W.

MPAA Rating: PG-13 for language including sexual references, some alcohol abuse, smoking and brief disturbing war images.
Run time: 129 min

Oliver visit his most favorite subject: politics and controversy, but making a film about a President whose approval rating can only be match by Nixon is very risky. No need to say about the story but what really bugs me is, does Oliver have a least try to interview the real Bush for this film? or he just take liberty to inject his own opinion? And how many expert did he consult to make this film, well, believable since several scenes are not believable at all, it is borderline dark comedy with absurdity tone. In two hours we are served with the life of George W. Bush from his youth up to the invasion of Iraq and the viewers got a peek on how the administration "work" although not as deep as West Wing and it looks like only analyzing the surface.

Dick Cheney looks like Rasputin, whispering doomsday scenarios to W. and in a scene featuring a huge background of middle east map, he looks like one of James Bond villain (or Darth Vader) trying to conquer the world. Thandie Newton deliver Condoleeza Rice as a "yes Mr. President" female secretary of state and Colin Powell is the only voice of reason who quietly against the policy of Mr. Bush. While Bush Sr is portrayed more sympathetically.

What about Josh Brolin as W.? He looks good and believable although it is laughable that he play young Bush and his physical feature could be more enhanced by prosthetic make up instead of graying his hair.

Oliver Stone deliver Bush as a boy trapped in daddy issues, booze addiction, insecurities and sibling rivalry in a non-linear story telling. Although he is born with a silver spoon but Bush continue to fight the devil inside him. As he rose to Presidency he sees things as black and white and unfortunately he is surrounded by people who have their own agenda.

What comes as disappointment is that there is no mentioning on the controversial election in 2000, hurricane Katrina, Patriot Act, Abu Ghraib incident or how Bush react after the 9/11, Oliver only focus at Iraq. Oliver should have extended the film 60 more minutes so the film could get deeper, just like Nixon, instead of doing that he just show the viewer the "surface" of the administration.

After the film end, you might wonder, how come this guy ever elected as President twice? Well borrowing a line from Slumdog Millionaire; "Perhaps it is written".

THE READER

MPAA Rating: R for some scenes of sexuality and nudity.
Runtime: 124 min


After seeing this film, I conclude, the book must have been a very good one since the film is really worth seeing. I think there are two kind of people wanting to see this film, the one who want to see an Oscar nominated film with ethical complexities, and the one who wanted to enjoy some thought provoking soft porn (as if such genre ever exist).

As always, Nazi related movies are abundant throughout the ages but this one dwelve deeper into the consciousness. This film is not an excuse but a disturbing question whether a hideous crime could be redeemed and whether a single information that can make one of the perpetrators got a light sentence is justified morally. Yes it is a very complex thing I received from this film and I think for Germans, this film is really important. I even think that this film should be in German, to give a more authentic look.

The lead character, Michael Berg (Ralph Fiennes as an adult; David Kross as a teenager) has his first meeting with Hanna Schmitz (Kate Winslet) in West Berlin in 1958. At the beginning it was just another love affair that lasted in the summer, the Last Tango in Paris kind of affair and director Stephen Daldry doesn't shy on parading nude scenes. During their so called affair, Michael reads passages of literature to her. Then Hannah vanishes only to appear later after Michael is a law student in the university with a shocking revelation: Hanna was an SS guard in Auschwitz and Michael has a piece of information that could make Hanna's sentence in the court lighter.

But revealing that, would mean revealing that Michael had an affair, would he do that? Especially after he knows what crime Hanna has done. The emotional breakdown creates a deep moral dilemma and obsessive conflict for Michael in years to come. The adult Michael sentence himself in loneliness and introversion. One cannot be wrong to guess that the adult Michael still root for Hanna but her crimes complicates the matter. Kate Winslet once again show an Oscar worthy performance and the not so known beyond Germany David Kross surely has talent.

SLUMDOG MILLIONAIRE

MPAA Rating: R for some violence, disturbing images and language.
Run time: 120 min

The five stars review and accolades of awards for this film turns me on. I expect some sort of magic or some reviewer said "triumph" of cinema. And Slumdog triumph at Oscar too with 10 nominations, so I am thrilled before I see it. I expect some kind of Atonement, Gandhi, Gladiator, Crash or even No Country for Old Men. So, good reviews with tons of awards seems a fine turn on right?

It turns out for me that Slumdog wasn't as triumphant as I thought it would be (three stars is enough for this film). It is okay but it is not as thought provoking as Revolutionary Road or as tight gripping as Frost/Nixon, even as melancholic as Benjamin Button. In fact, in general it looks cheesy and and well, wafer thin.

I wonder why reviewers in the states are so head over heels for this film, as for me, the praise is just too much. Perhaps it is cultural differences. For people who lived in Europe or United States, seeing some third world country slum with densely populated housing, rotten sewage and dirty streets plus the people inside it is something exotic or unique. As for me, the one who lives in Indonesia, such slums is reality I see and smell everyday, so there's nothing special about it. It is not that I didn't sympathize with slums but if you seen it everyday, then it is not special at all. This is added by the fact that I have seen countless Bollywood films, so the name of Anil Kapoor and Amitabh Bhachan is nothing strange to my ears, even the dance sequence is very familiar (and expected) to me.

Sure, some scenes are breathless but even from the first minute, I already know that Slumdog will end in a happy manner since hints are almost everywhere. Not much of a surprise eh?

Jamal is an orphan from the slums of Mumbai who is born into a brutal world and he has to survive all by his own by improvising almost anything. He is an Indian Oliver Twist, high-spirited and see life as something optimistic.

Played as a teenager by Dev Patel, Jamal is the contestant of Indian version of Who Wants to be A Millionaire? It turns out that he can answer all of the questions. Of course, the anchor of the show (the famous Anil Kapoor) suspect Jamal of cheating, throws him into the hands of brutal cops.

The cops interrogating him badly and by a series of flashbacks, we know why he can answer the question correctly, it is from his life experience. Oh yeah, have I forgot to mention that Jamal is desperately wants to see a girl he has known since he was a child? That one has predictability rate of 10 out of 10.

Somehow I am startled by the fact that this film was made by the same director who use to tell stories about decapitating zombies. But he's also the one who made Millions so bizarre amount of cheesiness is predictable.

As for me, it is an okay film, not award material but something that can make you smile as an escape, but it doesn't make you think hard about the meaning of life since it is just some Indian Oliver Twist tale where in the end, the boy gets the girl. Add extra 60 minutes and another 5 songs and dances, than it is just another Bollywood movie. Oh have I mention that I have seen so many Bollywood films?

THE CURIOUS CASE OF BENJAMIN BUTTON

MPAA Rating: PG-13 for brief war violence, sexual content, language and smoking.
Runtime: 166 min

David Fincher is no stranger to labyrinth of darkness, from Zodiac to Fight Club, now he embarks on a lighter and epic side of labyrinth, the life journey of a man.
Viewing the nature of life through a reversed lens gives us another point of view. Perhaps by looking at life in backwards, at least in physical appearance, we might have a better understanding on happiness and the strength to let go.

This film is certainly curious and live up to its promises, Brad Pitt as Benjamin Button, a man who was born under unusual circumstances. He was born in 1918 as an old man - the size of a baby but afflicted with all of the problems of the aged while life around him is progressing naturally. The birth kills Benjamin's mother and, unable to cope with his son's monstrous appearance, Thomas Button (Jason Flemyng) abandons him to be taken care by Queenie (Taraji P. Henson), a nurse at New Orleans nursing home. As time goes by, Benjamin grows younger and met Daisy (Elle Fanning as Daisy at age 6 and Madisen Beaty as Daisy age 11 and Cate Blanchett in the older years).

Benjamin also become a witness of many historical events including World War II. Although unlike Forrest Gump who had to met extraordinary events, Benjamin, on the other hand, is an extraordinary man who experiences ordinary events that most could relate to, like falling in love and letting go some burden of life. As he grows younger, Benjamin grows into Brad we all know from media, the Brad from Troy until the younger Brad from Thelma and Louise.

But although it has Big Fish type of story and a very magnificent production value, at certain point in the film the audience felt unattached to the life of Benjamin. It was as if Benjamin was only a mere observer without any active role. Or perhaps this is what David Fincher wanted us to feel, we are observer of our passage, left to the mercy of fate and chaos theory.

With running time that can make you want to run to the toilet, remarkably, this film doesn't bore at all, it can keep the pace and entertaining. You just cannot help being melancholic and uplifted after the credits rolled and for some, the story is simply mesmerizing and worthy to watch.

In the end, we can absorb something grand and epic this film try to tell us, that life shouldn't be measured by wrinkles on our face but by moments that defines us as a man.

REVOLUTIONARY ROAD

How do you break free without breaking apart?

MPAA Rating: R for language and some sexual content/nudity.
Run time: 119 min

We already have a peek on American suburbia in Little Children and Oscar winning American Beauty, but this film gives a new meaning of hell in suburbia of the 50s, hell defined as loveless marriage and superficial society.

Although after watching this you might feel slightly depressed and sympathize with the suffering of marriage people. The acting and narrative story telling is brilliant, after all this is the first reunion of Leonardo DiCaprio and Kate Winslet since Titanic (1997). And somehow, it deserves all fancy nomination in the upcoming Golden Globe or even Oscar.

Frank (Leonardo DiCaprio) and April Wheeler (Kate Winslet) met in a party and married ever since. But two beautiful kids, a nice home, 9-5 jobs and friendly (but sometimes superficial) neighbor wasn't enough for them. They do not know what they want in life and still figuring out what real happiness is. There's the hollowness and hopelessness that cannot be defined and at one point, it seems the plan for the Wheelers to move to Paris seem a good idea for escaping the boredom and hell of suburban life.

It was April who convinces Frank to move to Paris after she got a poor review for her performance in a local production and see the signs that her youthful dreams seem to fade away, Paris is seen as a necessary escape.

In the meantime, to kill the boredom, Frank has an affair with a secretary and April has a one night stand with her neighbor. All those boredom and repressed feeling exploded as April suddenly pregnant with the third child, in a violent verbal fight, everything went loose cannon. Not only that ruin the plan to go to Paris but a promotion for Frank in his job also play a major role.

To make matters more interesting, none of the neighbors actually understand the hopelessness and unhappiness of the Wheelers, only a mentally ill man named John Givings (Michael Shannon), the grown son of the Wheelers' real estate agent, Helen (Kathy Bates) seem to understand, with cruel words and merciless judgment, the severity of the Wheeler's zero fantasy marriage. I have to say, even the performance of Michael Shannon deserves another nomination for this film and I wouldn't be surprised if Leo and Kate also get one, they surely has mature a lot since Titanic.

In a shocking end, some single men/women might re-think their plan of getting married after seeing this film. Revolutionary Road is mesmerizing, disturbing, intelligent, a bit depressing for single people, thought-provoking and a triumph for superficiality of suburban life that gives you the taste of harsh reality.

VICKY CRISTINA BARCELONA

MPAA Rating: PG-13 for mature thematic material involving sexuality, and smoking.
Runtime: 96 min

This is threesome love story according to Woody Allen which still maintain his style, the same font used in the opening scene is the same in almost all his movie, and the cast name is being put in alphabetical order.

In this film, we meet two best friends, Vicky (Rebecca Hall) and Cristina (Scarlett Johansson), who decide to spend summer in the city of Barcelona, Spain, thus explaining the title easily.

By some weird narration, we know that Vicky engaged to Doug (Chris Messina) when she returns to New York while Cristina is more impulsive and has childlike quality that will make your eyebrows met in the middle of your forehead.

In the middle there's the Spanish cassanova, Juan Antonio (Javier Bardem), an abstract painter who had a tumutltuous scandal with Maria Elena (Penelope Cruz). As some 17 year old with raging hormones could predict, these people are enganged in a web of love, one night stand, threesome acts, lustful violence and despair to a level where you start to question the level of stupidity.

Not that this film is stupid, it is just that the degree of impulsiveness (is there such thing like that?) is beyond belief but also realistic, makes you wonder that for love, people will do anything and for this film, it is just weird. This is not as good as Annie Hall or Match Point but still can make you ponder about the nature of love and despair.

Like most Woody's work, it is hard to categorize this film as a romantic one, since it is also funny in a weird way, although not as funny as Scoop. Seeing this film makes you feel as if it is some hidden tourism promotion for Barcelona. I can't blame that, the scenery and building is very beautiful.

FROST/NIXON

MPAA Rating: R for some language.
Run time: 122 min

As boxing fan, this film remind me of Ali vs Frazier, Rumble in the Jungle where the participant exchanging verbal jabs, powered with extreme close ups.

Ron Howard's Frost/Nixon is a dramatized version of the famous 1977 interview where David Frost corner Richard Nixon, a thing not even any inquisitor could ever do at that time. Who is David Frost? He is not the 70s version of Dan Rather or Walter Cronkite, only a talk show host who interview celebrities.

But success in America is unlike success anywhere else. So David Frost (Michael Sheen) try his luck by offering Nixon (Frank Langella) $600,000 from his own pocket to conduct a "no holds barred" interview in California, years after Nixon resigned.

The beginning wasn't look nice for Frost, Nixon can return the jabs while Frost's team, an experienced TV newsman, Bob Zelnick (Oliver Platt) and a researcher, James Reston Jr. (Sam Rockwell) seem desperate to nail the only U.S. President ever resigned.

Sure, the cream of the 12 day interview is the Watergate case where Frost wanted to give Nixon the trial he never has or even push him to confess his crimes. As Frost throw his notepad, we all now that the gloves has come off and Nixon, like it or not, has to throw the towel. This is more than just a Nixon trial that should have happened had Ford didn't give him pardon, it is a cynical look on how TV could reduce anyone's career (or legacies) just by a simple close up.

The performances were compelling, Frank Langella is a serious competitor for Clint Eastwood's Gran Torino in the award season. The script and editing was well paced and what makes me still wonder, how Ron Howard can make a boring interview with heavy subjects very mesmerizing and rewarding to watch.

AMERICAN TEEN

MPAA Rating: PG-13 for some strong language, sexual material, some drinking and brief smoking-all involving teens.
Run time: 95 min


What has changed in teenland over 30 years? This documentary shows that nothing has changed much, the same clique and stereotype still rule. This documentary encompass a year of four high school students in Warsaw, Indiana. The students who perfectly fits to the stereotype. There's Megan, the popular queen bee(tch) who has to face pressure from her father to enroll at Notre Dame, Colin Clemens, the popular jock (without annoying attitude), the basketball star who strive to get some scholarship.

Then there's the rebel, Hannah Bailey who looks like the innocent version of Julia Stiles and dreams to study film and Jake Tusing, the self-described nerd, loves video games and shows the lighter side of being a teen. During the whole movie all characters undergo some changes, breakups, success, tears and so on.

What really bothers me is that this film doesn't look like real at all, it looks like staged through careful and meticulous editing. Although the director stated that it was all real, it is hard to believe that this film is real. Not to mention the stereotypes, as if teen life could be easily simplified by these characters (or people in this matter). It doesn't even bother to do a cross stereotype, like a successful nerd or a shy popular kid. It felt like a simple version of any MTV reality show, which doesnt feel real at all. Too bad, the documentary that could be a viewing window for adults to know what does teenland looks now, doesn't differ much from media hyped cliches.

3 DOA 3 CINTA (PESANTREN)

Directed by: Nurman Hakin
Starring: Nicholas Saputra, Dian Sastrowardoyo, Yoga Bagus Satatagama, Yoga Pratama

Having heard that this film screened in Pusan International Film Festival makes me interested. Apparantly my expectations is a bit too high. This is a coming-of-age tale about three Indonesian schoolboys living in "Pesantren" (Islamic Religious School) with religious and social issues as the side dish.

Actually I am perplexed about the choice of Nicholas Saputra and Dian Sastrowardoyo, two leading Indonesian movie stars, as if both of them was chosen for the sake of marketing, as for Dian, her screentime wasn't that much and only appears in the middle. Had this film didn't chose prominent actors, it can still tell a believable story. I guess the filmmaker try to capitalize the fact that most teen will watch this film solely on the name of Nico without even questioning the content. I can see that from the numbers of teens watching this film, most of them commenting on how cute Nico is or how funny some scenes are. Which left me wondering whether those teens could really understand what the film was all about.

Living in a pesantren in central Java, longtime friends Huda (Nicholas Saputra), Syahid (Yoga Bagus Satatagama) and Rian (Yoga Pratama) are living a modest and nice life. There they are in the crossroad of two religious teacher, the one teaches peace, the one chose the other way (you know what I mean).

Syahid buys "the other way" and transform himself throughout the film, Huda tries to seek his lost mother helped by Donna (Dian Sastrowardoyo), a dangdut singer with vague background and Rian wanted to be a filmmaker. As for characters, Syahid is the most three dimensional of all, while Rian only appears as a comic relief, even his conflict with his mother bear no result at all.

With humor and tackling some sensitive issues, this film manage to "explain" audience who knows nothing about Pesantren about the life and obstacles inside it. The editing is a bit choppy and you can notice that some of Huda's dialogue was poorly dubbed, especially when he speaks one or two sentence of Arabic language. Apart from that, the film could be trimmed few minutes and try tying some loose knots.

GRAN TORINO

Run time: 116 minutes
MPAA Rating: R for language throughout, and some violence

There's life in his grin, growl, wince and hiss, there's a lifetime of achievement spanning from the age where Kennedy was a U.S. President until Obama takes charge for the living American legend, Clint Eastwood.

One could be mistaken that Gran Torino is a 21st century Dirty Harry, but this is a complex story about sacrifice, love and redemption. One could also think this is as a metaphor for the dying American auto industry.

Walt Kowalski (Eastwood) is an unpleasant, loner, bigot Korean War vet with "racist" vocabulary, his wife just died and everything around him makes him irritated, his relationship with his sons isn't very good, the neighborhood he lives is no longer the picket fences white America, it is a melting pot for Asian, Blacks and Mexicans and gang disturbances.

After retiring from a 50 year old career in the auto industry, Walt lives alone with his dog, Walt lives in the 50s, and just like many vet, refuse to accept change.

Things doesn't get better as Thao (Bee Vang), a boy next door, attempts to steal Walt's precious 1972 Gran Torino as part of a gang initiation. He fails when Walt shows up with a shotgun. As the gang members try to "initiate" him for the second time, Walt Kowalski, the Dirty Harry version shows up with a shotgun and a piercing dialogue.

Then Walt become a reluctant hero of the neighborhood, a part he initially despise. His tough exterior is being defrosted by Thao's smart and spirited older sister, Sue (Ahney Her). And as a penance (or redemption as this film strongly emphasize), Thao works for Walt. As expected, cross generation budding starts and few laughs created, the Eastwoodian style. But problems doesn't end there, the gangs return with a bloody vengeance and Walt has to do things he believe is right.

This is film that feels utterly personal—a movie that might actually be as much about Clint Eastwood the man/myth/icon as it is, it is a strange but humble encore for his legendary career in the cinema, a reflection of his life and a notion that America is changing and last but not least, a revisit of his legendary image. This is 2008's finest film (sharing the top spot with The Dark Knight) and if Clint didn't nail Oscar nomination (or even the golden statue itself) then there is no justice at all.

I wish Clint keep making movies like this, to remind us, that watching film is not only an activity to kill time, but an activity to make you realize that life is worth living.