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Varmints (2008)
Having watched INTERSTELLAR
I ENJOY THIS SO MUCH I MADE OF POST OF IT ON ANOTHER MOVIE SITE.
To be honest, I am frankly appalled at some of the reviews. However for every reviewer who seemed to dislike the animation they did better in making an argument FOR it than AGAINST it. In many posts stating what it does not do, they state what it does do. Example: "what is the point"?.. If you have to ask...you got it. It is free to interpretation. Another example "why does the creature not pursue contact with another"?. It does but its shy...its too engrossed in its own pursuits". Often scientist and curious seekers are like that. "Why does it gather water" from the rooftop? Experimentation or compare and contrast. Naturally the water is foul but not too foul to wash ones hands in yet the raindrops that might fall might be less contaminated.
Indeed Hope is what our little creature is imbued with. Hope that the female creature might respond to his overture. Hope that the notes he is taking have some purpose. Hope that things might return to normal.
Its obvious that those who feel it their duty to defend corporate greed and the adverse effects of climate change on planet earth, feel they have to shout, "foulball" at HOME RUNS..... Which this little gem it. It does not take a rocket scientist to read that into its success. ....NOW ask, " a home run for what"?
http://moviepilot.com/posts/2015/10/04/an-animation-that-upstages- mcconaughey-3575160?lt_source=external,manual
Witness (2012)
From a Photographer's Perspective
This documentary set out to expose areas of conflict that while still smoldering with conflict have lost their appeal to the mainstream journalist yet still hold the appeal for war photographers. While watching it I was educated on how guerrilla tactics can be used even if some of the parts seem scripted. The balance between (scripted) and (pure unadulterated capture) are seldom done when western media personnel venture into war zones such as those covered herein. I was impressed with the Libya segment that created a narrative structure. The only other time I saw this was in both the book and documentary on Gordon Parks where he went back to Brazil to find the boy of his Life Magazine story. That technique was well used here. I found the technique to be an updated one using news footage alongside the video.
The areas picked were on point. They support the fact that the stories of conflicts still rage on after the stories are no long featured in the American Press. Most educational was the fact (in both the Libya and South Sudan segments) that revolutions are confusing shortly after they are successful. Too many guns in the hands of too many factions lead toward more skirmishes among varying ethic enclaves. These points would spell danger for most investigative journalist yet these photographers plunged themselves head first (lens first) into such volatile situations.
The above reviews seem void of familiarity with the points raised in the segments. One needs to watch them all in order to comment on any. Common thread were touched upon in each. Such threads as where one draws the line. What determines ones level of involvement. I listened to those knowing of the death of the photographer who took the picture of the child with a vulture in the background. I want to say, STEVEN CURRY. But I may be wrong Curry is/was a photographer but I am not sure he is the one who took that pictured and later committed suicide. This documentary helped to shed light on what motivates photographers like these.
The photographers share their personal looses as well. This negated my concern that they might be insensitive to the deaths around them. On the contrary, they seem to challenge their demons by plunging deep into the darkness of conflict where reason seems lost.
Wang-ui namja (2005)
The King & The Clown
Often when I think about writing a preview, I wait until I ramble through my adjectives and stumble upon a gem of a phrase to set the tone of my treatment. The King and the Clown (Wang-ui Namja) directed by Lee Jun-ik gets this phrase: "the pageantry of life." The movie, initially released in South Korea in December 2005, is adapted from the 2000 highly acclaimed Korean play entitled "Yi" (You). Whereas the play is about Yeonsan-gun, a Joseon dynasty king who falls in love with a court clown, the movie uses the love interest of the King to weave a tale of human activity at its most base level of political and social upheaval.
What is indeed so amazing is it manages to intertwine this American's imagination (subtitles aside) into its allegorical webs, even while one sits thousands of miles away from its Korean audiences. Such universal appeal is rivaled only by one's love of music.
The movie carries its own clout. Indeed, The King and the Clown was the highest grossing (over $85 million in US dollars) in South Korean history. That is, until it was out done by the horror film The Host.
Weather the movie was intended to operate as historically accurate film is soon lost on the magnificent delivery of the characters portrayed. The director elicits from his fine cast of actors performances that that further Asian film from the heavy handed fight scenes and bold colors that often connect westerners to Asian film.
Among them, Jang-Saeng (Karm Woo-sung) and Gong-gil (Lee Joon-ki) play off each other so well that one begins to wonder if Jang-Saeng does not secretly lust after his partner himself. It takes fine foreign actors to take the American viewer's mind away from the subtitles and feel comfortably lost in the characters.
You'll feel comfortable lost and found in The King and the Clown.