Dr. Omar's Gang (2008 Film)

Tuesday, July 27, 2010
Essabet El Dr. Omar (AKA Dr. Omar’s Gang) was the first Arabic film I ever saw, and although I saw it on a crammed airplane screen, I found it was laugh-out-loud funny!


“Essabet El Dr. Omar takes us back to when comedy wasn’t all satire.”


The Rundown
Behind the name: Also known asDr. Omar's Gang
Country: Egypt, 2008
 Genre: Comedy
Distributed by: Almassa
Director: Ali Adris
Cast: Mostafa Amar, Yasmin Abdel Aziz, Edward, Mohamed Sharaf, Khaled Sarhan
Compare to: Hareem Kareem, 1/8 Daset Ashrar
Hate it or Love it?  Love it

Synopsis in a Sentence: Dr. Omar comes back to Egypt with an international degree and employs strange tactics to his psychiatric patients: amongst them is a kleptomaniac woman who falls for him, and somehow they get involved in theft.
           

On Writing: The Plot

The plot is good, with cases of mistaken identities and intentions while bringing the difficulties faced by a kleptomaniac into light. The comedy is straightforward, not forced, but just slightly overdone. Most interestingly, there’s a story to this one. And you’ll find yourself laughing as the plot progresses.

(4/5)


On Acting: The Cast

There are real characters in this one. Most of them in 3D.

Mostafa Amar is interesting enough, drawing us into the film and keeping us there. He’s the actor we need him to be.








Yasmin Abdel Aziz takes on her animated, comedic self in this movie, through the climax and tragedy and comedy. She plays her character well.




All the other actors adopt the character of “first comedy” like in the old days, where gesture and body language were controlled to make you laugh. In this post-modern, satiric stage of comedy, it may either come across as annoyingly fake or appreciatively authentic.

(3/5)


On Production: The Creativity

It’s a good mix. There’s music, but not elongated, Bollywood-style scores. The comedy is complemented by a few shots of tragedy, and thankfully, there’s a real story to it. Wardrobe is as you’d expect it to be, and the cameras do what they’re supposed to do. So overall, it’s quite good.

(3/5)                                              


On Resolution: The Conclusion

It ends well, as a comedy should. After a fair bit of laughs, there’s tragedy and betrayal and “action” and suspense and more smiles.

(3.5/5)

The Verdict: Comedic.


Overall Score = 13.5/20

See Dr. Omar’s Gang

La Fleur Du Mal (2003 Film)

Monday, July 19, 2010

Think of this as a dark comedic-drama.
It’s a complex build-up of familial issues. Ponder on good and evil, morality, incest, murder, circumstantial ties, ambition, hatred, and love—both erotic and phileo.



“The stark realism and dry humour employed in La Fleur du Mal reminds us why dysfunctional families are not much fun.”


The Rundown
Behind the name: Translation—The Flower of Evil
Country: France, 2003
 Genre: Psychological Drama
Distributed by: Lionsgate & Palm Pictures
Directors: Claude Charbol
                   Cast: Benoît Magimel (as François Vasseur), Nathalie Baye (as Anne Charpin-Vasseur), Mélanie Doutey (as Michèle Charpin-Vasseur), Suzanne Flon (as Tante Line), Bernard Le Coq (as Gérard Vasseur), Thomas Chabrol (as Matthieu Lartigue), Henri Attal (as le beau-père de Fanny), Françoise Bertin (as Thérèse), Caroline Baehr (as Fanny), Didier Bénureau (as Brissot)
                   Compare to: American Dream
Hate it or Love it?  Ponder on the subject a bit

Synopsis in a Sentence: A young French man comes back from America to re-encounter the familial disarray he ran away from, and just as things take shape, deep, dark secrets are uncovered.

In these days that television glorifies dysfunctional families and broken relationships, La Fleur du Mal brings the sorrow and emptiness of the situation into light, and we realise, there’s nothing really entertaining about dysfunctional relationships.


On Writing: The Plot

It’s a story on bleak relationships, mistrust, honesty and love. It’s quite a mix of emotions carried by a motley selection of characters. Some you can trust, some you cannot. The writing makes no excuses for the actions of the characters. Neither does it hide their true nature. The plot tells the story of a complex family brought together by circumstance, wealth, and fate—If you will call it that. The younger characters are caught in the lives of the older ones while re-living the mistakes of their parents (and their parent’s parents), while the parents, trapped in these mistakes, pre-occupy themselves with anything but the truth of the matter. Put together, the family becomes a network of detestation, despondency and discontentment forced to associate in the name of blood. What makes the story complex is the fair bit of “love” spread across a few of the characters, and in the end we learn that although love bears all things, it should not bear all.

 (3.5/5)


On Acting: The Cast

The actors were good. Suzanne Flon’s portrayal of the sinful saint brings you to reason with her character’s flaw. We may call her the heroine of the cast. Nathalie Baye portrays the ambitious woman/the trying wife, and does so true to form. Bernard de Coq typifies the detestable male worth detesting, and Mélanie Doutey is all sugar and spice.
Their acting is stark, simple, and straightforward, which gives the film a realistic feel. A vital skill employed in psychological dramas such as these.

(3.5/5)


On Production:
Like the acting, stark, straightforward, clean, and to-the-point, with a few tweaks to highlight the mood of the scenes. But it’s no wrong done for this genre of film.

(3.5/5)                                             


On Resolution: The Conclusion

If you’ve ever seen a Claude Chabrol film, you may be accustomed to the same topics. True to form, the theme, which highlights the “bad bourgeoisie” is employed here again. Chabrol employs minimal political satire to assail the middle-class again. But he’s mastered his subject, and the resolution to La Fleur du Mal does not disappoint. He even manages to inject a dose of humour to the dark, dark climax. Not many films end in this manner and once again, it’s worth experiencing the stab of the final rolls of film, or DVD laser readings, in this case.

 (4/5)


The Verdict: If you’re in the mood for realism, morbid humour and pleasant villains, see this one.

Overall Score = 14.5/20

Get La Fleur du Mal here















Ju-On: The Grudge (2003 Film)

Tuesday, July 13, 2010




Unimpressed by years of the typical illusory “horror” flicks, I picked this one up with relative optimism, and I wasn’t quite disappointed.

The original version of The Grudge, Ju-on highlights the simple, but spellbinding skill of Japanese horror cinema. 


“A grimy, gruesome production that adeptly highlights one of the best conceptions of the genre of horror.”


The Rundown

Behind the name: 呪怨 Juon, literal translation—the curse, grudge
Country: Japan, 2003
Genre: Horror
Distributed by: Pioneer LDC
Director: Takashi Shimizu
                       Cast: Megumi Okina (as Rika Nishina), Misaki Ito (as Hitomi Tokunaga), Misa Uehara (as Izumi Toyama), Yui Ichikawa (as Chiharu), Takako Fuji (as Kayako, the onryo), Yuya Ozeki (as Toshio), Takashi Matsuyama (as Kayako's evil husband), Takeo Kanji Tsuda (as Katsuya)
Compare to: The Ring
Hate it or Love it?  Love it  

Synopsis in a Sentence: A series of people experience horrifying and mysterious deaths after encountering a vengeful spirit that bears a grudge based on an ancient Japanese curse, which marks Ju-on.
           

What we now know as “The Grudge” was originally made for Japanese TV audiences alone. Director, Takashi Shimizu created a series of horror films known as “The Ju-on Projects,” which were simple direct-to-video film releases produced on a slim budget with even slimmer expectations for success. But within a year, Ju-on produced international acclaim, numerous sequels, and a U.S. re-make. 


On Writing: The Plot

True fans of horror will know that the genre is often over fantasized, highlighting exceedingly implausible storylines. The problem with horror is that, in an effort to horrify its audience, the genre spits out unbelievable ideas that loses its audience before they can even become stupefied by fear. Although Ju-on initiates its storyline with the typical “horror” plot (the haunted house) it defies traditional methods of horror by tying together a series of protagonists and antagonists who undergo (relatively) plausibly horrific experiences. A singular character is not employed as protagonist here, rather we experience the torment of various characters based on this classical storyline. Through this, Ju-on utilizes minimal attachments to its human characters to incite fear to its viewers in a rather effective way.

(4/5)


On Acting: The Cast

Fear, I believe is one of the hardest emotions to invoke on-screen, when one is not truly horrified. The characters in Ju-on adeptly incite paralyzing, horrendous, crippling fear onto its viewers with little melodrama, all thanks to their actors:
Megumi Okina, who playes Rika Nishina, highlighted a relatable character—the struggling student/social worker who encounters the Ju-on at Work. Her character may be the most likely character that may be credited as the heroine of the film.
Misa Uehara, who plays Izumi Toyama, skillfully portrays the timid schoolgirl pressured into trouble by her peers.
 The performances of Takako Fuji, who plays “the evil spirit” Kayako, the onryo, and that of Yuya Ozeki, who plays Toshio, “the boy with the curse” highlight the unique art of horror in Ju-on.
Put together, the cast reflects the minimalistic human attachment to the characters of Ju-on that still reflects and inflicts the true skill in the depiction of horror.

(4/5)


On Production: Creativity

Minimalism. Fear. Horror flows with little show of blood involved.
Director, Takashi Shimizu adeptly employs the emotive power of minimalism in his production of Ju-on to multiply the effects of horror in this production. Some attribute the minimalistic production to the low budget for the production, but a skill is a skill, and Shimizu’s skill is evident throughout the production of Ju-on. With slight dialogue, it’s less talk, more action, yet the dialogue is not overly minimal, and the production not overly active. Shimizu balances a blend of both to produce the perfect portrayal of horror available, and adeptly does so through Asian cinematics. He chooses to show the villain of the story, a decision most producers of horror fear to do, so as to employ the mystery of an unknown evil and play on the suspense of such a character. However, Ju-on does not lose its effectiveness by employing such tactics, re-enforcing the skill of the production of the film.
Of noteworthy mention is the accomplishment of the sound production in this film. The sound design was artfully, artfully done and may even be single-handedly credited for the apt relay of fear in the film.

(4/5)                                             


On Resolution: The Conclusion

As Ju-on was developed as part of The Ju-on Projects, the film is not resolved independently, but though the sequel to the film holds the final resolution, the soryline to Ju-on stands well on its own. However, after the first instalment of the film, one might ask, so what was the point? The good news/bad news is that we’ll have to wait until we see the ne next film. Depending on where you stand, Ju-on gets resolves with a reasonable ending to an equally reasonable horror.
In the end, the original version of The Grudge, Ju-on highlights the simple, but spellbinding skill of Japanese horror cinema.

(3.5/5)


The Verdict: Fear is in the mind of the bearer. Ju-on either instils that fear, or comes really, really close.

Overall Score = 15.5/20

Experience the horror for yourself,
 Get Ju-on [http://www.amazon.com/Ju-Grudge-Megumi-Okina/dp/B00005JNJR/ref=sr_1_1?ie=UTF8&s=dvd&qid=1278132273&sr=8-1] 

Gossip Girl, Season 3 (2010 TV Series)

Friday, July 2, 2010
Started this with great expectations, but all the best bits were saved for last.

“The scandalous lives of Manhattan’s elite fell into a routine the third time around. With the usual scandals, betrayals, and secrets, season three had nothing we had not seen before on Gossip Girl… well, until the end.”

The Rundown

Behind the name: Based on a series of books, of the same name
Country: The United States of America, 2010
 Genre: Teen Drama
Broadcast by: The CW (Merger of CBS Corp. & Warner Bros.)
DirectorsJ. Miller Tobin, Norman Buckley, Jean De Segonzac, Allison Maclean, Mark Piznarski, Janice Cooke-Leonard, and many, many more
Compare to: 90210, The OC, Skins (remotely), Boys Before Flowers
Hate it or Love it?  Love it.  

Synopsis in a Sentence: Follow the lives of conniving rich kids with experience far older than their age in sex, scandal and affluence as they transition from high school to college.


After two full seasons of Gossip Girl, the third season could be more creative. It was quite the same base theme: “hidden” secrets are revealed, there’s a fair bit of conniving performed by everyone, and the characters exchange lovers at least three or four times in one year. But of course, a lot happens in-between all these.


On WritingThe Plot

 Couldn’t be more diverse. Every episode was written by superstar writers like John Stephens (producer of The OC & Gilmore Girls), Sara Goodman (creator of Reunion, Army of One) and Leila Gerstien (writer for The OC, Eli Stone & Tempting Adam) so as you can expect, we weren’t bored by the story, but with about 65 episodes of Gossip Girl under our belts, no scandal can be too hot for us to handle. The writers really couldn’t expect us to flinch over the so-called “secrets” that were revealed. They’ve trained us well. Maybe, a bit too well, because throughout Season 3, we were able to sit comfortably with the plot of the story and not flinch at a new “scandal” in the works. There were many good parts, but form the third instalment of Gossip Girl, we can expect more.

(4/5)


On ActingThe Cast

Season 3 was the season of stars, with appearances by Hillary Duff, Lady Gaga and Tyra Banks. Hillary was well—Hillary. She’s almost the same in every production. Lady Gaga performed as herself on-stage, so there’s nothing new about that, and as for Tyra Banks, we were aware that she was aware that she supposed to be an actress in the episodes she was present.
As for the main cast, they’re good actors, and they’ve grown into their characters over the years. So we can say they can only get better, not worse. In Season 3, we can see what leads Taylor Momsen to think she’s actually older than 16, as she her character, Jenny Humphrey makes some “adult decisions”. Chuck Bass is still an ass, but this time, one with a heart. He’s grown professionally and emotionally, and so has Ed Westwick, who defines this character. Blair Woldorf is weak in Season 3and Leighton Meester plays her emotions without error. Blake Lively, who seems to relay the same character in virtually every production (see Accepted, The Sisterhood of the Traveling Pants), does so again as Serena van der Woodsen, but relays her character well.
Overall, a growing cast with promise.


(4/5)

On WardrobeThe Fashion

Sometimes, designers forget that they actually design clothes for people, so as usual, with top designers on the list, there were some pieces that normal humans like you and me would never wear. Then there were those pieces that you would want to sell your house for. Such is fashion, and such was the fashion on Gossip Girl, season 3. Most of us could relate to Serena Van Der Woodsen’s sense o style, the rich and famous on the Upper-East and West-Sides of Manhattan can relate to Blair Waldorf’s flair for vintage-style fashion, while the demented and depressed may hail Jenny Humphrey as their queen for her demurely inspiring style. Something for everyone! As for the men, we learned that sandals are for losers.

 (4/5)                                              


On ResolutionThe Conclusion

It may have started a bit too slowly for some of us, but it ended more than satisfactorily for all of us. The best of the entire season was saved for last. The season finale, titled, “The Last Tango, then Paris” was superb!
As season 3 attracted about 2 million viewers weekly (in America alone), with dwindling numbers as the season went on, the producers might have realized that they had to play their best card on the finale. Enter super-writers, Stephanie Savage & Joshua Safran to save the season, with real scandal, betrayal, and genuine secrets! Leaving director, J. Miller Tobin, to direct all the drama toward the right direction. We explored new facets for all the members of the main cast. Now that’s the Gossip Girl we know!

(4.5/5)


The Verdict: Season 4, here we come! We predict that Gossip Girl will go on for at least, 7 seasons.

Overall Score = 16.5/20

Watch Gossip Girl [http://www.amazon.com/Gossip-Girl-Complete-Third-Season/dp/B002JVWRBS/ref=sr_1_1?ie=UTF8&s=dvd&qid=1278135405&sr=8-1]

*Note: All web sources provided from this source are legal.