aw-6

This has got to be a perfect amalgation of art & kung fu film. Something pioneered by King Hu in the 60s and 70s but reaching a new pinacle under the masterful hands of Ang Lee.

Truly, I have not seen martial art fight scenes so fluid and so graceful; shot for shot, scene by scene - perfect symmetry & picture composition. Yet infused with a fevered intensity that I actually felt my pulse racing with the very first fight scene as Michelle Yeoh chased the masked intruder across the moonlit roofs of Peking.

The narrative style is another accompishment - from the delivery of a gift, the story expanded into a map of intricate plotlines, complicated characters with hidden agendas and filled with angst against society, traditions and fate. Remarkable.

15 of us saw the show together; at its conclusion, one was weeping, another was speechless, one just kept saying "fantastic" and the rest could not stop discussing character motivation, fight cheoreography and the cinematography.

Don't miss it.

The show was good but not great. It would, hopefully, revive the sword and sandal genre on a more epic scale. There were a few "big" moments like the opening battle scene but everything just peters out towards the ending. Even the gladiator fight scenes, though well cheoreographed, were not exactly epic in scale. The only other visual feast was when Comedius returned to Rome as the succeeding emperor but that was in the first third of the film!

Russell Crowe does a fine job but the most interesting role belongs to Connie Nielsen. She seemed morally ambiguous and her claims of fearing her brother and being coerced into certain actions were only half-believable. She could be more opportunistic and manipulative than cowered and a victim of circumstance. This role could be explored deeper but I'm glad there was such a character to cast some doubt and shadow in an otherwise black or white morality storyline.

Watch the show for it is a fine piece of work but NOT one of the best film that one will ever see.

This is a great piece of work. It depict the plight of 4 generations of Hungarian Jews who tried desperately to be assimilated by the country they loved. Unfortunately, their efforts kept coming to nought as they are used and abused for the country's honour but tragically neglected and persecuted when they are no longer needed. The plight of the Jewish people in Europe in the 20th century was tragic and tumultous but this film gave such dignity and strength to the central Jewish family that one can't help but admire them for their perseverence and even patriotism.

Spanning a hundred years and with Ralph Fiennes in 3 leading roles of each generation, this film is so lovingly crafted with great attention to details; especially turn of the century Europe. The numerous scenes set in the cafe take my breath away with its lighting and period costumes - incroyable! The clever usage of a live radio broadcast of the 1936 Olympic fencing final effectively captures the tension & excitement of the game. The ubiquitous & ominous black Nazi uniform filling the fencing auditorium brought on a feeling of dread and impending doom. The final scene as Ralph Fiennes finally loses his frown and stroll down the modern streets of Hungary gave a feeling of liberty & hopeful anticipation of the future.

Ralph Fiennes was a superb choice for the roles. Nobody else can convey angst as beautifully as he can - be it angst over his family, spouse, mistress, friends, country or all rolled into one! His second role, the national fencer who is the film narrator's father, was the best of the 3. It was better written and one just get swept up by his hope, triumph and tragedy. Exhilarating and poignant, this section stayed with me longest after the show.

Go see it wherever, whenever you are!

This 1998 film was just released in Singapore (Apr 2000) probably due to Virginia Ledoyen & Guillaume Canet presence in The Beach (the crushing disappointment from the Trainspotting Trio). Anyway, this show stood out due to the presence of Carole Bouquet. What a woman! She commands the scene she is in by her trademark ice cool and chic demeanour. Granted I was more captivated by the way she looked than her acting, which, honestly, was not bad but not staggering. Virginia Ledoyen was ravishing, naturally but if I was the husband, sigh.... I guess there won't be a story then!

First film I've seen for 2000 Singapore International Film Festival. A short film at only 65 minutes but effectively delivered. It does not comment, preach nor interpret any of the protagonist's actions. All that is left to the audience as the character goes through the ascension and spiraling descent of a thug at odds with society, his partner in crime & inevitably, the underworld itself. One can't help but sympathise with him at certain points but one cannot shake the doubtful feeling that he's not that hapless but actually cold blooded and ruthless too. Interesting film - definitely fodder for thought.

This film was passed uncut to the local audience and it just blew my mind. I saw the film twice over two consecutive nights and I'm waiting for my friends to go see it a third, a fourth, a fifth....... you get the picture!

What can I say about it that has not already been said and re-said countless times?! Film of the millenium, shakes up your life, ........ well, every word is true and I never thought two hours and twenty minutes can be so sweetly savoured. Edward Norton and Helena Bonham Carter were awsome and so many points droned on and on by Ed Norton, hit home. Brad Pitt, well, not a fan but I just felt he was acting as himself, can't be too much of a stretch, right? Or is his acting so good that I just assume the character and the actor are one?

So many layers and ways to look at the picture and so many jaw-dropping images: from the highly stylised sex scenes to the rotating shots of the gas cooker before ignition - I was on a constant high as I let my visual senses get assaulted left, right and centre......... Damn! Got to see it one more time!

Is this film a social critique on our consumerism lifestyle? A condemnation of blind random acts of violence? The emasculation of men of this generation? The realisation of the person we would like to be but are not? There are just too many points to be consumed at one sitting, I'm sure........

There is something extraordinary about the two leads in this movie. Vincent Martinez was initially quite appalling to look at - scrawny, brooding with features more akin to a caricature! However, as the film progresses, one can sense a certain charisma and physical presence that he projects more and more palpably; yes, even from a man's perspective. But that's as far as it goes for him...

As for Isabelle, my! What an actress, what a woman! These French actress: Catherine Deneuve, Adjani, Beart - very few Hollywood actresses can be placed in the same league as them. This is my first time seeing Ms Huppert perform and I was really blown away. She brought so much contradicting sides to her character and she made them so believable. The character is strong in career and personality, yet vulnerable in her devotion to the above-mentioned man-animal. She is decisive and purposeful in life choices of career, marriage and the man-in-her-life yet defers constantly to the whims and fancies of him. You get the picture!

Anyway, with one single long shot of her face as betrayal, despair and sadness climax into a single track of tears - extraordinary! No self-pity, no cloying sentimentality; just plain sadness at the state of affair....At first glance, she did not appear extraordinarily beautiful. But as the film progresses, she looked increasingly radiant and one can't help but feel drawn to her.

One of the best film I've seen at this year's film festival where more is said through pregnant silences than confrontations and accusations a la Hollywood.

Well, the best show this year so far. Best blockbuster, that is. And finally, a show where Keanu doesn't stick out like a sore thumb or grate on the nerve incessantly....

And of course, the end-millennium apocalyptic babe of all times - Carrie Ann Moss!!

This was the closing film at last year's Singapore International Film Festival. It was actually banned but was allowed this one and only film screening in Singapore. Needless to say, the cinema was full to the brim and Christopher Doyle and Wong Kar Wai were there to introduce the film as well as parried any questions by the audience after the show.

What can I say? Vintage War Kar Wai, I suppose. Chris Doyle's cinematography was beautiful and enchanting; his birdeye's shot of the waterfall is firmly engraved in my mind. Tony Leung performance was touching and extremely poignant; most notably when he cried silently into the tape recorder, releasing all his personal frustrations, angst, sense of betrayal, hopelessness and loss in those few minutes.

It's not so much a gay film as a show about relationships. The two main protagonists could be two men, one woman and one man or even two women and the show would just be as poignant - the flighty, flirtatious and capricious lover vs the loyal, stable, long suffering and tolerant partnerl. However, seeing it being played out between two male leads was somewhat refreshing. Still, one can't help but wonder if Maggie Cheung, being one of Wong's muse, took one of the roles, what additional depth she might bring to this project?!

This show could have been perfect. I loved the beginning whereby each of the family member's relation with the problematic idiot-protagonist is explored. Obviously I have no love for the main character but I would love to have his family. The mother: understanding but too indulgent, sister:supportive and protective, brother: barely tolerant but actually even more protective and comforting, father: bewildered and torn and grandmother: opinionated but brave.

The story should have been played out to its more realistic conclusion of eventual institutionalisation due to all the potentially tragic problems the lead created. Instead, it introduced another skeleton in the family's closet to take the story to a sweet conclusion. Too Hollywood an influence, methinks; or perhaps I'm just a sucker for bittersweet endings instead.

I have no idea how to relate to this film. It is filled with either ugly characters or sad victims. Everything is film via distorted lens and the show is presented in episodes which may or may not have anything to do with the whole.

It is a disturbing piece of work, not so much from the sex scenes but the underlying theme of an abusive relationship and the refusal to recognise and affirm a loved one. It was troubling seeing the protagonist push someone he may actually care about, to the edge with malevolent glee. What is even worse is the apparent lack of reason other than ennui, sadism and apathy. I don't like this film very much.

Saw this movie at a sleazy cinema with less than 10 persons in it. The price to pay for being a film buff! Most of the other patrons were attracted by the prospect of some sex or violence. Seekers of the former were sorely disappointed but there was much of the latter to satisfy the rest.

This is not exactly a 'high' art movie but the production was excellent, leads were charismatic, action riveting and felt uncomfortably familiar. Thoroughly entertaining and involving as one waited with hope and dread on the various characters eventual fate.

To re-emphasis, the production was truly outstanding and give Hollywood movies a run for their money. The sepia tone photography gave everything a touch of nostalgia and deceptive warmth. This film comes highly recommended!

Just saw this film at the local film festival and it lived up to the hype and more. The music was incredible and considering I gave up learning the violin after Grade 1, I've found new respect and love for the music they produce. Just felt swept away by the music from the child prodigy, the gypsies and the English virtuoso.

The story was reminiscent of The Yellow Rolls Royce with the main protagonist now being a violin. I thought it was obvious why and how the violin is red but the revealing scene still drew gasps from the audience. So is the violin cursed consequently or just an innocent instrument of fate.

Wonderful way of introducing each chapter via the Tarot Cards and ending each through a prospective bidder at the auction. Initially, I was discontented with Samuel Jackson's character and his eventual prized acquisition but I realised that this is not the end but in fact, another beginning. If the instrument had landed up with somebody of relevant ties, it would mean the story has come full circle and it's time to wrap up. This ending actually serves to continue the story - well done!

Saw this at our local film festival. Feels very heavily influenced in terms of style and presentation by Britain's Trainspotting - the main protagonist haircut, cachetic physique, overdose scenes, etc. Still, the lead can give Ewan McGregor a run for his money in the acting department. Of course, the story is completely different from Trainspotting.

Well constructed and developed story. One can feel the main character's escalating paranoid and eventual loss of control as circumstances and events got too big for him to handle. Was there really such a character in real life? Poor chap.

I feel like making every single woman in my family watch this movie. Coming from a traditional Asian society, it's not uncommon for the woman to phase themselves out to "serve" husband and family. It is only in my generation that this trend is slowly changing. 20 to 30 years later, the husband has multiple dailliance with younger women and wife is left home alone and suffering. Why?

This show may not be very realistic in all ways but the things the characters say; now, that hit home! What a suffering wife will let her husband get away with, women painting themselves to attract and keep their men and even Queen Latifah sighing over the attraction gay men holds for her.

On top of it all, Holly Hunter. Hmmmm..... Love that woman! Does she really have a butterfly tattoo at her derriere? Okay, detracting here! She brings across her character's vulnerability and strength, hope and resignation, struggle, loss and triumph. Everything was nicely underplayed and restrained. Occasional whimsical but mostly heartrending.

And the music!! Made me pulled out my Gershwin and Broadway albums again. Wonderful marriage of movie and soundtrack. Never thought Queen Latifah could sing like that.

I saw this movie at our local film festival with no idea of the story nor the awards it had won. I was trying to figure out the relevance of the title to the show and did not succeed until the final frame. I was blown away! So simple, so bleak and so bittersweet.

I was immersed in the show without consciously realising it and Isa evolved from being an irritant to someone heartwarming. Her smile became the only bright light towards the end of the show.

Unfortunately, the same can't be said for her friend whose eventual fate grew increasingly obvious and unavoidable with each passing frame.

Wonderful film. It made me feel the character's aimlessness and hopelessness most insiduosly. There was a growing empathy for the character by showing them as they are with their faults and goodness. Wonderful...