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 Katherine Heigl. Tampilkan semua postingan

Kamis, 23 Desember 2010

Life as We Know It

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)
Sutradara: Greg Berlanti
Pemain: Katherine Heigl, Josh Duhamel, Josh Lucas, Melissa McCarthy, Hayes MacArthur, Christina Hendricks, Sarah Burns, Faizon Love, Will Sasso, Brooke Clagett, Brynn Clagett, dan Alexis Clagett.

Tahun Rilis: 2010

Walaupun belum bisa dibandingkan dengan nama sekelas Marilyn Monroe atau Audrey Hepburn, saya yakin Katherine Heigl termasuk aktris komikal yang menarik. Mungkin banyak juga yang protes – termasuk saya – kenapa perempuan yang satu ini tidak pernah melepaskan batang hidungnya dari peran yang itu-itu saja. Ya, Heigl memang selalu cantik sebagai wanita muda lajang metropolitan dengan segudang masalah percintaan. Tapi sekedar itu saja jelas sangat tidak cukup untuk menancapkan taringnya.
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Selasa, 14 Desember 2010

Killers

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)Sutradara: Robert Luketic
Pemain: Ashton Kutcher, Katherine Heigl, Tom Selleck, Catherine O'Hara, Katheryn Winnick, Kevin Sussman, Lisa Ann Walter, Casey Wilson, Rob Riggle, Martin Mull, Alex Borstein, Usher Raymond, Letoya Luckett

Tahun Rilis: 2010

Satu lagi film aksi-komedi-romantis buntutan Mr. & Mrs. Smith. Bahkan di tahun 2010 ini, sudah ada tiga judul film yang berbau-bau sejenis ini: Knight and Day, Killers, dan Date Night, sekalipun pasangan di Date Night bukanlah agen rahasia, mata-mata, atau pembunuh bayaran. Masalahnya, tidak ada keorisinilitasan yang berarti dari tiga judul itu. Tiga-tiganya, termasuk Killers ini, tidak lebih dari hasil fotokopi murahan Mr. & Mrs Smith. Dan kalau mau diingat-ingat lagi, film yang menduetkan Brad Pitt dan Angelina Jolie itu juga hasil fotokopian dari Charade (1963) dan To Catch a Thief (1955). Kalau memang sudah tidak ada orisinalitas (atau ide segar) lagi dari tema-tema semacam ini, kenapa harus terus-terusan dipaksakan?
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