Warrior

What might be a cheesy storyline ends up in a presentation that embodies the complexity of manhood, brotherhood, and father-and-son relationship. Gavin O’Connor’s Warrior introduces us to three men bound and separated by emotional scars.

Nick Nolte as the father – in an Oscar-worthy performance – has a hole in his life he has no idea how to fill. He’s a recovering alcoholic trying to regain a grip in his life, but long lost son Tommy suddenly knocks on his door. As Tommy, Tom Hardy is pitch perfect. The self-imprisonment out of repressed guilt, the unleashing of hidden rage in every deadly jab of his hands, and the complicated love he cannot express to his father and brother – it all come together in Tom Hardy’s staggering interpretation of this well-carved character. The sympathetic physics teacher who desperately fights for his family is greatly portrayed by Joel Edgerton.

It’s quite a struggle to understand Warrior at its first half. Rather than simply explaining the story, the script chooses to let us peel every layer of it and its characters step by step. Towards the end, it’s a tour-de-force of brutal MMA (Mixed Martial Arts) showdowns and emotional breakdowns. Warrior makes us thrilled with every punch dan kick, and stirs our emotion deeply at the same time. It is not easy to choose who to side with at the final battle – a fighting sequence that is both scary and tearjerking between the one who fights for honor and redemption, and the one who fights in the name of family. Warrior is a brutal mix of action and emotion, and another milestone in filmmaking. (Ve Handojo)

2011, USA. PG-13. Drama, Action, Sport. Director: Gavin O’Connor. Writers: Gavin O’Connor, Anthony Tambakis, Cliff Dorfman. Cast: Tom Hardy, Joel Edgerton, Nick Nolte, Jennifer Morrison, Frank Grillo.

 

Midnight in Paris

Is the grass really greener on the other side? Or, in this case, on the days of yore?

Midnight in Paris explores this in a charming, alluring, and wonderfully surreal manner. Gil Pender (Owen Wilson), an accomplished yet conflicted Hollywood screenwriter turned aspiring novelist, is in love with the city of Paris and his fiancée Inez (Rachel McAdams). The couple is vacationing in the city along with Inez’s wealthy parents. Disillusioned by the chance meeting with Inez’s pseudo-intellectual college friend Paul (Michael Sheen), Gil chooses to explore the city that he and his literary idols of the 1920s dearly admire and stroll around the city at midnight. The magical adventure that soon unravels will lead him to a ‘perplexing situation’ and change his life.

That much can be said without giving away the storyline too much. However, consider this: Midnight in Paris is not for everyone. Arts and literature enthusiast, most likely of a certain age, will obviously appreciate it the most, but that’s not to say they are the only ones who can enjoy it. The beautiful shots of The City of Light, accompanied with the soothing, delightful music of Cole Porter and Sidney Bechet, and the sheer contagious excitement of Gil discovering his dreams unfolding before his eyes (to which Owen Wilson deserves credit for keeping the film’s romantically nostalgic tone very much intact) are enough to lure anyone. If that’s not enough, surely the dazzling Marion Cottilard will clinch it.

Most of all, though, literature enthusiast or not, one should be able to relate to some degree to the main premise: is the past really better than the ‘dull’ present? Woody Allen certainly relates to it. Throughout the film you can’t help but notice that this is the director’s own attempt at answering the question; and that Gil is Allen himself. Perhaps that’s why the film feels so earnest and unassuming. We tend to produce our most heartfelt work when we seek for answers.

Finally, Midnight in Paris is uplifting as it is enchanting. It does not set out to convince us that the present is better than the past because 2010 is better than the 1920s, or that the 1920s is better than 1890s and the Renaissance. The present is better because we occupy it. Gil shows us that if your heart is in the right place, your feet will lead you to it … quite literally. (Ghian Tjandaputra Muhammad)

PG-13. 94 min. Comedy, Fantasy, Romance. 2011, USA. Director/writer: Woody Allen. Cast: Kathy Bates, Adrien Brody, Carla Bruni, Marion Cottilard, Rachel McAdams, Michael Sheen, Owen Wilson.

 

Colombiana

Little Cataleya watched her parents murdered by a gang a bad guy. She escaped the scene in a parkour style, found her way to meet her uncle, then made a firm decision to learn how to kill. She grew to become a beautiful killing machine with a dash of vulnerability. While being so, Cataleya (and the movie) has a few spare time to help Michael Vartan appearing on the big screen again.

It seems like this straightforward revenge plot was made especially for Zoe Saldana. The plus point is Colombiana does not merely exploits Saldana’s snake-like body. Yes, those action sequences display acrobatics that celebrate Saldana’s flexibility. But the script also gives rooms for audience to clearly understand Cataleya’s character and what has made her become who she is in the movie. And, the story owes Amandla Stenberg a lot for her beautiful and engaging performance as Little Cataleya.

Surely we would root for Cataleya. The thing is, she is almost a superhero with some moments of emotional breakdown. And the villain is just some trigger happy bad guy who is not developed as a threatening menace. Luckily, the hand combat climax works to give the audience more thrills. What happens with Cataleya after the mission is completed? I wouldn’t mind seeing her in a sequel. (Ve Handojo)

2011, USA, France. Action, Drama. Director: Olivier Megaton. Writers: Luc Besson, Robert Mark Kamen. Cast: Zoe Saldana, Amandla Stenberg, Jordi Mollà, Cliff Curtis, Michael Vartan.

Conan the Barbarian

Graphic violence and sexual perversion decorate a thin storyline that reach an anticlimax. At fade-in, the story promises a barbarian Sauron as the super villain. Then, it tells  the birth – quite literally – of a Cimmerian warrior. Next is the usual revenge plot stolen from old you-kill-my-father kung-fu movies. As Little Conan grows to become a the Queen of Muscle Merries, our villain is traveling from one village to another with his circus monkey, a.k.a. daughter, on the quest to finding Jim Carrey’s Mask.

Surely we can tolerate the absence of real story in this kind of movie. Conan the Barbarian becomes a mere showcase for Jason Momoa’s mighty packs. The violence, no matter how graphic, shows nothing new. I mean, it’s eight years after Kill Bill Vol. 1, and Conan’s still softer than Beatrix Kiddo? Let us see those chopped hands and legs, and rolling heads popping out of the screen, Barbarian! Stop with the mushy mushy with that pure blood virgin monk, and go learn from the Inglourious Basterds to slay some bad guys!

A hero is defined by his own nemesis. In the case of Conan, his arch-nemesis is already a loser who fails to fulfill his “destiny”. He becomes too easy to defeat, and Conan’s final quest is how to get that virgin out of – once again – a crumbling down cave that doesn’t look convincing at all. Conan’s real talent remains untested, thus making him a Barbarian that still needs to prove himself. I doubt I will give him a chance, though. (Ve Handojo)

2011, USA. Action, Adventure, Fantasy. Director: Marcus Nispel. Writers: Thomas Dean Donnelly, Joshua Oppenheimer. Cast: Jason Momoa, Stephen Lang, Rachel Nichols, Ron Perlman, Rose McGowan.

Final Destination 5

Without the 3D, Final Destination 5 is nothing but a stale follow-up that unnecessarily tries to become smart by offering a so-called twist in the end. The story is … oh, who am I kidding? You know the drill. A premonition, a major accident, then a bunch of young, bad actors and actresses murdered by death itself one by one.

At the mid-point of the movie, Sam Lawton (Nicholas D’Agosto) discovers that there might be a way to double cheat death. Surely we and Tony Todd as William “The Coroner” Bludworth know that this is so not gonna happen. Final Destination 5 ends in a conflict between its main characters. Is this writer Eric Heisserer’s pitch to win the job? To give Death a rest and let the humans kill each other? Blasphemy to the franchise!

The deaths take place in hardly relatable setting and conditions: a Lasik surgery procedure (with an illogical climax!), a gymnast’s rehearsal, an acupuncture therapy, a factory, and a fancy restaurant’s kitchen. Final Destination 5 then keeps the audience in a safe distance from the story and freak incidents, but bring them closer again using the 3D presentation. Indeed, the pop-ups are fun! Having said that, I only can tell you that in terms of watching Final Destination 5, it’s either in RealD 3D, or in Don’t Bother to Come Cineplex. (Ve Handojo)

2011, USA. Horror, thriller. Director: Steven Quale. Writers: Eric Heisserer and Jeffrey Reddick. Cast: Nicholas D’Agosto, Emma Bell, Miles Fisher, Ellen Wroe, Jacqueline MacInnes Wood, PJ Byrne, Arlen Escarpeta, David Koechner, Courtney B. Vance, Tony Todd.

Good Neighbours

A serial killer is on the loose. A woman is obsessed with the case. A new guy arrives in a suburban apartment building. A paralyzed man acts strangely. A pouty-mouthed, cat hater neighbor is asking for it.

Those were pieces of puzzle offered by Jacob Tierney’s script and directing for the first half of Good Neighbours. As each character is peeled layer by layer, the pieces of puzzle start to form a big picture. The seemingly peaceful apartment building managed by Madame Gauthier is not as innocent as outsiders may think. Louise (Emily Hampshire – what a solid performance!) and her curious cats are not that afraid to the quietly impending terror. Victor (Jay “Annoying” Baruchel) has another motif behind his friendliness and chivalry towards Louise. Spencer (Scott “No More than Eye-Candy” Speedman) keeps another secret that even the trailer of Good Neighbours has revealed.

Good Neighbours really takes time to build the tension. What we first might think as just another serial killer movie turns into a drama, a suspense, and finally ends in a clever twist. The character-based crime story really gets more and more interesting by the minute without fully using a whodunnit formula. The beauty of Good Neighbours lies in its simplicity to present a new approach on a thriller that studies human relationship. A very nice idea from Montreal! (Ve Handojo)

2010, Canada. Crime, Comedy, Thriller. Director: Jacob Tierney. Writers: Jacob Tierney (screenplay), Chrystine Brouillet (novel). Cast: Emily Hampshire, Jay Baruchel, Scott Speedman.

Rise of the Planet of the Apes

After Tim Burton’s Planet of the Apes (2001), it is only fair for us to question Rise of the Planet of the Apes. Adding to the doubt is the no-household name in the director’s chair. Rupert Wyatt had only made two feature films before, and only IMDb.com that remembers the titles. And then, they just had to pick a long title with double “of”s and “the”s.

Rise of the Planet of the Apes serves as a prequel to the many versions of Planet of the Apes. Set in Planet Earth, the story revolves around a young genetic scientist Will Rodman (James Franco) whose crusade of finding the cure for Alzheimer is fueled by his own father’s condition – played excellently by John Lihtgow. While the many attempts face a lot of questions, Rodman found himself fostering a baby ape he named Caesar. Who else could play an animal or creature better than Andy Serkis? With his facial expression, Serkis not only injects actions to this movie, but most importantly emotions.

The script, penned by Rick Jaffa and Amanda Silver, moves at a glacial pace. Every line is written to move Rodman’s plot and Caesar’s character development. Before we know it, we’ll fall in love with Caesar, and we care less and less about Rodman or his girlfriend Caroline (Freida Pinto). The speed of the storytelling will leave you breathless. Patrick Doyle’s brutal original score gives extra tension at every twist and turn. The plot moves so fast without leaving any loopholes. The flawless special effects are more focused to give Caesar and the other apes character developments rather than mere physical actions.

The story culminates in a battle sequence that is both terrifying and emotionally gripping. Rise of the Planet of the Apes could have been perfect ten had it not been flawed by Draco Malfoy. I mean Tom Felton. No, I really mean Draco Malfoy. Anyway, the other non-apes are also not that interesting to see. The show belongs to Caesar and the apes alone – something that was not achieved by Tim Burton’s Planet of the Apes (2001). Rupert Wyatt has excelled in making believe, and presenting a blend of science fiction, action, thriller, and strong drama. Rise of Planet of the Apes is indeed an accomplished presentation! (Ve Handojo)

2011, USA. Action, Sci-Fi, Drama. Director: Rupert Wyatt. Writers: Rick Jaffa, Amanda Silver. Cast: James Franco, Andy Serkis, Freida Pinto, John Lithgow, Brian Cox, Draco Malfoy. Or, Tom Felton. No, it’s Draco Malfoy, really!

Captain America: The First Avenger

Had it not been for the stellar supporting cast, Captain America: The First Avenger was a mere cartoon hero movie. Polished comic visuals, blatant characterization of the main hero and villain, and posing pawns of a plot are the movie has to offer. But, at least there were enough screen time for Stanley Tucci, Toby Jones, and Tommy Lee Jones. Otherwise, Chris Evans himself would not be able to carry the story.

Evans is Steve Rogers, a paper-thin character – pun intended. All he wants is to join the army to fight for Uncle Sam. Yet, he doesn’t have the muscle. Enter Tuccy as the good mentor Dr. Erskine who offers him, and the movie, some steroid boost. It is still not easy for Rogers after he gets the good look. Meanwhile, Hugo Weaving as Johann Schmidt plots a mission to put the whole world to an end – for whatever motif that turns his head red. Armed with inventions and technologies provided by Howard Stark (Tony “Iron Man” Stark’s father, played by the charming Dominic Cooper) inventions, Steve Rogers become Captain America.

The gimmicky 3D feature has a few popping-up moments. Captain America: The First Avenger feels like it was made solely to become one of the many build-ups to the highly anticipated The Avengers. Maybe that’s why the best part of Captain America: The First Avenger is actually that teaser at the tail of the end credit roll. (Ve Handojo)

2011, USA. Action, Adventure. Director: Joe Johnston. Writers: Christopher Markus, Stephen McFeely. Cast: Chris Evans, Hugo Weaving, Hayley Atwell, Tommy Lee Jones, Toby Jones, Dominic Cooper, Stanley Tucci.

Tendangan dari Langit

Awalnya, Tendangan dari Langit tampil sebagai sebuah cerita tentang hubungan antara ayah dengan masa lalu yang pahit dan anak dengan harapan akan masa depan yang cerah. Namun, kisah yang dibawakan dengan sangat natural oleh Yosie Kristanto sebagai Wahyu dan Sujiwo Tejo sebagai ayahnya itu segera mencapai puncak dramatisnya dan konflik pun selesai di babak awal film ini. Timbullah konflik baru dalam hidup Wahyu; harus memilih antara sepak bola atau pacarnya di sekolah, Indah (Maudy Ayunda). Ini pun segera selesai dan langsung dilanjutkan dengan permasalahan baru yang tampaknya lebih berat. Sekali lagi, masalah besar yang timbul ini pun mencapai puncak dramatisnya, lantas kelar dengan satu adegan pijat-memijat. Akhirnya, Tendangan dari Langit pun kembali ke fitrahnya sebagai “a zero-to-hero story” yang dituntaskan di sebuah stadion sepak bola.

Cerita yang melewati banyak kurva itu dijejali dengan banyak pesan yang disampaikan dengan gamblang, terutama ketika ayah Wahyu sudah berdamai dengan anaknya lantas mengalihkan gerutunya kepada negara dan persepakbolaan nasional. Di setiap puncak dramatis selalu ada momen menyentuh yang berhasil memeras air mata penonton. Sambil semua itu berlalu, Yosie Kristanto tetap berhasil menjadi seorang Wahyu yang simpatik dan memikat perhatian kita sepenuhnya. Kepolosan dan ketulusannya menjadi hati dalam film ini. Selain itu, siapa yang sanggup menolak indahnya pemandangan Bromo yang disuguhkan lewat mata kamera Faozan Rizal?

Kehadiran tokoh-tokoh nyata persepakbolaan Indonesia semacam Irfan Bachdim, Kim Kurniawan, Coach Timo dan Mathias Ibo memang efektif untuk menarik lebih banyak penonton. Untunglah, skenario yang ditangani Fajar Nugros dan Hanung Bramantyo sendiri memang memberikan mereka semua peran yang penting dalam cerita sehingga, walau akting mereka tidak gemilang, mereka bukan sekedar hiasan di layar lebar. Penonton yang cukup sensitif bisa menangkap pencitraan yang dilakukan terhadap mereka semua, namun hal tersebut tidak merusak cerita secara utuh, malah melengkapi.

Sementara itu, sebagai pendatang baru, Yosie Krisanto sangat beruntung bisa bekerja sama dengan Agus Kuncoro yang demikian baik membawakan perannya sebagai seorang paman yang oportunis, Yati Surachman yang walaupun perannya hanya menjadi latar belakang keluarga saja namun tetap memikat, YM Tarzan sebagai Kepala Sekolah yang komikal, serta Sujiwo Tejo yang berhasil menjadi figur ayah yang kasar, pahit, namun tetap menyayangi anaknya.

Tendangan dari Langit bagaikan sebuah pertandingan sepak bola yang menggemaskan karena banyak sekali usaha mencetak gol yang gagal – dari satu konflik ke konflik lainnya – sebelum akhirnya terjadi sebuah gol yang indah. Semoga ini bukan satu-satunya gol yang dicetak oleh Yosie Krisanto dalam industri perfilman kita. Tidak berlebihan kalau kita ingin melihat penampilannya lagi dalam sebuah sekuel. (Ve Handojo)

2011, Indonesia. Drama. Director: Hanung Bramantyo. Writers: Fajar Nugros, Hanung Bramantyo. Cast: Yosie Kristanto, Agus Kuncoro, Sujiwo Tejo, Yati Surachman, YM Tarzan, Maudy Ayunda, Joshua Suherman, Jordi Onsu, and Coach Timo, Mathias Ibo, Irfan Bachdim, Kim Kurniawan.

Menikmati Cinta di Bawah Lindungan Ka’bah

Kalau saja saya menonton film Di Bawah Lindungan Ka’bah tanpa beberapa prakondisi tertentu, mungkin saya sudah meninggalkan film tersebut di menit ketiga. Kalau saja saya sudah pernah membaca buku karya Buya Hamka yang katanya menjadi landasan film tersebut, mungkin tulisan ini akan terbentuk dalam kerangka perbandingan antara buku dan film. Namun, di dalam salah satu auditorium blitzmegaplex Grand Indonesia itu, saya duduk sebagai seorang penonton yang tidak memiliki niat atau modal untuk membanding-bandingkan antara “apel” dan “jeruk”, serta sudah bersiap untuk memaklumkan kemunculan produk dan merk abad 21 di film berlatar belakang tahun 1919-1927 itu.

Dengan prakondisi demikian, saya memilih untuk menikmati perjalanan cinta antara Hamid (Herjunot Ali) dan Zaenab (Laudya Cynthia Bella) di sebuah desa yang memegang teguh nilai-nilai agama Islam – kebanyakan secara konservatif. Seperti film karya sutradara Hanny Saputra lainnya, Di Bawah Lindungan Ka’bah diawali dengan banyaknya adegan manis dan indah antara dua karakter utamanya. (Mungkin bukan produk makanan cokelat, kacang dan obat pengusir nyamuk yang seharusnya menjadi sponsor film ini, melainkan produk anti-diabetes.) Dengan berbagai jurus, saya diyakinkan oleh gambar dan suara bahwa Hamid dan Zaenab memang seharusnya bersatu jadi pasangan yang bakal hidup bahagia selama-lamanya.

Film mulai diramaikan dengan hadirnya karakter lain yang menjadi saingan Hamid dalam masalah percintaan ini. Untungnya, skenario Titien Watimena dan Armantono memilih untuk tidak bercerita tentang cinta segitiga atau masalah lapuk perjodohan yang diatur oleh orang tua. Tema itu dibahas tipis-tipis saja dalam porsi yang pas. Ada juga isyu perbedaan kelas sosial antara Hamid dan Zaenab, namun hal itu pun tidak ditelusuri dan digali habis-habisan. Dengan bahasa gambar dan sedikit dialog saja masalah itu sudah dipaparkan dengan efektif.

Konflik terbesar yang muncul adalah interpretasi hukum agama yang berbeda antara Hamid dengan sebagian besar tetua desa sehingga ia harus dibuang. Di sini film menjadi sangat menarik. Masalah ini dipaparkan dengan tenang, wajar, dan tidak berlebihan. Ekspresi Hamid dibawakan dengan baik oleh Herjunot Ali. Ia memendam emosi, menempatkan diri sebagai anak muda yang taat, dan memilih untuk meredakan konflik walau itu berarti ia harus meninggalkan Zaenab dan ibunya. Ada kesedihan yang ditahan-tahan di sini, yang nantinya akan meledak dengan luar biasa.

Berbagai tragedi yang terjadi kemudian berhasil memerah air mata penonton. Hubungan antara Hamid dengan ibunya yang sudah terbangun dengan sangat baik oleh skenario, penyutradaraan dan pemeranan oleh Herjunot Ali dan Jenny Rachman menjadi senjata utama untuk menutup Babak Kedua dengan sebuah adegan yang mengiris hati. Babak Ketiga semata-mata menutup cerita tragedi cinta ini dengan serangkaian adegan yang kuat secara visual.

Beberapa hal yang bisa membuat film ini lebih kuat adalah pemaparan latar belakang sosial budaya serta lokasi yang lebih jelas lagi. Film diberi teks Bahasa Inggris, namun saya ragu apakah penonton non-Indonesia dan non-Muslim – apalagi yang buta sama sekali tentang buku “Di Bawah Lindungan Ka’bah” – bisa mengerti latar belakang cerita yang berlokasi di Padang ini. Kenapa Ka’bah dan naik haji demikian penting buat seorang Hamid saya rasa perlu dijelaskan di dalam film sehingga penonton bisa memahami pilihan-pilihan hidup yang diambil oleh Hamid dan bobot adegan penutup film ini. Saya juga baru memahami posisi Hamid dan ibunya di keluarga Zaenab di sekitar menit kedua puluh sehingga masalah kesenjangan status sosial terlambat untuk dipaparkan.

Di Bawah Lindungan Ka’bah adalah sebuah kisah cinta yang digarap dengan daya, energi dan biaya yang tidak tanggung-tanggung. Saya pribadi sangat menghargai usaha ini. Sayangnya, biaya yang besar itu jadi mengundang masuknya sponsor yang ditampilkan dengan terlalu gamblang di sepanjang film. Hal ini sangat melukai film itu sendiri walaupun saya, sebagai penonton, memilih untuk tidak menghiraukannya. Tapi pada kenyataannya Di Bawah Lindungan Ka’bah jadi segera dinilai sebagai “film iklan” oleh banyak pihak. Menurut saya, dalam perkara ini semua sama-sama dirugikan: penonton, para pembuat film, pemasang iklan, serta yang terutama adalah film itu sendiri.

Sebagai seorang penonton yang belum membaca buku “Di Bawah Lindungan Ka’bah”, saya cukup beruntung karena pengalaman menonton saya tidak diwarnai dengan pembanding-bandingan antara buku dan film sehingga saya bisa menikmati cerita cinta yang hendak disampaikan oleh film ini. Sebagai penonton, kita juga bisa merasa dirugikan karena harus dipaksa melihat penempatan produk sponsor yang begitu buruk. Namun, sekali lagi, saya pribadi memilih untuk memaklumi semua itu saja demi memahami dan menikmati cinta di bawah lindungan Ka’bah. (Ve Handojo)

2011, Indonesia. Drama. Director: Hanny Saputra. Writers: Titien Wattimena, Armantono. Cast: Herjunot Ali, Laudya Cynthia Bella, Jenny Rachman, Didi Petet, Widyawati.