Out of the Furnace
"Out of the Furnace," about two suffering brothers (Christian Bale and Casey Affleck) in Pennsylvania steel country. hits some of the same notes as "The…
Michael Mirasol is a Filipino independent film critic who has been
writing about films for the past eleven years. He briefly served as film
critic for the Manila Times and now writes occasionally for Uno
Magazine and his blog The Flipcritic.
Michael Mirasol shares memories of our late friend Tom Dark.
Michael Mirasol muses on "Pacific Rim" and the strange antagonism to the film, and on its relationship to its inspirations.
"With great power, comes great responsibility." How many times have we superhero fans heard this line, let alone understand its implications? Do we really take to heart how much sacrifice such heroism involves, or comprehend what would be at stake? Superhero films tend to glorify ability over altruism. That is after all the main reason why we flock to the genre, to see amazing sights never seen before. But one film is special in how it focuses on the gravity of selflessness in spite of such might. And it does so not by showcasing its hero's greatness, but his ordinariness. It's Sam Raimi's "Spider-Man 2."
Published with Press Play on Indiewire
With the unparalleled box office success of The Avengers, superheroes are back in the spotlight. Most comic book aficionados are delighted with the recognition. But believe it or not, there are those such as myself who are dismayed at how superhero films, though more popular than ever, seem to be losing their luster.
A young black boy deemed suspicious for wearing a hoodie. A black head of state depicted as a primate. Extremist political parties masking bigotry behind nationalism. Google the word "racism" and you'll find a vast array of news items showing that this most basic form of bigotry is alive and well.
There have been many films big and small which have addressed the subject. But only one comes to mind with racism as an actual character: the controversial drama "White Dog," directed by Samuel Fuller, based on the novel by Romain Gary.
A video essay published in tandem with Indiewire
"The human face is the great subject of the cinema. Everything is there." - Ingmar Bergman
The craggy complexion. The stately ovate chin. Those thin lips deceptively wrapped around that charming smile. That perfect nose. Those clear greenish-brown eyes. That squint.
One cannot discuss Clint Eastwood's iconic stature in film, without mentioning his face. There are others that have been as handsome (Newman), masculine (Gable), striking (Hitchcock), fearsome (Bronson), and symbolic (Wayne). But from a visual standpoint, none of them have been as instrumental as a filmmaking tool or signature. Most actors are cast to fill in a character from the inside out, building an individual based on the personal. But Eastwood himself is a form. An absent presence whose persona is filled primarily by the film's themes and ideas.
Matt Singer wrote a thoughtful piece against piracy a few days ago here on Criticwire. I read it with great interest. And I believe that he is correct, provided that Piracy fits a certain context. Let me try and provide some background.When I started writing movie reviews, I was living in the Philippines, a third-world country. Movie-going is deeply tied into our entertainment habits. The masses, most of whom are not able to afford most forms of entertainment, at least have theaters we can go to to escape the hardships of reality.
Fantastical novels aimed at the young are making a killing these days. And due to the immense success of the "Harry Potter" and "Lord Of The Rings" movies, studios are looking for that next big series to cash in on. But among such film adaptations, rare is the one that finds a figurative truth worth sharing. Most of them are merely content to display the depths of their imaginations, being (perhaps justifiably) almost completely distant from the concerns of real life.
These days when you mention Iran, we think of a nation on the brink of war. Extremist images come to mind, full of concealed women and bearded militants. Such stereotypes are useful in the drum up to war. But rarely do we step back to remember when Iran was as European as Europe, or that an autocracy does not necessarily reflect its people. We've forgotten how hundreds of thousands of Iranians risked their lives for the Green Revolution, long before the Arab Spring. There's more to Iran than Ayatollahs and Nuclear Weapons.
Iranian Cinema has always been one of the world's best, reflecting the country's incredible artistic heritage. This year saw Asghar Farhadi's A Separation take the much deserved Best Foreign Picture Oscar. Farhadi himself reminded us not to forget his people's shared humanity.
What's the last great love story you've seen on film? I don't mean your typical "rom-coms" with contrived meet-cutes that rely heavily on celebrity star power. I'm talking about a genuine romance between two richly defined characters. If your mind draws a blank, you're not alone. Hollywood, along with much of the filmmaking world, seems to have either forgotten how to portray love affairs in ways that once made us swoon. Whatever the reason, be it due to our changing times or priorities, we might not see any significant ones for some time.