The Mist (2007) ***1/2

"The Mist" is probably the best movie based on Steven King's novels since Shawshank Redemption (1994).

The eminent dangers and disasters are arguably the greatest fears of human beings. "The Mist" successfully keeps the audience on edge from the beginning to the end as it is exploiting such a fear. Of course, if this were the only thing this movie achieved, I wouldn't recommend anyone to spend $10 for the ticket unless you are a hardcore fan of horror movies.

"The Mist" is not like most other horror movies Hollywood releases on Halloweens. The film is well paced so that the viewer could spare some adrenalin to complete the journey and can still catch the breath. Overall, the acting is decent at least judged from the standards for this genre. The most surprising and the best part, is the "jaw-dropping" ending (not that kind of jaw-dropping effect due to the shock or fear), which almost wraps itself up in a Greek tragedian way.

I hope this is the kind of tragedy the filmmakers want to explore, so that I can still have lots of hopes in this genre during a wicked winter.

Sex and Lucia (2002) ***1/2

Honestly, I am not quite sure how I should describe my experience of watching this film. It is like a chameleon, showing different colors in disguise at different time points just to mystify your minds and then catch you off-guard.

It is fair to say that the movie started with some great shots. The suspense mingled with sadness perpetuated the first 15 minutes of this film. As the story unfolds, the sex scenes became a little bit sticky and salty, as the movie tried to associate the sex with food first and guilt later.

All the metaphores in this movie became less and less impressive near the end of the movie. Surprisingly, the ending has achieved some sort of reconciliation and salvation with peace. Maybe that is exactly the intention of the filmmakers.

Apocalypto (2006) ****

It's easy to regard this film as a lesson of history. Did the director Mel Gibson intend to deliver the message to the modern society, especially the Western ones? What could we learn from the pre-Columbian Maya civilization, a once-great civilization that was devoured by the Western civilization?

"History was written by those who hanged heroes." Today, history is also written by filmmakers. Movies based on historical events can easily spawn controversy since people tend to pick on accuracy and viewpoints. Nevertheless, without the technology of turning back time who can confidently speak the whole truth and nothing but the truth of the history?



Gibson's filming skills have already astonished us by "Braveheart (1994)" and "Passion of the Christ (2004)." But "Apocalypto" once again proves that Gibson is capable of shaking up the world. Just like the heroes he depicted in his movies, Gibson thrust into the pond of blood and muds and survived at a high cost. Some might criticize the massive graphic violence Gibson showed on the screen. However, the ultra-violence is just part of the reality in history.

"Apocalypto" didn't get the credits it deserved partly due to Gibson's racial slur against Jewish people during his arrest for DUI. This incident might have dented his credibility of making such a great flick. Additionally, it's probably hard for Hollywood to acknowledge a movie about non-Western heroes without any white companion. Nonetheless, I believe many Hollywood filmmakers can learn a thing or two from a movie like this: treating a non-Western hero with absolute respect and compassion.

Babel (2006) ***1/2

Novelty is probably the most crucial component inherent to the film "Babel." The filmmakers attempted to link four stories that occur at three different continents thousands of miles away from each other on earth. Such an attempt is admirable. However, it remains arguable whether these four stories are really associated with each other at a meaningful level. Linking four different stories certainly hinges on a commonality, which appears to be a lethal rifle. However, the Mexican adventure failed to exert any effect on this commonality except for the relationship between the children and the two American tourists (played by Brad Pitt and Kate Branch). Of course, the struggling to save the people you love may serve as a better theme for these four stories, but the Japanese girl's story did not quite fit this profile.

Overall, the directing, acting, and cinematography, etc. have made this movie a quality work. The script, unfortunately, may have left something to be desired.

300 (2006) ***

Frank Miller's graphic novels are nearly the storyboards for filmmakers. In other words, directors can easily know what the movies could look like before they start shooting any scene. The movie "300" is the highlight of the adaptation of Miller's works.

The question is: what else did the director Zach Snyder bring to the story except the adrenalin-pumping and action-packed moments? Some critics use "airless" to describe this movie, while I think such a comment would appear to be unfair to the actors. The reason why I enjoy watching "300" is primarily the performance of Gerry Butler who portrayed the legendary Leonidas. Butler has proved to the world his mesmerizing acting by the role of "phantom" in "Phantom of the Opera (2005)," the adaptation of the beloved Broadway show with the same title. His Leonidas is not only convincing but also commands the movie as Leonidas commanded his Spartan army.

Watching "300" is no doubt a highly entertaining journey.

Pan's Labyrinth (2007) *****

"Pan's Labyrinth (Laberinto del fauno, El)" is the gem of the fantasy movies. In fact, it is not even a typical fantasy film. The wonderland found by many characters in fairy tales is absent in this story. Instead, the secret garden looks like a hell in "Pan's Labyrinth." The script is intelligently written yet it never loses the touch of humanity and compassion. The personalities of the main characters are multi-layered despite the theme is consistently melancholic. Brutality and beauty go hand in hand towards their dooms. Seldom has any filmmaker tried to seduce the audience with a mixture of reality and fantasy by such a dark and tragic ensemble of components. The director/writer Guillermo del Toro has no doubt achieved something unprecedentedly.

This could be the best movie of 2007.

UN for Taiwan

Ratatouille (2007) ****

Two words for "Ratatouille":

Simply irresistible!

Apparently, Pixar's success does not lie in its animation craftsmanship. The story, as always, is the soul of this fantasy adventure. The characters are so lovable that you can forgive any mistake the filmmakers made.

I wonder whether the filmmakers intend to send out a message about "trust."Can we have to trust a new friend to make a dream come true? The movies tells us that it is still those of our own kind who can really rescue us from any embarrassing trouble.

"Ratatouille"'s technical achievements have already reached a point where you almost forget that it's a bit silly to critique the performance of these fictionalized characters. Alas! I am thankful that we still get to see a movie like Ratatouille this summer.

Oldboy (2003) ****

Can a film be hypnotic, disturbing, powerful, ugly, and beautiful, at the same time?

Oldboy almost tops most shocking films I have ever seen. Based on a Japanese manga with the same title, the movie was thrillingly spectacular. The Korean director Park Chan-wook and the whole cast did deserve Palme d'Or of The 2004 Cannes Film Festival more than Fahrenheit 9/11 by Michael Moore (which snailed the top prize in 2004) did.



The plot could not bear with any spoiler. Briefly speaking, the story is about vengeance and one of the darkest fears and sins human beings can imagine. The reason why this movie could avoid the danger of becoming a mess of sexual and violent perverse is the attitudes of filmmakers. Their cameras served as both the indifferent bystanders and a sympathetic journalist. The breath-taking ending, therefore, can endure all the impact of the audience's intuitive sense of being repulsed by the theme of this film.

Honestly, I am not quite sure whether this is a truly great artistic achievement, but it is certainly a phenomenal cinematic tribute to Greek tragedies.

Letters from Iwo Jima (2006) ***

I felt a little bit depressed after seeing Clint Eastwood's "Letters from Iwo Jima (2006)." First, it did not live up to my expectations. Second, it's difficult for me to watch the "below-standard" work of the maestro.



Overall, the movie was scatteredly paced. The major roles were not fully developed in terms of their personalities and attitudes towards the war. The intention of the moviemakers was no doubt decent, but the good intention seemed to overshadow the story-telling scheme. It's easy to fall for the dichotomous enemy-friend complex in such a movie. Eastwood did not nail it, unfortunately.

However, it would be unfair to dismiss this movie out of hand. The story carries so much weight that it is not easy to choose a neutral tone when revisiting the history. Eastwood attempted to use "Flag of Fathers" and "Letters from Iwo Jima" to tell the two sides of a story. The war itself is a tragedy. After all, there is no real glory or hero when killings are not about survival or a greater cause.

Surf's Up (2007) ***1/2

Rarely have I seen the audience clapping their hands when an animation film ends in the theater. Surf's Up (2007) totally surprised me.

In the beginning, the pace of this film kind of annoyed me, because this was not what I expected. I guess I was expecting something closer to Finding Nemo or Madagascar in terms of storytelling style and visual effect. The filmmakers blended the documentary film and reality show in "Surf's Up," which might have risked forcing some impatient kids to leave the theater.

Fortunately, the movie was getting better and better as the story unfolded. Despite the attempts to get emotional, the filmmakers have tremendous patience to lead the audience to the glory and shame embedded in the story's theme step by step. I personally think this is the boldest story-telling method that has ever been implemented in the animation film history.

Don't be deceived by the cute and chubby penguins ... this movie was not made for kids who are looking for simple-minded fun in the theme park.

My Father, My Lord (2007) ****

One of the gems in the 2007 Tribeca Film Festival, "My Father, My Lord" appears to be a very simple story. The characters and drama are not meant to get complicated in this story, but the power this movie has yielded, partly through its music, is simply amazing.

Simplicity is just a word that may underrrate this movie. Behind simplicity lies rigid ancient religious traditions that leave no room for people to make their own interpretations. "My Father, My Lord" is like a short novel that you would feel heavily struck after reading it. Despite bitter and sad emotions, you may find yourself speechless sitting in the darkness when the movie is over.

The Squid and The Whale (2005) ****

Breaking up is never easy, but "The Squid and The Whale" is talking about a post-breaking-up life, which may be even harder.

The filmmakers apparently are more interested in the impact on the two young brothers whoes parents are recently divorced. The script was cleverly written so that we can hardly notice any cliche. However, the most interesting role may be the father who hates "philistine."

No one should be demonized in a broken relationship. It takes two to tangle and probably also takes two to fall apart. The implication of the title "The Squid and the Whale" does not merely represent a distant happy childhood memory but also signify a destination we cannot escape from.

A movie like this can be too real to watch, especially if you have popcorns in one hand and coke in the other hand. It's your call, my friends.

The Queen (2006)***

Honestly, it's easy to be an anti-monarchy symphathist. There are so many modern things we take for granted. Surprisingly, I found myself wondering whether popularity-centered democracy is really the best system we should have after seeing "The Queen."

Anyway, "The Queen" is about the conflict between new and old generations. If the new generation can cut some slack for the old generation, and vice versa, some tragedies may have been avoided. Who knows?

Overall, "The Queen" is a quality work. It is good but not great. Helen Mirren's performance is no doubt classic. The strength of her performance actually lies in her belief about the strength of Queen Elizabeth. On the contrary, the character of Premier Tony Blair has become a little bit comedic. I wonder whether this is the intention of the filmmakers: mocking the irony of modernness and restoring the nostalgia for glories of the past.

Dirty Pretty Things ***

This movie did not live up to the expectations of horror and suspense pertaining to movies of this genre; perhaps it didn't intend to do so. "Dirty Pretty Things" turned out to be a story about suppression of love and desire. The struggles of illegal immigrants in Britain were so hard to watch because the filmmakers seemingly force you to take sides.

Are dirty and pretty the adjectives for the same thing? Or, dirty things and pretty things have to co-exist since they need each other? Apparently there is no easy answer. This movie probably will not be a unforgettable one, but it's that kind of story with a message that we should not dismiss easily out of hand.

Spring, Summer, Fall, Winter and Spring (2003) ****

All I can say is that, this is an amazing movie. It looks like the director/writer Ki-du Kim has attempted to preach about life philosophies from the perspective of Buddihsm. However, the phenomenal scenic beauty and the stunning story centered on fundamental human nature have caught the viewers off guard.



If the director had let the camera speak for itself a little bit more, this movie would have been more poetic. Somehow I felt that when the director is also the writer, it's difficult to restrain the desire to deliver the message of a movie. Nevertheless, the movie itself may have its own life because of its reflections of the ever-changing beautiful and ugly mundane details, in spite of any message.

Snatch (2001) ***

"Snatch" is a cleverly executed film project. The director/writer Guy Ricthie has spinned this story at a turbo speed with his flamboyant style, which may highly please viewers who are seeking the new and creative ingredients in movies. However, for viewers who are looking for heart-felt moments, this movie may just give you nothing but headache.



There are many memorable characters in this movie, of which I believe the director has confidently assured. Among these characters, the Pikey boxing champion (played by Brad Pitt) has no doubt made this film as twice charming as it would be without this weird character.

Well, this is a joyride, not a journey of arts .... you don't need to take my words for it though.

Talk to Her (2002) ****

Pedro Almodovar's Talk to Her may be a disturbing story to many viewers. Almodovar's works have been known for eccentricity with a focus on shock factors. This movie is no exception.

The two main female characters' stories ran in parallel with a common theme: loss of communication with the outside world. However, the men who were obsessed with them treated them differently, which had lead to completely different fates.



I admire the beauty written in this script, but I failed to see the compelling effect of putting the two story lines side by side. The story of the male nurse and the dancer had apparently stolen all the thunder.



If we really feel the urge to summarize the story in one sentence, I guess it would be:

Could a monologue play be a love story?

If so, many viewers probably can't wait to shout with a distain, “no way!” Yes, such an answer can obviously explain why this story may appear to be disturbing. However, the dark side of human nature such as obsession is something we can never get away with. Love is, in essence, a reflection of obsession, at the personal level, isn't it?

Borat (2006) ***

"Borat" is the master of fools and nemesis of smarty-pants.

It's hard for me to believe that this movie is a critically acclaimed one. What bothers me most is not the vulgary prevailing throuought the whole story. The stereotype dichotomy of American vs. non-American cultures stings me all the time.



Of course, "Borat" is smarter than most fools (George W. Bush included). The speech Borat gave in the Rodeo show in Texas was the highlight of Borat's shrewd political statements concerning the foreign policies of the U.S.A. When Borat was abandoned by his producer and wandered into an Evangelical church, Borat's adsurdity elevated to a different level, which was somehow painful for me to watch. That is the most thought and emotion-provocative moment in this movie (see the clip below).

Needless to say, the character "Borat Sagdiyev" is so brave that he sheds the hypocretical political correctness without any hestitation. We may call it a folly liberalism-conservatism hybrid, which has successfully drawn the attention from people holding opposite beliefs.

Therefore, the master of fools should be crowned, at the very least, on April Fool's Day.

Clerks II (2006)***

One of the common interests the directors/writers Kevin Smith and Richard Linklater (1) share is: they both love to look at the same duet of characters at two different time points.

How much do people change in 10 years?



It seems that all the reasons to rebel dissipate as we grow older. No same old joke can be as half as funny as when they were first told. Growing older simply means that we all suffer from anxiety to step onto the track to comfort zones: good marriage, decent career, and a big house and shit.

I didn't have high expectations on "Clerks II (2006)" after seeing "Clerks (1994)". I am so afraid that Kevin Smith and his crew simply wanted to extend the original fun and irony to another comedy hit with no souls. To my surprise, "Clerks II" is not like a sequel to its predecessor. Sentimentality sneaks around behind all the jokes and ridiculous scenes. Sometimes I don't really admire such attempts since sentimentality may ruin the originality of a funny story. But, maybe this is an inescapable fate for movies like "Clerks II". Fooling around will sooner or later become damned boring at any melancholic or manic level.

Thank God, Jay’s Buffalo-Bill dance is still a timeless delight.



(1) Richard Linklater: Before Sunrise (1994); Before Sunrise (2004)

Terminal (2004) ****

I was totally surprised that Steven Spielberg's "Terminal" didn't get much attention from either critics or moviegoers. From Tom Hank's performance to John Williams' composition, "Terminal" exemplifies how a small project can be so elegantly orchestrated and never loses its charm. Above all, this story reaches out to people struggling to adapt to a new and occasionally hostile place. I think it's fair to simply call it an act of humanity. For those who have ever fallen into the crack in a system, this movie salutes you.

Clerks (1994) ***

Kevin Smith's "Clerks" is a hard-ass serious comedy.

When a movie is dominated by diaglogues, the flooding lines of actors are the real ond only beef served to the audience, and the audience is forced to swallow everything the actors say.

When watching "Clerks," I felt like I were one of the customers buying a chocolate bar at that convenience store and couldn't help overhearing the annoying but entertaining conversations.

Honestly, "Clerks" is a tricky flick. It looks like the story is centered on a character who doesn't have the gut to change his life's directions, but actually it is more depressing than that. All the dumb and smart-ass intentions seem to go nowhere -- everyone is trapped in that suffocating space arguing over nothing.

So, does "Clerks" want to enlighten us that the core of life is emptiness and frustrations? Not necessarily. Behold all of the trivial actions and consequences. Nothing comes from nothing, baby.

Me and You and Everyone We Know ****

Miranda July, as the writer, director, and actress, has showcased her witty and sentimental styles in her "lovely" film: Me and You and Everyone We know.

I wonder how many people have watched this film with smiles on their faces. To me, I felt like I am tasting a mixture of different ingredients that are sweet, bitter, and occasionally spicy.



Is this story about ridicule produced by the digital era? I am not sure. My wild guess is that this is an autobiographical work. Therefore, never attempt to presume a uniform tone in this movie. The reason is simple: life is a mosaic painting by nature. Having said that, this film has easily warmed my heart.

Karate Kid ***

I still remember my excitement seeing "Karate Kid" when I was a karate-maestro-wannabe kid. At that time I hadn't learnt how to look down on corny YA films yet, so this story only further strengthened my belief in my beloved martial arts: karate. Survivor's "The Moment of Truth" from the movie soundtrack also became my theme song for many years. Everytime I listened to this song, I was like given a shot of willpower booster or something. Funny, isn't it?



21 years later, I watched the movie again because of my deep sentimentality over the death of Mr. Miyagi (Noriyuki "Pat" Morita), a great Japanese actor. I then realized that I have almost forgot about how I embraced karate with all my heart in my childhood. Surprisingly, I also found "Karate Kid" is a decent movie, which is way better than all other YA movies. The storyline was well constructed and the cast's performace was simply beautiful. I can still stongly relate to this story at many different levels. What this movie has given me is not only inspirations but also spirits of innocense and strengths. It's like, I am so relieved to find out that I am still in love with the girl I had a crush on when I was 12.



Some people say "Karate Kid" has taught them about all philosophies they need to know to steer their lives. To me, karate and this movie always play an important role in my life. As the script writer Robert Mark Kamen put it, "Martial arts are not about fighting; martial arts are about spirituality."

Banzai!

Spanglish **1/2

If Spanglish attempted to address the issue of cultural shock and reconcile differences in any regard in a heartfelt way, I think this movie did not make it.

Adam Sandler might have delivered one of his best performances in his career, and the whole cast was doing a decent job as well. Unfortunately, it didn't fly. Flor, the gorgeuous Mexican mother, tried so hard to keep her daughter from being a model minority ... the whole thing seemed a little bit absurd in real world. The confession of Deborah's extra-marital affair seemed a little bit emotionally unreal. What was even worse was the scene of flirtation between the upset husband and the strong-minded maid, which only made the story cheesier.

The only part I really enjoyed was the performance of two supporting characters: Evelyn, the ex-jazz-singer grandma (Cloris Leachman) and Bernice, the sensitive daughter (Sarah Steele). Leachman gave her seasoned comedic touch with a deep sense of humanity for this movie. Young actress Steele's acting was still far from being mature, but her warmth was so convincing that you had to root for her. I think they really earned their credits.

Blood Diamond ***1/2

The purpose of making "Blood Diamond" is apparently to deliver a clear message: The diamond you buy may be paid at the price of the blood in Africa. But, as many critics and the filmmakers wonder, "will moviegoers listen?"

My guess is, people will read this message, and agree with the filmmakers' point. But, when they go home, they still do their routines, and make their decisions based on what they already believe. The same situation happens to poverty, epidemics, and other ugly issues in the so-called third world. When riches such as Bono and Bill Gates are helping Africa, some cynicals even call these philanthropists hypocrites.

Overall, "Blood Diamond" is more like a documentary film dubbed with Hollywood-style drama in a constructive way. The cast was good but not awesome. Djimon Hounsou's character started with a strikingly tradegic hero but ended up with a relatively flat tone. Leonardo DiCaprio's accent was not as real as his fake retardedness in "Who's Eating Gilbert's Grapes (1993)." Fortunately, his fake accent is not the point. DiCaprio's heroic role, except for the one in "Titanic (1997)," is usally a complicated hero (e.g., The Beach, Romeo & Juliet, Departed, etc.), which is always a delight to see in movies. Honestly, the budding love between DiCaprio and Jennifer Connelly was not quite convincing. Once again, we are happy to see that this weak link of affection has little impact on the whole story.

So, please take this movie a bit more seriously, my friends.

Mongolian Ping Pong: beauty of simplicity

Looking at these kids playing with the "magic pearl," you would probably wonder how their ancestors once conquered one third of the world and established the greatest empire in history.

This movie struck you with a component that is rarely appreciated in Hollywood films: simplicity. These Chinese filmmakers effortlessly prove that drama is not a required factor in a movie to touch the soft spot of your heart.

Above all, it does not romanticize the childhood. A child is not a tiny version of an adult, and hence adults can never quite capture the essense of childhood unless they let children lead the way in a story like this.

Piano Teacher: Against all Rules

Make sure that you are ready to witness the weirdest sex scene in the fim history. "Piano Teacher (La Pianista)" is a journey worth any risk for any bold moviegoer.

This is no doubt a love story, because love is the only theme for this movie. However, you may be shocked to see it if you are expecting romantic and joyful components in the name of love.

The protagonist (played by Isabella Huppert) is a seasoned musician who has had twisted conceptulization about love. She thought the only way to avoid pain and hurt is to take full control of a relationship. She refused to be seduced in order to be in charge of her new relationship with a young man, but eventually she still failed miserably.

You could decipher the story with gender issues, or you could simply look at this story with an angle of darkness and violence inherent of love. Isabella Huppert has done a tremendous job to portrait this archanely tragedic character. Ripping off the beautiful outfits of love, what else is left for us? For those suffering for love, you may find different messages and inspirations after seeing this movie.

Lord of the War

I watched "Lord of the War" twice before my vacation. It was definitely not because I was crazy about this movie. The story was both disturbing and appealing in that the story was not preaching about what is right and wrong. I guess the message conveyed from this movie is about "truth."

It is sometimes painful to see, hear, and even embrace the truth. Who can say out loud that legal weapons are less evil than illegal weapons? The lord of the war may not be limited to the tyrants Western media try to portrait. The evidence shows that the five permanent members of the United Nations Security Council (who are all nuclear powers) have joint the gang of warlords that export weapons to the third world for a long time.

In the end of "Lord of the War," the arm dealer (played by Nicholas Cage) was set free. I guess this pretty much depicts what is happening in the world. We can do nothing about it but to pray that we can live in our safe and naive place for the rest of our lives.