Super Sentai Roundup – Go Over Time and Space

Timeranger is the Super Sentai series that heralded the new millennium – and what a season it was. With a plot that gets deeper as time goes on and interesting characters, this season of Super Sentai (and the closely adapted Power Rangers version, Time Force) is highly regarded by most fans.

Our story begins in the year 3000, where the sky is kinda orange-ish and lots of doves are flying around for some reason. Maybe they are the only species of birds left on the planet, I don’t know. Anyway the Time Police or whatever is doing some sort of meeting when suddenly something big happens – Don Dorneiro, a notorious future criminal boss, and two of his subordinates, manage to travel 1000 years in the past along with a prison full of future criminals (it makes more sense in context.)

In the process, four individuals are hurled into the past along with the Don. They encounter a poor schmuck that just happened to be jogging nearby and thanks to some weird circumstances, recruit the guy into their group and become TIMERANGEEEEEER!!. Yeah, it sounds ridiculous, but nothing in this world happens by chance – destiny plays a large part in how the characters develop.

You see, that’s the theme of Timeranger: is destiny locked in place or can it be changed by one’s own actions? There’s a difference of opinion between the guys from the future and the guy from the past (who happens to be the Red ranger of this season), and that shapes a lot of interpersonal conflicts. Unfortunately some characters are developed better than others and that leads me to want more development out of TimeGreen or TimeBlue.

We also get a very strong willed female lead in Time Pink, who is effectively the leader of the group (Red still leads in battle and is a major force in the way the Timerangers fight, but he does not call all the shots.) This season’s red is a careful balance between the hot blooded idiots of other seasons and the stoic serious reds of others.

Like some other seasons the main villains are not as overtly evil as other Super Sentai villains, but they are still evil enough. And people die in this series. Civilan deaths are mostly implied but do happen instead of other seasons that gloss over them. Most of the characters, friend of foe, have their own stories to tell and their own personal pains. Also, enemies of the week are not completely destroyed when defeated in their giant forms: their giant forms are actually a consequence of their method of incarceration backfiring: a method of cryogenic stasis ala Demolition Man that leads to super inflation once you take off a special sticker that controls the process.

Timeranger is one of the earlier series to use CG, notably during the transformation sequence. At first glance this is done in a way that it isn’t noticeable, but careful viewers will be able to see the difference. The mecha transformations are made way more simple here, with two robots and a limited range of transformations.

Despite its relative seriousness, Timeranger still has the occasional silly episode, including a trippy episode that pits our heroes in different genres like westerns or samurai or whatnot. It still ends up being one of the ‘darker’ seasons of Super Sentai, and an enjoyable way to start the decade. The intensity of the last 10 or so episodes is well worth the price of watching the show.

A little postscript: the opening song, Jiku, is my single most favorite Super Sentai Opening ever.

Super Sentai Roundup – Action, Perfect and Industrial Revolution!

Ever since watching Jetman in 2008 I’ve watched a good number of new Tokusatsu Shows, Supaidaman being one of them. From the earliest ancestor of the Super Sentai series, I’m going to discuss two series that just aired within the past decade.

As the 2000s rolled by, Super Sentai underwent a lot of changes. Plots veered towards more family friendly fare owing to the changed timeslot (Sunday mornings as opposed to primetime) with the occasional serious storyline propping up at times. Competition from other morning shows, like for example Pokemon, challenged the status of tokusatsu shows. The Superhero Time programming block was then started on TV Asahi, consisting of a Kamen Rider series and a Super Sentai series.

While the plots and characterization changed, the things I loved about the franchise were still there: giant robots, random explosions out of nowhere and episodes that make you wonder what the writers were smoking on that particular day.

Tokusou Sentai Dekaranger

Dekaranger is the 2004-2005 Super Sentai series with a police motif. Similar to Timeranger (of course, without the time concept) it involves capturing and/or arresting criminals… FROM SPACE! It also has a talking dog as a commander. No shit. No one even makes the effort to make the mouth opening match the voice, but who cares? As the show goes on you realize it doesn’t really matter, as this particular character (Doggie Kruger) kicks major ass.

Banban (or just Ban) Akaza is a rookie cop who gets transferred to the SPD (Special Police Dekaranger) branch on earth. He is reckless and tends to wreak some collateral damage in the process of catching some bad guys. He is then joined by four other people and they go out and fight crime… Space Crime that is.

One notable difference in Dekaranger is that the bad guys are not under one big evil organization like (for example) the Tube Empire in Maskman or the Machine Empire thingy in Bioman. Instead, criminals come and go, supported by this bat guy named Abrella who is more of a supporter than an actual scary bad guy (at least until the last few eps.) One’s mileage may vary on how effective this turns out to be. Another is that the giant forms of the monsters of the week are different; they do not increase in size, instead they are given machines by Abrella to pilot, kinda like Bioman.

Our heroes are joined later on by the requisite 6^th ranger (and a seventh and tentative eighth) who fight crime along with them. Each new person has their own set of special powers and tends to make things more interesting and drive the plot forward. The Dekarangers themselves get a special upgrade courtesy of a SWAT/Special Forces like training episode.

Character wise the Dekarangers are pretty decently characterized, but honestly there was no one in the series that was really as notable as they should have been (other than maybe Doggie, and for all the right reasons). There’s a backstory and character episodes for everyone so everyone gets their share of the spotlight. The actors are pretty decent, with most of them getting bigger roles in movies or doramas or as voice actresses in anime.

There are various references to pop culture, like that one episode where a criminal named Tyler tries to open an illegal “fighting club.” Sound familiar? There are even a few noir-ish episodes that people may appreciate.

Anyway, Dekaranger is a fun series of the 2000-2010 decade. While not the best, it holds up quite well and is a fun watch.

Engine Sentai Go-Onger

The title for this series weirded me out when I first saw it. It came of the heels of an awesome season (Gekiranger) which had awesome chopsocky martial arts and shit. This one was about fighting pollution and racing. Er… WTF? Don’t cars make a lot of pollution in the first place?

Anyway, while trying to wrap my head around that one, the story. Our world is part of eleven dimensions/universes that look like membranes in space time. Gaiark, our evil organization for this series, consists of a bunch of nincompoops who want to pollute the earth or something like that. I guess they want to rule the earth too, after all the polluting is done.

Go-onger is a comedy series, much like Carranger was in the nineties. The villains are mostly harmless other than the occasional act of evil and pose little threat in most episodes. But as a comedy series, the plot kinda drags during the first third of the series. Other than a few episodes the plot meandered during this part, and it’s easy to see how the show could lose its viewership early on.

As the show moves into the halfway mark however, the introduction of the Go-on Wings and some new enemies that are a little more threatening give the show some quality moments (but still in the background of a comedy show.) This is where the show finally gets off the ground.

The characters are characterized well enough, but some of them get the short end of the stick (I’m trying to remember from having seen this last year, but all I can remember is Saki’s evil sister for some reason.) That’s kinda sad considering how serious episodes could at least have been replaced by character centric ones.

This is kinda sad considering they had good talent for this one. Most of the people in Go-Onger had been in doramas before, and the rookies were at least decent actors. Notable is former AV actress Nao Oikawa, who I would not have noticed if not for the fact that I saw one of her movies before and you just can’t forget something like that. Hehe.

The main draw here is the mecha and the insane number of combinations you can make from switching parts and putting them in different configurations. The toymakers for this season probably went crazy designing all of this stuff. With 12 engines you can make a lot of stuff happen.

Go-Onger is an average season that took too long to start up its engine so to speak. It’s sandwiched between two really great seasons and in terms of the 2000-2010 seasons it suffers a bit in comparison.

back from the dead

time to shift gears (er, from parking?) and write some new stuff. It's almost been a year hasn't it? Oh well.

Cinemalaya 2011: Ang Sayaw ng Dalawang Kaliwang Paa, Bisperas, Shorts A

Cinemalaya 2011 continues with fancy prancy dancing, a robbery, and several other things.

Ang Sayaw ng Dalawang Kaliwang Paa (The Dance of Two Left Feet)

It's Interpretative Dance: The Movie!

If you remember one of my reviews from last year (the midnight screening, forgot the title) that particular movie had a part where this interpretative dance segment comes out from nowhere and punches you in the face. It was artsy fartsy, it was pretentious, and it didn't work. It is hard to integrate concepts like that into film, and often the result is a confusing and obscure mess. But leave it to this New Breed entry to prove me wrong.

The title itself makes itself clear: this is a film that has a lot of dancers and dancing. But that's only the most superficial level of the film. This is basically a love story, expressed through dance and song. Surprisingly, it works really well.

Marlon is in love with his literature teacher (Jean Garcia,) who also happens to teach a dance class on the side. Dennis is one of the tutors in the teacher's class, and Marlon asks him to teach him some dance moves. Thing is, Dennis kind of has a thing for Marlon as well. Yeah, this is a rare Male ---> Male ---> (older) Female love triangle.

Intense feelings of love and longing are described in the many scenes of dialogue and debate, infusing each scene with layered meaning. The tension between the three characters, sexual or not, is so thick you can cut it with a knife. And yet, even as we wait for something to actually be done, we realize that this is not a film about getting the guy or the girl, it is about the process of loving itself, rather futilely.

Strikingly, one of the scenes describes the act of reminiscing a past love, or a love lost, as something like sex itself - that when one recalls memories of the people he or she loves, they inhabit that body's memory, becoming one with the memory itself. This idea of love unreachable or unrequited (same sex or not) is the central theme of the film. It all heads off into a dance fueled climax based on a creative reinterpretation of Humadapnon's part of the Ilonggo Hinilawod epic.

The FEU Dance Troupe helped in doing many of the dancing scenes in this film (the film itself takes place in the university.) All three leads are competent and believable as dancers as well (the credits section shows them along with the dance troupe practicing together.) Everything from traditional Filipino dances to Western dances like tango are covered in the film.

The soundtrack is also quite capable, with songs often accompanied by solo dances, especially during key scenes. It's gripping and quite intriguing to watch. Also, it doesn't just come out of the blue.

Give it a watch. I came in with low expectations and it exceeded all of them. 8 pirouettes out of 10.

Bisperas

This time, let's take a look at one of the entries for the Director's showcase category. Jeffrey Jeturian's Bisperas takes place on Christmas Eve. It begins with a procession, eventually showing the family whose lives we will see unravel in the next hour and a half. There's the patriarch (Tirso Cruz III), his wife (Raquel Villavicencio), and their three children: Balikbayan Dianne (Jennifer Sevilla) and her daughter Steph, frank and blunt Ara (Julia Clarete) and youngest son Mio. After robbers burglarize their home, deep-seated sentiments among them all begin to unravel, exposing old wounds and opening new ones.

Although most of the movie takes place in one place (the family's house,) this character-driven drama delivers from start to finish. While at first the family seems at peace with each other, each one of them has their own set of problems and hang-ups, leading to inevitable conflict. The robbery itself does not matter, but it serves as a force of nature that catalyzes the rest of the events in the movie. I won't spoil any of these conflicts because they add to the overall enjoyment of the film as a whole.

I am not entirely sure if the makers of the film were drawing parallels to what is going right now with scandals involving religious authority (the director himself said something to this effect during the gala premiere, but I'm not too sure as to the context of the statement) but one could interpret its relevance as such.

The acting is quite solid in all respects, and in character driven pieces like this it makes all the difference. Julia Clarete was my favorite in the film; her character interacts the most with all the other members and seems to bridge communication between some of them.

The end of the film closes out the story in an almost Christian fashion. Well, this is Christmas after all.

8 stolen items over 10.

Shorts A: Un Diutay Mundo, Samarito, Walang Katapusang Kwarto, Every Other Time, Nino Bonito

Un Diutay Mundo

An abstract short about a boy who is trapped forever in a room with no contact from the outside world. This was made by students of Ateneo de Zamboanga University (the movie is narrated in its entirety in Chavacano.) Like his namesake's stories depict, Kafka (the boy)'s circumstances are never clearly explained. At no point do we clearly know why he is in there, the nature of the girl, etc etc. Not really my cup of tea, but I guess its decent enough in its own right. 2.5 feral boys over 5.

Samarito

...Samaroon. Just kidding. Simple enough in concept, an unlikely person becomes an unlikely Samaritan because of unlikely circumstances. Just watch it and form your own opinion. Technically decent and executed well. There was a bit too much shaky cam at the end for my taste, however. 3 crowbars over 5.

Walang Katapusang Kwarto

If you think about it, this short is basically two people talking. It's a very simple concept but the two leads manage to pull it off really well. It ends up paced just right and doesn't overstay its welcome (too much) thanks to well placed jokes and clever dialogue. Plus the little twist at the end really tops it off. 4.5 witty retorts over 5.

Every Other Time

This short was made by students of the College of Saint Benilde. Another simple concept film that has this cute payoff in the end. Compared with the other shorts in the repertoire it is quite average but it tells its story effectively and pretty much gets to the point. 3 cellphones over 5.

Nino Bonito

I like Milo Tolentino's short films. They all involve kids (non-actors to boot), they mostly take place in impoverished settings, and all are invariably funny and entertaining. Although not his best, this one is quite cute when not in its 'the world is a soulless and relentless place' mode. It is innocence versus its inevitable loss - fittingly represented in this film by the Santo Nino. Not his best effort, but still above average. 3.5 religious icons over 5.

Cinemalaya 2011: Amok, Shorts B

Truth. Despair. Freedom. Terror. Splendor. Memory. Passion. The seventh Cinemalaya Independent Film Festival is underway, and it's about time for some movie watching. I don't think anything can match the sheer volume of content I reviewed last time, but I'll try to do what I can with the time I have.

AMOK

There seems to be something about Pasay Rotonda that makes it an attractive setting for movies like this. With its sprawling walkways and chaotic hustle and bustle it becomes a character of its own. In recent memory I can recall the film Rotonda, which bears a passing similarity to this entry in the New Breed Category, Lawrence Fajardo's Amok.

Amok is an interconnected tale weaving together the lives of several people and how their actions affect each other. While some are simply living their lives as normally as they can, some enter the Rotonda at a distinct turning point in their lives. As the film draws into its inevitable climax (the "Amok" hinted by the title) this single event will send ripples through all of the characters, changing them either for better or worse.

An experienced ensemble cast including Mark Gil, Dido Delapaz, Garry Lim, and Archi Adamos (among many, many others) play the various characters that inhabit the setting of this film. They all bring their characters to life, making us sympathize with at least some of them in the limited time they have with their respective vignettes.

And it is the cast of characters that serves as the central pillar that holds the film up: from washed-up actors to dirty enforcers to a proud father and son, all of these characters have one thing in common: they are either the perpetrators or the recipients of an "injustice." Some try to cheat the system already in place. Some try to cheat others, offering them hollow prizes in exchange for their souls. And that is one of the central themes of the film; screenwriter John Bedia describes this injustice (and I paraphrase here) as the "source" of the characters' "anger" (translated as 'init') that compels them to do the things they do. Ironically the man who perpetrates the 'Amok' that sets up the climax seems to be the only person who acts on this injustice, albeit with violence.

Last year, when I reviewed Astig, I saw many cliches that were beginning to eat away at the artistic integrity of films with similar concepts and settings (cliches that would eventually get parodied in one of the other films in this year's festival, but that's for another review.) Astig taught me that a film could be technically excellent but lacking in other things, when concepts are regurgitated again and again so as to seem artificial in themselves.

Luckily this film avoids these pitfalls and uses the Rotonda as a canvas with which to paint this interesting tale, using poverty and social injustice as matters of fact instead of emphasizing them, almost to the point of blatant exploitation. The movie is NOT about how people are sooooooo poor. The movie shows us what IS, and that is to me, true art.

One thing though, and this is something of a nitpick... given a revolver with six bullets, how the heck do you reload and where do you get those bullets...?

7.5 headshots out of 10.

Amok Trailer: http://www.youtube.com/watch?v=C-ppXJETZQM

Shorts B: Hanapbuhay, Oliver's Apartment, Immanuel, Debut, Hazard

Hanapbuhay

The punchline of this story is important, so I'm not spoiling anything. The point of the film is, even when times are rough, deep inside, true men have integrity - and that may be the most important thing of all. Excellent comedic timing, well paced, technically sound, what can I say. Best short of the festival. 5 broken bottles out of 5.

Oliver's Apartment

Oliver is a man with severe OCD and germophobia. A postcard then sends things spiraling out of control. Although technically sound and done with no dialogue at all, this particular short sends its message decently. However there is a bit of confusion if the girl and the postcard sender are the same person. The film kind of spent a bit too much time on Oliver instead, which I guess was sort of the point, but it left some things confusing in the process. 3 neatly arranged pills out of 5.

Immanuel

This short is unique in that it is a science fiction film; in five years of going to this festival, I have never seen a sci-fi film in Cinemalaya before. The film portrays a dystopic future where oxygen is of such limited supply that it is rationed to workers very strictly. No work, no air. And having extra children (especially if they're not regulated) sucks too. Say what you want about the concepts of the film and its parallels to current issues on reproductive health and population control, there's lots to debate about here. The film is presented gorgeously with stark contrasting colors and shadows, cool hues of blue and silver and gray giving off an appearance/effect similar to that of film treated with a bleach bypass process. 3.5 O2 crystals out of 5.

Debut

Rather than telling you about the plot of this rather simple film, we had a little debate about the nature of this film as a cleverly disguised metaphor or not. One of my friends noted that the emphasis on the money received kind of made us see the movie as is, instead of as a metaphor or abstract representation of something else. Still, something to think about when watching this really short film. 3 ribbons out of 5.

Hazard

Mikhail Red's film last year, Harang, was one of my favorite shorts in recent years. This new effort, a simple looking father and son story that soon spirals wildly out of control, is a whole different monster entirely. It took a while after watching the film that it is basically exactly like what the father said - that the son knows nothing about how the world works, and in the end, the father is the one who is held accountable for his son's mistakes. It's just that this film takes it to the maximum extreme level that it can take the concept. 4 dead bodies out of 5.

The Tree of Life

I was a bit excited when I learned that Terrence Malick's film The Tree of Life won the Palm D'Or at the prestigious Cannes Film Festival. A film several years, if not decades, in the making, it was full of ambition and seemed to offer something unique. Given Malick's previous stints at directing, those films tended to be technically superior films, but lacking in something else.

After seeing the film for myself, I can understand why the film received such a polarized response from moviegoers and critics. The Tree of Life is not an easy film to digest.

Jack O' Brien (Sean Penn) as he deals with everyday life as an architect. Around him the concrete walls of the city trap him, with corridors seemingly stretching out for miles, jungles of stone and steel. He begins to remember back to the time when he was still a boy growing up in the suburban America of the 20th century. He recalls his life with his two other brothers, his mother (Jessica Chastain) and his troubled relationship with his father (Brad Pitt.)

But to say that the paragraph above is the 'story' does not do justice to what really goes on. The Tree of Life is more an experience, a compilation of feelings and emotions and dreamscapes and memories. As such, the structure of the film is not linear; from one moment we see ourselves in the characters in the present - and in another we see the creation of the universe itself. A large portion of the film is bereft of dialogue, and we are left to bask in images and sound. Maybe Malick is channeling his own inner Kubrick here, ala 2001. Either way, he's not a director who likes to use dialogue too much in his films.

Some viewers have drawn religious undertones to the film, and indeed the music of the film is patterned like a prayer from start to finish. Others have likened it to a person's mental process in understanding the world or life itself. People have drawn other conclusions from the film, and that is, in my humble opinion, is what makes this film work - the sense that it draws a spectrum of reactions from different people. That is film as art, in its pure form.

It is quite surprising that some of the more impressive special effects in the film are NOT generated by computers. Douglas Trumbull, who did the special effects in iconic visual feasts like 2001, Blade Runner and the first Star Trek Movie was responsible for the effects in this film.

Then again, the film has its shortcomings. It demands a lot from its viewers, leaving others wanting. This is definitely not a film that anyone can watch. Junkies waiting for the next boob or explosion need to look elsewhere (and there's nothing wrong with that.) The existential angst piles up almost to the point of pretension. Whether it crosses the line by being too heavy handed, I leave it to your own personal interpretation. Again, that's the beauty of this film - people may love it or hate it, but they will have an opinion of it, good or bad.

Towards the end of the film, one may ask oneself: have I come to terms with my own life? What about the people I've left behind? The film may not give any concrete answers to life, the universe and everything, but that's because there really are no concrete, generalized answers for any of us. So maybe the scenes of cosmic birth and destruction means that our lives are infinitesimal in comparison to the rest of the universe. So then, what gives our lives meaning? Is it love?

Now excuse me while I watch some boobs and explosions.

Sucker Punched

You have to hand it to Zack Snyder. After directing a slew of music videos and car commercials in the nineties, he moved on to making feature films. He was pretty successful with 300, based on the Frank Miller comic book series, and made works based on other franchises like Dawn of the Dead, or Watchmen (one of this reviewer's personal favorites.)

But that's the thing.

Prior to this movie, we really haven't seen Zack Snyder do anything that wasn't a remake or an adaptation of (admittedly awesome) source material. He has only existed as a shadow or extension of his previous job - to present something that already exists, package it and present it with style. The film-as-concept then evolves into something completely different, a commercial, a picture that tells no words other than accounts of its own beauty. Pictures worth no words. Who would have ever thought?

This brings us to his latest film, Sucker Punch. It's his first film that is original, not based on a comic book, a book or an old movie. I won't talk that much about the movie because a multitude of people have already shared their views on it: it's weird, it's brainless action, the plot is obtuse, it explains nothing, it's slow and awkward whenever the hot girls aren't blowing up zeppelins or robot samurai.

Instead, I offer this: what constitutes a 'director?' Is it simply someone who handles the technical presentation of the film? A film does not exist on style alone; plot and characterization are two important things filmmakers seem to be forgetting these days. With a glossy exterior we get films like the new Star Wars Trilogy, lush fantasy worlds populated by cardboard cutouts and paper thin plots. With rich and deep plots and fleshed out characters the movie that emerges from it far outshines its hollow kin.

Somewhere along the line, something went wrong with this movie. Perhaps it was the screenwriters explaining too much, or the other way around. Zack Snyder wants us to read between the lines in an film that promised us brainless action. Between serious drama and eye candy explosion fests, the film transforms into something that is neither one - ultimately alienating the audiences of both.

I wish I could tell you how badass the sequences are. They are indeed, but that alone constitutes not a true movie. You could edit out the rest of the parts and still see something probably worth watching on Youtube. One could praise the visual and musical flair taken in the presentation of the product, featuring absurd amounts of detail and songs from the Pixies all the way to Bjork. But again, the gift is only as good as what's inside - not the wrapping that covers it.

Zack Snyder has yet to prove to audiences that he is a true director - someone who not only gives us the pretty packaging, but tells us the story behind it. Unfortunately we may not be able to know just yet; his next project is a reboot of the Superman series.

A Presently Confusing Decade: The Worst

When it comes to reviewing films, I'm pretty lenient. I usually give positive points to even the most ridiculously plotted, cheap, pathetic films ever made. But there are times when even my own patience cannot save a film. They are truly, BAD films.

There are bad movies that are so bad that they are actually good. If drunk or with equally wasted friends, movies like these can be ridiculed to death. And it's fun. You will have gotten your money's worth by shamelessly excoriating these bad films.

Then there are the bad films that are so bad they are just.... bad. They are films that leave a sour taste in your mouth. They are films that you wish you had pirated instead. They are abominations beyond human understanding.

I'd include a few Uwe Boll films here, but his oeuvre belongs in a category all its own.

My least favorite films of the past 10 (+1) years are:

Tekken

What could have been - THIS IS THE MOST AWESOME MOVIE EV4R!!!!11oneone punching people into the sky, buildings exploding due to punch shockwaves, Brian Fury fucking up an entire army. Because. He. Is. The. Man.

What actually happened - Where are the fights? Where's Kazuya's spine? Why is it always dark? What the fuck is going on!?

My Take - The latest in a long line of bad videogame adaptations. It does everything wrong and pisses all over the source material as if it were that large piece of shit that you want to break apart with your stream of piss. Or something like that.

X3: The Last Stand

What could have been - A movie based on the Phoenix/Dark Phoenix saga, one of the greatest (if not the greatest) story arcs of X-men in the history of the comic. Last two movies, X-Men and X2 were pretty good. That's all I really have to say.

What actually happened - The cinematic equivalent if X-men were a comic book written on yellow pad paper by a 6 year-old.

My Take - There are bad superhero movies, and there is X3: The Last Stand. With plot holes the size of goatse's anus and a patched-together plot that stinks like the aforementioned anus, X3 is as exciting as watching paint dry. It was either this or Spiderman 3, and that one also sucked, but this one took the cake. It also took the plate, the table, the knife and fork, and the room the cake came in.

Pamahiin

What could have been - Decent Asian Horror. With fanservice from Iya Villania of course.

What actually happened - A non-intentional comedy, with non-intentional fanservice from Iya Villania.

My Take - Granted, I've spared myself the horror of watching shitty horror movies from the Philippines (Feng Shui being one of the few halfway decent movies) so I can't say this is the worst, but halfway through the movie I thought this was more a comedy than a horror film. The first half delves into this motif of superstitions, but then in the second half it suddenly transforms into this cheap mishmash of 'possessed' films that Filipinos seemed to love in the late 80's or 90's or something.

Catwoman

What could have been - an epic comic book film about one of Batman's more interesting villains.

What actually happened - an epic failure.

My Take - oh, speaking of bad superhero movies, there's this pile of shit. If I were a cat, I'd probably lose 8 of my 9 lives watching this disaster. Don't blame Halle Berry, it wasn't her fault.

Enteng Kabisote 4

What could have been - to be fair, I really wasn't expecting anything.

What actually happened - 90 minutes of nostalgic cameos, cheap special effects and product placement. Plot? What is this... plot you speak of?

My Take - Take everything you absolutely hate about Philippine cinema. An array celebrities appearing just for the lulz? check. Product placements so frequent it almost feels like corporate masturbation? check. "Special" effects covering for a story that was made by a dozen monkeys typing randomly on a dozen typewriters? check. Corny jokes that were 'in' during the early 1960's? check. This movie fits all the criteria and then some. If there were a bottom of the movie barrel, this would probably be somewhere beyond the bottom of the barrel and somewhere closer to hell.

That's it! That's all I have. I've only watched 1 film in the past 10 days, and it wasn't planet shakingly awesome (it was just ok) so I probably won't be doing a pahabol segment. That's it for 2010. See you guys next year, and have a great time.

Till then, stay presently confused~!

A Presently Confusing Decade: The Rest of the World and Documentaries

Rounding up our round-up (heh) are notable films from the rest of the world that I couldn't classify, and documentaries.

Notables from the Rest of the World

Amelie (France) - it's fun, quirky, and it introduced the mainstream world to Audrey Tautou. Definitely a must watch.

City of God (Brazil) - this cinematic bildungsroman of a man's struggle during tumultuous times in Rio di Janeiro's slums offers us an alternative look at the place, far removed from outsider's eyes: roving gangs of child killers, gangs, drugs, sex and alcohol.

Day Watch (Russia) - this Russian supernatural epic is the most polished of the two films that came out (hello Hollywood, still waiting on that third one...) with great special effects and a complex story with interesting characters to boot.

Banlieue 13 (France) - probably not the best plotted film out there, but this film and its sequel were hella fun to watch. Kept me on my toes from start to finish.

Y tu mama tambien (Mexico) - A coming of age tale between two dudes and an older woman as they travel across the countryside to some mythical place. Plus, boobies. Gotta have those boobies.

As for documentaries, they've been on the uptake this decade too. This decade saw all 5 of the top 5 grossing documentaries get shown. Most of them are by controversial documentary director Michael Moore, whose filmmaking style mixing gonzo journalism, sarcastic humor, and honest truth made his movies great to watch.

Docu

Enron: The Smartest Guys in the Room - As one of the people in this film remarks: This is not a tale about ridiculously complex financial transactions. This is a tale about people, and how their hubris and delusions of grandeur brought down a billion-dollar company into bankruptcy within a matter of days.

The King of Kong - It's a man vs. the world story, in the background of the golden age of arcade video games. It's silly, and at times you wonder about these men and their motivations, but you will be rooting for Steve Wiebe by the end.

Chasing Ghosts: Beyond the Arcade - Having (re)introduced yourself to the era of arcade video games, this documentary takes the material and explores it in a different manner, showing us the perspective of a number of guys who were the best in the world at a particular video game, and how they lived with that notion.

Apocalypse: The Second World War - using colorized footage of the second world war, this six-part series is a tale of the world's most horrifying war - and a stark reminder that such things must not be repeated again.

Fahrenheit 9/11 - the status of this film as 'documentary' is debateable, but out of Michael Moore's films during this decade, this one may have actually changed a few minds about the war and its implications to the US and the world at large.

Other Notable Documentaries: Food, Inc., The Corporation, Game Over: Kasparov and the Machine, The Bridge, I Got Next, Frag and sooooooo many others.

And Next Up: Finally, what good is a favorites list without the non-favorites list? John T lists his worst movies of the past decade (+1.)

A Presently Confusing Decade: Hollywood

Ah, Hollywood, the center of the movie universe. Hollywood blockbusters made gazillions of dollars over the past ten years, but here were the biggest earners of that time.

Large Scale Epics - nothing would dazzle the imagination more than grand sweeping epic films filled with huge battles, drama and pathos. Special effects were fast becoming part of the picture itself rather than a supplement to it. At some points, special effects were all that were there, replacing any traditional scenery, action or what have you. The new Star Wars trilogy is probably the most heinous offender. With its all SFX backgrounds, you tend to lose sight of the personal issues and forget what the movie should really be all about.

Sequels, sequels and more sequels - nothing fueled the industry more than continuing the plots of films that didn't need sequels. Riding on movies that were classics in their own right, films continued stories that needed no continuation; indeed, few could be considered as classics of the caliber of the original. Some sequels were decades apart; feeding on the nostalgia of the moviegoers' populace.

Living on the 80s - And nostalgia was the biggest draw of this decade. How many 70s or 80s TV shows did you see on the screen? Hollywood did its best to sap on the creativity of the past, while offering nothing new but wrapping old material in a glossy new package.

Heroics on Film - The Superhero film. Comics were soon recognized as a legitimate source of inspiration, thanks to their fantastic and deep storylines, interesting characters, and the ability of special effects to do this allowed us to see some great and some not so great films.

But despite this, the imaginations of some filmmakers shined through this decade with their uncompromising visions. American independent cinema had visions of its own, far removed from the popular trends in mainstream Hollywood. Uncompromising films like The Limits of Control or Synecdoche, New York would challenge moviegoing audiences and critics alike.

My favorite Hollywood films of the last 10 +1 years are:

Inception - Christopher Nolan struck gold twice in the past 2 years. I think he has learned from his previous films and made a thinking man's blockbuster. Dreams within dreams within dreams, and a world bound only by one's imagination - makes for a very engaging film. The ending left its mark by sparking a wave of discussion long after the movie had ended.

The Dark Knight - the 2000s gave birth to (or resurrected?) a different genre of films that catered to the newly emerging comic book generation: The Superhero Movie. Although it led to the production of a lot of mediocre adaptations, a couple of good ones, and some considerable garbage, this one stands along as a film that transcends the superhero genre and becomes its own. The unbelievable performance by the late Heath Ledger is once in a lifetime, and his passing was truly a tragic one.

Broken Flowers - One of Bill Murray's standout films this decade, pairing him with director Jim Jarmusch. It's a man's search for his own self through his past loves.

Waking Life - Richard Linklater has made his share of films this decade. Some were sequels (Before Sunset) some were mainstream fare (School of Rock) and some were misguided at best (Fast Food Nation.) This rotoscoped animated film, released in 2001, was my favorite of them all. It's just a couple of dudes talking about stuff, but it is never boring. He would follow this one up with A Scanner Darkly, based on the Philip K. Dick story.

Lost in Translation - Yeah, Bill Murray. Movies like this make me forget that he did shit like Garfield a Tale of Two Kitties. Yep. This movie also made me notice Scarlett Johansson for the first time. That qualifies it for awesomeness immediately. But add a great story about two people meeting by chance and finding each other's friendship in an alien land and you have a winner.

The Lord of the Rings - this movie redefined the definition of Epic for this decade. I have to lump the three movies together as they really only function cohesively as one film (except maybe the first, which can stand on its own.) Peter Jackson pulls out all the stops to recreate the world of Middle-earth on the big screen.

Eternal Sunshine of the Spotless Mind - few films have the visual panache as this one has, interpreting dreamscapes through the quirky mind of Michel Gondry. But beyond the lush visuals is the deconstruction of a relationship in reverse - tracing its events from the breakup and back to happy times. And yet, there is the bittersweet notion that depsite all the things that went on, the end result will forever be the same.

Kill Bill - I think Quentin Tarantino and I would have a lot to say if we got into a room together. A big chunk of what we would say would probably be about the awesome movies we've seen. Tarantino has a penchant of taking the stuff that he likes from various movies and genres and mashing them together to form something of a tribute to these films. With Kill Bill, he takes Wuxia, Chambara, Exploitation films, grindhouse films, Spaghetti Westerns, Japanese splatterfests and whatever thing he can get his hands on and takes them all together to make a pretty good film.

Punch Drunk Love - Paul Thomas Anderson is one of the more exciting American directors of recent times. With this film he made Adam Sandler experience a depth of acting that few knew existed, while exploring the themes of loneliness and belonging in a strange world that not all of us will easily understand.

Scott Pilgrim vs. the World - It's hyper like an ADHD riddled child, but it's the perfect film to encapsulate the period of the last ten to fifteen years. With Edgar Wright's frenzied directing, the videogame-like setting and the mingling of fantasy and reality, this is a film that sadly flopped at the box office, but for those who did see it, were treated to their money's worth.

Noteworthy: Before Sunset, Hard Candy, Cypher, Babel, A Scanner Darkly, Juno

A Presently Confusing Decade: Anime

It's no secret that I love anime, so I'm making a separate section and treating it like the independent genre that it is.

The 2000's was an interesting decade for anime. Films like Ghost in the Shell and series like Cowboy Bebop had introduced anime for more mainstream fans. Shows like Pokemon and Yugioh targeted kids; and the scene exploded.

Increasing strides in technology allowed for easy sharing of anime, spawning a substantial subtitling community. Gone were the days when you had to wait months for anime to be released in your country (if at all;) now, the latest episodes of the most popular anime could be viewed days or even hours after the original Japanese airing. Streaming sites like Youtube also facilitated the spread of anime throughout the world. This was no longer a Japanese thing; anime fans were beginning to form a large international community the nineties could never have imagined.

Anime studios like Gainax would rehash their old series or make new ones. Anime creators would also show their hand in Hollywood productions, like in the Animatrix, or the sequence in Kill Bill. Genres would also shift; the harem anime of the nineties began to fade away. Ero-game adaptations would surface, as standards on late night TV began to loosen, shows would tend to show even more. Josei anime would find their niche in the noitaminA block on television.

The Shounen genre would find itself a cornerstone of the industry with the "Big Three" Shounen Anime: Bleach, Naruto and One Piece. These new shows would gain large fanbases of their own and push anime even further into the mainstream.

Aside from manga, light novels would also become a source of anime adaptation. Shows like Haruhi Suzumiya and Toradora! would find their beginnings as light novels, then become adapted as highly popular anime. Still, anime creators would find time to make original productions of their own, making some of the best creative works of the decade.

And so, without further ado, my favorite anime of the past ten (+1) years:

Paranoia Agent - one of the most unique anime series to come out of Japan, and one of the late Satoshi Kon's masterpieces. As with most of his works, the series tackles the issues of dreams, perceptions and reality and brings them to life in a way only an animated film can.

Tengen Toppa Gurren Lagann - it has to be said that this anime epitomizes the meaning of "epic." Virtually a distillation of every hot-blooded mecha anime series into its purest, most pristine form. As it outdoes itself in over the top shenanigans with every episode, it never fails to deliver. Except probably for Garlock, although the movies correct this a bit.

Death Note - Although fans are divided over the second, lesser half of the series, the first half of Death Note is nothing short of awesome: a pure battle of wits between two supremely clever individuals. It really isn't about the notebook anymore; it's about the rivalry between these two men over their difference in ideology.

Honey and Clover - this series perfectly captured college life for me: the friends, the transcience, the pain, the happiness, the memories. You may notice the rest of the series in this list are either shounen or seinen series. This is the only title that even comes close to being shoujo (it's actually a Josei title) and there's a pretty fucking good reason why: because it kicks ass. Honey and Clover Sandwhiches, that's all I'm going to say about that.

Samurai Champloo - I would include Cowboy Bebop, but that was in 1998 so I can't lol. But this series, a fusion of hip-hop and jidaigeki/chambara culture, creates a great mishmash of both. References to samurai films of old and pop culture in general abound, but one could say the interactions between the three main characters between themselves and with others solidify what is a great series.

Akagi/Kaiji - I'd like to lump these two series by Nobuyuki Fukumoto together. Although not brimming with explosions or over the top mecha battles, these two series erupt with sheer manliness from start to finish. While Kaiji is the kind of poor bastard you'd want to buy a drink, Akagi is the kind of person that you'd cheer on for the sheer reason that the man is freaking insane. For some reason, these two gambling series have a strong (implied?) anti-gambling message. Or maybe it's just me.

Mushishi - Bar none the best anime series of the decade for me. Each tale tells of the human condition through strange creatures neither animal nor human. The show itself feels like some vibrant, quiet organism, thrumming with life. A show that deserved as many seasons that it could get, but settled for 26 amazing episodes.

Genshiken - an anime about anime (and a manga about manga... and I guess about anime too.) Like its spiritual predecessor Otaku no Video, Genshiken is an anime about anime and manga fans. Like me! (and probably you?) But take away the anime and manga, and this show is about a group of people engaging in a hobby that they love, a hobby that is a fundamental part of their lives.

Monster - What does it mean to be human? What does it mean to be a good person? What does it mean to be evil? Naoki Urasawa delivers with a rich and complex tale layered with interesting characters and questions that burn through to your moral center. THe awesome thing is, minor characters or not, each one has a story behind them, influencing their actions. Would you agree with Dr. Tenma's actions? Would you agree with Johan's?

Code Geass - Despite the second season, which most deemed a flaming trainwreck, this anime, a sort of bildungsroman of one's ascent from obscurity to total world domination, is pretty engrossing from start to over-the-top finish. One might think of the ascent of emperors or great conquerors while viewing the entirety of the show. Oh, and it has robots on roller skates. ROLLER SKATES.

Special Mention: Rebuild of Evangelion - The original series made such a huge impact on my teenage life that I still consider it a major influence in my tastes and likes today. The revamp of the series, helmed by a more mature (and slightly less depressed) Hideaki Anno, reflects on how I have changed from an angsty teen into a slightly less angsty young adult. lol

Honorable mentions: Eureka 7, Eden of the East

Next: Hollywood!

A Presently Confusing Decade: Rest of Asia

The rest of Asia headed into the new decade quite unsure of itself. Reeling from the Asian financial crisis of the late nineties, the movie industry was not exactly in tip top shape. While the movie industries of South Korea flourished, old established titans of the Asian movie scene were beginning to crumble. The unfortunate casualty of the decade of the new milennium was Hong Kong. A steady decline in production from the mid nineties, combined with overproduction of films, piracy and the threat of Hollywood dealt a blow that sent the industry reeling. By 2003, the Hong Kong movie industry was on life support.

Directors then went to mainland China where they found a new home in the burgeoning economy, although strict government censorship would hinder their expression. In China, directors from there would make large scale epics of their own, but most indie directors would turn to small productions. Documentary films would find a trend among filmmakers in this decade.

Thai Cinema would also experience a kind of resurgence during this decade. The Pang Brothers made a couple of great films in the country, including The Eye and Bangkok Dangerous. (They would continue making films in the country as brothers or as solo directors.) Thailand also rode the Asian Horror wave with films like Bangkok Haunted or Shutter. Tony Jaa introduced a kinetic style of film with Ong Bak, starting a string of films showcasing Muay Thai and the skills and bravery of Thai Stuntmen.

Aside from mainstream fare, Thai New Wave directors gained acclaim in the international film circuit. Rataranuang's Invisible Waves and Last Life in the Universe were astounding films, as well as Weerasethakul's Syndromes and a Century and Uncle Boomee, the latter of which won big at Cannes.

The Philippines continued to languish a bit into the 2000s; but the rise of digital film made it possible for independent directors to gain a voice. While the Metro Manila Film Festival remained the sole hallmark of the commercial side of the film industry, independent filmmakers founded the Cinemalaya Film Festival as a showcase of their own creative work.

Malaysia would find talented directors and interesting films like Sepet, Indonesia would continue on its own, from horror fare to superhero films to sex comedies with sex symbols like Maria Ozawa. India would continue chugging along its huge movie industry; slick production values (and better choreography?) would improve movie quality. Vietnam, while mostly in the shadows, would gain notice with films like Muoi, a co-production with Korea. And the list goes on.

My personal favorites from Asia in the past decade (+1) were:


Green Tea - A little-known romantic movie from mainland China. Gorgeous to look at (thanks to Christopher Doyle,) great performances from the actors. Surprisingly it's one of my all-time favorites.

In the Mood for Love - You don't see him that much these days, but Wong Kar Wai's best is arguably this film, a quiet treatise on love that expresses its intense emotions beneath a seemingly placid exterior.

Hero - another mainland Chinese film that stars Hong Kong actors (sadly after HK cinema started to decline.) It started a wave of similar big budgeted Chinese epics, directed by both Hong Kong and Chinese directors and starring both Hong Kong and mainland Chinese actors, like House of Flying Daggers, The Promise and Red Cliff.

2046 - Although a lesser film than its predecessor, this follow-up to In the Mood for Love echoes the themes and sentiments of his previous films up to that point. He would direct only one more full film, My Blueberry Nights, before taking years on his latest film, The Master, based on the life story of Ip Man.

Last Life in the Universe - Thai cinema has been experiencing something of a resurgence this past decade. Pen-ek Rataranuang's offering, Last Life in the Universe is a strange and quirky film about how two people end up completing each other in more ways than one.

Infernal Affairs (Trilogy) - In the muck that was Hong Kong Cinema in the first decade of the millennium, a few movies stood out and proved to be classics of the genre. This trilogy was definitely one of the crowning works of that time. While the first is definitely the lynchpin of the series, it is the second film that expands upon the universe established by the first and gives it a whole new level of depth.

Shaolin Soccer - Stephen Chow has always made comedy movies in his long career. It's this one, however, that placed the international eye on him. His later, successful followup, Kung Fu Hustle, was also a big hit in Asia.

Ong Bak - Yeah yeah I know, this film has an overly simplistic plot that meanders too much (at least in the original Thai release,) and nothing much going on in the acting department. But DAMN my friend, it delivers action in spades and made Tony Jaa a star. That is, until the stresses of making Ong Bak 2 and 3 pushed him into monasticism. No joke. Will he make a comeback once everything is sorted out? and will the world remember him upon his return?

Engkwentro - I've seen my share of Filipino movies over the past ten years, and with all the mainstream dreck, indie stuff and miscellaneous gunk we produce, this movie stood out in particular for me. Clever editing, and superb acting from actors and non-actors alike make this film what it is.

special mention: Sha Po Lang, Ip Man, Tribu