VILLAIN

Eiga Sai 2012
Shang Cineplex, Cinema 4

This bleak melodrama is based on a hugely popular 2007 novel. Yuichi is a construction worker who goes into hiding after, in a fit of rage, he murders Yoshino, a girl he met on a dating site. Incidentally, he also meets Mitsuyo, a shy girl who works at a shop selling coats. Despite knowing that Yuichi is a wanted criminal, she decides to run off with him.

The director leaves little doubt in the minds of the audience about who’s guilty, he does plant the seeds of doubt in the search for motive and circumstance. As events unfold and clues are dropped, moral ambiguity takes hold. Whoever the murderer is, it becomes ever clearer that there is more than just one villain in the story and that no one is truly innocent.

The characters are really the heart of what makes "Villain" a somewhat compelling film. In addition to the complicated and very puzzling relationship between Yuichi and Mitsuyo, it also focuses on the effects of the gruesome murder on Yuichi's grandmother and the father of Yoshino. Both 'nice' characters who willingly or unwillingly become silent victims that are thrust in very bad light. They find their normal lives turned upside down.

In justifying his actions, he (father of Yoshino) utters a poignant dialogue. He asks a colleague of Masuo, the guy falsely accused of his daughter's murder. An arrogant college student who isn't quite innocent, in fact he was such a jerk to Yoshino.

"You got anyone that you truly cherish, young man? I mean someone who fills you with joy with the mere thought of that person being happy.
In this day and age, too many folks have no one they care about. They figure they have nothing to lose, so they think they're strong.
And so they trick themselves into believing they're above it all. When they see people who have something to lose, they look down on them.
It's not right, people aren't supposed to be that way."

At 140 minutes "Villain"'s slow pace can be quite tedious. The scattered flashbacks chronicling the crime wasn't neatly integrated into the main story. But it does features decent camera work like zooming into the eye of a squid to weave in the flashback scene. The sweeping seascapes and the solid piano music add some edgy frills into the plot.

Set in winter, the real beauty unfolds in the isolated lighthouse, a significant venue is Yuichi's life. It is also where the final tragic scenes play out. The conclusion is particularly open to various interpretation with shades of ambiguity and morality rolling in.

"Villain" is a good case study about a murder, its lonesome perpetrator and the effects on its various victims, dead and otherwise. It is an sparse portrait of loneliness, grief and desperation, with some convincing performances from the cast.

HAPPY FLIGHT

Eiga Sai 2012
Shang Cineplex, Cinema 4

As the title conveys, this light comedy is centered on a flight from Tokyo's Haneda airport to Honolulu. It focuses on the work of the flight crew (the pilots and the flights attendants), the ground staff (check in counter staff, air traffic control, the disaster management group) and the maintenance crew that checks each plane to ensure the safety of the passengers. It also features the different types of passengers that the flight crew must serve during the flight. And how they all pull together in the face of a crisis on board.

The movie is fraught with vividly bright scenes complete with soft almost comical music even during the dramatic moments that you never really believe anything serious is going to happen during the flight. On a purely educational level, it offers fascinating insights into what goes on behind the scenes before and during take-off as well as on the actual flight, itself.

The main characters are a novice co-pilot on an assessed flight that will determine whether he gets promoted to the rank of pilot. And a flight attendant on her very first international flight. Complementing them are a bunch of characters who each contribute to make this film a fitting endorsement of ANA, All Nippon Airways, the national carrier of Japan.

Admittedly for a comedy, it isn't laughing out loud funny. The setting is rather limited as it unfolds entirely on a plane along with scenes at the airport terminal. As the plot skips from one happily resolved situation to the next, it starts to resemble not so much a light comedy as an altogether different type of film. It inhabits in an insanely happy universe with zany characters where no problem is so big that can't be overcome in a few minutes of screen time.

I know that flight attendants are trained to put on a happy and brave front but the characters were too simple without any complicated back stories to make them interesting. Nevertheless, "Happy Flight" was amusing enough to watch but much like the inflight movie shown on board, you tend to forget about it once you reach your destination.

EIGA SAI 2012 (JAPANESE FILM FESTIVAL)

The Japan Foundation, Manila, in cooperation with the Embassy of Japan presents EIGA SAI 2012. The Japanese Film Festival kicks off on July 5 with an invitational screening of the film ‘Villain’ at the Shang Cineplex Cinema 2.

Completing this year’s roster of exciting films to be featured are: "The Peak", "The Rescuers", "Railways", "Happy Flight", "Tomorrow’s Joe", "In His Chart", "Colorful", "Abacus And Sword", "Permanent Nobara", and "Ninja Kids".

All films will be shown with English subtitles. Admission is free on a first come first served basis. Screening venues are at the Shang Cineplex Cinema 4 (July 5 to 15), Gaisano South Citimall, Davao City (July 20 to 22), Ayala Center Cinema 4, Cebu City (August 7 to 12) and UP Film Institute, Quezon City (August 15 to 21).

For detailed screening schedules and inquiries, please access the Japan Foundation, Manila website or call the JFM at (+632) 811-6155 to 58.

THE GIRL WITH THE DRAGON TATTOO

"The Girl with the Dragon Tattoo" is part of the "Millennium trilogy" of crime novels written by Swedish journalist/writer Steig Larsson who died in 2004. It was adapted into 2 films. The Swedish movie was released in 2009 while Hollywood released its remake last year.

I watched both films, first the Hollywood version followed immediately by the original. I was tuned to a very dark thriller that focused on murders, corporate greed, corruption and brutal acts of bestiality for almost 5 hours. Phew.

So this review will be a comparison of the two films with basically the same main characters in the persons of disgraced journalist Mikael Blomkvist and Lisbeth Salander a researcher who has had a difficult life. Together they must solve the mystery behind the disappearance of Harriet Vanger, 40 years ago. She is the niece of Henrik Vanger, a wealthy industrialist who has been haunted by her disappearance from their huge estate in Hedestad, a mountainous town in northern Sweden.

The Hollywood version had a very bleak cinematography with a heavily snowed environment providing the backdrop and it seems like most of the angles were shot during the night time. While in the Swedish film, the cinematography was a bit brighter but not sunshiny bright. There were still a lot of shots with snow in it but no dark overtones.

David Fincher presented the film with flashbacks using much younger actors to portray the Vanger family in the 1960s. He chose to add more footage on the part where Lisbeth goes on her clandestine mission to expose Wennerstrom's shady deals. The film was well edited with an edgy soundtrack filled with intensely loud music to highlight dramatic moments. It had a more gripping tone but the last 30 minutes felt like it had to quicken the pace to wrap up all the loose ends.

The original plot used black and white scenes for its flashbacks. I also gathered additional details about the characters which weren’t mentioned in the Hollywood version. The main film was focused more on the duo gathering more information about the gruesome murders which had a vital link to the disappearance of Harriet Vanger. The slow pace of the film made some scenes a bit dragging and the abrupt editing didn’t help either.

Both Daniel Craig and Michael Nyqvist were believable as Blomkvist, the disgraced and disgruntled journalist who is vindicated in the end. It was pretty obvious that Daniel Craig was not comfortable taping in the below zero degrees temperatures. There were times I swear I could see him shivering from the cold. But in my opinion, Daniel Craig’s Blomkvist had more depth and his characterization was more current.

Noomi Rapace as Lisbeth looked a lot older than 24. Her Lisbeth was more ‘charming’ even though she has a dark personality lurking behind the façade. She was less menacing but nevertheless quite tough and street smart. Rooney Mara as Lisbeth was a brooding, mysterious hacker who lacked social skills but tough as nails when the situation called for it. Her piercing and icy glance can cut through paper but once she warmed up to a person she can be quite ‘nice’ for lack of a better word.

To conclude, I believe the Hollywood remake had a more gripping way of presenting the dark plot. It was more edgy and current. But the original version wasn’t bad either as it provided more behind the scenes details about the plot and the characters. I admit I’ve never read the novels but watching both films (one after the one= 5 long hours) was quite a thrill!

MY WEEK WITH MARILYN

Michelle Williams, Eddie Redmayne, Kenneth Branagh
Emma Watson, Julia Ormond, Dame Judi Dench

It is 1956 and Colin Clark (Eddie Redmayne) is determined to be part of the movie industry. Due to his determination (not to mention his parents were friends of the Oliviers), he manages to get an internship at the film production company of Sir Laurence Olivier. He starts off a gofer until Olivier is impressed with his enterprising ability so he is hired as third assistant director on a film. A movie that Olivier (Kenneth Branagh) will direct and star in along with Marilyn Monroe (Michelle Williams) as his leading lady.

The film is adapted from a book by Colin Clark who wrote a diary about the making of "The Prince and the Showgirl". He narrates the story through a voice over. We bear witness to the insurmountable problems that Olivier faced during the production of the film. Such as the constant delays due to the tantrums thrown by the American vixen. She is portrayed as an insecure star who needed to be reassured by her acting coach to boost her confidence. She is also mostly heavily drugged to function normally. Yet despite her antics, the entire cast is mesmerized by her beauty and her charms.

The cast is peppered with good British actors who gave depth and dimension to the real life characters they portrayed. Notably, Kenneth Branagh captured the mannerisms of Sir Laurence Olivier, brilliantly. Although I do get the impression from the films I've seen that the real Olivier was much taller. The same goes for Michelle Williams who facially did resemble the American icon but she somehow lacked the oozing sexuality that Marilyn Monroe was famous for. Yet I still admire Williams ability to capture the various insecurities that seem to haunt the starlet.

The story leads us to believe that Marilyn grew quite fond of Colin Clark. He was the one she would seek out on the set to calm her nerves. Now this is certainly hard to believe. How can a glamorous star like Monroe prefer to spend her time with a production crew? But since this film is based on Clark's semi-autobiography, the whole premise is taken from his perspective. Although his narration about the problems behind the set has been verified as authentic, it is the 'week with Marilyn' that remains doubtful.

Despite the talents of the excellent ensemble cast, the plausibility or impossibility factor reigns in. This doesn't make it a 'bad' movie. It was interesting in an intriguing manner so that should count for something.

TOUT CE QUI BRILLE (ALL THAT GLITTERS)

Citi-Rustan's French Film Festival
Cinema 1, Shang Cineplex

Best friends Lila and Ely who hail from the working class suburb Puteaux have always been fascinated by the vibrant night life in Paris. The French capital is merely 10 minutes away. They believe it will lead them from their humdrum lives as shopping mall employees to a glamorous world where all their dreams can come true.

As the two convince themselves they belong on the right side of the tracks, their friendship with each other and their relationship with their families grow increasingly strained. They soon are blinded by the trappings of the elitist realm of Paris upper classes. Sadly, they learn the hard way that all that glitters doesn't necessarily mean their lives are going to change for the better.

This film is a charmingly warm portrait of two young ladies whose friendship knows no bounds. It is packed with wit and youthful energy. It is also coupled with a reasonable emotional payoff to create dramatic moments. All of it leading to a touching yet predictable ending.

The heart of the film lies in the chemistry between the two main characters. They are your standard BFFs who do everything together. And while Ely and Lila suffer in their efforts to climb to the top of the social hierarchy, they maintain their own tongue-in-cheek sincerity throughout, and lead lives that are realistically grounded in both material and materialistic needs.

When things do finally blow up between Lily and Ely, you feel for their friendship as you watch each of them struggle without the presence of their best friend. But eventually, you do know that it would have a happy ending given that it has been well established during the entire film that they share a deep bond.

This is good film for teenage girls with touches of fashion and music that seem to be standard fare in modern chick flicks. You get the added benefit of seeing scenic Parisian locales, but the storyline is quite predictable!

L'ARTISTE(THE ARTIST)

Citi-Rustans French Film Festival
Cinema 1, Shang Cineplex

*** Repost: The winner for Best Motion Picture at the 2012 Oscars is among the movies featured for this year's French Film Festival. ***


It is 1927 and George Valentin 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. 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 for company. He is forced to sell off his possessions after a film he produced and starred in bombs 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, their brilliantly innovative concept (filming sans dialogue) worked. It truly deserves all the 'best picture' accolades it received from most if not all of the award giving bodies.

L'ARNACOEUR(THE HEARTBREAKER)

Citi-Rustan's French Film Festival
Cinema 1, Shang Cineplex

*** I'm reposting my review of this rom-com. It is included in the line-up of the ongoing French Film Festival at the Shangri-la mall cineplex ***

This French romantic comedy set in exotic locales (Morocco, Monte Carlo) started off on a good note then slowly self destructs. An unusual plot with eccentric characters, it thrives on false pretenses and cheesy romantic moments.

Alex Lippi is a professional 'heartbreaker'. He is in the business of breaking up relationships. He has only 2 main rules: he doesn't bed the women and he only breaks up unhappy relationships. This whole enterprise triumphs with the joint efforts of his sister Melanie and her husband Marc who take care of all the logistics involved in making sure Alex is successful. He achieves this by using his irresistible charms to make the female half of a couple realize that her beloved is not the one for her.

In his next job, he is given only 10 days to prevent the imminent wedding of a wealthy wine connoisseur Juliette to an English philanthropist. Although they are head over heels in love with each other, her father a tycoon thinks otherwise and therefore hires Alex to intervene.

The plot then weaves into a complex and profoundly silly slapstick subplots with a slew of British and American pop culture adding to the rigmarole. Its repeated allusions to the British group Wham! and the Patrick Swayze movie "Dirty Dancing" were so corny. A banal romantic farce set to an awfully saccharine soundtrack, it's quite predictable despite the numerous twists they interjected to muddle the plot.

Amazingly, Romain Duris is quite a big star in France even though his looks are quite average. But it seems he relies heavily on his charming way of delivering dialogue. Vanessa Paradis is more popularly known as a singer/model and the life partner of Johnny Depp. It is a pity that his versatility as an actor doesn't rub off on her.

The saving grace would be the alluring locales and the fashionable wardrobe of the characters. I think only the French can come up with such an absurd story and disguise it as a romantic comedy. Yet I read that Hollywood is interested and a remake is in the works. Let's just hope the American version will be an improvement.

L'ART D'AIMER(THE ART OF LOVE)

Citi-Rustan's French Film Festival
Cinema 1, Shang Cineplex

"The Art of Love" is a romantic comedy about what else but "L-0-V-E". It is presented through a series of vignettes that focus on relationships where love reigns supreme. It is like a novel that is composed of different short stories all compiled together.

Most of the episodes are introduced with titles, some clever and literary while others seem irrelevant. The stories in the movie are about persons deflecting love, or caught in situations where love seems to complicate matters instead of complementing the relationship.

The different stories aren't uniformly equal. One narrative begins and ends with no development. While another is developed like a multiple part of a singular story. Still others have episodes interspersed throughout the film. The unifying factor is the voice-over narration in a strong voice which basically charms us with its funny and witty observations.

The ensemble cast is a group of talented French actors and actresses who all give credible performances. I'm quite familiar with a few of them from other films I've seen. In "The Art of Love" though their roles are quite light and don't really demand much heavy brow acting.

There is something to be said about the way that the French perceive love in its many forms. For instance, there is a character who offers to have her boyfriend sleep with her best friend. That way, the best friend snaps out of her one year sex abstinence. It is something I'd dare say that could only be possible in a European setting as opposed to the conservative nature of Asians. But it's deliciously French, on one level. And it made this rom-com quite a delight to watch!

L'HEURE D'ETE (SUMMER HOURS)

Citi-Rustan's French Film Festival
Cinema 1, Shang Cineplex

*** I am reposting this review from 2 years ago. This film is featured in the Olivier Assayas 7 films retrospect for this year's French Film Festival ***


We are introduced to the characters through a family gathering. Helene, the matriarch is celebrating her 75th birthday and her 3 adult children together with their families have come for the special occasion. The setting is in an ancient house in the countryside. A place that holds numerous antiques, paintings and is fraught with memories. Helene then presents to her eldest son Frederic a well organized list on how to dispose the valuable belongings once she passes on from this world.

Eventually several months later, she dies and the daunting task falls on the shoulders of Frederic who is the only sibling living in Paris. His brother is an expat in Shanghai and busy with forging his career as well as taking care of his family. While the only daughter lives in New York and is occupied with her incoming wedding.

The film focuses on a relevant topic. The one we all have to face eventually in our lives - the tedious and sometimes painful process of inheritance. So we are presented with scenes of curators and appraisers taking stock of the vast antique collection. But it also shows us the different reactions of the siblings on the disposal of their ancestral house. As they sort through the numerous items, they reminisce about their relevance vis a vis their childhood.

It also has some touching and moving moments. A pivotal scene is when Frederic is suddenly overwhelmed with sadness and pulls his car over to a curb and just cries his heart out. Perhaps he didn't want this siblings and his family to see him as weak. I get the impression that is the only time he truly cried over the death of his mother and the passing of his childhood memories. How sad.

Another reflective sequence is a scene at the Museum D'Orsay where Frederic and his wife Lisa look at the objects they've donated which are now prominently displayed. An ironic contrast as it serves as a significant contribution to history and cultural artifacts yet at the same time there is a semblance that the objects are caged in a cold space and devoid of any human context in their family's life.

This family oriented film make us contemplate on the futility of hanging onto sentimental objects from our past which eventually end up as museum pieces or worse merely gathering dust in storage boxes.