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.
Tampilkan postingan dengan label The Last House on the Left. Tampilkan semua postingan
Tampilkan postingan dengan label The Last House on the Left. Tampilkan semua postingan

Selasa, 25 Mei 2010

The Last House on the Left

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)
Sutradara: Denis Illiadis
Pemain: Tony Goldwyn, Monica Potter, Garret Dillahunt, Spencer Treat Clark, Martha MacIsaac, Sara Paxton, Riki Lindhome

Tahun Rilis: 2009

Film ini merupakan remake dari “The Last House on the Left” (1972) karya Wes Craven.

SEBENARNYA sudah dari tiga hari yang lalu saya ingin menulis resensi tentang film remake ini. Tapi saya putuskan untuk menunda sejenak setelah selesai menonton versi aslinya di YouTube untuk membandingkan. Yah, meresensi film remake tidak adil rasanya bila tidak membandingkan dengan versi orisinilnya.

See? Kenapa bisa muncul istilah remake? Kenapa para pengrajin di dunia perfilman rasanya seperti ingin sekali menyuguhkan ulang film-film klasik yang pernah tampil bertahun-tahun silam? Apakah hanya sekedar agar penonton masa kini bisa menikmati ulang film (dengan skenario serupa persis) dalam layar yang lebih jernih dan lebih bersih? Tentu bukan sekedar untuk pamer-pameran kecanggihan kameran zaman sekarang dan zaman film itu dibikin, bukan?
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