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, 27 November 2010

RED

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)
Sutradara: Robert Schwentke
Pemain:
Bruce Willis, Mary-Louise Parker, Morgan Freeman, Helen Mirren, John Malkovich, Karl Urban, Julian McMahon, Ernest Borgnine, Richard Dreyfuss, Brian Cox, James Remar, Rebecca Pidgeon

Tahun Rilis: 2010

Diangkat dari komik RED karya Warren Ellis dan Cully Hamner.

Pertama kali melihat poster film ini yang saya protes adalah judulnya: RED. Judul tersebut merupakan singkatan dari Retired Extreamly Dangerous. Astaga, tidak ada judul lain yang lebih keatif? Dan setelah saya melihat trailer-nya, saya pun langsung tahun film ini tidak lebih dari dentuman-dentuman senjata api canggih ala film-film aksi musim panas. Setidaknya para aktornya lah yang membuat saya lebih tertarik menonton RED ketimbang The Expandables. Film ambisi Sylvester Stallone tersebut mungkin memang berhasil menyatukan aktor-aktor aksi papan atas dalam satu layar, tapi film ini lebih menarik lagi karena mempertunjukkan adegan mantan Ratu Inggris sekaligus istri Leo Tolstoy bermain-main dengan senjata api canggih (apapun jenis senjata itu, saya tidak paham).

Untuk urusan cerita, RED memang tidak sedangkal The Expandables, tapi tidak juga bisa dibilang orisinil. Kalau boleh saya bilang, film ini seperti perpaduan antara Knight and Day dan The Expandables (atau The A-Team). Ada unsur romantic-comedy ala Cruise-Diaz dari Willis-Parker di sini. Bruce Willis memerankan pensiunan agen CIA yang terpaksa harus menculik Mary-Louise Parker, petugas pensiunan yang ditaksirnya, karena keduanya merupakan target pembunuhan. Lalu film ini bergerak ke arah A-Team atau Expandables ketika Bruce Willis mendatangi teman kerja lamanya: John Malkovich si gila, Morgan Freeman si bijak, Helen Mirren, you know, the vixen, Brian Cox, bahkan Ernest Borgnine. Saya rasa saya tidak perlu lagi menjabarkan sinopsisnya.

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Mayoritas film ini adalah adegan-adegan ledakan-ledakan dan dentuman-dentuman peluru. Kalau John Malkovich sudah turun tangan, “Old Man, my ass!,” maka layar pun berapi-api semua. Dan, ya, Helen Mirren terlihat seksi dengan senjata api. Adalah sebuah dusta kalau saya menyatakan kalau RED termasuk film bagus. Film ini menampilkan banyak kekurangan klise yang seringkali ditemukan di film-film semacam ini. Tapi, dengan melihat aksi-aksi para nominator Oscar tersebut (Morgan Freeman, Ernest Borgnine, Helen Mirren, John Malkovich), film ini bisa dianggap guilty pleasure bagi saya. Setidaknya para aktor tersebut menampilkan kualitas akting di atas Expandables.

http://4.bp.blogspot.com/-ol3Ag0qoak8/TWvKBW3RH8I/AAAAAAAACNE/W3FzLYGUHn0/s1600/C.bmp

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