A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.
~ Stanley Kubrick
IN A BETTER WORLD (2010) — What makes the friendship between Christian and Elias so special is how deeply and honestly Susanne Bier displays the emotional side of both children. Only by peering the eyes of the two actors, I can feel the all emotional reasons why they become such small terrorists. YOUNG TÖRLESS (1966) — Violence is not just a physical matter, but also psychological and emotional. In Young Törless, ethical ​​and subjective values ​​were so contradictory. Then the boundaries between good and evil even more vague. PHARAOH (1966) — Faraon is an evocative anatopism, also an astonishing colossal. A truly rare gem of its kind. Not only works as a visual declaration, Kawalerowicz also made it so carefully, so mesmerizing, yet so challenging. THE BOYS OF PAUL STREET (1969) — An ironic allegory not only for the face of war, but also the heart of it: militarism and nationalism. The irony in the end makes the two terminologies be absurd. SPIRITED AWAY (2001) — “What's in a name?” asked Shakespeare. “A name is an identity,” said this movie. MISS JULIE (1951) - Miss Julie is a very challenging study, whether psychological or situational. In a simple but smart way, Miss Julie presents the phases of a political game of love and seduction. MY NIGHT AT MAUD'S (1969) - Éric Rohmer not only talk about choices and risks of choices, there is also a glimpse the importance of choices and the pain of choices. My Night at Maud's, for me, is the most amazing movie about refracting those two opposing aspects of life. TEN (2002) — The use of "dashboard camera" method by Abbas Kiarostami is successfully providing such microscopic spectacle about the characters, not only on outside but also capable of making this movie as a unique character and gender study. THE PARTY AND THE GUESTS / A REPORT ON THE PARTY AND THE GUESTS (1966) — The allegory is not only the great thing about this Czechoslovak New Wave Cinema movie, but also its weirdness, its unnatural behavior, its peculiar plot, but the most of it is about how the movie smartly move without caution. ELEPHANT (2003) — Elephant is a piece of work that should be commended for its bravery. Such compliments are mainly intended to for Gus Van Sant's guts on using such non-linear and unusual narrative spectacle. Also packed with such unnatural risky styles which was really cost lot of guts.

Kamis, 27 Mei 2010

The Rebound

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)

Sutradara: Bart Freundlich
Pemain: Catherine Zeta-Jones, Justin Bartha, Andrew Cherry, Kelly Gould

Tahun Rilis: 2010

UNTUK ukuran romance comedy, sure, film klise ini tidak bisa juga dibilang klise-klise amat. Formula cerita yang dipakai di film ini bisa dibilang lumayan standar untuk ukuran komedi romantis: woman-meet-man yang dicampur dengan masalah tautan usia yang lumayan jauh (kasarnya: berondong). Dan tentu pula, formula romance comedy semacam ini bisa dibilang predictable (sudah bisa ditebak garis besar ceritanya).

Catherine Zeta-Jones yang sempat memberikan penampilan memukau di “Chicago” bermain sebagai ibu rumah tangga dengan dua anak, Sandy, yang mendadak histeris ketika mendapati suaminya main serong di belakang. Cepat-cepat Sandy membawa dua bocahnya mencari kehidupan baru di kota. Sandy menyewa apartemen di atas sebuah coffee shop dan pelan-pelan menjalin pertemanan dengan salah satu pelayannya, Aram Finklestein (si berondong). Aram, yang bergelar sarjana sosiologi tapi tidak yakin pekerjaan apa (atau tepatnya “apa”) dia kehendaki untuk hidupnya, menerima pekerjaan sebagai nanny (pengasuh) dua bocah Sally. Sambil menyelam minum air, Aram pun mulai menjalin merajut kedekatan baik dengan dua bocah asuhannya ataupun emaknya (sekalipun usia mereka terlampau jauh). Plot yang bisa dibilang simpel.

Hanya saja memang skenario film ini dibuat berakhir begitu saja. Tidak ada nyawa yang berarti. Tidak ada something-something yang membuat romance comedy ini worthy. Bahkan beberapa humor yang dipampangkan terasa agak dibuat-buat (seperti ketika Aram menggunakan kostum bulat dan dengan pasrah harus jadi sansak hidup bagi wanita-wanita liar). Hal lain yang cukup menganggu adalah penggambaran lingkungan film yang terasa plastik, tidak realistik. Penggambaran plastik ini entah kenapa, malah memperparah ketidak-believeable-an alur cerita. Belum lagi ditambah dengan pemain-pemain pendukung serta cameo yang tidak meyakinkan.

Secara garis besarnya, komedi romantis ini cuma sekedar opera sabun belaka. Tidak ada penggambaran kondisi-kondisi situasional yang mendalam yang mampu mengangkat derajat film ini. Menonton film ini, bagi saya, sama saja dengan menonton versi panjang sitcom romantis yang sering tayang di tivi-tivi.

http://1.bp.blogspot.com/-NueRwvCWyRI/TWuaIz7MSOI/AAAAAAAACL8/0zKrw3WpcFI/s1600/C-.bmp

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