Movie Review – To The Bone

DED9UM1XcAEfQYy

EXPECTATIONS: An intense and even harrowing portrayal of its subject matter.

REVIEW: Films of such subject matter as To the Bone has (eg. terminal disease, AIDS etc.) particularly the ones that aim for teenagers, tend to be sappy (like My Sister’s Keeper), melodramatic and even deeply misguided, if done wrong. So whenever I hear about a film such as these, I tend to cringe. But in the case of To the Bone, I was quite intrigued.

First of all was the involvement of Marti Noxon. A talented screenwriter of both TV (due to contributions of Buffy the Vampire Slayer) and her recent contributions to films such as the upcoming dramatic film The Glass Castle and the video-game adaptation Tomb Raider. Not to mention that the subject matter is deeply personal to Noxon, as she went through the same experiences as the lead character.

And second of all was the involvement of Lily Collins. Ever since I saw her in Mirror Mirror (which I think is an underrated treat), I found her to be a lovely presence on screen and films like Rules Don’t Apply and Love, Rosie prove that. But she has never been truly tested with her acting potential and To the Bone seems like the perfect opportunity to do so. And once again, it helps that Collins also has a personal relation to said subject matter, having gone through similar experiences in her earlier life.

And finally, I myself have gone through a similar, although not as intense, experience. At a young age, I was severely underweight and would usually bribe my parents for playtime, rather than eat anything. It was so severe to the point where I would just throw school lunches my mother made just to go out and play. It was even suggested that I would have been forced to consume food intravenously.

Will To the Bone escape the genre trappings and become a worthy entry in the genre, or will it sink into the afterschool-special abyss, where it will repeat at 2:00 in the afternoon for eternity?

What_is_Netflix_s_new_movie_To_The_Bone___and_why_has_it_proved_controversial_

Lily Collins stars as Ellen, an unruly 20-year-old anorexic girl who spent the supposedly better part of her teenage years going through various recovery programs, only to find herself getting worse every time.

Determined to find a solution, her self-serving family (consisting of Carrie Preston, Lili Taylor, Liana Liberato and Brooke Smith) agrees to send her to a group home for youths, which is led by a non-traditional doctor (Keanu Reeves, playing a doctor for the third time).

With the help of her similarly afflicted bunkmates (consisting of Alex Sharp, Ciara Bravo, Maya Ashet, Kathryn Prescott, Leslie Bibb and others), will she go on the path to recovery and achieve self-acceptance?

lily-collins-keanu-reeves-to-the-bone-920x584

Firstly, does the film deal with its issues effectively and does it execute it in a manner that is both illuminating, cinematic and thought-provoking? For the most part, yes. First of all, it is admirable that the film is not majorly about dealing with an eating disorder, but it is about finding the love and acceptance about one’s self and director Marti Noxon conveys that quite well.

There are no scenes where Ellen would magically eat or whether Ellen undergoes a complete change. It is all about the struggle before the triumph and Noxon executes it in a palatable fashion i.e. with no overuse of music, acting histrionics and most importantly, very little audience pandering.

Lily-Collins-To-The-Bone-landscape-920x518

What Noxon does is that she leavens the film and its subject manner with a good use of surprising humour. Whether the humour is good-natured (“Lucas rhymes with mucus”, Alex Sharp jokes), dry (Keanu Reeves certainly contributes on that front) or even dark (“If you die, I will fucking kill you.”, Liana Liberato states), it lends a certain warmth to the film, as well as a sense of honesty that speaks on a personal level.

The same honesty even applies to the drama, particularly in the third act, where Ellen hits, according to Reeves’ character Dr. Beckham, “bottom”. Without spoilers, the moments in the third act, and how they culminate, are beautiful, scary, confusing, absurd; and it had me by surprise that Noxon stuck with her guns to portray those moments sincerely. Some of the images (whether physical or metaphorical) may provoke controversy, but again, it all feels personal and it has enough cinematic panache to come off as truly compelling.

https _blueprint-api-production.s3.amazonaws.com_uploads_story_thumbnail_49538_6dfb9da2-6384-4f8b-8549-fbeeac92082a

It helps immensely that the cast assembled for To the Bone give very good performances. Lily Collins finally gets a leading role where she can exercise her acting chops and she does really well, whether it is acting out the character’s cynical side, her gradual love of herself as well as others and of course, her vulnerable side.

As for the supporting cast, Keanu Reeves does dry in the way only he can do it (for clear evidence, see Thumbsucker) and he does well, providing some amusingly dry humour. Carrie Preston is convincingly paternal and verbose as Ellen’s stepmother and Lili Taylor is fantastic as the guilt-wracked mother of Ellen, and the scenes she shares with Collins, particularly in the third act, are very effective and affecting.

The young cast are all good in their roles, with Alex Sharp turning up the charm without the creepiness that male love interests on film usually have; Liana Liberato lending heart to the film with her sisterly reactions with Collins and Leslie Bibb, who is cast-against-type as a similarly afflicted pregnant woman, as highlights.

On the negative side, there are some moments where the humour and dramatic moments may irk some due to the fact that it is present in a film with such grim subject matters and the character archetypes do imply a certain vibe that this story could only happen on film, but there is enough truth and honesty in the film that it will have an emotional impact and it is a credit to Noxon and the cast that To the Bone works as well as it does, considering my reservations of the genre as well as my personal inclinations.

Quickie Review

PROS

Fantastic performance from Collins

Honest, truthful direction by Noxon

Committed supporting cast

A strange yet effective sense of humour enlivens the proceedings

CONS

Cinematic tropes and some of its humour detract from the realistic issues

SCORE: 7.5/10

lhs

This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Lily Collins, Keanu Reeves, Carrie Preston, Lili Taylor, Alex Sharp, Liana Liberato, Leslie Bibb
Director: Marti Noxon
Screenwriter: Marti Noxon

Movie Review – Dawn of the Felines (NYAFF 2017)

CwKi0XRVUAA9TuT

EXPECTATIONS: Something more melancholic and realistic than the average fare.

REVIEW: Three down, two to go. The fourth entry (for my viewing pleasure) in the Roman Porno Reboot is Kazuya Shiraishi’s Dawn of the Felines. No, it is not a cat zombie film, but a melancholic and de-mystified drama that provides a look into the lives of three stranded women, whom we see go through their daily lives as Tokyo sex workers.

Whilst the other entries went for either comedic, arthouse and the serene approach, Dawn of the Felines goes for the realistic approach, and with Kazuya Shiraishi at the helm (whom last did the crime film The Devil’s Path and crime/comedy Twisted Justice), we can be certain this film will hit hard with its subject matter. But will the film succeed in entertaining the audience by living up to the Roman Porno name as well as conveying the director’s distinct touch?

dawnofthefelines2-1600x900-c-default

The film follows the lives of three women in present Tokyo and how they feel stranded due to the circumstances of life, with all three of them being led by the weaselly Nonaka (Takuma Otoo). Juri Ihata plays the homeless Masako, who develops an awkward romance with a reclusive client (Tomihiro Kaku) who hasn’t left his own building in 10 years.

We also have Rie (Michie), who is unhappily married and finds solace in the company of an old man drowning in guilt over his wife’s recent death; and we have single mother Yui (Satsuki Maue), who casually leaves behind her abused son just so she can date an obnoxious comedian (Hideaki Murata).

NC17_cinema_Dawn_of_the_Felines_023

First off, the positives. The performances from the cast are all uniformly good, thankfully due to the three leads. Juri Ihata, who is known primarily for being a voice actress, performs well in her first leading role as Masako, as she conveys the weariness, the laid-back attitude and especially the anger of her character very well. There is a scene where she confronts Tomohiro Kaku’s character on top of a building and she expresses her feelings, and it is clearly representative of her talents.

Michie is good as the sorrowful Rie; so much so that she makes her unbelievable subplot quite watchable. The interactions between her character and the old man character are compelling and even shocking at times. The lesser of the three is Satsuki Maue as Yui. Although she plays the selfishness and impulsiveness of her character well, she tends to overact at times, which can take audiences out of the film.

The supporting cast are all fine, with Tomohiro Kaku (best known as the boyfriend in Hana and Alice) proving he can be both enigmatic and inhumane; Hideaki Murata is a pure scumbag as the supposedly funny comedian that Yui cavorts with and Ken Yoshizawa lends presence as the suffering senior who interacts with Rie.

But the biggest standout is Takuma Otoo as Nonaka. Providing some much-needed humour to offset the downbeat story, he perfects the way of the weasel by making him likable as well as repulsive. The facial expressions he comes up with, especially during a scene where he is confronted with the police, are priceless.

DawnoftheFelines

As for the direction, it is well-done, particularly how Shiraishi focuses more on the characters, rather than the story. The sex scenes are executed in a matter-of-fact fashion, rather than aiming for prurience. And for the most part, they signal the stage where the characters are in their development or reveal more of who they are. Like in a scene where Yui sleeps with Murata’s character and she finally becomes intimate with him, leading to a confrontation.

And although the film is well-edited and well-told, the film could use a bit more effort in the lighting, as the badly lit look makes it look unappealing at times. Although, the focus on character pays off in the climax, as the leads do reach their foregone conclusions in a satisfying manner (particularly the subplot of Masako), the film could have used more of a social commentary bent since the story is ripe with potential for it i.e. providing more concrete views on how the leads ended up in the situation in the first place. For example, Masako mentions that she is a university graduate but could not obtain a decent job, leading her to prostitution.

983d7af4-421b-4660-a7b9-59a853f7095d

Overall, Dawn of the Felines is a mostly compelling piece of work that has a much more humane story than one would expect. Saddled with good performances, assured direction and ample explorations into loneliness, the film may be the worst entry in the Roman Porno Reboot I’ve seen thus far, but it is still a worthwhile endeavour.

Quickie Review

PROS

Good acting from the cast

Focus on character pays off in a satisfying fashion

CONS

Lacks a certain something to make it truly stand out

Inconsistent lighting

SCORE: 7/10

Cast: Juri Ihata, Satsuki Maue, Michie, Takuma Otoo, Tomohiro Kaku, Hideaki Murata, Ken Yoshizawa, Kazuko Shirakawa, Kaito Yoshimura, Ryotaro Yonemura, Takaki Uda, Takamitsu Nonaka
Director: Kazuya Shiraishi
Screenwriters: Kazuya Shiraishi

Movie Review – Aroused by Gymnopedies (NYAFF 2017)

efe6ca770716843661f52ff1811616a8

EXPECTATIONS: Something more poignant and sombre than the usual Roman Porno.

REVIEW: Now we are off to the third entry of the Roman Porno Reboot. Previous entries seen by myself were Sion Sono’s Anti-Porno, which was a surreal, daring and transcendent surprise; and Akihiko Shiota’s Wet Woman in the Wind, which was a hilarious and traditional entry.

And now we have Aroused by Gymnopedies, directed by Isao Yukisada. Yukisada is well-known for his soulful dramatic works like the blockbuster romance Crying Out Love in the Center of the World and queer drama Pink and Gray; and coming-of-age films like Parade and Go!

So when you apply his filmmaking chops to a project such as this, it does sound like it could result in a typical Roman Porno entry. But this is not back in the 70’s and 80’s anymore. We are in the 10’s now and political correctness (whether people like it or not) is in front and center. Considering the above, will Aroused by Gymnopedies be both a good film as well as a representative entry of the Roman Porno Reboot?

maxresdefault

The film follows Shinji (Itsuji Itao), a once-celebrated filmmaker whose reputation was once sterling until his star came crashing down to the point where he ends up making quickie porno films. But when Anri (Izumi Okamura), his lead actress quits, the production stalls indefinitely and Shinji wanders from one supposedly misjudged sexual encounter to the next, pleading for money along the way to get his life back on track.

His actions border on repulsive, sleeping with students, nurses, even his leading actress, for any sign of relief or denial of his current existence. And just when he cannot sink any lower, he relies on his ex-wife to prostitute herself for money to lend to him. But is the money really for the stalled film project, or is it for something else?

fUvQ0X8YZJtq55D52qGpcg4t8xr

First off, the synopsis does make the film seem as sleazy as one would expect. But Yukisada and his screenwriter, Anne Horizumi, aim for more of a sensitive and sombre tone and for a long while, the tone does seem to be quite jarring in comparison to the prurient feel of the film. Particularly when the piano piece(s) by Erik Satie (referenced in the title) plays over the sex scenes.

But when the film gradually reaches into the final act, Yukisada’s sensitive direction makes perfect sense to what preceded it and the music hits hard thematically and emotionally in the film’s conclusion by becoming an ode to love and loneliness.

The jarring feel also applies to the lead character. Played brilliantly by Itsuji Itao (who’s known for comedic roles), the majority of the audience will be repulsed by him. But Yukisada and Horizumi gradually hint the audience with much-needed backstory, making the audience question what they just witnessed. Without attempting to excuse or change the lead character, Yukisada and Horizumi manage to make Shinji empathetic (if not sympathetic), despite his heartless actions.

3

If the film does seem to be a bit of a depressing slog, Yukisada and Horizumi thankfully sprinkle much-needed humour to the proceedings, which includes a setpiece involving a film retrospective gone wrong, that involves the majority of the characters in conflict with each other. The musical score, which comprises of jazz, is a complete and pleasing throwback to the classic examples of the genre, and it adds comic zing.

The female characters, all well-acted by the actresses (particularly Sumire Ashina as rich student, Yuka), are all surprisingly independent and self-sufficient, when compared to the counterparts of the 70’s and 80’s Roman Porno entries. Whether it is to reflect the times or it is the involvement of co-writer Anne Horizumi, it is a step in the right direction.

Case in point, during a climactic sex scene where it seems to involve Shinji, Yuka decides he is no longer needed. A scene like this would never happen back in the 70’s and 80’s, but the fact that it happened in this day of age, it is quite notable.

h_1168romanp00001jp-2

As for its flaws, Shinji’s actions may be too repulsive one can take. And the deliberate pacing may be too slow for impatient viewers and those who are expecting exploitation and titillation will definitely come out disappointed.

Overall, Aroused by Gymnopedies is a strange, yet compelling mix of softcore sex and sensitive emotion, which pays off in a rewarding fashion for those who are patient enough for its unorthodox ambitions. Let’s hope the Roman Porno Reboot keeps it up with the remaining two entries, Kazuya Shiraishi’s Dawn of the Felines and Hideo Nakata’s White Lily.

7ac72862-dc78-11e6-8fcb-68eb4ed74971_1280x720

Aroused-by-Gymnopedies-Still-II-1024x682

Quickie Review

PROS

Itsuji Itao gives a great performance as the pitiable, repulsive lead

Yukisada’s direction and Horizuma’s screenwriting lend a certain poignancy that correlates with the prurience quite well

The musical score is entertaining in a throwback sort of way

The final act rewards greatly

CONS

The pacing may be too slow for impatient viewers

The lead character may be too unsympathetic for some

SCORE: 8/10

Cast: Itsuji Itao, Sumire Ashina, Izumi Okamura, Yuki Tayama, Mayumi Tajima, Noriko Kijima, Sho Nishino
Director: Isao Yukisada
Screenwriters: Isao Yukisada, Anne Horizumi

Movie Review – Japanese Girls Never Die (NYAFF 2017)

org

EXPECTATIONS: A fun, anarchic story about obsession and media scrutiny. And of course, YU AOI!

REVIEW: For those who have read my reviews, it is well known that I am a huge fan of Japanese actress Yu Aoi. Ever since I saw her in Hana and Alice (which was my first Japanese film I ever saw), I have been a huge fan of her work; particularly with how soulful and precise her performances are, without any reliance on overacting or histrionics.

But funnily enough, she was just one selling point of this film. Another selling point were the themes of sexual discrimination and misogyny and how it is explored and defined in present-day Japan. Some of my favourite or memorable films of recent years happen to be films set in Japan and were about the same themes i.e. Pun Homchuen & Onusa Donsawai’s Grace and Sion Sono’s Tag and Anti-Porno.

So when I heard about the film, Japanese Girls Never Die, was going to have both Yu Aoi and the same thematic material as the films mentioned earlier, it was just too exciting to pass up. So does the film live up to my expectations? Or will it just end up being in a dark alley, beaten to a bloody pulp?

20160414-azumiharuko02

The film starts off with a bunch of misfits causing havoc by spray painting stencils of a missing posters. The film also features a gang of high school girls who are infamous for beating up men with baseball bats (A Clockwork Pink? Okay, I’ll stop.). The face on the missing poster is 27-year old Haruko Azumi (Yu Aoi), an office worker who is unhappy at work, at home, and with her unrequited yearning for her childhood pal turned neighbour (Huey Ishizaki), who just happens to be beaten up by the same gang of girls.

A typical day of Haruko is filled with misogynistic and perverted male bosses making inappropriate comments about the age, appearance and relationship status of their female employees, all while trying to hire another female employee. By night, she navigates the stresses of living with her family of three generations, with her stressed mother and her aging grandmother.

We also have 20-year old Aina (Mitsuki Takahata), a spirited and bubbly girl who thrives on fun and excitement. She thinks she has found it in a form of a potential boyfriend, Yukio (Taiga) and the two apparently hit it off. But Yukio has other ideas with Aina, but on the side, he starts off a grafitti team with his friend, the shy Manabu (Shono Hayama) and starts tagging the city. As Aina spots the two, she joins in and they all get inspired by a missing poster that happens to feature Haruko, and a viral sensation is born.

japanesegirls_04

So basically there are two stories going on and the film is played out in a non-linear fashion, which admittedly  takes quite a bit to get used to the storytelling technique. But when you consider the unbelievable sides (including fantasy and wish-fulfillment plots)  and realistic sides of the story (loneliness, ennui and sexual discrimination) are blurred together, it actually becomes very effective, as it conveys the themes of the story in an entertaining and distinct manner.

And we got through a lot of themes here. Whether its office politics, family dynamics, portrayals of art, gender politics, Japanese pop culture, capitalism and many more, the film is absolutely jam-packed with ideas, with surprising replay value.

A lot of the credit goes to cinematographer Hiroki Shioya and editor Satoko Ohara, whom give the film a distinct look and feel, which applies to all three acts (and stories), leaving them easy to discern.

Even the use of pop culture, which director Matsui uses a lot in his prior films like Wonderful World End, (which is completely evident of perpetuating sexual objectification) is used in a satirical and metaphorical fashion.

DBO_qgnU0AI857Z

Even with all of the hard work going on display from behind-the-scenes, the film also packs an amazing performance from Yu Aoi. Showing subtlety, restraint and even a certain sense of cool whilst hinting a sense of anger, resentment and hostility, Aoi totally inhabits the character to the point that her screentime has a larger impact than expected. And yes, even with the expected posters and grafitti plastered throughout the film.

Mitsuki Takahata, whom I last saw in Jossy’s, is bubbly and energetic as Aina, and although she might seem a bit petulant at first, she provides a fine contrast to Aoi’s performance, as the two make it easier to see both generations shown offsetting each other very well.

The supporting cast are all good, with the men (including Taiga, Shono Hayama and Huey Ishizaki) giving relatable, yet pathetic performances, while the women (including Akiko Kikuchi and Maho Yamada) make the most out their small roles. Particularly Yamada, who has some of the best and incisive lines of the film.

news_header_azumiharuko_20161003

As for its flaws, not all of the ideas in the film are explored equally due to there being so many; the storytelling can be a bit off-putting in its intent in its non-linear fashion and the ending is a bit overdone, although it features a great animated cut-scene by Ryo Hirano.

But the message is loud and clear and Japanese Girls Never Die delivers that message in an exuberant, vibrant and even slightly poignant fashion. And with Yu Aoi as the face (and the heart) of its message, the film will linger in one’s mind for quite a while.

tumblr_opoxeneX7f1qmncjto1_1280

Quickie Review

PROS

Fantastic performance from Yu Aoi

Good supporting cast

Exuberant direction, vibrant cinematography and precise editing

Much thoroughly explored thematic material to mull through

CONS

Overworked ending

Polarizing storytelling

Not all ideas are explored equally

SCORE: 8/10

Cast: Yu Aoi, Mitsuki Takahata, Taiga, Shono Hayama, Huwie Ishizaki, Ryo Kase, Akiko Kikuchi, Maho Yamada, Motoki Ochiai, Serina
Director: Daigo Matsui
Screenwriters: Misaki Setoyama, based on the novel “Azumi Haruko wa yukue fumei” by Mariko Yamauchi

Movie Review – The Villainess

The-Villainess-1024x733

EXPECTATIONS: A career-defining role for Kim Ok-bin. And also, kick-ass action scenes!

REVIEW: Kim Ok-bin is a South Korean actress that I have been following for a long time (not literally!) and I have always found her to be very talented in a variety of roles, like her dramatic film debut in the horror Voice, to her charming and adorable role in the sex comedy/musical Dasepo Naughty Girls and her comedic role in The Accidental Gangster and the Mistaken Courtesan.

But it was when she worked with Park Chan-wook for the dark comedy/vampire film Thirst that she started having an acting emergence. Nailing both dramatic parts, comedic parts and especially the femme fatale parts like a pro, she won many awards for her performance. Ever since then, her roles have gotten a bit smaller than expected, with small roles like The Front Line and Actresses; and she ended up in box office flops like 11 A.M.

Now, after eight years since her role in Thirst, she finally has a leading role in The Villainess, an action extravaganza from Jung Byung-gil, the director from the action/crime flick Confession of Murder. Gathering great buzz from Cannes, including garnering a 4-minute standing ovation, people have been highly anticipating this. Is the film worth the buzz?

d35d4dcef30a46cfaa4986c8e7569dfe.jpg@!1080

The film starts off with a spectacular 10-minute action scene, entirely shot in POV, as the main character takes down like 40 people through hallways, staircases and even a personal gym, leading to the title card. So it is advised that audiences should not come late to the screenings, as this takes place straight away after the opening credits.

The film is about the story of a ruthless female assassin named Sook-hee (Kim Ok-bin), who from an early age (residing in China, with her father) has been taught to kill. She becomes a sleeper agent for South Korea’s intelligence agency after being caught, which they promise her freedom after 10 years of service. But it’s not all that easy when two men (Shin Ha-Kyun and Bang Sung-jun) from her past and present make an unexpected appearance in her life, bringing out her deep, dark secrets.

2b534014-5198-11e7-b896-7f2d3a4d650b_1280x720_182342

Let’s get to the good and bad already. The good? Kim Ok-bin herself. As seen in The Villainess, she has finally acquired a leading role that is worthy of her talents. Having capable martial arts training before tackling the role, she displays grace and capable physical prowess in her action scenes. Whether she is riding a motorcycle, scaling buildings, firing guns and throwing axes, she easily convinces as Sook-hee, the assassin.

As Sook-hee, the woman within, Kim nails the role with gusto. Lending depth and even a bit of insanity (like her character in Thirst) to her soulful, yet vengeful archetype of a character, she again shows why she made such a fuss back in 2009. If she doesn’t get better roles after this, then something seriously is wrong out there.

As for the supporting cast, they are all fine in the archetypal roles. Shin Ha-kyun (who plays an adversary to Kim Ok-bin for the third time since Thirst and The Front Line) is great as Joong-sang, as he conveys menace in a scary, yet understated manner. Bang Sung-jun is likable and brash as Hyun-soo, a love interest to Sook-hee who is more than he seems. But besting both of the men is Kim Seo-hyung. Playing a mentor character to Kim Ok-bin once again since Voice, she just nails the part of the ice cold personae, as Kwon-sook.

Now, let’s get to the action scenes. Overall, they are fantastic. Apart from the opening scene, there are scenes on motorbikes, buses, edges of buildings, restaurants and other settings, and they are all shot with so much energy and verve that it becomes almost surreal. There’s a scene where Sook-hee tries to escape from a training facility and the way the world uncovers (with smooth editing and long takes) is just so dream-like, it becomes almost enchanting. Some may find it disorienting due to the style utilized i.e. handheld camera shots, so those who suffer with motion sickness be warned.

The-Villainess-ak-nyeo-still

Now let’s get to the bad. Or a better word, mixed. The story itself is nothing new; basically an amalgam of prior assassin films like La Femme Nikita and others, but the storytelling is refreshingly free from spoon-feeding and pandering towards the audience, unlike Hollywood blockbusters, which would have characters stand to point at something and explain the plot. But the plot is told with lots of flashbacks that it does tend to get convoluted at times. Thankfully, the story is told with three distinct acts that makes it clear enough for the audience to latch on to.

Also, the drama in the film tends to be quite cheesy at times. Although some of the cheesiness makes sense due to the events of the plot but when it becomes more sincere, some of the drama becomes so melodramatic, that it can be quite laughable. And another flaw (which may be laughable itself) is the level of violence. With the amount of weapons involved including guns, knives, hammers, axes, ropes, cars, hairpins etc; it is bloody, gory and uncompromising, which will both thrill and befuddle, so be warned.

Overall, The Villainess is a much-needed shot in the arm in terms of action films, female-led films, Kim Ok-bin and South Korean cinema. I hope that after this film, both Kim Ok-bin and director Jung Byung-gil will be appreciated for their efforts and move on to do more ambitious work.

2842_kim_3

Quickie Review

PROS

Kim Ok-bin gives a fantastic performance

Good supporting cast

Spectacular action sequences

Storytelling is refreshing due to lack of spoonfeeding

The editing and camerawork create a surreal feel

CONS

Cheesiness in the storytelling

The story can be quite convoluted

SCORE: 8/10

Cast: Kim Ok-bin, Shin Ha-kyun. Bang Sung-jun, Kim Seo-hyun, Jung Hae-kyun
Director: Jung Byung-gil
Screenwriters: Jung Byung-gil, Jung Byung-sik

Movie Review – The Beguiled [2017] (Sydney Film Fest 2017)

beguiled-1024x691

EXPECTATIONS: A remake that capably stands on its own.

REVIEW: Sofia Coppola is a film-maker that I admit, haven’t seen much of her work, apart from Lost in Translation and Marie Antoinette. Known for her filmmaking approach to humanizing her subjects with unorthodox methods like gentle pathos, looking through different character points-of-views outside the norm and the use of anachronisms, Coppola has achieved a reputation of being a director that is both rebellious and restrained.

And now, we have her attempting her first remake, based on the 1971 film of the same name, starring Clint Eastwood. With her distinct direction, her talented cast of veterans and rising talent and top-notch crew, composed of collaborators and first-timers, will the film leave the audience beguiled or bewildered?

the-beguiled-movie-image-sofia-coppola-7

Set during the American Civil War in 1863, the film starts off with Amy (Oona Lawrence), a student who is out on a stroll, picking mushrooms. She then stumbles upon an injured Union soldier, John McBurney (Colin Farrell) and offers him help at an all-female Southern boarding school, led by Martha Farnsworth (Nicole Kidman).

Reluctant to help, yet bound by morals of human decency (and amusingly, it’s the Christian thing to do), they all decide to help McBurney by locking him into the music room while they tend to him. Soon, mild attractions grow from the older students, from Edwina (Kirsten Dunst) to Alicia (Elle Fanning) and it then simmers to something more prurient, leading to disastrous consequences.

the-beguiled-2017-colin-farrell1

As for any remake, it is difficult to review one without comparing it to the original. In the case of the latter, the story is told through McBurney’s point of view, which implies the use of the male gaze towards the women. But in the case of the former, the story is told through the point of view of the women.

This assures that the remake has a fresh angle on the story and Coppola makes the most out of it. In one of many surprising moves, the film actually has an alarming sense of humour. Character interactions revolving around the object of affection (in this case, McBurney) are witty, amusing and sometimes hilarious, leading this to be one of Coppola’s most verbose films. Coppola also makes fun of cinematic tropes of the female gaze i.e. McBurney in the role as a handsome gardener and all of the innuendos that come with that trope like pruning and tending.

In the original, the tone was much more lurid and melodramatic, to the point of being Gothic. But in the remake, Coppola aims for more of a low-key vibe, which gives the film a claustrophobic feel as well as shrouds character motivations, giving the film some tension. Major props goes to cinematographer Philippe le Sourd (who shot Wong Kar-wai‘s The Grandmaster), as he captures the claustrophobia with a hazy, shrouded look that gives it a beautiful, yet haunting atmosphere.

When McBurney arrives at the school, the women are basically reminded of what is or could be outside of their world; the possible beauty or horror of it all. And as the slow-burn pacing gradually becomes more tumultuous, the characters reveal how they truly feel and the tension pays off. And thankfully, the film is at a brisk running time of 93 minutes, which gives the story some much-needed brevity.

The-Beguiled

The actors certainly hold up on their end, giving calculated performances that lend credibility to Coppola’s vision. Colin Farrell is great as McBurney, the masculine foil, and he conveys the dimensions of his character convincingly, but even better, he switches between them with such ease, it is quite hard to know whether he is sincere or he is devious.

Nicole Kidman gives a typically masterful performance as Farnsworth, who keeps her emotions in check for the safety of her school. What is quite amusing and interesting is that she seems to enjoy her grasp of power over her students, and yet, when McBurney enters the picture, there seems to be a bit of a battle for power between each other. So the audience is left with the conundrum of whether Farnsworth actually has feelings for McBurney or she considers him as an power struggle; something that disrupts her sense of pride. It is twists like this that makes the remake satisfyingly timely and makes it stand on its own.

The supporting cast are all up to the task as well, with Kirsten Dunst as the sorrowful and world-weary teacher, Edwina; Elle Fanning as the rebellious and angsty Alicia, Oona Lawrence as the stalwart Amy; Angourie Rice as the cynical and headstrong Jane (clearly emblematic of Farnsworth) and the pairing of Addison Reicke and Emma Booth as the innocent and impressionable Marie and Emily.

the_beguiled_everything_to_know

As for the film’s flaws, the source material is pure pulp, and for Coppola’s understated approach to the material, it does, for the lack of a better word, emasculate it. And considering the setting of the story, it feels a bit strange to see the film set in the Civil War being a bit, well civil.

But, all of this basically comes down to audience expectations more than anything else, as it is the same story from a female’s perspective and as for the claustrophobic feel Coppola is going for, any clutter from the outside (apart from McBurney) would probably distract more than compliment the story.

Overall, The Beguiled is a worthy remake that shows Coppola’s gradual ascension as a filmmaker and with a fantastic cast and crew in tow, the film, like the female characters, is not to be messed around with.

thebeguiled17

Quickie Review

PROS

Refreshing angle on the source material

Coppola’s maturing direction

Fantastic performances from the ensemble cast

Moody and atmospheric cinematography by Le Sourd

CONS

Too understated for its own good

Left out historical details may annoy some

SCORE: 7/10

lhs

This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning, Oona Laurence, Angourie Rice, Addison Riecke, Emma Howard
Director: Sofia Coppola
Screenwriter: Sofia Coppola, based on the novel by Thomas P. Cullinan and the screenplay by Albert Maltz and Irene Kamp

Movie Review – Okja (Sydney Film Fest 2017)

okjaposterheader

EXPECTATIONS: Another fantastic entry into Bong Joon Ho’s filmography.

REVIEW: Okja is a film involving a giant mutated pig. What more do you want? But seriously, in order to understand the hype of the film, you have to know the filmmaker Bong Joon Ho.

Bong Joon Ho is an acclaimed Korean filmmaker who has made some incredible films. And the reason he is so acclaimed is his assured directorial hand in mixing genres that usually do not associate with each other and executes them brilliantly. And he also adds a sense of humour, regardless of how inappropriate the tone of the film is.

His impressive resume so far includes films like the strikingly dark comedy Barking Dogs Never Bite, the comic-confronting crime thriller Memories of Murder, the blockbuster monster film The Host (not the film starring Saoirse Ronan, thank goodness), the old-fashioned mystery-noir Mother and the dystopian epic Snowpiercer.

Considering the critical acclaim that Bong has received, having expectations reaching levels other than high is an understandable reaction. Seeing how this was the closing film of Sydney Film Fest 2017, it was likely that Okja would end it with a bang. Does it?

p3.no

An Seo Hyun stars as Mija, a young girl who lives in the mountains with her grandfather (Byun Heebong) and is a caretaker and loving companion to Okja, a giant super pig. Life seems simple enough but that eventually changes when a family-owned multinational conglomerate takes Okja for themselves and transports her to New York, where image obsessed and self-promoting CEO Lucy Mirando (Tilda Swinton) has big plans for Mija’s dearest friend.

With no plan and only her sheer focus, Mija vows to get her back but the journey will be hard going, going through many obstacles like capitalists, fat cats, greedy consumers, demonstrators (led by Paul Dano). Will Mija succeed in bringing her best friend home?

Okja_Mija-Provieded-by-Jae-Hyuk-Lee-Netflix

Just like his earlier films, director Bong deals with a lot of issues and ideas like consumerism, animal rights, the environment and capitalism; all while forming an action-adventure film and a political satire at the same time. Even with all that baggage, it’s a miracle that Okja works as well as it does.

Even though the issues are serious, Bong never backs out from adding a touch of humour into the mix, as he places the targets both the characters and themes and satirizes them with verve. For example, the characters Bostick and Henshall play, who foolishly contribute to their cause by starving themselves to leave a minimal environmental footprint.

But this does not mean Bong doesn’t get straight to the point, as he steers the film into very dark territory, particularly in the final act. This may be the first film that I praise due to the fact that it almost made me throw up.

s3-news-tmp-77017-okja--2x1--940

All the themes pack a thematic punch as well as an emotional punch, as it adds to the heart of the film, which is the bond between Mija and Okja. The peaceful scenes between the two are executed very well (complete with references to the anime film, My Neighbour Totoro), without being overstated or sappy. There’s even a scene where the family are gathering together to eat and it is reminiscent to one of the scenes in The Host.

There’s a scene where the two take a shortcut back home and it ends up being more than they bargained for. The scene is thrilling, action-packed and skillfully foreshadows what is to come between their relationship.

Speaking of action scenes, they are all gleefully manic, yet intricately composed. There is a scene where Mija arrives in Seoul and single-handedly shakes the corporation, resulting in a fantastic car chase, leading to a shopping center that reaches its beautifully realized climax with the use of “Annie’s Song” by John Denver.

But none of it would be as good as it looks without the cinematography by Darius Khondji, who is clearly embracing the resources of what digital filmmaking can do. The CGI modelling of the creature itself is quite impressive, considering the budget, which is only $50 million.

1497561705518

The acting from the ensemble cast are all either fun, unhinged or thankfully, genuine. An Seo Hyun, who impressed in the 2010 remake The Housemaid, is the solid rock of the film that keeps the film grounded, as she convincingly conveys both the tough, determined side and the paternal side of her character. The former is shown perfectly during a funny scene where Mija tries to enter the government floor entrance.

On the other side of the spectrum, Jake Gyllenhaal gleefully hams it up figuratively as well as literally. Tilda Swinton vamps it up as well as camps it up as the primary antagonist, Lucy Mirando, and she nails it, as usual while Paul Dano, in an example of off-kilter casting as with Gyllenhaal, is surprisingly cool as the leader of the animal rights group.

The smaller roles from the conflicted Steven Yeun, the fiery Lily Collins, the comically dedicated duo of Devon Bostick and Daniel Henshall, the fatherly Byun Heebong, the weaselly Choi Woo Shik, the subtly menacing, scheming Giancarlo Esposito and the overworked and nasally Shirley Henderson all immensely contribute to the fun.

Like Okja itself, the film tends to lumber a lot, veering in many directions and tones, sometimes going on-the-snout with its themes, and like Gyllenhaal’s character, its rebellious and off-kilter filmmaking may turn people off. But like a roller-coaster, it is exhilarating stuff, and it rarely ever abides to filmmaking conventions and tropes. Okja was a film that had everything I hoped for and I wish more films like this would get made, regardless of where it comes from.

an-seo-hyun-okja

Quickie Review

PROS

Fantastically rebellious direction from Bong Joon Ho

Mixing of genres and ideas is done really well

The ensemble cast is great

Action scenes are very thrilling

CONS

The filmmaking and Gyllenhaal’s performance will polarize

SCORE: 9/10

lhs

This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Tilda Swinton, Jake Gyllenhaal, Paul Dano, An Seo Hyun, Byun Heebong, Steven Yeun, Giancarlo Esposito, Lily Collins, Yoon Je Moon, Shirley Henderson, Daniel Henshall, Devon Bostick, Choi Woo Shik
Director: Bong Joon Ho
Screenwriter: Bong Joon Ho, Jon Ronson

Movie Review – Kung Fu Yoga

Master

EXPECTATIONS: An insufferable experience from the once-great Jackie Chan.

REVIEW: Before I get into this review, let’s get the b-word out of the way. I am a fan of Jackie Chan. Ever since I saw one of his films on SBS, I became a huge fan of his due to his incredible dexterity, his creative fight choreography, his amazing stuntwork and his likable aw-shucks persona.

But like every action hero, the thing that defeats them is age, but Chan has always compensated with more creative fight choreography, a sharper focus on acting and and branching out from his likable persona.

But ever since 2009, he’s hit a major snag that has rendered his reputation from being extremely likable to something a lot more polarizing i.e. he became a supporter of Communist China.

Since then, the quality of his films have dropped massively, with very little effort involved from everyone including fight choreography, ill-disciplined use of the high budget and the incredibly childish sense of humour that seems to be present to pander to the China market.

And last but not least, the jingoism and xenophobia is incredibly blatant that it is quite easy to be thrown out of the film. Cases in point: Skiptrace, Shinjuku Incident, Chinese Zodiac, Dragon Blade, Railroad Tigers; the list goes on.

And now, we have Kung Fu Yoga, an action/adventure that seems to be a throwback to the Armour of God films, with all the globetrotting and action you would expect. But can this film break the negative trend or will it sink into it?

kungfuyoga_clip_icecave

Jackie Chan plays Jack (who else?), a world-renowned archaeology professor, and his team are on a grand quest to locate a lost ancient Indian treasure when they are ambushed by a team of mercenaries and left for dead. Using his vast knowledge of history and kung fu (what else?), Jack leads his team on a race around the world to beat the mercenaries to the treasure and save an ancient culture.

Now that is a simple enough plot that is easy to follow. But boy, is it terribly told. The introduction to the film is incredibly emblematic of this flaw. It involves a five-minute backstory all told in terribly rendered CGI that could have only come from a PS2 game but what is bewildering is that it has absolutely no effect or relevance to the plot whatsoever!

50686-czspdxmcep-1486064515

But hey, who cares about the plot in a Jackie Chan film? All we want is the action! Is the action good in Kung Fu Yoga? Nope, not at all. The choreography looks sloppy, uninspired and worst of all, boring. The stunts obviously look wire-assisted, the CGI implemented looks absolutely atrocious and the sets look incredibly cheap. Nothing in the action scenes thrill or amuse and it just ends up being tedious. When a major highlight in an action scene involves a horrific looking CGI lion in a car, believe me, you’re in trouble.

So, when you have terrible action scenes in a Jackie Chan film, all you have is, well, a whiff of something you’re sure not to like. There’s the xenophobia and jingoism present throughout i.e. how there are no Indians that can find an Indian artifact in India, and can solve the puzzle inscribed on the artifact. In Indian. Or how the film actually has the guts to provide a ham-fisted moral lesson from the Chinese to Indians, about something they read from an Indian artifact! And the character actually says “Stop teaching me about my own country!”

img3402_1

And there’s also the blatant plagiarism that the film steals from eg. Raiders of the Lost Ark, the Fast and the Furious films, Tomb Raider and the James Bond films. And there are many details that took me off guard. Like, why is there the use of bells in a university? How do you distract wolves with kung fu stances and snowball throwing? Why is it that a gunshot does not echo throughout the ice cave to signal that someone is in the cave? How is it that the ice cave, which is believed to be in the middle of nowhere, have two people come out of the cave through a staircase? With handrails?

Asking all of these, and many other questions, just made me realize that the film didn’t entertain or distract me from any of those flaws. The actors are no great shakes in their performances and most of them were clearly hired for market appeal rather than thespian chops. Or even charisma.

Even for those who are talented, like Eric Tsang, they disappear faster than Jackie Chan’s reputation in Hong Kong. And the tone is all over the place; the film is clearly aiming for family-friendly (or so it says) humour, and yet there are instances of adult language and violence involving deadly animals.

kungfuyoga_trailer1

Now the end credits is actually the best part of the film. And not because it meant the film was over. I personally hated the way they remixed the original song, but the dance number looked very nice and is well choreographed, by Farah Khan no less.

Kung Fu Yoga is a massive disappointment for fans of Jackie Chan, fans of cinema, Indian fans, Indian people in general and is just a complete embarrassment for all involved. Even the Indians didn’t like the film when the film was released there. That tells you what you need to know.

hero_Kung-Fu-Yoga-2017

1._jackie_chan_and_aarif_rahman-h_2017

Quickie Review

PROS

Okay dance number in the end

Eric Tsang in a very small role

CONS

Everything else

SCORE: 2/10

lhs

This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Jackie Chan, Disha Patani, Aarif Lee Rahman, Sonu Sood, Lay Zhang, Mu Qimiya, Zhang Guoli, Eric Tsang, Amyra Dastur, Coco Jiang
Director: Stanley Tong
Screenwriter: Stanley Tong

Movie Review – Happy End (Sydney Film Fest 2017)

DABumEEV0AAD6i0

EXPECTATIONS: Haven’t seen enough Haneke films to have any.

REVIEW: Michael Haneke is a bit of a misanthrope, isn’t he? Granted, I haven’t seen all of his films, but the few that I have seen, he seems to have a very critical view on society and human nature. And compared to mainstream fare, he makes films where there is plenty of space for the audience to contemplate and ponder what is happening on-screen with little to no spoon-feeding whatsoever.

Knowing this, it becomes clear that Haneke makes films that can be quite frustrating, yet intricate pieces of work that one admires more than enjoys. But thankfully, he does have a very dark sense of humour that provides a nice counterbalance to the gloomy mood he goes for.

Case in point, his latest film, Happy End. With all of his frequent collaborators in place like Isabelle Huppert, Jean-Louis Trintignant, cinematographer Christian Berger and others; and coming back to familiar thematic territory, will the film conclude like the title suggests? For the audience, I mean?

HAPPY-END__MICHAEL-HANEKE__EXTRACT1_VOSTEN_

The film starts off with a series of Snapchat videos, detailing scenes of playfulness and lingering dread; involving acts such as animal cruelty, voyeurism, talks of suicide and bouts of self-loathing. Awkward laughs ensue.

From there, we follow a rich family, whom all have several problems lingering on their minds. Isabelle Huppert plays Anne Laurent (a name that pops ups in a lot of Haneke’s films), who has been handed the responsibility of managing a family construction business, previously owned by her aging father, Georges (again, in a lot of Haneke’s films), who is suffering from dementia. She is also getting engaged to a British lawyer, Lawrence.

Her son, Pierre, sets off a catastrophic incident at the construction site due to negligence and it sets off a huge lawsuit. Anne is worried of his deadbeat attitude and tries to straighten him up and fly right so he can take over the family business. Her brother, Thomas has problems of his own and must now look after the 13-year-old daughter, Eve,  of his previous marriage and accept her into their creepy, problematic family.

happy-end-haneke-clips

For those who are both new and familiar to Haneke’s work, Happy End is an encapsulation of all of Haneke’s tropes: euthanasia, voyeurism, psychosexuality, creepy children, misanthropy, it’s all here. And even though, Haneke going through his old bag of tricks may signal a sign of self-parody, it never feels that way mainly because, it still feels uniquely his film.

Static wide shots, courtesy of cinematographer Christian Berger, are put to great use that either give off a sense of dread or pay off in amusing ways. Like a scene that seems to tip off Cache, it involves Pierre trying to apologize to the family of the worker who was struck by the work accident, leading to a violent conclusion. Faces of the characters aren’t always seen, even during long takes, which implies that even very little is shown in face value.

Scenes with the use of Snapchat and FaceBook (which are eerily similar to scenes in Mike NicholsCloser) also give off a glimpse of human nature that is ironically more revealing than seeing a person face to face, and again, it yields surprising laughs and bouts of tension. And even when the characters gradually reveal their feelings, it never feels heartwarming nor emotionally satisfying. It just feels creepy and awkward, in a good way.

Revelations and feelings are revealed in either the most matter-of-fact manner (one of them is an amusing twist on the occurrences in Amour); or in a blatant and sudden fashion, like a scene involving drunken/gymnastic karaoke or a scene involving a quick jolt of violence that quite honestly, had me gasping during the screening. And it shows that the characters all feel like they’re owed something, despite living the wealthy life. And that may be the scariest thing in the film.

And like most of Haneke’s films, Happy End intentionally does not end like the title implies, but with a few shocks, twists and sudden bouts of violence. And an incredible final shot that blew the minds of the audience into hysterics.

HAPPY-END__MICHAEL-HANEKE__EXTRACT3_VOSTEN

The ensemble cast all give typically stellar performances, from Isabelle Huppert, who is solid as the daughter who tries to keep the family in control to Matthieu Kassovitz, who is refreshingly understated as the brother who tries to be fatherly while keeping a dark secret. And of course there’s Jean-Louis Trintignant, who plays Georges. Racist, rude and going on dementia, Jean-Louis seems to be having a ball in the role.

But best of all, praise must go to Fantine Harduin, who plays Eve, the 13-year old daughter of Kassovitz’s character from another marriage. Scarily knowledgeable with computer technology and filled with understated resentment (much like the film), Harduin is a new talent worth looking out for.

As for its flaws, there’s nothing truly new or groundbreaking from Haneke here. And the story involving Huppert’s character is oddly the least interesting subplot in the film, in comparison to the subplot involving Trintignant’s character and Harduin’s character.

Also, the pacing in the first and second act may be a bit too glacial, even by Haneke standards, but when most of the pieces (some are loose, like Pierre’s fascination with African migrants) come together in the final act, it delivers a great pay-off that will fester in one’s mind for a long time.

Yes, the film does feel like a greatest hits album for Haneke, but with his incredibly assured direction, fine performances, grounded storytelling and a great sense of dark humour, Happy End may not end like the title implies, but for the audience, it defini– well, that’s another story.

Who knew that the scariest thing in Happy End is not voyeurism, not euthanasia, not psychosexuality, not animal cruelty but white privilege?

happy-end-901758

Quickie Review

PROS

Haneke’s assured, static direction

Great performances

Great sense of humour

CONS

Nothing new or truly noteworthy

Storytelling is a bit off

SCORE: 8/10

lhs

This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Isabelle Huppert, Jean-Louis Trintignant, Mathieu Kassovitz, Fantine Harduin, Franz Rogowski, Laura Verlinden, Aurelia Petit, Toby Jones, Hille Perl, Hassam Ghancy, Nabiha Akkari, Joud Geistlich
Director: Michael Haneke
Screenwriter: Michael Haneke

Movie Review – The Forest of Lost Souls (Sydney Film Fest 2017)

forest-of-lost-souls

EXPECTATIONS: Artistically fulfilling, yet cinematically unrewarding.

REVIEW: Out of all the genres in cinema, horror is, in my opinion, is the best outlet for creativity within storytelling. Whether in a metaphorical sense, a symbolic sense or just nuts-and-bolts mainstream filmmaking, horror can engage, thrill, scare and surprise, regardless of what it looks like on the outside.

Case in point, David Cronenberg‘s The Fly. With a Cronenberg film involving a mutant fly, you expect the body horror and blood and gore. But underneath all of that is a tragic love story and the ramifications that one would face when a loved one is going through terminal sickness and how it affects the relationship. The best horror films tend to be symbolic of great importance and that is the reason they earn their status.

In the case of The Forest of Lost Souls,  it does feels very similar to the other Portuguese horror film, The Eyes of My Mother, due to the same slight running time, the black and white cinematography and the fact that they both combine grindhouse tropes with an arthouse aesthetic. Whereas The Eyes of My Mother deals with themes of loss and loneliness, The Forest of Lost Souls deals with coming-of-age, finding one’s place in the world and differing views of death.

With all of that in mind, will The Forest of Lost Souls succeed in both providing sufficient entertainment for horror fans as well as giving some food for thought for those looking for something different?

A Floresta das Almas Perdidas - O destino de Carolina

A young woman, Carolina, and an old man, Ricardo, fatefully meet in a forest, which is famous for being a place where people decide to commit suicide. They decide to briefly postpone killing themselves in order to explore the forest and also to continue talking to one another, as Ricardo and Carolina find themselves intrigued by one another.

However as they go further into the forest it becomes clear that one of the pair has other reasons for being in the forest and is not who they would have the other believe them to be and is actually more than meets the eye.

The-Forest-of-the-Lost-Souls-Movie

The Forest of Lost Souls is thankfully a very distinct, brisk, unconventional horror film that delivers a huge impact despite the limited resources and short running time would lead you to believe.

The obvious draw of the film is the black and white cinematography by Francisco Lobo and it is a fantastic complement to the surreal and dreamlike world that director Jose Pedro Lopes was going for. Similar to the black and white sequences in Lars Von Trier‘s Antichrist, it adds a surprising amount of tension and weirdness that it can easily put the audience at unease.

The element of surrealism is also counterbalance by the grounded nature of the story, which is a major factor of what makes the film scary. Based on a real place called Aokigahara (aka The Suicide Forest or Sea of Trees), people venture into the forest to commit suicide. But in the case of The Forest of Lost Souls, it serves as a eerie backdrop for what is essentially an origin story for the antagonist of the film. And it is executed so well that it feels grounded and it could possibly happen in real life. The fact that the film doesn’t cop out in its conclusion makes it linger disturbingly in one’s mind.

The-Forest-of-the-Lost-Souls-2

The use of modern technology and social media is also dealt with rather well; especially with how it is incredibly easy to interact (which is a nice way of putting it) with other people as well as how we present ourselves to the world. It is the kind of effort that Lopes commits to his film that makes it more substantial that one would surmise, even with the short running time.

But does the meat-and-potatoes tropes of horror pack a punch? Yes, it certainly does. The violence and kills are sudden, understated and tastefully done; and that is thanks to the tension wrung from the cinematography, the bizarrely retro score by Emanuel Gracio and the assured direction by Lopes. Some of the shots where the antagonist is lurking behind people or in the background is reminiscent of John Carpenter‘s Halloween.

Mafalda Banquart in The Forest of Lost Souls

The acting is also noteworthy with the subtlety and ingenuity of the performances. Daniela Love is great as the impulsive and knowledgeable teen, Carolina, while Jorge Mota is compelling as the conflicted family man, Ricardo. The two share an understated and natural chemistry with one another and it makes the first act of the film very serene. But of course, there’s more lurking beneath the surface when one of them has more than a few demons up their sleeve. The supporting cast are all fine but it is Love that stands out from the rest (no pun intended).

As for its flaws, the first act may be a bit slow and the abrupt change in tone in the second act may turn off viewers, as it almost turns into an entirely different film. But considering the flaws, The Forest of Lost Souls is a worthwhile horror experience thanks to its grounded story, Lopes‘ assured direction, Lobo‘s beautifully surreal cinematography, Gracio‘s retro creepy musical score and Love‘s standout lead performance.

AFlorestadasAlmasPerdidas_OLago-e1482962857878

Quickie Review

PROS

Good performances (especially from Daniella Love)

Assured direction from Lopes

A creepy retro score from Gracio

Beautifully surreal cinematography from Lobos

Grounded storytelling adds to the tension

CONS

Slow pacing in the first act

Abrupt tone change in the second act

SCORE: 8/10

lhs

This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Daniela Love, Jorge Mota, Mafalda Banquart, Ligia Roque, Lilia Lopes, Tiago Jacome
Director: Jose Pedro Lopes
Screenwriter: Jose Pedro Lopes