Paranormal Activity

Paranormal Activity: Truth or fiction? See it to believe it....

A couple plagued by mysterious hauntings in their comfortable two-storey home in San Diego, California, decide to record their experiences on a digital video camera.

Unlike most videos shot by paranormal investigators, their documentary effort actually does strike gold, revealing a whole plethora of creepy and unexplained happenings that occur even while the couple sleep.

Steven Spielberg apparently got spooked while watching the 'video recording' because his bedroom doors inexplicably locked by themselves minutes into the show, and he had to call a locksmith to get himself out.

If this is the first you have heard of Paranormal Activity, the documentary style horror film that has taken America by storm, then read no further, put everything down and go watch it - Paranormal Activity will freak you out.

Much of the action takes place in the couple's bedroom - but did they really have to leave the door open? Spooky....

Katie Featherston is the girlfriend haunted by a demonic presence since childhood. Micah Sloat plays the skeptical boyfriend.

Audiences being scared silly during a screening.

But if you have heard of it and know what it is, then there might be a problem.

Following on the documentary shooting style of such classics like Cannibal Holocaust and Blair Witch Project, Paranormal Activity thus suffers from the same problem that plagues such films - it is all FICTION.

But while Cannibal Holocaust and Blair Witch Project are genuinely frightening to watch, Paranormal Activity features more of the mundane lifestyles of the two lead characters, punctuated by a series of weird and unexplained occurrences that only slowly escalate to a chilling conclusion.

Needless to say, it is no Exorcist or Haunting in Connecticut (which is after all based on a true story).

You need to truly believe it is real. You need to recognize that a perfectly normal person who stands motionless in front of her bed for hours into the night is a genuinely creepy thing.

But if you do believe, or can make yourself believe - then there you have a winner.

Because Paranormal Activity is every paranormal investigator's dream, to actually record tangible supernatural events in a haunted house.

It is like seeing with your very own eyes the final conclusive evidence - that spooks indeed do exist.

It all boils down to how one views the film. Those built on a staple of slasher flicks and Asian horror may not be too thrilled with Paranormal Activity.

But credit where credit's due - rookie director Oren Peli has scored a home run on a measly shoestring budget of just USD15k, with the film breaking records as the most profitable independent film ever.

Now that is one accolade you cannot argue with.

Moometer Reading:

Moo-o...?!!

Exclamations for:

! Outstanding New Idea: A novel idea that has gripped nationwide attention; a film that is now the most profitable independent film ever - director Oren Peli has certainly hurled himself into the limelight with this low budget offering.

! Non Shaky Camera Work: After Blair Witch and Cloverfield, Moovy Revue is just thankful that the director figured out how to avoid the nausea inducing shaky scenes that have plagued similar documentary style films - by shooting most scenes on a standard tripod. Duh.

Query For:

? Being Fiction: It is a pity then for this non-fiction wannabe that there will always be those who will not be impressed by the understandable lack of pacing and the 'plodding' scares that cannot quite rival the normal fictional horror films - not every American haunting has to be an Amityville Horror here.

Antichrist

Antichrist: A surrealistic sexual mayhem....

The idea of female castration just never seemed plausible until Lars Von Trier shows us how - in his controversial 2009 film Antichrist.

That, plus a bloody handjob; a dangling dead fawn; a bolted leg; and a falling baby, are but some of the disturbing images that haunt Von Trier's latest outing.

A couple struggling to cope with the loss of their infant baby (circa copulation no less) retreat to a cabin in the woods to help dissipate their grief.

The husband (Willem Dafoe) plays therapist while the wife (Charlotte Gainsburg) recollects her thesis on gynocide and the antichrist that she previously wrote in that same cabin.

But nothing is quite what it seems out in the lush, quiet forest. Husband and wife soon descend into an irresistible orgy of explicit sex and violence that will consume perhaps their very lives and souls....

Carnal sexuality somehow minus the love - though the chemistry is great between Dafoe and Gainsburg.

Willem Dafoe in a feast of visual and sound, though the actor does seem a tad Hollywoody in an arthouse flick....

An amazing if disturbing performance from Charlotte Gainsburg. The film is accused of misogyny, so don't expect her to play the heroine.

Beautifully shot on digital video and boasting some 80 shots of computer-generated imagery, Antichrist more than delivers on the shock value, but otherwise struggles to actually make its point felt.

Actually, what is the point? There is none, unless it is a study into the deepest and carnal recesses of the human soul.

The film has certainly split opinion however, with the film accused of misogyny and even receiving an 'anti-award' from the ecumenical jury at the 2009 Cannes Festival.

But Von Trier is no stranger to controversy, and he has his share of both the critics and plaudits.

Antichrist is certainly worth a view for its graphic and visual content, which is at times splendid and other times stark (but powerful). But you are warned - give it a skip if you cannot stomach explicit sex and especially violence.

Moometer Reading:

Moo-o.!!?

Exclamations for:

! Outstanding Actress: French Actrice Charlotte Gainsburg certainly looks the real deal as the aggrieved and disturbed wife, easily shifting between sensual to spaced out to deranged with convincing intensity.

! Outstanding Visuals: The visuals are not simply just graphic or explicit. The imagery is disturbing - yes - but that is coupled with visuals of the dark forest and the slow motion hail of falling acorns. The mood is mostly sombre, but stark and frightening when its needed. Lovely in a sick way....

Query for:

? Pointless Plot: Von Trier had been deeply depressed while shooting the film, which may explain the seeming pointlessness of the film. Perhaps Antichrist is more of a personal look into Von Trier's state of mind and being at the time?

City of Life and Death - A sanitised telling of the Nanking Massacre

City of Life and Death aka Nanking! Nanking!

I must be getting jaded.

City of Life and Death is not an easy film to watch. Not because of the tragedy involved but rather and strangely enough, precisely due to the lack of it.

Let me explain. The death, devastation, looting and rape are all there; but somehow the portrayal of these crimes seem sanitised - as though the producers were withholding the whole truth behind the Nanking Massacre.

Considering that the film was quite beautifully shot in stark black and white, City of Life and Death should have had all the right ingredients and elements to rival the likes Schindler's List and Saving Private Ryan.

Instead, the film somehow falls well short of greatness.

Mind you, I'm not saying that it is a bad film. It is good, and for a regular audience, possibly superb even. But it can be so much better. City of Life and Death just seemed to be missing a certain something.

Hideo Nakaizumi plays the sympathetic Japanese soldier.

Gao Yuanyuan gives a stirring performance as an administrator giving her all to protect civilians in the Nanking Safety Zone.

A limited but nonetheless memorable appearance by Liu Ye.

Jiang Yiyan as the prostitute who volunteers to be a comfort woman for the Japanese.

Fan Wei plays John Rabe's secretary; Qin Lan plays his wife; and John Paisley in a strangely small role as John Rabe - the Schindler of Nanking.

So what I did was to obtain a copy of Nanking, a documentary on the tragedy - notably made by non-Chinese.

What I saw blew me away. Not because of a higher production value - it was nowhere near that of City's - but because it pulled no punches. It revealed pictures that showed the full atrocity committed by the Japanese.

And just one single eye-witness account from the documentary beats the entire film - hands down.

Comfort women being carted away after 'use' in the film - it is not shown how they died after supposedly just three days.

The real faces of the Nanking Massacre - not what you get to see in City of Life and Death.

For the uninitiated (and those from outer space), City of Life and Death tells a story of the period of several weeks immediately after the Japanese occupation of Nanjing in 1937, the then capital of the Republic of China. The events of that period had since come to be known infamously as the Nanjing (or Nanking) Massacre.

One of the major criticisms of the film directed by Lu Chuan is the over sympathetic portrayal of the Japanese soldiers in the film.

While I had no problem with the character Kadokawa (Hideo Nakaizumi), a Japanese soldier who sympathises with the plight of the Chinese (ironically, Hideo pretty much plays the main lead, though the Chinese are loathe to admit it), I do take issue with how the rest of the Japanese are portrayed more like spoilt kids fighting over cookies (which in this case refers to the women of Nanjing).

The Japanese in this film might be cruel or sadistic (as children can be), but one word that cannot be used to describe them is 'vicious'. I can barely remember any moments in the film where a Japanese soldier was actually vicious. The producers have somehow contrived to take the 'viciousness' out of the film.

The problem I suspect is that the film has the 'Made in China' label attached to it.

The Chinese film industry is still at a fledgeling stage (not counting Hong Kong and Taiwan). The rating system in China, or lack thereof, means that censorship is a major issue to contend with. A film like Schindler's List (gas chamber scene) would never have passed the Chinese censors.

Perhaps it would be better to allow someone outside China to make the film instead.

Now that would have been a spectacle.



Moometer Reading:
Moo-oo...

ANALYSIS: Red Cliff 1 & 2 - Epic commercial blockbuster or unqualified historical disaster?

Red Cliff: An epic of commercial proportions?

The following is an analysis of both Red Cliff instalments as released in Asia.

I would not normally like to touch on movies that I do not like, but there are some that are so awful that it rankles, and I feel the need to make a statement even if everyone else seems to think differently.

As a film critic and producer/director/writer wannabe, there are certain rules that one has to generally accept when reviewing a film.

The first is that movies are inherently flawed. Even with all the attention to detail and continuity, the film is bound to miss a beat somewhere. Then there is the artistic license to change the storyline and plot details to improve viewing pleasure and dramatic impact.

There is no point in scrutinising every little thing just to see if the movie makes sense. If that's what you want, you can visit online forums on the movie or just watch Mythbuster.

The other thing is that film adaptations are generally not as good as the original yarn. As such, it is common for fans and readers of a novel, manga or otherwise to find fault with their respective film adaptations.

The historical epic Red Cliff, directed by John Woo no less, is essentially such an adaptation of the Three Kingdoms' Battle of Red Cliffs.

I'm not going to mince my words. I grew up on Romance of the Three Kingdoms, and I don't like John Woo's version, but that's not the reason I'm breaking the silence.

My beef is with the incredibly flippant motivations and excuses, given by the producers of the two films, for various events written into the storyline.

First they announced that the films would adhere more closely to true historical events - a poorly disguised attempt to give Tony Leung star billing, as if he really needed that (see how well he did in Lust, Caution).

Next they threw in Romance legends of Kong Ming 'borrowing arrows' - a bona fide Mythbuster 'candidate' - effectively making that announcement moot.

Nevermind that.

They needed a stronger female presence, so they threw the beautiful Xiao Qiao (Lin Chiling) right smack into the final confrontation between Cao Cao and the allied forces.

Do we really need to insult the history of Three Kingdoms like that? I can think up a possible dozen extra appearances for Lin Chiling without her having to take centrestage and ruining one of history's great literatures, or records for that matter.

Much ado about Tony: Suddenly the role of Chou Yu takes on a higher plane of importance; though to be fair, Tony Leung plays the part excellently.

They say she can't act: In honesty, she's beautiful enough that she doesn't really need to; but then they made her act the heroine....

Worthy adversary or loyal ally? The chemistry between Takeshi Kaneshiro's Kong Ming and Chou Yu seems a little suspect and sometimes a little contrived.

Fallen at the hands of a woman: Zhang Fengyi plays a lecherous Cao Cao who allows a woman to ruin his plans.

Romance of the Three Kingdoms is originally a tale about brotherhood. In that respect, getting John Woo of Bullet in the Head fame to helm Red Cliff seems an inspirational and foolproof choice.

Which is why I find inexplicable that the roles for Liu Bei, Zhang Fei and Guan Yu are so muted, while the best lines seem to fall to Tony Leung's Chou Yu and Takeshi Kaneshiro's Kong Ming.

And it is a two-part epic mind you. No excuses for underdeveloped key characters and storylines.

Chou Yu even gets to be the one to graciously let Cao Cao go scot free. Guan Yu and Kong Ming must be turning in their graves - since it is the former who does so in Romance, while the latter wanted to execute the man who allowed Cao Cao to fight another day.

And finally, though this has more to do with production issues, I would have thought the Chinese had learnt from the failures of Chen Kaige's The Promise and Tsui Hark's The Legend of Zu. Bad CGI just don't cut it in modern blockbusters.

On an added note, wire-fu - especially bad wire-fu - need to be kept off non-wuxia films.

Red Cliff was made with the sole intention to sell popcorn, not to honour the history and tradition of The Three Kingdoms - and a lot of popcorn it did sell.

However, the discerning audience needs to recognise that The Three Kingdoms (Chronicles or Romance) is in itself an epic tale, and the film makers borrowed on that to create a predictably epic and successful two-part movie.

I feel deeply disappointed that an epic story on brotherhood bonds could be so badly reinterpreted by a director like John Woo, who once made his name precisely on films that featured such themes of brotherhood.

MooMeter Reading:
Moo-o..

FEATURE: Serbis - An explicit view into Filipino cinema

Serbis: Literally an explicit view into Filipino cinema.

What's a day like in a seedy family-run cinema in the Philippines?

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Serbis offers precisely this, sometimes all too explicit glimpse into the life of such a family theatre.

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We know it is a family theatre because of the big capital letters that line vertically outside the cinema - 'FAMILY'. But the only thing that connotes any kind of kinship in this sleazy joint is the family that runs it.

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For hidden within the dark confines of the theatre are a host of activities and characters that are definitely not suitable for the eyes of children.

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Run by the Pineda family, all in the name of making a living, the cinema features a glitz of romantic or pornographic films that attract not only prostitutes but also gay young men ready to offer a special "service" to older men.

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"Serbis" by the way, means "service" in Tagalog - a byword for the boys hawking their sexual services within the theatre.

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Coco Martin as Alan, who is about to get a shock. Let's just say the sex is very real and much more explicit....

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Strong performances from Jacky Jose and Gina Pareno as the matriarchs of the family.

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The only thing 'Family' about this cinema is the family that runs it.

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Those familiar with Filipino film may not be overawed by the live sex scenes that feature all too readily in Serbis. Others however, may find it a little hard to stomach.

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But Serbis is not simply a film about the gay culture in the Philippines. It is also a story of the Pineda family that owns the rundown theatre.

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But it is not exactly a story either, but rather "a day in the life of"... a revealing look into the various characters that come and go within the dirty, dank halls of the cinema (including a runaway goat no less).

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Such films are not easy to appreciate. One does not expect earth-shattering events to occur in the space of a single day. Nor would one expect any suitable conclusions to issues explored within the film.

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Instead, Serbis steams along to a slow boil, exposing the lives in detail of a fairly strong ensemble cast.

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A matriarchal grandmother (Gina Pareno) breaks her daily routine for a trip to court after suing her estranged husband for bigamy. She leaves her daughter and mother of the family, Nayda (Jacky Jose) to man the theatre in her absence.

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Little son Jonas peeps unabashedly at his sister changing. One assumes he would have seen much more in the theatre halls where he seemingly has free rein.

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Another son and cinema janitor, Alan (Coco Martin) goes about his daily chores with quiet stoicism, painting murals of nude ladies and clearing choked (and extremely dirty) toilets. He meets with his girlfriend for sex, then warms to the revelation of her unwanted pregnancy.

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Nayda's husband Lando (Julio Diaz), who runs a little eatery downstairs, tries to deal with a customer who has shortchanged him.

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Meanwhile, cousin Ronald and cinema projectionist (Kristopher King), receives a very visual blowjob from a resident prostitute, then makes eyes at Nayda in a sudden, perhaps incestuous turn....

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As a film that offers an unadulterated view into the several seedy cinemas found in the Philippines, Serbis certainly leaves almost nothing to the imagination.

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On the other hand, as a drama depicting the lives of people who frequent sleazy settings such as in this cinema, the film is a very frank and thoughtful portrayal. Akira Kurosawa's The Lower Depths this is not, but Serbis does make a decent shout for its sense of realism.

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MooMeter Reading:

Moo-oo?!!

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Exclaimations for:

! Outstanding Set Design: Carlo Tabije and Benjamin Padero breathe life into the rundown and dilapidated cinema where most of the action takes place. From the lively stairwell filled with wannabe prostitutes whiling their time away in the day, the murky toilet where grandma takes her bath, to the darker interiors of the cinema where a serbis boy jacks off a customer, these scenes make Serbis as much a story about the theatre as it is the about the people who run it.

! Outstanding Cast: Gina Pareno and Jacky Jose deliver very strong performances as the matriarchs of the family. Special mention also for upcoming actor Coco Martin who conveys volumes despite saying very little at all.

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Query for:

? Poor Sound Quality: While it is acknowledged that Serbis is a low budget independent arthouse film, and shaky camerawork aside, it is the often overwhelming background noise of traffic that jars the ears rather than to lend a gritty feel to the overall cinematography.

FEATURE: Emily Brontë's Wuthering Heights

Before The English Patient there was Emily Brontë's Wuthering Heights

One of my favourite movies of all time is The English Patient. It was this film that introduced me to the immense talents of Ralph Fiennes and Juliette Binoche.

But The English Patient was not the first pairing of the two actors. Nor was it the first story to feature a tragic hero fallen from grace by an all-consuming passion.

For that we have to go back to the literary classic of Emily Brontë's Wurthering Heights. That is actually the title of the Paramount Pictures film adaptation to Wurthering Heights the novel (Metro-Goldwyn-Mayer owned the rights to the original title due to their 1939 version).

In a sense, it is an apt title for the film, for it acknowledges the genius of Emily Brontë, the lesser known sister of Charlotte Brontë, whose own novel Jane Eyre stands as one of the most famous in English literature.

Likewise, this 1992 film adaptation was also not quite as well known as the blockbusters of its day, and yet there are several reasons to try and catch it, not least because it was Ralph Fiennes' film debut, and his role as the tragic villain Heathcliff led to later reknown in his portrayal of Amon Goeth in Steven Spielberg's Schindler's List.

The film begins with a young unnamed woman (Emily Brontë played by Sinéad O'Connor), who visits an abandoned and rundown manor in the moors, and imagines a tale of what might have been....

Without going into detail on the story, Wikipedia probably describes both the film and novel best, as a narrative that "tells the tale of the all-encompassing and passionate, yet thwarted, love between Heathcliff and Catherine Earnshaw, and how this unresolved passion eventually destroys them and many around them."

Unlike earlier versions, the story in Emily Brontë's Wurthering Heights spans the full novel, telling the tale of not only Heathcliff (Ralph Fiennes) and Catherine (Juliette Binoche) but also of their descendants. Earlier versions had only focused on Heathcliff and Catherine (the senior).

What makes this film a must watch is also what makes the novel a must read. It is the story itself, so unusual in its dark, almost Gothic setting - and the terrible, terrible destructive love shared between the two lead characters.

The novel, as is the film, is everything that is negative; it stands against the goodness of man. Again and again the word 'destroy', for it destroys - the lives of those who have the misfortune of being related to Heathcliff and Catherine. And yet despite the inherent selfishness of the two lovers, how can one not realise the deep love and pain suffered by them? How can one not empathise?

"I am Heathcliff," Catherine Earnshaw proclaims, while Heathcliff himself thinks likewise.

"How can I live without my love; how can I live without my soul?" is his lament.

And of course, the performance of Ralph Fiennes - Ralph Fiennes IS Heathcliff. It is almost impossible after watching this version, to imagine any other actor portraying the dark, vengeful anti-hero.

Binoche too, is excellent in her dual roles of Catherine Earnshaw and her daughter, also called Catherine, or Cathy. The chemistry is also exemplary. My only grouse perhaps is that both Fiennes and Binoche looked a tad too old for their characters during younger days.

Set against the backdrop of a dark, lonely moor; and accompanied by a haunting Scottish soundtrack, Emily Brontë's Wurthering Heights is the definitive version of Brontë's novel, a classic hailed by some critics as superior even to Jane Eyre.

You may not have the patience for the novel, but watch it, for it is indeed, Emily Brontë's Wurthering Heights.


MooMeter Reading:Moo-oo-o..?!!

Exclaimations for:! Outstanding Storytelling: The story was all Brontë's - but kudos too to the film for managing to squeeze in the entire novel. The 1939 version only focused on the first generation story.
! Outstanding Actor: Ralph Fiennes IS Heathcliff. Period.
! Outstanding Soundtrack: The Soundtrack by Ryuichi Sakamoto is sad, haunting, and seems to whistle over the empty, desolate moors - a perfect blend with the Gothic elements in the cinematography.
Query for:? Missing Scene: In one famous scene, Heathcliff's reaction to overhearing Catherine's declaration that she was too good for him, seems to be conspicuously missing. Is it also not in the novel? But even then, visually it should still have been in the film.

FEATURE: Joint Security Area - Simply the best of its genre....

Lee Byung-Hun, Lee Young Ae and So Kang-Ho as the film's main leads.

Does it look like the hero, villain and fair maiden? Can't be further from the truth....

I've been catching up on a few Korean (ie. South Korean) films lately. These include some of the horror ones, like R-Point, and some of the action thrillers, like The Chaser - both of which were quite highly rated. Suffice to say that Korean films in general are of very high production quality, well scripted, and nearly on par with Hollywood.

Joint Security Area (JSA) is not a horror film, nor is it exactly an action vehicle. Released at the turn of the millenium (2000), it is not a new film either, and does not really boast the best production value - though it is still very good - as is already typical of South Korean films.

I could call it a military thriller - its premise almost a mirror image to Hollywood's Courage Under Fire - except the story and conclusion to JSA has to be infinitely better, as only a tale of two Koreas could be.

Joint Security Area is quite simply the best film of its genre. But then we would have to redefine its genre, because to call JSA a military thriller is akin to calling the former WTC Twin Towers in New York ex-buildings.

A shooting incident in a North Korean border house at the Demilitarised Zone (DMZ) between North and South Korea leaves two North Korean soldiers dead and implicates a South Korean soldier who had escaped from the said border house.

To avoid an already fragile relationship between the North and South escalating into violence, a Neutral Nations Supervisory Commission is called in to investigate and arbitrate a solution. Leading the commission is Major Sophie, a Swiss national of Korean heritage. As she delves deeper into the case, wading through the conflicting accounts from both sides of the border, she discovers that things are not what they appear to be, and must decide for herself what constitutes the truth, and what it is worth in light of the current situation.

Part of the film takes place at the infamous Joint Security Area or Panmunjeom, the only portion of the Korean Demilitarised Zone where North and South Korean forces stand face to face. JSA shows us how seriously both sides can take their duties at this highly sensitive area.

As an investigative thriller, JSA boasts all the usual twists, turns and flashbacks that one might expect, including details on forensic evidence and witness statements.

But what it really is, and what truly sets it apart from your run-of-mill blockbuster, is a touching tale of brotherhood woven into the narrative. So much so, that it becomes a major part of the film.

Think John Woo, complete with [SPOILER ALERT!] a Mexican standoff [SPOILER END] that the famed auteur so perfected, but which JSA has effectively outdone. In fact, in light of the more recent but so disappointing Red Cliff, I would even tell John Woo to "eat your heart out!" to JSA.

Joint Security Area in effect, explores the lives of the isolated men who guard the DMZ on both sides of the border, in the larger backdrop of a volatile political climate that these same men could not understand nor really care for, despite their own loyalties. Major Sophie belongs to that larger backdrop - and her goal is to take that step down, to see things from their own points of view, to understand why the incident had to play out the way it did.

JSA further succeeds because of the way it takes place on several different levels. There are two effective timelines - one exploring the events leading up to the incident, the other emphasises on the investigation. Each major character also has his or her own issues.

But what clinches it for me is actually a twist in the film which has actually confused many in the audience.

I have read several articles where reviewers had questioned the point, even the logic, behind the turn of events. In fact, the twist was never necessary. It was not actually relevant to the larger story, and would have made things easier to understand if it hadn't taken place. Perhaps it was a case of one too many?

Instead, I applaud the director (Park Chan-Wook) for adding that aspect, effectively further humanising the story's main character, yet leaving that question of 'what if' in our minds. As any film maker knows, a good twist needs preparation - a cunningly hidden clue - and it wasn't as if Park hadn't provided one.

In fact, he provided it twice. What it needs however, is understanding and context, which the film will not provide at the time. When Major Sophie interviews Sgt. Lee Soo-Hyeok (Lee Byung-Hun), the alleged shooter and survivor of the incident, she remarks how his comrades had praised him for being a very fast shot. Instead, his reply provides a haunting perpective - that in war, it is not the speed of action that counts, but the steadiness of the mind.

The comment is only so important that it is repeated just once more later in the film, albeit and ironically, by a different person. This single spoiler I impart to you, because it is what is needed to understand the final outcome, and perhaps then you'll see why I recommend Joint Security Area so highly.

Like fine wine that only a connoiseur can appreciate, JSA is a film that takes some getting used to. But like its very final still shot, it hits you suddenly, as it did me. And I know this is one film I will never forget.

MooMeter Reading:
Moo-oo-oo..!!

Exclaimations for:
! Outstanding Film/Storytelling: JSA won awards for Best Film and Best Director, but I'm not quite sure that's it. How to put it? A tremendous tale of brotherhood - how do you award that exactly? Best story for me... script was great too, but just a little suspect....
! Outstanding Final Shot: Those who have seen the film rave about the final end shot. I do too. Worth the price of a ticket, plus very probably the price of the DVD for good measure.

MooMeter Takes A Cow!

When cows watch movies, you'd like to think they moo - the longer the moo, the better.

You may have already noticed that at MOOVY REVUE, we like to keep things complicated.

Which is why we are now launching the ultra modern, highly sophisticated and completely confusing MOOMETER - courtesy from all the cowhands here who really have nothing better to do than to listen to all the mooing.

But just so you don't get lost in translation, we have painstakingly listed below the abcs (or ooos) and punctuations of the various moos you might come across at MOOVY REVUE.

Don't mention it - you're entirely welcome. We like to think of that as a little extra service....


MOOMETER AT A GLANCE

First thing to look out for is the number of 'O's - the more the merrier the rating.

Standard is up to 5 'O's (5 stars) - but you might very occasionally see sixes and sevens or even more. Those have achieved 'God'-like status, having given our cows the equivalent of continuous, non-stop moogasms....

Below are the more common Moos you might receive on the MOOMETER.

MOOMETER READINGS:
Mm - Why are we even talking about this?
Moo - That's about all the acknowledgement you'll get....
Moo-o - That was... entertaining....
Moo-oo - Did that cow just jump over the moon?
Moo-ooo - Yes it did!

.. - Each dot represents a fraction of an 'O', or in mathematical terms 0.1, 0.2, 0.3 yada yada....
.. - For dots accompanying Mm, each dot is negative and therefore the more the worse....
! - Each exclaimation point represents a MOOVY REVUE award in a single category (like the Oscars).
? - Each question mark is an equivalent of a razzie or questionable point in the movie (opposite to !)

FEATURE: Love of Siam - A mature film on teen angst and sexuality....

From top left in clockwise: Wiwisit Hiranyawongkul, Kanya Rattanapetch, Aticha Pongsilpipat and Mario Maurer....

I find I always enjoy films that are refreshingly frank and honest in the way they address societal and reality issues.

That, aside from the film's eye candy (of which there are aplenty), I would say is one of the chief strengths in Love of Siam, a 2007 multiple award-winning Thai film.

Tong (Mario Maurer) and Mew (Wiwisit Hiranyawongkul) are boyhood friends who find themselves separated after a tragic disappearance in Tong's family. Years later, while in their teens, Tong and Mew meet up again, both having moved on in their lives. Tong has a very pretty girlfriend, while Mew is an aspiring musician with a successful boyband, August.

Yet neither is fully happy with his life. Tong's family is still struggling to cope with the loss of Tong's missing sister; Mew is finding it hard to find new inspiration for his songs. Their reunion however, helps bring back the memories and forces them (and Tong's family) to come to terms with their respective problems.

Teen drama that tugs on heartstrings....

Four gorgeous teens play starring roles in this romantic teen drama - but Love of Siam isn't just about these four, but also about the people around them, and the sometimes adult issues that face them as they grapple around with their own unadulterated lives.

In fact, what impresses me deeply is how each main character has his or her own storyline/issue fleshed out throughout the film.

It is almost an ensemble cast, each character almost equally good in his/her respective role - though kudos must also go to Sinjai Plengpanich who won Best Actress at the Thai film awards for her role as Tong's mother.

But what clinches it must be the controversial element in the story. I could use just one word to describe this movie, and everyone would understand immediately.

But I find myself agreeing with the producers of the film and director Chookiat Sakveerakul, who touted it a teen romance cum family drama.

Don't let that fool you though - viewers have apparently walked away from cinemas in disgust. There's a reason why this film will never be shown in some countries, including a fairly cosmopolitan and neighbourly Singapore.

Yet despite the controversy, Love of Siam has garnered critical acclaim and dominated the 2007 Thai film awards season - and for good reason.

Indeed, Love of Siam stands out as a drama film in a Thai industry better known for its horror, action or comedy genres.

Let me put it to you straight - it is definitely worth a watch so long as you allow yourself to keep an open mind. After all, it's the least a film - one that doesn't shy from the issues explored in this story - can expect.

MooMeter Reading:
Moo-oo...!!?

Exclaimations for:
! Outstanding Supporting Actress: The Thai Awards seem to recognise (rightfully) serious performances, but Kanya Rattanapetch as a lovelorn but happy-go-lucky schoolgirl is a breath of fresh air....

! Outstanding Theme Song (for your enjoyment below....)

Query for:

? Moovy Revue is not about to reveal the spoiler-worthy controversial element - but you can guess with a little bit of attention... or googling....

Love of Siam OST (Music Video) from youtube

He's Just Not That Into You: Doesn't quite get into it....

The men just don't get it. So I guess that's why we have this film to show us guys the ladies' side of things.

Apparently the women don't get it either. At least Gigi (Ginnifer Goodwin) doesn't, plus a whole host of her female friends in this romantic comedy ensemble about why he's just not that into you.

In Gigi's case, it's Connor (Kevin Conolly), from whom she's waiting for a follow up call after a date. So it's down to Alex (Justin Long) to educate her on a few of life's simple truths.

"If he wants to see you, he'll make it happen."

And all of a sudden, Alex becomes her love guru.

Connor on the other hand, has the hots for the lovely Anna (Scarlett Johansson) who's been blowing hot and cold. She has a friend Mary (Drew Barrymore), whom Connor has never met, but who is helping him with his Real Estate promotion.

Anna actually likes Ben (Bradley Cooper), who wants to keep the faith with wife Janine (Jennifer Connelly), but admits he was forced into marriage before he was ready. Janine however, seems more preoccupied with home renovations plus an unhealthy obsession with her husband's smoking habits.

Meanwhile, Ben's friend Neil (Ben Affleck), and Gigi's colleague Beth (Jennifer Aniston) have a long-time relationship going, but she is giving an ultimatum - too bad he isn't keen on getting married at all.

And oh, there's another thing about Mary. Apparently she's really into online relationships....

Goodwin, Aniston and Connelly: Guys just aren't that into them....

If you think the plotline's convoluted, that's because it actually is.

Yet somewhere through all the complicated and intertwined relationships, the movie and characters do eventually sort themselves out.

Couples get together, break up; pieces fall into place and life goes on.

They do have a Brit version you know - one with a bit more gender equality. It's called well... Love Actually....

It's a pity then that this film quite fails to deliver where the Brit counterpart did so well.

To be fair, the issues are different. But somehow stereotypes abound on an otherwise excellent ensemble cast that should have been fail-safe.

But instead we have characters like Gigi who just appears silly for her unwarranted faith in men, or Anna who insists on being the vixenous third party, and Janine, who just seems to miss the point completely.

I'm sorry then to have to say that, despite the presumably happy endings and it being supposed to be a chick flick and all - well, some men may be jerks - but the movie just doesn't reflect well on the ladies.

Guys must walk out of the theatre thinking that women are a neurotic bunch.

Perhaps, it is like as aforesaid. The men just don't get it.

But if that is so, maybe it's high time the girls learnt that - he's just not that into you....

MooMeter Reading:
Moo-o..

Where Cow Talk Shop & MooVies!

C'est la vie my bovine friend!

There are few certainties in life, death & taxes being the few.... Then there are MOVIES.

Life's big entertainment channel. We live by movies, we date with them, we talk about them, we dream about making movies, and we die with "Rosebud..." on our lips.

"Rosebud..." - Less Citizen Kane & wayyy Over The Hedge at MOOVY REVUE....

Every movie we watch, we tend to think STORYLINE, REVIEW, ANALYSIS - but normally, we just think about having FUN. So for everything else, we have MOOVY REVUE, your new friendly neighbourhood web blogger.

From upcoming flicks to goldie oldies; from the latest updates to celebrity rumours; be they arthouse, Oscar material or plain commercial doo-dahs - MOOVY REVUE will put the spotlight on those that tingle your spingle....

And if you have a sudden urge to contribute something new - drop us a line - less waiting and start mooing about some of reel life's greatest moments now!