In the vein of “The Matrix”, “Avalon” explores the world of virtual reality and computer gaming. As directed by Mamoru Oshii, “Avalon” offers an artistic and meditative take on the subject, showing us how addictive the computer game becomes that it distorts our vision of what’s real and what’s imaginary.
Set in a drab world seemingly devoid of human connection, “Avalon” focuses on the story of Ash, a young and introspective woman who is one of the top players in a virtual reality war game that is played for points and money. It’s a game with risks as players’ spirits can become trapped in the game while their bodies remain comatose in the real world. We follow Ash, who seems to blossom only when she’s playing the warrior, in her grail-like quest to win each battle and progress to the next level.
Although the narrative is a bit muddled and the characters don’t really spark much emotional connection, “Avalon” is worth a viewing for its impressive visual effects, dark surreal imagery and production design. Even though it’s a live-action film, the look and feel is very close to anime. The war game sequences are visually impressive even if the action itself isn’t so riveting. The use of a sepia tone color palette is effective in blurring the distinction between the real world and the imaginary game world.
Overall, “Avalon” may not be a good fit for those seeking intense action but it offers some philosophical food for thought about a person’s internal quest for meaning and identity that is constantly changing.
Wednesday, September 2, 2009
Monday, August 24, 2009
Review: "Ponyo" (2008)
From the breathtaking opening images of a fantastical ocean world of undulating jellyfish, sea anemones and candy-colored sea creatures, “Ponyo” transports us into a realm of hypnotic beauty and magic where anything is possible. Inspired loosely by “The Little Mermaid”, the story is about the friendship between a young boy (Sosuke) and a goldfish princess (Ponyo) who longs to be human. As with his earlier work “My Neighbor Totoro”, director Hayao Miyazaki brings a warm and whimsical feeling to a “goldfish out of water” tale, capturing perfectly the behavior and mannerisms of exuberant young children growing up and learning to take responsibility in an adult world.
While the narrative of “Ponyo” is more meandering and less defined than in previous Miyazaki films, the main highlights are the charming characters and stunning visuals. Ponyo, like Mei in “My Neighbor Totoro”, is an adventurous and stubborn girl who revels in all the delights of the human world while Sosuke exudes a wiseness beyond his years and a quiet, grounding calmness of spirit. Even the adult characters are well-realized: I especially liked Sosuke’s mother Lisa - a spunky gal with a bit of an impulsive streak as evidenced by her Speed Racer driving style, and Ponyo’s father Fujimoto - a curmudgeonly wizard who wants only to protect her from the evil humans who have damaged the ocean with their wasteful ways.
The ocean itself is a character in the story and Miyazaki’s imagination and animation skills bring to life a magical world of enchantment and mystery that is unlike any other. From a visual standpoint, the sheer creativity and attention to detail is awe-inspiring. Each of the sea creatures is unique and artfully detailed. The colors are gorgeous and complement the environments – bright and vivid for the ocean, soft and warm in the land of humans.
Overall, “Ponyo” is a lovely and touching film and its themes of friendship, female empowerment and respect for the natural world will resonate with both children and adults.
While the narrative of “Ponyo” is more meandering and less defined than in previous Miyazaki films, the main highlights are the charming characters and stunning visuals. Ponyo, like Mei in “My Neighbor Totoro”, is an adventurous and stubborn girl who revels in all the delights of the human world while Sosuke exudes a wiseness beyond his years and a quiet, grounding calmness of spirit. Even the adult characters are well-realized: I especially liked Sosuke’s mother Lisa - a spunky gal with a bit of an impulsive streak as evidenced by her Speed Racer driving style, and Ponyo’s father Fujimoto - a curmudgeonly wizard who wants only to protect her from the evil humans who have damaged the ocean with their wasteful ways.
The ocean itself is a character in the story and Miyazaki’s imagination and animation skills bring to life a magical world of enchantment and mystery that is unlike any other. From a visual standpoint, the sheer creativity and attention to detail is awe-inspiring. Each of the sea creatures is unique and artfully detailed. The colors are gorgeous and complement the environments – bright and vivid for the ocean, soft and warm in the land of humans.
Overall, “Ponyo” is a lovely and touching film and its themes of friendship, female empowerment and respect for the natural world will resonate with both children and adults.
Sunday, August 16, 2009
Review: "The Curse of the Golden Flower" (2006)
“The Curse of the Golden Flower” melds Shakespearean-style tragedy with elegant martial arts, beautiful actors and extravagant sets and costumes. The result is Dynasty, Chinese-style, which is not at all a bad thing.
Set during the late Tang Dynasty, the movie focuses on the decaying marriage of a cruel Emperor (Chow Yun Fat) and his moody and secretive wife (Gong Li) and the power struggle between them as each plots the other’s complete destruction. The family dysfunction also extends to their three sons who are pitted against each other and their parents in a Confucian battle of filial piety and brotherly rivalry that can only end in blood.
Even though the story is reminiscent of a TV soap opera replete with passionate affairs, betrayals and revenge, it’s elevated by the strong performances of both Chow Yun Fat and Gong Li. Mr. Chow delivers a performance of controlled and fierce intensity and is complemented by the inspiring Ms. Gong who fully embodies a woman struggling under the weight of oppression.
The production design is impressive, featuring a bright palette of reds and yellows. Its flamboyant excess serves to underscore the oppressiveness of the Empress’ plight as she struggles to free herself from the gilded cage. And the contrast between the external beauty of the palace and the inner darkness of the characters is startling.
Martial arts enthusiasts may be somewhat disappointed as the action sequences are not as viscerally thrilling as in Mr. Zhang’s “Hero” and “House of Flying Daggers”. The final battle scene featuring a wave of gold and black clothed soldiers trampling through endless fields of bright yellow chrysanthemum flowers is breathtaking.
Most of Mr. Zhang’s films have featured subtle critiques of traditional Confucian customs and “The Curse of the Golden Flower” continues this tradition. By focusing his lens on the imperial family and the Confucian code that it symbolizes, Mr. Zhang crafts a tragic tale of a woman driven to the brink of madness by the absolute power wielded by a man.
Set during the late Tang Dynasty, the movie focuses on the decaying marriage of a cruel Emperor (Chow Yun Fat) and his moody and secretive wife (Gong Li) and the power struggle between them as each plots the other’s complete destruction. The family dysfunction also extends to their three sons who are pitted against each other and their parents in a Confucian battle of filial piety and brotherly rivalry that can only end in blood.
Even though the story is reminiscent of a TV soap opera replete with passionate affairs, betrayals and revenge, it’s elevated by the strong performances of both Chow Yun Fat and Gong Li. Mr. Chow delivers a performance of controlled and fierce intensity and is complemented by the inspiring Ms. Gong who fully embodies a woman struggling under the weight of oppression.
The production design is impressive, featuring a bright palette of reds and yellows. Its flamboyant excess serves to underscore the oppressiveness of the Empress’ plight as she struggles to free herself from the gilded cage. And the contrast between the external beauty of the palace and the inner darkness of the characters is startling.
Martial arts enthusiasts may be somewhat disappointed as the action sequences are not as viscerally thrilling as in Mr. Zhang’s “Hero” and “House of Flying Daggers”. The final battle scene featuring a wave of gold and black clothed soldiers trampling through endless fields of bright yellow chrysanthemum flowers is breathtaking.
Most of Mr. Zhang’s films have featured subtle critiques of traditional Confucian customs and “The Curse of the Golden Flower” continues this tradition. By focusing his lens on the imperial family and the Confucian code that it symbolizes, Mr. Zhang crafts a tragic tale of a woman driven to the brink of madness by the absolute power wielded by a man.
Wednesday, August 12, 2009
Review: "Memories of Murder" (2003)
Based on a true story about a serial killer who terrorized a rural Korean village, “Memories of Murder” is a powerful crime thriller that combines moments of comical absurdity and gripping suspense.
While the plot unfolds as a typical police procedural, the scope of the story is much broader and it packs an emotional resonance not often seen in the genre. On one level, it’s a “buddy cop” story that focuses on the conflict between the two detectives assigned to the case: Park Doo-Man (portrayed by Song Kang-Ho in a terrific performance) is the jaded, earthy insider who relies on instinct and brute force to solve the case. He clashes with Seo Tae-Yoon, a quiet, methodical detective sent from Seoul, who values analytical thinking and disdains his country bumpkin peers. On another level, “Memories of Murder” casts a satirical eye on Korea’s military dictatorship during the 1980’s, underscoring the ineptitude of the murder investigation despite the substantial manpower resources deployed.
Although the whodunit aspects of the movie are compelling, director Bong Joon-Ho’s focus is not so much on the crimes but on the detectives, their increasing frustration and obsession with nailing the perpetrator over the course of the investigation and how they learn from each other and change. The tension is palpable as various suspects are dismissed by the evidence, with the solution always remaining just out of reach.
Acting performances are uniformly strong and the stellar cinematography underscores the dark, macabre tone. Although more a character drama than action-thriller, “Memories of Murder” boasts a very cool chase on foot sequence at night that is on par with any classic action flick and should not be missed.
While the plot unfolds as a typical police procedural, the scope of the story is much broader and it packs an emotional resonance not often seen in the genre. On one level, it’s a “buddy cop” story that focuses on the conflict between the two detectives assigned to the case: Park Doo-Man (portrayed by Song Kang-Ho in a terrific performance) is the jaded, earthy insider who relies on instinct and brute force to solve the case. He clashes with Seo Tae-Yoon, a quiet, methodical detective sent from Seoul, who values analytical thinking and disdains his country bumpkin peers. On another level, “Memories of Murder” casts a satirical eye on Korea’s military dictatorship during the 1980’s, underscoring the ineptitude of the murder investigation despite the substantial manpower resources deployed.
Although the whodunit aspects of the movie are compelling, director Bong Joon-Ho’s focus is not so much on the crimes but on the detectives, their increasing frustration and obsession with nailing the perpetrator over the course of the investigation and how they learn from each other and change. The tension is palpable as various suspects are dismissed by the evidence, with the solution always remaining just out of reach.
Acting performances are uniformly strong and the stellar cinematography underscores the dark, macabre tone. Although more a character drama than action-thriller, “Memories of Murder” boasts a very cool chase on foot sequence at night that is on par with any classic action flick and should not be missed.
Sunday, June 28, 2009
Review: "Nana" (2005)
Adapted from a popular manga, “Nana” is an engaging film about friendship, relationships and pursuing one’s dreams. It’s both a female buddy film with empowering messages for young women and a coming-of-age drama that offers a glimpse into Japanese youth culture and the punk rock music scene.
“Nana” kicks off with a chance encounter on a Tokyo-bound train between bubbly Nana Komatsu, an aspiring art student following her boyfriend to the city, and brooding Nana Osaki, a tattooed punk rocker who's broken up with her boyfriend and hopes to jumpstart a music career. Although very different in personality, the pair get along and eventually become roommates. Helping each other navigate turbulent times in their romantic relationships, the two girls form a close friendship, gain insights into their character and learn to rely on their own instincts in the pursuit of happiness.
Stylishly directed by Kentaro Otani, “Nana” contains vibrant music and moments of visual beauty. The appealing performances by the two lead actresses contribute to the overall uplifting and feel-good vibe of the movie.
“Nana” kicks off with a chance encounter on a Tokyo-bound train between bubbly Nana Komatsu, an aspiring art student following her boyfriend to the city, and brooding Nana Osaki, a tattooed punk rocker who's broken up with her boyfriend and hopes to jumpstart a music career. Although very different in personality, the pair get along and eventually become roommates. Helping each other navigate turbulent times in their romantic relationships, the two girls form a close friendship, gain insights into their character and learn to rely on their own instincts in the pursuit of happiness.
Stylishly directed by Kentaro Otani, “Nana” contains vibrant music and moments of visual beauty. The appealing performances by the two lead actresses contribute to the overall uplifting and feel-good vibe of the movie.
Saturday, June 27, 2009
Review: "Yi Yi" (2000)
“Yi Yi” is a sensitive and uplifting drama about life as seen through the eyes of each member of a middle-class Taiwanese family. Capturing both the mundane and profound, the film focuses on each member’s personal story while also illuminating the larger canvas of contemporary Taipei society.
Working with a slow, lingering pace and harnessing the power of silence to convey truth, director Edward Yang produces a compelling tale of love, friendship and the quest to discover life’s meaning. At the center of the story is NJ, a despondent computer executive who finds his work life unfulfilling and his personal life fraught with crises: his mother-in-law falls into a coma, his wife suffers a spiritual breakdown and he reconnects with his former fiancee. At the same time his teenage daughter befriends a next-door neighbor and experiences the pangs of first love while his 8-year old son takes up photography, capturing pictures of the backs of people’s heads in order to show them something they haven’t seen before.
Although the film runs almost 3 hours, it’s never boring. With interesting characters and subtle acting performances, “Yi Yi” rewards the viewer with insightful and resonant observations about life, in all its wonder and weirdness.
Working with a slow, lingering pace and harnessing the power of silence to convey truth, director Edward Yang produces a compelling tale of love, friendship and the quest to discover life’s meaning. At the center of the story is NJ, a despondent computer executive who finds his work life unfulfilling and his personal life fraught with crises: his mother-in-law falls into a coma, his wife suffers a spiritual breakdown and he reconnects with his former fiancee. At the same time his teenage daughter befriends a next-door neighbor and experiences the pangs of first love while his 8-year old son takes up photography, capturing pictures of the backs of people’s heads in order to show them something they haven’t seen before.
Although the film runs almost 3 hours, it’s never boring. With interesting characters and subtle acting performances, “Yi Yi” rewards the viewer with insightful and resonant observations about life, in all its wonder and weirdness.
Tuesday, June 2, 2009
Review: "Green Tea" (2003)
“Green Tea” is a stylish and off-beat drama about male-female relationships in modern China whose strong acting performances can’t overcome a lackluster narrative.
Wu Fang, a shy and conservative graduate student who is looking for a suitable marriage partner, meets Ming Liang, an outgoing and roguish older man, on a blind date in a cafe. Although they don’t click at first, a relationship forms over numerous cups of tea as Wu Fang confides to Ming Liang a shocking story about an emotionally damaged childhood “friend”. Complications ensue when Ming Liang encounters Lang Lang, a sexy piano player who happens to look just like Wu Fang, and becomes attracted to her.
Most of the film focuses on storytelling conversations between Ming Liang and Wu Fang in pristine cafes and Ming Liang and Lang Lang in sultry lounges. The relatively dry and ponderous dialogue is offset by the beautiful cinematography of Christopher Doyle and the compelling performances of the lead actors who manage to convey a range of emotions with small gestures and subtle eye movements.
Doyle’s camera work is interesting and drives a visual energy that is lacking in the narrative. He uses lots of close-ups of the actors’ faces and interesting angles to showcase modern Beijing. And never have tea leaves been so lovingly photographed as they swirl seductively in a glass.
For moviegoers interested in understanding Chinese culture and the evolution of modern relationships, “Green Tea” is worth viewing as it explores the difficulties that urban Chinese women face in looking for a committed relationship in an increasingly Westernized society that seems to value surface more than depth. In that world, the shy, spectacle-wearing Wu Fang, who has trouble attracting men, is on the same plane as the flashy and provocative Lang Lang, who can’t get men to see beyond her physical attributes.
Wu Fang, a shy and conservative graduate student who is looking for a suitable marriage partner, meets Ming Liang, an outgoing and roguish older man, on a blind date in a cafe. Although they don’t click at first, a relationship forms over numerous cups of tea as Wu Fang confides to Ming Liang a shocking story about an emotionally damaged childhood “friend”. Complications ensue when Ming Liang encounters Lang Lang, a sexy piano player who happens to look just like Wu Fang, and becomes attracted to her.
Most of the film focuses on storytelling conversations between Ming Liang and Wu Fang in pristine cafes and Ming Liang and Lang Lang in sultry lounges. The relatively dry and ponderous dialogue is offset by the beautiful cinematography of Christopher Doyle and the compelling performances of the lead actors who manage to convey a range of emotions with small gestures and subtle eye movements.
Doyle’s camera work is interesting and drives a visual energy that is lacking in the narrative. He uses lots of close-ups of the actors’ faces and interesting angles to showcase modern Beijing. And never have tea leaves been so lovingly photographed as they swirl seductively in a glass.
For moviegoers interested in understanding Chinese culture and the evolution of modern relationships, “Green Tea” is worth viewing as it explores the difficulties that urban Chinese women face in looking for a committed relationship in an increasingly Westernized society that seems to value surface more than depth. In that world, the shy, spectacle-wearing Wu Fang, who has trouble attracting men, is on the same plane as the flashy and provocative Lang Lang, who can’t get men to see beyond her physical attributes.
Subscribe to:
Posts (Atom)