Last Christmas

Emilia Clarke, Henry Golding,

Emma Thompson, Michelle Yeoh

"Sometimes, You've just gotta have Faith"

Cinema 4, The Red Carpet @ Shang

For this Christmas themed movie, I dragged my parents along so we can get some of that much needed Yuletide spirit. It is difficult to feel Christmas-y when the sweat pours like crazy because unfortunately, we don't have winter in these parts of the globe.

This movie is based on Wham's or more specifically the late George Michael's hit 1984 song. Coincidentally, George Michael died on Christmas Day in 2016. Quite a shock which I still cannot fathom. Emma Thompson together with other writers wrote the script expanding on the essence of the song.

Emilia Clarke stars as Kate, a down on her luck, wanna be singer who works as an elf in a year round Christmas shop. Her employer, Santa (Michelle Yeoh), a dainty Asian who likes to spread Yuletide cheers in her shop full of wonderful trinkets. One day, bored Kate meets Tom (Henry Golding) loitering outside the shop and who always likes to look up. They tend to always bump into each other so they begin hanging out. He shows her his sanctuary, a small park within the bustling city. Together they discover the wonders of London, which is all decked up for the season to be jolly. He seems like a dream come true - a charming polite, good looking dude who gets around London on his bicycle and even volunteers at the homeless center.

As we discover more about Kate and her family composed of her mother Petra (Emma Thompson), her father Ivan who used to be a lawyer in their hometown, the now defunct Yugoslavia but drives a cab in London and her sister who hasn't come out yet to their parents. An air of mystery still surrounds Tom. We don't know his surname, his job, his family - nothing. 

Eventually, everything is revealed in a clever twist which really makes sense. It felt like a champagne bottle popping open, you know the shock and the little jerk you experience when you hear the cork bursting out of the bottle. LOL It does give justice to George Michael's lovely song about the heartbreak and anguish during Last Christmas.

The ensemble cast led by Emilia Clarke and Henry Golding are both delightful in their roles. It is always refreshing to watch Clarke being her cheerful self as opposed to her Khaleesi role in Game of Thrones. Henry Golding is still pleasant eye candy and does a good job, picking roles which suit his personality, the charming leading man role. Emma Thompson is a hoot, perfect as the overbearing mother, complete with the Eastern European accent.

The soundtrack features George Michael songs even one which was released after his untimely passing. The city of London in all its Yuletide finery provides an excellent backdrop. So much so that I wanted to fly to London, never mind the expense & the almost 15 hour flight. I understand the intention of the narration but it could use some editing especially where it gets too cheesy and when Petra became too domineering. 

I will still add Last Christmas to the list of my favorite Christmas movies. Mainly due to the believable chemistry between its lead stars and seeing wintry London during the most wonderful time of the year. 

P.S.

Love Actually is the top movie on my list.

P.P.S

I visited London in November 1995, mostly to watch West End plays.

100 Dinge(100 Things)

4th German Film Week

SM Megamall

Toni and Paul are best friends since childhood. Together, they develop an app for mobile phones called NANA. It is like SIRI but it can be customized to suit the personality and preferences of the owner of the cellphone, working based on complicated algorithms. 

They rush in Paul's dilapidated car to present it to the wealthy owner of a famous software company named David Zuckerman (hint: slight resemblance to Mark Zuckerberg), along with a thousand other app developers who all aim to secure capital for their inventions.

Through some twist of fate, even if they are the last ones to present NANA, Zuckerman is so taken with their app that he immediately present them with 4 Million Euros for their app. Drunken party ensues with Paul & Toni celebrating their victory with the employees of their company. In a drunken state of mind, they both agree to a bet - they will get rid of all their possessions for 100 days and only get one item back, each day at midnight.

Next scene, we see both guys naked, their huge loft type apartments stripped bare. A big hangover still clouds their vision and judgement as they realize their employees emptied them of their precious belongings. Running naked across town to the storage area where their things have been placed is one of the funniest scenes I have seen in a while.

The film focuses on Paul & Toni trying to come to terms with a drastic change in their lifestyle. Toni is methodical, the salesman among them and is very conscious of his looks - taking pills for hair growth, wearing contact lenses because he hates wearing glasses. While Paul is the developer of the app and totally obsessed with his cellphone as NANA who dictates his every movement from buying the latest sneakers online, to even what he has to wear every day.

As we see how the deprivation of material possessions take a toll on their lives, (Paul is like a zombie without NANA while Toni's hair is unruly, has to wear glasses after infecting his eyes from week long contact lenses, OUCH!!) - they also come to terms with meeting realistic goals. Learning that friendship is more important than fancy rubber shoes or a well coiffed hair. Spending time with family and a potential love interest is way better than being obsessed with material things. 

The first part of the plot is engaging as we see how they cope with the bet, how they try to not 'cheat', the frantic race to win the bet. Middle part gets a bit murky with too many side plots distracting away from the main theme with the introduction of a love interest named Lucy for Toni. She is an interesting character with her own 'disability', having an enormous credit card debt, a victim of commercialism as well. 

The ending is rightfully predictable. Even as Zuckerman stole their creation, NANA, passing it off as his own, thus raking in profits, all is not lost for penniless Paul & Toni. A cunning twist manifests itself as sweet revenge. That was brilliant, I didn't expect that at all. A good way to end a comedy that went through many scenarios, naked butts et al, to essentially prove a very compelling point.

Balloon (2018)

4th German Film Week

SM Megamall

"For freedom, they Risked it All"

2019 marks the 30th anniversary of the reunification of Germany. The Berlin Wall which divided the West (democratic) from the East (communist) fell after a peaceful revolution. 

Life in East Germany was very restrictive, to say the least. The Ministry for State Security, commonly known as the Stasi was the official 'police'. They were a very ruthless and strict force who mostly relied on surveillance to keep tabs on its citizens. Openly engaging in domestic, foreign and political espionage which was overseen by the Communist/ Socialist party.

Many East Germans tried to flee across the border to West Germany. Risking their lives just to be free from authoritarian rule. This movie documents a major risk, two families took to escape from East Germany - using of all things, an easily visible hot air balloon. It was set in 1979 - Ten years before the fall of the Berlin wall.

It shows their futile first attempt when the balloon starting leaking due to the cold air at such a high altitude. The material they used was not water proof so the balloon came crashing down in a forested area, just a few meters from the border. That was heart breaking, shocking and really frustrating.

But luckily, the Strelzyk family were not caught since it was the dark of night. They managed to walk back to their car through the thick forest and simply went home like nothing happened. But still very shaken from the unfortunate incident.

Their inflated balloon though was discovered by a local who chanced upon it the next day. The Stasi as well as the border patrol is alerted and their search for the 'owners' of the balloon also unfolds simultaneously as the Strelzyk family along with their friends, the Wetzel  family decide to try escaping yet again.

They source their materials from different clothing stores as Gunter Wetzel gets to sewing the patches together to form a large balloon. They also tweak the main frame where the oxygen gases are situated and built it a bit larger to fit all of them.

The fast pacing takes on an intense nature once the second attempt on a much larger hot air balloon, begins. You are on the edge of your seat as you feel your pulsating heart beating fast. Probably the exact feeling they all felt that night. Adding to the drama is the fact that the Stasi have discovered about their second try so it is a race between the families flying to freedom and the authorities, fielding all of their gears, hot on their tail. 

Scenes are mostly shot during the night for the escapes. But the camera work is steady so you don't have to squint to see what unfolds on the screen. It is set in the 1970s so the wardrobe is realistic, as well as the furnishings inside their household. A typical East German vibe, if you know what I mean, permeates through the row of similar looking houses on their block.

The first balloon is already 'made' so it mostly focuses on the plotting of their second getaway.  Not much information on the why, when, and where this idea of escaping on a hot air balloon is provided. I guess, every East German's dream was to flee to freedom but it would have helped if we knew what triggered their intentions.

The end credits show the real characters upon whom this film is based, as well as their first inflated balloon cordoned off in some forested area. They are also shown reacting to the fall of the Berlin wall, safely in the Bavarian region which is located in the west part of Germany.

Overall, it is a fitting tribute to those who tried to escape, either successfully or resulting in failure. But it is human nature to cheer on for those deprived of their basic human rights and this average film deals with very inspirational characters who did not give up until they tasted freedom, in every sense of the word. 

El Reino (The Realm)

Pelikula 2019
Spanish Film Festival
Greenbelt 3 Cinemas

I only managed to catch one film at this year's Spanish Film Festival. A political thriller about money laundering, dubious land deals, conspiracy and corruption. The main character, Manuel is a local politician who has a luxurious lifestyle but this all comes crumbling down when he and his peers in a political party are accused of wide scale corruption.

The whole 2 hours and 12 minutes deals with Manuel trying to get support from his peers who have either made deals with the government or are tight lipped about their involvement in the corruption. The saying that 'you only know who your true friends are in times of trouble' fits perfectly here. Trust issues rear their ugly head as Manuel is running out of time to prove his innocence or at least lessen his complicity in the corrupt practices of his entire political party. So he decides to take revenge and in the process try to redeem himself.

Pacing is balanced with car chases as well as dialogue driven sequences. The ensemble cast are credible as they do seem like corrupt politicians from their demeanor to the manner they converse. But kudos goes to reliable actor Antonio de la Torre as Manuel - the stress of his character visibly painted on his face and his behavior as he turns from scapegoat to whistle blower in a span of a few minutes towards the last part of The Realm.

The narrative is universal as corruption is common among most politicians in any country where the system has failed people. Citizens are not protected, unemployment prevails, the divide between the haves and the have-nots widens, borders are not safeguarded, immigration issues. Basic services are not provided and other prevailing problems which plague a nation rocked with corruption. And this can come in the form of dishonest politicians as well as unscrupulous business owners who overcharge people for their services.

Alright so I got sidetracked! Look what any talk of corruption triggered in me. These were precisely the thoughts which entered my mind as I watched this movie. A well crafted film about a desperate man struggling to right the system which he contributed to. But is it too late for him? Is there any chance of reversal both for him and the system? Questions we are left pondering from the abrupt conclusion and dare I say the answers cannot be replied with a simple 'yes' or 'no'. So think about it!

Downton Abbey 2019

Elizabeth McGovern, Maggie Smith, Michelle Dockery,
Joanne Froggatt, Hugh Bonneville, Jim Carter,
Imelda Staunton, Laura Carmichael, Brendan Coyle

"Based on a TV series"

Cinema 4, Ayala Malls the 30th

Fans of this period drama TV show were thrilled when we heard it would made into a full length movie. Characters we have learned to love, somehow feel like our family members even though it is set in an entirely different century. If you are familiar with another British TV show, "Upstairs, Downstairs" in the 1970s, then Downton Abbey would be quite similar to the same premise. 

In this case, the upstairs refers to the landed Crawley family - headed by Lord Grantham, his American wife, his daughters and their significant others, as well as his feisty mother Lady Violet Crawley. While the downstairs are the cook, the maids, and the footmen who serve them headed by head butler Mr Carson.

The series folded up nicely after 6 seasons with 52 episodes on aristocratic intrigue, servants foibles and everything else in between which delighted us and charmed us from 2011 to 2015. The older Crawleys aging well with wisdom, while the younger Crawleys got married, had kids with their every loyal household staff still performing their duties with aplomb.

So after 4 long years, it is back with a movie. A reunion of these endearing characters with the visit of King George V and Queen Mary to Downton Abbey as its main premise. Naturally, the 'aristocrats' with all its family members present are very excited about this news and their dedicated staff immediately get to work from coming up with an extensive menu, polishing the silver wares and even bringing back the old reliable Mr Carson from his retirement to be the head butler, yet again. A duty and a job, he can do with his eyes closed.

The main premise (the royal visit), with various side plots tackling issues like homosexuality, opposition to the monarchy,  an estate inheritance all blend well together until the very satisfying end. Wardrobe is visually attractive with the costumes reminiscent of that century. The massive castle they call home (Downton Abbey) is the principal setting along with several other places which exude their period drama locales vibe. The ensemble cast are all in their elements headed by the indefatigable Maggie Smith as the spirited Lady Violet Crawley still dispensing her sarcasm masquerading as wit dialogue with gusto. 

One always gets a pleasant feeling when Downton Abbey is on. All those years, these characters were very welcome guests into our homes through the telly. Their 'reunion' movie did not disappoint in any way and we left the cinema with smiles on our faces and in our hearts.

10,000 KM

Cine Europa 2019

Cinema 1, Greenbelt 3

This movie is Spain's offering in this year's Cine Europa. It commences with a couple having sex in the hopes of conceiving. They are Alexandra and Sergei, in their early 30s, together for 7 years and live in Barcelona. Sex, breakfast and an important work email for Alex on a lazy Sunday sets the tone for this simplistic film about a long distance relationship. 

Alex, who is British accepts a year long stint as a photographer in Los Angeles while Sergei remains in Barcelona to prepare for his teaching board exam. Soon the setting shifts to a white minimalist apartment of Alex and their shared place in Spain. They keep in touch, despite the time difference through video messaging. Updating each other about their lives and their occupations. 

The problem with long distance relationships (believe I know since I was once in one) is your mind never stops wandering and wondering. Simple things such as what the other person had for breakfast, did he go to the gym? or did he remember to water the plants? - they get highlighted not because you don't trust the other person. But you have this need to still feel like you are part of what used to be your routine as a couple. That connection to each other remains a vital part of the communication. With modern technology like high speed internet, a laptop and a computer with webcams, keeping and staying in touch is way easier in this wifi loaded era.

Naturally, when you see the other person posting pictures with new people, you can't help but wonder if it isn't just platonic. You both set a certain time for the video call and when the other person does not answer the call, you can get paranoid. Is he ok? Did he get home, safe? Is he out with someone else? It is a crazy mental exercise to stay sane when one is part of this type of relationship. 

All of the issues I mentioned above are well portrayed in 10,000 KM. Sergei and Alex have a major argument, deciding to stay away from any forms of communication for some peace of mind. Their relationship reaches its breaking point when Alex wants Sergei to join her in California. This triggers Sergei into thinking she doesn't value what he does for a living. She points out that for the longest time, she was supportive, even living in Barcelona so they can be together.

The last few minutes was vague, in some way a surprise yet not totally unexpected in any LDR. Someone has to indeed sacrifice, make a bold move and hope it works out. In this case for Alex and Sergei, I have my doubts it was the best thing to do. But that is the sarcastic me, being negative. The positive part of me, however small, would like to believe Sergei and Alex will grow old together with their kids, no matter where they decide to live and raise their family.

Shoplifters

Eiga Sai 2019

UP Film Institute

This offering from director Hirokazu Kore-eda raked in millions when it opened in Japan, last year. A heartwarming story of a 'family' who shoplift basic necessities like shampoo, food items to tide them over. We soon decipher they are not related by blood but still consider themselves a family. One evening, Osamu (the father) and Shota (young pre-teen son) are heading home after stealing, they spot a young girl of about 5 years old crying on the porch of a house. A chilly night, they take pity on her and bring her home with them where more members are introduced, Nobuyo (the mother), Aki (teenage daughter) and grandmother Hatsue.

Nobuyo works as a presser (irons clothes) in a factory while Osamu is a construction worker. They name the little child Juri and it is established that she lived with abusive parents from the scars on her body. She tends to follow Shota around so he teaches her the tricks of the 'trade'. They all live in Hatsue's house which is tiny and cramped with their things. Hatsue receives a monthly gov't pension while Aki is the granddaughter of Hatsue's husband's second wife. The parents of Aki believe she is studying in Australia even though she ran away from home. They also give Hatsue a certain sum of money because their father was 'stolen' from Hatsue by their mother. 

For me, one of the best parts of the movie is when they learn the police is searching for the missing child. They cut her unruly hair, shoplift a swimwear for her and all go to the beach. The scenes depict a warm, humid spell has hit Tokyo so a train trip to the beach is just what they all need. The change in scenery from their drab house in the suburbs of Tokyo to the sea shore is refreshing. A welcome shift from the travails of their daily lives. The most fun they had before the push turns to shove as things pretty much unravel after that beach outing. 

If the family dynamic was complicated enough, more issues are put to the forefront after Shota is caught by the police for shoplifting. The pace picks up, as the background of each character is revealed while being interrogated by the authorities. It was bound to happen as crime doesn't really pay, no matter how attach we become to these characters. By the end, things are put into their proper order. Each of them back to where they truly belong even though a tinge of sadness is reflected on their faces. 

Kore-eda made us fall in love with his well developed characters, who even though are strangers form a dysfunctional family. We commiserate with them because we know they escaped from a harsher life before they all came together under one roof. Characters who utter "whatever is in a store, doesn't belong to anyone yet" to justify their stealing.

He tackles familial relationships, the social welfare structure in Japan, the corrective justice system, the lives of blue collar workers. Difficult yet relevant issues which can affect any country, but particularly Japan which is known to adhere to strict measures to effectively make it a progressive nation. 

Shoplifters is well crafted with beloved characters interacting in a poignantly realistic plot and it truly deserves the Palme D'or award at the 71st annual Cannes Film Festival, last May 2018.

The Crimes that Bind

Eiga Sai 2019

The Red Carpet @ Shang

This complex crime thriller had numerous side plots which somehow connected to the main story line, that is if you really pay close attention. It starts in the 1960s where a young woman is looking for a job. We follow her story through a fast jump through the years until her death. In 2017, her estranged son, a well known detective is notified of her demise. He has been searching for her for 16 years. His only link to her past life is through a mysterious old man who was her partner for several years. A man who is elusive, and Detective Kaga has been trying to find him since his mother's death.

In a completely unrelated story, the body of a woman is found strangled in a small shack. Days later, the burnt body of a man is found. Could these two murders be related? What is their connection to the detective's late mother? Could the burnt man be the elusive partner of his late mother? Can the detective finally find the answers to his mother's past life? There are many questions which needed answers and some, if not all of these questions are slowly resolved by the conclusion of the film. 

As I mentioned above, one needs to be alertly aware of each subplots so you can completely understand the main issues which the characters face in the various situations. Issues like parental neglect, not losing face, hiding secrets, as well as being true to oneself are coherently tackled. It helps that the pacing of the film is slow so the audience is given the chance to put two and two together to get to the bottom of this crime mystery.

The main characters are well developed and their storied pasts are sometimes shown through several flashback scenes or narrated in the dialogue. These flashbacks are well intertwined, quite flawlessly slip into the present day scenes. I also like how they were able to find closure in their quest for answers. The English subtitles flow by rapidly so you need to read fast. There is probably a lost in translation phase but overall, the plot is easy to understand as its pacing is well stretched out. 

I like the fusion of numerous side plots in movies. It keeps me thinking throughout and it thrills me to no end. I'm usually fast in knowing the who, why, when and how, yet for some reason (perhaps reading subtitles) I was utterly lost in "The Crimes that Bind".  Yet in this instance, it was a good kind of lost, so I'm good.

The Third Murder

Eiga Sai 2019

The Red Carpet @ Shang

The first scene shows a man murdering another man with a hammer, beating him to a pulp then burning the body. This sets the pace for a complex legal thriller filled with mysterious motives, a dubious confession, the looming sentence of a death penalty and several questions to further make it more complicated than it already is.

Misumi confesses to killing his boss and torching his body. Yet his motives for this brutal crime keeps changing and his legal team have a difficult time believing him. Enter Shigemori, a renowned lawyer brought in to help the defense team. Shigemori has a connection with the defendant as he is the son of the judge who convicted Misumi for a previous crime. A crime for which he served 30 years yet is never clearly mentioned what it was about, merely alluded to. Shigemori starts investigating by questioning several witnesses who vouch for the character of Misumi - the quiet yet strange type who keeps to himself.

Shigemori faces a stumbling block when an article in a tabloid narrates an interview with Misumi. He says that the widow of his boss contacted him through email to hire him to kill her husband and he will be paid for it. They would also share the money from the life insurance she will get. Confronting his flippant client, Shigemori probes him for more details. 

Yet another angle surfaces from the close friendship between Misumi and Sakie who is the daughter of his boss. Sakie has a brace around one leg, walks with difficult and  the real reason for her brace is also as doubtful as Misumi's various motives for the crime. Shigemori also discovers that Sakie's father abused her sexually so this presents as another motive for Misumi to kill his boss.

Another masterpiece from noted director Hirokazu Kore-eda whose films usually focus on family relationships and all its complexities. Here, he explores a common factor among the three main male characters - Misumi, Shigemori and the victim. They are all fathers with tangled ties with their daughters. Misumi is estranged from his now grown up daughter mainly to his 30 year prison term. Shigemori is divorced and hardly has any bonding time with his own daughter. A high school age girl who stole from a store, an act for her lawyer father to come to her rescue. The victim, himself who it turns out was preying on his daughter Sakie.

The third murder also has a vital focal point  - the Japanese legal system which still imposes the death penalty for certain gruesome crimes. A major contention was whether Misumi stole his boss' wallet before or after he burned the body. It seems there is a different sentence just from burglary then murder and/or murder than burglary.

The mininalist cinematography consists of snow capped mountains, courtroom scenes, a small town locale and consultations in jail between Misumi and Shigemori. These sessions are separated by a glass window with a small round circle to hear and listen to each other. 

After the verdict was read, Misumi and Shigemori meet again for their last session and their faces are intertwined as seen from the reflections on the glass partition. It is a memorable scene, one showing they might be the one and the same person in more ways than one. In most movies dealing with a legal drama, this segment would be where the defendant would come clean to his lawyer, either admit or deny he committed the crime. But in true form, this film remains as vague as Misumi and as perplexed as Shigemori. Enough said!

Aladdin 2019

Will Smith, Mena Massoud,
Naomi Scott, Marwan Kenzari

"The Magic Comes to Life"

I really don't remember much about the animation version of Aladdin except for its famous song "A whole new World". So I watched this 2019 edition with fresh eyes. 

Aladdin (Mena Massoud) is a thief who robs people with the help of his pet monkey, Abu. A chance encounter with a young lady will forever change his life for the better. Princess Jasmine (Naomi Scott) is the daughter of the Sultan of Agrabah. She likes to go out in disguise to see how the citizens live outside of their immense palace. She introduces herself as Dalia, her chambermaid to Aladdin who stole her bracelet. Meanwhile, Jafar (Marwan Kenzari) the grand Vizier to the Sultan 'hires' Aladdin to steal a magic lamp from within a cave with a Lion Head entrance. He intends to use magic lamp + the genie for his nefarious activities within the sultanate.

But with the help of Abu, Aladdin somehow becomes the 'owner' of the magic lamp. Upon rubbing it, the genie in the personification of a blue floating Will Smith comes out of the lamp and tells Aladdin, he can grant three wishes. One of Aladdin's wishes is to be a prince so he can vie for the hand of Princess Jasmine as mandated in the laws of Agrabah. Naturally, a major stumbling presents itself before everyone has a happy fairy tale ending.

Guy Ritchie, the English director known for his action filled British gangster movies helms this Disney retelling of a well loved story. Quite surprising as you really don't expect Ritchie to deviate from his usual style of filmmaking. But I believe he does a good job in making us fall in love again with Aladdin, Princess Jasmine and the witty genie. 

The costumes are bright, colorful and reminiscent of an Arabian nights setting. Some of the songs from the original are back and sang in the same tone so we can easily recognize them. CGI (computer generated imagery) plays a big part in making this visually vibrant and fast paced fantasy movie, a success.

Will Smith as the blue genie is sometimes ridiculous and over the top while other times, he blends well with the other characters. It is good he is a rapper/singer so he can certainly carry a tune. His witty dialogue is well delivered but nothing can totally match Robin Williams as the hilarious genie in the animated version. 

Both Mena and Naomi can sing well enough without any pitch problems. Aladdin is portrayed as a wily thief with self esteem issues, who redeems himself and changes for the better, by the ending. Jasmine has changed from the love struck princess singing cheesy love songs while riding a flying carpet to a feisty,  sassy female character who can easily rule her country, sans qualms. A sympathetic leader who knows what her people want and want what is good for her country, her citizens and her man, Aladdin.

Overall, this 2 hour 8 minutes movie is an entertaining musical, in the sense that they don't sing every 2 minutes which can be quite irritating. For me, it is 3.5 out of 5, worth of popcorn buckets.