing this out-of-this-world splendor is a dreamlike memory to behold.
With very little connection to the first three movies, the storytelling in "The Bourne Legacy" is hollow, the action is sparse, and does not truly follow the legacy left by its predecessor.
I believe Jeremy Renner is fully capable of taking over the franchise so closely associated with Matt Damon. The fans of the Bourne trilogy that followed the adventures of Jason Bourne still can't get over the fact that their hero is gone and has been replaced by Renner, a very suitable leading man, physically and emotionally. Rachel Weisz and Edward Norton added gleaming support to the rather lackluster structure of the film, screenplay-wise.
Robert Elswit's arresting cinematography and John Gilroy's smart editing makes the film look first-rate. The chase scene in Manila is reminiscent to the iconic Moscow car chase scene in "The Bourne Supremacy." Though the motorcycle chase sequence shot in our busy streets will never be able to equal the adrenaline rush elicited by the first three films, it's fair to say that it comes close. The rest of the action scenes were solid and not overdone.
The script was infused with jargon and sufficient action to divert the viewers from the movie's lack of soul. Even the great performances by Renner, Weisz, and Norton couldn't save the movie's thin plot and bleak conclusion. The ending was unappealing and abrupt it left most viewers at a loss. You can easily paint the disappointment etched in their faces as they hesitantly stood up from their seats and slowly left the theater.
There are many questions left unanswered, such as why Outcome chose the Philippines as its laboratory for the sought-after pills. If the writers' intention is to leave room for future vicissitudes in the franchise's continuity, then it makes for a lame excuse. The idea alone of making a Bourne movie without Jason Bourne is ludicrous. In this respect, the fimmakers have succeeded in making the Bourne fans feel cheated and the new audience underwhelmed for trying to force a puzzle piece that just doesn't fit.
For something so highly anticipated and over-hyped, "The Bourne Legacy" is a huge letdown. I gave this movie a 7/10 just because 25% of it was shot in Manila (a preposterous judgment for an equally absurd film).
I believe Jeremy Renner is fully capable of taking over the franchise so closely associated with Matt Damon. The fans of the Bourne trilogy that followed the adventures of Jason Bourne still can't get over the fact that their hero is gone and has been replaced by Renner, a very suitable leading man, physically and emotionally. Rachel Weisz and Edward Norton added gleaming support to the rather lackluster structure of the film, screenplay-wise.
Robert Elswit's arresting cinematography and John Gilroy's smart editing makes the film look first-rate. The chase scene in Manila is reminiscent to the iconic Moscow car chase scene in "The Bourne Supremacy." Though the motorcycle chase sequence shot in our busy streets will never be able to equal the adrenaline rush elicited by the first three films, it's fair to say that it comes close. The rest of the action scenes were solid and not overdone.
The script was infused with jargon and sufficient action to divert the viewers from the movie's lack of soul. Even the great performances by Renner, Weisz, and Norton couldn't save the movie's thin plot and bleak conclusion. The ending was unappealing and abrupt it left most viewers at a loss. You can easily paint the disappointment etched in their faces as they hesitantly stood up from their seats and slowly left the theater.
There are many questions left unanswered, such as why Outcome chose the Philippines as its laboratory for the sought-after pills. If the writers' intention is to leave room for future vicissitudes in the franchise's continuity, then it makes for a lame excuse. The idea alone of making a Bourne movie without Jason Bourne is ludicrous. In this respect, the fimmakers have succeeded in making the Bourne fans feel cheated and the new audience underwhelmed for trying to force a puzzle piece that just doesn't fit.
For something so highly anticipated and over-hyped, "The Bourne Legacy" is a huge letdown. I gave this movie a 7/10 just because 25% of it was shot in Manila (a preposterous judgment for an equally absurd film).
"The Healing" is a horror film by Chito S. Roño starring Vilma Santos and Kim Chiu. The movie revolves around the risks of believing in faith healers and the consequential phenomenon of evil doppelgängers.
I am glad that this is not a horror flick taken from worn-out concepts. The idea of doppelgängers is not popular in our culture, but the writers managed to come up with an engaging storyline combining it with superstition and folklore.
After watching the R-18 version of the movie, I can easily tell which scenes were omitted from the R-13 version. I commend director Chito Roño for his audacity in this project. The movie is raging with startling murder and death scenes. It departs from the usual fare and becomes one of the most gruesome Pinoy movies in recent years.
In terms of writing, the movie is unstrikingly average. After the first character dies, you already knew how the rest of the story would go. The script heavily employs elements of "Feng Shui" and the "Final Destination" series. The suspense relies on the viewer's anticipation on how the next victim will die.
There were glaring loopholes in the story at the end of film, which makes me think that they're trying to come up with a sequel. I felt that the conclusion was either rushed or not given much thought, which was disappointing considering the number of script consultants from Star Cinema that this movie had when I checked the closing credits.
By the end of the movie, the biggest question left upon the viewers is the mystery behind the film's intriguing color schemes. It appears that the film was somehow divided into chapters with the enigmatic use of color coding. You can see the characters prominently dressed in blue, red, and yellow as some sort of a uniform. The set design, costumes and props complement the same colors ubiquitously shown at certain parts of the movie, though no clear explanation was given to explicate the meaning behind it. It's so vague it becomes pointless. One could be forgiven for thinking that the 'blue chapter' was just a lame ploy to bring into mind Ate Vi's Bear Brand endorsement.
Other minute observations: The opening credits did not complement the material. The use of special effects was so-so. The casting was great and the actors showed some believable acting (especially Vilma Santos and Janice de Belen).
Though Filipino horror has yet to find its true strength, you can fairly say that it has evolved with this film. With its well-defined characters and a taste for gore, "The Healing" is a notch above the rest. It's better than most local scare flicks produced in recent years, notwithstanding its flaws and weaknesses. As a horror film, its impotent scares is insufficient to produce a desired effect. It fares better as an accidental slasher film.
I am glad that this is not a horror flick taken from worn-out concepts. The idea of doppelgängers is not popular in our culture, but the writers managed to come up with an engaging storyline combining it with superstition and folklore.
After watching the R-18 version of the movie, I can easily tell which scenes were omitted from the R-13 version. I commend director Chito Roño for his audacity in this project. The movie is raging with startling murder and death scenes. It departs from the usual fare and becomes one of the most gruesome Pinoy movies in recent years.
In terms of writing, the movie is unstrikingly average. After the first character dies, you already knew how the rest of the story would go. The script heavily employs elements of "Feng Shui" and the "Final Destination" series. The suspense relies on the viewer's anticipation on how the next victim will die.
There were glaring loopholes in the story at the end of film, which makes me think that they're trying to come up with a sequel. I felt that the conclusion was either rushed or not given much thought, which was disappointing considering the number of script consultants from Star Cinema that this movie had when I checked the closing credits.
By the end of the movie, the biggest question left upon the viewers is the mystery behind the film's intriguing color schemes. It appears that the film was somehow divided into chapters with the enigmatic use of color coding. You can see the characters prominently dressed in blue, red, and yellow as some sort of a uniform. The set design, costumes and props complement the same colors ubiquitously shown at certain parts of the movie, though no clear explanation was given to explicate the meaning behind it. It's so vague it becomes pointless. One could be forgiven for thinking that the 'blue chapter' was just a lame ploy to bring into mind Ate Vi's Bear Brand endorsement.
Other minute observations: The opening credits did not complement the material. The use of special effects was so-so. The casting was great and the actors showed some believable acting (especially Vilma Santos and Janice de Belen).
Though Filipino horror has yet to find its true strength, you can fairly say that it has evolved with this film. With its well-defined characters and a taste for gore, "The Healing" is a notch above the rest. It's better than most local scare flicks produced in recent years, notwithstanding its flaws and weaknesses. As a horror film, its impotent scares is insufficient to produce a desired effect. It fares better as an accidental slasher film.