Dominatio Per Malum

Tokyo Godfathers (2003) 5/10

In Tokyo Godfathers, director Satoshi Kon creates over the top characters and situations within a realistic world and the end result is a jarring pastiche that never feels quite right. Whereas his previous films like the excellent Millennium Actress (2001) used animation to give realistic portrait of life and Paprika (2006) allowed his imagination to run wild, Tokyo Godfathers does not seem to know whether to be realistic or exaggerated and the result is a film that tries to aim for pathos even as it becomes increasingly over the top. The main characters are a trio of bums who happen to come across an abandoned baby. In their quest to return the child to its rightful parent, various hijinks occur, many of which feels utterly ridiculous and not particularly realistic. The film does not have particularly likeable characters, and its exaggerated tone makes it all the more difficult to identify with its characters who seem more like caricatures. This is difficult when the film obviously wants to make us sympathetic to for example the young girl estranged from her father but sabotages the attempt at pathos with over the top hijinks. The end result is a disjointed film that neither achieves slapstick comedy nor emotional connection. The film itself is still competently crafted and direction, but lacks soul.

Inglourious Basterds (2009) 8/10

Inglourious Basterds marks a return to form for Quentin Tarantino after the lacklustre Death Proof. It is one of the more accessible Tarantino films and Basterds contains many of Tarantino’s favourite themes and stylistic influences. It should come as no surprise that Basterds is a loquacious film. Those who watched Basterds because of its marketing might well be under the impression that it was a WW2 action film, seeing how Brad Pitt is used prominently in its promotion. In truth, Brad Pitt doesn’t really have that much screen time, and there are few action sequences. Instead, in true Tarantino fashion, the film is one long talkfest chock full of black humor, obscure references and non sequiturs. In other words, its bloody brilliant.

The film is full of Tarantino’s little stylistic flourishes, from its excellent soundtrack, the use of chapters to bookend each segment and its generous use of gore. It is almost amazing how, at the end of the film, you realise that you have spent the better part of two hours watching characters just chatting. Granted, the dialogue sometimes feels meandering and lacking in focus, but when it is good, it is golden. At its best, the dialogue zings and sizzles and Tarantino expertly manages to craft tension from the most mundane of conversations.

The ensemble cast is excellent, none more so than Christoph Waltz, one of the most menacing SS officers ever put on screen. He completely steals the scene in two major sequences, the first being the excellent opening scene of the film and the second being a chance meeting with Shosanna Dreyfus (Mélanie Laurent).

At every turn, Tarantino surprises and even thrills the audience. Even the boldly ahistorical ending will likely polarize audiences. This is a film in which i honestly could not have predicted how the scene would have played out. It is a testament to Tarantino’s craft that Basterds, which is closest in form to Pulp Fiction, is an enjoyable, sometimes over the top film that appeals the film lover rather than to studio expectations of more skin and more explosions. One final praise needs to be given to the cinematographer who cloaks the film in beautiful vibrant colors with the color red taking especial prominence. I loved the way the film turned out and i can unreservedly proclaim Basterds to be one of the best films of 2009. Watch it.

New York Times Article

http://justiceharvard.org/

Justice is one of the most popular courses in Harvard’s history. Nearly one thousand students pack Harvard’s historic Sanders Theatre to hear Professor Sandel talk about justice, equality, democracy, and citizenship. Now it’s your turn to take the same journey in moral reflection that has captivated more than 14,000 students, as Harvard opens its classroom to the world.

Sorting out these contradictions sharpens our own moral convictions and gives us the moral clarity to better understand the opposing views we confront in a democracy.

Something to stimulate and provoke riots in our hearts and minds.

A true story about a letter from iwo jima.

Ashes of Time Redux (1994) 7/10

The first time i watched Wong Kar Wai’s 1994 masterpiece, i thought it was beautiful but plodding, poetic but pretentious. Rewatching the “Redux” version a few years later, i am once again impressed by the visual beauty of WKW’s creation. This time, i understand the film better, and perhaps it may be attributable to better editing in the Redux version. Not that the story makes any sense because it still doesn’t. But like a poem, and indeed most WKW films, it is more important to appreciate the feel and mood than to make sense of what it all means. Beautifully languid and possibly even zen, Ashes of Time is the only time wuxia flicks and existential will appear on the same sentence. Like a bottle of wine, Ashes of Time is a film that ages better with time and as you grow older you better understand the existential angst that underlies the film. The themes of memory, unrequited love and lost chances play out in a hazy, poetic canvas. What does it all mean? Is there a point to this film? Well, with Wong Kar Wai, the experience is more important than the destination.

City of Life and Death (2009) 7/10

Director Lu Chuan who is easily one of the more exciting directors from China, follows up his excellent Kekexili (2004) with a sobering and powerful take on The Nanking Massacre. The City of Life and Death (known as Nanking! Nanking in its chinese title) would seem like the sort of film that would lend well to easy moralising especially since it is a Mainland Chinese film. But to his credit, Lu Chuan is a far more nuanced director and doesn’t take the easy cinematic short cut of caricatured villians and saintly good guys. The solid black and white cinematography is beautifully shot, but i question the need to use black and white when a color version would be better. Using black and white for a WW2 film almost seems like aping Schindler’s List and unless you can use it to great effect, it seems like an unnecessary gesture. It is not that B&W doesn’t work for the film, but rather that i think color would have been better.

Still Lu Chuan crafts a great ensemble tale, with no one character being a plot device and each contributing to the tale in their own way. This is good because these supporting actors really shine when given the spotlight, with chinese actor Wei Fan making a memorable impression as Mr Tang. However, the disadvantage is that stars like Ye Liu don’t have much screen time for character development. The cast is uniformly solid, but i felt that the Japanese lead Hideo Nakaizumi as Kadokawa is too one dimensionally nice for my liking.

While City of Life and Death isn’t quite Schindler’s List, it is however an excellent retelling of the Naking Massacre seen through the eyes of both the Chinese and Japanese. And considering how the film strives to be balanced rather than jingoistically patriotic, the film is truly another feather in the cap of Lu Chuan who delivers a powerful and compelling movie experience and history lesson all wrapped in one.

BBC News

They call themselves the most hated family in the US and they picket funerals of soldiers killed in Iraq. So what did Louis Theroux make of the Phelpses after three weeks?

In any country, let alone one as patriotic as the US, few actions are as provocative as protesting at a soldier’s funeral.

The Phelps family pickets mourners across the country, to mark what it describes as God’s revenge on the US for tolerating homosexuality.

Their actions are in the name of the Westboro Baptist Church, which numbers 71 and is headed by “Gramps”, preacher Fred Phelps. The church, which is based in Topeka, Kansas, mostly comprises his extended family.

Louis Theroux, himself no stranger to people with unconventional views, says the Phelpses are the most extreme people he has ever met. But in the following interview, he reveals how three weeks with them left him perplexed by their motivation.

Watching the documentary elicited, not anger or disgust or even contempt as i had initially thought, but pity. Despite their medieval beliefs and insensitive and downright appalling actions at the picket, they too are victims in a cult that they cannot extricate themselves from. They have been so thoroughly brainwashed by religious dogma that there very existence is defined by the Church. The Church itself is sustained by its message of hate that it makes right wing fundamentalist Christians look perfectly sane in comparison. It is perhaps proof that given the right environment, people can be persuaded to believe in anything. What is sad is that many of the young people, especially the children could have been so much more. The documentary by BBC is well worth a look.

District 9 (2009) 7/10

District 9 could have been a great film, but instead settles for merely being a good film. Its premise is intriguing and a refreshing twist on sci fi conventions. See, aliens are broadly categories into nice (ET) or monstrous (Alien trilogy, War of the Worlds etc). In District 9, Aliens are an insectoid race which while possessing strength and agility is generally dumb. Sort of like Zombies. This is itself an unusual take on sci fi to present them as largely stupid, mindless beings which can barely fend for themselves. Of course, this is explained by the aliens being worker aliens with the hive mind being somehow destroyed leaving the remnants to fend for themselves.

The exposition which sets out these details in the first act is masterfully done and the film weaves social commentary in a pseudo documentary fashion that deliberately parallels apartheid and the various concentration camps and gulags that we have created. But the film takes a dramatic shift in tone in its second act, turning its focus exclusively on one character and the film becomes a sort of The Fly meets The Fugitive. This shift is unfortunate, because the film becomes predictable and the film abandons the compelling social commentary it built in the first act. The film is somewhat redeemed in its action packed final act which while predictable at least provides brainless popcorn entertainment. Still one cannot help but lament that if the film continued and went along the compelling premise it constructed in the first act, District 9 could well have become a great film. Nevertheless it is still a far better summertime choice than GI Joe or Transformers 2.

In The Loop (2009) 8/10

In the Loop is what The Office wants to be. Sharp, sardonic and an absolute blast to watch, the film skewers the political process and shows politicians for what they truly are: screwups who are trying desperately not to blow the whole world up. Malcolm Tucker (Peter Capaldi) puts in a mesmerizing and commanding performance in an expletive filled performance. It is a virtuoso display of foul-mouthed eloquence the likes of which has been rarely seen. A sharp, witty and engaging dialogue which has one of the highest laughs per minute of any film i have watched and a brilliantly absurdist plot makes this one of the best films of the year and an excellent showcase of Brit humor.

New York Times

There is a long and remarkable article in the current New Yorker about a man who was executed in Texas in 2004 for deliberately setting a fire that killed his three small children. Rigorous scientific analysis has since shown that there was no evidence that the fire in a one-story, wood frame house in Corsicana was the result of arson, as the authorities had alleged.

Cameron Todd Willingham, who refused to accept a guilty plea that would have spared his life, and who insisted until his last painful breath that he was innocent, had in fact been telling the truth all along.