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, 06 November 2010

Furry Vengeance

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)Sutradara: Roger Kumble
Pemain:
Brendan Fraser, Brooke Shields, Matt Prokop, Angela Kinsey, Rob Riggle, Skyler Samuels, Ricky Garcia, Ken Jeong, Jim Norton, Patrice O'Neal, Toby Huss, Wallace Shawn, Gerry Bednob, Samantha Bee, Dee Bradley Baker

Tahun Rilis: 2010

“Racoon did not hijack SUV.” Pernyataan itu keluar dari tokoh yang diperankan Brooke Shields (The Blue Lagoon).

Pernyataan yang sangat tepat untuk menggambarkan betapa hancurnya komedi slapstick yang satu ini. Saya bahkan tidak mengerti kenapa aktor sekaliber Brendan Fraser (Crash) rela memerankan tokoh yang ditimpa kejadian-kejadian konyol-tak-lucu seperti ini. Oke, saya tahu di adegan-adegan ketika tokohnya dilempar kesana-kemari, Brendan Fraser digantikan oleh stuntman. Setidaknya, kenapa Brendan Fraser rela menggemukkan badannya berkali-kali lipat demi peran di film ini.

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Soerang pekerja di sebuah perusahaan real estate, Dan Sanders (Brendan Fraser), diberi tugas untuk menyulap sebuah hutan menjadi sebuah kawasan real estate. Sekalipun tugas ini ditentag oleh putranya, Tyler (Matt Prokop), dan istrinya, Tammy (Brooke Shields), karena mengharuskan mereka pindah dari kawasan metropolitan ke kampung pinggiran, tentu Dan tidak bisa menolak tawaran jabatan dari bos Asia-nya (Ken Jeong). Masalahnya, perusahaan yang katanya ramah lingkungan ini berhadapan dengan masalah alam dalam pembangunan. Sebenarnya, perusahaan ini tidak ramah linkungan sama sekali. Mereka, termasuk Dan, berusaha menggusur ekosistem di hutan tersebut demi real estate. Dan hutan (tepatnya makhluk-makhluk hutan) tidak akan segan membalas.

Formula go green yang ada di Furry Vengeance jelas sudah tidak baru lagi. Sudah kuno tepatnya. Dan sudah bisa diraba, bahkan ditebak, happy ending seperti apa yang bakal terjadi. Untuk menutupi kekunoan formula dan tipisnya plot, film ini menggunakan slapstick konyol sebagai senjata utama. Apa nikmatnya menyaksikan adegan Brendan Fraser dilempar-lempar, terjun dari jurang, urinasi, dan kekonyolan-kekonyolan lainnya? Apakah lucu membayangkan Brendan Fraser keluar dari kotak toilet, yang sebeumnya dibantin-banting seekor beruang, dalam keadaan penuh urin dan feses? Saya sama sekali tidak menyalahkan slapstick. Di era film bisu (silent film), nyatanya banyak slapstick yang segar, dan tidak konyol dan murahan seperti yang ada di Furry Vengeance. Salah satu film terburuk yang dibua Hollywood 2010 ini.

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