You’ll shed a tear or two—especially if you’re a parent—and they’ll be totally earned.
In the wake of the disappointing "Shutter Island", it's especially gratifying to look back at Christopher Nolan's feature film "Memento" (2001), an indie mystery starring Guy Pearce as a San Francisco man in Los Angeles suffering from anterograde amnesia, or short-term memory loss.
Recent years have seen the world's two most successful film directors in history do the unthinkable by tinkering with some of their most classic work.
First up George Lucas decided to update his original "Star Wars" trilogy, I imagine with the purpose of standardizing its look with the new three films he was working on at the time.
Post World War II British Cinema was one of the richest periods in film history. Finally free from budget and stylistic constraints saddled during wartime, some of the greatest filmmaking talent the filmdom had arisen. John and Roy Boulting, David Lean, Laurence Olivier, and Carol Reed were just a few of the notables whose directorial prowess had struck the scene. But a pair which was the period's most prolific was Michael Powell and Emeric Pressburger; The Archers.
"Breaking Away" is a movie about four working class friends from a college town who are better know as "The Cutters" a term for the stone quarry workers from town who never got to go to college, and how cycling becomes their unexpected ticket into bigger and better things.
It is populated with original characters who feel completely real, they all have their ambitions, their fears and their regrets which are hardly unlike ours. Each of their numerous idiosyncrasies only serve to make them all the more endearing.
"Wait until you see the rest of my forest," says Aisling, before she leads Brendan to the top of an oak tree. That remark by a guardian of the forest describes "Brendan and the Secret of Kells." This deceptively simple story of a young Irish monk has hidden dimensions beneath its lush, exuberant visuals. To praise its beauty alone becomes an understatement. Its beautifully realised storytelling is rich in symbols, analogies and themes, some obvious and others not so, that give weight and meaning to a seemingly uncomplicated story, set against a mixture of history, fantasy, reality and myth.
I remember the first time I watched "Bonnie and Clyde" like it was yesterday. I was seventeen years old and eager to broaden my knowledge in film. On weekends, I would go watch classic movies at my paternal uncles' who was a film buff himself. The only way to watch a movie uncut in Egypt was to purchase the video cassette from Europe or the USA and import it.
That is exactly what my uncle would do. His collection of UK video cassettes kept me busy for months. Every week I would visit him and we would watch one of Hollywood's classics together. It was there, at his living room filled with movie posters, that I was first introduced to such memorable characters as Norman Bates, Antoine Doinel, Tommy DeVito, Hal 9000 and of course Bonnie and Clyde.
Whether or not you believe that "Broken Embraces" is Pedro Almodόvar's best film, one thing cannot be denied: it's a film that so passionately celebrates cinema and the filmmaker's love for it.
Multiple stories frame a complex narrative in "Broken Embraces." Mr. Almodόvar trains his lens on Penélope Cruz, his muse. She plays Lena, a woman caught between passion and misery in the film, set in Madrid in the early 1990s and 2008. A film director (Lluís Homar) is blighted by the past while also recalling fond memories in the present as he hibernates in the afterglow of a vibrant affair with Lena, whom he directed during the nineties in a comedy. Back then he was Mateo Blanco. Now, in the early 21st century he is Harry Caine - a hurricane of regrets, mysteries and opportunities. There's Lena's husband Ernesto (José Luis Gόmez), a billionaire business magnate who has helped Lena pre-marriage and produces Blanco's film "Girls With Suitcases." Keeping Blanco in line and on schedule with the film is his agent Judit (Blanca Portillo), and that isn't an easy task.
After commenting on George Clooney as Hollywood star, and as star of the very excellent Jason Reitman film UP IN THE AIR, I decided to shift attention to a similar figure in Bollywood cinema: Aamir Khan. Aamir Khan is the star of the most successful Bollywood movie in history, the comedy THREE IDIOTS. Like Clooney (and perhaps Redford before him) he uses his star power to make serious movies, with the most famous being LAGAAN. Here, in MANGAL PANDEY: THE RISING we look at this story of one of the respected heroes of Indian cultural memory.
On the surface, the film continues the popular David vs. Goliath anti-imperialist genre we find in such films as THE TEN COMMANDMENTS, KING OF KINGS, LION OF THE DESERT, THE BATTLE FOR ALGIERS, some revisionist westerns like THE OUTLAW JOSEY WALES, the TV miniseries MASADA, BRAVEHEART,
I am a dreamer, a traveler, a student, a teacher, a friend, a stranger, an Asian, a Canadian, a daughter, a woman, a photographer, a model, an immigrant, a citizen, a writer...but these are all just labels, and they wouldn't begin to tell you why I have an infinite love for hole-in-the-wall bars and coffee shops and black & white everything, or why live music of any kind just captivates me, or how Chinese novels move me in a way so deep that I wish every person in the world could understand the language, or why I can never ever hold back a smile watching the sun rise on a different continent.
Traveling is a huge part of my life, as is writing. With a pen and a backpack, I've had some of the most memorable moments of my life at some of the most random corners around the world.
If traveling is how one experiences reality, then writing is how I weave my dreams. It has always been the most natural, intimate, and truest expression of myself. And we all just want to tell our own stories in this lifetime, don't we?
It's like breathing, and as clichéd as that sounds, how can you explain why you need to breathe?
The Oscar nominees have been announced, now cinephiles everywhere have begun nitpicking amongst the nominations. Some will note those that should have and shouldn't have been nominated, but one almost criminal omission from the Best Animated Film category was the absence of PONYO, Hayao Miyazaki's latest work for Studio Ghibli.
In terms of filmmaking mastery, one can mention the name Miyazaki in the same breath as Spielberg or Scorsese. His works are beloved by animators, audiences, and critics around the world.