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.
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Tampilkan postingan dengan label Gemma Arterton. Tampilkan semua postingan

Jumat, 25 Februari 2011

Tamara Drewe

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)Sutradara: Stephen Frears
Pemain: Gemma Arterton, Roger Allam, Bill Camp, Dominic Cooper, Luke Evans, Tamsin Greig, Jessica Barden, Charlotte Christie, John Bett, Josie Taylor, Pippa Haywood, Susan Wooldridge, Alex Kelly, Lola Frears, Bosworth Acres-Debenham

Tahun Rilis: 2010

Diadaptasi dari komik Tamara Drewe karya Hans Posy Simmonds.

Tidak semua orang merasa hidup di pedesaan yang menenangkan itu menyenangkan. Ada juga yang merasa ketenangan di desa justru membosankan. Itulah suasana sebuah Desa Dorset di Inggris yang disajikan Stephen Frears (High Fidelty, Dangerous Liaisons, The Queen, dll). Jalan-jalannya begitu sepi, nyaris tanpa mobil, nyaris tak pejalan kaki di trotoarnya. Jarak antar rumah pun diperlihatkan berajauhan. Senyap. Sunyi. Jarang ada kejadian yang berarti.
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Sabtu, 24 Juli 2010

Prince of Persia: The Sands of Time

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)
Sutradara: Mike Newell
Pemain: Jake Gyllenhaal, Gemma Arterton, Ben Kingsley, Alfred Molina, Ronald Pickup, Steve Toussaint, Richard Coyle, Toby Kebbell, Reece Ritchie, Gísli Örn Garðarsson, William Foster

Tahun Rilis: 2010

Film ini diadaptasi dari video game “Prince of Persia: The Sands of Time.”

SAYA sama sekali belum pernah menyicip game “Prince of Persia,” sekalipun waktu SMP-SMA dulu sebenarnya saya termasuk maniak game console. Secara pribadi, saya tidak terlalu suka tipikal game “Prince of Persia,” action adventure. Saya lebih memilih genre RPG tiap kali bermain video game. Walaupun saya tidak pernah memainkan video gamenya, hanya dengan menonton filmnya saja saya bisa merasakan kurang lebih nuansa video gamenya. Simpel saja, karena sebagian besar aksi film ini seolah-olah layaknya video game. Bisa saya bayangkan sebuah joystick di tangan ketika menonton film ini di bioskop. Permasalahannya: apakah dengan begitu film ini termasuk film bagus?
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