STILL A CLASSIC

FOTO: www.widescreenmuseum.com

Following the Academy’s greatest injustice in its history, I started exploring Peter O’Toole’s filmography with its most famous movie, an epic historic spectacle.

Although filmed in the early ‘60s, ”Lawrence of Arabia” is still a masterpiece of directing, camera, action sequences and special effects, done the old fashioned way, 100% analogue.

Subject itself, as well as the acting are still persuasive and applicable on the Middle Eastern geo-political situation, although occasionally naïve by today’s standards.

”Lawrence of Arabia” is a true gem of old-school filming that can be a lesson for the corny uninventive CGI filmmakers of today.

LAWRENCE OF ARABIA - 7/10

NAÏVE, BUT SCARY

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Customs are different from culture to culture. Vaginal mutilation of the young women in African Islamic societies that represents the main subject of Senegali ”Moolaade” will come as a shock to Westerners, as well as the constant reminder of how important and difficult the fight for the rights of women was significant and hard in the past centuries.

Despite the harshness of the script layout, overall acting and depiction is somehow diminished by the naïve and unnecessary serenity of the self-taught protagonists.

”Moolaade” is one of those flicks where the subject is more important than the movie as a whole.

MOOLAADE - 4/10

HALF WAY THERE

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Africa is called the ”dark continent” and movies like ”Nairobi: Half life” is one of the reasons for that. To be clear from the start, this has nothing to do with the color of the predominant race that inhabits it.

Crime, drugs, brutal murders and omnipresent stealing are the main reason why most Westerns have the aversion when it comes to visiting Africa. This flick won’t help them change their minds, despite occasional humor from the main actor (Joseph Wairimu).

”Nairobi: Half life” is another brutal depiction of Africa’s grim lifestyle, spiced up with some decent acting and a dash of hope at its very end.

NAIROBI: HALF LIFE - 5/10

WORRIED ‘BOUT AFRICA

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South Africa is one dangerous place to live, with vicious criminals lurking around every corner.

”Gangster’s paradise: Jerusalema” is the story of the crime lord that rose from the slime of black ghettos outside Johannesburg, only to become one of the most influential characters in the city. Aside from depicting the brutal and merciless world of slums, movie sheds a light on the political and racial corruption in the country it comes from.

However, the outcome of the script and the acting itself tend to deviate into incredulity which gives the entire flick a lower rating than expected at the beginning .

”Gangster’s paradise: Jerusalema” is a brutal display of modern South Africa, but nothing more than that.

GANGSTER'S PARADISE: JERUSALEMA - 5/10

LAST MOVIE IN THE UNIVERSE TO SEE

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When you know that a movie script is based on a book written by Yukio Mishima, naturally you expect something different and special.

Thai-Japanese adaptation of ”Lizzard King” just fails in every aspect of the written word it was intended to depict. Non-existent course of action, totally confused characters and the overall pointlessness of the entire flick is something most of you won’t be able to bear. So, don’t.

”Last life in the universe” is basically the last movie in the universe you should see.

LAST LIFE IN THE UNIVERSE - 1/10

THE KOREAN WAY

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”Based on a true story”.

If this story is true, then ”My way” may just be the most fascinating journey in the history of war movie genre. A Korean (Dong-gun Jang) and a Japanese (Jo Odagiri) athletes odyssey leads them across the globe, starting at Korea, moving to Siberia, only to end on a D-day in Normandy 1944.

Action sequences are masterfully led by the directing arm of Je-kyu Kang, although often unrealistically empowered when it comes to special effects. Script tends to repeat itself, but with a purpose, trying to emphasize the meaninglessness of war and the Korean role in it.

Ending is equally strong as this entire war movie ”on steroids”, leaving the spectator just awed by the mysterious ways of the human destinies inside the global conflict.

”My way” is truly a remarkable war story and you should see it, even if only for that.

MY WAY - 7/10

CLASSIC SAMURAI FLICK

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Samurai movies have a very rigid script. Honor, treason, reconciliation, major showdown at the end.

”The hidden blade” has all that, as well as the traditional Asian overacting. Brutality is also there, but only occasionally used to spice up the slow rhythm of the entire flick.

If you are a fan of samurai culture, this is a movie for you. If not, better to stay away.

THE HIDDEN BLADE - 5/10

NOWHERE

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International comedies are especially delicate movies, because they tend to carry the spirit of the local nation that films them. This is something that can not always be understood and accepted in the right manner.

This is just the case with ”Where do we go now”, a dark comedy that tries to ridicule the basically non-existing differences between the Christians and Muslims in the Middle East. Every ingredient for a hilarious tale is there, but the script just fails, leaving an occasional grin or two for the humor-thirsty audience.

„Where do we go now?” is one of those comedies that do not have the capacity for a more significant international career.

WHERE DO WE GO NOW - 4/10

RUN, OMAR, RUN!

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Another war torn story comes from the Middle East in the form of indie flick about the problems that young Palestinian Omar endures on his way towards normal private life and loyalty to his people in the fight for liberation from the Israeli oppression.

Although fundamentally naïve in its basic concept, ”Omar” offers some good dilemmas and closed loop consequences of the choices made by its main protagonist (talented Adam Bakri). These lead to some spectacular chases around the old city walls, which are the best action sequences in the entire movie.

Above mentioned is something that can be found in many movies with the similar subject. The thing that separates ”Omar” from the rest of the politically and socially engaged scripts is its very end. Brutal and surprising, it will raise the entire rating by a notch or two.

”Omar” is something already seen, but with a powerful ending worth waiting.

OMAR - 7/10

SLOW, BUT POWERFUL

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Film stories that come from the Middle East Bermuda triangle (Palestine, Lebanon and Israel) all tend to suffocate in the harsh environment of the messy and bloody civil war that rampages these countries for the past few decades.

However, ”Paradise now” tends to move the ladder of the unthinkable even higher when two Palestinian best childhood friends are selected for the next suicide bomb attack in Tel-Aviv. Entire script revolves around their last day/night and dilemmas and insecurities that his horrific assignment carries with it.

Two lead males (Ali Suliman and Kais Nashif) are very good, as well as the supporting cast which has the ungrateful task of shedding a light on the pros (if any?) and cons for this decision.

”Paradise now” represents a drama so different from the majority of genre that it deserves your attention and appraisal.

PARADISE NOW - 8/10