BEAUTIFUL LIES

Audrey Tautou, Nathalie Baye, Sami Bouajila

"Sometimes a little white lie can change everything"

A French romantic comedy starring Audrey Tautou (Amelie) as Emilie, a perky somewhat eccentric beauty salon owner. Shy, sensitive Jean (Sami Bouajila) works as a handyman at the beauty salon and he is also madly and secretly smitten with his 'boss' Emilie. Jean decides to eloquently declare his feelings in an anonymous letter.

Oblivious to the fact that her mysterious admirer is Jean, Emilie retypes the letter and sends it anonymously to her mother, Maddy (Nathalie Baye), hoping to cheer her up. Maddy has been depressed, unable to accept that her husband, who left four years ago, isn’t coming back.

Then a whole gamut of bizarre and awkward situations of a mistaken romance rolls on by for an hour and 40 minutes. Even though the script had some snappy, funny little one-liners (in French, mind you!), certain parts could have done with some editing to make the story more coherent so the viewers' short attention span could stay focus and not be distracted with overlapping side plots.

It is only the superb performances of the cast (Tautou, Baye, and Bouajila) that redeems this rom-com. They are a great ensemble, who expertly play on the frustrated and strained relationships between their characters through some convincing onscreen chemistry.

The ever refreshing Audrey Tautou particularly stands out as Emilie by delivering a performance that is believable and endearing. And you know you are getting old when an actress from your youth like the elegant Nathalie Baye now portray mother with grown up children roles. But she still shines and gives a convincing portrayal of a woman in denial that needs quite a boost to her crushed self esteem.

A pretty average rom-com with the standard, predictable happy ending filmed entirely in French with English subtitles. Recommended for die hard Amelie, oops aka Audrey Tautou fans!

Rio

Shooting on exotic locales is a big factor for action oriented movies or any genre of movies for that matter. It has a significant impact on the storyline, the actions of the cast and the cinematography. It also contributes in promoting the scenic as well as not too scenic spots of a country. It is a big marketing boost to the tourism industry not to mention the economy of any nation that is chosen as a location for an international film.

Several blockbusters have chosen Brazil as their locales. Some films are actually set in this exotic country. While other film production companies choose this Latin American nation for its vast resources (big population, rich natural resources, cheap labor fees). Months before any actual shooting can take place, they must scout for suitable location sights. Naturally, they need to hire a brazil travel agent to book their airfares and accommodations. They can stay for several days or several months depending on their budget, the accessibility and mobility of the crew as they scour the potential sights.

No wonder the budget for an average action film has soared into the millions even billions. Shooting in attractive locales doesn't come cheap. But their valuable contribution to any nation's economy is truly priceless!

EXTREMELY LOUD AND INCREDIBLY CLOSE

Tom Hanks, Thomas Horn, Sandra Bullock
Max Von Sydow, Viola Davis, John Goodman

Cinema 6, SM Megamall

"This is not a story about September 11th.
It's about every day after."

• These are my random thoughts on this Stephen Daldry film in bullet form.
  
  
• This is the movie adaptation of Jonathan Safran Foer's book. The same author of "Everything is Illuminated" which was also made into a movie and it was directed by Liev Schrieber.
  
  
• I never read both books but I do love their film versions. A tinge of quirky element contributed to me liking them. Plus the self discovery process the main characters go throughout the entire movie.
  
  
• But although "Extremely Loud and Incredibly Close" dealt with the events of September 11 in the year 2001, it focuses on exploring loss through the eyes of its protagonist. A young boy named Oskar whose father was in one of the twin towers.
  
  
• Foer completely takes away the political and historical aspects of the bombings. There are no politics to speak of in the film.
  
  
• Oskar is a hyper active, eccentric boy with a disorder but his father Thomas (Tom Hanks) raised him up by filling his mind with a heightened sense of adventure. He would also encourage his son to shine and be independent minded.
  
  
• After 9/11, Oskar discovers an envelope inside a vase which was part of his father's belongings. It contains a key with merely the word "Black" written on the small envelope.
  
  
• Convinced that the key would hold his father's final message for him, Oskar devices a very elaborate plan to trace down every person with the surname "Black" in New York.
  
  
• He wants to find out the object which could be opened by this mysterious key.
  
  
• As he goes off on his adventure and knocked on the doors of completely perfect strangers, I wondered how safe it was for him to do so.
  
  
• Meshed within the 'adventure' is a complementary side plot which involve an old man (who doesn't speak) staying at his grandmother's apartment. He is simply known as "The Renter". Towards the end, we do find out his true identity.
  
  
• There were also some very disturbing references to the 9/11 incident. Haunting scenes of people falling from the burning buildings. Images of missing people. As well as traumatic (last) phone calls recordings left on answering machines. It gave me chills.
  
  
• The story moves back and forth with very well edited scenes set in current times to flashbacks that show how Thomas was as a father.
  
  
• There are also fast paced snippets of jarring facts often recited by Oskar in his hyper, agitated state. Same technique used in the "Amelie" movie, they were often funny and other times quite informative and very integral of the character of Oskar.
  
  
• After all the frantic pursuit, the real owner of the key is revealed and it was quite anti-climatic but by then I was just in complete awe how Oskar was able to devise such a project that I didn't really mind being disappointed.
  
  
• The project did make Oskar and his mother much closer and they were able to draw strength from each other during their grieving period.
  
  
• Oskar, his family and the people he meets during his search have all suffered loss and have all reacted to it differently. The loss suffered during the World Trade Center bombings become merely one constellation amongst a galaxy of loss.
  
  
• Foer weaves an extremely complex plot that winds - via direct narrative, letters, pictures, flashbacks and even numbers - among all the dimensions of human loss to find answers. The answers will probably be different for different people, but that's what connects them together.
  
  
• Much as "Hugo" was about finding a missing link, with "a key" being the common factor in both films, "Extremely Loud and Incredibly Close" was intense but also a delightful movie to absorb.

HUGO

Ben Kingsley, Asa Butterfield, Chloe Grace Moretz
Sacha Baron Cohen, Emily Mortimer, Jude Law

"Everything has a purpose like machines, they do what they are meant to do. For people it is the same, if you lose your purpose it is like you are broken."

So goes an appropriate line in this enchanting film by Martin Scorsese. A director whose forte are mob related movies filled with foul dialogue, blasts of gun fires and loads of violence. But I believe the purpose of this highly amusing movie is to entertain and enchant us with stunning visuals, a complex yet heartfelt plot with an endearing cast of characters. It certainly succeeded in its aim. And it just happens to be directed by Scorsese whose passion for the art of film making is clearly evident in "Hugo".

Set in the 1930s in Paris, most of the film unfolds in a very busy train station. After he was abandoned by his uncle, the station’s official timekeeper, orphan Hugo Cabret (Asa Butterfield) lives alone in a dark, secret quarters within the walls of the station. There, amid clocks, gears and pulleys, he putters, sleeps and dreams mostly of fixing a delicate automaton that his deceased father, a clockmaker (Jude Law) brought home, one day.

The automaton is all that remains of a happy past. The automaton, a robotic device shaped in the image of a little boy is missing one vital part - a heart shaped key. Hugo is obsessed with finding the key and his search brings him in contact with Monsieur George Melies (Ben Kingsley) a toy seller in the station with a mystical and mysterious past.

Authentic set design reminiscent of the era transport us the viewers to a vivid universe with visuals that is entirely like a postcard coming to life on the big screen. The train station filled with shops, stalls and vendors of all sorts always bustling with the regular flow of commuters is quite a marvel to behold.

The cast displays their best performances. The young actors are quite natural in their responses, no awkward moments. Asa Butterfield with his page boy cut and his wide eyes remind me of Elijah Wood in his younger days. Ben Kingsley is always good. His portrayal of George Melies is quite effectual, conveying the many emotions of a man escaping from his painful life of regrets.

The supporting cast (Emily Mortimer, Jude Law) also add much flair and give the movie its richness. Sacha Baron Cohen exhibits good comedic timing as the Inspector obsessed with tracking down orphans. The guy can truly act well. He certainly doesn't need to resort to his usual shock and awe as a substitute for humor ("Borat", "Bruno") antics.

Although the film is quite long, there are no dull moments as you are constantly overwhelmed with magical surrealism. Especially when it recalls the early days of film making. The clips and footage of old black and white films was quite a lovely touch. The cinematic trails of the makeshift sets, celebrated the joy of movie making and its rightful place as a true art form. It also championed the importance of film preservation, an advocacy that Scorsese is quite passionate about.

"Hugo" won 5 Oscars in the Best Art Direction, Cinematography, Sound Editing, Sound Mixing, and Visual Effects category. It deserved all of these awards, because every single detail of this delightful movie works perfectly, just like clockwork!

THE DESCENDANTS

George Clooney, Shailene Woodley, Amara Miller

The Descendants is the latest offering from renowned director Alexander Payne. It is a bitter sweet and heartfelt family drama set in beautiful Hawaii with an exceptional soundtrack consisting almost entirely of local tunes used in apt and expressive ways.

Matthew King (George Clooney) is an attorney and a land baron. His family’s presence on the islands dates back to 1860 and a decision is due to be made within days about selling 25,000 acres of stunning waterfront property in Kuau’i, said to be the largest remaining such undeveloped parcel.

Yet he isn't exactly wallowing in wealth because he aptly says

"I don't want my daughters growing up entitled and spoiled. And I agree with my father - you give your children enough money to do something but not enough to do nothing."

He is also faced with raising his two daughters Alexandra (Shailene Woodley) and Scottie (Amara Miller) aged 17 and 10, respectively by his lonesome self. His wife Elizabeth who is comatose after a freak boating accident isn't expected to survive.

As if that isn't enough, he finds out that his wife was having an affair and planning to divorce him. He admits he has always be the understudy, the back up parent so understandably his parenting skills aren't up to par.

Payne's adaptation of Kaui Hart Hemmings’ 2007 novel unfolds over about a week’s time, during which many fundamentals about the life of Matthew King and his family are closely examined. A wry, intelligent look at the contradictions and complexities of human emotions.

The ensemble cast is exemplary, down to the smallest role. Clooney is impressive and quite convincing as a guy battling with all the intimate issues he has spent half his life steering well clear of, and finding himself near breaking point.

As Alexandra, Shailene Woodley really shines. It is fascinating to watch her progress from a bratty, resentful teenager to a point where she soon matures and becomes a supportive parent to her bewildered dad.

Payne has always impressed with his talent for infusing his flawed ordinary people characters with mixing moods and subtle emotions with such unexpected warmth and comedy. His films like "Sideways" and "About Schmidt" are clear examples of this genre.

And "The Descendants" doesn't disappoint in that aspect. A well done and quite soulful film that is guaranteed to move you through a wide realm of emotions!

2012 New Zealand Film Festival

A cinematic and cultural feast showcasing the best full-length and short films from New Zealand will run from February 23 to 28 at the Shang Cineplex in Shangri-La Plaza Mall.

The lineup includes full length films, a documentary as well as a program of short films.

The short films are: "Coffee and Allah", a story of a young Muslim woman who overcomes relocation by connecting with people through her faith, love for coffee, and badminton. "Noise Control", an animated feature about a rooster who pays the price for keeping his neighbors awake. "Tama Tu" which shows soldiers trying to distract themselves from the reminders of war surrounding them. "Take 3" features three Asian actresses who find themselves playing uncomfortable and stereotypical Asian roles.

Admission is free.

Seats are on a first-come, first-served basis.

50/50

Joseph Gordon-Levitt, Seth Rogen, Anna Kendrick
Bryce Dallas Howard, Anjelica Huston

"It takes a pair to beat the Odds"

Adam Lerner (Joseph Gordon Levitt), a radio producer is only 27 years old when he is diagnosed with a rare form of cancer. But instead of going crazy by embarking on things on his bucket list (in fact, I believe he doesn't even have one), he remains calm and collected throughout his ordeal. But naturally he is quite distraught.

Adam who is pretty much a loner does have a support group albeit they are a select few. His irresponsibly wacky but very loyal friend named Kyle is played by comedian Seth Rogen. Kyle is the exact opposite of Adam that you can't help but wonder how they became friends in the first place.

His indifferent girlfriend Rachel (Bryce Dallas Howard) bails out on him but in all fairness to her, Adam did give her a chance to back out but she out of pity stayed on until it was evident enough, she couldn't handle it.

His father who is battling Alzheimer's often doesn't know who he is. While his mother (the superb Anjelica Huston) wants to take care of him but Adam (like most guys) fends her off. But it is more out of concern since she has enough on her plate dealing with a husband facing dementia.

In the midst of his battle with the big C, he finds romance in the most unexpected places with his hospital assigned newly minted therapist Katherine (Anna Kendrick). Her inexperience in her chosen field is quite endearing as it brings about a certain gentleness without crossing the fine line of propriety that exists between a doctor and a patient.

Gordon-Levitt is perfect for the role as he turns depression and despair into comedy of the edgiest kind, while making his character all the more sympathetic for his occasional outbursts of anger and aggression.

There are several points in the movie when you expect the story to turn into a sappy tearjerker but fortunately "50/50" pulls back, and sides with unvarnished truth.

This gem of a movie works entirely due to the way it handles death. As seen through the sparkling eyes of Adam, death is not to be feared but neither is it something to brush off, flippantly.

A movie handled with this kind of care is a rare gift as it refuses to hide from pain or bow to it, it will certainly get to you and pull at your heartstrings.

THE DEBT

Helen Mirren, Tom Wilkinson, Ciaran Hinds
Jessica Chastain, Sam Worthington, Marton Csokas
Jesper Christensen

"Every Secret comes with a Price"

I've always had an affinity with spy thrillers more so than with romantic comedies/chick flicks. But I do indulge in a few predictable rom-com, every now and then. The intriguing plot of "The Debt" truly piqued my interest. And I'm glad to say, I wasn't disappointed.

The story unfolds in 1997, at a launch party for journalist Sarah Gold’s book about the exploits of a trio of Israeli Mossad agents. In 1966, they infiltrated East Berlin to abduct a certain Dieter Vogel (Jesper Christensen), a gynecologist. But during World War II, he was notoriously known as the "Surgeon of Birkenau", a doctor who experimented on Jewish children in the concentration camps. Two of the Mossad agents were Rachel Singer and Stephan Gold, the author's parents. The esteemed pair (now divorced) are widely acclaimed in Israel for their "successful" mission in the 60s.

Flitting between present Israel and East Berlin in the 60s, the narrative is told through flashbacks with younger actors portraying the 3 Mossad agents. We witness what truly unfolded during their dangerous mission through well coordinated action filled scenes with tension brewing at every turn. As well as the consequent toll it took on their lives when the secret they swore to uphold threatens to ruin not only their reputation but also shake the very core of the spy agency they belong(ed) to.

This remake of the 2007 Israeli film of the same title is directed by British director John Madden with an excellent cast of talented actors who draw out the calculated nuances of their characters with much precision.

Jessica Chastain turns in a searing performance as young Rachel, infusing her with aching vulnerability. Csokas brings a visceral life to Stephan's burning ambition, while Worthington embodies the tightly wound repression that fuels David.

Special mention goes to the chilling performance by Jesper Christensen as Vogel. What makes him so fearsome is the way he tries to "seduce" the young Mossad agents — for them to recognize him as being as much a human as they are, to see the very flaws they despise in him reflected in themselves. He was really very creepy.

Unfortunately, Helen Mirren, Tom Wilkinson and Ciaran Hinds, as the older agents came across as being too British, in my opinion. But they still acted quite well, no doubt about that!

In conclusion, I'd say a series of tightly coiled and excellently choreographed action sequences provided much depth to this highly suspenseful espionage thriller with a commendable cast. It's worth watching.

THE ARTIST

Jean Dujardin, Berenice Bejo
John Goodman, James Cromwell, Penelope Ann Miller

It is 1927 and George Valentin (Jean Dujardin) is at the peak of his career. The silent movie star is also aware that his fame and fortune is at stake with the advent of the talkies. Yet he vehemently refuses to change with the times mostly due to his massive ego and his pride.

One of the extras in his film is a young aspiring actress named Peppy Miller (Berenice Bejo). A wide eyed gal filled with ambitions to succeed in the movie industry. She does achieve stardom through a little prodding from Valentin and also by her own merit.

As Valentin's star begins its decline, he has only his obedient Jack Russell terrier and his faithful chauffeur Clifton (James Cromwell) for company. He is forced to sell off his possessions after a film he produced and starred in flops at the box office. Miller meanwhile is the new It Girl, with a bright future ahead. She wants to help him, but again, his pride stands in the way.

In this cinematic day of loud action sequences, computer generated images and stunning cinematography, this black and white movie without any spoken dialogue but filled with up tempo music reminiscent of silent movies is quite refreshing to watch.

The delight mostly stems from the fine acting skills of the main characters who provided broad but heartfelt performances that mirror the era. They had good chemistry together and individually. Their on and off screen projections were palpable and quite credible. You'd really think they were silent movie stars!

"The Artist" is a fitting tribute to a bygone era of classic Hollywood films which were able to charm its audience by weaving a compelling storyline with true to life characters that truly uplifted cinema and film making to an art form.

I just found it a bit odd that it took French actors and a French film production crew to come up with a film about the silent movies era of Hollywood. Nonetheless, this brilliant concept worked! So kudos to them!

6th SPRING FILM FESTIVAL

In line with the Chinese New Year which kicks off the Year of the Dragon on January 23, 2012, Ateneo de Manila University Ricardo Leong Center for Chinese Studies together with Ateneo-Celadon will stage its 6th Spring Film Festival. It will feature 6 films that showcase the artistic prowess and the cultural heritage of China.

The annual event will present a mix of old and modern films, of various genres. The ten-day film festival begins from January 20 to 29, 2012 at the Shangri-la Cineplex.

Admission is free on a first come first served basis.

For more information please call the Ateneo Leong Center 426-6001 local 5208-5209; 5280. For tickets, please call Shang Cineplex at 633-2227.