ENCHANTED

ENCHANTED
Amy Adams, Patrick Dempsey, James Marsden,
Susan Sarandon,Idina Menzel, Timothy Spall

"The real world and the animated world collide"

I must be getting soft in my old age. My sarcastic, cynical self actually liked this classic fairy tale Disney movie with a twist. Nary a trace of violence, no cuss words, no bad guys, no noisy car chase scenes. Just an innocent naive little princess lost in chaotic New York city. Her simple quest is to return to her animated world so she could marry her Prince Charming.

Ok ... all together now. Awwww!!!

What's not to like, right?
I'd say a few song and dance sequences in Central Park and some typical fairy tale ballroom dancing didn't register well with my cynical heart.

Even though for a few minutes in the beginning you pinch yourself because you think you've wandered into the wrong cinema. The screen comes alive with an animation feature. The eventual transition from animation to real life is smooth and well executed.

The cast is composed of talented artists known for other genres like drama and comedy so to be part of an animated/real feature must have seem like a breeze. But it doesn't necessarily mean it is easy to act all fairy tale like either. You have the likes of the resplendent Susan Sarandon in a small role as the evil stepmother complete with freaky makeup, hideous outfits and the 'evil' laughter. James Marsden as the typical caricature of a Prince Charming - meaning he looks good only in paper/cartoon but he doesn't bear much substance. This brings us to the real Prince Charming in disguise portrayed by the yummy Patrick Dempsey. The guy with a young daughter trying to balance his career, his love life and his role as a father with ease. The attorney with a heart of gold who doesn't take advantage of lost out of her elements little Princess Giselle. Of course, Amy Adams with her perky nose and her childlike aura looked every part the naive Princess that she was.

The story is pure fantasy with enough dose of harsh reality (in the form of the mean city that never sleeps - New York). The plot evolved well, had enough conflict and created a credible buildup towards the climax and of course finishes with a happy ending both in animation and in real life.

Light feel good movie with solid plot, good cast and the ubiquitous moral lessons expected from fairy tales for both children and adults alike - certainly you can't go wrong at all with this premise.

LUST, CAUTION (SE, JIE)

LUST, CAUTION
SE, JIE
Tony Leung, Wei Tang, Joan Chen, Lee-Hom Wang

Cinema 5, Power Plant Mall

The thing I remember most from watching this film are the very panoramic shots of the city of Shanghai during the WWII era. Ang Lee succeeded in capturing the scenic essence of the city. It had such a European ambiance except that it was populated with Chinese. Great cinematography!

Other than that, I wasn't overly impressed with this movie. It was dragging. Ang Lee took his time getting to the more gritty parts. I am not talking about the sex scenes, I'm referring to the entrapment operation. Franky, the much touted sex sequences were too mechanically rehearsed to merit such a fuss. I didn't get emotionally invested with the characters. The film just didn't live up to my expectations.

Having said that I must admit it was a good character study of two contrasting individuals. A young girl sidetracked into becoming a patriot. This distraction turned her into a woman. One who had to grapple with her feelings of affection for her 'prey'. A woman who had to experience lust at its most brutal form all for a more noble cause. The chance to expose a traitor to his country. Towards the end, you get a feeling that her love overruled her love for her country. Yet you cannot really know for sure. In this regard, kudos goes to the young Chinese actress Tang Wei for portraying such a complex role. A rather complicated yet still left with much to be desired role. For one thing, a lot of questions abound regarding the way that her character behaved during certain aspects of the film.

I still have a lot to say about this film but duty calls so ... tTo be continued

CINE EUROPA

CINE EUROPA


October 18 - 31, 2007
Shang Cineplex, Shangri-la Plaza Mall
Free admission!
First come, first served basis

Click here for the screening schedule.

TU VIDA EN 65'

TU VIDA EN 65'
(YOUR LIFE IN 65')

6th Spanish Film Festival
Cinema 2, Greenbelt 3

3 young men attend the funeral of someone they knew back in their college days. It turns out they made a mistake, it wasn't him. He just had the same name as their classmate.

It is this event though which bonds them together in discovering more about themselves. In the process, they become more reflective about their lives, their achievements and their failures. Secrets are revealed, past memories are unearthed, regrets are expressed and their hopes and desires have more purpose. Each one reveling in the experience of finally being true to themselves.

This Spanish film doesn't aim to preach nor does it hold the answers to life's questions. It simply tells the story of three well developed yet contrasting characters. There are funny moments as well as sad emotional sequences. It also dares to stir up some thought provoking issues towards the end. Yet it is all presented in a light comedic manner. Bravely hiding the fact that it does deal with some serious issues like suicide, homosexuality and romantic relationships.

Except for some disjointed scenes of psychedelic fillers, the film succeeds in getting the audience tuned to the characters. It shows authentic sights and sounds of the city of Barcelona like a football (soccer) game and frolicking at the beach. Basically the main premise of the film is "would you be able to describe your life in 65 words or less?" Now that's the tricky part!

LA VIDA SECRETA DE LAS PALABRAS (THE SECRET LIFE OF WORDS)

Tim Robbins, Sarah Polley, Julie Christie

6th Spanish Film Festival
Cinema 2, Greenbelt 3

It has been a while since I've been touched by such a simple yet thought provoking film. It was mind blowing. A highly emotional forage into the souls of the two main characters who at first glance seem like ordinary people. Yet they both bear such painful anguish within themselves that are too explosive to reveal.

Hanna is a hearing impaired (but wears a hearing aid) factory worker who during her vacation, decides to take a job as a nurse in an oil rig in the middle of the vast ocean. She is a quiet and inconspicuous person who takes her 'duty' seriously. Preferring to keep to herself, she doesn't open up easily. Her patient is Josef, an American who is blinded temporarily after suffering severe burns during a mishap on the oil rig. A talkative guy who likes to quote poetry. He is constantly teasing Hanna to reveal more about herself. As the days go by, they develop a close bond mostly peppered with Josef's interesting narratives about life. While Hanna still continues to shield herself from divulging more about her troubled life.

Despite the presence of 5 other people (all men) on the rig, this film is mostly about special bond which develops between Hanna and Josef. Set on a drilling station in the middle of a vast ocean, you hardly feel sick sea since most of the scenes unfold in the room where Josef is bedridden. An eerie voice narrates some parts of the film and the interesting part is figuring out the symbolism of that voice.

The slow pace of the film was essential in gripping the hearts of the viewer. So much so that towards the end when secrets are revealed and the characters are finally exposed and reveal themselves, a deep silence takes over the theater as you try to absorb the details. It was a very poignant scene and for me the best part of the film. The film is entirely in English even though it was directed by a Spanish director, Isabel Coixet.

Sarah Polley's characterization of Hanna is so believable I thought she was really from Eastern Europe. Speaking with a Serbian accent yet perfectly enunciating her words, it was gripping to watch Hanna battle with her inner demons. Her subtle and very expressive style did justice to such a simple yet very difficult role to play. She really internalized it with conviction. Tim Robbins although seen mostly lying in bed managed to deliver his lines quite well. Sometimes he was funny other times he was very serious but over all his dialogue was spot on. He managed to show his wide range simply by the use of his voice. The chemistry between Polley and Robbins was in perfect harmony.

I really recommend this beautiful movie. A poignant story about two emotionally drained characters who found love with each other and in the process found their true selves.

EVENING

Claire Danes, Hugh Dancy, Patrick Wilson, Vanessa Redgrave, 

Natasha Richardson, Toni Collette, Mamie Gummer, Glenn Close

"Her greatest secret was her greatest gift"

Ann Lord (Vanessa Redgrave) is dying but as her daughters dutifully watch over her, she keeps calling out for "Harris". Someone from her distant past who still haunts her thoughts. As an air of mystery lingers over the death bed, the director takes us back to the 50s. In picturesque Newport, a young Ann (Claire Danes) meets Harris (Patrick Wilson) for the first time, one weekend. She is in town to be the one of the bridesmaids of her best friend Lila (Mamie Gummer).

The scenes jump effortlessly from Ann's deathbed to that enchanting weekend in Newport in the 50s. Relevant subplots involve Ann's two adult daughters (Toni Collette and Natasha Richardson) coming to grip with the impending death of their mother. And at the same time, they are trying to make sense of their own lives.

Acting wise, naturally the mature actresses far outshone the younger ones portrayed by the very plain Claire Danes, the miscast Hugh Dancy, the I.cannot.act Mamie Gummer (Meryl Streep's real daughter) and the very rigid Patrick Wilson. So every time the director drifted into the Newport scenes, I wished they had chosen better actors to portray the characters. It is a pity because those Newport scenes provide the main backbone of the entire film.

I figure since it is based on a novel ("Evening" by Susan Minot), there are certain elements which cannot be interpreted on screen. Or it could be the rather rigid way that Patrick Wilson acted out his role as Harris, supposedly the love of Ann's life. The one person from her past whom she cannot forget after all these years. I had trouble understanding just what exactly it was about Harris that got Ann to fall madly in love with him. I mean sure he is a very attractive person but beyond that we don't really get a sense of his personality. There is a line where Hugh Dancy says "Everyone is in love with Harris" and I couldn't help but ask "Why???"

This film had all the right ingredients for a sappy family drama. A good ensemble cast consisting of the finest mature actresses in the film industry (Vanessa Redgrave, Meryl Street, Glenn Close, Toni Collette, Natasha Richardson), a solid mother daughters bonding plot with good cinematography yet sadly it fails be an evocative movie.

ILLUMINADOS POR EL FUEGO

(BLESSED BY FIRE)

6th Spanish Film Festival
Cinema 2, Greenbelt 3

Movies about both World Wars, the Vietnam War and now the Iraq war abound but it is rare that we see one about the Falkland War. The film focuses on this war which was fought in 1982 between Britain and Argentina who battled for possession of this tiny island (known as Malvinas) off the shores of Argentina.

It is seen through the eyes of Esteban, a Falkland war veteran who suddenly had to relive his war memories. The wife of Vargas (his fellow combatant) informs Esteban that Vargas committed suicide and was comatose in a hospital. In fact at the beginning of the film, they report that the suicide rate among Falkland war veterans was almost as much as the actual casualties during the war. Quite alarming! Esteban now a journalist is still haunted by the war so he decides to visit the island for some closure.

A melancholic film intertwined with flashbacks of battle scenes which are violent, bleak and heart wrenching as expected from most war movies. The jarring hand held camera effect of those gory scenes can make you dizzy but it was an authentic way to portray them. It also exposes the harsh conditions the soldiers had to face in that damp cold island. Lack of proper uniform, nutritional meals and exposed to the cold weather, the soldiers were mostly young men recruited from the poorest sector of society. Fighting in a war perpetrated by the dictatorial regime present in Argentina during that period, a war they fought ill equipped in every sense of the word.

The 3 friends who were only 18 years old during the war develop a special bond and share each other's fears as well as their future plans. Well developed characters who tug at your heartstrings. You also get a sense of what happened to Vargas after the war as narrated by his wife who laments the fact that it pretty much altered Vargas' state of mind. Their coping mechanism is very weak and they succumb to alcoholism, gambling even mental illnesses. I guess it is common among veterans of any war but it is still alarming to find out these pieces of information.

The film in my opinion doesn't so much as condemn the government for involving their citizens in a war they were bound to lose but aims to present the fact that war in itself isn't the solution. It was interesting to watch a film about a war which history has forgotten. A film which pays homage to the young men who risked their lives to fight for their country even though most of them didn't grasp the very concept of war.

SALVADOR

(PUIG ANTICH)

6th Spanish Film Festival
Cinema 1, Greenbelt 3

The true story of Salvador Puig Antich, the last political prisoner executed during the Franco regime on March 2, 1974. It traces his life from the time he became a part of the MIL Movimiento Iberico de Liberacion (Iberian Liberation Movement), a group of politically active anarchists who robbed banks to fund the rebels against the Fascist government to his execution by garrote in a Barcelona prison.

The movie begins with Salvador being caught by the authorities in an entrapment operation. Then it evolves back to the part where they present his life in the movement. Actually the movie progresses in a non linear manner with flashbacks neatly embedded in the scenes. We see how as a student he got involved in mostly clandestine operations in the organization like plotting political rallies in the streets, robbing banks as well as publishing subversive documents. The second half of the movie concentrates on his incarceration. Several poignant scenes when his lawyer and his family try desperately to get a stay of his execution from the government. The section where they overemphasized on the sappy, weepy factor. The tearjerker portion where they relied heavily on emotional scenes. It seemed a bit long if you ask me but then I believe the director wanted to portray him as the victim who just happened to be at the wrong place at the wrong time and so he didn't deserve to be executed. The most vital scene though is when they show his final moments as he is being garroted by the executioner. It was shocking yet at the same time you can't help but stay glued to the screen as it unfolded.

The wardrobe authentically depicted the era (the 70s). The film has this sepia/grainy tone with several bleak prison scenes. Except for the dragging weepy parts, it was clearly edited and it didn't seem like it was 134 minutes. It is filmed entirely in Spanish as well as in Catalan with English subtitles.

Salvador Puig Antich is portrayed by German actor Daniel Bruhl (Goodbye Lenin, 2 Days in Paris) who is fluent in the Catalan language. It being his mother's tongue, literally. His mother is Spanish. His expressive facial gestures does justice to this very significant role in his young acting career. Despite having a boyish charm to his appearance, Bruhl came across as very mature and quite confident as Salvador Puig Antich. Great acting talent!

A highly politized film that aims to expose the then Franco regime as being ruthless and wanting to use the young militant as a pawn in their fight against the anarchists. But most importantly, it is the story of a young rebel who simply fought for what he believed in and didn't give up till the very end. It was his death which triggered the downfall of the Franco regime. People rallied and protested in the streets every single day to overthrow the government. So I guess he didn't die in vain, he did succeed, after all!

DERECHO DE FAMILIA

(FAMILY LAW)

6th Spanish Film Festival
Cinema 2, Greenbelt 3

"In order to be a good father, he'll have to learn how to be a good son"

This Argentinian film explores the complexities involved in a father - son relationship. The Perelmans are both practicing lawyers in Buenos Aires. The film unfolds through the eyes of Ariel Perelman (the son) who narrates his story through a voice over. A young laid back person who courses through his life aimlessly, he also teaches law at a local university. He falls in love with his student, Sandra a Pilates instructor. He eventually marries her and they have a son. Throughout his life, the younger Perelman has been in awe of his more established, achiever type father. An energetic lawyer who is at ease with people from all walks of life. Father and son are opposites in character and style and if you didn't know any better, you wouldn't think they were related.

This film doesn't have any major conflicts in its plot nor does it aim to preach about how to live one's life. The true conflict lies within the younger Perelman who aims to find some purpose in his life yet at the same time he feels pretty satisfied with how his life is progressing along. When he becomes a father himself to Gaston, his outlook becomes more reflective. He can't help but compare his fathering techniques with the older Perelman who was somewhat an emotionally distant father.

A simple straight to the point film with a few funny scenes and prodded on mostly by a narrative in voice over form. The dialogue is entirely in Spanish with English subtitles. A good introspective about the awakening of one's man true self through the subtle guidance of his own father just as he becomes a father himself.

NO RESERVATIONS

Catherine Zeta Jones, Aaron Eckhart, Abigail Breslin

"Life isn't always made to order"

Cinema 2, Rockwell

The first time I saw the trailer of this film I thought hmmm the plot isn't really original, it has been presented in movies like "Raising Helen". The single career oriented woman who suddenly 'inherits' a young relative to raise as her own when tragedy strikes. In the process she discovers more about herself, bonds with her young ward and by the end of the film she gets a guy as well. By the time the end credits roll, upbeat music is played and everyone is happy and cheerful. It is pretty predictable, so you just sit back, relax and leave your thinking cap at home.

Catherine Zeta Jones is very pretty. It is a bit difficult to think that someone who looks that pleasant would be mopping in her kitchen hiding behind pots and pans. The script doesn't really give much background information about her character except that she is really devoted to her job as a chef in a fancy restaurant. Although there are hints of some past relationship which caused her grief so she shuns dating guys which she divulges and analyzes during her therapy sessions. It is interesting to note that Abigail Breslin was also in "Raising Helen" as one of the 3 children who is orphaned and gets to live with her aunt Helen (Kate Hudson). In "No Reservations" she is an only child and in my opinion too well composed for someone who lost her mother in an accident. Aaron Eckhart who is mostly cast in serious drama roles in the supporting actor category is more animated and goofier in this film. He is Nick, a bohemian type of chef who loves listening to opera arias when he whips up delicious meals.

So expect alot of scenes in the kitchen where the two chefs give us a feast of mouth watering dishes. As well as an equal amount of loud operatic arias to nudge your senses from falling asleep. Yet despite the flavorful burst of gastronomic delights and the blaring of loud music, the film also manages to silently essay a story about grief. The ability to move on despite tragedy and personal setbacks we encounter in life. All these subtly emanating from an otherwise predictable plot. In short, this movie isn't merely about food, food and more food but it sure can make you hungry watching them cook those delectable dishes!

PELICULA, THE 6TH SPANISH FILM FESTIVAL

PELICULA, THE 6TH SPANISH FILM FESTIVAL

21 films, 14 days, more than 14,000 viewers last year … Pelikula, the Spanish Film Festival brought to you by Instituto Cervantes de Manila, is currently the biggest Spanish Film Festival in South East Asia.

Dates: October 1 to 14, 2007

Venue: Greenbelt 3, Cinema 2

Price: 65 Php

For the screening schedule, please click here.

For further information on the films of PELÍCULA, log on to Instituto Cervantes de Manila.

See you at PELICULA!!!

THE BRAVE ONE

THE BRAVE ONE
Jodie Foster, Terrence Howard, Naveen Andrews, Mary Steenburgen, Nicky Katt

"How many wrongs to make it right?"

Cinema 2, Robinson's Galleria

If you didn't know any better, you might think this film is about an American Indian named The Brave One. British actor of Indian descent, Naveen Andrews though has a very brief role. So in this case, The Brave One would refer to Erica Bain portrayed by Jodie Foster in yet another kick ass female role.

Erica Bain is known as the Voice on her radio talk show. She records a myriad of sounds one hears in New York City then gives her audience a running commentary. The nitty gritty part of the city not the touristy sections. One evening during a stroll in Central Park with her fiance, they are viciously attacked by thugs for some cheap fun. David is killed while Erica survives but is deeply scarred both physically and emotionally for life. Frustrated by the slow justice system, she turns into a nocturnal vigilante.

While the movie does have violent scenes, they are shot in a way that they don't overwhelm your senses in a jarring way. Well not mine, anyway. In some ways it was justified because she was avenging the death of her fiance but on the other hand she was taking the law into her own hands.

Instead I believe the main gist of the film as presented by Neil Jordan, the Irish director (Crying Game, The End of the Affair, Michael Collins) is the anguished transformation of Erica Bain's personality. In the beginning of the film, she is depicted as a contented soon to be married woman. After the tragedy, she becomes a deeply frustrated person with paranoid tendencies. The first time she fires her gun was clearly to defend herself against an attacker. She is shaken yet at the same time is totally calm and feels empowered. Erica Bain was a pretty complex character and it helps that a fine actress like Jodie Foster gets to essay out her conflict ridden personality. Her steady and sturdy performance gave an otherwise predictable plot a grittier edge over your typical Dirty Harry or Death Wish flicks. Once in a while, it is refreshing to see a film with a strong female character in the lead role.

The fact that Terrence Howard is also in the cast is another big plus. Another good actor who seems to be relegated to supporting roles, his portrayal of Detective Mercer was subtle yet forceful at the same time. I like the chemistry which developed between Erica Bain and Detective Mercer, it seemed natural and not merely sneaked into the script to give it some romantic angle.

Overall, the film succeeds in showing a justified vigilante only because her need to avenge the death of a loved one was more powerful than a need to get rid of the bad elements in society. I don't condone violence nor do I feel that people have to take the law into their own hands to bring about justice in this world. But sometimes don't you just wish it was as easy as shooting a criminal point blank then simply getting away with it? OK so don't answer that, it's just wishful thinking on my part.

A well directed film which although lasting almost 2 hours, the sequences were not dragging nor boring to watch. It had the correct amount of thrilling moments, a bit of comedic dialogue, a poignant story amidst the violent scenes set in a gritty city that never sleeps, New York. Its top notch cast is an added bonus!

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DISTURBIA

Shia LeBoeuf, David Morse, Carrie Ann Moss,Matt Craven,Sarah Roemer, Aaron Yoo

"Every killer lives next door to someone"

Cinema 3, Shang Cineplex

Disturbia which comes from a play on words from “Suburbia” starts off pretty intense. Within the first ten minutes, you feel a lump in your throat as you witness the horrific car accident which claims the life of Kale’s (Shia LeBoeuf) father. This scene comes right after you see a heartwarming father - son bonding moment while fly fishing. It was quite unnerving.

Then you settle down and patiently wait then wait some more for the nitty gritty parts to get rolling. By that, I mean the part where you know there is a serial killer (David Morse) living next door so you expect some gory blood splattering moments. A year later, Kale has an electronic ankle bracelet to monitor his movements for three months. His ‘punishment’ after he punched his Spanish teacher in the face. So how does a teenager with all the modern electronic gadgets at his disposal while away his boredom? He turns into a voyeur by spying on the comings and goings of his neighbors, particularly on Ashley, who just moved in next door with her parents. By this point, you start wondering if this is yet another teen flick where a teen aged peeping tom with his token Asian best friend (Aaron Yoo) tries to establish some love connection with his new female neighbor, Ashley. (Sarah Rohmer)

Meanwhile, you only get bits and pieces of information on the criminal activities supposedly perpetrated by creepy next door neighbor, Mr Turner. A news report on the TV, a passing glimpse on a newspaper article, suspicious behavior from said neighbor and a whole load of paranoid assumptions from Kale.

You tell me if you had to pick between a frisky teen aged voyeur and a creepy serial killer which one would be the more fascinating character to explore? The latter, right? But yes I realize the main premise of the movie is the voyeuristic tendency of the main character but this only proves that if you are a nosey person then you truly deserve the more than you bargained for share of trouble.

The chill factor comes in the final moments of the film, a tad too late and too in your face for comfort. Accompanied by the standard ingredients for scare tactic scenes - the loud dramatic creepy music, the flashing of lightning and the dark basement with floating bodies. It felt like in the course of the film they realize they are running out of tape so they just haphazardly throw in the good guy is chased by the villain scene just to give the film its climax.

The movie has a lot of loopholes but it is mainly salvaged by the fine acting performance of Shia LeBouef. A young actor whose facial expressions can change within seconds. He projects well on screen and has a wide acting range for someone so young. He shows potential and hopefully he doesn't waste it in some teen flick. The towering frame and gruff voice of David Morse makes an excellent villain, for sure. But they should have developed his multi-faceted character more instead of merely showcasing him as some menacing figure who harassed girls in a parking lot.

This film was touted as the “Rear Window” for the MTV generation. This is definitely not a Hitchcockian thriller. The more shocking part (for me) came when Kale pointed out to Ashley she is ‘different’ from the average teenager in this age of the iPod, YouTube and the Internet. Why? Because get this, she reads books instead of partying. Now that’s disturbing.

BOURNE ULTIMATUM

Matt Damon, Joan Allen, Julia Stiles, Albert Finney, David Straithairn, Paddy Considine, Scott Glenn

"Remember everything. Forgive nothing."

Well what do you know?

Jason Bourne (Matt Damon) is still desperately trying to find out his true identity. It doesn't help that he is still being relentlessly pursued by the CIA, the very agency he was an integral part of from the very beginning. Pursued, hunted and chased by well trained assassins and dodging them through panoramic locales (Moscow, Turin, London, Spain, Tangiers and finally New York) Bourne once again proves he is a worthy opponent. He gets embroiled in another covert project named "Operation Blackbriar" which his superiors are determined to keep as clandestine as ever as most government projects tend to be.

The good thing about this final installment is that it is pretty compact and coherent in itself, it can stand on its own. I mean you don't have to rack your brains over what happened in the first two Bourne films ("Bourne Identity" and "Bourne Supremacy") to understand the story. But I admit I did watch the first two films a few days later (yes I know I should have watched them before not after, oh well!) in the comfort of my home with my beau so I could reacquaint myself with the characters. But in "Bourne Ultimatum" certain flashback scenes are neatly intertwined within the fast paced sequences. It helps jolt your memory a bit.

I also like how the plot wraps up by tying up the loose ends. Finally the scattered pieces of Jason Bourne's disruptive life are being pieced together for some closure. It's about time too, I said to myself as I watched the end credits roll by. My head still reeling from the almost 2 hours of non stop action which just unfolded on the big screen.

The ensemble supporting cast like David Straithairn, Julia Stiles, Joan Allen all contribute forcefully well in their artistic range. Even Albert Finney and Paddy Considine did good in their brief yet significant roles in this spy thriller. But of course, the main attraction and rightfully so is Matt Damon. His Jason Bourne is more mature, more character driven and has evolved quite well in this final installment. This interview in a Guardian article gives you a glimpse into how driven Matt Damon was in this role.

Non stop action from start to finish, edge of your seat gripping spy thriller! It is well acted with a good reliable cast. It has neatly edited scenes. A coherent fast paced and suspenseful plot. Good direction from Paul Greengrass who occasionally used this shaky hand held camera technique. Thus some blurry headache inducing footage but nevertheless it was such an adrenaline rush! So I guess he can be forgiven for that cinematic style.

IRINA PALM

Marianne Faithfull, Miki Manojlovic, Kevin Bishop

CineManila
Cinema 4, Gateway Cineplex

"Irina Palm" is the alluring pseudonym given to Maggie who works at an adult shop. Well if you are smart enough, you could correctly guess the service she provides based on her moniker. But the thing is Maggie isn't exactly your typical sex worker. You see she is a 50 year old widow who lives in a quiet neighborhood in a British suburb. Driven by a desperate need to gather enough funds so her ailing grandson can seek medical treatment in Australia, she suddenly finds herself working as a 'hostess' in an establishment appropriately named Sexy World. I should probably mention that Maggie as Irina Palm doesn't come face to face with her clients but merely provides the service through a little discreet hole in a wall.

The film although dealing with an obviously vulgar topic amazingly didn't come across as crass and sleazy. It helps that the male anatomy in question was never shown on screen. The camera angle would focus on Maggie's face so her work was simply implied by her gestures. There is a certain poignancy reflected through Maggie. She is obviously embarrassed about her work and goes to great length to keep it a secret from her family and her friends. The first time she tried it she was very uncomfortable about the whole situation, openly cringing each time the client finished. But it came to the point where she managed to detach herself from her 'activity' by making herself and her environment as homey as possible. She would go to work and get into her work clothes which looked like your average cleaning lady with an apron. I suppose in some ways she did provide some sort of cleansing. She even decorated the little room with picture frames of paintings from her house. I figure that was her way of coping with the terms of her very unusual job. Soon enough, word got around and she became "the best palm in London", with men lining up outside her booth to experience her unique service.

Marianne Faithfull, a renowned singer in the 50s (way before my time so I'm not familiar with her songs) portrays Maggie/Irina Palm. Her portly matronly demeanor was perfect for the role. She was able to convey a wide array of emotions. Funny, sad, poignant, even pitiful that a woman of her age range doesn't get too much opportunities in life. But mostly it is her undying love as a grandmother to provide her ailing grandson a new lease on life which would tug at your heartstrings.

I salute the fact that Sam Garbarski, the director was able to focus on the human beings involved in these type of business. He could have easily made it a sex oriented film but to his credit, thankfully he didn't. This quirky little film will make you cringe, laugh, cry and everything else in between! "Irina Palm" was the last film, I caught at the recently concluded Cine Manila.

2 DAYS IN PARIS

Julie Delpy, Adam Goldberg

Cinema 6, Gateway Cineplex

"He knew that Paris was for lovers.
He just didn't think they were all hers"

It is truly rare that everything I've obsessed about endlessly all blend together in just one movie. Let me elaborate. Paris is my favorite city in the whole world. I love the French language. Julie Delpy in my book can do no wrong after I saw her in Richard Linklater's "Before Sunrise", "Before Sunset" and even in her brief role in Jim Jarmusch's "Broken Flowers". This film which she wrote, starred in and directed deals with relationships which is among my favorite topics to discuss into bits and pieces. Even now that I am in a serious and healthy relationship, I still analyze every aspect to the point of obsession. So it isn't a surprise that I saw this film, twice with two of my favorite people. First with my beau, then a few days later with my sister.

Alright, enough with the long winding intro, let’s move on to the film. Marion (Julie Delpy) and Jack (Adam Goldberg) are a couple who have been together for 2 years. Theirs is a cross cultural relationship. She is French and a photographer, he is an American interior designer and they live together in New York. After their vacation in Venice, Italy they spend 2 days in Paris at her place before they head back to the US. It just so happens that her goofy parents live below them.

It is in Paris, the city of love where their relationship is put to the test. It slowly begins to unravel and frays at the seams. Despite being a couple for 2 years, it seems Jack and Marion don’t really know each other all that well. Both of them are equally neurotic and eccentric in their own ways. Marion has an eye defect which affects her vision yet she takes pictures for a living. Jack is a hypochondriac yet he is covered with tattoos. Yet their romantic chemistry is clearly evident, never mind if they bicker all the time. For 2 days, as Marion reacquaints herself with her city, her friends and her family, she drags Jack along for the ride. Jack, a paranoid Jewish American in Paris is overwhelmed with culture shock. But it is his view of Marion who is in her elements in her familiar surroundings which suddenly changes in each frame as the film progresses. He turns into this jealously insecure in his own skin boyfriend who suspects everything bad about Marion. These instances are manifested in funny situational scenarios which elicit chuckles and even loud laughter. Yet if we analyze it down to the core, it is a seriously rude awakening for Jack. It is painful to watch a relationship which seemed solid in the beginning of the film suddenly begin to fall apart. The ironic part is that it happens in Paris of all places. So while it is Marion who guides the audience through an on and off again narration, it is clearly Jack’s point of view about the relationship that sustains the entire film.

Except for a few psychedelic shots of blurry images, the insertion of catchy French tunes to liven some scenes, the plot is pretty concise and coherently executed. Typical Parisian scenes like going to the market on weekends, attending art shows, even the different encounters with all sort of taxi drivers are authentically depicted. Rapid witty dialogue reigns as the two main characters have very good repartee. Julie Delpy and Adam Goldberg act effortlessly and convincingly that you forget they are actors. Most of the amusing part of the film occurs when Marion’s parents are in the scenes. They are portrayed by Julie Delpy’s real parents (Albert Delpy and Marie Pillet) who happen to be good French actors in their own right. The best part for me though is in the last few minutes of the film. The conflict is at its peak, an emotional confrontation ensues. Jack and Marion’s faces are expressively fraught with emotions as they desperately try to resolve the different issues - it all unfolds as Marion’s voice over narrates the muted yet poignant scene. Brilliantly executed and well acted scene, I’d say!

Yes obviously, I loved this directorial debut film of Julie Delpy. It was realistically honest, very straightforward, a refreshing departure from the usual ‘love story’ angle and downright hilarious too!

GOODBYE BAFANA

GOODBYE BAFANA
Joseph Fiennes, Dennis Haysbert, Diane Kruger

"Based on the memoirs of Nelson Mandela's prison guard"

CineManila
Cinema 7, Gateway Cineplex

The true story based on the book written by James Gregory, the white South African prison guard of Nelson Mandela is a simple film which deals with sensitive subject matters. Discrimination, racism and the effect of the Apartheid policy during those turbulent years in South Africa's history but more importantly it is an interesting case study of one man's character development.

Joseph Fiennes portrays James Gregory from the time he was a young officer assigned to Robben Island till the time that Nelson Mandela is released after serving a 27 year prison term. As a young officer, he is still quite idealistic and full of 'hatred' towards the black South Africans. He is ably supported by his ambitious wife who is portrayed by the German actress, Diane Kruger of "Troy" fame. Gregory's ability to speak the local dialect puts him in close proximity whenever Winnie Mandela visits her husband to basically spy on their conversations for any traces of subversive activities. Eventually, his conscience as a human being prevails, we bear witness to the compassionate nature of Gregory as a special bond develops between the two main characters. The film allows us to see a different but rather unknown facet of Mandela, that of a prisoner as opposed to the larger than life figure that he has come to symbolize. But it is rather limited because after all, this film is about James Gregory's stint as a prison guard in Robben Island.

A subtle yet effective portrayal by Joseph Fiennes gives his character as well as the film some heartfelt emotions. Everything from the way he dresses to his South African accent is cleverly executed by Fiennes who in my opinion is the better actor between the two brilliant (Ralph) Fiennes brothers. His acting style doesn't involve over the top theatrics nor does he have a strikingly attractive demeanor yet he always effectively portrays each character with gusto. The only issue in this film anyway is how Gregory didn't seem to age much visibly as the years rolled by.

Dennis Haysbert's version of Mandela is good but not as forceful as I wanted it to be. He somehow lacked a certain charisma which seems to exude from the real Mandela. But as I said earlier, this isn't a film exclusively about Mandela so I guess Haysbert can be forgiven for it.

The setting is a bit constricting as it is limited to the prison island, the quarters of the Gregory family as well as the cramped prison cell of Nelson Mandela. Eventually, it evolves to the other places where Mandela was incarcerated throughout the years. But it provides a good solid background as the real story isn't about the island but the respectful bond which formed between a prisoner and his jailer. A grainy and 70s tone envelops the entire film which helps in making the events more authentic and realistic. The plot does move at a slow pace but it is still cleverly edited so the audience doesn't really get too bored watching it. Well at least I wasn't bored.

One question though that etched in my mind as the end credits rolled by after they flashed on screen what happened to the real Gregory and his family is - who exactly is Bafana and what happened to him? I think the film makers should have done some more research on the little boy, Bafana whom Gregory befriended when they were both kids. It does make me wonder if he really existed or if the film makers just added him as some sort of symbolic character. An illusion to show that Gregory as a person wasn't entirely a bigot since he himself grew up playing with 'the enemy' so to speak. It would have been more significant if they just mentioned even in passing about Bafana but I guess with Apartheid tearing the country apart during those tumultuous years, it would be impossible to trace him down, that is if he really did exist in the first place.

Fair enough!

VOLVER

Penelope Cruz, Carmen Maura, Lola Duenas,
Blanca Portillo, Yohana Cobo

Cinema 1, Gateway Cineplex

A vintage Pedro Almodovar flick with strong, feisty and multidimensional female characters reigning supreme. To reveal more about the plot would be sacrilegious because Almodovar presents this film in such a visually enticing manner, you have to experience it with your own eyes.

From the opening scene of a very windy day at the cemetery to the gastronomic feast at the restaurant, to the way his camera pans on the tissue paper as it absorbs blood - every minute detail of each scene is efficiently captured, you can't help but be awe struck at the cinematic treat. As usual, Almodovar chose women as his main characters. Women of all age, type and personality living in a world where they strive, where they do everything and where men are mostly portrayed in a bad light and/or non existent.

The sometimes funny dialogue is clearly enunciated in that normal rapid manner incumbent of the Spanish language. Several Spanish/Latin customs like the cleaning of grave sites, kissing noisily on both cheeks as a form of greeting and the whole family bonding experience centered around meals are also realistically shown with some added quirky nuances. The setting is a typical little rural Spanish town with its inherent picturesque charms like cobble stoned streets and white houses.

But I have to defer to the fact that the reason this film succeeds in telling a somewhat quirky story is due largely to Penelope Cruz. She simply radiates in this film! Her portrayal of Raimunda, a single mother with complex troubles who continues to strive in the wake of several adversities is superb. I have always believed that Penelope Cruz is best seen in Spanish movies than in those inane Hollywood ones where her English with an awkward accent tend to interfere with her acting. In "Volver" she is at her best elements. Almodovar knows exactly how to fully exploit her acting abilities. The only thing I felt was somehow out of place is the part where Raimunda (Penelope Cruz) starts lip syncing the song "Volver". It seemed forced and you could tell it wasn't her singing voice at all. But she still remains the very heart and soul of this film.

Of course she is ably supported by other good Spanish actresses. Each of them combining to give powerful performances worthy of praises. This film really deserved its numerous nominations at several award giving associations as Best Foreign Language film for 2007.

PARIS, JE T'AIME

"PARIS, I LOVE YOU"
Natalie Portman, Elijah Wood, Marianne Faithfull, Steve Buscemi, Rufus Sewell, Gaspart Ulliel, Daniel Podalydes, Miranda Richardson, Juliette Binoche, Gena Rowlands, Fanny Ardant, Nick Nolte, Gerard Depardieu

"Stories of Love. From the City of Love"

18 short stories by different directors all set in Paris, France. A montage of films each lasting about 5 minutes, cleverly edited which depicted snippets of life in the French capital. Each segment was directed by a different director and surprisingly every episode has a beginning, a middle and an ending which doesn't leave you hankering for more.
Directors like The Coen brothers, Alexander Payne, Walter Salles, Gus Van Sant, Daniel Podalydes to name a few all collaborated to come up with this refreshing concept to showcase the City of Lights through short love stories.

Stories with all kinds of emotions (sad, happy, strange, poignant, melancholic, quirky), different techniques (some had dialogues, a few were narrations, some were like silent movies, all of them with stunning cinematography), different genre (drama, musical, comedy, tragedy) and a variety of languages (French, Arabic, English, Spanish, Chinese)
A must see for lovers of Paris. The title of each episode is a locale in the French capital, places like Bastille, Montmarte, La Marais, Quais de Seine and so on and so forth. Actors from the different divides of the globe graced this film with their creative talent. The ones worth mentioning are Natalie Portman, Gaspart Ulliel, Fanny Ardant, Bob Hoskins, Rufus Sewell and yes even Steve Buscemi in a really quirky episode directed by the Coen brothers of "Fargo" fame.

My personal favorites are:
The one directed by Alexander Payne (Sideways) entitled "14e arrondissement". A Denver mailwoman, in short an American tourist amusingly narrates her Parisian trip in a heavily accented French as the camera pans to the different places she explores. The way she pronounces each French word, though correctly done, is funny because of her charming naivety.
Isabel Coixet directed "Bastille". A man in his 50s is about to leave his wife whose favorite item of clothing is a flaming red trench coat. Just as he is about to announce his intention, she tells him she has terminal cancer. The way he takes care of her throughout her illness was poignant and sad. In his attempt to quit loving her for her inadequacies, he ends up falling in love with her all over again only to lose her forever.

A montage, a collage, a medley, a travelogue - call it whatever you want - the fact remains that "Paris, je T'aime" is one delightful film to experience!

PREMONITION

Sandra Bullock, Julian McMahon, Kate Nelligan, Nia Long,
Peter Stormare, Amber Valleta

"Reality is only a nightmare away"

The movie starts off a bit slow as we are introduced to the characters. Linda (Sandra Bullock) is a SAHM (stay at home mom) with two young daughters. Her life has settled into a routine. Her husband, Jim (Julian McMahon) is mostly away on business trips. One day, the sheriff shows up at her door to announce that Jim died in a horrific car accident out of town. Things evolve and gets mildly interesting when Linda wakes up the next day to find out her husband isn’t dead. But this isn’t a case of mistaken identity. Neither is it a ghost story. Although there are traces of that Bill Murray movie “Groundhog Day” where he keeps reliving one particular day, over and over again, “Premonition” borders on an entirely different premise.

Without giving out much of the plot since it is better to watch it unfold, I figure the main message is - if you could change or prevent something from happening because you knew its outcome beforehand, would you? Or would you let destiny unfold and just make the most of the situation as it occurred? Or does altering a single event in your past really affect the way your life would unravel in the present? These and more questions abound when you see this film. I am not implying that the film is pretty deep like “The Eternal Sunshine on the Spotless Mind“. Nor does it twist and turn your mind like “The Butterfly Effect“, it doesn’t. Yet it does get you thinking about life in general.

Having said that, the film is not without flaws. There are gaping loopholes you can spot a mile away. Yet the way Mennan Yapo, the director chose to execute the storyline does have some thrilling moments which will grip your senses. He could have used the time tested technique of flashbacks or to simplify matters, he could have flashed the specific day everytime Linda woke up but he didn’t. He preferred to let the audience figure it out for themselves what day it was and what would unfold on that day. So if you pay close attention, it would be pretty easy to figure things out. Although it can get a bit confusing sometimes to put the complicated pieces together. I guess it is fair to say that it gave me a headache but only because it was pretty late when I watched the film so my coherence level was a bit off. For instance, I wasn’t acute enough to notice the events which brought about the little twist at the ending. But now that I think about it, it surely does make sense after all.

Sandra Bullock did good in her taxing role given that her character was in every frame. She has always been a believable enough actress to portray these type of roles where it pays to be subdued and not resort to over the top hysterics. Julian McMahon is and always will be eye candy material. His role is rather brief in this film to make any significant impact. I was a bit surprised that Peter Stormare was cast as the psychiatrist. He came across as a thug instead of a nurturing physician so thankfully it was just a small part.

Overall, the movie does convey that during the course of our hectic and monotonous life, we tend to lose sight of the more important things. We fail to acknowledge the relevance of our life. We often strive in a purpose-less existence. The film doesn’t really give you the answers but at least it gets you thinking twice or even thrice. I guess that should count for something, right?

LICENSE TO WED

Robin Williams, Mandy Moore, John Krasinski, Christine Taylor, Peter Strauss, Roxanne Hart, Josh Flitter

"First came love ... then came Reverend Frank"

Cinema 6, SM Megamall

I reckon being Robin Williams isn’t easy. Not when people expect you to be funny in every single comedy that you appear. But ultimately, people need to understand that an actor is only as good as the script/plot entails. I mean is it really fair to blame Robin Williams for this flop? Or do we shift the blame to the other stars in this dismally disappointing film? Mandy Moore’s refreshingly tall figure (my polite way of saying she is an average actress) didn’t do much to salvage the film. While John Krasinski of “The Office” fame (a TV show not included in my list of shows to tune in to every week) appeared painfully rigid in some if not all the scenes. And Robin Williams well he was trying desperately to just be his usual goofy self.

So I’d blame the lack of creative talent on the part of the scriptwriters. Surely the premise was good. An overtly eager to the point of being obnoxious reverend makes engaged couples take his personalized marriage preparation course. A kind of test to judge if they are indeed ready for the trappings of married life. The course has a list of rules like “no sex before marriage” and inane silly exercises the enrolled couples must engage in. Such as carrying the bride over the threshold, dealing with crying babies (freaky dummies which look more like gargoyles than cute infants) and simulating different scenarios so the couples would know how to react during such situations. It is during these situational comedic moments where the film really falters. Somewhere between the point where Reverend Frank wiretaps their phone to eavesdrop on Sadie and Ben to the point where a conflict arises, you simply stop caring if they pass the darn course or if they even get married, after all. Yes it was that bad, unfortunately.

Since I’m a positive type of person or at least I try to be one, I need to strike a balance and find something ‘good’ about the film. I guess the ‘nice’ thing about the film would be the fact that it deals with weddings or planning one. And yes weddings or planning one is indeed stressful and hectic but it is also a happy and exciting occasion to bond as a couple. So if nothing, this film shows us how Sadie and Ben connected together as a soon to be wed couple. They dealt with conflicts amicably, always being bright and cheerful when troubles arose even though Reverend Frank was hell (no pun intended) bent on ruining the rosy picture.

Oh huh does this mean that Robin Williams is indeed the culprit? The one who ruined the film? Hmmm I guess so! Because even the outtakes at the end of the movie wasn’t funny. Oh dear, I rest my case!

HARRY POTTER AND THE ORDER OF THE PHOENIX

Daniel Radcliffe, Emma Watson, Rupert Grint, Michael Gambon, Alan Rickman, Maggie Smith, Imelda Staunton, Emma Thompson, Ralph Fiennes, Gary Oldman, Helena Bonham Carter, Julie Walters, Brendan Gleeson

Cinema 5, Greenbelt 3

Every time I see a Harry Potter movie, I feel the need to explain that I haven't read any of the books by J.K Rowling and nor do I intend to in the near or distant future. It is simply not my genre of reading material. Be that as it may, I still watch the movies for a variety of reasons.

First - the stunning imagery. The wizardry of the graphics department's ability to transport a set into a place of magic. Floating candles, talking paintings and the whole gamut of fascinating characters, human or otherwise that abound in Hogwarts and its environs are always fascinating to watch.

Second - the fluidity of the story line. I recognize the fact that a story of such magnitude is very difficult to present on screen. Yet at the same time, I believe the director has the prerogative to pick out the parts which he feels would make the most impact on the audience. The film although long (which is understandable) seemed rather concise and the story was presented in a coherent manner. Although it does help to see the film with someone who has read the book (in my case, my sister), I still felt like the story was well told. But then I guess it won't be fair for me to say for sure that it was a good adaptation of the book. So I won't go there.

Third - the ensemble cast. It is peppered with some of the British film industry's stellar actors and actresses. Gary Oldman, Ralph Fiennes, Alan Rickman, Emma Thompson, Imelda Staunton, Helena Bonham Carter to name a few. They are all very talented artistes in their own right. They were all a delight to watch as they essay their roles with much flair and panache.

Lastly, sometimes it just feels good to watch a film where good always triumphs over the dark forces of evil. Even if the journey is peddled with hindrances and obstacles, the fact remains that we don't give up easily and keep trying till we succeed. Besides a little bit of magic never hurt anyone.

In conclusion, I think it is fair to say that one feels like a joyful parent beaming with pride as the three main characters - Harry, Hermione and Ron - are practically growing into young adults right before your eyes. Oh boy now I feel old! Heh!

LIVE FREE OR DIE HARD
Bruce Willis, Justin Long, Maggie Q, Timothy Olyphant, Cliff Curtis

Cinema 11, SM Megamall

John McClane is back in the fourth installment of the Die Hard series. The first time "Die Hard" was shown over 20 years ago, it was considered a gritty, action film with a loser type yet wise cracking cop fighting against "thinking" terrorists, but back then they were simply known as bad guys. A one man army against a band of technologically sophisticated bad guys out to wreak havoc.

Fast forward to current times in an age where TV shows like "24" and "Prison Break" reign supreme, "Live Free or Die Hard" pales in comparison to the edgy and gripping plots we are exposed to from those shows, every week. So granted that we had to sit for 130 minutes to see McClane blow away the bad guys, it was a far stretch. I guess in short what I am trying to say is that the novelty has worn off.

Ok but hang on all is not lost, director Len Wiseman did make it relevant to the times by making technology the main cause of the conflict in the film. A disgruntled ex employee from the Department of Homeland Security with an archangel sounding name, Thomas Gabriel is the protagonist. He gets all bratty when the software/server he developed to ensure the safety of a million citizens against terrorists attacks isn't recognized or developed by the US government. To prove his point, he attacks the main grid of every single system which runs the whole country to the point of complete paralysis. Isn't that the worst case scenario that the United States can experience in these volatile times? It definitely feeds to the paranoia that seems to be gripping the US at this moment in time.

But naturally John McClane is there to the rescue, ably supported by a young hacker/side kick type. A role essayed by Justin Long. A refreshing young actor who projects well on screen. Bruce Willis still has it in him to carry a movie but there is only so much he can do if the script limits his role. McClane this time is more subdued perhaps since he is much older but his wise cracking isms are sorely missed. His stunts are still well choreographed to get the adrenaline pumping and your ears busting from all that noise. The whole movie is filmed in this grainy, somber tone which Len Wiseman has used before in this "Underworld" series. So while it might be understandable to develop that style in a werewolf/vampire genre, I don't see the relevance in using the same technique in a supposedly action oriented film. But that's just me.

Anyways I suppose that Die Hard 4.0. is still entertaining enough so you won't fall asleep but it is nothing to lose sleep over, either.

Eiga Sai Japanese Contemporary Films 2007

All films will be shown with English subtitles. Screening venues are at the Cinema 3, Shangri-La Plaza Mall (June 20-26), UP Film Institute (July 2-5), and CCP Dream Theater (July 4-8).

Admission is free.

For detailed screening schedules and inquiries, please check the Japan Foundation, Manila website or call the JFM telephone numbers 811-6155 to 58.

Click here for the synopsis of the films

The screening schedule can be found here

OCEAN'S THIRTEEN

George Clooney, Brad Pitt, Matt Damon, Carl Reiner, Eddie Izzard, Vincent Cassel, Andy Garcia, Elliot Gould, Scott Caan, Casey Affleck, Don Cheadle, Al Pacino, Julian Sands, Eddie Jemison, David Paymer, Shaobo Qin, Bernie Mac, Ellen Barkin

"What are the odds of getting even? 13 to one"

Some reasons why I enjoyed Ocean's Thirteen:
George Clooney and the whole gang are back.
They have visibly aged but their camaraderie is still intact.
Sleek script, the plot is a lot easier to figure out.
No mind bending twists.
But the heist itself is still rather complex.
The 70s feel and look of the cinematography.
Grainy, sometimes out of focus camera angles.
The neat CGi effects like that hideous structure known as the Banks Hotel.
Vincent Cassel's very brief yet powerful presence on screen.
The few witty and funny dialogue which merit a chuckle or two.
The realistic capture of glittery and gaudy Las Vegas, the Sin City.
The steady acting of a subdued Al Pacino. Not much histrionics which works better.
The able performance of the supporting cast like David Paymer, Julian Sands Eddie Izzard and Andy Garcia to name a few.
The fashionable wardrobe which made them, well most of them look like models for GQ magazine.
The crafty direction of Steven Soderbergh.
Mostly it seems like they all have a lot of fun during the filming of these Ocean films and it radiates on screen.

Number 1 reason this film doesn't rank as my favorite "Ocean" heist:
Ellen Barkin's leathery presence. She was just added to put some ooomph in the film but they should have given her role to a male actor instead. Ugh!

By the way, my favorite among the trilogy is the very complex but cleverly written "Ocean's Twelve".

LES MAUVAIS JOUEURS
 (GAMBLERS)

Pascal Elbe, Simon Abkarian, Isaac Sharry, Lihn Dan Pham

12TH French Film Festival, Cinema 3, Shang Cineplex

Despite it being entitled "Gamblers" in English, this French film isn't about high rollers and casinos but more about people taking chances and gambling with their lives.

It is set in the Sentier district of Paris, the center of the garments industry. A sector also known for its large immigrant population. Vahe works for his father's textiles store which is on the brink of closing down. His girlfriend Lu Ann has left him and he is suddenly forced to take her younger brother Yuen under his wing and suffers the consequences of his act.

It is an honest glimpse into the life of a man on the brink of making choices and sticking to them. Volatile times reign in modern day France which now has an alarming immigrant population. But Vahe's story isn't about the difficulties an immigrant faces in his host country but about the everyday travails of a group of people who just happen to be immigrants. A life riddled with crime syndicates, petty crimes but at the same time these people now make up the backbone of France, today. Their lives are intertwined with the lives of other immigrants who all seek to make an honest living by doing what they know best. It is about the young Chinese laborers who works at sweat shop like factories. A restaurant run by the Chinese family of Lu Ann. It is about the Lebanese merchants who sells the textiles to these factories which in turn are run by Hungarian mob like characters. But it is also about compassion, about romance and about life in general as seen through the perspective of assimilated immigrants who live in harmony with each other.

Pascal Elbe who in my opinion looks like a rougher version of Eric Bana portrays Vahe. A somehow compassionate person who can't seem to make things work to his advantage. He is still in love with his Chinese now ex girlfriend, Lu Ann to the point of obsessively stalking her. He takes it upon himself to help her younger brother, Yuen who is a restless young man more focused on courting than actually earning a living. Vahe is mostly a rather common character in French movies with immigrant themes. A character guided by his heritage yet trying to adapt to his host country to the best of his rather limited ability. Usually they can easily assimilate within society yet they are still judged by their stereotypical behaviours.
In the same breath, Lu Ann is a young liberated Asian woman of Chinese ancestry who was born and raised all her life in France. She can hardly speak her native tongue and she aspires to be more than just a dishwasher/helper in a Chinese restaurant. But when she gets romantically involved with a fellow Chinese, her friend tells her that she will be better off with a French guy because "Chinese no good".

Although the story line is quite realistic, the editing could use some improvement. Certain scenes don't seem to coordinate with the main plot. They seemed too forced to make any relevance. The cinematography is true to its setting, a working class neighborhood which could really use some renovation. As is now common among French movies, there are no definitive conclusions to some side plots in the storyline. The director, Frédéric Balekdjian who is the son of Armenian immigrants loosely based the story upon his own life. He grew up in the Sentier district. Perhaps his idea is that the story of an immigrant or any person for that matter doesn't really have a conclusive ending as long as he is alive. The audience is left to form their own opinions about the fate of each of the characters once the end credits roll up in the dark theater. The question though is do we really care what happened to them?

THE MARCH OF THE PENGUINS

12th French Film Festival
Cinema 3, Shang Cineplex

I expected to see the French version of this known documentary about the flight of the emperor penguins since after all it is the French Film Festival, right? But lo and behold it was the Tagalog version with Sharon Cuneta (a local actress) narrating the story in her sometimes high pitched voice complete with giggles and trying to be cute effects. Blah! It was entitled "Penguin, Penguin paano ka ginawa?" ("Penguin, Penguin how were you made?") which is a play with words on a popular Filipino song or is it a poem? (I'm not sure) called "Bata, bata paano ka ginawa?" ("Child, child, how were you made?").

Nevertheless despite being visibly disappointed, this 85 minute documentary was interesting to watch, quite informative and educational. Drawing parallels with the trappings of human existence - it has all the necessary ingredients of a good story telling movie.

Conflicts in the form of some mother penguins trying to steal the other babies. Violence can be manifested through bitter fights among them as well as lurking dangers from menacing enemies (seals, eagles) in the chain. Romantic interludes once they choose their partners among the throngs of penguins and their mating rituals is like watching an elegant ballet dance. Laughter/joy mostly found at the sight of their little chick penguins hatching out of their eggs. Sad moments occur when some of the mother penguins die on their way back to the place where their hungry chicks are waiting to be fed.

Dramatic highlights in the life cycle of an emperor penguin include trying everything to keep warm during those unforgivable blizzards. Plus add in the cuteness factor - because ever so often you end up going "awww" every time you see an adorable furry little penguin chick shivering in the freezing weather.

But most of all I admire the fact that it is the male penguin who takes care of the egg for 4 months going without food while the female penguin goes off to hunt for food miles away from the breeding ground. How's that for (penguin) women's lib, huh?

As the French say "C'est genial!"

PERFUME: THE STORY OF A MURDERER

Ben Whishaw, Alan Rickman, Dustin Hoffman, Rachel Hurd-Wood

"He lived to find beauty. He killed to possess it."

12th French Film Festival, Cinema 3, Shang Cineplex

An olfactory visual feast about a young man, Jean Baptiste Grenouille who is on a quest to find the perfect scent. His quest turns into a dark obsession fraught with the murder of innocent young women. This movie based on a book entitled "Das Parfume" by German author Patrick Suskind. A clear crisp narration by an uncredited John Hurt ably guides you through the film. It starts off with a pretty bleak story of a very unusual young man. A young man misunderstood by society, incapable of forming human relationships but with a keen sense of smell which affects everything in his sight and in his life. It is set in 18th century France which was described by the narration as:

"In the period of which we speak, there reigned in the cities a stench barely conceivable to us modern men and women. Naturally, the stench was foulest in Paris, for Paris was the largest city in Europe."

So from the onset you brace yourself for a dismal depiction of a sad pathetic life. Yet as the movie progresses, you become a silent witness through the portrayal of the different scenes to Jean Baptiste's numerous experiences in his 'smelly' world. Cinematography was artistic to say the least with vivid scenes of a bright lavender field, the dark stinky marketplace of Paris to the lush greenery of the French countryside or the slow motion drop of compressed perfume oil. Haunting sounds effects of a beating heartbeat, the wails of a newly born baby as well as an operatic aria during some vital scenes gave the film some character. It is only towards the ending that the plot gets a bit convoluted and it seems a bit disjointed from the rest of the film. An odd and puzzling ending which is probably best explained in the book leaves you scratching your head and pondering "what was that all about?".

Dustin Hoffman was a revelation as the mentor who teaches Jean Baptiste Grenouille everything about the perfumery trade. A short but significant role nonetheless. Alan Rickman is always effective in any role he portrays. But the main praise goes to the young actor, Ben Whishaw who portrays Jean Baptiste. His innocent looking face sparkles each time he discovers a new scent. You can't help but totally commiserate with his fate. The whole movie naturally revolves around him. Whishaw's acting although a bit stiff in some scenes was overall credible and effective.

By the way, the film is entirely in English and not a single French word was uttered by anybody in the cast who ironically sported English accents not even trying to sound French at all. Strange! There is a hidden symbolic meaning to the rather bewildering ending but that shouldn't put you off the fact that Perfume is a very well made yet complex movie. But it is probably not really suited for every one's tastes.

According to Guiseppe Baldini (Dustin Hoffman) a scent has 3 chords. The head, the heart and the base. The head is the first impression you get from the smell. The heart is the main soul of the perfume. The base is the trail that lingers long after the scent has evaporated. I'd say this film also has 3 chords. You are first awed then you discover who Jean Baptiste really is and finally you realize it is one cinematic feast which will linger in your mind long after you've left the theater.

ZODIAC

Robert Downey Jr., Mark Ruffalo, Jake Gyllenhaal, Anthony Edwards, John Carroll Lynch, Brian Cox, Elias Koteas, Chloe Sevigny

"There's more than one way to lose your life to a killer"

Cinema 6, SM Megamall

This film is based on actual case files about a serial killer named "Zodiac" with references from the books written by Robert Graysmith. The San Francisco Chronicle cartoonist, portrayed by Jake Gyllenhaal who got obsessed by the case. David Fincher who also pegged "Se7en", "Panic Room" and "Fight Club" uses a now familiar visual technique prominent in most of his films. Dim, grainy images, a few jarring hand held effects to depict the era/setting of the film. "Zodiac" starts from the late 60s and spans 4 decades. To give the film a more documentary feel, the time frame was shown on screen to indicate the evolution of the case. But it distracted me because I kept trying to figure out "8 weeks later from which month?". Well I was never good in math, anyway!

The ensemble cast of mostly good actors essayed their well developed characters efficiently. Mark Ruffalo, Anthony Edwards, Robert Downey Jr and even Elias Koteas all sported the 70s look complete with wavy hair, bushy sideburns, bell bottoms and tight suits. But how come Jake Gyllenhaal still looked the same throughout the movie? OK granted that he portrays the author of the books upon which the film is based so he had a more lengthy role but it would be fair to say he actually had just one expression on his ruggedly pleasant face throughout the movie.

Of course how else can you expose the evil machinations of a serial killer without resorting to violent scenes? The violence was rather graphic in some shots and merely implied in other scenes so it wasn't too disturbing to watch. .It makes you wish that DNA profiling was available back then so that the killer would have been caught right away. Yet the very fact that technology wasn't up to par back then makes the "Zodiac" case and the film for that matter so engrossing to follow. Fincher presented factual information and thankfully didn't sugarcoat it with any embellishments to give it some dramatic effect for Hollywood sake.

Yes, the film is long but it was cleverly edited in such a way that every scene was vital for the audience to get a better grip on the case. It had the right mix of gripping suspense, tinges of violence, good repartee among the actors and a coherently solid plot to sustain your attention.

PIRATES OF THE CARIBBEAN: AT WORLD'S END

Johnny Depp, Orlando Bloom, Keira Knightley,
Geoffrey Rush, Bill Nighy, Keith Richards, Stellan Skarsgard, Chow Yun Fat

Cinema 8, SM Megamall

"At the end of the world, the adventure begins."

I watched this film a week ago and all I can recall from its merry twists and turns of a plot is Johnny Depp with his thick kohl eyeliner makeup as Jack Sparrow hallucinating in Davy Jones's locket.

I guess it says something about a movie when despite it being over 2 hours , the only scene which stuck to my mind is a hallucination. Truth be told, I've long forgotten what happened in the second installment (Pirates of the Caribbean: Dead Man's Chest) of the franchise. So while I was still familiar with the main characters like Elizabeth Swann, Will Turner, Captain Barbossa, Davy Jones, the two goofy pirates (Pintel and Ragetti) and of course, Jack Sparrow, I felt like I myself was abandoned on an island somewhere so I was totally disoriented.

Numerous subplots abound (much like the first 2 films) but the main technique of visually stimulated scenes still held fort. Swashbuckling fight scenes, a wide array of merry characters hopping from one ship to another traveling the high seas, the muted romantic angle between Elizabeth Swann and Will Turner, the comedic dialogue, the good computer generated effects - all contribute to make Pirates 3 a highly entertaining senseless fun movie to watch. At the same time, certain humanely poignant scenes like Will Turner becoming the captain of the Flying Dutchman and Davy Jones returning to his 'human' form give the film some soulful interpretation and doesn't relegate it to some inconsequential frolicking romp at sea.

The much awaited appearance of Keith Richards though was a bit disappointing because it was very brief. It would have been more interesting if they added and developed that side plot more extensively. Chow Yun Fat's character in my opinion didn't contribute anything significant to the plot. He didn't make a dent in the whole shebang. It seemed like a wasted effort on his part. As was customary with the first two Pirates movies, just when you thought that some conflicts were nicely resolved, another conflict arose from the turbulent seas. The film though was cleverly edited in such a way that there is no dull moment and every scene is vital for the fluidity of the film. I like the fact how loose ends finally yet slowly after much dilly dallying got some closure.

So while it was implied that there might be more Pirates films in the offering, I believe this one was a fitting end to the trilogy. Surely Jack Sparrow needs to take a bow and make his graceful exit from the world of the cinema and go back to where he belongs - a character on a Disney theme park ride where he can regale us with his charming presence.

Parlay!

FRACTURE

Anthony Hopkins, Ryan Gosling, David Strathairn, Rosamund Pike, Billy Burke

"If you look close enough, you'll find everyone has a weak spot"

Cinema 6, Galleria

The trailer for "Fracture" practically reveals everything about this thriller. It is marketed as an open close case with a twist but the film makers also piqued our interest by suggesting things aren't as easy as they seem in this murder mystery. If it was, then why bother watching it, right?

Ted Crawford (Anthony Hopkins), a wealthy aeronautics engineer shoots his wife at close range after he discovers her affair. He confesses to the detective in charge, is arrested then arraigned for trial. Willy Beachum (Ryan Gosling) is a young public defender with a foot out of the door as he embarks on a his new career in a private law firm. He takes the case assuming it was an easy one to handle but ends up embroiled in something more that he bargained for.

Without revealing much of the plot and its neat little twist towards the end, let me point out the main draw(s) for this average film. It is the two lead stars who essayed their roles with credible conviction. Anthony Hopkins as the wily and cunning perpetrator of the 'perfect' crime was brilliant. He does have a tendency to mumble some of his lines in his other movies but surprisingly and pleasantly so in "Fracture" he delivered his dialogue with a clear diction and sharp eloquence. His portrayal of Crawford as this beguiling aeronautics engineer was at best cunningly smooth with traces of menacing demeanor. His shifty eyes, his eloquent play with words all framed in a subtle almost creepy demeanor gave him the edge over his other co-stars.

Ryan Gosling impressed me with his role in "Murder by Numbers" but totally repulsed me in "The Notebook" and I have yet to see him in his Oscar nominated role as a teacher in "Half Nelson". Here he is a young ambitious and somewhat arrogant attorney named Willy Beachum and he was effectively good. He didn't come across as too forceful yet at the same time, neither was he a weak character on screen. He was just right for the role. It is interesting to note how Willy's character developed from a complacent attorney whose mind wasn't wholeheartedly in the case to that of an ethically moral person who decides to pursue Crawford relentlessly to enforce justice and bring proper closure to the crime.

The scenes which make the most impact are the repartee between Gosling and Hopkins. Granted that they will naturally have scenes together because he is the opposing counsel in the case, it was nonetheless refreshing to watch these two good actors 'battle' it out on screen. Neither of them chose either consciously or unconsciously to steal the scene from the other. Good chemistry and rapport maybe a sign of respect between the two actors shone through the film. No hysterical over the top acting just pure exchange of adroit straight to the point delivery of dialogue.

It is directed by Gregory Hoblit who also pegged that visceral courtroom drama "Primal Fear" which in my book launched the career of Edward Norton. "Fracture's" thin story line does have its weak points like a romantic angle between Gosling and Rosamund Pike which fizzles out even before it begins. Certain questions do abound, but overall the little twist in the end seals the deal. This film isn't exactly as gripping as a John Grisham courtroom drama but neither does it qualify as a bad episode of any of the Legal TV shows like "The Practice" or "Boston Legal". It takes its time to flesh out the characters. The plot moves at a slow pace until the ending where everything starts to quickly make sense complete with loud thumping music enough to get your pulse racing. So I reiterate that the presence of two solid actors who portray complex yet contrasting characters is worthy enough to see this average crime thriller.

SPIDER-MAN 3
Tobey Maguire, James Franco, Kirsten Dunst, Dallas Bryce Howard, Topher Grace, Thomas Hayden Church

"How long can any man fight the darkness ...
before he finds it in himself?"

Cinema 5, Greenbelt 3

The main issue with a film being the 3rd installment in its franchise is that it would invariably be compared to the original and its sequel. I don't like comparing anything in life, most of all movies so I won't get into whether Spidey 2 was better than the first Spidey or if Spidey 3 even deserved to be made. Instead , I will focus on the merits of the film based on what I liked and what I didn't like about it. Fair enough, right?

The opening credits of the film starts with a montage of scenes from the first two films shown on these glass cut panels rotating around accompanied by some loud music. A cutesy little voice over from Peter Parker himself pans us into the main story. Things are going well for Spidey. He is a top student in class, his romance with Mary Jane is steady and he is adored by a hero worshipping public. Then we are introduced to not 1, not 2 but 3 villains all out to give poor Spidey or more specifically the stuntmen something to do in the film. Cleverly choreographed fight scenes with loud heart pounding music as well as CGI enhanced techniques ensues. The film didn't hold back in the sounds department - sounds of metal hitting metal, loud thuds, shrieking non human noise from some black gooey meteorite stuff, ambient traffic noise. Masks wearing villains in the form of the New Goblin and Venom all add to the hugely entertaining factor of the film.

The main draw is a well buffed Thomas Hayden Church in a very 'sandy' performance as Flint Marko aka "The Sandman". After he has wreaked havoc on the streets of New York, you feel as if you're on a beach in Boracay with pesky sand oozing from every nook and cranny of your sun burnt body. The way Flint Marko evolved into the Sandman is a neat cinematic visual effect which merits a pat on the back of those hardworking graphic artists. It reminds me of the scene in "The Mummy Returns" where the sands shift into this big wave forming into the face of The Mummy. "The Sandman" was portrayed as a sympathetic villain and you can't help but believe that deep inside he didn't want to do any harm but he was merely a misunderstood petty criminal who was at the wrong place at the wrong time.

The somewhat amiss parts (I won't say 'bad' because it is too negative) are mostly wasted footage delving on the conflicted Peter Parker grappling with his darker alter ego personality. You know the one where he has bangs, wears that dark Spidey suit inside his clothes and he roams the streets like a creepy gigolo swaying like Travolta in "Saturday Night Live" dance moves. He shouldn't have resorted to acting like a goof ball, it just seemed so forced and totally off character behaviour. Then you have Mary Jane (Kirsten Dunst) not using her real voice when she sang during her off Broadway play as well as a waitress/singer in a jazz bar. But then it doesn't really matter anyway. That girl can't act even if her life depended on it. All she can do is shriek her lungs out as she hangs precariously from a tangled web mess atop a building. Yes I never liked Kirsten Dunst so it is useless for anyone to convince me otherwise about the obvious lack of her acting abilities.

Thankfully, director Sam Raimi cast the effervescent Bryce Dallas Howard as Gwen Stacy. Her luminous presence fared a whole lot better than the scruffy looking Mary Jane. Her hair dyed a glaring platinum blond accentuated her expressively set eyes. Even though it was a brief role and very cartoonish in nature, she registered well on screen. Topher Grace as the competitive freelance photographer Eddie Brock was a good 'sidekick' comic relief. The scene where Eddie Brock accidentally transforms into the hideous looking antagonist Venom is another worthy CGI art form.

The inner personality conflict which started brewing within Peter Parker/Spiderman added more character into his otherwise boring personality. It showed his vulnerability as a Superhero. That he wasn't a goody good hero after all. Let's face it if all he did was save someone from falling from tall buildings or fighting against much powerful enemies then it would be pretty boring. My thinking is that as an actor Tobey Maguire has a rather limited range. His detached expressions are mostly one dimensional limited mostly to this blank stare with bulging eyes throughout the entire film. The writers should have thought of something far more innovative than merely let Peter Parker have bangs to signify his alter ego. They should have exploited this side plot more to their advantage. Instead of portraying him as a goof ball with cheesy dance moves. The transformation of Harry Osborn into the New Goblin was a lot more interesting to watch. He had more range as Harry bent on avenging his father's death by killing Spidey. Then he hits a snag when he develops temporary amnesia but towards the end he redeems himself when he teams up with Spidey (his best friend) to defeat the enemies.

Overall, this film had its glaring flaws - underdeveloped characters, poorly edited scenes, wasted extra footage, numerous side plots - but the special effects (both visual and sound), the good ensemble cast and the action scenes make up for it. The recurring theme of lasting friendships, the triumph of good over evil and the familiar family oriented values still remained intact somewhere within the tangled mess of this Superhero movie. Although it may not be the best installment in the Spider-Man franchise, I was relatively entertained so be it.

EL LABERINTO DEL FAUNO

(PAN'S LABYRINTH)

Sergi Lopez, Ariadna Gil, Maribel Verdu, Doug Jones, Ivana Baquero

"Innocence has a power evil cannot imagine."

Cinema 7, Galleria

So while everyone was off to see Spidey weave his trail, I was happily ensconced in a dark theater getting awed by an enchanting fairy tale. The beauty that is "Pan's Labyrinth".

A film set in fascist Spain in the 1940s with two stories unfolding simultaneously onscreen. It is peppered by multidimensional real and mythical characters so genuinely authentic, you feel like you stepped inside the pages of a sombre yet fascinating book. Neatly narrated by the haunting voice of a menacing faun, you are easily transported into a magical world. Not necessarily a fun, cheerful place but it still has the same effect. After all, aren't most fairy tales frighteningly dark in nature?

All the usual ingredients for a dark fairy tale are present in this film. You have the lonely little girl, an evil step father, the slimy giant toad, the fairies, a magic chalk, the winding maze, the scary eyeless creature that eats children and of course the faun. Ofelia (Ivana Baquero), the main heroine in this film is a typical little girl, a somewhat lonely soul who escapes into a fantasy world to block out her apparently harsh young life. Well I wouldn't blame her. Her young life is doomed to be spent in a merciless place with her equally doomed pregnant mother and her sadistic, torture loving step father, Capitan Vidal (Sergi Lopez).

Beautifully filmed in a dark Gothic like atmosphere, the film shifts effortlessly between the real setting and the fantasy world. A damp muddy place provides the backdrop for the very authentic depiction of a small fort/village being inundated by the Communists. Scenes of bloody and violent rebel uprising as well as shots of brutal torture mostly perpetrated by the Fascist soldiers are disturbing images yet you can't help but watch with awe. The fantasy part though supposed to be a magical place is just as dark too. Images of a dim labyrinth, a hidden world which can be entered by drawing a door with a chalk are all cleverly shot with cinematic prowess. A place inhabited by scary and revolting creatures, you sometimes wonder if this is really a fairy tale. Even the fairies look creepy, if you ask me. But it is refreshing to come across a film where you can tune out every few minutes within the fantasy world and in the same breath be exposed to really gruesomely harsh facet of Fascist Spain.

The actors all gave powerful performances without upstaging each other nor did they deviate from the central plot. Sergi Lopez who I've watched in several French movies was masterful in his grand portrayal of Capitan Vidal. A Spanish/French actor with a chameleon like ability to portray mostly villain roles, he has always brought something unique to each of the antagonists he has portrayed in his numerous films. Here, he is this slick haired, clean freak of sadistic and maniacal proportions incapable of any emotional attachment. Yet at the same time, you can't really hate his character because you understand his ruthless streak stems from a troubled background. You comprehend that Capital Vidal was merely performing his duty to the best of his abilities and he had to maintain a reputation befitting his position as an officer in the Spanish army.

But without a doubt, my favorite character in this movie is the Fauno or the Faun. Mysteriously ambiguous and equally manipulative, he is like a wolf in sheep clothing. Friendly and charming one moment and the next instant he is aggressive and fierce. A creaky creature that resembles a very old tree with ears who talks in such a mesmerizing haunting voice. An ambivalent creature who seems to mean well yet you can't help but wonder if he was double crossing Ofelia. His stern goat like appearance towering over the young girl was a sight to behold. Doug Jones, who is an English actor and doesn't speak a word of Spanish portrayed the faun with such aplomb. You can't help but stay glued to the screen each time he made his creepy appearance. He is everything you would imagine a faun to look like. Interesting enough, the only other faun I've seen is Mr Tumnus in "The Chronicles of Narnia: the Lion, the Witch and the Wardrobe", who was amusingly portrayed by James McAvoy. The young actor who was acclaimed for his role in "The Last King of Scotland".

The fact remains that director, Guillermo del Toro was able to convey a suspended sense of heightened fantasy vis a vis an apparently sombre reality. It is admirable that he wrote most of the story himself. It projects a vividly creative and fertile imagination which always provides for a good story telling technique, cinema wise. The film visually presented the effects of war through the eyes of a young girl. But in the grander scheme of things as far as mature fairy tales go, I believe his whole point is that sometimes in this merciless universe, it is so much better to go to a happy place deep within the recesses of our mind to escape whatever difficulties we experience in life. The trick though is to know when to draw the line between fantasy and reality.

Granted that the film is a heartfelt cinematic vision, the fact remains that there are still a lot of questions which abound. I don't know about you but it suits me just fine to have endless questions linger in my mind long after the end credits have rolled by. I'm sure I will continue to question "Pan's Labyrinth" for some time. That's a good thing, you know!