THE LOOK OF SILENCE

Directed by: Joshua Oppenheimer and anonymous
Running Time: 98 minutes

How do you feel if one day a stranger come up to your house and after pleasantries have been exchanged, that stranger said that your father, someone you deeply respected, is responsible for killing his brother for 50 or so years ago. That awkward uneasy silence will follow. Thus the title The Look of Silence or Senyap in Indonesian, is a perfect title for this documentary. It is a numbing silence, reacting to such revelation and stories of savagery.

This is not "just" a murder, this is a slaughter that happened in Indonesia in 1965 after the so called regime change and communist uprising (according to the government) happened. The Look of Silence is a stunning companion piece for The Act of Killing. In The Act of Killing, also covering the same historical frame, the main star is Anwar Congo, here there are many Anwar Congo, but with a twist. What if the so called people who comitted slaughter met with the family of he victims?

What done is done, said a supposedly perpetrator. A term we Indonesians always heard everywhere and used in many occasion. But nothing is ever done for Adi Rukun, he himself the youngest in his family. His brother, Ramli, is one of the victim killed in 1965. For years his parents must suffer the condemnation and discrimination felt by relatives of the people accused of being a member of communist party. As if there is a thing called inherited sin to anyone blood related to those being accused. 

Adi, himself a 40 something ophthalmologist, roams the streets in North Sumatra, "interviewing" the perpetrators and sometimes their families. He confronted them with harsh realities. Some of the dialogue are full with tense and awkward silence. Not all perpetrators are the same. Some would deny their responsibility and said that they did the right thing, some would vehemently defend their actions, some dare to recreate what they had done and some has no courage to look at Adi's eye directly. None of these perpetrators have face any law at all. They walk free in Indonesia.

In one tense scene, a family of the perpetrators (the perpetrators himself had passed away), shocked upon learning that their father is a member of the militia that hunt and killed many people, including Ramli. As if there is an earthquake happened in the room. Who to blame? This film clearly shows that even the perpetrator's family must bear the pain.

Filmed with different approach than The Act of Killing and also a stand alone from the Oscar nominated documentary, some of the scene in this documentary seem a bit "artificially framed" but the story is not. It is a real story and what happened to Adi's family, happened to hundred of thousands other families, who decided to just be silent. This is another powerful documentary from Joshua Oppenheimer, produced by Werner Herzog and Errol Morris, that shows that there is an open wound that everybody ignores under the saying: what done is done.

INTERSTELLAR

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Directed by: Christopher Nolan 
Starring: Matthew McConaughey, Anne Hathaway, Jessica Chastain, Casey Affleck, Topher Grace, Michael Caine, Wes Bentley, John Lithgow, Ellen Burstyn, Matt Damon. 
Running Time: 169 min

In the age of comic book and young adult novels adapted into screen, something "original" is a breeze of fresh air. Although this so called originality comes in almost three hours. Christopher Nolan is back with another mind bending spectacle. Mind bending in a sense that the story inspired by physics in space and he mixed drama and physics as an interesting tale.

It is colossal but also personal. It also redeem the "disappointing" The Dark Knight Rises from Nolan and reminds me of Inception's originality. Some might want to take reference to 2001: A Space Odyssey but in my personal opinion it has elements from Contact (1995) too. Nolan takes on the idealism from 2001, and put a family drama in this thrilling space saga.

It started in some Midwest USA farm where Cooper (Matthew McConaughey, this year's Oscar winner for Dallas Buyers Club) living with Tom (Timothée Chalamet), Murph (Mackenzie Foy), and Donald (John Lithgow), his father in law. The world is somehow suffering from food crisis and by that, oxygen can be scarce. So the NASA scientist asked Cooper to be the pilot of a mission to find a new planet, helped by a wormhole they found in Saturn. Who put he wormhole? It is a mystery inside a mystery.

Full with physical jargon that can make lazy people cringe, this is a journey worth every minute of it. Sure some other reviewers complained about the amount of lagging drama, but not me. I like the drama and the science behind it. Wormholes and other phenomenon at space depicted as scientifically as possible. 

In terms of building up suspension and grand scenes, Nolan wins. He proves that he can make something grand also complicated. Gasps can be heard and if you are some science purist out there, relax, it is just a movie with imagination and good music score. No need to point out inaccuracies or some holes, since Interstellar has less holes than The Avengers.

I do wish that in the future, Hollywood producers will put much priority for "original" screenplay like this. Dazzle the viewers like what they used to make in the 80s with Indiana Jones or Star Wars. Stop adapting comics and embrace the world of unknown, just like what Cooper did in Interstellar.

RUROUNI KENSHIN: KYOTO INFERNO

Original title: Rurôni Kenshin: Kyoto Taika-hen

Directed by:  Keishi Ohtomo. 
Starring:  Takeru Satoh, Tatsuya Fujiwara, Emi Takei, Yusuke Iseya, Munetaka Aoki, Yu Aoi, Ryunosuke Kamiki, Tao Tsuchiya, Min Tanaka
Running time: 139 minutes

The two part sequel of the long awaited live action adaptation from Rurouni Kenshin meets the expectation, at least from the cartoon and manga fans. Based on a best-selling manga by Nobuhiro Watsuki in the 1990s, the first film is a box office smash hit.

Just like any movie adapted from another medium I believe this one is independent from the animation/manga version. Takeru Sato takes the role as Himura Kenshin, an ex killer who become a pacifist hero. But his challenges are getting harder.

Home minister Toshimichi Okubo (Kazufumi Miyazawa) asks Kenshin to go to Kyoto and stop Shishio Makoto (Tatsuya Fujiwara), the ex-assassin who hated the new government since he is betrayed. Kenshin's jon is very risky, he might resort back to killing. Will he return to his old self?

With running time almost two and a half hours, this sequel can be chaotic and confusing for those who haven't seen the first film or who is not familiar with the animation/manga at all. Some might even lost to the historical and cultural background of swordsman in 19th century Japan.

In terms of story, it is not as good as the first one, although it does not mean that it is bad. For action fans, the action is amazing and breath taking but still holds more action for the last part, The Legend Ends, released just one month after this one.  

I think the story can be better by putting more motive's for Shihio's and his men. I mean, for an epic villain, how come he can gather so much capital and henchmen to his purposes without any hint of unifying ideology, let alone money? Some hyperbolic cartoon character is also here, which makes this one somehow felt like made just for true fans, not for average moviegoers.

But for most viewers it doesn't matter, at least they can relish the fact that their favorite cartoon series is now an epic movie. 

ROARING CURRENTS

Starring: Choi Min-sik, Ryu Seung-ryong, Cho Jin-woong, Kim Myung-gon, Jin-gu, Lee Jung-hyun

Directed by: KimHan-min

Running time: 127 minutes

South Korean cinemas realized that they have no Marvel comics to cash in. So they become more creative than audio visual factory of Hollywood. This time they took their own history to the big screen and put Choi Min-sik in the titular role. It pays off since this one is all time biggest grossing film in South Korean history.

The 16th-century historical epic is stirring nationwide enthusiasm, since it shows the early skirmish between Japan and Korea. Choi Min-sik act as admiral Yi Sun-shin (Choi Min-sik), once disgraced but then returned to the war scene to defend Korea under Joseon dynasty.

The Joseon's naval fleet were destroyed in the previous war. Only having 12 battle ships, Yi must face 300 Japanese battleships ready to take Korea. Facing limitations and mutiny among his own, Yi manages to keep the ranks in good shape and try to outwit and engage Japanese fleet by using the treacherous currents.

In the Japanese side, there's admiral Wakizaka (Cho Jin-woong) and pirate Kurushima (Ryu Seung-ryong), each has their own grudge against Yi. The battle of Myeong-Nyang is considered one of the most epic and memorable battle in the Korean naval history.

The film itself is mainstream at its best. With 60% of the duration allocated for the thrilling war, it does not disappoint action seeker. In the acting category, Min-sik is a badass actor with badass character. He shows that Yi is a leader that can inspire and sometimes, so hardcore. Unfortunately, those who seek drama and strong characterization will not find it here. The first half seems rushed in for the epic battle scene.

THE GRAND BUDAPEST HOTEL

Directed by: Wes Anderson

Starring: Ralph Fiennes, Tony Revolori, F. Murray Abraham, Mathieu Amalric, Adrien Brody, Willem Dafoe 

Running Time: 100 minutes

With distinctive visual style and theme's about loneliness, dying to be belonged to something or someone and social awkawardness, Wes Anderson is one of my favorite hipster director.

Most of his movies have his style, such as static shot, travelling shot, ensemble cast (including Bill Murray and Owen Wilson) and deadpan comedy. I enjoy most of his movies, I even reviewed The Darjeeling Limited, Fantastic Mr Fox and Moonrise Kingdom here. 

Actually I was afraid that Wes has become more in style but not in substance. But my fears were not realized. In the fictional Republic of Zubrowka, lies The Grand Budapest Hotel. The story itself is multi layered, an aging writer (Tom Wilkinson) recalls his memory in 1968 as he (Jude Law) met enigmatic Mr. Moustafa (F. Murray Abraham) in The Grand Budapest Hotel.

Mr. Moustafa then recall his memory as he was just a lobby boy known as Zero (Tony Revolori) in the 1930s under the wing of M. Gustave (Ralph Fiennes). M. Gustave is a vain man, superficial and loves to manipulate old dowagers. Preying their insecurities and need to be loved. Being careless and free, it is M. Gustave's adventure that moves the story. From the death of an old dowager (Tilda Swinton), into meeting arrays of absurd and quirky people including Harvey Keitel as an inmate.

Zubrowska is not a real place and like most Wes Anderson film, it is Wes Anderson universe with it's own rules and theme. However what Wes tries to show is the feeling of being displaced, nostalgia of a bygone era, true friendship and how humor can be a weapon against tyranny. It is one of Wes's best, delightful and can be enjoyed by everyone. You will be charmed and amazed at the same time.

20 FEET FROM STARDOM

Directed by: Morgan Neville

Starring: Darlene Love, Judith Hill, Merry Clayton, Lisa Fischer, Táta Vega, Jo Lawry

Running time: 90 minutes

Do you know that other voice in the song Gimme Shelter belongs to Merry Clayton? Who is Merry Clayton? She's not a superstar at all but she sang in one of the legendary song of all time. She's one of many backup singers, lies 20 feet from stardom but got rare if not at all, recognition.

This is the documentary that beat The Act of Killing at this year's Academy Awards. Not just the story of Merry Clayton but other veteran backup singers like Darlene Love, Judith Hill, Lisa Fischer, Táta Vega and Jo Lawry.  The story follows their career from the beginning.

The stories told through interviews and archival performances. Those interviewed are also legend in music industry like Sting, Stevie Wonder, Bette Midler, Bruce Springsteen and Mick Jagger. The presence of backup singer are mostly anonymous, but they contribute greatly to famous songs and they had been through ups and downs in life. As for this, Sting says: the spiritual journey to become a musician is very important.

What I like from this documentary that it shines light to those who deserves to be recognized in the music industry. Most will even say that how come they didn't get the spotlight, they are talented. To this, it is still a mystery. Even Sting says that in music industry the playing field is not level and why someone become financially successful and not perhaps lies in the hand of destiny.

THE GREAT BEAUTY

Original Title: La grande bellezza
Directed by: Paolo Sorrentino
Starring: Toni Servillo, Carlo Verdone, Sabrina Ferilli, Carlo Buccirosso, Iaia Forte, Pamela Villoresi, Galatea Ranzi. 
Running Time: 142 min

Jep Gambardella: This is how it always ends. With death. But first there was life, hidden beneath the blah, blah, blah... It's all settled beneath the chitter chatter and the noise, silence and sentiment, emotion and fear. The haggard, inconstant flashes of beauty. And then the wretched squalor and miserable humanity. All buried under the cover of the embarrassment of being in the world, blah, blah, blah... Beyond there is what lies beyond. And I don't deal with what lies beyond. Therefore... let this novel begin. After all... it's just a trick. Yes, it's just a trick.

Anyone familiar with La Dolce Vita from Fellini will understand that this one is a nod to Fellini's classic. Rome is the city of old and new, full with magnificent buildings and relics of the past. Fellini covered Rome in the 60s with empty hedonism.

Now Sorrentino is releasing a whole new story about Rome and its people. In the middle lies Jep Gambardella (Toni Servillo), an aging journalist who had an apartment near the Coliseum in Rome (I wonder that journalists in the third world country might be jealous. Apparently being a journalist in Italy can make you rich).

He drown himself in meaningless parties and talks of high class socialite in Rome. But he didn't feel any happiness at all. His engagement with high class people only shows the decaying picture of high class people in Rome. 

We can see that these people are jaded and cannot do anything else to overcome their boredom. We also see various character surrounding Jep's existence. There's his editor in chief, his pretentious friend, Rome's hasbeens and religious figures. 

They all mixed up together to show us the diversity of Rome. The visual is beautiful, just like the title. But I have to warn you, if you are not used to La Dolce Vita or Rome, Open City, perhaps you will be baffled and confused by the narrative. 

But if you know those two movies, it is good since it can give you (probably you have never set foot in Rome at all) a glimpse on decaying high class in Rome but told in a warm and beautiful way.

THE DOUBLE

Directed by: Richard Ayoade

Starring: Jesse Eisenberg, Mia Wasikowska, Wallace Shawn

Running time: 93 minutes

When I heard that Richard Ayoade will try to adapt Dostoevsky's The Double I simply think: what the fuck? Who on earth can adapt such dark novella? Who wanted to finance him?

But Ayoade proves that he can do it and this is a huge departure from coming-of-age-the-Wes-Anderson-way-only-more-british: Submarine (2010). 

Jesse Eisenberg (shot to fame by The Social Network) plays the titular role as Simon, an unhappy salary man in a dreary job (wasn't clear what his job is, but it seems like in statistics). 

Ayoade makes sure that the audience is lost in time and space. It wasn't clear when the story happened, one thing for sure, the people in The Double has no smartphone.

Simon is insignificant in his job, not just because he is shy and socially awkward, but his boss and peers does not consider him to exist at all. His office is bleak, uninspiring and feels like Hungarian offices in 1970s. 

Having a crush on a pretty co-worker, Simon fails to impress her. Until Simon finds another employee that looks like him 100% but have a totally different personality. His name is James and James took the office by storm. His charm and wit conquers everything.

Not even a single soul in the office care to point out that James and Simon looks alike. By this Ayoade points out the alienation of human by work, something most salary man who have worked more than five years in the same office and doing the same thing over and over again could relate.

Is it a ghost? Simon's imagination? Or something else? That is not the point of this stylish film (even the score is amazing, it will remind you of Hitchock's movies), the point is, as a human we should not be imprisoned by structure and make our mark.

A dark but compelling story from Ayoade and a magnificent act from Jesse Eisenberg. Most viewers will not like this film, but if you like something good and provocative, The Double is the answer.

JOE

Directed by: David Gordon Green
Starring: Nicolas Cage, Tye Sheridan
Running time: 117 minutes

When was the last time I saw Nicolas Cage in a good movie? He's a good actor I think, but sometimes he chose bad movies over good one. I remember Adaptation and Bad Lieutenant: Port of Call, New Orleans as his good ones (among many). So what about this one?

Joe Ransom (Nicolas Cage) is a man of restrain. He can explode into violent behaviour in minutes but try to hold himself back. He drinks and have a bulldog as companion. He also had an arch nemesis in that small town.

It wasn't clear what town it is, but it is not modern and it looks rundown with poverty. Joe is friendly and loyal to his crew of laborers. One runaway kid, Gary (Tye Sheridan) suddenly shows up and impress Joe with his work ethic.

But Joe has a troublesome family. His father is a drunkard and his family is dirt poor. Soon everything will comes crashing down and Joe must took severe action to protect Gary from the madness of this world.

Low budget, this one felt a bit southern gothic and present a world where loyalty and friendship as something important. Nicolas Cage is amazing here, he shows that he still got the skill to be a good actor. Is he going to abandon tentpole movies to indie ones? I do hope so. Tye Sheridan (known from Mud and The Tree of Life) is also good, he got talent and his looks is perfect for his role.

Had this been released during Oscar season, Nicolas Cage would easily got nominated. Well, actually that depends on release time and campaign.

LOCKE

Directed by: Steven Knight
Starring: Tom Hardy
Running time: 85 minutes

Few movies reminded me why I love movies. Just like Un Prophete, this one reminded me why I love movie: story that engage the audience in a simple way.

Ivan Locke (Tom Hardy) is just an everyday man. In one fateful night, Locke must decide, whether to finish his professional business as a construction professional or choosing the personal one. 

One journey, one decision that changes everything. Like one quote from this movie: "The difference between once and never is everything". His job and his personal life is connected. As a construction manager he must built a solid ground for a building, so does with his life.

Abandoning his job and chose to finish a personal job, the viewers only get a glimpse of Tom Hardy alone in the car, the whole 85 minutes. Other characters present as voice only vie telephone conversation. Although this premise sounds boring, but it is engaging and thrilling.

Visually, it is also creative. It is not as stagnant as Ten (2002) from Abbas Kiarostami but interspersed with scenes from the highway in a moody tone. Only few directors manage to shine under such restrain, and Knight proves that ideas always triumph beyond special effects and comic book based movies.

Shot digitally in collaboration with cinematographer Haris Zambarloukos, Steven Knight manages to deliver an engaging story that is simple and touching. Tom Hardy is superb and this one is nothing short of brilliant.