Cinema Experts

“Let's never come here again because it will never be as much fun.”
People who know me know I love movies and frequently ask me, “What's your favorite?” Of course I never have a single answer. When I used to think of what made a good movie, I would look at a movie from all aspects: direction, cinematography, editing, acting, story etc. The sum of all these parts make up the whole, and are also what lead me to my opinion of a film...
Then came Lost in Translation.
The first time I watched this movie, I felt a strange sense of depression that lasted for a few days, but I couldn't put my finger on why. I watched it again and again, and felt the same way each time.
Superficially, Lost in Translation is a movie about culture shock, but the experience of Westerners in Tokyo is a metaphor for more existential themes of alienation, loneliness, and the desire for companionship. The film explores these themes against the background of the modern Japanese cityscape.
People like Bob and Charlotte really exist, and they really do meet up in very similar situations. After a week, they must go their separate ways, he to his family and activities of his kids, she to wait for her husband and figure out how to get out of the rut. We sense that he does not love her they way she needs and we wonder what will happen.
The movie takes a while to truly glean out the deep-seated motivations of both of its characters, but they become fully-realized in a marvellous scene where Bob and Charlotte lay fully-clothed in bed together. Here, they handle the 'big' questions in life, and not "Where did you go to college?" or "What did you want to be when you were little?" but "What is my purpose?" and "Does marriage get easier?" I was amazed at the honesty of the character's responses. Bob relates to Charlotte the experience of having children and the ongoing struggles of marriage, but a tinge of fear and apprehension runs through his speech. Charlotte hasn't really figured things out for herself yet - she says she's tried just about everything but hasn't found that niche. Coppola's screenplay takes these two separate beings, far apart in age and experiences, and makes a profound statement - both are in the same exact emotional limbo. Charlotte is confused and worried, but Bob is regretful and washed-up. In a way, these two are some form of deeply odd soul-mates. That is the heart and soul of Coppola's amazing work.
How many of you can relate to and have actually been that guy/girl on business, in the hotel in some foreign city, happily married yet feeling alone and beaten by life's banality? How many of us have been tempted in that very situation, to stray from the confines of moral adherence for the lure of a forbidden, if fleeting, joy? How many have felt that tingle- that spark- when a stranger smiles and you think, "you know, in another life..."?
Think of the last movie that really made you think, that had such a great influence on you that it somehow changed your life, even for the littlest bit. That, to you, is a great movie... 10/10

"Whose life would I like to step into for the day? The president's. I could probably get some things done in the Oval Office."

"Time was never a friend to Bobby Long. It would conspire against him, allowing him to believe in a generous nature and then rob him blind everytime. We'd lost Lorraine. All of us. But long before she died."
Purslane Hominy Will (Scarlett Johansson) is a young high school dropout living in trailer park trash in Florida with a low class boyfriend Lee (Clayne Crawford) when she learns of her mother Lorraine's death in New Orleans. Though she hasn't seen or heard from her obese, druggie, songwriter mother in years, she wants to attend her funeral and strikes out for New Orleans.
Arriving on the doorstep of her mother's rundown, rotting house, she discovers Bobby Long (John Travolta), an unkempt drunk who once was an English professor in a college in Alabama but fell into oblivion and alcohol when he lost his wife and family. He is living in filth with Lawson Pines (Gabriel Macht) who, as Bobby's teaching assistant whom Bobby has deemed gifted, has followed Bobby to write Bobby's biography - a work in progress that has stalemated in favor of alcoholism and disillusionment. Pursey hears that Booby and Lawson were Lorraine's closest friends, and that Lorraine had willed her home to the three of them.
Pursey moves in reluctantly - she has nowhere else to go - and immediately is at odds with her “roommates”. Likewise Bobby and Lawson resist Pursey's presence and insist she 'get a life' by returning to high school, making use of her obvious intellect. The verbal sparing that eventually leads the three to find a sense of family lays the foundation for the predictable conclusion.
At the beginning you don't think you'll get too much involved with the characters. They all appear to be selfish individuals lost in their own needs and emotions. But soon you notice they have much to share, with each other and with the spectator. It's a subtle and delicate story with some surprises.
The film is a bitter tale of love, friendship and synergy of invisible people. With many citations of important writers, the dramatic story has excellent lines and is very positive, with good messages and a well resolved conclusion. The irregular John Travolta and always perfect Scarlett Johansson are splendid in the role of broken, suffered and hopeless characters, and the story is never corny. Rounded out with a charming supporting cast and a beautiful sense of New Orleans almost as a character itself, "A Love Song For Bobby Long" is about as close to perfect as movies can be. 9/10

“Every great magic trick consists of three parts or acts. The first part is called "The Pledge". The magician shows you something ordinary: a deck of cards, a bird or a man. He shows you this object. Perhaps he asks you to inspect it to see if it is indeed real, unaltered, normal. But of course... it probably isn't. The second act is called "The Turn". The magician takes the ordinary something and makes it do something extraordinary. Now you're looking for the secret... but you won't find it, because of course you're not really looking. You don't really want to know. You want to be fooled. But you wouldn't clap yet. Because making something disappear isn't enough; you have to bring it back. That's why every magic trick has a third act, the hardest part, the part we call "The Prestige".
The Prestige is a 2006 period film directed by Christopher Nolan, with a screenplay adapted from the 1995 World Fantasy Award-winning novel of the same name by Christopher Priest. The story follows Robert Angier and Alfred Borden, rival stage magicians in fin de siècle London. Obsessed with creating the best stage illusion, they engage in competitive one-upmanship with tragic results.
The rivalry between Borden and Angier dominates the film. Obsession, secrecy, and sacrifice fuel the battle, as both magicians contribute their fair share to a deadly duel of one-upmanship, with disastrous results. Angier's obsession with beating Borden costs him Cutter's friendship, while Borden's obsession with maintaining the secrecy of his twin leads Sarah to question their relationship, eventually resulting in her suicide; in the end, Angier and Borden both lose Olivia's love because of their obsessions. Their struggle is also expressed through class warfare: Borden as The Professor, a working-class magician who gets his hands dirty, versus Angier as The Great Danton, a classy showman whose accent makes him appear American
Michael Caine took on this engineering role as Cutter, responsible for assisting Rupert Angier (Hugh Jackman) with loyalty and conviction that they could, as a team, beat Christian Bale's Alfred Borden. I thought the cast in general were superb, with Christian Bale leading the charge. Hugh Jackman too showed that he could play a dark character, as the two leads tackled their characters' theme of sacrifice, arrogance, and ultimately redemption, especially for Rupert Angier. I thought he did what he did towards the end was a kind of penance to what happened in the beginning, hoping to kill two birds with a single stone, to exact the sweetest revenge he could possibly muster. What also was intriguing about the two lead characters was that there is no right or wrong, no hero or villain. It's always a shade of grey in what they do, and for Alfred Borden, I felt it's more for survival and the provision for family, which is a strong subplot running through the film. A movie with the power of becoming a cult classic, ''The Prestige'' is magical. In every sense of the Word. 9/10