Top 10 Films For 2014

Laziness and business gets the best out of me for 2014 and before I knew it it's already the end of November. Don't worry, I'm pretty much aware that this is a super late blog entry. However, before we close this year I need to roundup my top 10 as a reminder that 2014 "did" happen, for better (or for worse). A lot of good films came and I don't think this list could do that year any justice. But better late than never because my 2015-best is just around the corner.

Honorable mentions:

John Wick

Edge of Tomorrow

Wild

A Most Violent Year

Wood Job!

Force Majeure

Winter Sleep

Impression: Tracks

I've been too excited to watch this movie since last year. I'm a fangirl of Mia Wasikowska so that's where it all started. Tracks reminded me a lot of Sean Penn's adaptation of "Into the Wild", which is also a favorite of mine. Just like that film I love it when movies has something to do with travel because it allows me to discover new places. This time around it's the Australian outback, the hidden gem of the country, that takes a backseat to their famous barrier reefs and Koalas. Everything is picturesque even without the camera enhancement. Beautifully shot by Mandy Walker, she pulls us from our seats and let us absorb the experience of Davidson's journey by simply capturing the best angles and showing us the true colors of the desert. The makeup artistry on Wasikowska is superb as it takes the movie into another level. Her dried hair, parched lips and sunburn skin gave us that realistic but painful feeling of "being there" on the desert. One of the things I also love about this movie is how John Curran made it very simple, starkly moving and honest compared to all the other biopics out there. Exaggerated scenes causes the real dilemma in non-fictional movies because it makes you think twice if things like that did occur in real life, but there were no moments that overly dramatizes the plot or the character's experiences. Viewers are not forced to see a psychoanalization of Davidson's persona. We accept and like her for what she is - her steadfast courage, adaptable nature, including her weaknesses - without further inquistion. This is Wasikowska's best performance to date - regardless of her resemblance to Davidson. Wasikowska is no longer the tight-lipped shy girl trying to come-of age in a fantasy drama, in here she brings a bravado and grit to the character as she peels out the layers of monotony that Davidson strives to break away from. 

P.S. After watching this movie I now love black labrador's. We have lots of dogs but I want to have a trained one where I can embraced him, like a stuff toy, while I'm sleeping on my bed. 

Ida (Impression)

A road trip movie. A coming-of-age story of a young novitiate discovering her real identity: her actual name and parental background before she can take her vows as a nun. As she embarks on this journey she experiences things she has not known before. Confused with this unfamiliar and tempting territory she tread on water to solve her confusion, only to realize in the end what her true calling in life is. This black and white tinted motion picture is Pawlikoski's best yet. The gorgeous cinematography by Lukasz Zal and Ryszard Lenczewski captures the haunting mood of post-war Poland akin to the melancholic meanderings of Ingmar Bergman's Wild Strawberries and the eeriness of Michael Haneke's The White Ribbon. An artful piece of European cinema that has all the makings of a true classic. This will go down as one of my favorites of the year. 

Miracle in Cell No. 7 (Impression)

I Am Sam meets The Green Mile meets The Shawshank Redemption, and what else. The plot of the movie has "Hollywood" written all over its forehead so it's not surprising if audiences find this movie lovable, for some touchy-feely reasons. This is a movie that you can sit down together with your entire family. Even some people I know of has admitted to shedding bucketful of tears for this film, especially during the last sequences - but I would refrain myself from giving away any spoilers. I find it enjoyable, heartwarming and funny, but there are no Kleenex moments here on my part (I'm sorry). I was waiting for those "it" or "oomph" scenes - that they were talking about - but I guess I've seen so many melodramatic Korean movies in this lifetime, who successfully made me bawl and drool (no questions asked it is "Secret Sunshine" and "Maundy Thursday"), that it will take a heavy hitter before I cry again on a Korean movie, so there. Filipinos, especially those who gravitates towards watching ABS-CBN shows, loves their cheesy lines and waterworks, something that we have in common with Koreans, except that they make better movies than us and they are not "baduy". The only thing that frustrated me about "Miracle in Cell No. 7" is how the writers got away with putting Lee Yong-gu behind bars. Because you cannot incarcerate a mentally challenged individual or an insane person no matter what. Duh? Where's WHO or Amnesty International in Korea? It's like the strongest fighting chance of Lee Yong-gu, even if he's up against a commissioner. Just saying. Know your facts before you accept what you see. 

The English Patient (Impression)

No matter how well written the story of this film was - I could never warm up to the idea about two people cheating behind their partner's back. Especially if the husband is not a douche bag. Adultery is adultery, even if you dressed it up as something romantic. Relationship aside, the scenery photography captures the idyll beauty of the African desert, combined it with the nostalgic aviation's of WW2 has made this movie a picturesque visual experience, like those ancient hand drawn cardboard paintings (featured throughout this film ). 

Seeing Double — Enemy (Impression)

Enemy brews a strange atmosphere akin to the motion pictures of David Lynch and David Cronenberg's; at least a cross or a hybrid of the two. I think Villeneuve omitted some scenes/and the real ending from the Saramago novel. The details I was looking forward to (based on the book) wasn't there. Melanie Laurent was underused; should have had more scenes besides from being sexy and doing Jake G. I felt the ending was rushed and I just didn't get the meaning of its "eerie" finale. However, Villeneuve's fine eye and directorial skills manages to veer it off from becoming a disaster and has steered it to an enjoyable movie in spite of its minor shortcomings. This film right on the get go lives up to its bizarre reputation - with all the questions leaving you hanging and wanting for more. Multiple viewing is recommended.

A Cinephile Lenten Season 2014

Doing movie marathons every Holy Week is a must for me. It takes careful planning and meditation on my part just to compile a list of movies to see for that particular week. Number one consideration there is the copy availability. Picking up the theme is easy but if I lack the resources to make it happen I have to make do with what I have and find creative ways to think of another subject to watch. On my younger years, my movie list were mostly on the traditional side. You know, the bible based stories, family dramas, whatever is wholesome and considered morally educational for everybody to sit down together. But I guess I'm way past that now.

My last year's list consists of story lines concerning survival, loneliness, life and death, movies that are hard to chewed on because they can be quite the bitter pill. This 2014, I'll be watching movies that are: 

• A. set in the middle east/in Arabic or Hebrew/related to the Arab diaspora, 
• B. set during war time (but not necessarily in the battlefield) 

The former is a rarity for me, but of the late - I have collected enough titles to do a movie marathon of them, and since it's the Holy Week and there is too much sun I think the theme would blend perfectly with the overall mood of the occasion. For the wartime movies, I have an unspoken love, fondness and obsession for them. As I've said earlier, they don't have to take place in the actual battle grounds, but it's more of the atmosphere and the drama of the times. I collect whatever language they spoke of, after all, in my opinion, movies are meant to break barriers - it is universal. The "whatever works" are movies that do not fit into any of the first two categories but they would be played likewise.
Just to give you a peek (or an idea) here are some of the films that I'll be screening for that week. Hopefully, they could land into your own movie marathon in case you are left to wonder where to begin and what to watch. 

Directed by Marc Forster (2007)

Such a beautiful movie but so difficult to watch all over again due to its horrifying content. In fact, with its very painful subject I never did a multiple viewing of this movie after my initial screening. It felt so real to me to the point that if given a chance to enter the screen, equipped with superpowers and all, I'll choose this one just so I could save a character and prevent horrible things from happening to them. I think it's a natural reaction since we know that things like these are still prevalent in some countries, especially in the Middle East, and no matter how interested we are in putting a stop to such heinous deeds we are completely powerless (and faulty as humans) to prevent such situations. Something to ponder about. 

Directed by Ben Affleck (2012)

Who would have thought that Ben Affleck could churned a cinematic masterpiece? Yes, the same Ben Affleck, the actor, that appeared in movies such as Gigli and Bounce. Although we saw a part of that genius from his screenwriting dues with best buddy, Matt Damon, in Gus Van Sant's Good Will Hunting, I never did took him seriously after that. But I guess there's always more to Affleck than meets the eye and maybe that side is tucked away - only visible at best when his interest involves behind the camera. It's easy to love Argo, after all, it's a movie tailor made for each and everyone. If you love mainstream, art house, thriller, drama, nonsensical or cerebral, especially if you claim to be a lover of cinema then you have to take a gander on it. I've been picky about the mainstream Hollywood movies I see as of the late but Argo is a movie that I love for two things: it doesn't take itself too seriously (to gain intellectual appeal) and it doesn't dumb itself (for audiences that hates thinking movies), it works both ways; and you have to love a movie that entertains without sacrificing its quality over quantity. 

Directed by Asghar Farhada (2011)

If you haven't had the chance to see any Arabic movies before, or if you did and felt agitated afterwards, then this Academy Award winning film by Iranian director Asghar Farhadi is your best starting point. This wasn't the first Arabic movie I've seen but it's probably one of my favorites. I guess it's because Farhadi has chosen to take on a general "everyday" matter rather than confront the same issues dealt with by his compatriots. Just because it's not about the subject of war, its devastating outcomes and the likes it doesn't make it any less serious or the least bit important. The story is about an Iranian couple's impending marriage dissolution, the struggles and effects that comes along with their "trial separation", and the aftermath of their bad decisions that could be credited to their feelings of pride, fear and anger that has engulfed the both of them due to this separation. 

Directed by Denis Villeneuve (2010)

Just like The Kite Runner, it's a bit surprising that this movie is actually made by a non-Arabic filmmaker, but a Canadian one at that. This has become one of my favorite movies of 2010, with its nuanced storytelling, complex characters and mind-blowing plot twists and ending. It would do you - and the movie - a disservice if I give away spoilers, so go ahead and watch this movie for yourself. 

Directed by Siddiq Barmak (2003)

The first Arabic movie I've seen in my lifetime - way back 2003. If you live in our house or just visiting by, then you know that one of the things I do is make people watch movies that I love, which I mostly do for a cousin or a close friend. Forget borrowing them because I never lend my copies to any one (even if you think we're close or what), although it depends greatly on the title of the movies you're borrowing to begin with. Moving on with the subject, if you're a family or a cousin, then you have probably watched this movie together with me, as I have screened it heavily during 2003 on my miniature cinema. The first time I've seen it I felt I found a treasure's trove and had this aching urge to share it with everybody who's interested. Osama is a movie that would make you feel grateful and thankful about your life, especially if you were born in a country where women are not oppressed and are enjoying equal opportunities privileges, rights and liberties as men. 

Directed by Ziad Doueiri (2012)

The Attack is mostly about the reality that marriage, even familial bonds, doesn't guarantee a person the right to someone's secrets, the way they think, and who they really are. It can take for forever, but surprises can still creep in behind your door, and you'll be surprised that that person is a stranger all along. 

Directed by Steven Spielberg (2005)

For the record, this is the only film by Spielberg that I haven't seen yet, and frankly, I'm as dumbfounded as anyone for not knowing why. It's utterly disgraceful for a cinephile lest for a Steven Spielberg fan. I guess it missed my radar or I was busy minding other things. Whatever it was that will be the end of it. 

These three remains to be seen, so I haven't much to say about them here. They will be screen for my movie marathon week so if I get around to blogging them I'll probably write something.

Dir. Jacques Audiard  (2009)	Dir. Hany Abu-Assad (2013)	Dir. Nuri Bilge Ceylan (2011)

Directed by Louis Malle (1987)

An autobiographical film by French New Wave director Louis Malle - set in the backdrop of a Catholic boarding school during the Holocaust - is a coming-of-age story of a boy as he witnesses first hand the harsh realities brought by war and antisemitism. Nevertheless, he also sees that in spite the cruelty of the times there are still self-sacrificing people willing to offer kindness in order to bridge the differences between race and religion. 

Directed by Steven Spielberg (1987)

Both Au revoir les enfants and this movie were released on the same year and discusses a common theme of war and coming-of-age. The then 13 year Christian Bale played as the precocious British expatriate Jamie Graham while he became separated from his parents during the turmoil between Japan and China. During his adventures he learns to use his street smart cleverness for the sake of his survival. Witnesses death happened before his eyes. Discovers true friendship and discerns the fake ones along the way.  

Directed by Steven Spielberg (1993)

A harrowing cinematic account of violence during the WW2 based on the novel by Thomas Keneally. Intensely felt by the used of monochromatic black and white cinematography by Janusz Kamiński. Watching this movie is like getting stuck inside the screen, playing a deadly game of cat and mouse in every nook and cranny, except everywhere you go it's either a gun shot or a gas chamber awaiting at the front door. 

Directed by Steven Spielberg (1998)

In my opinion, this movie contains the best sequence of World War 2 combat - fictionalized and captured for the silver screen - and probably my favorite performance from Tom Hanks, although a bit underrated. The grittiness and intense look of this motion picture is all thanks to cinematographer Janusz Kamiński. If I have to make a top 10 list of Spielberg's films Saving Private Ryan would be my shoo-in number one favorite of all time. So many reasons, but what stands definitively are the memories of myself watching this movie with my family. We sat down (in front of the miniature cinema) a bunch of times, for the entire run of the movie, and never got bored, like it was always the first time for us. And you gotta love a movie that brings people closer together. 

Directed by Roman Polanski (2002)

My late friend and I love this movie - and we always find ourselves discussing the details, especially Adrien Brody's performance. The Pianist is a film about survival. There are so many of them now (Gravity, Life of Pi, etc.) but this one is more realistic than all the rest because it was based on the life of a real person and survivor of the WW2. I love how music - his passion and his bread and butter before the war - turns to be his way to withstand his circumstance, how it lead him to the people that would help him live through the horrors of the time, and fundamentally, becoming his saving grace during and after the war. 

Directed by Clint Eastwood (2006)

The first part (out of the two war films) based on the 1945 Battle of Iwo Jima. It represents the American viewpoint of the battle, but mostly on the lives of the soldiers involved during the raising of the flag on Iwo Jima and the events after the war. Why soldiers did what they do? Why they stayed in spite the certainty of death. So many war films that came before this but Flags of Our Fathers got all the heart (and not just the action). 

Directed by Clint Eastwood (2006)

The companion piece to the latter entry. Letters From Iwo Jima stands on the viewpoint of the Japanese soldiers. An equalizer to comprehend the humanity of those on the other side of the fence. Rather than demoralize or give contempt for their actions, Eastwood portrayed the Japanese soldiers based on different situations, their conscription may be forced, done due to pressure or out of obligation to their nation. Where Flags of our Fathers got the heart, this film contains compassion. What we get at the end is not only a surprisingly beautiful cinematic work from a formidable Hollywood icon but a better and deeper understanding of the men that died and defended their countries during one of the darkest period of our history. Lesson learned: war only has its losers and no winners.

Directed by Stefan Ruzowitzky (2007)

If you're not a fan of any subtitled-foreign-language-films, especially a European one at that, I doubt you have come across this movie. The Counterfeiters is a story about the Jewish prisoners that were forced to work for the Nazi German plan: Operation Bernhard, to avoid the extermination camps. Although this film is just a fictionalized version of the events based on the memoir of the Holocaust survivor and typographer, Adolf Burger, the intensity of its delivery and the desperation of each characters makes it convincingly moving and thrilling. We've been there and done that with war movies, but it seems there's always something new with stories that shows us the lengths of human desperation - here, nothing is off the limits, even working with the people that harmed you is taken for granted all for the sake of survival.

Top 10 Films For 2013

(First published on 05 March 2014)

As usual, this post is long overdue. It took me long enough to accomplish this, so blame it on the screening availability -- and I think I'm still undone the way I see it, considering that my hunt for Miyazaki's final film, Kaze Tachinu, is yet to be satiated. 2013 has been such a good year for cinema; so many movies to see and yet so little time. There are so many absolutely excellent films to enjoy, to the extent that I have to do a tie just so I could squeeze all of them in the top 10, because not doing so would be an injustice to these movies. In spite of the predictable disappointments and failures on the side coming from the mainstream section and posers of indie films, I think the bulk of good movies were able to counter that distasteful minor detail. 

Another year has surely gone by, but 2014 looks like it's going to present something new, brave and unexpected, especially from some of the major film festivals rounding up in the few coming months. Evidently, Berlinale just did gave us a taste of a shocker, with Von Trier's 'Nymphomaniac', which is already a part of my must-see, but that's a whole new other post to do. Meanwhile, here are my top 10 movies for 2013 -- as subjective as it comes, these are personal picks, so no harm, no foul if your favorite happens to rank lower or appears to be nowhere on this list. 

Until then!

Here is my top 10 movies for 2012, just in case you have missed it. Thanks! 

Bad Education — Dogtooth (Review)

First off, the idea of watching 'Dogtooth' gave me the fright. The reviews that I've read and the trailer in itself were discomforting, but knowing I have seen worse and the fact that it is critically acclaimed makes me feel like I'm missing out on something. But where in real life I could have cowered in a safety net, I always take the opposite route for my love of cinema. 

Scary movies, with malevolent spirits and monstrous faces -- or thriller as we call it, is probably one of the genres much revered by audiences. What makes them such a hit is because they gave us the experience of leaving our comfort zones without literally evacuating our reality. We enjoy the rush, the feeling of being scared or at least the mindset of fear -- as long as it doesn't jump out of the screen. Scary movies for what it's worth, are mostly figments of art that swims in the realm of the fantastic.

When you leave the theater or press the stop button of your player I doubt you'll be saying that this movie is impossible. The news affirmed it daily that crazy people are out there. Things you could only fathom in your imagination is probable in reality. The truth is, we love those make-believe, scripted and choreographed scary movies because they are actually less frightening than the scariest movie of all time: our life. Dogtooth, however, is not a scary movie. It is a nightmare captured on celluloid.

We live in a world where certain people runs things, may it be in the government, companies, or an obscure little household located in the middle of nowhere -- it's always a given that there is a person controlling the rules of that particular place. When we are young our parents are in charge of everything regarding our lives -- the food that we eat, the clothes that we wear, the words that we use, the music we listen to, the television programs we view and the books that we read. Our chance to make our own own choices and to pick the things that we like or dislike is develop as we grow older and is mainly shapened and influenced by our social experiences. If the latter is missing then our sense of identity will be fractured and we will merely be a tool for the helmer, believing and following obediently their words like it was some holy scripture. 

Dogtooth is a B.F. Skinner experiment; it is a movie that shows us what it would be like if you raised and confined three siblings in a house out of earshot from the prying eyes of neighbors while they were being taught of incorrect words for objects and concepts, and were made to believe that danger would befall on them if they leave the premises of their home, and the only time they would be equipped and ready to venture outside their compound is when they lost their dogtooth (or canine). 

If you ask me, this is North Korea, or probably those countries and religious cults wherein the leaders' secludes their people and rejects the influence of the outside world, replacing it with the notion of false reality. The idea and the politics behind "brainwashing" is the central depiction of the film, not violence. In my opinion, this movie is the closest thing that we're gonna get from seeing what it's like behind the walls of an artificial bubble grounded on lies by some exacting and methodical minds. 

At the end of the day, it is a real pleasure to watch this movie. Yorgos Lanthimos -- whatever is running through your head, I salute you. I believe that movies like these is an acid test of sorts to truly know your love for the cinema. And I think I passed. It is a gift, and I'm taking it with both hands. 

How To Unlove You — Starting Over Again (Impression)

People were laughing and I don't even find those scenes funny. Guess I'm just being my cynical/cinephile self (or because they are filled with cliche). Imo, Ginny deserves what she get for leaving Marco, and yet I think her decision was driven by the fact that reality starts to seep in under her skin. I wouldn't blame her, I mean, it's frightening to be with someone with no ambitions and all. After all, you can't rely on your romantic feelings to work your future out. The confrontation sequence between Patty and Ginny is all #facepalm, but I'll give kudos to Iza Calzado for her pristine and ethereal acting. I don't like how Star Cinema put a face on Ginny's future guy for the ending of the movie (even the scenes leading up to the finale). It's like a sorry consolation prize for the defeated viewers since they know who this guy is and what he means to the lead actress's life. A silhouette or a shadow will suffice or it would be much appreciated if we see her happy and unperturbed with her "single" status instead of bumping one guy to the next to complete her. So I'm going to give it a B- (2.5 out of 5 rating).

Hidden Love — The Grandmaster (Impression)

The fight scenes are well choreographed, and as expected from a Wong Kar-wai film, the cinematography is lush. But I think I like it more on its character study, how strong people can be defeated easily (at least internally) by their own weaknesses, even if they don't look like it. How revenge traps someone's life into misery instead of allowing them to move forward.

Ring of Fire — Incendies (Review)

There are films that entertains its viewers; takes their mind off from the pressure of analyzing and just let them sit down on the whole experience without question of what was thrown to them. While there are some that has the feels of a case study; even after you leave the cinema or switched off your player the work goes along with you until you figure things out. It's a sad fact but most of the populace chooses the nonsense over the depth all the time.

Incendies by director Denis Villeneuve seems to fit the bill as a film custom made to be averted by people with dislike for foreign language movies, subtleties, seemingly unreasonable slow pacing and too much reverie. The first few scenes is a long walk home from understanding its plot. And it doesn't help that the characters are pretty much in the same boat as us: clueless about the road ahead.

After their mother's death, fraternal twins Simon and Jeanne Marwan were left with a will -- two sealed letters to be delivered to a father and a brother they had never heard of before. To ascertain this, they could only bury and put an epitaph to their mother's tombstone when their task has been accomplished. While Simon is against this idea, Jeanne was driven by her curiosity, which lead her to their mother's origin in the Middle East. The story was told in a nonlinear fashion, showing us flashbacks of Nawal Marwan's life as a university student and as a prisoner of war.

Back in the day, there's a saying that it is difficult to be born a woman, given all the oppression and such. Maybe life is not only hard but also vicious especially for an Arab woman of Christian persuasion, and for Nawal Marwan she has seen and experienced first hand the atrocities resulting from the hatred of people coming from two different religions. She is a victim of her time and also a victim of her own free-will. To quote Jean-Paul Sartre —'man is condemned to be free; because once thrown into the world, he is responsible for everything he does." There were circumstances that made her the way she is, but as much as they can be considered as accidents I see them more as the eventual outcomes of her choices, of her own accord, and not by some mere chance. Still, I am beyond amazed by the sudden turn of hopeless events resolved mysteriously by the workings of some deus ex machina.

In the pursuit of truth, as much as there is a silver lining awaiting at the end of the rainbow, the knowledge also goes hand-in-hand with danger, in which the cost is an irreversibly drastic change that one cannot escape from. Every self-discovery requires an equal price to be paid; it is a buy-one-take-one package that comes along with pain.

So in what purpose did the truth serve? Is there some kind of redemption gained in the end for our characters? Safe to say, yes. A modern reminiscent of a Greek tragedy, Incendies is like a novel that paces in a rather slow progress, attacking the story through its core aspect, peeling each layers of truth until we get the final result that is almost too glorious for a dramatic structure that begins at the end and ends with the beginning.

Incendies will likely appeal to viewers (particularly Cinephiles) with a voracious appetite for good storytelling and a tantamount passion for suspense. Denis Villeneuve has made his mark and I'll be on the lookout for more of his future film works to come.

Not A Penny To His Name — Inside Llewyn Davis (Impression)

The soundtrack for this film is rad; I've downloaded them right away, and now I'm practically suffering from last song syndrome(s). This movie doesn't have a plot in particular but I did't mind coasting along with Llewyn Davis as he crashes on somebody else's couch, make wrong decisions, play catch-up with a tabby cat, sing his music and refuses to compromise his art for the sake of "selling out". I've been waiting to see this movie for months and months and it did not disappoint. The Coen Brothers are simply brilliant in all counts, always on the top of their game whatever genre they pursue. The screenplay is what made this film shine; each line and dialogue were graced by the Coen's naturalistic approach and their famous knack for humour. Great performances from the entire acting ensemble; I am totally fangirl crushing now on Oscar Isaac. Plus, the cat is so adorable, I think he just stole the show.

Growing Up — The Kid With A Bike (Impression)

For children to learn the value of letting go and moving forward they must experience unconditional love from others, most specifically from an assuming parental figure. The Belgian directing duo, the Dardenne Brothers, gives us this poignant masterpiece without the flashy and overly dramatic sequence of a Hollywood film. A pure slice-of-life motion picture that builds its character slowly and tears you up by the time it reaches its final frame.

Unnecessary Evil — In a Better World (Impression)

One of the most moving films about parent-child relationships. Timely and relevant. Must-watch for parents losing perspective on the importance of having a meaningful and personal interrelationship with their children; not only by the means of the internet, but through face to face conversations and physical interaction. This film also tells us that no problems, may it be big or small, can be resolved by countering it with violence. You have to turn your other cheek back when someone slaps you in the face

Too Much — The Wolf of Wall Street (Impression)

For a movie that runs for 3 hours it got none of those boring moments that most dialogue centered movies suffered from. Loads of debauchery, money, sex and naked bodies. The collaborative partnership between Martin Scorsese and Leonardo DiCaprio is one unstoppable train continuously thriving to new and wider horizons. Di Caprio tops his last performance every time and this goes to show for his portrayal as the uber hedonist millionaire Jordan Belfort that he is like wine that gets better with age. Jonah Hill also continuously grow as an actor, may it be with doing comedy or drama -- he can do it all. Correct me if I'm wrong, did he just showed his dick? (Kidding. I know it's only prosthetic penis). This movie doesn't try to trash Belfort, neither questions his morality, nor glorify his actions, but as an act of human observation it challenges us, "when is enough enough?"

No Sleep — The Bad Sleep Well (Impression)

An underrated gem from the best Japanese filmmaker of all time. Akira Kurosawa's Shakespeare-inspired tale of corporate corruption sees Toshiro Mifune as a corporate serf, trying to exact revenge in behalf of his deceased father. Kurosawa might be the master storyteller of Samurai concentrated period films but he has proven with this masterpiece that he can whipped up a real-mean and gritty crime thriller. One of the best film noir's I've seen in years (and there are so many).

...And the damage is done — A Separation (Impression)

I don't understand my unnecessary delays from watching this movie. After all, this is a much superior work for Asghar Farhadi compared to his current hit "Le passé", which I've seen last year. The story is a realistic portrait of Iran, the Arabic life and their people, with a script that was written with such pathos that can only be paralleled by a flawless acting from its entire cast. So many things I have learned from this movie. Not that it's there, but now I know why Filipinos are loved as Caregivers -- due to their high tolerance for physically and emotionally demanding workload, which includes wiping other people's asses (that's a big deal) because married Arab women can't do that without the permission of their husband's. The main character, Nader, is a stubborn jerk. No wonder his wife wants to divorce him; he is incapable of logic, reason and listening. If only he adheres to Simin's (his wife) explanation without rebuffing her every time she tries to do something for the welfare of their child then, the risk of their circumstance would have been reduced. Involving their daughter to make a false statement in the court was a reflection of his selfishness. He doesn't even give a damn about the effects and consequences of bringing her into the courtroom for questioning. Most parents would do their best to shunned away their child from such a place because they know its effects is traumatizing. "A Separation" is a surprising tour de force masterpiece from the incoming wave of Arab cinema. Invigorating...and a socially engaging drama.

The Train He Never Took — Mr. Nobody (Impression)

Hauled up my stack of unseen movies from my DVD library. Finally got around to watching Jaco Van Dormael's masterpiece after 3 years. I think this movie is about the choices that we make in life -- that there is no right or wrong, even the people that we end up with is not brought on by some cosmic interference, chance or destiny. There is no such thing as someone "meant for you", but rather, whether or not we want to be with that person, making the decision and doing the grand gesture. This motion picture reminds me of one of my favorite Kieslowski film, Blind Chance, which then influence Tom Tykwer's "Run Lola Run" and Howitt's "Sliding Doors", which later became the catalyst to Van Dormael's scripting and creation of this movie. One inspiration to the next. Great art pays it forward.