johnleemk Reviews

Talentime (2009)

Flawed, but easily one of the best Malaysian movies in living memory

[10/10 · 18 August 2009]

I wasn't sure what to expect when I went to see Talentime, and I think neither did any of the other nine people who went to see it with me. I'd seen Sepet and Gubra, and good as they were, they felt very raw and unpolished. Talentime retreads a number of themes and tales which Yasmin Ahmad dealt with in her earlier films, so it wasn't immediately clear what would set Talentime apart.

When the credits began rolling, all of us -- and virtually the rest of the theatre -- stood or sat in stunned silence. This is one of the most heartwrenching, moving movies I have ever watched -- and especially so for Malaysians.

I do have some bones to pick with the film. I felt the editing was a bit choppy at times, and the dubbing seemed rather poor. Once or twice, parts of the story strained credulity for me.

In spite of these things, Talentime deserves a 10. It tells a good story well. It resists the temptation to overreach in terms of subject matter, and it avoids the problematic, blunt moralising which often characterises the approach to problems like race and love.

When the group I watched Talentime with finally picked our jaws up off the floor, we raved about the final scene. It's something which I think most people have seen before -- a bittersweet, almost preachy scene that's always mawkish and off-putting. But Yasmin Ahmad somehow pulls it off -- it's one of the most moving things I've ever seen on the silver screen.

It's very sad that Yasmin Ahmad is no longer with us. Talentime was her masterpiece, and it shows a maturity and polished refinement which her earlier works lacked. This should be mandatory viewing for any Malaysian.

The Curious Case of Benjamin Button (2008)

Good, but a classic?

[9/10 · 23 January 2009]

I went into this expecting a good movie, and that is what I got out of Benjamin Button. The film-making and direction are obviously amazing, and Brad Pitt and Cate Blanchett turn in commendable performances. Unfortunately, I just didn't feel an emotional connection to the story until over 2/3rds into the movie.

I don't put too much stock into comparisons with Forrest Gump. I'd say Benjamin Button and Gump deal with very different themes, although they both have a lot of plot elements in common. A few of them were very apparent and annoying at times, the most egregious being Button's mama's favorite aphorism: You never know what's coming for ya'.

The biggest problem I have with Button is that in spite of the fantastic direction and acting, the story and the main character just don't elicit a great response from you until the end is nigh. The last 40 minutes or so are the best of the film, and the most touching. But in the first two hours, Button's character is an enigma, and we learn nothing at all about what he thinks or feels, beyond his love for Daisy and his mama. The final 40 minutes are a triumph because through his actions, we finally learn something about Button - what he thinks of his condition, and what kind of life he decides to lead. It doesn't hurt either that Button's character has a diminished role in the final part, with Cate Blanchett taking a more prominent position.

This is an unusual Hollywood epic, that much is certain. We don't see movies like this from Hollywood very often - a movie with great direction and acting, a long epic of consistent quality. The problem is that the story and the protagonist just come off as a bit too flat, a little too 2-dimensional, for most of the movie. I liked Benjamin Button, and it's sure to be remembered for quite a while, but the storytelling just doesn't work quite well enough for it to be among the best. It is really hard for fantastic acting and directing to rescue a shabbily-written story, and unfortunately, I don't think even the great team on Benjamin Button was up to the task. Do watch Benjamin Button, but don't be surprised if you find the storytelling a little lacking.

Slumdog Millionaire (2008)

A modern fairy tale...for the ages

[10/10 · 17 January 2009]

I had heard some grumbling about this movie being overrated, and until about halfway through the movie, despite enjoying myself, I was willing to give it maybe 9 stars out of 10. But then it became more than the story of a couple of kids from the slums - it became a great retelling of two ancient stories: the kid from humble beginnings who makes history, and the boy who gets the girl, loses the girl, and...well, let's not spoil it, shall we? The second half, as we see the protagonists mature, combined with the climactic finale of the game show, is easily one of the best pieces of film I have ever seen in my life.

Yes, Slumdog Millionaire is incredibly unrealistic. Let's be frank, even giving generous leeway for coincidence, there is no way this could have happened. The women featured in the movie are nearly always perfectly pretty; the prominent usage of perfect English is extremely unrealistic; there is just no way Jamal's life could have worked out in such a way that he would know the right answers.

But if you think this is a criticism of the film, all I can say is that I'm really quite sorry for how seriously you take yourself. Great stories are not about the real world; great stories tell us about a world that could be, and make it seem almost as real to us as the world we live in. Slumdog Millionaire is a fairy tale for the ages, and for all its unrealism, is an uplifting and inspiring story of determination, love, and destiny. While I would say that I am often too eager to cut films some slack and give them 10 out of 10 just because I enjoyed myself thoroughly watching them, I have no qualms about giving Slumdog Millionaire a perfect 10. I would give it 11 if I could. This is a movie that deserves it.

A side-note on issues of realism: although I have never lived in India, I visited Kolkata for a week and the slums and way of life I saw were very similar to that depicted in the movie. I come from a multi-ethnic country with many Indians and huge income disparities; I have socialised with both the wealthy elite and the squatters living nearly hand to mouth. I can easily tell you that Slumdog Millionaire is off in many ways. But every timeless tale is not quite accurate, and I don't hear anyone ragging on Snow White or George Washington's cherry tree for their realist faux pas. Slumdog Millionaire is a beautiful story, and while I'm not sure it stands in that class, it is one of the most amazing things to have ever been filmed. Watch it.

Love Actually (2003)

A Dickensian Love Fairy Tale

[7/10 · 27 December 2007]

Love Actually is one of the most mawkish, treacly, sugary romantic comedies out there - as has been noted, there are a tonne of different plots, so you have basically eight times the amount of upbeat treacle you would normally get. The movie tosses an incredible ensemble cast in your face, flaunting well-known celebrities in almost unremarkable cameos. Yet, incredibly, the movie works - it makes you feel good about yourself and about love.

The critics can say what they will, but Love Actually actually defies all these things working against it, and for inexplicable reasons, tells eight uplifting love stories. It would be difficult for someone not to be touched by at least one of them, seeing as how the movie takes pains to cover almost every type of love imaginable, from romantic to platonic.

The important thing to bear in mind is that you can't take the movie too seriously. Most romantic comedies flirt with the barrier between reality and fantasy, but by the end of Love Actually, it's pretty unquestionable that this is a modern day fairy tale - it's not just implausible, it's impossible.

Love Actually reminds me of something Dickens would write, because it adheres to Dickens' style. The denouement of the movie ties together all the subplots, bringing the characters together at the airport - a definite Dickensian move.

Dickens dealt with mawkish fairy tales, and he has found popular acclaim, both among the masses and among the critics. If the critics would let their guard down and accept Love Actually as a fairy tale, I think they'd find it's a very Dickensian story at heart.

If you loved reading Charles Dickens's improbable stories, and didn't mind the exciting but improbable happy endings he almost inevitably produced, you will like Love Actually.

Knocked Up (2007)

Realistic drama with some humour thrown in

[9/10 · 13 December 2007]

The premise of Knocked Up is pretty simple: unattractive slacker Ben Stone (Seth Rogen) meets successful journalist Alison Scott (Katherine Heigl) and gets her pregnant. They struggle trying to get along romantically, while at the same time dealing with Alison's sister and brother-in-law, whose own problems affect their relationship.

What struck me about the movie is despite its irreverent tone, and its obvious intention to be a comedy, it is really a realistic dramatic portrayal of two things: having a child after a one-night stand, and the tension of a romantic relationship between two people whose characters just don't fit.

When I first saw the posters for the movie, I was not willing to give it a chance - I wasn't sure how they could pull off the concept without coming off as some stupid teenage boy-centric fantasy, and although 40-Year Old Virgin was funny, it did not really tackle any important issues.

Knocked Up pleasantly surprised me by dealing with the issues it raises in a realistic way - to a point. I can't speak to dealing with sex during pregnancy, or parenting, but I know what it's like to have parents who do not get along but were thrown together by happenstance, and I have to say Knocked Up presents things pretty well. I could very well see my parents voicing a lot of the frustrations of Pete and Debbie, the hapless in-laws of Alison.

It is this serious willingness to grapple with such difficult issues, in what is essential a comedic drama, that makes me give Knocked Up so high marks. Its brand of humour for me was really the sideshow to the more interesting story of how the characters deal with the situations life has handed them.

One thing I had trouble grasping, though, was how easily the movie brushes aside the subject of abortion. I personally believe abortion is wrong, but I understand why people would want it as an option, and the movie simply does not deal with the subject adequately - Alison never has a good reason not to abort - in fact she has all the reasons to terminate the pregnancy - but yet she decides to keep the baby. This is obviously necessary for the plot, but the lack of explanation makes it a bit of a startling loose end.

If you want sex and humour, without a serious message or theme, Knocked Up won't be your cup of tea. But if you can handle the movie's irreverence and want a movie that positively addresses real problems, Knocked Up is a movie you should see.

Blackadder Goes Forth: Goodbyeee (1989) Season 1, Episode 6

The Only Anti-War Message I Have Ever Truly Felt

[10/10 · 19 December 2006]

This may be a testament to the small number of anti-war films I have watched, but this is the only film (I can't think of a broad enough term) I have ever watched where I truly felt at the visceral, emotional level that war is evil and insane. Most anti-war movies I have seen leave me thinking "Yeah, war is stupid", but they don't make me feel that way - emotionally I feel nothing. After watching Goodbyeee, however, that is exactly how I felt.

Satire has long been the most effective way of conveying a political message. Certainly, this episode pulls out all the stops, from its comical depiction of Field Marshal Haig to Lieutenant George's inability to present a case for the war. Remarkably, despite being absolutely hilarious, these do not really contribute to the pacifist message of the episode.

Rather, it is the honest and simple characterisation of the protagonists as they prepare for their end that really builds the case against the insanity of war. Lieutentant George's simple but heartfelt admission that "I'm scared" and Blackadder's parting comment about nobody noticing "another madman around here" - these are the simple but surprisingly effective elements that prepare the viewer for the final (and again, surprisingly touching) sequence as the men go over the top.

I think that this truly shows the brilliance of the cast and producers - their ability to effectively combine comedy, sarcastic wit, snide asides, and a serious message into an effective episode that succeeds both at making people laugh and feel the horror of war. The final scene, with the men fruitlessly charging and the sombre adaptation of the theme song playing over it, remains the only depiction on screen I have ever seen that made me feel the real futility of war.

I'm not a pacifist, and never have been - but I've always known that war is a foolish and insane thing. Goodbyeee didn't have to convince me of that on an intellectual level - but it did convince me of that truth on an emotional level, and for that alone, it is the best episode of the Blackadder series. (Oh, and did I mention that it's absolutely hilarious as well?) Ten out of ten, and a job well done, with brass knobs on, as Lieutenant George might say.

Death of a President (2006)

A commentary on the war on terror, not on Bush

[8/10 · 16 December 2006]

I came into the movie without any expectations. I had heard that some reviewers were disappointed by the movie's failure to explore the political ramifications of a Bush assassination, and indeed, it is true - the movie barely scratches the surface of the Patriot III Act signed by "President Cheney". Rather, the focus of the movie is cleverly subtle - it aims to expose how stereotypes and preconceptions can cloud our judgement, and how undue political pressure can be brought to bear on criminal investigators.

This movie is not about Bush's assassination - the murder is in reality only peripheral to the plot. Bush's death drives the plot forward - it is a vehicle for the message that we should not jump to conclusions about Muslims - or indeed, anyone. The story of the movie is essentially how the investigation of the death of a president led to evidence being forced to fit like a square peg in a round hole, just so that the accused, who fit the preconceived notions of what an assassin would be, would be convicted.

As has been said numerous times already, the subject of Bush's death is not gloated over or glorified - it is really hardly touched on. It is not the theme of the movie, despite its misleading title.

The most disappointing part for me is that the filmmakers were far too subtle with regard to conveying their message about vigilance when it comes to liberty. While obviously they should not be hammering the idea into our heads every five seconds on screen, much of the movie seemed to hem and haw - I was quite unsure where it was leading to or what it was getting at until the final fifteen minutes or so. A better script would have somehow made the focus of the movie on civil liberties and stereotyping clearer and a bit more overt.

Criticisms that the movie is yet another piece of left-wing demagoguery are a bit misplaced, I think. This is absolutely not another piece of Michael Moore-ish trash. If anything, I found the movie to paint the left-wing protesters depicted at the beginning in a rather negative light. (It's hard to feel good about a bunch of screaming people threatening violence, unless you're one of them.) It has been suggested that the movie implies that Muslims are not responsible for terrorism, but this is a very misplaced reading, in my opinion. The movie never says such a thing, implicitly or explicitly - all it does is ask us to be objective when evaluating the evidence, and not to judge a book by its cover. Even when it briefly touched on the subject of racial profiling (in an interview with a security personnel who mentioned looking for Muslim names), the movie was careful not to criticise it - the only commentary it provided was a quote in an interview calling it a "common sense approach".

Overall, the movie's only failing is that it has not been carefully crafted enough to avoid watering down its main thrust - that justice must be blind, so the scales can weigh the evidence without bias. This could have been a brilliant and timely message, had it been properly executed - but alas, it was not. Nevertheless, the plot is suspenseful, the acting and staging are realistic enough, and it's a good way to spend one and a half hours. Eight out of ten.

2001: A Space Odyssey (1968)

Beautiful...but nearly totally vapid

[4/10 · 1 December 2006]

My father picked up the DVD, thinking this would be a good science fiction movie. I didn't look at the IMDb reviews before watching the movie, and I knew next to nothing about it - I thought it would be a good way to spend a couple of hours. Well, it turned out to be less than a couple of hours, since my father and I fast forwarded our way like crazy through the film.

Not that we missed much, though. If your idea of a movie is a visual depiction of a story, this is not a movie. It's an interesting and pretty slideshow with a compelling (but in the end disappointing) story thrown in. Much of the film consists of a completely black screen, and dialogue-free scenes which do little to advance the plot, and in more than a few instances, serve no real purpose.

Now, that is not to say I can't and/or don't appreciate the beauty of this movie. I'm a fan of classical music, and if I'd been in the mood to just sit and contemplate, I probably would not have fast forwarded through many of the beautiful (but utterly pointless, and mostly meaningless) scenes. Other people who dislike this film cite things like the opening scene of Earth from space and HAL's rendition of "Daisy" as irritating, but I found them haunting and truly beautiful.

Alas, 15 minutes of haunting beauty is not enough to salvage the rest of this sad piece of "art". Many establishing scenes in the African savanna serve no real purpose - they do not provide any of that vaunted "detail" which lovers of this movie harp on. Kubrick hits us on the head with a sledgehammer several times, apparently thinking we need to have the point (whatever it may be) of a particular scene driven home.

Although much of the detail given to futurism serves no purpose at all plot-wise, it does not detract from the movie (thankfully). The film would be nearly completely the same if we did not know what sandwich Floyd had, or the scene of him at the lunar briefing had been cut, but the little details in these scenes of how the future was thought to look like helps to spice up an otherwise rather boring movie.

People have criticised the acting of the protagonist, Bowman, but I thought he did a rather decent job, considering the shabby plot he was handed. It may be true that the film would not change very much if he had been played by a house plant, but that is not the fault of the actor - it is the fault of the directionless movie makers.

There may or may not be a philosophical bent to this film. I don't know - if there was one, I didn't see it. But if the only people whose lives and thoughts have been altered by this movie are the contemplative, philosophical type, I don't see why it is such an important film. Surely what would make a thinking movie great is the ability to make even the average Joe contemplate his place in the universe - and this is a talent that 2001: A Space Odyssey clearly lacks, given the response of casual viewers.

I am a bit ambivalent about whether to recommend this movie or not. I am very confident that those with an intellectual bent, given the right (i.e. contemplative) mood will be able to get something out of this movie. The important thing is not to expect a traditional movie, i.e. that with a storyline. This movie is more like a therapeutic slideshow for those intent on meditation, rather than a medium for communicating a particular story.

Ultimately, my verdict is to avoid this movie, unless you ever really feel like just sitting down and philosophising, in which case, you'll truly get the best bang for your buck. But otherwise, just don't bother. The few scenes of beauty and the peripheral plot won't keep you focused, and ultimately it'll be a self-defeating exercise.

As for me, I don't think I'll ever be watching this again.

Click (2006)

Worth watching, but not as great as some say

[6/10 · 10 October 2006]

I wasn't planning on writing a review until I saw the large number of people rating this movie a 10. It's an above average movie, I won't deny that. But it simply isn't groundbreaking or brilliant like, say, Schindler's List. It isn't even a Forrest Gump or A Beautiful Mind. It won't be winning any Oscars.

Now, of course, the question is: why? Two things strike me the most: the movie's failure to walk the fine lines any great movie needs to, and its consistent habit of opting for the over the top rather than the understated.

The story of Click is rather simple. Man gets remote that lets him fast-forward through his life, he screws his life up, regrets it, dies, wakes up from his bad dream, and promises to change his ways. The story ain't unique, but a great movie doesn't need a particularly outstanding story. What's important is how it's told, and in this respect, Click doesn't do too well.

Half the movie relies on comedy, but as hilarious as the comedic bits are, it fails to walk the fine line between "funny" and "immature". Yes, the joke about Wacko Jacko suing himself for self-molestation is funny - but the way it was done was simply too in your face when understated humour could have elicited the same amount or even more laughs. One over the top joke isn't enough to sink a comedy, but practically every joke, given the choice between subtlety and brash boldness, opts for the latter.

Unlike some critics, such as Rolling Stone, I was quite happy with the dramatic aspects of Click. I actually found the scene where Michael sees his father for the last time before he dies quite touching. It was horribly clichéd, true, but the art of film-making is about dressing up several clichés as something new, and in this regard, for a while at least, Click was a success.

What really got on my nerves, however, was the forced happy ending. To be frank, this could have been Adam Sandler's equivalent of the Truman Show if they'd just ended it with his death. I couldn't empathise with Michael's joy when he woke up - all I felt was the numbness of being emotionally cheated. The death scene was truly a brilliant closer, but it was ruined.

I like how the producers tried to go for a deep comedy with a message behind it, but the message simply wasn't conveyed correctly. You want a comedy with a deep message that works? Go for Forrest Gump. Click tried to work along the same lines, but it just fell flat. Relying on physical and scatological gags cheapens the theme, and screwing up what could have been a truly excellent ending is simply unforgivable. A solid six out of ten, but it really could have been so much more.

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)

Excellent filmography makes up for pedestrian plot

[8/10 · 8 December 2005]

I was actually quite surprised to see this movie open in Malaysia before the US, but anyway, I went to see the film today after its premiere here. I hadn't really intended to go, because I'm not into fantasy fiction (I had trouble finishing the LoTR books, and have never seen any of the movies), but my friends invited me along. I wasn't sure what I was expecting, but from what I knew, I was sure I could expect a lot of references to Christian theology and probably a predictable plot.

Well, I wasn't wrong on either of those counts. The plot is loaded with references to things from the Bible, and considering how predictable *that* book was... (Don't get me wrong. I'm a Christian.) Fortunately, once you put aside this necessarily mediocre plot, you get a pretty darn good movie.

The acting might actually turn out to be worth something, and most of the kid actors actually look like they might be people caught up in something they want no part of. The directing and filmography are the best part of the movie, however. I'm not big on fight scenes, so I can't say how well-choreographed they were, but I certainly can't complain. And there's no doubt that you'll be transported into Narnia thanks to the efforts of those funny New Zealanders behind the scenes.

Overall, if you have a family, go. There's no blood, the violence is rather tame, and the plot definitely won't turn your kids into baby-eating liberals/conservatives. If you don't have one, tough. If you have a little cash to spare and don't have much else to do, definitely see this movie. If you think your two and a half hours can be better spent, however, you won't be missing that much. Just wait for the DVD.

Sky High (2005)

It's just too bad the Oscars don't have a knack for recognising movies like this

[7/10 · 15 October 2005]

So, I went to the cinema for the fourth time in my life today. There are of course only four films I have ever watched in there - Titanic (it was doing so well in the box office, my parents couldn't say no), Mulan (some people said it was good, so my mother said we should go), Flightplan (to celebrate the end of the PMR exams) and Sky High (just for fun, now that my mum has her own car). Of these four films, I'd say only Titanic and Sky High were worth the money. Mulan was not that great, and neither was Flightplan, despite its thrill-factor and never-ending implausible plot twists.

In that particular sense, Sky High is the complete opposite of Flightplan. Every single thread of the plot can be seen barreling at you miles away. Every time there was a new development, I had predicted it 15 to 30 minutes before. I remember reading once some wise words - there are only about 7 (or 12? My memory fails me) stories that have been told. The mark of a storyteller is his ability to tell one of them in a way it has never been told. In that sense, Sky High does an incredible, and I mean, incredible (no pun intended; The Incredibles have nothing to do with this film) job of storytelling. Despite every clichéd story in the book being used, despite every plot device having been beaten to death, Sky High made them come to life again.

Oh, the plot's quite simple really. Stereotypical teenage kid starting school, parents are these great people with high expectations of him, kid can't live up to them and makes friends with the under-class of his school, including *gasp* a pretty girl obviously madly in love with him. Then, lo and behold, he's suddenly this great guy who has outdone himself and his parents' expectations! (And he's still oblivious to the girl's affections.) He begins hanging with the cool crowd, who want to make him lose his old friends. (Insert the traditional cool crowd bullying nerd kids part here.) Meanwhile, he makes enemies with a stereotypical evil-looking punk dude who wants to kick his butt. At the same time, a malicious plot is afoot to destroy him and everything he holds dear. CAN HE SAVE THE DAY? CAN HIS UNDERESTIMATED CHUMS PROVE THEIR WORTH TO THE COOL KIDS? WILL THE "EVIL" GUY TURN OUT TO BE GOOD? WILL HE GET THE GIRL? Yup, nothing new there. Even the superhero premise of a kid with no powers from a family with lots of them is nothing new. I watched a corny Disney TV movie five years ago entitled Up, Up And Away! with a similar plot, only at least that time, the writers decided to be a bit imaginative and take the road slightly less taken. You certainly can't say that about Sky High. The masterstroke of its creators is their ability to make the old look new.

And in a sense, that's what good entertainment and good business is about. Elvis introduced rock and roll, but it took The Beatles to perfect it. Small mom-and-pop stores, K-Mart, Home Depot, and assorted supermarkets came up with brilliant ideas on their own, but it was Wal-Mart who stole all of them to make a successful multinational business.

Sky High also contains lots of interesting references to traditional superheroes and their stereotypes, making fun of things like sidekicks (and how fast they can change into costume), radioactivity and its effects on superheroes, etc. For those who know of Lynda Carter as Wonder Woman, there's a hilarious reference to it at the end.

If you can't tell already, yes, I love this movie. It's quite possibly the best teen flick of the past five if not fifteen years, and it does all this with a plot that retreads ground ploughed by a million movie makers. The actors are brilliant, and I'm very pleased that the movie makers' one original bright spark was taking the high road by hiring largely unknown talent instead of opting for the usual talentless posers like Hilary Duff, Lindsay Lohan, et. al.

Although clearly pains have been taken to make this child-palatable, with no blood or deaths, the movie is also surprisingly adult-enjoyable. In spite of the plot's unoriginality, it is hardly childish in presentation, and you almost forget you're watching a bunch of teenagers and some actors past their prime zooming around on the screen. Perhaps the only demographic group this film won't appeal to are the elderly, hardcore punk-ish, and the hopeless romantics who made Titanic a success by repeatedly going to theatres to see Leonardo di Caprio's wet nipples.

It's just too bad the Oscars don't have a knack for recognising movies like this. After all, such fare is hardly "serious" stuff like the Godfather, the Shawshank Redemption, Forrest Gump or even Titanic. While the previous four take themselves seriously, making them good candidates for a Best Picture Oscar (which three of them won), a film unafraid of poking fun at itself and taking you on a jolly good ride isn't even going to make the cut for a nomination. Well, such is Hollywood. Still, this is definitely a two thumbs up, and I give it a nine out of ten.

Bicentennial Man (1999)

Superficialities galore, but the movie's still absolutely freaking brilliant

[10/10 · 10 November 2004]

Warning: Depending on your definition of "spoilers", there might be a spoiler here. Tread carefully.

Like most other reviewers, I could not help but notice how "perfect" the future was, yet how much it resembled the 20th century. However, all that, IMO, is irrelevant to the plot.

Now, I haven't read Asimov's book (as a matter of fact, I had no idea this movie was based on a book till I logged on to IMDb), but even if I had, I wouldn't go in with the highest expectations, knowing how Hollywood mucks things up.

My parents, who have already watched this film, praised it quite highly, but my sister trashed it as boring. I went in with mediocre expectations, particularly because I don't have much affinity for movies dealing with artificial intelligence.

I was pleasantly surprised by the plot. Perhaps it's just me, but I really felt I could actually relate to the robot. I didn't care that it was Robin Williams. I didn't care the future was totally unrealistic. In a sense, I think I related to Andrew because of my personality; I'm awkward in social situations, and am always utterly agreeable.

I probably fell for the plot like a sucker, but I liked falling for it. Whatever superficial goofs the movie made were more than made up for me by the story, which I found brilliantly beautiful. I really cannot think of adjectives that would sufficiently describe it, but.... it's just something that really appealed to me.

Besides the similarities I found between myself and Andrew, I think I was also touched by many elements of the plot; independence, freedom, recognition, a spurned love...

And the philosophical issues, most imperatively. I've always enjoyed pondering the moral issues surrounding robots, immortality, and so on. I think that's probably what drew me in. Watching the people Andrew loved die was probably the part of the film that touched me most, because I'm a very nostalgic person at heart - I love recalling past incidents, people I knew... and I felt Andrew's pain at losing the people he loved most.

A lot of reviewers criticised this movie for its unrealistic portrayal of the future, its failure to properly adapt Asimov's book (from what I've heard about it, it does sound like a great pity, as the book seems more powerful), hell, even the music played.

But none of that stuff really matters to me. The story was quite philosophical, with all the touches of sentimentality that make me melt like butter in a frying pan. This movie is probably one of the most touching and brilliant dramas I've watched, outdoing A Beautiful Mind, my previous most favourite drama. Neither films are without flaws, but the stories, which is what a movie is about, are beautiful.

Saving Private Ryan (1998)

I wasn't going to comment, but...

[10/10 · 21 October 2004]

It amazes and sickens me how people judge movies by the quality of the message, or how many goofs it has, or whatnot, and when the movie doesn't live up to these targets, they decry it as not having a single piece of value.

It's unrealistic. So what? It portrays American soldiers without giving a glance to the British, Canadians, whatever. Way to go, political correct soldiers!

I don't give a toss about any of that crap. I bought the DVD to see a good movie, and I got a good movie. A movie with touching emotion, gory battle scenes, and an unrealistic tragic plot that warms the heart.

That's what I'm looking for. Now, while I'm not asking you politically correct legions to change your minds about how you perceive this movie, but for heaven's sake, how fun/touching/whatever this movie is has nothing to do with how many non-American soldiers are included.

Get off the "let's hate America" boat. Just because some loser thinks going to war for oil is fun doesn't give you licence to insult Americans who did die for a good cause. (No bad feelings meant for those who do give the American soldiers in WWII credit.)

And for the record, I'm not American, nor have I ever set foot on European nor American soil.

I Not Stupid (2002)

Best. South-East Asian Family Flick. Ever.

[10/10 · 19 January 2004]

Honestly, as a student in Malaysia, this movie is one of the best to come out in South-East Asia targeted for the family audience. As someone who's spent a good chunk of his life in Singapore, and subjected to similar pressures in Malaysian schools, I can greatly identify with much in the film. The shame of being considered "stupid" is one I know and understand, and yet there is also much to keep parents preoccupied with, especially those living on both sides of the Causeway, such as the idea of Caucasian superiority, the behaviour of the Singaporean government, etc.

It has been argued that much of Terry's narration is unnecessary, especially his explanation of the Mrs. Khoo - Singaporean government analogy. However, I think this is an artistic thing done to reflect Terry's simple-mindedness, as well as for the benefit of International audiences.

If you live in South-East Asia, give this movie a go. You most likely won't regret it.

10/10

Lizzie McGuire (2001–2004)

Horrible If Not For The Supporting Cast

[13 November 2003]

From the moment I first saw this show, I never completely understood Hilary Duff's character, Lizzie McGuire. The show overall is good, I would say, as the almost 14-year-old that I am, but somehow it is only Duff's character that I feel has no depth. The show is funny(to me anyway), and the rest of the cast is excellent; Lizzie's family, Gordo(although the fact that he is 19 still confuses me), Miranda, Kate and Tudgeman and Lannie. The actors who play them are really convincing, and are pretty funny while at it too. They literally saved the show.

The show admittably stereotypes and pigeonholes the characters, but most of them except for Lizzie at least have some depth. Another factor going in their favour is that they know how to act. More often than not, I find myself enjoying the subplot than the beef of the story.

In short, quite humorous if you need a quick laugh and don't mind slapstick. Just don't expect too much from the title character.

The Pianist (2002)

Fantastic But Not Flawless

[10/10 · 9 September 2003]

I had nothing better to do one Friday night, so together my father and I popped the CD in, and what a film this one was.

Other comments have already detailed the plot of the film, so I'll dive in and describe my personal opinion of it.

Brody's acting was good, but not Oscar-deserving. He communicates his role excellently, but if this is the best, then 2002 must have produced a rather mediocre crop.

However, I find it difficult to fathom how this failed to win Best Picture. I'm not judging this on the basis of its depiction of the Holocaust - I always avoid those obvious ones cashing in on the Holocaust's popularity as a movie subject, but this one was rather moving. However, if there was another movie that was really as touching as this one, I can see why the Pianist didn't win.

Still, the film is realistic enough, and I find it to be a very effective anti-war and anti-racism movie, moreso than any other I've ever seen.

10/10

A Beautiful Mind (2001)

Fantastic, Despite It's Shortcomings

[10/10 · 12 July 2003]

A Beautiful Mind is the story of the mathematical genius John Nash and his experiences in life from the time he entered Princeton until his winning of the Nobel Prize in 1994.

Now, I don't like Russell Crowe at all. But his acting in this movie is brilliant. His portrayal of Nash is quite good and convincing, to say the least.

What I don't understand is Jennifer Connelly's Best Supporting Actress Oscar. Her performance as Alicia Nash is good, but not quite Oscar material.

Another problem with this film is the inaccurate portrayal of Nash's life. Nothing is mentioned of his divorce with Alicia in 1963, his homosexual affairs, nor his illegitimate son and mistress before he met Alicia. Well, that's Hollywood.

I give this 9/10.

Great Performances: Les Misérables in Concert (1995) Season 24, Episode 10

Undescribably Brilliant

[10/10 · 20 January 2003]

I'm not sure what to say. This musical rocked. I usually detest musicals with a vengeance, but this is just different...since I finished watching it for the first time about a week ago, I have never stopped watching it again and again (thanks to the good old VCD, I don't need to pay any ticket fees). For some reason, I find the first 40 minutes rather slow and boring, but not enough to drag my opinion of this down. Honestly, anyone who thinks this is a stinker just doesn't understand this. It's just...brilliant.

The emotions evoked by the second act are simply overwhelming. The spirit of love and camaraderie until death are portrayed so brilliantly and effectively. Absolutely a must-see for any die-hard intellectual movie viewer.

Early Edition (1996–2000)

Brilliant

[4 September 2002]

I first saw this in 1998, and I'll just say it again. This is brilliant. Trust me, almost anyone who can understand the English language will love this. The concept has been explained a thousand times by other reviewers, so I won't say it here. I will say, that this show is one of the most thought-provoking TV show I've ever seen, without making people feel uncomfortable. Again, you must see this if possible. You will love it.

Star Trek: Voyager (1995–2001)

Nothing interesting

[31 August 2002]

To be fair, both sides of the arguments about this series are true. The characters were not developed enough and the episode themes had the same underlying framework, but the series had something about it that made it interesting.

I've never been a real Star Trek fan. I've never seen any of the movies, but I have seen TNG, DS9 as well as this, and to me they are all the same. Essentially flawed, but not as bad as to be totally forgotten.

6/10

Forrest Gump (1994)

Perfect

[10/10 · 31 August 2002]

This movies is one of the best made. It has it's flaws, but shines through perfectly. There's not much else I can say since it's been stated here, but this movie is not for everyone(especially those who can't stand drama and comedy at the same time). For those who do like drama and comedy, give this one a go. From that perspective, this movie deserves nothing less than 9/10.

Ocean's Eleven (2001)

Ok, but definitely not as good as said

[19 August 2002]

I expected nothing from this movie. I'm not a big fan of any of the actors in this movie, but I must admit I was bowled over by the huge amount of stars in this production.

The film was fine. There were quite a few plot holes, though, and too many questions left unanswered. The film isn't really all it is said to be, but it has it's few high-points. Admittedly, Brad Pitt did look rather nice to see even if he was eating his way through. 6/10.