picassomanhdan Reviews

Doctor Strange (2016)

satisfactory, though a bit overrated

[7/10 · 10 November 2016]

I would be plastered with guilt were I to give in to the common consensus that Doctor Strange is a masterpiece and bury my thought regarding this film. Simply because this is yet another motif that Marvel has overused to the extent that any interesting dynamics soon appear normalised. An overly egocentric protagonist diminishing his own egotism to serve a higher cause is certainly not unique in the Marvel universe: Tony Stark also shares this resemblance. Nevertheless, since the film is constructed largely based on the comic, it may not be so justifiable to attribute the humdrum motif to the screenplay.

Despite my keen disinterest in this repeatedly harnessed motif, the urge to be lavish in my praise for the essence of the plot prevails. To dull one's ego in order to obtain knowledge is a powerful message conveyed by the film, reflecting the ideal attitude towards learning: an insatiable thirst for wisdom with an mind open to novelty. The notion that the boundaries between black and white are sometimes blurred, that good and evil are not a binary concept but two extreme ends of a spectrum where everyone lies in-between, bears much weight, as it shatters the utopian image of an impeccable protagonist.

I shall not make any concealment of my fondness for the cast. Besides Benedict Cumberbatch for whom I leave an extravagant amount of avidity, the image of Hannibal Lector seen through Mads Mikkelsen beams me up the moment Kaecillius emerges. The elegance in a minimalist style evident in Tilda Swinton has never failed to make me flutter.

The visual effect is superb, as always expected from a world- acclaimed production. The visual, or more precisely aesthetic, aspect of the film also pleases me much. I can draw some similarities of the visual concept of multiverse from Inception, which appear enjoyably mesmerising. The concept art is enchanting, given the fair admixture of modern cityscape with serene Oriental scenery.

The sole unsatisfying thing that bugs me about this film is the character development of Kaecillius. The portrayal of other characters is complete; yet the image of Kaecillius appears obscure. Very little ground is devoted to illuminate this character, arguably due to his insignificant role, as he seems to cease to play in following films. Had this figured been painted more definitively (include his own story in the narrative), the contrast with Stephen Strange would be more pronounced, seemingly more persuasive when building the tension of clashing ideologies.

Hannibal: Mizumono (2014) Season 2, Episode 13

a masterpiece of art

[9/10 · 2 October 2016]

Awestruck was my overall impression of this season. The visuals are empowering, aesthetically pleasing and provocative. I believe this is a rare occasion whereby the aspect of pure aesthetics, which is a separate factor from cinematography, complements the story line narration so exquisitely well. Each murder case was an exhibit, a piece of art that demand viewers. Even the food is an extension of how aesthetics can be pushed towards its limit; the elegantly displayed dishes paint on a picture of a luxurious and noble life led by Hannibal.

Apart from that, the insertion of symbols and motifs is purely prodigious. The image of the deer is employed to depict the transmogrification of Will Graham, and to signal his recognition of Hannibal Lector's design as well. The juxtaposition of sex and killing underscores their denominator: the element of intimacy. Perhaps it, to a certain extent, also connotes how killing is regarded as an innate need of human beings, just like sex; or it is a brilliant attempt to decontextualize killing and romanticise it.

I don't wish to comment on the injustice existing in this series, nor the psychological aspect of it. They do provide profound insights into the functionality of the justice system as well as of the human psyche, but I find them subordinate to the visual aspect.

Begin Again (II) (2013)

Mesmerising

[8/10 · 2 October 2016]

I was intrigued to to explore the works by John Carney after seeing Sing Street. As expected, Begin again did not fail to give me a worthwhile evening.

The element of indie is rather prominent in this film, which aptly justifies my instantaneous adoration for it. From the musical style to music production bear much resemblances with the indie in reality. As attempted to be brought home, the message of authenticity, not obscured by the claws of commercial firms, is intrinsically beautiful.

It is a pleasing experience to witness the restoration of a decaying relationship, yet another estranged. Dan's family seem to find themselves again, although it is of no absolute certainty that the family would be legally united. This is in stark contrast with the deepening of the rift between Gretta and Dave. Intolerable of Dave's mindset, Gretta sees herself incompatible with such a relationship with him. This doesn't necessarily disprove any of her romantic feeling for him, but rather highlights its existence is overridden by her personal pursuit of authenticity.

It is a subtle observation that I made that Gretta finds herself on the periphery of someone else's relationship: Dave belongs the the crowd, while Dan belongs to his family. This realisation serves no other purpose but to dawn on Gretta that no way would she successfully be in the spotlight of either man. Nevertheless, I can't possibly verify this speculation.

Mr. Robot: eps1.9_zer0-day.avi (2015) Season 1, Episode 10

Justification of reform

[8/10 · 17 September 2016]

Mesmerised by the sheer amount of content successfully put across, I was surprised by how well the intrinsic elements of reform is illustrated. Life of all human beings in the world has a common denominator of being governed by money, yet it is money that sets us apart. Debts, earnings, incomes, familial financial burden; all the reasons to drive us commit rational yet insane acts merely to sustain our existence.

The detail that Eliot is a schizophrenic boils down to his emotional instability and insecurity. Haunted by his father's death, he creates another personality of Mr Robot to rationalise his actions and thoughts. Even though the Eliot personality has merely nebulous ideas of the ideology to bring about a change to the world, it is the other personality that takes concrete actions to conduct the project.

Without a shadow of doubts, many viewers must have been crippled by the thought of how easily one's personal information can be hacked. It is clear that Eliot hacks everyone he encounters so that he would save himself form the feeling of insecurity, having no clue of the other human beings. Yet, it brings us the the question, how well do we actually know the person sitting across us? And is having access to complete knowledge of one enables us to comprehend such a person and hence, have an upper hand in the encounter or conversation?

I adore the narration of the movie, from the powerful monologues by Elliot, to the crippling characters who once appear impenetrable. However, it would even be more exquisite had the narration been more focused with a slightly faster pace. I find some details unnecessarily lengthened, such as the death of Shayla, the persuasion of Elliot by Mr Robot to join fsociety.

The Danish Girl (2015)

can the act of decaying and blossoming coexist?

[7/10 · 11 September 2016]

The film beautifully captures the opposing progress of human condition: decaying and blossoming. The heterosexual marriage between Einar and Gerda deteriorates, yet a sympathetic and affection relationship between them is cultivated. The male image Einar blurs, leaving place for the emergence of the feminine Lily.

I was impressed by the construction of Gerda. A figure of sympathy and strength, she gives Einar her utter support despite initial doubts and denials. This is tremendously at her cost as approval for Lily to set in is synonymous with letting Einar go. The emotional breakdown is clearly highlighted, as evident in the occasions when Gerda seeks Hans for a shoulder to lean on, on her own attends her shows.

Einar triggers controversial thoughts in my mind. On one hand, he illustrates the burning desire to be his true self. Yet, a tinge of selfishness is implied from this; little is he depicted with sympathy for Gerda and consideration of her prospect. He is genuine, wishing to be accepted; yet a sense of egocentricity is connoted.

However, isn't this whole line of argument a repeat of what the subcultures face?

Ex Machina (2014)

a splendid exploration of human condition

[8/10 · 11 September 2016]

I was completely taken aback upon finishing the film: mesmerising. The inquiry question that the film attempts to response is not what the distinction that sets human apart from AI, but rather what contributes to a human being.

Much adoration from me is for the tone, or more specifically the colour palette; it carries a sense of contemporary modernity and impassivity. However, the moments whereby Caleb is brimmed with excitement are accompanied with brightly lit scenes in an apt manner. The design in general (interior design, architecture, product design) is ethereal, connoting a feeling of surrealism mixed with perfection.

Without a shadow of doubt, the screenplay is exquisite. The exchanges between Caleb and Ava are instrumental to the affection Caleb develops for Ava; at the same time explores the rudimentary elements of human beings that we seem to overlook. The linguistic ability, the dimension of visual arts, the capacity for choices, the curious mind to get to know one better. It is the intimate interactions between Caleb and Ava, whether on their background or preferences, that allows Caleb to perceive Ava more as a human. This contrasts with the brutality and objectification qualities possessed by Nathan, rendering Caleb more empathetic of Ava rather than Nathan. This clouds his judgement and mistakenly puts trust in her. The detail of Jackson Pollock compliments the story line impeccably. "The challenge is not to act automatically. It's to find an action that is not automatic." Regardless of humans or AI, we have little control over our life; in a way, we are "programmed" for such inclinations and thence actions. A question lingers: how different is a human being from an AI?

The ultimate factor that engenders Caleb's contrivance is the revelation of Ava's insecurities. She's afraid of being trapped in her room forever, fears the prospect of being reprogrammed and holding onto no memories. The realisation that only Caleb is able to free her from this captivity stimulates him to take actions, despite the little consideration of her sincerity.

So, what contributes to a human being? Is it the combination imagination, sexuality, self-awareness, empathy, manipulation that allows Ava to escape, or is it the sense of insecurities that is evident in all the characters, or is it the quality of outsmarting others for one's own gain? Maybe the amalgam of all these.

Kubo and the Two Strings (2016)

a brilliant animation of the year

[7/10 · 10 September 2016]

The style employed in Kubo and the two strings bears apparent resemblances with ParaNorman and Coraline, which inevitably cultivates a positive preference for it prior to me seeing the movie. The narrative is brilliant; a heroic story intertwined in the life of a storyteller is itself enchanting. The art is sublime and takes my breath away. Character design is exquisite.

However, I do feel the urge to address some limitations of this film. The motif is rather antiquated: a boy on a quest acquiring legendary items, each of which demand challenges. Yet, it's preposterous to discredit the effectiveness of such a story line. Furthermore, I find some humorous remarks inappropriate: they slightly disrupt the flow of the film. Adding to that, the co- existence of the origami as an incarnation of the father and the cockroach as his accursed physical body is subject to inconsistency.

Inside Out (I) (2015)

Yet another overrated production

[6/10 · 10 September 2016]

Inside out: yet another overrated production Little am I impressed by Inside Out. An ordinate amount of acclaim has been unwisely put in such an average animation like this.

The concept art of the whole animation deserves a humble degree of my fondness. Too plain as it is, the whole concept revolves about geometric shapes and man-made objects. If this is an approach to render the film more accessible to the younger audience, it is at its own cost of making it too artificial, losing touch with organic shapes and natural elements. One's brain is depicted as a kingdom, with the headquarter filled with curvy interior design of a flamboyant palette. I simply have a slight detestation for it. To aggravate this matter, everything else in the realm of one's mind is designed similarly. I wouldn't dare to judge the animators' creativity but rather say it's not my taste.

Regarding the character design, it was only fine. Though I'm quite disappointed that Joy is modelled similar to Tinker Bell; is it really demanding to covet a novel depiction of character? And there's a discrepancy that Riley's Anger is a male, while others are consistent with the host's gender. It's utterly reasonable attribute this to the laziness to have the convenience and the ease of illustrating contrasting human personalities via gender.

The plot is barely average. How many times have we encountered a work whereby the child gets fed up with the family and leaves? Never would I attempt to discredit the effectiveness of such a motif, but in an age like this why would the taste of the general population be still favourable of this antiquated concept? I don't think I'm the only who is bored by this style of constructing the climax and resolution.

No amount of derision of mine would suffice to highlight how misleading the story line is. Before getting to the main message, some analytical ink ought to be spilled over the interpretation of some key rising actions. Riley's psyche starts to be on a slippery slope when Joy got lost out of the headquarter. And the triggering intent for this is Joy being adamant not to let the Core Memory be contaminated with sadness. This implies that the transformation of Riley's mental state is purely reliant on internal factors, not external. Although this fallacy may past the eyes of several viewers as it seems to fit the story line, it doesn't add up.

The opponent may rebut by saying that external factors (Riley's occasions of sadness) stimulates Joy to be more alert of the state of happiness of her host. Well, I totally disagree with this. Sadness contaminated the memory marbles without any definite intents: the key driving force of Joy's excessive amount of alert is Sadness' nebulous acts of touching the memories, which is merely coincidental with regards to the plot.

Furthermore, the escalation of the story line boils down to Sadness' puzzling desire to touch the marbles. I don't find it convincing to attribute this to Sadness' wish to be held inclusive, since Joy appears to dominate the control of Ridley and be leaving out of Sadness. Possibly, Sadness is a complete hypocrite as the immediate response she gives Joy when the marble is seen contaminated is always that "I'm sorry," while still persists on this apologetic act.

The ultimate message is brilliant, though: emotions are not exclusive, but rather an amalgam. Moreover, the subtle meaning when Joy realises the significance of Sadness is about mutual understanding, which is the prerequisite for inclusivity.

However, the urge to express disapproval for the notion that sadness is essential for sympathy is one that I can't resist. It's the willingness to be emotionally naked, to let all the insecurities be exposed that sympathy is cultivated on. Of course maybe I set my expectations too high for a film made for kids like this.

The Interview (II) (2014)

a piece of trash wrapped in sparkle paper

[3/10 · 8 September 2016]

The film, overall, mesmerises me with all kinds of rubbish it can bring.

Expectedly, democracy is glorified, especially the ideology practised by USA. The film brings home the idea that not only is democracy superior to communism but it is also the solution to the seemingly decaying country. Putting what my ideologies aside, I don't believe democracy is the panacea to any problem. The flourishing of a country depends heavily on the leadership of its authority; as long as the leaders are capable, any system would work out.

The jokes in the film is evidently helpless. The element of wit is usually absent in Seth Rogen's works. Instead, profanities and sexual innuendos are devices for him to trigger laughter in the audience. May this method is highly appreciated in the US, but for me such an approach only highlights the lack of ingenuity.

The professionalism of Hollywood movies like visual effects, camera angle and excellence of acting clumsily endeavour to generate a smooth flow for the film. The grit may emerge unnoticed by the general population, but it vexes me much.

Breathe In (2013)

The denial of human tensions

[7/10 · 8 September 2016]

Sometimes I would allow myself to indulge in a film of little popularity and reputation. Yet, most of the time, such an indulgence doesn't disappoint me; Breathe in successfully blows some fresh air into my perspective.

The initial welcoming altitude to novel elements in life, which refers to the introduction of Sophie into the Reynolds, is in stark contrast with the resultant frustration of the disruption of life by the very same element. This is built up with care, especially the transformation of the relationship between Sophie and Keith. Felicity Jones and Guy Pearce deserve every acclaim they receive for depicting the characters with such an authenticity.

Sophie seems to be so compatible to Keith; they understand each other's music in a way that Keith's family members couldn't. This bothers me as if Keith and his wife are not really in profound understanding of each other, why would they marry? An irony as it may seem, this is justified by the dependence of marriage on fate; one's wife or husband may not necessarily the best match for him or her, but at a certain time in life, such a decision to get engaged appear credulous and justifiable.

Family ties with responsibility. I doubt if there's anyone in the family who is not aware of Keith's affection for Sophie, yet they remain in solidarity upon the leaving of Sophie. A notion raised in one of the episodes of Orange is the new black that I'm watching coincides with the point that Breathe in puts across: the greatest fear of human beings is encountering collateral damage; humans would opt for choices that would make the least destruction, not the one in accordance to morality.

Orange Is the New Black: Can't Fix Crazy (2013) Season 1, Episode 13

brilliant depiction of human conditions

[8/10 · 8 September 2016]

I was awestruck by how the plot is handled. It was just so spectacularly done.

The approach that each episode elucidates the past of a character succeeds in arousing and sustaining my interest. It reinforces the notion that one's history defines not only who he is, but also acts as a determinant of his current situation. Each character may not necessarily embodies a type of inmate, but rather serve the purpose of bringing home the idea that no single person is the same, and so are their life and their life.

At first, I had the impression that the film puts the characters under such a circumstance that their dark sides would be brought into daylight. Yet, as the series progresses, it is more justifiable to state that it is their true self that is displayed, disturbingly due to the absence of any facade to conceal inner feelings.

"I'm like you Dina. I'm weak too. I can't get through this without somebody to touch, without somebody to love. Is that because sex numbs the pain or is it because I'm some evil f*** monster? I don't know. But I do know that I was somebody before I came in here. I was somebody with a life that I chose for myself and now, now it's just about getting through the day without crying. And I'm scared. I'm still scared. I'm scared that I'm not myself in here and I'm scared that I am. Other people aren't the scariest part of prison Dina. It's coming face-to-face with who you really are. because once you're behind these walls there's nowhere to run, even if you could run. The truth catches up with you in here Dina and it's the truth that's going to make you her b****."

To me, this monologue is significantly powerful. Not only does it capture the crux of the series, which is the crippling transformation of human condition subject to change and push towards limits, but it also sheds light on the direct confrontation of oneself. The prison catalyses the transformation and bring humans to the brink of a steep cliff that would fall down to the abyss of one's soul.

The side stories are purposeful, though they alone don't really shine. However, together, they weave out a web of connections that lure the protagonist, Chapman, into certain key events that allows her key traits to manifest: her docility to Red so as to get meals, her continual turning to Alex upon emotional breakdown, Larry being influenced by his parents and the encounter with the radio host. These bear testimony to the excellence of the script writing.

Now, when the season 1 has receded behind me, a question emerges: do we ever know if we are in control of our life? Chapman supposedly had a wondrous life, engaged to a loving husband, passionately supported by her best friend. Yet, the unforeseen discoveries unfold the story (Larry lying to Chapman about Alex's act, Chapman being troubled by the rejection by both Alex and Larry), turning her life upside down. And is there severe harm of being one's true self and not being?

Blue Valentine (2010)

an authentic depiction of romance in the modern age

[7/10 · 8 September 2016]

To be frank, I didn't finish the whole movie on one go: three separate days was what it took me. The inability to sit through it continuously doesn't justify this. Certain parts of the film suffocated me to the extent that the urge to take a respite is inevitable.

The main enquiry point that the film tries to address, in my opinion, is what constitutes to a marriage, and thus, if these constituents are absent, does divorce ensue? The protagonists are both troubled adults: Dean was rejected by his mother and Cindy grew up in her parents' strained relationship. The romance of Dean and Cindy was fostered in an unexpected manner. They met each other at the old folks home, a place where their identities are stripped away. Such a circumstance is commonplace to nurture romantic inclination - the perception of those that one has previously acquainted with matters little, providing an opportunity for a fresh start. Although they did get to know each other more thoroughly, eventually revealing their personalities, this was done in a rather controlled way. Full decision of how they extract their own souls to each other allows such.

The juxtaposition of the past and the present grants watchers the ability to compare and contrast the initial seed of their relationship, as well as its decay. Dean's school of thought and his unconventional romaticism appealed to Cindy tremendously. However, she gradually grew to get fed up with it. The uneven growth of the protagonists - Dean being dogged to sustain his philosophy and Cindy demanding more from a husband - facilitates the breakdown of their relationship. Romance is still evident in their relationship, but it has developed into a rather morbid thing. The caress that they give each other, the closeness that suggest intimacy, appear inconsequential to the damage they inflict on each other. Distorting Cindy's words into seemingly inconsiderate and mean remarks, Dean illustrates his view that he doesn't feel worthwhile of the relationship. Although meant to disturb Cindy, Dean's comments, I consider, were subconsciously intended to hurt himself.

Daisy's intolerance for Dean's ignorance of life intensifies as the film progresses. His lack of an ambition infuriated her, especially when she is in a field of work that is surrounded by professionals. This frustration is essential in driving Daisy to grow disapproval of Dean, a key turning point of the whole movie.

I hardly believe that there's nothing left between the couple when Dean departs from he family. Daisy's hug proves the otherwise, as more clearly shown when coupled with the scene of their wedding ceremony. The romance that they have cannot be defined by the conception of marriage. After all, is marriage an accurate indicator of romantic love?

This point transforms the view of divorce that is predominantly deemed as the nonexistence of love. The fact that physical distance is in-between doesn't necessarily hinder and lessen any degree of romanticism.

Ultimately, who is responsible for the cripple of their relationship? Is it Dean who yearns little for his own career, conceives inflammatory remarks and shows insensitive altitudes towards Daisy? Or is it Daisy who has grown to want more from Dean, feels troubled and shackled in this relationship and loses the sense of exhilaration that once resided in her mind when they first met? I doubt if the answer can be satisfactorily provided. Some aspects circumstances change, some remain consistent; some parts of people change, some exhibit little alteration. They all play a role in engendering the decay of the relationship.

I adore the fact that his movie does not employ a key event to guide the story line like an accident, memory loss or incurable diseases. In reality, rarely do such events occur in one's life, yet relationships could still rot. However, I doubt if there is any clear correlation of the downturn of a relationship with the sustenance of romance. Relationships are rather a physical thread that bound couples together, but romance deals with metaphysical confrontation of oneself.

The Great Gatsby (2013)

an excellently adapted piece of art from the original

[7/10 · 8 September 2016]

It's delighting that the movie provides an authentic representation of what the novel is supposed to be. The vibrancy, tempo and narration closely resemble of those dating back to the 20th century Hollywood films, bringing the most of a departed time. I adore the fact that several key prose were made into dialogues and narrative lines; however, the screenplay writers seem to refrain from inserting complex prose that in fact add vivid connotations to the novel. Although this decision is justifiable because the movie should be able to reach to a wide audience as a commercial movies, I can't stop myself but indulge in a rueful smile of a possibility the the essence of this piece of literature can be weaved into another form of art.

The characters are brilliantly portrayed; I doubt if any of them is misleadingly or falsely depicted. This is expected from an experienced and renowned cast like this. Nevertheless, leaving some details out in order for the movie to span a controllable amount of time deprives some key personalities of certain characters (Jordan Baker was not said to cheat in her golf tournament, the romance between Caraway and Baker is not illustrated). Even though inconsequential to the main themes and story lines, the satisfactory feeling is lessened by such small setbacks like these.

I was a little bit disturbed when the script makes Gatsby outraged at the scene in town when Gatsby confronted Tom Buchanan about his affair with Daisy Buchanan. Little does this addition significantly alter the portrayal of Gatsby, yet I still find it unjustifiable to cast in a more negatively-inclined light.

The music complements the movie impeccably. A whole range of my favourite artists constitute to the soundtrack: Florence + the Machine, Amy Winehouse, Sia and Lana Del Rey. I always see a thread connecting their music style together. The Rhapsody in Blue by Gershwin fits perfectly into the context, bringing home the idea of the cosmopolitan and glamorous life of an American in the 20th century. Essentially the characteristic of Jazz is of utmost importance.

Nerve (I) (2016)

an averagely good idea doused with redundant compliments

[6/10 · 8 September 2016]

My decision to see this film largely stems from the high recommendations by my friend. Of course, their taste in film is rather questionable, thus I entered the theatre without excessive expectations. Unsurprisingly, it responds to my humble expectation just nicely.

The intrinsic idea of Nerve is intriguing, as compared with other commercial films: a dare game that blurs any credulous limits to the extent of danger. My attention was totally on the film for the first half, but sadly the second half failed to sustain my interest.

A major theme that runs across this film is the romanticisation of thrill-seeking activities by American adolescents. Despite some modest amount of novelty, this couldn't bring the movie to a high standing of ideas due to the use of clichéd motifs. These include a girl absorbed by a bad boy, character transformation due to peer pressure, estranged relationships with old friends due to newly cultivated ones, plot twist of bad boy turning out to be good- natured despite his wrong-doings. Sadly, some of the details appear quite contrived: the drastic alteration of Vee from a shy and introverted girl to a bold and reckless one is a bit implausible, a friendship between Vee and Sydney, an extroverted and outgoing teenager, appears incompatible.

The resolution of the climax is quite powerful. The most effective way to put and end to the existence of something is by totally forgetting its being. Watchers are compelled to sign out as their identities are tracked. However, the flaws are apparent: once the watchers figure out Vee is not killed, they would return to the game. Or maybe the realisation isn't necessary; humans tend to forget very quickly, and get back to the old track easily.

The Theory of Everything (2014)

simply beautiful

[8/10 · 8 September 2016]

This movie, as based on Jane Hawking's novel, sees Stephen Hawking's life from a more ordinary perspective. Husband and wife relationships, family fostering and one's career. Overall, it is beautifully done as I much enjoyed watching it.

Jane supposes Stephen is only able to carry on with his life for 2 more years. Her rushed and maybe a little bit impulsive love for him compels her to get married with him. Through the depiction of the movie, even though Stephen's life lasts for many more years, Jane doesn't regret her decision. Indeed, they have 3 children, implying that their sex life is quite vivid.

However, she alone has to bear too much. From looking after her children and her husband, she still pursues her personal career. I believe this is much appreciable. Education is in fact endless; one's family should not be an obstacle to impede one's ability to reach beyond the limit. Furthermore, maybe the fact that Stephen has become a well-known scientist worldwide, Jane also finds it imperative to hold an equivalent position. No matter what motivates her, the desire for higher education is highly admirable.

Accumulated pressures shout at her the need for a person to confide in. That's when Jonathan appears. He shares the burden, helping her bringing the children up. More importantly, his presence allows her not to have all her time consumed by Stephen. It greatly relieves her stress, alleviating her circumstances.

The story reminds of the life of Nikolai Ostrovsky. He was a disabled veteran and largely depends on his wife for the living. He published a book, thanks to his wife's efforts writing whatever he says. Together, these two instances illustrate the role of a wife in the family. Imagine the same man without his wife, would he be able to achieve what he has done?

It is indeed beautiful to see how love is still capable of empowering us, at the same time waiting hopefully when our turn comes

Life Is Beautiful (1997)

Life is indeed beautiful

[8 September 2016]

European movies have always been one of my subjects of interest. However, the dominance of Hollywood industry has made it extremely difficult for me to find a time watching a movie made by the European. Thankfully, an opportunity was given to me when my mother asked me to join her in Life is beautiful.

Whether or not this movie is representative of the French film industry, I much enjoyed it. It, surprisingly, portrays World War II in a different light. This does not mean that the cruelty and atrocity made by the Nazis are diminished; the movie looks at the extreme adversity with a rather overly optimistic eye. One may find this way of portrayal rather unrealistic given the fact that no Jews really make out an positive prospect. Yet, in my opinion, it helps the movie stand out from others that depict the war nothing rather than bloodshed.

Love is tactfully highlighted throughout the movie: fatherly love, husband-and-wife love. Again, in times of adversity does one realise the humanity that humans are capable of giving. And how ironic it is when at the same time inhumanity manifests as evident in heartless killings.

There is a notion that is effectively put across through the movie that I wish to emphasise. Life is beautiful not because of coincidences nor whichever Gods that exist, but rather the ordinary people who pay an extra effort to other's life. This, indeed, is beautiful

How to Get Away with Murder: It's All My Fault (2015) Season 1, Episode 15

a subliming epilogue for season 1

[8 September 2016]

This series blew my mind: it is outstanding. I'm amazed at how film- makers can put such complicated things in a movie series: well- developed plot, cinematic effects, acting...

Nevertheless, the series exploits an indispensable aspect of life which much aroused my interest: trust. Being a defence attorney, Keating has to be sceptical, even towards her husband. So does Wes, Collins, Laurel and maybe all other characters. It is, in fact, true that plentiful secrets exist and most of the time are hidden from the eyes of people who would cause inconvenience if the truth is unravelled. This brings us back to the most rudimentary question: how can the "id" govern our minds and thus bodies? Sexual and ambition desires ought to be attributed to the dishonesty running throughout the movie, or rather not telling the truth in order to preserve one's social life and career. Of course, predictably, when it is shed light on, collateral damage ensues

There's this quote from the last episode that much struck me: "But it's what the two of us need to choose to believe. With everything that's happened, it's the version of the truth that makes the most sense and will let us move on." It's strange that while I'm looking for this quote to put it here, I found out that no one else, at least on the Internet, picks it up. Personally, I believe it encapsulates all the essence and key factors of the whole series, hence proves indeed powerful. It scares me how it also holds true in reality. Are we all just running away from our frights and believing in whatever that could help us go on with life?

Besides excellent scripting, I did enjoy how the music enhances the scenes. "Run me out" perfectly gives last moments of the last episode an appropriate sense to end the first season and let the following ensue.

The Martian (2015)

where the platform for manifestation of human conditions lies beyond

[8/10 · 8 September 2016]

Never have I grown bored with science fiction works that borrow the theme of technologies to highlight the human conditions. Several dilemmas, personal encounters are brought up during the film.

Addressing the dilemmas, I find them essential in bringing home the humanitarian values of the movie. The captain's decision to leave Mars without Mark eats into her soul, a pivotal detail to predispose her to the doggedness to rescue him. The reluctance to reveal to the crew members the survival of Mark heightens tensions. Numerous other minor dilemmas take place, such as whether to employ the crew to continue the rescue mission or seek help from China to send supply. However, since they are resolved quite decisively in the film, I don't feel the need to shed any particular light on them.

The key plot of the film is the human's encounter with nature. His intelligence and expertise have proved useful in keeping him alive, apart from the assistance of the most knowledgeable minds from NASA. It is in fact pathetic to witness Mark literally keep himself sane by remain contact with whatever still deemed as possessing a connection with human beings: disco music, taking selfies, making jokes and fun of the NASA land unit.

I still, though, think that The Martian could have been more dynamic. Watching this reminisces me of Gravity, which authentically depicts the torment and resilience of a female astronaut lost in space. The portrayal of Mark is capped, due to the use of humour that is meant to alleviate the tension, but inadvertently render the story less of a tragedy. Had it been more tragic, the human conditions would have more room to manifest and be illustrated.

Fermat's Room (2007)

a failed attempt to romanticise mathematics

[8 September 2016]

I watched Fermat's room mainly due to my math teacher's recommendation. Truthfully speaking, he has every reasons to be more apt as a math teach, not a film critic.

There isn't much to say about the plot. An aged mathematician becomes indignant of the proof of Goldbach's conjecture by a younger one, rendering all his work then meaningless. The ensuing indignation fuels him to contrive a plan that would kill the young one with no trace left behind.

I don't have a strong liking for it, not a dislike. Some details are clever and are handled ingeniously, namely the logical order of events, the validity of math riddles, the intertwined stories of four participants that each one holds dearly to. Yet, little does it have an impression or impact on the audience.

Sing Street (2016)

a poetic depiction of adolescence

[9/10 · 8 September 2016]

I entered the theatre for Sing Street with little clues what it is about, and stumbled into a beautiful film work.

The film delves into the human connections of Cosmo. Before addressing the most nuanced relationship with Raphina, some analytic inks should be spilled on other minor relationships. Starting with his family, Cosmo is raised in a home full of dynamics. The torn marriage of his parents accentuates itself as the film progresses. The children seem fine with it, and regard with a matter-of-fact altitude. The notion of "happy sad" is most clearly evident in this relationship. Long gone is the happiness of the couple. Even Cosmo's brother, Brendan, pointed out that the marriage is due to the giving birth of him as a result of thirst for sex. Yet, it is preposterous to take this as an indication of the modest amount of love that the mother and father has for each other. The image of his father sleeping on the floor so that the bed is fully his mother's conjures up a sense of affection. If this act of sacrifice is not suggestive of romance, what else is better to be? Broken is the marriage it may seem, this does not suffice to be an indicator of the lack of love. Love, hate are not a binary concept, nor are they two ends of a continuum; they exist largely independently.

Cosmo's relationship with his brother is no less bewitching. A college drop-out, Brendon seems to stay in for most of the time, so as to avoid encountering with life. This point may not be so conspicuous at first, but it reveals itself in later parts. Enthusiasm fills him every time he shows Cosmo what good music is. The fruits that Cosmo acquires reminisces Brandan of his teenage years, when he was as talented and successfully. The thin but apparent line between his pathetic current state of being and his brother's propitious prospect as a reflection of his own past fuels his indignation. Although it is depicted that the source of frustration is vented on Cosmo, little does it mean to incur guilt in Cosmo, but rather in himself for neglecting the once flourishing years of his life.

Other minor characters develop intriguing relationships with Cosmo. Eamon forms a close friendship with Cosmo: they work together to make music. Eamon also necessarily enables Cosmo to translate his music ideas into tangible notes and compositions. His willingness to help, even when Cosmo out of nowhere crash by at night, highlights the beauty of such a friendship. The bully Barry at first appears an intimidation, then docile towards Cosmo's confidence, and eventually deferential as he works for his band. Brother Baxter is an embodiment of suppression, or more precisely, the conventional and conservative school of thoughts that resist change. He is essential as an avenue to accentuate Cosmo's expression of self-identity.

The key character, besides the protagonist, is of course Raphina. She governs most of Cosmo's thoughts and therefore his actions. Cosmo's decision to form a band is a response to his encounter with Raphina. His songs revolve much around Raphina. His wish to impress her is the main determinant of his writing process.

There are several vivid images in this film that I adore. One of those is the scene of his mother immersed herself in the few last sunlight on the threshold of the house, cherishing a glass of alcohol reading newspaper. The poetic imagery brings home the notion of appreciating the trivial elements of life that may seem insignificant but in fact instrumental in the fulfilment of life.

I find myself catapulted into thoughts for the very last scene. Cosmo and Raphina venture out to the vast water to reach Britain. Inordinate amounts of uncertainty is in direct contrast with their jubilance to arrive in Britain. They are met by heavy waves and a drizzle, which are open to various interpretations. At first, the thought of them failing and returning back to Dublin crossed my mind. However, I tried my best to put my imagination at work, and then made a correlation with a line said by Cosmo earlier, about after a rain the continent where Britain is situated will appear crystal clear to people on the pier. This provides enough evidence to make a plausible interpretation that eventually their aspirations will be realised, despite the adversity that they may face.

Overall, I'm rather impressed by the film. The time I spent for it was truly worthwhile, for this piece of art is what makes film so a powerful medium.

Shadowhunters (2016–2019)

Vast room for improvement

[5/10 · 8 September 2016]

I can't believe in myself that I managed to finish another TV season in one day! To be frank, it didn't take much as much time as I thought because some episodes were so horridly done that I would rather skip some parts, especially when I know the book so well.

To start off, the cast is disappointing. None of the physical appearance of the characters are correctly illustrated: Alec doesn't have blue eyes, Magnus is too short (supposedly an inch taller than Alec), Jace is too muscular (should be more lean), Isabelle is too short. Maybe I can spare these incendiary remarks for Clare: red- haired, green-eyed.

Nevertheless, even though Lily Collins in the movie doesn't fit the physical appearance as Katherine McNamara, the acting of McNamara is mediocre: she cannot show the resilience of Clary, nor the emotions of fear, hope, or even love as well as Collins. This goes for the rest of the cast. Harry Shum Jr. makes Magnus like a toddler who has yet grown up, lacking all the wisdom that he has acquired during his lengthy lifetime. This leaves me no choice but to give Godfray Gao my favour as an apter depiction of Magnus. Then to Alec, despite his gorgeousness, Matthew Daddario is definitely a mediocre actor. Although he appropriately depicts Alec as a taciturn Shadowhunter, he is incapable of showing anything beyond that. I have to admit that Alec is one of the most complex characters from the book: he hides himself in a shell in order not to get hurt, and the build-up of emotions is the key to this character. However, Daddario fails to put across the inundation of feelings that Alec experiences.

Yet, the worst is now to be commented: Jace. Dominic Sherwood doesn't possess the elegance, intelligence and enigma that Jace supposedly has. One of the key to Jace's personality is his soft side, which is brilliantly demonstrated by his playing of the piano: Back and Rachmaninoff to name a few. Sherwood presents Jace as a piece of muscle running around, with no agility, taste for music, torment of his own personality. This inaccurate depiction of a supposedly significant character is the most disappointing thing that I come across in this series

Regarding the plot, I would say it's fairly fine. The combining of City of Bones, City of Ashes and few parts of City of Glass is rather well done. However, I dislike to use of technology in the Institute. This downgrades the prestige of the Institute by a notch. I feel that the screenwriters badly want to bring about a sense of coolness, but this destroys the setting that Cassandra Clare has established.

The scenes in the series are rather limited. There are very few outdoor scenes; mostly they are in the Institute, Magnus' loft, the Werewolf's residence, Hotel Dumort. The shooting could have been less static, preventing the repetition of scenes to be brought to the audience's attention. The pace can also be quickened - there are several parts whereby the characters simply spend time chatting with one another to update information. This is unnecessary and significantly slows down the progress of the whole series. Furthermore, as few books are merged together, the whole series doesn't really have a strong focus. It jumps from rescuing Jocelyn, preventing Valentine from getting the Mortal Cup, to helping Simon to become a Vampire, making the series on a whole dispersed and less appealing.

I think it's inevitable that I compare this series with the movie The Mortal Instrument: City of Bones. Overall, I would still prefer the movie. Up until now, I don't quite comprehend why the sales of this is so low that the producer decided to stop the whole project.

How to Get Away with Murder (2014–2020)

a candid portrayal of people of the contemporary world

[8 September 2016]

I successfully utilised my first day back in Vietnam to finish HWGAWM S2. It was a good treat for myself after a successful semester.

Like always, it would be a waste of time to compliment the acting, especially of Viola Davis - a complete portrayal of a complex woman in a modern age. Nevertheless, other actors and actress also brilliantly depict their characters in a rather genuine manner.

However, the plot for this season doesn't do justice to the excellence of the whole series. It is interesting at the beginning of the season, but slows down significantly as it approaches the end. Numerous details are included, such as few more unrelated cases, Analise coming back to her mother's house. They may serve as a part of season 3, but the pace is very very slow. Overall, I still like the plot thanks to its complexity. It requires intelligent minds putting together to construct such an excellent plot.

There was a case whereby the mother of the victim wishes for freedom of the murderer. Her justification is that it does no benefits to her knowing that the murderer is suffering in prison or sentenced. Surprisingly, she wants to get acquainted with him, and odd move that I never imagined of. Yet, it illustrates the capacity for forgiveness, affection and humans connections so vast.

Connor's intention to transfer to Stanford exemplifies what most people would do when facing obstacles or challenges: running away. Abandoning responsibilities, leaving behind the past and starting a new page of life sound more promising and relieve much burden. Though I'm still uncertain if this is ever a right decision

Keith (I) (2008)

A gem of young adult production

[7/10 · 8 September 2016]

Keith exceeded my expectation of a twenty-oh-something movie. Without a shadow of doubt, the camera angles, characters stereotypes and background plotting are typical of Hollywood movies done at this time. However, the scripting is extremely powerful (maybe even empowering) and thus, gets the movie awarded as one of my high recommendations.

To start off, Natalie epitomises a girl whose parents expect much from her and put her into the mold to complete a recipe that probably guarantees a successful adult as the outcome. As a matter of fact, immediate positive outcomes are rather palpable; she views them as fruits that she has industriously worked for: a seat in AP Chemistry class, a coveted boyfriend, a top position in a tennis league that likely grants her a college scholarship. Therefore, rebellion is hardly seen at the beginning of the movie.

Acting as the build-up of tensions in the story line, she met Keith, a boy who doesn't fit into the norm and shows much anarchism. He alters Natalie's perception towards her playing tennis, acquiescing to her parents and eventually her whole life in general. Indisputably, the influence that Keith has on Natalie is tremendous, even redefining herself and unravelling what she wishes to attain.

Interestingly, despite having an official boyfriend who causes much jealousy, Natalie doesn't freely open to him. She declines to have sex, lying to him about her spending time with Keith. Meanwhile, her relationship with Keith is naturally fostered with barely any obligations. Clearly, Natalie finds a strong connection with Keith, the one that Rafael cannot possibly develop. She feels free when she's around with Keith, and more importantly, is herself and not any replication of someone else's shattered dream.

Keith reflects a darker side of, in my opinion, everyone. This side sees the future tinged with a bleak palette, a hopeless prospect of desperation. Moreover, it propels exclusion; one doesn't think he or she is worthwhile of connections with others.

I sees lots of aspects of myself in the movie, and I believe so do any other ordinary human. The concept of human connection has become so familiar yet strange to many of us; familiar because all relations we have are, in essence, human connections, and strange because few of us mention it or endeavour to conceive a term for such thing.

All in all, the complex scripting of the simple scripting revolving around humans connections makes this movie stand out, and luckily I notice this brilliant anomaly.

Gossip Girl (2007–2012)

An exquisite production

[8 September 2016]

In two swift days after exams, the remaining episodes of Gossip Girl came and went in a blink of an eye. I do cherish the time watching the series; it's more than just a means of entertainment.

High fashion is an indispensable part of the series. With enormous affluence at disposal, costumes are highly paid attention to. This enables the show to exhibit the luxuries of Upper East Siders in particular, but also the highly reputable groups in the socioeconomic ladder. There are hardly any flaws that can tarnish the impeccable fashion taste as demonstrated by the characters. This element has also necessarily helped define the characters and shape their identity. Furthermore, fashion acts as a fuel for the development of many events in the show, since it is often associated with wealth and status.

The arts plays a small part in the show. Numerous exhibitions take place, embedded in the contemporary art scene, especially of New York artists. Being an art student myself, I am exposed to a wider art landscape, entailing fascinating works like Spectrum by Richard Phillips. The arts, in addition, serve as a platform for some conspiracies to culminate in, such as the envelop of Bart Bass hidden in a painting, many opposing forces squandering their financial capabilities on arts auction.

Music used in the series is superb. Many the pieces contemporary to the time when the episodes were shot are employed in the show, a shinny plus. The director did not passively insert the music, it was remixed at a certain extent before inserted to fit the flow. The mood and atmosphere are successfully established partially thanks to this.

What I enjoyed the most in the show is its dynamics. Coupled with excellent acting, highly engrossing plot, minor elements like music, fashion and arts, wise use of camera angles and scene cutting, every episode is an entertaining and awestruck experience. Every conversation is well utilised; either is to nicely inform the audience the mindset of characters regarding an event or to build up tension or settle it.

However, I do find the plot, most of the time, fail to fit the logic. It's highly unlikely that everyone would mischievously scheme against others as such time consuming and money wasting activities are unaffordable by many. The script writes desperately made a great crusade to sustain the show by bringing more characters, or even reincarnating them, but this only dilutes the show. Moreover, I consider it ludicrous that everyone has had sex with anyone else. Maybe all these flaws are what come together in the package that glamourises the life of Upper East Siders. As reflected by Dan Humphrey, a guy who wishes to be a part of this high society, the show illuminates the ambition of many American youths to be able to lead such a falsely glamorous and luxurious life.

Crush (II) (2013)

A joke

[1/10 · 8 September 2016]

I regret squandering one and a half hour on this film: it is a great disappointment.

The professional movie editing, camera angle, acting and background development can't salvage the horrifying script. It simply lacks complexity, surprises and smoothness. The movie, in my opinion, is much fragmented. Even though there are clear connections between scenes and parts of the plot, they are either clumsily put together or very forced.

I didn't get frightened at all while watching the movie. And when it is unravelled who is responsible for the awesome stalking, the audience must find it extremely effortless to guess what ensues. The predictability, sadly, deteriorates this already crummy film.