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, 18 Desember 2010

The Haunting in Connecticut

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)
Sutradara: Peter Cornwell
Pemain:
Virginia Madsen, Kyle Gallner, Elias Koteas, Amanda Crew, Martin Donovan, Sophi Knight, Ty Wood, Erik Berg

Tahun Rilis: 2009

Sudah berapa banyak horror modern yang kamu tonton? Semakin banyak nominalnya, semakin kamu bakal hapal trik-trik murahan apa yang ada di dalamnya, dan semakin muak pula dengan semua itu. Kalau kamu termasuk tipe penonton semacam itu, tidak perlu heran lagi kalau The Haunting in Connecticut bakal membuat kamu jemu dengan trik-trik horror klisenya.

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Hal yang paling buruk dari The Haunting in Connecticut bukan pada adegan-adegan klise-yang-sama-sekali-tidak-seram, melainkan ada di embel-embel “based on a true story” yang justru bakal membuat kejengkelan yang dirasa penontonnya meningkat berkali-kali lipat. Masih ingat The Amityville Horror, yang juga mengaku-ngaku “based on a true story” dari legenda horror di kawasan Amityville? Tidak usah jauh-jauh, masih ingat Kereta Hantu Mangarai? Hantu Jeruk Purut?

Pertanyaan yang justru menggelitik adalah seberapa besar penonton harus percaya pada frase “based on a true story”? Atau berapa persen tepatnya film ini benar-benar “based on a true story”? Mungkinkah segala macam yang ada di film ini bisa diyakini 100% “based on a true story”? Lengkap dengan kaget-kagetannya? Lengkap dengan tulisan-tulisan nekromansi yang tercetak di badan? Segala-macam-nya? Saya yakin tidak! 50%? Saya justru meras lebih dari 50% film ini adalah produk dramatisasi dan trik-trik horror murahan? Lantas kalau memang kurang 50% kebenaran yang ada di film ini, artinya embel-embel “based on a true story” adalah sebuah penipuan, bukan?

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