Joan Rivers.

Joan Rivers (June 8, 1933 – September 4, 2014).

Thanks for all the satirical, self deprecating, off the cuff, sometimes controversial, humours.   

Robin Williams.

Robin McLaurin Williams (July 21, 1951 – August 11, 2014).

Thank you for all laughter and goofy moments. Good Morning, Vietnam, Dead Poets Society, Popeye, Hook, Aladdin, The Birdcage, Jumanji, Bicentennial Man and of course, Mrs. Doubtfire. 

H.R. Giger.

Hans Rudolf "Ruedi" Giger (February 5, 1940 – May 12, 2014)

There was another artist the producer wanted me to meet. He had seen this guy’s work in a show that was at Paris at the time. He took me over to one of the really fancy hotels in Paris, not the one I was staying in, where this artist, H.R. Giger was staying while his show was on display in Paris.

Giger brings out this little tin foil and said, “Would you like some opium?” I said, “Why do you take that?” He said, “I am afraid of my visions.” I said, “It’s all in your mind.” He said, “That is what I am afraid of.”

- Alien screenwriter Dan O'Bannon (September 30, 1946 – December 17, 2009) on meeting H.R. Giger, from "The Beast Within: The Making of Alien".

Harold Ramis.

Harold Allen Ramis, November 21, 1944 – February 24, 2014. Goodbye Dr. Egon Spengler.

Django Unchained.

Is it co-incidental that two of my favourite directors came up new releases shortly after one another? First, Wong Kar Wai's The Grandmaster. Now, Quentin Tarantino's Django Unchained. In his previous major release, the 2009 Inglorious Basterds, QT made it in the veins of old WW2 theme special squad movie like The Dirty Dozen while using Nazism and anti-Semitism as the film platform. In Django Unchained, he is inspired by old Italian spaghetti western genre, this time using the American horrific history of slavery as the basis for the storyline. And typical of QT, there're lots of violence and gore, vulgarity, and the "not suppose to laugh but yet I did" situations and dialogues. It is entertaining, in the way only QT could do it (as well as courting tremendous controversy on the subject matter). And yet, there is an underlying feeling that Django Unchained (and Inglorious Basterds) still lack something when compared to his previous works. I wonder why sometimes. It is kind of, for the lack of better word, cartoonish maybe, much like Inglorious Basterds, which both movies focus too much on, my personal opinion of course, the director's own brand of outright vengeance on behalf of those whom had been wronged in his own imaginative, alternative universe. Perhaps I enjoy, and still do, his previous movies due to different theme? Low life macho gangsters, hustlers, robbers, assassins, stuffs like that? Django Unchained is still entertaining, but I have a feeling that I may not give it a second watch, unlike his earlier works.

The Grandmaster (一代宗师).

 

 

The Grandmaster is the latest release by Wong Kar Wai. It has been five years since his previous film, and only English debut, My Blueberry Nights. This movie was supposedly about Wing Chun master, Ip Man. I was thinking, what? Another Ip Man flick? I am very impressed by the 2008's version starring Donnie Yen as the titular leading character, directed by Wilson Yip, with action choreographed by Sammo Hung. While the producers of the former came up with the idea in 1998, Wong Kar Wai stated that the concept of making a movie about Ip Man has been around for 17 years, having supposedly stuck in development hell. Or maybe he was taking his own sweet time to do it, as the acclaimed auteur is notorious for. Comparison is inevitable. Wilson Yip's version stole the thunder first, catapulting the Wing Chun master into global limelight and recognition, mostly as the first master of the late Bruce Lee, and riding on its box office success, spawned a sequel, prequel and serials, all of which, in my personal opinion, do not hold a candle to the first. But having been a fan of the "oh so yesterday" term post modern works of director, that is, up to 1997's Happy Together (coz I became bored with 2000's In The Mood For Love, 2004's 2046  due to their supremely long, drawn out scenes and what I personally deemed as a Americanised version of 1993's Chungking Express, My Blueberry Nights, even though these are the ones which cemented Wong's position as one of the leading Hong Kong Second Wave directors internationally to mass acclaim). Starring long time first choice lead actor, Tony Leung as Ip Man, Zhang Ziyi as the fictional (but loosely based on the real life assassin seeking revenge, Shi Jianqiao) Gong Er and Chang Chen as another fictional character, Yixiantian (a composition of two Ba Ji martial arts personas), there are also tonnes of "guest appearances" by numerous actors, actresses, singers too many to mention. And by "guest appearances" I really meant ranging from a "miss him/her if you blink" to maximum of three scenes. But of course those who are acquainted with the director's choice of deciding who has the longest scene or ended up on the editing floor should know by now. The most unfortunate "victim" who still hold the record is of course Shirley Kwan in Happy Together. But you can get to see her in Buenos Aires Zero Degree documentary on YouTube. And perhaps followed by Takuya Kimura in 2046. Now, you may want to add Song Hye-kyo into the list, as Ip Man's wife. Tony Leung, as ever, seems easily carry off his role as Ip Man. Zhang Ziyi successfully fleshed out a strong, female persona worthy of the tragic character. And so does Chang Chen, though I am currently at lost how his character is linked to the entire story. Maybe as a parallel to Ip Man? The Grandmaster is a slight departure stylistically from his earlier works but still maintaining the trademark visual feasts for the eyes even though long time choreographer, Christopher Doyle has left, last collaborated with Wong in 2046. The action/fight sequence is simply incredible, beautiful and graceful even, courtesy of Yuen Woo Ping. Slight hint of The Matrix-like action there but executed nicely. No blurry, cut scenes  of 1994's Ashes of Time style battle. Now, the story. Contrary to what everyone, including me, thought that this is another Ip Man tale, it is actually not. This is just a guess but my understanding, which could be wrong, is that Wong Kar Wai is using the same structure as in Ashes of Time, of which he uses Jin Yong's famous characters from The Condor Heroes novels as platforms to convey the message of fractured relationships, emotional desolation, inability to let go of past memories amidst the surrounding environments and situations which ultimately intertwine with the outcome, destiny and fate of each of the characters. Thus this is not about Ip Man. It is about Wong Kar Wai's socio-philosophical musing on the state of the Chinese martial arts amidst the tumultuous, changing times of the first half of the 20th century as well as how each of the martial arts masters cope with it, their own personal decisions and paths ultimately deciding the fate of the skills which they have had mastered. Some would be lost forever, some diluted, some becomes unpopular while others, like Ip Man, succeed in passing it on to the next generation. Thus there are many grandmasters, but like the tagline, the last man standing, I guess Wong Kar Wai muses that a true grandmaster should not only excel in combat, but how far they could persevere, with enough foresight to tread, adapt and survive the changing times, personal hardships and ultimately manages to pass on his/her martial arts skills to the next generations. Reminds me of Ridley Scott's Gladiator whereby Maximus said what we do in life echoes in eternity. Thus, the movie title, The Grandmaster, I guess, is Wong's reference to Ip Man specifically because in the movie, he is the only one whom succeeded not only in overcoming all other grandmasters in personal combat, but also managed to overcome all forms of challenges life throws at him. In a single stroke, as the credit rolls, I realised Wong Kar Wai managed to avoid comparison with Wilson Yip's version. To do so would be impossible, unfair even. The latter is a straightforward, action packed, entertaining movie. The former is a "thinking" piece, with "layers", very much in the spirit of his previous works. Though it still has it shortfall. That shortfall is the lack of or cryptic background information, underdeveloped characters, some which simply appear just for the sake of appearing. It also seems to be very rushed. As I understand, The Grandmaster stands to be Wong's biggest box office hit to date. But I would have loved to love this movie. Sadly, due to the lack of characters'  and plots depth, even though the overall arc encompassing the storyline is engaging, I am sticking to Wong Kar Wai's earlier works.

The Road, Children of Men.

Two movies to watch for some post-apocalyptic futures.

The Hobbit : An Unexpected Journey.

Watched two nights ago with Esther, as both the kids were asleep early. Nearly missed the show as we were led on a merry go round across SetiaWalk, Puchong new shopping and entertainment complex to find the TGV cinema. SetiaWalk is indeed the Labyrinth of Puchong. No minotaur but plenty of beer guzzling folks around coz the place is packed with bars and bistros. 

We finally found the cinema after asking for gazillion directions from the helpful security guards there, and prevented myself from starving to death coz I skipped dinner to make it in time after closing shop.

Since we barely made it in time, and this movie is about two hours plus long, keeping in mind I need to attend a meeting with dad the next morning at 8am, I decided to folk out RM40 for the "Beanieplex", coz it was the only slot available before the next show at 11pm, and the "Beanieplex" is something new to both Esther and myself. I have heard of those "Gold Class" and what not cinema but not this. It made me rethink about the entire cinematic experience. Call me a backwater hick, but for someone who has been sticking to GSC Summit USJ nearly a quarter of my life, it was a quantum leap from those musty, smelling seats to a "couple seats" with bean bags whereby we could lean on comfortably with nice, sleek ambient, just like a first class ride. And we could really relax coz, the place was practically new I guess, a weekday, and there was only ourselves and two other couples. The only setback is the temperature which I think is preset according to the coldest winter in Siberia. I nearly turned into Mr. Frosty but luckily Esther brought her jacket which just barely could keep me warm enough before I succumb to hypothermia. But enough about the place and the Russian winter. After downing two cups of small sausages and couple of sticks of dogs for dinner, plus a tub of popcorn shared with Esther, the highly anticipated prequel to The Lord of the Rings trilogy began.

It is said that Peter Jackson shot this in High Frame Rate, i.e. 48 frames per sec instead of standard 24. I dunno what that means but I'd read critics of this technology raised the point that it looks too real, like watching a HDTV, which I have seen in most of the AV shops LCD TV sample movies, and yes, to me it does robbed the "cinematic" aspect of a movie. Why, the other day at one of the malls while waiting for the kids and Esther, I was watching the latest Pirates of the Carribean and it looks like a stage play. Now, perhaps since this is the 2D version, the HFR is not obvious or perhaps even not totally incorporated, but still it is kinda "crisper" than majority of movies I have had seen. But it's all good for someone like me who has a 1000+ degrees of shortsightedness.

This is the first part of a trilogy spread over three years, meaning if I were to be alive in 2014, I get to know the conclusion. Just like The Lord of the Rings. This is based on the classic high fantasy children book, The Hobbit, written in 1937, by the late J.R.R. Tolkien. Yes, it is meant to be a children book before the author took it to another level in the epic sequel, and set ground for the Middle Earth universe (sans The Silmallirion).

Like The Lord of the Rings celluloid adaptation, the movie incarnation is visually stylised and dramatic, typical of Peter Jackson works. Since there are so many interpretations/artworks of Tolkien often cryptic descriptions of the creatures and population of the Middle Earth stories, one of the reasons I want to watch this is to see once more how they would be depicted in the movie. For once the CGI orcs, trolls, goblins look very much improved and nice (though there are a number of detractors), the Wargs look different and more fearsome, the infamous three "intelligent" trolls which nearly cook the boys, finally get to see those "giants" which are basically mountain sized stone monsters, Radagast the Brown (the subtitle calls him "Radagast si coklat") and it is great to re-visit the characters appeared in the Lord of the Rings once more.. The Great Goblin looks more like a troll than orc however, but maybe that's why it is the leader. But the infamous orc Azog, is depicted as a albino uber-orc, and deviated greatly from the book, did not die at the hand of Dain, a character which is absent from the movie but instead fought Thorin Oakenshield, and seemed to be one of the primary antagonists. Esther commented that she doesn't remember the dwarves to be so tall. And macho. Like Thorin Oakenshield for example. He looks like a dwarf popstar. And of course I am teased with the actual look of Smaug the Golden. I would have to wait for another year (or another) for that.

All in all, this first of the trilogy looks promising and well, Esther and I simply have to wait for another year. In the meantime, I think I will look up for that well thumbed The Hobbit book for a refresh course on the actual storyline.