qiowisj Reviews

Paprika (2006)

Infinite interpretation

[10/10 · 24 June 2007]

I had gone into Paprika not knowing much of what to expect, save for the fact that it was an anime with quite a buzz. An hour and a half later, this is one of the best films I've seen in 2007.

The plot, as best as I can describe it, concerns a group of scientists developing a device which allows one to interject your subconscious into and record another person's dreams. However, a thief is using the technology to terrorize and control others. As the scientists try to find their stolen property, reality begins to take on a different meaning...

Satoshi Kon is filmmaker I've never heard of before, but what he has created is truly visionary. Paprika continually amazes with imagery which transcends conscious understanding and coherence for what can only make sense on a subliminal level. Examples include a marching band of inanimate objects, dolls and animals, a giant aquatic leviathan with a man's face and humanoid toys that act as vessels for their dreamers bodies.

But what makes the film necessary viewing is not the visuals alone, it's the core of the story and varied themes that it poses. The subject matter deals with issues both contemporary and probable. The actual identities of ourselves are wrapped in an enigma. How science has its positive and negative aspects. That the advantages of the internet is better communication but also dehumanization. I'm sure others will find other symbolism and subtext.

Wheather you're familiar with Japanese animation or not, Paprika will expose any newcomer to something foreign and deeply personal as well.

Pan's Labyrinth (2006)

Monstrous humanity

[10/10 · 24 June 2007]

Pan's Labyrinth is a brilliantly executed parable about how our own sadism projects itself historically, but through a child's eyes. From the outset the audience is left to decide whether the young protagonist is actually seeing what we are seeing. Could she be talking to a magical faun? Is her life in danger from an infanticidal ogre? Possibly; creatures whose vulgarity and wonder appear tame compared to the adult chaos surrounding her. In the end, it is the maturity near the main character which causes the most pain and suffering.

Technically, I've rarely witnessed such imaginative scenery and make-up effects in a single film. The film was deservedly awarded its Oscars for art direction and costuming.

Watch this movie for what it is; an all too real fairy tale.

Barry Lyndon (1975)

Arguably the best period piece of all time

[10/10 · 28 February 2007]

Barry Lyndon is a film that covers a wide range of dramatic subjects which near the edge of melodrama, but skillfully never steps over. Ambition, love, tragedy, hatred, courage, power, lust; I could go on and on. True, other films have depicted these topics in 18th century Europe, many obviously done so very well. However, this is a Kubrick picture and he has brought all his talent to the forefront here. Each frame, as usual, is visually arresting, photographed as if it were a painting of that era with actual motion. The story never meanders, despite the fact that the movie relates a large portion of a man's life and career. The acting, though low key in comparison to the lush surroundings, nonetheless achieves the aim of each actor. The final scene with Lyndon's son in particular is heartbreaking. Kubrick's choice of music, both original and borrowed, fits perfectly into key segments and generally heightens the mood.

Barry Lyndon is Kubrick's best in my opinion, a work of art that transcends decades.

Ju-on: The Curse (2000 Video)

Impeccably boring

[5/10 · 17 February 2007]

I anticipated Ju-on with high hopes before viewing it. The American remake, The Grudge, was so awful that I thought the Japanese original had to be a better undertaking. I was sadly wrong.

From the first frame one feels the low budget quality of the picture. This by no means signals mediocre cinema, just take a look at Takashi Miike's Visitor Q. But, in this case, the poor production values put a real hinder on the film's scares. The atmosphere never attained that sense of dread that I relish so much in a good horror movie. Instead, the scenes just lulled me into a quasi-sleepy state, with a few jumps interspersed here and there. Added to this is generally bad acting by the cast.

Try to avoid this one, there are so much better J-horror titles to choose.

Children of Men (2006)

Our dystopian present?

[10/10 · 6 January 2007]

Birth rates have dropped dramatically, terrorism is a constant phenomenon, the government's increasingly totalitarian, immigration laws are non-existent and urban warfare presents itself on a daily basis. I'm not commenting on contemporary issues, I'm discussing the futuristic drama Children of Men, a film that threw all of these topics at my face and forced me to reexamine the world of today.

I can't mention this movie without relating director Alphonso Cuaron's technical prowess of the cinematic medium. Children of Men is full of brilliant single tracking shots that left me sometimes dumbfounded as to how it was accomplished. One impressive scene in particular involved a reverse car chase involving two motorcyclists shooting at a car's occupants. The camera stays in the interior of the car at all times, not cutting away, from the casual conversation to the incident of attack to the scene's end. There are at least two other scenes similar to the one I've described.

The acting is consistently good all around. Julianne Moore, Michael Cane and the rest of the supporting cast put in believable portrayals in no small part to Cuaron's excellent direction. Special credit must go to Clive Owen, the star of the film. This movie would have sunk if his performance was less than adequate. Owen manages to burden this responsibility and is able to carry the film to its bittersweet conclusion.

One of the best movies of the year, Children of Men is an excellent metaphor about humanity's possible slow strangulation of itself.

Crash (I) (2004)

Melodramatic morality play

[4/10 · 4 January 2007]

The only thing I got out of Crash was about 2 hours of it screaming at me; "EVERYONE HAS THE POTENTIAL TO BE RACIST!" Yes? I already knew that. Anything else? Though this is a commendable effort to force us to examine our own views toward others, there should be more to a film than that singular message. Especially when there are so many unrealistic plot twists involving so few people in such a sprawling metropolis. I find it hard to believe the same two policemen would repeatedly run into the same two people and have life altering experiences. It boggles the mind as to why heaps of praise were laid onto this film. Best Picture of 2005? I don't think so.

The Crow (1994)

Gothic Noir

[6/10 · 30 December 2006]

First off, Brandon Lee's performance. This movie couldn't have been what it was without him. It's all the more tragic that he died during filming as the man certainly had some talent which might have been able to grow more. Watching him in The Crow brings conflicting emotions to the surface; you sympathize with his violent death and vengeful existence, yet he is absolutely ruthless and sadistic in exacting punishment on his executioners.

The depressed look of the city where it is constantly raining can be slightly overbearing at times, but still does an admirable job of conveying the melancholy of the environment. The supporting cast does a fine job also, even the child actor avoids being irritating.

Overall, definitely one of the better comic book adaptions of the 1990s.

The Descent (2005)

Horror done right; original and engrossing

[9/10 · 29 December 2006]

Well versed moviegoers, horror fans especially, nowadays realize that there have been no end to remakes lately. The Hills Have Eyes, Texas Chainsaw Massacre, The Grudge, et cetera, et cetera. We can look forward to upcoming films like The Hitcher being remade also. The Descent, thank god, is not like any of these.

An awful car accident has left the story's protagonist, Sarah, without a daughter. A year later, she travels with a group of her girlfriends to go spelunking in America as part of an annual exercising vacation. Upon entering a vast cavern, their vacation soon becomes about surviving what they've stepped into.

Revealing anymore would rid the viewer of the jolts and suspense in store. Once the scares begin, it seldom lets up. I commend director Neil Marshall for taking such a basic environment and amping up the fright factor. We've all been scared of the dark at one point, The Descent takes that primordial fear and stretches it into over an hour and a half.

The choice of an all female cast was, in hindsight, fresh and respectable. Too many times have I seen mostly male characters face extreme cinematic conditions. The fact that the actresses are unknowns is further proof to excellent casting. You will worry and fret over misfortune which occurs, I've seldom experienced this in some time. Anyone can die in this film, having a huge star would've simply killed the unpredictability.

A few words of advice; watch the movie with its original ending and avoid the American-released conclusion. Without it, The Descent loses some of its visceral impact, which is a shame.

Bijitâ Q (2001)

Miike, you're one of a kind

[8/10 · 25 December 2006]

I believe I've just seen probably the most bizarre movie yet conceived. Takashi Miike, THE auteur of current Japanese cinema, has delivered something that cannot be replicated. Visitor Q will definitely challenge your cinematic standards.

The plot concerns a family whose dysfunction knows no equal. The father is a pathetic television reporter who receives little respect from his colleagues after an incident in which he was sodomized with a microphone. His wife is a heroin addict, prostituting herself to feed her destructive habit. Their son is constantly bullied by boys from his school on a daily basis, venting his frustrated rage through violent acts upon his mother. Finally, the daughter similarly commits prostitution, the opening scene depicting an incestuous affair between her father.

Amidst all this is the titular character of the story, the family visitor. He has no name and rarely says much. But, his presence alters the familial interrelationships significantly. The end of the movie witnesses the family members doing horrendous deeds, yet they all come together and realize their love for one another.

Like most of Miike's films, substantial interpretation is a bare necessity to fully comprehend his morbid creation. Despite its violence and perversity, I see Visitor Q as an optimistic illustration of a family learning acceptance and appreciating their foibles. While this is probably the most common evaluation, I'm sure others will find countless others. That's what makes Miike so unique, I don't think he even knows what he's implying at least some of the time. Instead, the audience goes on a wild ride and left altered by what they've just seen, deciding whether or not that ride was worth it.

For those looking for a film that's more than a little strange and captivating, look no further than Visitor Q.

Failan (2001)

Love never realized

[9/10 · 29 November 2006]

Failan will move you not because of its characters, but because of the film's resonance within ourselves. All too often, many of us wonder about a different path we could've taken or a choice made that was poor in hindsight. These situations comprise intimate relationships as well, where words said and actions not acted upon can have far reaching consequences. But, this is life; sometimes the most mundane decision will alter your existence, creating the potential for selfishness and kindness to go hand in hand with each other. Watch Failan and realize what I've said above is just to prepare you for a great film about what it means to be human.

The Power of Nightmares (2004)

The shadows are out of the cave

[10/10 · 27 November 2006]

Modern documentaries are not the same as previous ones. They are impassioned, biased and controversial. The history of the salmon has given way to Michael Mooreish rants.

The Power of Nightmares is a rarity; a non-fiction expose on the current state of the world which manages to convey its message articulately and without emotion. Though there is bias involved, the series is so well put together that its narrative prose feels more like fact than belief. Over the course of three 1-hour episodes, director Adam Curtis explores in depth American neoconservatism and radical Islamism; two amazingly similar groups who define politics today. In gross oversimplification, Curtis argues that both organizations create elaborate myths to enhance their own positions.

Academics, statesmen and journalists mostly comprise the wide range of characters who are interviewed, creating a multifaceted examination that attempts to analyze the motivations of these two movements.

Viewing all three parts of the series will undoubtedly change ones world view. The Power of Nightmares is required for anyone concerned or curious about today's political climate.

The Devil's Rejects (2005)

Zombie matures into one of the most original and fresh movies of the year

[9/10 · 26 November 2006]

The Firefly's are at it again. After a frantic shootout with the local police, the remaining members of the family; Otis, Captain Spaulding and Baby, escape to reap murder and mayhem across the Southwest. Not far behind is Sheriff Wydell, whose thirst for revenge for his brother's death is unquenchable. Needless to say, many people are going to get hurt and at least someone is going to die.

In comparison with 2003's House of 1000 Corpses, The Devil's Rejects far outshines its older brother. Zombie nailed the grind-house/exploitation feeling and photography of the 1970s, but adding a uniqueness in his own right. The movie references are interspersed throughout, noting everything from Texas Chainsaw Massacre to Groucho Marx. The script, again by Zombie, provides more nuance than what is expected for this type of fair. Empathy for characters one had detested only 30 minutes before occurs without seeming forced story-wise.

I never would have thought that a heavy metal rocker could create such a well crafted film. But, low and behold, Zombie has done just that.

Brick (2005)

Chandler would be proud

[10/10 · 20 November 2006]

Who would have thought a modern take on film noir set in an urban high school with students speaking as if they're from the 1940s would be so good? The characters are varied and plentiful; Brendon is the movie's driven and calculating protagonist, someone obsessed with the mission of finding out why his ex-girlfriend was killed. The Brain is his all-knowing informant friend who provides Brendon with information on every aspect of the seedy school. The Pin encompasses the local crime lord, a person who cares solely on making a profit. Finally, Laura is the quintessential femme fatale, a woman who knows more than she's letting on. Expect a twisting and turning ride through this noirish mystery.

I expect big things from director Rian Johnson.

Yojimbo (1961)

"Two coffins... No, maybe three."

[8/10 · 20 November 2006]

Kurosawa. What hasn't been said about the man already? Arguebly the greatest director of the 20th century, Yojimbo further solidifies his iconic position. Much like Scorsese and de Niro years later, Kurosawa teams up again with Toshiro Mifune to give us Sanjuro, a cynical ronin who has no qualms about using other people for his own selfish goals.

The movie begins with Sanjuro wandering the countryside without purpose. By chance, he walks into a town being torn apart because of two warring criminal clans trying to wipe each other out. Demonstrating his skill at swordmansship, both attempt to hire Sanjuro in their war. But, Sanjuro has his own plans...

Mifune's performance is a complete 180 in relation to his role in Seven Samurai. No longer the bumbling buffoon, Mifune displays a cunning and cold-hearted nature which goes a long ways to getting what he wants. The anti-hero portrayal will influence movie characters like Eastwood's The Man with No Name, Han Solo and Snake Plissken for years to come. Hearing the main musical theme and watching the opening shot where the camera follows him from behind makes one realize he is not a man to be trifled with.

Yojimbo is a great start to get familiar with Kurosawa. A great story, characters and acting fuse together like few other films.

The Da Vinci Code (2006)

No Mona Lisa

[3/10 · 19 November 2006]

After all the hoopla given the subject matter, calls for censorship by opposing parties and buildup to its release in general, what we are presented with is a poor effort at film-making which is insulting to the audience's intelligence. I'll spare the plot outlines since practically everyone and their mother has read the book. Personally, I did not read Dan Brown's novel, but I was familiar with the theories presented prior to its release.

The two lead actors, Tom Hanks and Audrey Tatou, do a laughable job of portraying their respecting characters. Stoicism is the best adjective to use here.

The story as is shown in the movie lacks any sort of urgent rhythm to it, this despite a script that features a Europe hopping context. Hanks and Tatou go here and there, do this and that, all the while every single detail is said to the viewer as if one were in kindergarten.

"We must find the secret to the Holy Grail because my grandfather died for it."

"Right, allow me to crack the code verbally and visually so a two year old could understand it.

"Following that we have to go to Scotland in order to use da Vinci's device on stone tablet, which remember, unlocks the secret of Mary Magdalene."

"I really think this can be done in only a few days with practically no sleep."

Granted, the book's complexity required explanatory prose, yet the end result is so tediously laid on that the film is chock full of uninteresting dialogue. When the theories are presented, the counter-theories are declared at the same instant, apparently concluding the audience is too lazy or stupid make up their own minds. Controversial source material such as this should be said with conviction by the filmmakers, whether the viewer believes it is right or wrong, and not give politically correct garbage as not to offend anyone. A perfect example is Oliver Stone's JFK, where a clear message is conveyed and doesn't hide its viewpoint for the sake of agreeable cinema.

The European locations are a tourist's wet dream, historically and visually appealing. However, the cinematography comes off as more like a TV commercial than actual cinema, foregoing any form of stylishness for mundane images.

However, Ian McKellen is the only one to get it right in this god awful mess. His dramatics are at their usual best, despite said dialogue and the rest of the movie being so inferior. Bettany too does a reasonable job as Silas, though emotional exaggeration does occur from time to time. Their screen time alone influenced my decision to not give a worse score.

The Da Vinci Code perfectly captures what casual entertainment represents, avoiding boldness whatsoever. What a waste.

Come and See (1985)

Florya's horrific odyssey

[10/10 · 17 November 2006]

Soviet cinema is unique for creating some of the most true to life World War II films in the world. Considering the Soviet form of government, this is surprising. Come and See, however, opines to avoid the bombastic battle scenes of most war movies and instead chooses a more ethereal reflection to depict the Second World War as none of us have ever seen before.

The film follows Florya, an adolescent and naive partisan trying to do his part in the fight against the German onslaught. But, seen as too young to offer substantial aid, the grizzled veterans decide to leave him to watch the camp. What occurs over the next 146 minutes is not unlike what occurs in Homer's fable. He roams the countryside, meets those of his age and older and tries to endure in this hellish inferno. By the end, Florya is not the same boy he and the audience sees at the beginning. The message is direct; there are seldom any heroes in war, just death and survival.

Almost immediately, one will notice the uncommon cinematography utilized throughout the movie. Steadicam shots are in ample supply here and are normally not this well done. A verbal plot is nearly non-existent, the images alone carry most of the film's weight. And while Florya, acted by Aleksei Kravchenko, was in his mid-teens at the time, his realism and emotion are beyond his years.

One of the best, if not the best, war movies I've ever seen.

The President's Last Bang (2005)

Goodbye Mr. President

[8/10 · 13 November 2006]

Korean cinema has made leaps and bounds in recent years. Though The President's Last Bang is slightly inferior to more recommendable Korean films, it is still a superb example in storytelling.

The autocratic President Park lives the life of a typical dictator; opulent surroundings, promiscuous women and complete authority. As such, the state of the country is becoming more and more disgusting to the chief of secret police, Director Kim. On October 26, 1979, Kim concludes enough is enough and conspires with his loyal deputies. What follows are the fateful actions of those involved.

The President's Last Bang created quite a controversy in its native South Korea when it was released due to divided public opinion on the former president. Filmwise, the movie is well done, idiosyncratic and morbidly humorous. When was the last time regicide made you laugh, caused compassion and intrigued? It doesn't matter, go and see The President's Last Bang.

Cannibal Holocaust (1980)

Thoughtful exploitation

[7/10 · 13 November 2006]

A great deal's been said about Ruggero Deodato's grindhouse "masterpiece". That it's been banned in numerous countries, real animals are slaughtered on camera, or many believed it was an actual snuff film.

Digression aside, should a person watch Cannibal Holocaust? Yes and no. The sensational title leaves no doubt that it is not proper viewing for everyone. Even many disreputable 42nd Street moviegoers thought the movie too intense. With that said, film buffs looking for a little more extreme cinema may as well start here. Cannibal Holocaust is considered the epitome of this particular genre. The jerky hand-held camera movements and plot can be widely recognized in future films such as The Last Broadcast and Blair Witch Project. Examination of media violence was covered here long before Natural Born Killers; Deodato has gone on record as saying that Oliver Stone is a fan of his pseudo-documentary.

In the final analysis, Cannibal Holocaust should be commended to a degree for its out and out ballsiness. Just don't expect to finish a sit down with this mother unscathed.

Oldboy (2003)

Artistic violence

[10/10 · 13 November 2006]

OLDBOY is a movie that comes around perhaps only every several years. The second installment of the "Vengeance Trilogy" following the well done Sympathy for Mr. Vengeance, the result is a supreme advancement over the previous effort. Visually, it will leave you floored. Personally, it will leave you devastated. Based on interviews I've seen of Chanwook Park, this was his intention; to create a film mentally, physically and emotionally exhausting. I can honestly say he achieved this on all levels and then some by making something richly philosophical.

Min-sik Choi gives the performance of the year and potentially his career. As Oh Dae-su, he undergoes a transformation of at least three different personas, performed almost all of his own stunts and otherwise poured his heart into the movie.

Forget the naysayers, OLDBOY constitutes what original cinema means. Well deserving of its place on the IMDb Top 250.

Braindead (1992)

Wonderfully wacky

[8/10 · 13 November 2006]

A kung-fu fighting priest? A killer zombie baby? An overgrown demonic mother? Yes, all these aspects are present in Dead Alive, i.e. Braindead. Normally, such material would make good fodder for unwatchable late night garbage or Mystery Science Theater 3000. In the hands of Peter Jackson, however, Dead Alive is a horror-comedy gem that manages to go right over the line of absurdity and still be glorious entertainment.

Poor Lionel is suffering from severe insecurity. When a "Sumatran Rat Monkey" arrives in his picturesque New Zealand hometown, undead chaos ensues. Thus, it's up to Lionel to blossom and save the day. In the process, he just might become a hero. Equally interesting characters are Lionel's obscene uncle, his Hispanic girlfriend Paquita and the scores of uniquely revolting zombies which require dismemberment.

Be warned, the gore, no matter how whimsical, is unmatched by few others. The death scenes and special effects are imaginative beyond description. Weak stomachs need not apply. Nonetheless, an early Jackson masterpiece which follows in the mold of Day of the Dead and precedes Shaun of the Dead's hilarity.

Swimming with Sharks (1994)

Welcome to the Biz

[8/10 · 13 November 2006]

Human ambition has equal capacity for creating worthy and despicable accomplishment. The movie industry, according to Swimming with Sharks, implies that it will promote the latter. The consistently underrated Frank Whaley plays Guy, a naive film school grad who believes he's gotten a position which will lead to the job of his dreams. An Oscar worthy Kevin Spacey is his boss, Buddy Ackerman, a powerful Hollywood producer with no limit on his passive-aggressive sadism. Throughout the course of the movie we witness the rigors that Buddy makes Guy do, often with a dismissive insult.

Why should you watch this? 1) The script is by director Geroge Huang and is reportedly based on his own experiences as a page boy for industry elites, thereby providing a potential insider look at what it's like to be in such an environment. 2) The audience's sympathy to Buddy and Guy is skillfully manipulated over the course of the film, creating emotionally involved viewing.

Add to this a powerful piano theme and you have a picture asking us how far we would go for success.