More than a chilling horror movie, “The Host” is also a taut drama and sometimes slapstick comedy about a dysfunctional family that comes together to battle both monster and man in order to save one of their own.
The story revolves around the Park family headed by the owner of a tiny snack stand on the banks of Seoul's Han River. He lives with his dimwitted, slacker son Gang-du and Gang-du’s teenage daughter, Hyun-Seo. Rounding out the family is Gang-du’s sister, an Olympic caliber archer, and younger brother, an angry unemployed college graduate. One bright sunny day, a squid-like monster from the river emerges to feed on humans, capturing Hyun-Seo and carrying her off to his lair for a later snack. When a call from a cell phone reveals that Hyun-Seo is alive and trapped in a large sewer, the family galvanizes to save her.
“The Host” delivers a unique twist on the chills and thrills expected of a monster movie. Sure the fish-like creature is horrific to look upon and preys on human flesh but it also has some fine acrobatic talents that enable it to dive gracefully off a bridge into the river with minimal splashing or execute a series of back flips worthy of an Olympic gymnast. The expected “monster chase” sequence at the beginning is visually stunning and truly scary even though all the action occurs in broad daylight.
Scary bits aside, some of the most poignant moments are the quiet scenes with Gang-du and his family as they begin to reconnect and learn to trust each other. Each character is fleshed out and has a unique obstacle to overcome and so we care about them and root for their success, especially as it becomes obvious that they can only rely upon themselves.
“The Host” is also unique is that it’s one of few horror movies that delivers biting social satire. Not only do the Parks have to battle their own inner demons, they have to dodge the clutches of the local authorities who think they’re contaminated by a virus. As officials round up the populace, disregarding civil liberties and all common sense in the process while fueling ever greater levels of panic and chaos, and unleash a dangerous plan to destroy the monster, we come to realize that the focus of our horror is not so much the creature but the inept and deceptive government and its disregard for humanity and the environment.
Sunday, April 19, 2009
Thursday, April 16, 2009
Review: "Yojimbo" (1961)
Akira Kurosawa’s “Yojimbo” is a suspenseful and darkly humorous samurai-Western with a subversive take on the traditional samurai archetype. Visually stunning, well-acted and filled with interesting characters, the film’s observations on human behavior are timeless.
Taking place in late 19th century Japan, the main character, Sanjuro (Toshiro Mifune) is a masterless samurai roaming the countryside looking for work. He stumbles into a desolate village where two rival clans are fighting for control of the territory. Viewed as a superhero savior to the townsfolk, he uses his wits and the power of his sword to pit the rival clans against each other hoping to secure the best offer for his services. This results in some comic moments as both sides pander to Sanjuro to win his loyalty. Although Sanjuro is an opportunist, he sees both clans as evil and determines to take them both down by turning them against each other. But in the end an act of compassion puts his life in danger and he is forced to improvise an escape.
In addition to its compelling story, “Yojimbo” is distinguished by stunning black and white cinematography which contributes to the suspenseful atmosphere. The acting is also strong. Toshiro Mifune radiates an intense presence as the brooding and clever samurai and Tatsuya Nakadai embodies the snake-like charm of his villain with ease.
Taking place in late 19th century Japan, the main character, Sanjuro (Toshiro Mifune) is a masterless samurai roaming the countryside looking for work. He stumbles into a desolate village where two rival clans are fighting for control of the territory. Viewed as a superhero savior to the townsfolk, he uses his wits and the power of his sword to pit the rival clans against each other hoping to secure the best offer for his services. This results in some comic moments as both sides pander to Sanjuro to win his loyalty. Although Sanjuro is an opportunist, he sees both clans as evil and determines to take them both down by turning them against each other. But in the end an act of compassion puts his life in danger and he is forced to improvise an escape.
In addition to its compelling story, “Yojimbo” is distinguished by stunning black and white cinematography which contributes to the suspenseful atmosphere. The acting is also strong. Toshiro Mifune radiates an intense presence as the brooding and clever samurai and Tatsuya Nakadai embodies the snake-like charm of his villain with ease.
Tuesday, April 7, 2009
Review: "My Neighbor Totoro" (1988)
“My Neighbor Totoro” is a warm-hearted and enchanting animated family film that explores the blissful wonder of being a child. It focuses on the journey of two girls, Satsuki and her kid sister Mei, who move with their father to the Japanese countryside and discover a new world filled with fascinating and fantastical creatures. As they explore their new surroundings the girls encounter Totoro, a large, fuzzy, silent raccoon-type of creature living in a huge camphor tree and known as the “king of the forest”, and embark on a series of magical adventures.
Unlike some of Miyazaki’s previous feature films like “Castle in the Sky” and “Nausicaa of the Valley of the Wind” which emphasize dramatic conflict and thrilling battles, “My Neighbor Totoro” is more concerned with observing a slice of life of two very real, likeable and spirited young girls as they use their resources of imagination to fuel adventure and overcome obstacles. What’s truly amazing is how Miyazaki evokes the magic and wonder of childhood, capturing in realistic detail the emotions and activities of ordinary children as they explore and settle into their new surroundings.
The visuals, as in all Miyazaki films, are stunning – the recreation of a rural Japanese landscape is detailed and realistic while the magical creatures are enchanting and one of kind. Yet it is Satsuki and Mei that resonate the most. We come to care about them and are concerned for them when things go wrong.
Unlike some of Miyazaki’s previous feature films like “Castle in the Sky” and “Nausicaa of the Valley of the Wind” which emphasize dramatic conflict and thrilling battles, “My Neighbor Totoro” is more concerned with observing a slice of life of two very real, likeable and spirited young girls as they use their resources of imagination to fuel adventure and overcome obstacles. What’s truly amazing is how Miyazaki evokes the magic and wonder of childhood, capturing in realistic detail the emotions and activities of ordinary children as they explore and settle into their new surroundings.
The visuals, as in all Miyazaki films, are stunning – the recreation of a rural Japanese landscape is detailed and realistic while the magical creatures are enchanting and one of kind. Yet it is Satsuki and Mei that resonate the most. We come to care about them and are concerned for them when things go wrong.
Tuesday, March 24, 2009
Review: "Castle in the Sky" (1986)
“Castle in the Sky” is a fast-paced, Indiana Jones-style animated adventure that will appeal to children and adults alike. As with most Hayao Miyazaki films, an engaging and thrilling adventure story is delivered with a subtle message of respect for the environment.
The film kicks off as a young boy, Pazu, encounters Sheeta, a girl floating down from the sky. We discover that Sheeta, who possesses a crystal necklace that’s believed to lead the way to the mythical floating island of Laputa, has been kidnapped by government agents eager to acquire the pendant and harness the island’s mysterious power. As Pazu and Sheeta try to dodge the secret agents and embark on their own quest for Laputa, a number of high-flying and thrilling adventures ensue involving trains, planes, pirates and robots.
As in all his films, Miyazaki creates an imaginary world full of color and life, inhabited by complex yet interesting characters. “Castle in the Sky” is filled with epic-style battle scenes and it’s refreshing to see both female and male protagonists on equal footing as heroes.
The film kicks off as a young boy, Pazu, encounters Sheeta, a girl floating down from the sky. We discover that Sheeta, who possesses a crystal necklace that’s believed to lead the way to the mythical floating island of Laputa, has been kidnapped by government agents eager to acquire the pendant and harness the island’s mysterious power. As Pazu and Sheeta try to dodge the secret agents and embark on their own quest for Laputa, a number of high-flying and thrilling adventures ensue involving trains, planes, pirates and robots.
As in all his films, Miyazaki creates an imaginary world full of color and life, inhabited by complex yet interesting characters. “Castle in the Sky” is filled with epic-style battle scenes and it’s refreshing to see both female and male protagonists on equal footing as heroes.
Sunday, March 8, 2009
Revew: "Howl's Moving Castle" (2004)
“Howl’s Moving Castle” is an enchanting animated family film that transports you to a magical fantasy world and tells a moving story about the transformative power of love and kindness.
Adapted from a children’s book written by Diana Wynne Jones, “Howl’s Moving Castle” focuses on the story of Sophie (voiced by Emily Mortimer), a shy, plain-looking and serious teenager who works in a hat shop, and Howl (voiced by Christian Bale), a handsome but vain wizard whom she meets by chance when he literally sweeps her off her feet to protect her from some malicious soldiers. Enraged by jealousy, the Wicked Witch of the Waste (voiced by Lauren Bacall) promptly curses Sophie, turning her into a 90-year old woman. In an effort to break her curse, Sophie embarks on a journey that brings her to Howl’s mysterious moving castle where she befriends the wizard’s young apprentice and a tough little fire demon. As she experiences life through an older woman’s eyes, she not only matures and learns something about herself but helps transform all the castle’s inhabitants, who are “cursed” by their own personal demons.
As imagined by director Hayao Miyazaki, the fantasy worlds of “Howl’s Moving Castle” are visually stunning and not like anything seen before. Miyazaki creates gorgeous and richly detailed images of bustling towns, vast mountains and flowery fields, reminiscent of early 20th century Europe. But the piece-de-resistance is Howl’s castle – a smoke belching contraption that looks as if its components were foraged from a junkyard and which moves about on chicken feet. It’s just awe-inspiring.
The narrative is complex and frequently goes off on tangents, into and out of various worlds and across time and space. Yet the journey is always interesting as the characters are multi-layered and we come to care about them. The English voice cast is excellent all-around, particularly Christian Bale who imbues Howl with a sexy bad-boy vibe.
Miyazaki weaves together a number of messages which should resonate with children and adults alike. One is that old age can be liberating. We see this quite vividly as Sophie develops from a shy, mousy girl into a confident and loving woman. Another is that embracing others with compassion and kindness can help them to tackle personal demons, resulting in positive change.
Adapted from a children’s book written by Diana Wynne Jones, “Howl’s Moving Castle” focuses on the story of Sophie (voiced by Emily Mortimer), a shy, plain-looking and serious teenager who works in a hat shop, and Howl (voiced by Christian Bale), a handsome but vain wizard whom she meets by chance when he literally sweeps her off her feet to protect her from some malicious soldiers. Enraged by jealousy, the Wicked Witch of the Waste (voiced by Lauren Bacall) promptly curses Sophie, turning her into a 90-year old woman. In an effort to break her curse, Sophie embarks on a journey that brings her to Howl’s mysterious moving castle where she befriends the wizard’s young apprentice and a tough little fire demon. As she experiences life through an older woman’s eyes, she not only matures and learns something about herself but helps transform all the castle’s inhabitants, who are “cursed” by their own personal demons.
As imagined by director Hayao Miyazaki, the fantasy worlds of “Howl’s Moving Castle” are visually stunning and not like anything seen before. Miyazaki creates gorgeous and richly detailed images of bustling towns, vast mountains and flowery fields, reminiscent of early 20th century Europe. But the piece-de-resistance is Howl’s castle – a smoke belching contraption that looks as if its components were foraged from a junkyard and which moves about on chicken feet. It’s just awe-inspiring.
The narrative is complex and frequently goes off on tangents, into and out of various worlds and across time and space. Yet the journey is always interesting as the characters are multi-layered and we come to care about them. The English voice cast is excellent all-around, particularly Christian Bale who imbues Howl with a sexy bad-boy vibe.
Miyazaki weaves together a number of messages which should resonate with children and adults alike. One is that old age can be liberating. We see this quite vividly as Sophie develops from a shy, mousy girl into a confident and loving woman. Another is that embracing others with compassion and kindness can help them to tackle personal demons, resulting in positive change.
Wednesday, January 21, 2009
Review: "Still Life" (2006)
“Still Life”, directed by Zhang Jia Ke, is a detailed and contemplative slice-of-life drama that shines a spotlight on contemporary working-class China. Set during the construction of the Three Gorges Dam, Zhang weaves together two distinct stories of outsiders coming to the village of Fengjie to search for lost spouses.
In the first narrative, a middle-aged coalminer arrives from Shanxi Province to reunite with his ex-wife whom he hasn’t seen for sixteen years. Upon learning that she has moved to another town to work and only sporadically visits Fengjie, he decides to stay on indefinitely to work on a demolition project while awaiting her return. The second story focuses on a young nurse who is trying to track down her missing husband who abandoned the family two years ago. She is helped in her quest by her husband’s friend, a local archaeologist. Through the time they spend in Fengjie, both characters come to understand the impact the dam project has had on the local people and how it has influenced their own lives.
As the human drama unfolds, “Still Life” also explores the story of the construction of the Three Gorges Dam which looms as an important character in itself, shaping everyone’s lives. The dam can be viewed as a metaphor for dislocation and the cycle of destruction and renewal. We see the impact on the local inhabitants who have no choice but to adapt as old buildings and entire villages are demolished and established ways of life are lost. This theme of destruction/reconstruction is also mirrored in the stories of the two main characters.
The documentary visual style of “Still Life”, with its detailed attention to people and places, heightens its emotional impact. We realize that what’s been captured on film is a historic transition, an archival record of the human cost of China’s rapid fire modernization.
In the first narrative, a middle-aged coalminer arrives from Shanxi Province to reunite with his ex-wife whom he hasn’t seen for sixteen years. Upon learning that she has moved to another town to work and only sporadically visits Fengjie, he decides to stay on indefinitely to work on a demolition project while awaiting her return. The second story focuses on a young nurse who is trying to track down her missing husband who abandoned the family two years ago. She is helped in her quest by her husband’s friend, a local archaeologist. Through the time they spend in Fengjie, both characters come to understand the impact the dam project has had on the local people and how it has influenced their own lives.
As the human drama unfolds, “Still Life” also explores the story of the construction of the Three Gorges Dam which looms as an important character in itself, shaping everyone’s lives. The dam can be viewed as a metaphor for dislocation and the cycle of destruction and renewal. We see the impact on the local inhabitants who have no choice but to adapt as old buildings and entire villages are demolished and established ways of life are lost. This theme of destruction/reconstruction is also mirrored in the stories of the two main characters.
The documentary visual style of “Still Life”, with its detailed attention to people and places, heightens its emotional impact. We realize that what’s been captured on film is a historic transition, an archival record of the human cost of China’s rapid fire modernization.
Sunday, January 11, 2009
Review: "Ashes of Time Redux" (2008)
“Ashes of Time Redux” is Wong Kar Wai’s venture into the martial arts genre. However, energetic action and narrative clarity take a backseat to the visual poetry that contemplates wounded hearts, loneliness and the memories of lost love that cut deeper than any sword. Best appreciated as a sensory experience, “Ashes of Time Redux” unfolds as a series of beautiful yet melancholic images like the soft brush strokes of a Chinese landscape painting. Even the swordfights are shot as swirling, hallucinatory dreamscapes. The haunting desert landscape gorgeously captured in saturated colors by cinematographer Christopher Doyle, a brooding cello score by Yo-Yo Ma and the beauty of the actors (an all-star Hong Kong cast) contribute to a movie experience that both pleases the senses and engages the heart.
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