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.

Sabtu, 04 September 2010

Mission: Impossible

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)
Sutradara: Brian De Palma
Pemain: Tom Cruise, Jon Voight, Emmanuelle Béart, Henry Czerny, Jean Reno, Ving Rhames, Kristin Scott Thomas, Vanessa Redgrave, Emilio Estevez, Ingeborga Dapkunaite, Karel Dobrý

Tahun Rilis: 1996

Film ini diadaptasi dari serial televisi Mission: Impossible.

Bertahun-tahun sebelum bermain sebagai agen rahasia (yang seperti seorang) maniak di Knight and Day, Tom Cruise juga memerankan mata-mata di Mission: Impossible. Bedanya, mata-mata yang diperankan Tom Cruise di Mission: Impossible lebih cool ketimbang peranny di Knight and Day. Begitu juga filmnya.

Mission: Impossible lebih tepat disebut action-thriller ala klasik. Banyak sentuhan nuansa-nuansa klasik di sini. Berita baiknya, Mission: Impossible tidak hanya menyuguhkan aksi-aksi semata, tapi juga storyline, plot, dan twist.

Tom Cruise berperan sebagai Ethan Hunt, seorang agen rahasia IMF (Impossible Missions Force)—cabang (fiksional) tidak resmi dari CIA. Bersama lima anggota tim, yang dikepalai oleh Jim Phelps (Jon Voight), Ethan diberikan sebuah misi mencegah seorang pembelot yang khendak menjual daftar NOC (Non-official cover)—semacam daftar nama agen rahasia. Adegan-adegan selanjutnya berupa rentetan teknik-teknik mata-mata klasik: kacamata berkamera, mikrofon samaran, laptop, penyamaran, ID palsu, pisau, pistol, sampai adegan mobil meledak.

http://4.bp.blogspot.com/_FWlFbU673eI/TIiNKz--JeI/AAAAAAAABOI/CEXRJZ51gbw/s1600/Kinema.jpg

Seiring berjalannya waktu, fakta demi fakta pun terbongkar. Layaknya Knight and Day dan Salt, tidak perlu terlalu mengandalkan logika dalam Mission: Impossible. Mission: Impossibl disutradarai oleh Brian De Palma, salah satu sutradara yang pakem di genre thriller ala Hitchcockian. Brian De Palma sendiri memang mengrahkan Mission: Impossible ke arah style ketimbang story—merupakan pilihan yang tepat untuk film ini.

Dari segi karakter dan penampilan pemain, cuma Tom Cruise sebagai tokoh utama, Vanessa Redgrave sebagai pialang senjata, dan Jon Voight sebagai you know who yang berhasil menarik perhstian. Terutama Vanessa Redgrave yang berhasil menyita perhatian dengan tone suara, gestur, dan mimik muka.

Untuk aksinya, tidak perlu diragukan lagi karya Brian de Palma ini. Lihat saja ending-nya yang berupa kejar-kejaran di atas atap kereta hingga sebuah helikopter pun menyusup ke dalam terowongan kereta api. Spesial efek yang disuguhkan Brian de Palma memang menggugah—setidaknya untuk ukuran era film ini. Mungkin bakal muncul pertanyaan: muatkah baling-baling helikopter itu di dalam terowongan? Muat atau tiadaknya, tidak perlu diambil pusing. Sesuai dengan judulnya, Mission: Impossible, nikmati saja ke-impossible-an di sepanjang film. Lupakan logika kritis. Style dalam Mission: Impossible termasuk nikmat untuk ukuran film hiburan.

http://3.bp.blogspot.com/-R75uikEntM4/TWvFTSwAYZI/AAAAAAAACMc/8ZMgPBzkWLg/s1600/C%252B.bmp
Diposting oleh Rijon di 09.59
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