A high tech thriller with plenty of tech and not enough thrills.
Seongyong Cho was born in Jeon-ju, South Korea. He did graduate work at the Korean Advanced Institute of Science
and Technology (KAIST) in Dae-jeon. His passion
for good movies continues its primitive rampage, which includes weekly pilgrimages
to the local multiplex. He started his blog in 2008 and writes nuumerous reviews. In the midst of that, he manages to find time for
books, music, exercise (usually treadmill and swimming), and corresponding
with other bloggers.
A young boy curious about his birth. A priest with the long past behind him. A countess who gets involved in a doomed affair and then trapped in an unhappy marriage. A count who commits cruelty out of frustrated love. A criminal who accidentally gets the chance of lifetime to change his social status. A vengeful society woman who manipulates others to anger the man she is obsessed with. They might look like the characters randomly selected from several different books, but they are all the denizens of one labyrinthine tale which slowly reveals how their lives are intertwined with each other more than we thought at first.
Streaming on Netflix Instant.
It is quite a long night for them. They have been going around the wide area for hours, but they have not yet found what they are looking for. The sky gets darker, and they become more bored, tired, and frustrated in the deepening darkness. The wind blows ominously, the reeds on the field are shaken by the wind, and they begin to reflect on themselves as the search is being fruitlessly continued in front of their eyes.
If you haven't heard about Stephen Glass, who was a former employee of the New Republic, you may think he is a nice lad who occasionally screws things up while you watch him at the beginning of "Shattered Glass" (2003). Sometimes it's not easy to be angry about him because he is so sweet and considerate to the people working with him. If it seems they find a problem or error caused by him, he quickly admits and apologizes to them while looking like he is nervous about whether they won't like him any more for that. He frequently asks to them as if he wanted to check that: "Are you mad at me?"
Streaming on Netflix Instant
When I watched "The Intouchables" (2011) at the local movie theater several months ago, I got a nagging dissatisfaction with that crowd-pleaser, which was about the warm friendship between a disabled man and a caregiver hired by him. The movie was surely a pleasant drama with two amiable lead performances, but I found it too mild and superficial; it merely loitered around thin stereotypes and worn-out clichés and it went no further than that.
Sometimes an actor's face tells so much about his character that the movie doesn't have to waste its time describing the character's past to us. Roger Michell's "Venus" (2006) doesn't tell us in details how famous its hero was as an actor, but that's not a problem because he is played by Peter O'Toole, a living legend who gave us a bunch of memorable larger-than-life characters including Henry II of England, Eli Cross, the 14th Earl of Gurney, Alan Swann, and, above all, Lawrence of Arabia. When we look at him in the movie, we instantly remember how magnificent he was, and that aspect is naturally incorporated into his character.
There have been many horror movies about deranged characters and their insane deeds which make most of us cringe. As a diligent moviegoer, I have frequently encountered such movies, and I found some of them were enjoyable while others were repellent. While I saw a sense of humor in that ruthless South Korean horror movie "I Saw the Devil" (2010), my eyeballs were rolling in disbelief and disgust in the case of a movie called "The Human Centipede" (2009) and its more atrocious sequel.
Watching Steven Spielberg's "Minority Report" (2002) again through Blu-ray made me muse on how much my life with movies has changed during the last 10 years. When I watched it with my father at one of the big movie theaters in my hometown on one summer day of 2002 July, we were not yet familiar with multiplex theaters, and I watched movies mainly through VHS while infrequently going to theaters. DVD was slowly attracting my attention and I eventually bought a DVD-ROM drive for my computer in 2002 October. And I was not particularly interested in downloading movies from Internet; why do I have to watch movies in my small dorm room when I can enjoy them at big theaters?
You may find it disturbing to see audiences laughing while watching "The Exorcist"(1973), but you will probably not see any problem in having some laugh with "Rosemary’s Baby" (1968). It goes without saying that they are two of the most chilling modern horror films, but, while the former unsettles us with its utmost solemnness parodied many times since it came out, the latter has a spooky sense of humor immune to parodies. How can you make an effective parody to undermine a horror film if it already has a devilish tongue slyly placed on its dark cheek?
When Jeremy Irons won an Oscar for his icy but humorous performance in "Reversal of Fortune" (1990), he thanked David Cronenberg at the end of his acceptance speech. He had a very good reason; in Cronenberg's unforgettable medical drama "Dead Ringers" (1988), he gave a stunning performance, or a pair of stunning performances, as the peculiar but prodigious twin gynecologists who are threatened by real emotions and then plunged into the self-destructive chaos where the only exit for them may be becoming one again, as they were conceived at first in their mother's womb.
When I watched a film directed by François Truffaut for the first time during one Sunday afternoon in 2008, I had a little expectation about the movie, which was shown on TV as "Pocket Money." Although I was already familiar with many of Truffaut's famous works including "The 400 Blows" (1959) or "Day for Night" (1973), I had not heard about the title, and nor did I know that its alternative title in North America region was "Small Change." Funny thing is, I remember that alternative title very well because Roger Ebert said in the introduction to one part of his book Awake in the Dark that he still could not explain how he came to choose "Small Change" as the best film of 1976 instead of "Taxi Driver" (1976), which he placed on No. 2 on his annual list.