“Angels and Demons” is a less contemplative and more motion-driven version of Dan Brown’s novel. It’s a challenge to keep up with such a story to be mounted from a book into a moving picture. With the kind of plotting and the pretty good utilization of the medium for the novel, translating it into a two-hour audio-visual fare is really a tough path to take…
The film mounts the visuals the way I imagined them while reading the book. That part is impressive. The suspense part that hooked me to the book gets lost in the film adaptation though. For a movie based entirely around a beat-the-clock goal, the momentum is significantly lost and the its far-fetched plot surfaces even more – without enough packed intensity and make-believe that the novel actually offered to its readers.
I read the book about three years ago, and I can honestly say that it is one of the few books that I couldn’t put down while reading. In fact, I finished reading it in two days with only a few breaks in between. That’s how effective the plotting and suspense-filled moments are.
‘Angels and Demons’ is quite faithful to the book. Though I know that the story is quite hard to completely translate into a film with everything in the book is in tact and with a full, solid grasp, if the suspense and emotional engagement were built up much more, I would probably love the film similar to how I love the book. Having read the book, the film becomes quite a let down in terms of general execution. But what gets me interested is the film’s impressive technical points. As a filmmaker myself I was amazed on how slick and seamless the combined footages shot in film and in HD. Overall, the technical aspect is pretty solid.
The film’s strong points as a commercial cinematic offer is that it combines religious, scientific, political, art, historical, and academic issues in one package; thus, making it an entertaining blend capturing many kinds of moviegoers. The grounding in the debate about science versus religion is laid down pretty fine.
There are admittedly handsome production values in the film. The re-creation of St. Peter’s and the Sistine Chapel is a production achievement that will sure keep the viewers’ attention to what’s on the screen. Director Ron Howard puts a wonderful piece of seamlessly mixed real locations and beautifully detailed sets. However, he doesn’t go much beyond Langdon running and talking and thinking and running. The characterizations don’t progress as much as the plotting. And the screenplay from David Koepp and Akiva Goldsman becomes a too talky affair where most things are explained through dialogues instead of letting the other aspects of the film such as characterization, acting, and visuals to do the work.
Like the “Da Vinci Code,” “Angels and Demons” is filled with such far-fetched story lines that can either get the audience instantly drawn into it or they completely dismiss it as another convoluted adaptation. But overall, as a long ordeal about scientific and religious conspiracies and double crosses, it is still an improved material from the “Da Vinci Code.”
Tom Hanks plays a considerably better Professor Langdon here than in “Da Vinci.” However, he needs to run fast here and there almost every time here that he is left stranded and unable to utilize well his acting skills to turn the one-dimensional Langdon into a better character. Ayelet Zurer makes a convincing enough Vittoria Vetra and this shows that it doesn’t have to be always a more familiar or famous actress/actor to have a character working (the originally cast Vetra was Naomi Watts). Ewan McGregor makes a decent Camerlengo Patrick McKenna. Nikolaj Lie Kaas as the assassin and Pierfrancesco Favino as Inspector Olivetti work pretty well for their roles.
Overall, “Angels and Demons” can pass time reasonably well as an in-flight entertainment or as a DVD offer to guests visiting the home.
The Camera to Film Test
Different Shooting Formats printed on 35mm Film
Host: Optima Digital
Date: Thursday, June 25, 2009
Time: 4:30pm – 7:30pm
Location: Premier Theatre, Shangri-la Edsa Plaza
Email: sales@optimadigital.com
We’ve always wondered and talked about how the visual quality of different camera sources would look when projected in cinema via 35mm projection. Now, it’s time to see it with your own eyes.
For the first time in Philippine Cinema- 35mm prints from different camera sources will be together in one screening!
See and compare the cinematic quality of footages shot from locally available high-end cameras like RED One Camera, Arri-D21, Panasonic Varicam, Sony F950, Panasonic HVX 200 (P2) and 35mm film, all printed on 35mm film for cinema projection.
Also included are stunning footage from the industry’s best broadcast quality, ultra-high speed camera- The Phantom!
Come join us for this special screening and meet the people that operate these cameras and their post-production workflows. Also present are experts from Opticolors Film Lab, Unitel Productions, Unico Entertainment and CMB to provide you with in-depth consultations for your next movie production. Screenings are every 30 minutes, so drop by anytime!
I would like to take this opportunity to thank everybody who came to the film premiere of “Pera-perahang Lata” and “Technophilia” last June 3. It was overwhelming to see lots of both new and familiar faces, friends and colleagues, students and friends of friends, during the event – amidst the heavy rains and lots of people getting sick. Yes it’s flu season and I myself was a victim of it and I had to drag myself to work and finish all errands for the premiere with only 3 weeks to prepare from scratch.
It all started with a letter/proposal for a back-to-back film premiere in HD format at any of the country’s digital cinemas. Apparently, one replied positively with Gateway Cineplex 10. And from there, I had to work on the film projection requirements, program flow, event collaterals, getting sponsors, printing tickets, getting caterer, inviting people, etc. etc. etc. After many sleepless nights working, editing, and doing lots of errands here and there, things were almost all set…
Technical test turned out successful. I got a decent number of sponsors amidst countless rejections. I asked some friends for some help on minor tasks just to ease a little burden on my part, especially I was already getting sick, catching colds. Been abusing my body with work and it’s not a surprise that my body is already asking for some rest to keep up with the superstress.
Just like during the auditions for “Pera-perahang Lata” way back 2007, it’s also raining very hard due to a typhoon, June 3, 2009 was also faced with a similar weather problem. Thank goodness many still came and most of the actors and actresses came from those 2-day auditions in Makati. And this time, at the premiere, it’s the same thing – too much rains, flu season. A number of friends started texting me that they couldn’t come anymore – either they were sick or they couldn’t come due to the heavy rains. Thank goodness many still came. At least it’s good enough that I can breathe easily since I was able to accommodate an estimated number of guests of around 350 to 400 people – validating my request to change venue from Cinema 1 (303 seating capacity) to Cinema 5 (524 seating capacity).
I would like to thank all my production staff and cast, the sponsors for the film and for the event, and all my friends who supported me all the way.
During the premiere, I would like to thank Minister and Consul General Ohm Ki-sung and Consul Hwang of the Korean Embassy in Manila for gracing the affair. Thank you to Vice Mayor Herbert Bautista for his valuable support amidst such a very last minute help that I asked for him for the premiere. Thank you to Mr. Tony Gloria who attended the screening and I will be forever grateful to his help for making it possible for us to shoot in HD using Unitel’s Panasonic Varicam. Thank you to the National Commission for Culture and the Arts (NCCA) and to NCCA Project Management Head Mr. Ferdinand Isleta for being part of this endeavor. Thank you to Thank you to FILMEX, Engine Room, Optima Digital and Hit Productions for all the support they provided for me to finish the films. Thank you to Mr. Pete Jimenez, Mr. Jam Manikan, and Ms. Marilen Magsaysay of Optima Digital for their utmost support and attendance during the premiere. Thank you to Outpost Digital Frontier for making it possible for us to come up with the processed files ready for HD projection using Gateway’s Christine projector. Thank you very much to Mr. Paolo Villaluna of the Independent Filmmakers Cooperative for helping me out with the MTRCB permits. Thank you to the Marikina Cultural Affairs Office for all their help. Thank you to all our media partners and friends. And thank you to the Araneta Group and Gateway Cineplex 10 for this great opportunity. Thank you to Ms. Shella Mateo, Marketing Manager, Mr. Rick Dailo, Operations Manager, Mr. Raymund Basilio, Technical Manager, and all the staff of the Araneta Group and Gateway Cineplex 10.
I will soon include a copy of my film credits and the event poster on this blog post to show the people who made the films and this back-to-back film premiere possible. I thank all my cast and crew for the two films. I thank my family and friends for all their help and support.
There are so many people and institutions that I am so grateful for. I may not be able to physically mention every single one of you at the moment. But with all sincerity, I really, really thank all of you for making all these possible.
Shooting Format: 16mm
Screening Format: HD
Running Time: 7 minutes
Acknowledgments: Colorwheel Media Studios, Korean Film Council (KOFIC), Korean Academy of Film Arts (KAFA), and Korea University (KU), Asian Film Professionals Training Program
Main Cast Lee Jong-jin and Lee Saekyung
Director/Writer: Rianne Hill Soriano
Director of Photography: Mohammed Jano
Production Designer: Rianne Hill Soriano
Art Director: Stephen Kochenash
Editors: Rianne Hill Soriano and Mohammed Jano
Musical Score and Sound Design: Philip Arvin Jarilla
Director J.J. Abrams and his crew build the ‘Star Trek’ franchise into a truly glorious enterprise. Interestingly, amidst the many clichés and formulaic characterization, it actually turns out fresh, funny, and emotionally engaging. The reinvention has a good mix – and it works!
Reinventing a classic sci-fi series is prone to becoming victimized by the blackhole of franchise re-openings, but what this new ‘Star Trek’ presents is a flaring shine of a supernova from start to end. The plot may be preposterous, but the way the film is constructed provides a genuinely rollicking adventure – a fine escapist entertainment that has just validated the tagline, ‘Live long and prosper.’
‘Star Trek’ maintains a nostalgia play that manages to have reverence for its source material; and at the same time, it carefully adapts to the needs of a 21st Century version of the franchise. It is invigorated without destroying the original. It’s like warping to the contemporary while still respecting the past. And for the brave new universe Abrams and his crew explore, the film passes its obstacles with dazzling, time-warping colors by being a clever, campy, and endearing form of warp-speed/sci-fi entertainment.
This new adaptation has some significant flaws and missteps, but on its own merits, its creative precision in telling the story still makes itself a skillfully constructed studio picture. It’s not the type that engages the viewers as intellectually or emotionally as the best prior movies and TV episodes of the franchise, but Abrams breathes enough energy to this offer to make it hugely satisfying in its own right. Youthful, fast-paced, jaunty, and savvy, the swift storytelling keeps up with the needed momentum and celebrates the sheer joy of having the characters back in the big screen. And his approach for this latest revamping validates a playful and unpredictable mix of special effects, an involving story, a good script, and fine ensemble acting. And for the rightful fun it needs, he truly goes full speed ahead.
Fueled by adventurous spirits, scriptwriters Roberto Orci and Alex Kurtzman maintain a kind of ‘final frontier nostalgia’ for Trekkies and newcomers alike. The pacing races well with Abrams at helm. He moves the plot at breathtaking speed; yet, he is still able to provide time to feature heroic acts from all the original show’s key players and make the characterizations blend well for the story. It boldly opens a new chapter in the series while giving it a fresh shot of life during the process – and the whole thing feels fully realized. Moreover, it effectively conceives Kirk and Spock as two rebels looking for a cause. And with the occasional philosophical underminings to discuss love, friendship, duty, family, and pride, this ‘Star Trek’ essentially turns out to be a fiery dynamo.
‘Star Trek’ could please a wide cross-section of viewers – smart enough to be accessible to everyone, while retaining enough respect for the franchise’s legacy. It’s a pretty good example of pop culture demands crafted by good hands – proving that commercial cinema can still deliver a sledgehammer punch. And perhaps, this can be a new populist benchmark on how to rebrand and relaunch a classic, or any franchise for that matter.
From the first stunning visuals of a pre-Enterprise time to the final iconic sweeping space shots, the film easily grabs the audience by mixing warp speed action and tongue in cheek humor. It’s a witty, light-on-its-feet prequel with an unbridled enthusiasm that is interestingly engaging for fans and newcomers alike.
Another strength for this new ‘Trek’ is its cast. The performances are superb – all bristling with energy and excitement from start to end. Chris Pine as James Kirk and Zachary Quinto as Spock make the journey worth taking; while the appearances of Leonard Nimoy as Spock Prime and Eric Bana as Nero take the tale even further. The rest of the supporting cast are equally strong: Karl Urban as Dr. Leonard ‘Bones’ McCoy, Zoe Saldana as Nyota Uhura, Bruce Greenwood as Capt. Christopher Pike, John Cho as Hikaru Sulu, Ben Cross as Sarek, Winona Ryder as Amanda Grayson, Simon Pegg as Scotty, Anton Yelchin as Pavel Chekov, Chris Hemsworth as George Kirk, Jennifer Morrison as Winona Kirk, and also Jimmy Bennett as the young James Kirk.
With a snappy direction, strong cast, great effects, strong story, big action, comic touches that work, and respect for the material, Abrams’ ‘Star Trek’ is a truly a bold, entertaining reboot. It is brilliantly watchable even if not perfect – a ‘Trek’ that beams bright enough as a supernova.
The Adamantium Thrill and Tragedy By Rianne Hill Soriano
‘X-Men Origins: Wolverine,’ the first spin-off of the ‘X-Men’ movies, is a considerably reliable, action-packed first attempt for an ‘X-Men’ origin story. And it succeeds largely on having Hugh Jackman back with his adamantium claws – with his charisma breathing the fire into Wolverine. For a film possessed of its scale and ambition, it has a heart and the action playing around with its own Shakespearean-style tragedy. However, amidst the strength of its regenerative charm for one of the ‘X-Men’ pop culture favorites, the rather pedestrian and superficial parts of the script, the extravagantly loopy plotlines, and some by-the-number action spots weaken the film.
The film is not great, but it’s not a bad film neither. Yet, it still feels like every other mediocre comic book adaptation seen in theaters. There are some genuine archetypes and myths finding their way into the mix, but the film’s overflow of half-baked ideas makes it cluttered. It’s major drawback is how it marries action and melodrama in a superficially cinematic way that 50% of it works while the other half becomes a major drawback for not having that deft of feeling for the entire material.
On the surface, director Gavin Hood mounts an action-packed adventure on Wolverine’s back story. The opening sequence is nice. There is also that explorative aspect on the emotions of mainly Logan and his brother Victor while surrounding them with superb action set pieces and few complex character interactions. Wolverine’s appeal proves strong with his mystery and origins uncovered for the thrills.
With Jackman on the lead, he uplifts the weaker parts of the film into a pretty watchable fare. He captures the essence of Wolverine. And considerably, this origins story would collapse under the weight of its unpolished parts if not for the considerable acting prowess of Jackman and Liev Schreiber, who know how to give good growls as Logan/Wolverine and Victor/Sabretooth. The way Logan and Victor grow up as brothers is the essence of the story. From there, it picks up on the inner conflicts of Logan’s character.
Taylor Kitsch as Remy LeBeau/Gambit is a pretty good addition that amidst his being a secondary character with a short screen time, he makes a lasting impression without upstaging the main characters in the story. Overall, the casting uncompromisingly plays for keeps for the film as well: Lynn Collins as Kayla Silverfox, Danny Huston as William Stryker, Ryan Reynolds as Wade Wilson/Deadpool, Kevin Durand as Frederick Dukes/The Blob, Will i Am as John Wraith, Dominic Monaghan as Chris Bradley/Bolt, Daniel Henney as David North/Agent Zero, Scott Adkins as Weapon XI, Tim Pocock as Scott Summers, among others. The script may be convoluted at times, but in general, the characters deliver enough direction to the story’s investment on entertainment and emotional preferences.
‘X-Men Origins: Wolverine’ is entertaining enough to keep Fox and Marvel’s planned series of ‘X-Men’ origin stories. For this offer, it is by no means perfect, but it is an entertaining enough effort that condenses such a complicated origin story into a satisfying fast-paced action flick. Thus, leaving the door open for another ‘X-Men’ prequel.
Filipino and Korean Shorts Premiere at Gateway Digital Cinema This June
The National Commission for Culture and the Arts (NCCA), Gateway Cineplex 10, and Colorwheel Media Studios present “Indie HD: Premiere of the Filipino and Korean Independent Short Films ‘Pera-perahang Lata’ and ‘Technophilia’ in HD format and a Discussion On Digital Technology in Indie Films Today.” Directed by Rianne Hill Soriano, the two films will be projected in HD format at the Cinema 1 of Gateway Cineplex 10 (Dolby Super Digital Cinema) on June 3, 2009, 6:30 p. m.
Von Arroyo makes his film debut in “Pera-perahang Lata,” a film exploring the many facets of a struggling life in a world that is full of unpredictable moments – where things are beyond one’s control. The cast also includes Arnold Reyes, Gio Respall, Paul Sy, Judith Soriao, Dante Balois, Jocel Vergel de Dios, Loida Petalo, Henrex Aldueso, Rey Solo, Dido dela Paz, Marnie Lapus, Ces Aldaba, Karl Moro, Rommel Buenaventura, Ellen Estrada, and other talented character actors and actresses in film, TV, and theater.
The film is produced through a grant from the NCCA and is also blessed by the generosity of Unitel Productions, FILMEX, Engine Room, Optima, Hit Productions, Outpost Digital Frontier, city government of Marikina, Marikina Riverbanks, St. Francis Xavier Parish Church, Streetpark Productions, and Brass Knuckles.
The Korean film “Technophilia,” a Korean-Filipino-Iraqi film production, shows how technology can shape people’s lifestyles, affect their relationships, and make their interactions as mechanistic as their gadgets. It stars fresh Korean, Japanese, American, and Filipino talents and is made possible through the filmmaker’s participation to the Asian Filmmakers Training Program in Seoul, Korea last year. The film is supported by the Korean Film Council, the prime mover in Korean cinema, Korean Academy of Film Arts, the country’s elite film school, and Korea University, where the filmmaker got an honorary alumna status during her six-month stay in Seoul last year.
Through the help of the Araneta Group, the films are privileged to be shown in HD format, not via a low resolution DVD projection. Within the premiere of the said films will be a full program incorporating a brief discussion on how independent filmmakers can maximize the filmmaking process. Gateway will provide information on how the digital cinema is starting to shape the future of film theaters. Christie will give basic details about the HD projection on digital cinemas. Optima Digital will discuss the feature film workflows available for filmmakers, and the NCCA will impart information about their grant system for independent filmmakers. The Minister and Consul General of the Korean Embassy will be a guest of honor during the event. A Q&A will follow after the screenings.
The event ‘Indie HD’ is also made possible by the Gateway Cineplex 10, NCCA, Colorwheel Media Studios, Innovasia, Korean Embassy, Marikina Cultural Affairs Office, Mamma Mia, Jingleman, NU 107, and the official music channel MTV Philippines. The premiere is open to the public. Email nordic.gift@gmail.com to reserve free tickets. First come, first served. You may visit www.peraperahanglata.blogspot.com, www.technophiliafilm.blogspot.com, and www.riannehillsoriano.com/blog for more information about the films.
Fluff and Pathos Equals Adult Fairytale By Rianne Hill Soriano
“Miss Pettigrew Lives For a Day” is a gentle period piece that keeps the comedy humming while unpacking Miss Pettigrew’s one extraordinary day. This Depression-era Cinderella comedy has a certain kind of sophistication backed up by a fluffy form of lyrical cleverness. And for those who are into ultra-light screwball fun, artsy romance, and happy endings, this grown-up fairytale can surely live up for a day of cinematic entertainment.
Light and pleasant, this snappy adaptation of a 1938 British novel by Winifred Watson is a valentine to a by-gone era. Its old-fashioned qualities explore women’s roles in the society at the time – with an impending war hanging heavily at the background. Nicely cast, this handsome production is a delightful farcical fairytale that plays like a joyous whirlwind. Its mood and treatment is reminiscent of a period theatrical piece bolstered by moments of depth and emotion. It’s a veritable treat that’s quick, breezy, witty, and charming amidst the considerably tough and uneasy blending of comic delight and pathos.
Set in 1939 London, the era, costumes, sets, and music make the film feel like a classic. The world war fear is carefully dissolved into a blend of eye-candy production value, cliché romanticism, and screwball comedy that give the film a certain gravitas to keep up with. Director Bharat Nalluri maintains a light mood, a brisk pace, and a pleasurable wordplay for such a film that is pulled down by its own predetermined ending.
Period comedy is a tough act to mount. And “Miss Pettigrew Lives For a Day” works with a certain heft. Interestingly, it is aimed at the ‘art house’ crowd while keeping a treatment that is as light as a feather and as stereotypical as your usual romantic comedy. What it lacks in substance is counterbalanced by the energy of its heavyweight actors and actresses – the thespian acting performances fitting the film’s fairytale-ish needs. At the same time, those who are not demanding for some heavy meanings and deeper artsy points would still enjoy the film by just the sights and sounds of cheeky purses, shoes, and dresses, vintage cars, and period music.
Delightful performances make the film a charming 1930’s “Cinderella-meets-Sex and the City.” Frances McDormand puts a frazzled charm and endearing insecurity to her character as the frumpy Miss Guinevere Pettigrew. Amy Adams as a wide-eyed delight of a would-be starlet Delysia Lafosse lends her frivolous charm amidst such an autopilot-ish acting for her ingénue character. The two ladies blend in a likable manner that keeps up a British fortitude and class to the mounted picture. Even the romantic angles of each one (Delysia’s young womanizer producer Phil played by Tom Payne, the rich, have-it-all businessman Nick played by Mark Strong, and the financially modest but simpatico musician Michael played by Lee Pace, and Miss Pettigrew’s urbane fashion designer Joe played by Ciaran Hinds) form an appealing bond that promotes light and gentle laughs. The rest of the supporting cast led by Shirley Henderson as Edythe and Christina Cole as Charlotte Warren are equally entertaining.
This film works as a quick throwaway comedy mixed with period romance, theatrical drama, and relevant theme. Overall, it is fluffy as it is fun.
Who Deserves a Kamehameha?? By Rianne Hill Soriano The expectations for “Dragonball Evolution” is considerably low. And yet, most people especially the generations of fans of the “Dragonball” series try to hope for the best by saying that a film’s worth does not equate to what the trailer merely shows… Sad to say, this blandly adapted rendition of the Asian folklore-inspired Manga is truly a terrible mess – worthy to receive the end of a “Kamehameha wave.”
“Dragonball Evolution” is a flat take on the famous anime series with a storytelling merely relying on the audience’s pre-existing knowledge of the original source material for things to work, somehow. It is uninspired as it is cliché-ridden. It lacks scope and style as it is short of wits and imagination. The production tries hard with doses of wry teen humor and Hollywood style visual effects; and yet, the story seems to have been made for the heck of a movie regardless of quality.
It’s like the script was done as the filming went along that the story suffered with bad dialogues, illogical narrative twists, disappointing characterization, brainless pacing, chintzy effects, and uneven CGI. Too bad, there seemed to be a budget… but looks like it went to the wrong hands, or the wrong style, or the wrong treatment, or the wrong conceptualization, or the worst decisions.
There are a few considerably entertaining parts like the opening sequence that is able to catch some attention with its visuals. However, the bulk of the film is crammed by overdubbed lines and a dull script that really makes the film just another disappointing teen action film. Its host of clichéd moments and poor production value makes it a charmless new installment from a rather popular and bankable franchise.
The giddy, anything goes spirit of this flick could have worked; if given the right story, screenplay, art direction, casting, and acting. However, the film’s plot holes equate to the fake-looking sets. Some effects and color schemes come out fine, but they are still not seamless with the visuals. A few fight scenes are engaging in a way, but the shamefully pathetic acting, even with Chow Yun-Fat (as Master Roshi) who seems to have added a bad element to his pretty good resume, is a total dismay.
The casting adds to the confusion to the film’s already many inconsistencies. The leads and major supports topbilled by Justin Chatwin as Goku, Jamie Chung as Chi Chi, Emmy Rossum as Bulma, Joon Park as Yamcha, are played by actors and actresses who may be too old to be teenagers. Along with the rest of the supporting cast including Randall Duk Kim as Grandpa Gohan, James Marsters as Lord Piccolo, Eriko Tamura as Mai, and Megumi Seki as Seki, the performances are generally shaky not merely because of their own rendered skills but because of the rampant miscast and the poor direction. As a fan, it is truly frustrating to see a shoddy film adaptation that is no bigger than the sort of junk stuff seen on TV.
“Dragonball Evolution” loses the steam of the beloved cartoon franchise because of making no effort to live up to the people’s expectations. It doesn’t have to be artsy to make sense to viewers. For such a superhero flick adapted from a mythic anime series that has charmed a number of generations already, all it needs is a solid story, a faithful treatment, and a powerhouse execution to keep its fan-base and its supposed newfound fans fueled. It is a rather cynical attempt to cash in on the “Dragonball” fame. And it turns out to be just another dumb and depressing flick.
It gets to the point that the viewers would wish to strike the infamous and blistering finishing move called the “Kamehameha” to end up their disappointment.
Industry’s First System to Support Efficient Production of 3D Full HD Content
LAS VEGAS, NV(April 19, 2009) – Panasonic Corporation, a world leader in High Definition technology, today announced it will start developing a professional 3D Full HD production system. The system, which is expected to be the first of its kind in the industry, consists of a twin-lens P2 professional camera recorder and a 3D-compatible High Definition Plasma display. Panasonic will exhibit concept models of the 3D system at its booth (Central Hall #3712) at NAB 2009 to be held in Las Vegas, Nevada from April 20, 2009.
3D Full HD Camera Recorder(Conceptual Model)
With Hollywood studios moving towards creation of more 3D entertainment content, Panasonic successfully debuted the world’s first 3D Full HD Plasma Home Theater System based on Plasma display and Blu-ray Disc technologies at the CEATEC trade show in Japan in September 2008. More recently, the company also established the Advanced Authoring Center within Panasonic Hollywood Laboratory in February 2009 to support Hollywood studios in developing 3D Full HD Blu-ray Disc titles. Production of 3D movies requires a great deal of time and effort. With the new 3D production system, which can enable an easier and more efficient 3D production process and environment, Panasonic will contribute to accelerating the realization of easier high-quality 3D content production.
3D Full HD Camera Recorder(Conceptual Model)
At present, 3D content producers have to hand-build their own 3D production systems by physically connecting multiple 2D production devices. Panasonic is now starting to work on developing a twin-lens, 3D camera system. Also, Panasonic’s Plasma displays have been used in many post-production facilities in Hollywood, thanks to their high-quality imaging performance, which has been endorsed by leading Hollywood professionals. Technologies and expertise obtained from their use in post-production has enabled Panasonic to further develop high-quality 3D viewing performance in its Plasma technologies. As a result of this process, Panasonic’s 3D Plasma display system will help 3D content producers to quickly and easily evaluate the image quality of 3D content.
3D Full HD Mobile Recorder(Conceptual Model)
Each component of Panasonic’s innovative 3D Full HD production system has unique features. The twin-lens P2 camera recorder enables the capturing of natural and high-quality live 3D images. Thanks to the non-mechanical solid-state construction of the P2 system, the camera recorder will be compact enough to allow more flexible 3D shooting, thereby maximizing the creativity of the filmmakers by eliminating the
stress factor from the use of the equipment.
3D Full HD recording using Panasonic’s proprietary P2 system also enables recording of two channels of Full HD images on the P2 card. P2’s non-mechanical construction and compactness will also be incorporated into the company’s 3D image recording and editing equipment to make production in the field highly flexible and efficient.
3D Full HD Portable Recorder(Conceptual Model)
Panasonic’s 3D Drive System enables the display of Full HD moving pictures for the left and the right eyes, so large screen 3D viewing will become possible. The excellent moving picture performance and accurate color reproduction characteristics achieved by Plasma’s self-illuminating technology enables the realization of high-quality 3D image evaluation capabilities required in the professional content production field.
“Panasonic is continuing its efforts to enable consumers to enjoy 3D movies in the comfort of their own living rooms with its 3D Full HD Plasma Home Theater System, which incorporates a Plasma HDTV and a Blu-ray Disc player,” said Dr. Paul Liao, Chief Technology Officer of Panasonic Corporation of North America. “The professional 3D Full HD image production system we are going to develop will improve the 3D production environment and accelerate creation of 3D titles.”
About Panasonic
Panasonic Corporation is a worldwide leader in the development and manufacture of electronic products for a wide range of consumer, business, and industrial needs. Based in Osaka, Japan, the company recorded consolidated net sales of 9.07 trillion yen (US$90.7 billion) for the fiscal year ended March 31, 2008. The company’s shares are listed on the Tokyo, Osaka, Nagoya and New York (NYSE: PC) stock exchanges. For more information on the company and the Panasonic brand, visit the company’s website http://panasonic.net/.
Panasonic is proud to support the Olympic Movement, which is aimed at promoting world peace through sports, as an Official Worldwide Olympic Partner in the Audio and Visual Equipment category for more than 20 years since The Olympic Partner (TOP) Program commenced with the Calgary Olympic Winter Games in 1988.Under the slogan of “Sharing the Passion,” Panasonic will contribute to the success of the Olympic Games through its technology and video expertise.Panasonic renewed its partnership until 2016 with the International Olympic Committee.
“Fast & Furious,” the fourth entry to the urban auto franchise, provides moments of kinetic entertainment that succeeds by supercharging the action in style. Slick and candy-colored automobiles, big crashes, revved-up emotions, macho swaggers, hot bodies, digital dashboards, automated female voices, noisy engines, property mayhem… Indeed, it’s all about the speed and crash-boom-bam for high-octane action. And on such score, it delivers admirably. It’s dumb, but it’s fun – it doesn’t pretend to be otherwise.
In the jammed landscape of mass-marketed releases, this popcorn flick is strong enough to deliver some tuned up excitement. As a speeding-wheel spectacle, it has all the frenetic charm for an attractive getaway route inside the theater. But how far it can stand to much scrutiny under its glossy hood is another story.
Tokyo Drift director Justin Lin films this one with the most flair, visual eye candy, and blood-pumping sound effects to keep it going. The film’s show-off attitude has a lot of hip-hop, hot cars, women in tight, shiny miniskirts, and macho men to satisfy the vicarious need for speed and oozing sex appeal. The opening sequence showing most of the original cast in action is the best part of the film – where both the its built-in audience and its new spectators can enjoy such loud racing scenes from wild car chases to a series of big explosions.
Down to its very essentials, Fast & Furious’ main selling point is its all gleaming surfaces and muscular detailing. Add up its already established fan-base being one of the most successful franchises of the ’00s, and what you got is a nitrocharged flick that is brainlessly bright as the muscle cars it celebrates. But on the other hand, especially to those who demand for both the palpable thrills and a smart story executed well down to what’s inside the hood, there isn’t much of a solidly fine story to boast of. For the wider potentials of the series, it is rather unfortunate that the plotting and the more emotional aspect of the story don’t ignite enough to boost the trip past a fan-base joyride. And some issues on spatial incoherence are still obvious to the keen-eyed.
The original stars on the forefront are Vin Diesel as the charismatic thug Dominic Toretto and Paul Walker as the determined cop Brian O’Conner. Along with the rest of the major cast of the franchise, the story becomes a speeding reunion vehicle for them as they push the pedal against rival street racers and a Mexican druglord. And for the fun and frantic action with the racers zipping through crowded thoroughfares and utilizing GPS technology, this hard-hitting, satisfying action fare is well worth the price of admission for the seeker of speeding adventure.
Overall, F&F is an entirely acceptable retooling of the franchise for a satisfying experience for those who enjoy four-wheeled chases, big explosions, and slick violence. They sure make the movie fun to watch. And if you’ve enjoyed this ride before, you’ll probably enjoy it again – all for the speed.
An Apocalyptic Spookyrology By Rianne Hill Soriano
The apocalyptic, allegorical sci-fi film “Knowing” is imperfect but effective in some ways – even with all sorts of outlandish premises afoot. It has the heights of psychological and visceral bravado, atmospheric design, jarring special effects, and some absorbing performances for its level. Its blending of sci-fi and religion, fate and faith has a gripping premise that qualifies as a pleasant surprise; but what mainly pulls it down is an overcooked execution of dealing with the clichés of the genre.
As a hybrid of disaster movie with some deep-rooted philosophical underpinnings, “Knowing” surprisingly works in a certain level above the expectation from its very typical trailer. This dreary and far-fetched story about numerology and alien life forms functions as a gloomy existential thriller that can even provide some metaphysical rumination on things. It is carefully anchored not by the mere explosions, but by mood and psychology. Moreover, it has the evangelical fervor of a popcorn movie that utilizes the needed supernatural suspense and nightmarish imagery. No matter how preposterous the plot may seem, it puts up the gloomy atmospherics into a theologically minded sci-fi offer. And its anticlimactic leap into some N. Night Shyamalan-ish elements seems to work for its needs.
The film starts with director Alex Proyas’ fairly basic sci-fi concept built on the idea of a time capsule project about to be opened after 50 years as planned in John Koestler’s (Nicolas Cage) son’s elementary school. In it comes out some spooky predictions about major catastrophes primarily in America and he runs around trying to warn people about the numbers while his son Caleb (Chandler Canterbury) gets chased by some weird, pale-skinned men. And while trying to get into the root of these things, he meets Diana Wayland (Rose Byrne), the daughter of the creepy Lucinda Embry, the now deceased writer of the prophetic note in the time capsule. And along with Diana’s daughter Abby (Lara Robinson), they team up to understand Lucinda’s work before it’s too late.
“Knowing” is interestingly shot digitally with the Red One camera. And with some help from colorgrading, it works for such a treatment where everything gets literally hotter and hotter as the fiery sun poses for apocalypse. Proyas makes good use of mood and spectacle, special effects, and a monumentally large-scale, shock-and-awe finale to put things in the entertainment perspective. He fills the disaster movie spectacle with tension and thrills to let the audience suspend their disbelief against such a preposterous premise. Underplaying with conviction, Cage lends some gravitas to keep up with his contentions on the ‘intelligent design in the universe’ issue. And he keep things working for his relationship with his son. Robinson as the young Lucinda of the past is quite spooky, but her as Byrne’s daughter Abby suffers with a paper-thin character – just like with Byrne’s performance.
“Knowing” is in between being a solid escapist cinematic experience enhanced by its chilling symbolism and a run-of-the-mill effects-driven extravaganza with a touch of moderate fundamentalism. As threats of annihilation in cinematic entertainment come and go, what makes this movie a watchable fare and not just a mere idiotic leap and throwback to countless disaster spectacles of the past is that it presents the bigger picture with some thoughtful atmosphere. And what seems to be an overused theme actually unravels as something more resonant and perplexing. And with its design as a ticking-clock thriller, “Knowing” is frightening and suspenseful when it needs to be.
“Taken” is a bizarre mix of sentimentality and briskly paced action. It is not as smart as Bourne nor as classy as Bond, but its sheer entertaining action offer is occasionally fun like one’s favorite junk food. It’s fun while it lasts.
Preposterous but gripping, this exciting ride for action junkies provides a shallow pleasure that works. It’s a popcorn movie with a sheer intensity on display. Going straight from the eyes and ears to the adrenal glands, its elements come together in a way that they deliver something more appealing than the expectation for such a single-minded genre picture. It may look like a mindless track-down, shoot-’em-up kidnapping thriller, but its spatially energized standards, reckless thrills, and bone-crunching and ass-kicking action are undeniably entertaining. Indeed, it can be one big screen guilty pleasure.
At virtually every turn, the film feels like it’s an efficiently hardcore action film with the feel of an 80’s flick where the hero fights the ferocity of a dozen men. What it lacks in plausibility, originality, and political correctness, it makes up for with its essentially indomitable force courtesy of lead actor Liam Neeson. He makes the breathtaking pace matching the well-crafted but improbable action set pieces. The film’s premise is obviously a little shaky. On one hand, this exploitation thriller about sex slaves and human trafficking is a grim, violent, and predictable tale. Thanks to its fast-paced high-octane seediness, there is no enough time to ponder on the plot holes or question the theme and the bigoted portrayal of vicious Albanian gangsters and sleazy Arab businessmen while watching. But given the style, treatment, and story, it is not forgivable skipping certain points of logic such as the girl being into a really high dose of drugs a few minutes ago, or perhaps, an hour ago, then all of a sudden she gets completely sane in the arms of her estranged father. So goes with the airport moment of the reuniting family where the same girl who has been to a major trauma of a dead girl friend, illegal drugs, sex slavery, and murder acts like nothing, as in “nothing” ever happened. She even goes to have her voice training as if she had amnesia after the drugs in her blood and the shock of becoming a sex slave in Paris. Now, this is not an excuse for cinematic or creative license anymore. It’s actually more of a commercial intention, but it just doesn’t work for those people who have brought their brains inside the theaters.
As the caffeine an action fan needs, “Taken” is crudely crisp, ruthlessly efficient, and deeply insane in its usual vengeance hunter plot. Its breathless speed gives it a precisely high tension terrain. It is fun without being too artsy or being ultimately brainless in making the typical action hero a superman at the far edge of believability. For this, it becomes a fairly involving and satisfying action thriller.
The energetic mayhem is the major selling point of this film. Director Pierre Morrel, in collaboration with his cinematographer Michel Abramowicz and editor Frédéric Thoraval, is adept at using quick, claustrophobic cuts that despite the worrying overtones, the film’s entertainment value still rises to the occasion.
Neeson brings credibility to the film just by simply playing as a father on a mission, slick and soulless as he dispatches each of them with implausible ease. He delivers a typically compelling performance for such a muscle-bound role plagued with the dumbest villains on screen. Armed or with bare hands, he chops down thugs and other low-level criminals peddling flesh in Paris both with riveting action and patriarchal sentimentality. He drives the story as he beats down anyone who stands between him and his kidnapped daughter. Another praiseworthy thing about Neeson is how he is able to hold on to his character to make the story worth watching while making the other members of the cast still work for the story. Indeed, Neeson turns this relatively generic flick into an above-average action entertainment offer.
“Taken” is a no brain, more muscle treat. It works as an intense action flick and revenge thriller with an illogical plotting that is saved by its efficient hero. And with all its jaw-dropping action sequences, it is a shallow pleasure at best.
“Pink Panther 2” is all about rehashing the jokes of the past. While keeping itself as a comedy crime caper, its hoary slapstick routines promote nothing more than kitchen-sink comedy for those looking for something in a Mr. Bean vein. As usual, it serves up the pretty dumb and predictable goofs, moronic pranks, and fractured wordplay to keep itself purring along.
This revisiting of Peter Sellers’ original Inspector Jacques Clouseau plays like a series of hit-and-miss skits. While it certainly has some moments of hilarity, it seems to prefer the warm comfort of mediocrity. It may have some response from a few visual gags and a couple of moments where the slapstick gives some funny ride, but amidst the primary effort on the production’s physicality, it’s still a flimsy attempt trying to effectively revive the almost five decade-old franchise. It suffers on some flat gags and off-color innuendoes that waste what the talented cast can further offer. It merely relies on cheap-looking humor and old hat routines filled with derivative punch lines. Nevertheless, as a form of brainless escape, this flick’s vapid, low-grade comedy designed for marketability more than anything else can still provide certain chuckles. The animated title sequence is quite enjoyable to set up the mood. And even the unforgiving, demanding viewer could still find a dim-witted laughing moment on at least one individual scene like the part of the burning restaurant.
Steve Martin takes up the task again as the bungling Inspector Clouseau in his sneering French accent and idiotic detective wits. This time, he teams up with a squad of international detectives who are just as bumbling as he is in their mission to stop a globetrotting thief who specializes in stealing the greatest pieces of world treasure and historical artifacts. The comic mayhem following his dense character includes John Cleese as Chief Inspector Dreyfus, Jean Reno as Ponton, Emily Mortimer as Nicole, Andy Garcia as Vicenzo, Yuki Matsuzaki as Kenji, Aishwarya Rai as Sonia, Alfred Molina as Pepperidge, and Jeremy Irons as Avellaneda. But despite all the supporting star power, the movie’s search for redeeming features is too hard to find. The performances are let down by the screenplay and direction – which don’t really give vital opportunities for strong comic focus. The paper-thin storyline gasps for laughs with its airless plotting that it wastes the talents of the many good actors in this sequel.
Overall, “Pink Panther 2” is a hit-and-miss entertainment venture relying heavily on the audience’s affection to the bumbling detective who already made its mark in Hollywood history. The movie is not a very good film, but at least it’s generally painless as a form of mindless entertainment – thanks to the cast trying their best to put a little reason for the flick to exist more than just wringing dollars from an already throttled franchise.
“Monsters vs. Aliens” is an affectionate spoof of 1950’s sci-fi and monster flicks with the ambitious visual texture of what the 3D technology of the today can offer. It works if you merely enjoy it’s 3D glory and not overthink… This family-friendly animated offer captures both the thrills for the kids and the nods of parents feeling the nostalgia for alien invasion movies through its fine homage to a number of flicks of the past. And it has enough color, motion, and mayhem to keep the willing viewers entertained.
“Monsters vs. Aliens” aims to entertain every demographic in the audience. It contains much of the formula; but the occasional gross-out jokes and way-cool beasties and robots work pretty good enough. As an industry breakthrough for 3D animation, it uses the newfangled 3D effects quite nicely. And as an example of a mainstream studio blockbuster done in a generally acceptable manner, the cool stuff are balanced with enough humor and action, visuals and sounds, and relative fun and amazement for both the children and the parents (especially when seen in IMAX). Directors Rob Letterman and Conrad Vernon mainly utilizes solid gags and superb technical sophistication to create the required appeal to showcase a bride-to-be-turned-50-foot-tall-superheroine and a ragtag group of monsters for fun alien battles around the city.
This Dreamworks animated funhouse uses the “Shrek” formula to incorporate grotesquely charming characters with mature and memorable themes. With its crisp and sparkling 3D look, bigger-than-life treatment, and classic movie creatures getting a high-tech makeover, the movie ably disguises its conventional family fare premise into a clever satire. However, it actually doesn’t quite live up to the top potential of its premise due to some lines falling flat and overused and a treatment losing some needed emotional punch for the sake of technological show-offs. It could have been much better if the filmmakers were able to put that kind of passion on the storytelling as they were with the audio-visual spectacle. Indeed, despite dazzling visuals and sporadic thrills, the film lacks the consistency, inventiveness, wit, and big-heartedness found in superior and unforgettable animation classics.
“MvA” uses ironic, sometimes sardonic, language to satirize just about everyone. This tale about a plus-plus-sized lady taking on extraterrestrial enemies with the help of some equally oddball friends allows for a decent family entertainment. With the viewers cheering for the “female superhero” and her mosterrific companions, it’s a lightweight picture of embracing the inner superpowered 50-foot-tall monster inside her. And it interestingly becomes a tale on female empowerment and male comeuppance as it asserts a dumped woman’s reestablishing of herself from her egomaniacal fiancé.
The computer artisans and voice actors who bring the story to life serve the film well. The slyly voice performances are quite a deal in making the film work. Offering their voices for the film are Reese Witherspoon as Susan Murphy/Ginormica, Seth Rogen as B.O.B., Hugh Laurie as Dr. Cockroach Ph.D., Will Arnett as The Missing Link, Kiefer Sutherland as General W.R. Monger, Rainn Wilson as Gallaxhar, Stephen Colbert as President Hathaway, Paul Rudd as Derek, Julie White as Wendy Murphy, Jeffrey Tambor as Carl Murphy, Renée Zellweger as Katie, Amy Poehler as the Computer, among others. The funniest characters amongst them are Rogen as the animated blue blob and Colbert stealing the scenes as the US president.
“Monsters vs. Aliens” doesn’t have a lot of emotional depth, but it’s a well-designed crowd-pleaser for audiences of all ages. It just falls short on the fact that if you take away the 3D, half of what’s left is your generic family flick.
Scenic Fantasy Less the Connection By: Rianne Hill Soriano
“The Secret of Moon Acre” is whimsically lovely to look at, but never reaches the level of magic and enchantment it needs to succeed. It still falls short on wielding magic to its storytelling that the plot seems to get totally mangled with the technical priorities of the film. With a dull screenplay, ploddy direction, patchy editing, and wooden performances, and without a coherent central tone, this children’s tale on the big screen still hardly brings the needed fantasy to life. If not for its eye candy looks, it is nothing but uninvolving.
Adapted from Elizabeth Goudge’s “The Little White Horse,” “The Secret of Moon Acre” is clearly meant for family audiences. The story revolves around Dakota Blue Richards’ character as Maria Merryweather who discovers upon her father’s death that he was a notorious debtor. Orphaned, homeless, and bequeathed a single possession, a leather-bound book, she is shuttled to the strange and mysterious Moonacre country estate which is presided over by her rigid uncle, Sir Benjamin (Ioan Gruffudd). There, she learns that her family has been entangled in an ancient blood feud with the De Noir clan over possession of magical pearls. And she, the last moon princess, is the only hope for their clans’ salvation.
“The Secret of Moon Acre” truly features the beauty of its scenic European locations. The costumes are beautiful. The sets and props are gorgeous. Indeed, the lush production design makes for great opportunities in cinematography work, which then gives the viewers a real plenty for the eye. The effects are not on top, but they still considerably render well to the film’s requirements. The technical aspect of the film is generally commendable. Hungarian director Gabor Csupo (”The Bridge to Terabithia”), along with his team including cinematographer David Eggby, production designer Sophie Becher, art directors Bill Crutcher, Mónika Esztán, and Gary Jopling, set decorators Zoltán Horváth and Kay McGlone, and costume designer Beatrix Aruna Pasztor, gets to utilize a visual illustration of moonlit visual splendor and the greed, tension and lust over objects of desire. Yet, the film can’t hide the fact that it is poorly written, badly acted, and drained by a stagnant narrative line. It may employ strong animation techniques and special effects for evocative visual intentions, but it never stakes out its very identity to establish such a fantastical story. The music is within the bounds of the fantasy genre, but it never takes itself away from the mainstream conventions and it overdoes itself most of the time. And with its sluggish blend of humor, disengaged characters, and dizzying narrative line, it fails to connect on cinematic and emotional levels.
The film’s performances, pacing, and rhythm are never synchronized that the picture doesn’t give the necessary depth, insight, and imagination; thus, denying it the beguiling wonder it needs. These fracture the main story, a derivative of the typical “Romeo and Juliet” love story, to the point that the individual moments also get drained of much filmic insights and imagination. The intention to rise and take flights of fancy is there, but with how the story is weaved, the film remains resolutely earthbound. With the director being a talented animator as well, he truly makes the film physically wonderful to look at. However, he seems quite uncomfortable with actors that the cast looks quite vague with their rendered performances.
The appeal of “The Golden Compass” star Dakota Blue Richards is generally fine for her whimsical character. However, just like with the rest of the cast falling prey to merely animated tight/reaction shots in the film most of the time, this pulls down not just the individual goodness of what the acting performances can offer but the whole film being nailed down and not effectively living up to the cinematic medium. Natascha McElhone as Loveday is generally fine, but the slow-moving affair hampers her characterization just like everybody else. Gruffudd is too wooden that all he really has to do for most times is to look brooding. Juliet Stevenson as Maria’s overprotective governess Miss Heliotrope mostly gets the comedy part, but her overacting and too animated characterization often detract her comic turns away from the more resonant storyline. Tim Curry as Coeur De Noir is too broad and unfixed. Andy Linden as the manor’s undersized, magical, and mercurial chef Marmaduke Scarlet seems to merely phone in a performance. Augustus Prew as Robin seems like he just came out from a set of a Tim Burton film. As an acting talent, he considerably looks fresh the way he handles himself on screen, but he still can’t muster any enthusiasm for such a sluggish narrative that throws around pearls of blandness like moondust.
“The Secret Of Moonacre” lacks action, adventure, and magic. This dull children’s fantasy adventure for family audiences never soars or completely takes hold of the imagination. It feels like it drifts all over the place with undermined treatment and execution. Perhaps, people can opt to watch it just for how lovely it is to look at – not for the plot, the characters, nor the story.
For it to work, “12 Rounds” should not be taken seriously. It aims for an audience who just expects cool explosions, crash-and-burn spectacle, breakneck speeding, and a ton of action set pieces. If you go in with low expectations, it gets to elevate itself a bit as a second-rate action flick that you can get swept up with through its crash-and-explode craziness.
“12 Rounds” is a clear example of sensational style over underbaked substance – but it strangely keeps a certain charm to it – thanks to the visual skills of its craftsman Renny Harlin. Amidst its being a by-the-book, multi-cam spectacle, it is packed with a reasonable audio-visual flair having enough action and thrills to make it, at least, modestly entertaining. It may be ultimately preposterous in its usual movie elements, but it has the spade of energy that brings out some suspense-filled moments in between the action and artifice. And being powered by enough pure adrenaline, there are some minimal spaces that can be used to forgive a number of its gaping plot holes.
Harlin utilizes the architecture of its locations and his formidably muscled lead character to keep the intensity going. It makes the film occasionally blood-pumping amidst the fact that the horribly written script tries to put a tragedy to the film almost every time. Add up the nonsensical demeanor of its story and this revenge game definitely loses much points. Nevertheless, the camerawork by David Boyd, editing by Brian Berdan, production design by Nicholas Lundy, and music from Trevor Rabin try to save the film from the pits of “the totally worthless action flicks.”
This brainless but energetic action picture revolves around the character of Detective Danny Fisher (John Cena) who discovers his girlfriend Molly Porter (Ashley Scott) has been kidnapped by an ex-con he caught a year ago. And he would have to successfully complete 12 challenges in order to secure her safe release. The wrestler Cena fronting the movie renders a kind of low expectation for the acting department already. He resembles a character coming from video games more than what can suit best for this kind of film. But overall, he still gives a pretty neutral deal through some air of likability on how he handles his character. Aidan Gillen as the fast-talking villain Miles Jackson is passable for such kind of role. Ashley Scott is an attractive leading lady, but on the acting part, she is quite disappointing and lacks much emotion and personality for her role. And the rest of the characters like Steve Harris as Special Agent George Aiken, Brian J. White as Det. Hank Carver, and Gonzalo Menendez as Special Agent Ray Santiago are merely your usual paper-thin characters. Actually, some may reach the level of useful, fun, or interesting, but they are still mere clichés seen for a thousand times in the big screen already. Nothing new really.
For the rounds of action, this movie may have an audience. But for those who can’t handle brainless flicks, this is not a good recommendation.
1st Phil Digi Awards Wraps Up at the World Trade Center By: Rianne Hill Soriano | YEHEY! Contributors
17 March 2009 | 11:18 AM
The 1st Philippine Digital Music and Short Film Festival and Awards (Phil Digi Awards) wrapped up with a two-day music and film congress and red carpet night last Mar. 11 and 12, 2009 at the World Trade Center.
This joint project by Isys Business Solution and Thumbsinteractiv, in cooperation with Blue Fish Asia, aimed to discover fresh Filipino talents in the field of music and filmmaking through online film and music competitions – bringing the independent film industry to the open and market its potentials. Receiving a whopping number of entries from students, amateurs, and professional music artists and filmmakers, it boasted of over 300 music entries and 40 short film entries from rising Filipino artists.
The two-day event was a great night for Filipino film and music performances courtesy of professionals, students, and newcomers in the industry – showcasing and celebrating both professional and amateur talents. The congress featured seminars and workshops on film, animation, music, the protection of Filipino art works, and the business opportunities in the creative industry. Key topics included: artist development and management, copyrights, publishing rights, anti-piracy, finding grants, filmmaking, music recording, animation trends, film classification, original content production, among others. There were also features on independent and commercial film directors and musicians.
The winners for this year’s festival:
Music Categories
ACCESS 2 LOVE
Best Digital Album
KAMANDAG THEME by First Circle
Best Jingle Entry
2 DAYS AGO
Promising New Artist
NJEL DE MESA
Promising Male Artist
DEBBIE NICODEMUS
Promising Female Aritst
BRENAN ESPARTINEZ
Best Male Artist
YENG CONSTANTINO
Best Female Artist
ARNE MARTELINO
Best Composer
ISA’T KALAHATING ARAW by Sensitivo
Best Indie Music
SENSITIVO
Best Independent Group
CALL TO LIFE by Salamankero
Best Music Video
FREQUENCY by Emorej
Best House/Electronica Music
ANG TANGING PATNUBAY by John Paul Dabon
Best Composition
ALAY SA IYO by Era Ann Oblefias
Best Gospel/Praise Music
SAGIP SONG by Rommel Gojo
Best Contemporary Christian Music
PARIHABA by Engelbert Paculangan
Best Short Film – Fantasy/Horror
SALINGPUSA by Antoinette Jadaone
Best Short Fillm – Comedy
NAMAMAYBAY by Erwin Escalante
Best Short Film – Documentary
BAS BAYABAS
Best Animated Short Film – Kid
KUMOT NG PANAGINIP by Jedd Chris Dimaguina
Best Animated Short Film – Fantasy/Horror
PIRATA by Al Eduardo
Best Short Film – Action/Drama
LYNMAN BACOLOR
Best Independent Solo Artist
NOSEBLEED by Jason Paul Laxamana
ETC Category Winner
BUY THE BOOK: Gabay sa Ordinaryong Taong Katulad Mo by Timmy Harn
Jack TV Category Winner
The Gentle Giants in National Geographic’s Big Blue
By Rianne Hill Soriano
The National Geographic unveils the ocean’s gentle giants, the blue whales, in the “Big Blue.”
The Blue Whales
According to producer Sue Houghton, people have fascination with the charismatic mega fauna – animals that are both huge and appealing. Somehow, in some way, such animals tend to relate more to humans with similar eyes looking back at them. And whales are very much like that. They have a life span just as long as humans, 70-100 years. They usually have babies in their 20’s. They mostly have one or two babies at a time. And they stay with their mothers for a long period for nursing the way humans do. And they are very charismatic. They are so gentle and fragile, yet they are so huge – growing up to 30 meters and weighing up to 200 tons.
Despite their incredible size and wide distribution all over the waters around the globe, hundreds of thousands of blue whales are killed every year. And the “Big Blue” aims to promote a noble mission: to save them and let them have a life to live free from the dangers of humans and technology by providing an honest presentation of how touching life can be for them and for the rest of the life forms in the seas and address the issues about their survival.
The blue whales, along with the other creatures, considerably serve as a barometer of the health of the oceans. Come to think of it, if the largest creatures like the blue whale can’t survive because of what people do to the bodies of water all over the world, perhaps, everyone and everything else, including mankind, can’t survive a contaminated planet in the long term.
About the Big Blue
The research for the project took a lot of work from the development department. After which, a filming period of one year across coastal waters and offshore were done in the US, Mexico, Costa Rica, Panama, Japan, and Iceland.
The film was shot very traditionally. The team took four HD cameras with them. And while filming, they continually kept doing research – tracking the best locations available.
The Challenges
The major challenge in this kind of production was how rough and unpredictable things could go. There were high chances that the filmmakers won’t get much or not get anything at all. Ideally, the whales could be seen from afar, or their presence could provide a certain odor that could be smelled from the area. However, there were moments when the waves became too high and the whales were of the same color as the ocean that visibility was very hard. And so, everything should be timed exactly right while the crew was living and surviving in a small boat the whole time of filming.
Also, to film whales, the scuba diving gear wasn’t used. The person had to hang on the side of the small boat until he was close enough in front of the whale, then he was dropped off hoping the whale would come up near… that’s how it worked. It’s very imprecise.
At first, the filmmakers thought it’s too difficult, and rather impossible, to get close enough to the blue whales to get the best footages given the physical conditions. But they found it a miracle to meet a mother whale letting her newborn baby play with them. Indeed, they were very lucky to have the opportunity to play around and even film them – with their trust and good will towards “alien creatures” to them as the humans. For them, it was an astonishing experience. They added, “Whales like us, and we like them.”
Seeing the baby whale and having the mother (around three times the size of their boat) bring it over to the filmmakers, and letting her baby come close was quite an experience to them. The whales looked at them. And they communicated with them. And seeing the baby whale exceeded their expectations that the actual filming became such an emotional experience – which hopefully, can be passed on to the viewers of the “Big Blue.”
As the filmmakers went on further, they realized how blue whales were curious. They were individuals like humans in such a way that some of them were quite social and friendly, while some didn’t want to be bothered.
They were also given the chance to film a baby whale shark and a baby sea turtle. Those were really exciting times as it’s very rare to even see juveniles of these species at those sizes. They knew that they were in special places. All these were such a blessing for them. And from such experiences, they said that one thing they learned was that, “we can’t ever control nature, you can only receive the gifts she gives you.”
What Audiences Can Gain in Watching the “Big Blue”
According to Houghton, by watching the “Big Blue,” her team hopes that people would realize that we are not the only important creatures in our planet. We take up so much space that other animals don’t get the space they are expected to have for the lifestyle they need to survive. Respecting other creatures, their habitats, and the ocean in general is really very important. Blue whales never hurt anybody. Interestingly, given their size, they are the most gentle animals in the planet. They hurt nothing and no one; yet, we kill hundreds of thousands of them that within a few decades, we can just totally wipe them out.
People should put themselves in the context of the bigger picture of the planet and have respect for other animals and other beings that have the right to live their lives unmolested the way people expect to live theirs.
The Crittercam
National Geographic uses an impressive technology called the Crittercam to document various animals. It’s a very small video camera, sound recorder, and data recorder that providing important data about the animal like how deep it goes, what angle its body is, and lots of other vital information. It is activated by its attachment to the animal. It runs from a few hours to two days with the animal. And in the case of the blue whales, it gets off the animal and the camera comes off by itself towards the ocean surface. There is a special device to make it float when released from the animal. It sends signals so that it can be followed through its GPS coordinates.
According to the National Geographic, the Crittercam has no side effects to the animals. It is very light and small. It is not invasive and doesn’t penetrate the animal skin in any way.
The Threats
According to the producers of the “Big Blue,” the biggest threat to the blue whales is the big ships. They don’t know if the blue whales can get out of the way fast enough. They don’t know if they hear them. However, it’s scary to think that most ships pass by at night when the whales are resting on the surface of the ocean. Baby whales are even bigger risks because they are usually closer and more often to the surface as they don’t have the lung capacity that adults already do. They don’t know how many of them get hit by the ships as the only ones counted are those who reach the shore or float at sea at a visible time.
Another threat to the blue whales, along with the other creatures of the ocean, are the red tide, the demonic acid – coming from water and climate conditions – basically toxins and chemicals in the water eaten by very small, zooplanktons, then by shrimps, fish, and eventually work their way into the whole ecosystem. The final report on whether this also kills the blue whales (that are so huge as compared to the other animals in the sea) is yet to be finalized. But scientists think that such disorients and confuses them to the point that they can get hit by the big, fast-moving ships.
There’s another threat being studied and addressed – with some fishermen, according to Houghton, mostly Asians and Norwegians – setting great nets and taking everything they can unmindful of whatever gets affected. And sometimes, blue whales (mammals) do get caught up on these nets that they find it hard to get back to the surface to breathe air.
Another threat is how people, mostly in Norway, catch the small microscopic shrimps that blue whales eat to make fish food out of them. People can already be fed in a lot of ways. We can grow our own with our technology. And we don’t have to take away the whale’s food to survive.
Saving the Blue Whales
Hopefully, by watching the “Big Blue,” people can realize that there are lots of other animals in the planet besides humans – and they have all the right to live as well. However, it’s not going to be easy because most people are greedy. People want things for themselves without much concern for the other things in the world. They use bigger modes of transportation to make things come faster. Most of the time, they put them in planes and ships. And in the case of the big ships, they hit the whales and kill them. If governments all over the world can come up with the appropriate laws and if the people can rethink where the ships go to port, how fast they go, and just slowing them down by a few knots, and be concerned of other things in terms of traveling, fishing, and getting resources in the ocean for man’s consumption, then we will be able to save many whales.
Message for the Filipino Audience
The Philippines provides one of the best scuba diving experiences in the whole world. There are so many beautiful seas, so much unusual species… incredible fish and reefs… And far away from the islands where people live, there are creatures living there as well. The big blues live in all oceans. There may not be that many of them anymore, but they go around everywhere in the globe.
Before going to the sea or entering a ship or boat, or before swimming at the beach, may you also remember that it is a gift to be able to go and enjoy the home of animals that co-exist with us.
And finally, the biggest message to take away is that the blue whales are gentle creatures, they don’t harm anyone – and they still trust us enough to share a newborn with us. Such a wonderful opportunity is something to be grateful for. And we need to respect their home, the ocean, in every possible way we can.
A Study of a Marriage Gone Wrong By: Rianne Hill Soriano
“Revolutionary Road”
Directed by: Sam Mendes
Starring: Leonardo DiCaprio, Kate Winslet, Michael Shannon, Ryan Simpkins Official Website
“Revolutionary Road” is a tragic study of a marriage tearing itself apart. Director Sam Mendes creates a portrait of a dysfunctional relationship and digs into American suburban life with a riveting and stark drama. Its account of marital failure and dreams lost may take the audience down a familiar road, but it survives as a heavily engaging social mirror through the powerful and emotional performances of both the major and minor roles.
Based on a novel by Richard Yates, “Revolutionary Road” is a moving examination of a young, unhappy couple desperately trying to deal with the plateau of their married life where freedom, ambition, and ideals clash with their faltering relationship. Mendes pinpoints the brutality of banality in a considerably good stream. Chilly and academic, he generally covers a similar ground as that of his Oscar-winning “American Beauty” – with its high quality affair in terms of production and performance. Justin Haythe’s faithful screenplay is energized by the fine acting that reflects the genuine angst of the era. Kristi Zea’s production design effectively evokes the details of the period and situates the road to ruin for the main characters. The sublime camerawork by cinematographer Roger Deakins stylizes suburbia as a lavish velvet coffin for its doomed residents. Tariq Anwar’s editing exerts a pretty good pull towards the brilliant source material as its beautiful but ill-fated protagonists navigate through the tedium of adult life. Thomas Newman’s score bolsters the film’s bleak, troubling, and tragic underside as it reveals the hidden disease at the heart of American life during the 50’s era.
The film is an intense drama striving for heaviness. It keeps the people engaged with a consistently absorbing and occasionally heart-rending adaptation of a classic American novel. However, it does not completely pass by the road to perfection. On a certain dose, it fails to fully engage the audience’s sympathy despite its first-rate performances and high production value. And it’s not merely due to traversing a path so familiar that it doesn’t take the demanding audience by surprise anymore; perhaps, it’s because of some of the dramatic fireworks getting the better of particular scenes, that in the end, there is no enough emotional punch to the film’s totality anymore. Moreover, it doesn’t fully hit the mark due to some moments where certain dialogue becomes on-the-nose – which tends to be more akin to theater (like April’s unfulfilled career as a thespian in the story) than in real life. Some of it works with the characterization, but not all. And there are times that far too much get said already when the brilliance of the scenes lay in the amount of what can be left unsaid. With such, there are instances that the viewers feel removed from the messy energies and doomed sensibilities of the characters. Nevertheless, overall, solid performances take over some of the smaller bumps of the film still.
The cinematic reunion of “Titanic” lovers Leonardo DiCaprio and Kate Winslet highlights another tragic, emotional grip to a depressing tale. They are once again, set in the bleakness of a relationship gone wrong. As Frank and April Wheeler, they are a young couple living in a Connecticut suburb during the mid-50’s who struggle to come to terms with their romantic, personal, and familial problems. They are on the verge of marital and emotional collapse as their growing desperation and dissatisfaction for their town, their marriage, and their two children lead them to think of an escape. DiCaprio and Winslet brilliantly depict a married couple with histrionic tendencies channeling much nuance into their home sweet home turned into a home-based hell. Their darkly effective portrait of a marital partnership tragically falling short of realizing their dreams and aspirations deliver some compelling and emotionally gripping scenes. And they get valuable opportunities to display fearless acting prowess through a number of “in the moment” scenes.
“Revolutionary Road” survives pretty well with powerful and emotional performances. And it features terrific acting not only from the two leads but the entire cast. Considerably, the performances are rightfully more involving than the tragic story they depict. Kathy Bates as Mrs. Helen Givings provides humorous scenes that balance out the heavily dramatic bulk of the film. Also adding humor and spice to the movie is Michael Shannon as the psychologically unstable son John Givings – who steals just about every scene he is in. Kathryn Hahn as Milly Campbell, David Harbour as Shep Campbell, Jay Sanders as Bart Pollack, Dylan Baker as Jack Ordway, Max Casella as Ed Smalland, and the rest of the supporting and minor characters contribute well to this essay about the emptiness of 1950’s American suburban life.
“How do you break free without breaking apart?” For the “Revolutionary Road,” it doesn’t provide the answer, but it offers an existential look at desperate lives, wrong moves, and spoiled dreams that can bring self-delusion to such a plight in a married relationship.
The film is stylized, sobering, well-observed, and bristling with great performances. It is bitter as it is engrossing. It is heartbreakingly sad as it is roadworthy. It may not be a revolutionary work, but it is still remarkable in certain ways.
Watching a Heroic Deconstruction
By: Rianne Hill Soriano
“Watchmen”
Directed by: Zack Snyder
Starring: Malin Akerman, Billy Crudup, Matthew Goode, Jackie Earle Haley, Jeffrey Dean Morgan, Carla Gugino, Patrick Wilson Official Website
“Watchmen” is visually brilliant but flawed in certain ways. Nevertheless, this eye-poppingly faithful adaptation is carefully crafted as a lavish cult movie. It spins a comic deemed unfilmable into a blockbuster for the specific admirers of the superhero genre and the fan base of the groundbreaking book from writer Alan Moore and illustrator Dave Gibbons. Grappling with the graphic novel’s multi-layered storyline, this dystopian film utilizes a deeply dark heart unmasking the world’s harsh realities.
“Watchmen” is no doubt a love letter to those who have been waiting for the film for the last two decades. The success of the acclaimed 1980’s graphic novel about moral relativity, the futility of life, the violent nature of man, and the deconstruction of the concepts of humanity and heroism have pushed this film into monumental anticipation. Director Zack Snyder brings the superhero-noir murder mystery to life through the aesthetic pleasure of reproducing the key scenes with storyboard-like fidelity. As a deconstructionist superhero flick, it generally works in making fans thrilled with its visual experimentation, radical mythology, psychologically rich idealism, and grand indulgence.
Overall, the mood and tone of the film is what most fans could hope for. As the cinematic version of the world’s most celebrated graphic novel, this sprawling film stays faithful to the book – trimming and reshaping it to its prime essentials. It may not include every nuance in the graphic novel, but it gets to capture the basic requirements of the moving picture medium. However, the overflowing technical energy has resulted to a power lost in terms of characterization and emotional engagement to the story. The technical brilliance upstages the other aspects of the film way too much. The filmmakers lose sight of what could make a film effective more than just the mere visual flair: the film lacks the emotional attachment for the audience to relate to the characters and the world they live in. Yes, the fans familiar to the characters and their alternate universe would find the film rendering generally well on screen. But how about the non-superficial facets of the film? How much energy was put on them? Looks like they couldn’t quite measure up to what the film’s technical competence provides. Indeed, this proves that a great source material, a respectful translation from graphic novel to film, a big budget, and an overflowing visual power are not enough to make a film live up to the greatest expectations for it.
Having such a complex narrative structure, it’s quite understandable that the film is weaved with less back stories and plotting compared to its book source. For cinematic purposes, significant changes are clearly made in the script and what has actually worked out during the course of production. For some, especially to those who are not readily familiar with the original material, it may be a little difficult for them to get the same appeal as compared to the excited fans. And overall, it could be a slightly different experience for anyone who does not know the book – especially since the interaction between the characters and their multi-layered sub-stories remain integral points to understanding the story. And to those who are not literally immersed in the 80’s era, the book’s astonishing vision considerably has a different effect to those who actually experienced the Cold War period and the 80’s.
Though the film captures the look and feel of the novel, it still fails to totally engage its audience because its emotional core is buried deep under its self-gratifying visual style. There is never enough time spent with moments of emotion and suspense to make the audience relate and/or sympathize to what’s going on, and perhaps, get totally excited about what’s coming up next (especially outside the landscape of the film’s visual grandeur).
“Watchmen” has moments of wonder. Not all of it works, but parts of it do. At some point, the film feels artificially stylized that its soulless aspects hinder it from becoming great. It’s bold and bloated, fascinating and flawed, stunning and scattered. For all of the ferocious flashes of spectacular physicality, there are substantially-challenged parts that sometimes feel misapplied, overcranked, or too ramped up already.
Through impressive, computer-enhanced eye candy, the film’s pop-art fusion features its blood-stained smiley face well. And amidst its flaws, the film is intense. It is backed up by the fascinating and contemplative story of the book. Its philosophy and take on genre deconstruction keep up with its heavy, adult-themed plot. It has interesting social and political ideas in doing the ultimate sacrifice and making the world fall part and putting it back together again with the Machiavellian ideology in mind. Indeed, it depicts itself as a self-styled parody of the world’s “true face” and the “big jokes” of the society.
Visually, this flick is a lavish and exciting screen translation reverential to Moore and Gibbons’ landmark work. The film’s post-Dark Knight world boasts of keen attention to physical details. The art production design, art direction, and cinematography are quite good. The rich and gorgeous palette and campy costumes are a sight to see. The original comics shines through Snyder’s approach to satisfy the fanboys with densely-packed motion picture experience. He puts a grimy and gritty, and yet glossed pop culture feel to the film. He tries to preserve other information by including a short “historical” opening title sequence – kicking off the visual treat he has become known for since he made the historical “300″ in 2007. However, there is a disappointing part to it: he merely yields to his trademark shots in his Spartan opus without bothering to recreate his visionary style – making them look like mere copies of his memorable “300″ scenes. For this film, expect copycat shots and elements here and there. And so, despite some powerful scenes, they never fully satisfy…
Snyder’s direction merely focuses on style and technique. And the acting, thematic, and emotional aspects of the film suffer. The acting department is filled with talented performers. The billing for the Watchmen superheroes includes: Jeffrey Dean Morgan as Edward Blake/The Comedian, Billy Crudup as Dr. Manhattan/Jon Osterman, Matthew Goode as Adrian Veidt/Ozymandias, Malin Akerman as Laurie Jupiter/Silk Spectre II, Jackie Earle Haley as Walter Kovacs/Rorschach, Patrick Wilson as Dan Dreiberg/Nite Owl II, Carla Gugino as Sally Jupiter/Silk Spectre, and Stephen McHattie as Hollis Mason/Nite Owl. However, they still render some wooden performances due to the film’s certain hollow and disjointed characterizations.
Snyder’s visually striking “Watchmen” deserves credit for what a dozen of other directors have struggled to do for around twenty years. His ambitious adaptation of the famed graphic novel is a visual and psychological feast filled with visceral action and powerful special effects. And against considerable odds, the story’s dense and complex mythology remains. Personally, I really have the highest expectations for this film. And with what I saw, disappointment is quite inevitable. But then again, just go there and enjoy the visual spectacle.
Von Arroyo makes his film debut in “Pera-perahang Lata,” a film exploring the many facets of a struggling life in a world that is full of unpredictable moments – where things are beyond one’s control. The cast also includes Arnold Reyes, Gio Respall, Paul Sy, Judith Soriao, Dante Balois, Jocel Vergel de Dios, Loida Petalo, Henrex Aldueso, Rey Solo, Dido dela Paz, Marnie Lapus, Ces Aldaba, Karl Moro, Rommel Buenaventura, Ellen Estrada, and other talented character actors and actresses in film, TV, and theater.
The Korean film “Technophilia,” a Korean-Filipino-Iraqi film production, shows how technology can shape people’s lifestyles, affect their relationships, and make their interactions as mechanistic as their gadgets. It stars fresh Korean, Japanese, American, and Filipino talents and is made possible through the filmmaker’s participation to the Asian Filmmakers Training Program in Seoul, Korea last year. The film is supported by the Korean Film Council, the prime mover in Korean cinema, Korean Academy of Film Arts, the country’s elite film school, and Korea University, where the filmmaker got an honorary alumna status during her six-month stay in Seoul last year.
“Miss Pettigrew Lives For a Day” is a gentle period piece that keeps the comedy humming while unpacking Miss Pettigrew’s one extraordinary day. This Depression-era Cinderella comedy has a certain kind of sophistication backed up by a fluffy form of lyrical cleverness. And for those who are into ultra-light screwball fun, artsy romance, and happy endings, this grown-up fairytale can surely live up for a day of cinematic entertainment.
Period comedy is a tough act to mount. And “Miss Pettigrew Lives For a Day” works with a certain heft. Interestingly, it is aimed at the ‘art house’ crowd while keeping a treatment that is as light as a feather and as stereotypical as your usual romantic comedy. What it lacks in substance is counterbalanced by the energy of its heavyweight actors and actresses – the thespian acting performances fitting the film’s fairytale-ish needs. At the same time, those who are not demanding for some heavy meanings and deeper artsy points would still enjoy the film by just the sights and sounds of cheeky purses, shoes, and dresses, vintage cars, and period music.
The expectations for “Dragonball Evolution” is considerably low. And yet, most people especially the generations of fans of the “Dragonball” series try to hope for the best by saying that a film’s worth does not equate to what the trailer merely shows… Sad to say, this blandly adapted rendition of the Asian folklore-inspired Manga is truly a terrible mess – worthy to receive the end of a “Kamehameha wave.”
The casting adds to the confusion to the film’s already many inconsistencies. The leads and major supports topbilled by Justin Chatwin as Goku, Jamie Chung as Chi Chi, Emmy Rossum as Bulma, Joon Park as Yamcha, are played by actors and actresses who may be too old to be teenagers. Along with the rest of the supporting cast including Randall Duk Kim as Grandpa Gohan, James Marsters as Lord Piccolo, Eriko Tamura as Mai, and Megumi Seki as Seki, the performances are generally shaky not merely because of their own rendered skills but because of the rampant miscast and the poor direction. As a fan, it is truly frustrating to see a shoddy film adaptation that is no bigger than the sort of junk stuff seen on TV.
“Monsters vs. Aliens” is an affectionate spoof of 1950’s sci-fi and monster flicks with the ambitious visual texture of what the 3D technology of the today can offer. It works if you merely enjoy it’s 3D glory and not overthink… This family-friendly animated offer captures both the thrills for the kids and the nods of parents feeling the nostalgia for alien invasion movies through its fine homage to a number of flicks of the past. And it has enough color, motion, and mayhem to keep the willing viewers entertained.
“Revolutionary Road” is a tragic study of a marriage tearing itself apart. Director Sam Mendes creates a portrait of a dysfunctional relationship and digs into American suburban life with a riveting and stark drama. Its account of marital failure and dreams lost may take the audience down a familiar road, but it survives as a heavily engaging social mirror through the powerful and emotional performances of both the major and minor roles.
“Watchmen” is visually brilliant but flawed in certain ways. Nevertheless, this eye-poppingly faithful adaptation is carefully crafted as a lavish cult movie. It spins a comic deemed unfilmable into a blockbuster for the specific admirers of the superhero genre and the fan base of the groundbreaking book from writer Alan Moore and illustrator Dave Gibbons. Grappling with the graphic novel’s multi-layered storyline, this dystopian film utilizes a deeply dark heart unmasking the world’s harsh realities.
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