Woodsman

Watch Woodsman last night without much expectation; it stars Kevin Bacon whom somehow I didn't think much of, well. But his much restrained and brilliant performance as a former child molester newly released from jail after 12 years behind the bars won me over unconditionally. Without moving his body or raising his voice much, he reveals the inner struggles the character undergoes and the dark side he is trying to contain. Hip hop musician Dos Def is also surprisingly good as the cop who provokes and humiliates the ex-convict at every opportunity. His flamboyant performance blurs the boundary between good and evil, and also exposes the ridicule and complacency of the police force. All these of course wouldn't be possible without a refined script co-written by the first time director Nicole Kassel.

Un Poison Violent

Love like Poison is the English title for the directorial debut of Katell Quillevere, a 'natural director' to be reckoned with. Sad yet absolutely engaging and beautifully shot, the film is like a poem about the transformation from a childhood to adolescence. And yet like critic Sarah Marvel points out, the film continues a disturbing trend in French cinema in the exploitation of the young actress body.

The Limits of Control

Despite its Russian dolls structure and a sheer lack of interest in moving the story forwards, this Jim Jarmunsch's film is enigmatic and magnetic, thanks largely by the music scored by some of the best bands of the moment.

No country for old men

I have lost track of how long it had been on my to-watch list; so long I had forgotten why it was there in the first place. Now I know. Probably the best from the Coen Brothers yet, it is so gripping you can't bear to turn away from the screen for ever even when your heart is jumping out from your throat by the sheer horror and suspense. It is a great cinema: the pace is so leisurely, you are reminded of some of Hitchcock's best moments. You know you are being manipulated by two experts of suspense but you are willing to subject yourself to their masterful craft. Javier Bardem is given a total transformation by a weird hairdo, but it is his reincarnation as a single-minded psychopath killer that completed the transformation. This film seals his versatility. Indeed, it is 'an instant classic'.

127 Hours vs Shoot the Moon

Watched 127 Hours last night. Although I had read the reviews and was looking forward to it, nothing, it felt, had prepared me for one of the most gruesome scenes in cinema. To mitigate the sense of terror and shock, I had to quickly put on a family drama before attempting to go to bed to dispel some of its lingering images. That said, the film is extremely well-made and acted, and certainly a much better work than the director's another recent success Millennium Slumdog. Paradoxically, while the film is very uplifting and with a touching finale, I also find myself questioning the need of making such a (near documentary) film about the real life accident. But then while I covered my eyes at one or two of the scenes, I had never attempted to reach the remote control to press the 'stop' mode. Isn't it strange that we can both dread and yet continue the terrifying experience? Shoot the Moon, the film with a romantic cover on its DVD turned out to be the worst follow-up after 127 Hours: it brings another kind of horror and torture, that in the most intimate of human relationships. Despite its critical acclaims when it first came out, I didn't enjoy it at all. This was perhaps in no small part, due to the fact I was looking for an escape after 127 Hours.

The Artist

This is probably the best French film I have watched for a very long time: with a breath-taking performance from Jean Dujardin, the film about one of film industry's difficult periods - from silent to 'talkies', has an incredible soundtrack and never a dull moment. While it reminds me of many highlights in the silent era, it is also incredibly modern in its message and its understated way to express it: behind the romance and drama is also a film about change, the only constant, and how we humans cope with it. Hugo, another film based on the early period of the film industry, is however a mixed bag with many dramatic flaws and too philosophical junior protagonists. But I am glad I rummaged through it.

Elegy

Elegy has all the good signs of a great film: an intelligent script, witty conversations about feelings and commitment, great chemistry between its leads, impressive cinematography. The last quarter though seems to lose its steam and lose its direction. Otherwise it would have been in the same category of Closer.

Sandcastle

Shot within 18 days on shoestring budget, its rough and austere form reminds me of the early works from the Chinese Sixth Generation Directors. And like their best outputs, Sandcastle is audacious in its thematic matters. Although it leaves much to be said, the fact that it dares to touch upon such a taboo in Singapore - its recent history and the public discourse of it, is in itself touching. If more of such films are allowed to surface, we can see hope in its national cinema.

Extremely Loud and Incredibly Close

The opening sequences are a bit bland, as if it isn't quite sure where it is leading to. But my, this most unpredictable film is full of surprises and has touched me at the most unexpected moments. Thomas Horn is excellent as the boy who has a mission - to uncover the 'truth' his late father might have set him to. But the greatest moments are when Max von Sydow shines on the screen and he does so with his face and body only as the mysterious muted old man whose stories we can only guess at. And Sandra Bullock, I don't think she has given such a subdued yet brilliant performance ever since her Speed. The rest of the ensemble have also been more than adequate.

Jane Eyre

It must be a very popular item, for it took me a while to get hold of it from the library. And probably there was such rave reviews about its casting, I end up with a rather mixed feeling about it. Unlike numerous other adaptations, this 2011 version tells the story mainly with flashbacks, and also tries to bring an austere focus on the two leading characters by removing lots of minor details. There is also a striking gothic look to the film due to the audacious use of lighting. In this sense, the film breathes a fresh air to an beloved classic. The casting of Mia Wasikowaka as Jane is, as many observes, an inspired choice. Her relative young age and the unusual minimum make-up also makes her probably a lot closer to the character depicted in the book. What seems utterly shocking is there appears to be so little between Jane and Rochester to convince us that theirs is a true love that will draw Jane back to him after inheriting an unexpected fortune. And in addition, it is the first time that it dawns on me that Rochester is not only cold-hearted and cruel (he attacks nearly everybody around him), but we know literarily nothing about him: what he does while he is away, for example. This is rather weird: because while I can remember the dialogues between them, I cannot recall seeing him in such a light ever before. Is it my memory that is playing a trick on me or this particular adaptation has brought out those issues for the first time? Another shocking discovery was the film adaption whose soundtrack I remembered so well was actually made in 1970, not in the 1940s.

Smilla's sense of snow

This is one of the best finds in recent months. A strong and edgy heroine with a damaged enigmatic past who is determined to solve a murder case apparently too big and complicated for her delicate frame. And yet she forges on despite the threat of imprisonment and risk of life. Like The Girl with the Dragon Tattoo, the plot is near implausible, especially in the final thirty minutes, and yet it never fails to grip you with its build-up of atmosphere, the fine performance of Julia Ormond and her chemistry with the charismatic Gabriel Bryne in a mysterious role.

Drive

Drive is a difficult book. I could not quite follow its story and I found none of the characters engaging. I have bought the DVD film because of one thing: Ryan Gosling. And he hasn't disappointed. Actually, I was hooked the minute from the credit sequence: Cary Mulligan is in it. And the chemistry between her and Ryan is just brilliant. I still find the story a bit thin, but then the music, as well as the performance, creates a surreal world where such thing doesn't seem matter that much, at least when you are immersed in it anyway.

Mother

This Korean movie is, on the surface of it, about a mother's desperate efforts to prove the innocence of her retard son who has just been accused of murder. In the last ten to fifteen minutes however, it becomes an observation on human nature and what it can drive us to do in the name of love. 'Mother' gave a virtuous performance, especially in the closing sequence when she dances in the open field to the music only we can hear. It feels as if she is then completely free - beyond any moral boundaries. With this film, Boon Joon-ho proves once again his power in depicting the blurring of the conventional moral boundaries.

Raising Victor Vargas

It is so raw yet real and powerful, one can hardly believe it is made in America.

Midnight in Paris

Although I had already read some rave reviews before I could get hold of a copy of this film, I was still pleasantly surprised by how idiosyncratically amusing it actually is.

Irina Palm

Despite the tragedy and all the uncertainties until the very last minute, this is a hilariously funny film that keeps you stay tuned. A surprising cinematic triumph, much thanks to the subtle performance by its leading lady Marianne Faithful. Great chemistry between her and Miki Manojlovic, who also stars in one of my favourites, Underground.

Nina's tragedies

Made in 2003, this is a the most refreshing and rich in texture film I have ever watched in recent weeks. A real eye-opener.

Sopyonjie

It took enormous patience to sit through this slow pace film featured by regular and lengthy performance of a dying art form pansori. Accompanied only by a hint of drum, the traditional solo recital can sound rather monotonous, especially when the performer has to remain absolute passive throughout and voice becomes the only vehicle they can resort to. But despite the challenge to a foreign audience, it has a drawing power to keep you stay on to see what happens to those wanderers and guardians of a dying art. This is unexpected rewarded when the two siblings reunited briefly after years of separation and sat in the small rundown inn to perform the most challenging piece in their repertoire in great harmony and with repressed longing for each other. This is an exquisite film.

Down in the Valley

It made me realise why all the fuss about Evan Rachel Wood.

Half Nelson

Ryan Gosling gives a mesmerising performance as a drug-addicted school teacher in an inner city school. He makes the character so human that you just want to step in and pull him out from the mess he is so steep in. It is poignant that his 12 year old student seems to be the only one who cares enough to give him the help that the tough journey might need.