Sunday, January 30, 2011
Note: "The Company Men"
Thursday, January 27, 2011
Just For Fun: Super Bowl Movie Commercials
Check out the article on Hollywood Reporter:
Tuesday, January 25, 2011
Academy Award 2011 Nominations
Sunday, January 23, 2011
Upcoming Movies: February 2011
Thursday, January 20, 2011
Movie Brief: The Return of Roger Ebert
January 21, 2011 marks the debut of "Ebert Presents at the Movies." Christy Lemire (The Associated Press) and Ignatiy Vishnevetsky of (Mubi.com) will host the half-hour show every week.
The number of movies reviewed can vary from week to week depending on the release schedules, usually between four to six. The format will follow the original show between Roger Ebert and Gene Siskel, "Sneak Previews," which started 35 years ago. A year after Siskel died in 1999, Chicago Sun-Times Richard Roeper joined him. Ebert left the television in 2006 due to thyroid cancer. In the new show, Ebert will wear silicone prosthesis, since he's lost much of his jaw due to the cancer.
The show marks the return of the Pulitzer Prize-winning critic. Ebert will host "Roger's Office" highlighting a film or film-related topic of his choice. In addition, there will be special segments with guest critics.
The show is produced in Chicago at WTTW and it will air on public television stations across the country.
Check your local PBS station for schedule.
For more information, check out http://www.ebertpresents.com/
Wednesday, January 19, 2011
"The Green Hornet"
Sunday, January 16, 2011
Golden Globes 2011
Best Motion Picture - Drama
"The Social Network"
Best Performance by an Actor in a Motion Picture - Drama
Colin Firth - "The King's Speech"
Best Performance by an Actress in a Motion Picture - Drama
Natalie Portman - "Black Swan"
Best Director - Motion Picture
David Fincher - "The Social Network"
Best Performance by an Actress in a Supporting Role in a Motion Picture
Melissa Leo - "The Fighter"
Best Screenplay - Motion Picture
"The Social Network" - Aaron Sorkin
Best Original Score - Motion Picture
"The Social Network" - Trent Reznor, Atticus Ross
Best Performance by an Actor in a Supporting Role in a Motion Picture
Christian Bale - "The Fighter"
Friday, January 14, 2011
"The King's Speech"
What's so interesting about watching a stammering British royal in the 1930s learning to speak well? As it turns out, plenty.
In "The King's Speech," Colin Firth is Albert, a stuttering prince (Duke of York) on an accidental ascend to the throne. All available options exhausted, his wife (Helena Bonham Carter), finds Australian-born Lionel Louge (Geoffrey Rush), an unorthodox speech therapist who operates out of a humble family quarter, to "cure" her husband. Carter shows her softer side with a delicate piquancy in her role as Duchess of York and future queen mother.
Lionel, who later is found to have questionable qualifications, becomes Albert's private teacher and confidante. His unconventional method demands that they are on equal level, Albert simply referred as 'Bertie' (his nickname) and Lionel 'Louge' (without a "doctor" salutation). It's interesting to note that the stutterer does not stammer when he talks to himself, curses out, sings along, or reads aloud with a noisy background.
With the death of King George V (Michael Gambon), oldest son David (Guy Pearce), is crowned as King Edward VIII. Edward's relationship with a twice-divorced American commoner Wallis Simpson (Eve Best), and with whom he intends to marry, raises serious eyebrows of the parliament and church institution since he is the head of the church. Edward chooses love and abdicates his throne. Bound by duty and honor to serve the country, younger brother Albert is crowned as King George VI (father of future Queen Elizabeth II).
Since childhood, feeling the reject of his nanny, receiving negative reinforcements from his father, and living in the shadow of a self-assured brother and heir to the throne, self-doubter, naval officer Albert has been stuttering virtually all his life. He has all the right words in his brain but is just unable to orally communicate them. Firth's delivery, conveying his frustration, anger and fear over his handicap, and the extreme embarrassment it causes, is truly heartfelt.
While a prince may get by without much public speaking, for a king, it's not an option. Impeccable speech gives voice to the face of a nation. This is especially amplified where leaders are expected to do public addresses that reach far and wide, courtesy of new technological apparatus, such as microphone or radio. Speech impediment would far lessen the ability to lead, particularly in times of unrest. With the distressing rise of Hitler and impending world war, people look up to its leader to speak with a credible and assuring voice, and hang on to every word.
With a running time of two hours, the story surprisingly maintains its momentum, although the standout scenes are clear. When Lionel's wife (Jennifer Ehle) finds out about who his husband's student really is, it's hilariously memorable. When Lionel tricks Albert to record and listen to his own voice, it's a real 'aha' moment. Firth encapsulates Albert's deepest pathos in a single scene where he breaks down in front of his wife over his upcoming coronation and reality of being king is sinking in. The first appearance before the parliament where Albert feels small and every man before him appears to loom large, is another shining moment. The accession ceremony rehearsal at Westminster Abbey is a must-see. Last but not least, the premiere of the pause-filled wartime speech is a must-hear.
Firth gives an imperially admirable performance throughout and Rush is not much less regal. Lionel believes with sincerity and certainty that Prince Albert, King George VI is on the brink of becoming a "bloody good" king. The upclose, personal interactions between Firth and Rush are majestic. The quick-liners between them, stammer and all, flow mirthfully. Their unlikely rapport turns into a lifelong trust and friendship.
Once in a while comes a film that inspires and moves you, but rarely one that tells a story about a dry subject, which on the surface, as unrelatable as it gets since it involves a privileged royal family. Respectably applause-worthy, "The King's Speech" illustrates the power of storytelling. Hail to the king!
Wednesday, January 12, 2011
Note: "The King's Speech"
Sunday, January 9, 2011
Movie Trend: In-Movie Dining
Thursday, January 6, 2011
Movies Flashback: The Last Decade
As we ring in the new year, I'm looking back to the last decade and putting together a list of memorable movies.
These movies are not necessarily the best from professional critics' standpoint, although some certainly are. But they're epic, revolutionary, controversial, profound, serious, witty, smart, sweet, whimsical, sleek, adventurous, or brainless fun. Whatever it was, it left an imprint in my mind long after leaving the theater.
I've been asked why I love movies (or TVs) so much. Because it's such an immersive experience for me.
Where else can I be transported into different worlds - real or imaginary, past, present or future - filled with stories, characters and creatures that I may never encounter in real life? Through the lens of motion pictures, I feel magically enchanted, visually provoked, intellectually stimulated, emotionally touched, intensely scared, courageously inspired, instantly uplifted, immensely amazed and amused.
As a friendly disclaimer, for sure there are great movies left out because either I didn't get around to watch them somehow, I honestly forgot about them, they're purposely left out due to the imposed limit per year, or if part of the series, they may be represented in other years (although in some cases, there are certainly movies in the series with far lesser quality and not memorable). I'm also a "geek" at heart, so a number of these movies may not have the same appeal to a broader audience.
Below is a flashback to the last 10 years in films: (five each year in alphabetical order)
2010 - Black Swan, Inception, Red, Shutter Island, The Social Network
2009 - 2012, Avatar, Surrogates, Up, Up in the Air
2008 - The Curious Case of Benjamin Button, The Dark Knight, Indiana Jones: The Kingdom of the Crystal Skull, Iron Man, Wanted
2007 - Gone Baby Gone, Live Free or Die Hard, Michael Clayton, Mr. Brooks, Stardust
2006 - 300, Blood Diamond, The Departed, The Illusionist, Superman Returns
2005 - Batman Begins, Brokeback Mountain, The Constant Gardener, Red Eye, Sin City
2004 - The Aviator, The Bourne Supremacy, Crash, Finding Neverland, The Notebook
2003 - The Italian Job, Mystic River, Pirates of the Caribbean: Curse of the Black Pearl, Runaway Jury, X2
2002 - Catch Me If You Can, Equilibrium, Femme Fatale, Spiderman, Tuck Everlasting
2001 - Blow, Harry Potter & the Sorcerer's Stone, Moulan Rouge, The Lord of the Rings: The Fellowship of the Ring, Spy Kids
Monday, January 3, 2011
2011 Most Anticipated Movies
Sunday, January 2, 2011
"Black Swan"
Shockingly disturbing. Words cannot adequately convey how hauntingly devastating "Black Swan" is.
Darren Aronofsky ("Requiem for a Dream," "Pi", "The Wrestler") crafts a visceral masterwork of an intimately dark portrait of a prima ballerina, Nina Sayers (Natalie Portman).
Ballet is Nina's entire existence. Being the "Swan Queen," the lead in the new rendition of "Swan Lake," becomes her sole purpose. Ballet is Nina’s entire existence. Being the “Swan Queen,” the lead in the new rendition of “Swan Lake,” becomes her sole purpose. In “Swan Lake,” a princess-turned-white swan longs for freedom, which could only be had when the spell is broken by a prince. Tricked by her evil twin, the prince falls for the black swan instead. The white swan dives off a cliff and finds freedom in her death.
Beautiful, fearful and fragile, Nina excels as the purely innocent White Swan. Sweet but frigid, precision or control is second nature to her. In order to shine, however, she also needs to be able to channel her passion and spread her wings freely as the vigorously seductive twin, Black Swan.
In a surprising turn of event, Nina is selected as the lead soloist and then coached by the lecherous school director Thomas Leroy (Vincent Cassel). Living with her overbearing and self-projecting mother, Erica (Barbara Hershey), Nina is constantly egged on to be the performer that her mother could not be in her prime time.
A wounded paranoid, Nina spends her life in the bubble of her pink-hued, childlike bedroom and insulated school of ballet. She's utterly frightened that an uninhibited newcomer, 'Lily' (Mila Kunis), is out to take her crown - just like she did earlier with a retiring star of the past, dramatically bitter Beth Macintyre (Winona Ryder).
"Black Swan" provides a glimpse of the rigorous practices that ballet dancers have to go through in perfecting their art. Will Nina break through her self-destructive cycle, withstand the pressure and triumph? Or will she drown in her fixation on perfection and break down in insanity?
Mirrors and contrasting colors of black, white and red are used to reflect darkness, light and blood, which are predominant in Nina's life. The music rhythmically underscores the graceful and forceful movements. While Portman's raw encounter with Kunis on screen may have stolen the spotlight surrounding the release of the film, it's a small sequence that, dare I say, doesn't have much bearing on the overall story. This transformative role demands Portman to give the performance of her life in so many different ways.
Trapped in a nightmarish pursuit for perfection, there is an aching desperation in Nina's obsession that I can't help but feel for her. At the same time, bizarrely realistic imageries in her hallucinations make my skin crawl - and it's virtually impossible to look away. Combined with distorted cuts of scenes and jarring score, psychosexual thriller "Black Swan" is on par with or intensely scarier than some horror movies.
"Black Swan" ties with soul-shattering "Shutter Island" as the most terrifying film of the year.