We’re so used to big explosions and disasters when it comes to “end of the world” scenarios. We somehow prefer looking at the physical destruction of landmarks rather than acknowledging the real human tragedy behind it all. Maybe it’s because humans by nature are afraid of the inevitability of their own demise. Destruction is ok, but death is taboo. Go figure!

In Don McKellar‘s movie, we totally ignore what causes the end of the world. Humans are about to be wiped off the planet and there seem to be no hope of survival. People have been aware for months and now they only have a few hours left. Last Night is a movie about how humans cope with fear. The fear of dying alone, of still having unaccomplished dreams, of never seeing tomorrow. Continue Reading

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Takeshi Kitano’s fourth film is certainly a landmark in his career. While his two first were violent, stylish yakuza films and his third, A Scene at the Sea, was more calm, serene and dramatic, Sonatine combines the best of both genres. What is really exceptional in this yakuza film is the contrast between violent moments with the more poetic ones. Sonatine is a furious storm; in the middle of the movie, a lengthy segment represents the eye of the storm. Its conclusion is much more effective then, because we spent a long time really discovering the characters. Instead of emotionless killers, we develop a sincere attachment for them. The hour or so that is the middle part of the movie is in fact the calm before the storm, and once it is over, you can’t do anything but notice the damage. Continue Reading

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THE REVENGE OF THE NERDS

When Marvel announced Captain America as part of their pre-Avengers movie lineup, many people cringed, anticipating a self-indulgent piece of propaganda. Conscious of their hero’s bad reputation overseas, Marvel prudently tried to stay away from blatant flag-waving and make the conflict appear more global. Captain America is not a soldier for American imperialism, he’s just a geek standing up for himself. During one scene, a soldier asks the Captain if he wants to kill Nazis, he answers:

“I don’t want to kill anybody, I just don’t like bullies.”

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The opening scene of Kon Ichikawa’s 1983 gendai-geki (a contemporary drama), The Makioka Sisters, illustrates all the qualities and flaws the film have. After some exquisite shots of cherry trees in a raining day that best exemplifies Ichikawa and director of photography Kiyoshi Hasewaga beautiful compositions, we’re witnessing some argument between the sisters of the Makioka family. One of the women’s husband participate in the conversation, but like other male characters in the movie, he merely comments of the sisters actions, as they are the force that run the movie, and the family, forward. The problem with the scene is that it drags for quite some time, and, being unfamiliar with the relationship all these characters shares, it’s hard to feel emotionally invested. Continue Reading

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