Religion + Ridiculous = Religulous.
Religulous is an entertaining documentary that explores Religion/s and Faith from the point of view of stand-up comedian Bill Maher -an agnostic and devil's advocate- who interviews different pastors, priests, and religious leaders to prove his point - Religions are ridiculous.
I share Maher's premises, thoughts and conclusions in many ways, but Maher's point gets lost in his intransigence, which is exactly what he criticises religious people for. In other words, if you want to criticise people who preach mumbo-jumbo and things that are not reasonable you have to do so using Reason, Respect, and Restrain, otherwise you put at the same level the people and beliefs you are criticising.
Maher is very good,
sharp, and witty at times, especially when he lets the nonsense express
itself in full and when he directs the conversation with the people he
interviews without superimposing his own views. I especially liked the
interview to the Arkansas Senator (who self-destroys his won credibility
as soon as he opens his mouth), the interviews to the re-incarnated
Latino Jesus, the interview to the black-rich pastor, and his visit and
interviews at the thematic park "Holy Land".
What annoyed me the most was that Maher doesn't show the same respect to his Christian, Jew and Muslim interviewees at all. For example, when interviewing some of the crazy Christian pastors he lets them speak, intercalating his funny comments to point out the bullshit and mixing it with super-funny visual montages. However, and despite he being half-Jew, he doesn't leave talk a Rabbi who criticises Israel, whose voice is barely heard. The same happens when he interviews some of the Dutch Muslim people. On the other hand, the only people who seem to make sense among the interviewees are Catholics, they seem to be the only ones to reconcile Science and Religion... really? (Maher is an ex-Catholic... ex?). If he had made the
documentary from a less personal dogmatic point of view, without trying
so hard to proof his point, he would have succeeded at doing that
more convincingly.
This is a very entertaining documentary, very funny at times, annoying at others. If you don't take it too seriously and forgive Maher for occasionally bullshitting the viewer, you will enjoy it. If you are deeply religious, abstain from watching. You've been warned.
A Japanese animation movie based on a comic by Osamu Tezuka, that tells the story of android Tima and her human friend Kenichi in the city of Metropolis. It is loosely based in the classic movie of the 1920s.
Metropolis shares with Astroboy two of Tezuka's themes: 1/ Father-son troublesome relationship due to the Father's rejection and unloving treatment of the son. 2/ The presence of a great variety of old-style chunky robots and very developed humanoids who ask themselves what/who I'm I?
The animation is flamboyant and amazing regarding the settings, backgrounds, architecture and machinery, and combines 2-D and 3-D mixed with some real movie elements. Some of the scenes at the end of the movie are spectacular from a visual point of view.
The mood of the movie is excellent, with the creation of a retro-futuristic city very developed, but impoverished and without freedom. We have the bright city and the underworld, with different colours and styles.
The music is fantastic, also retro, with lots of Mow-Town, classic Jazz, alternating with symphonic pieces that reminded me of John Williams'.
The script, though, is a poor mix of well-known sci-fi elements and characters. I found the script not engaging most of the time, not only because of the lack of originality of the same, but, above all, because of the drawing of the characters is completely childish, which barely fits with the innovative and more artistic style of the rest of the movie. Tima and Kenichi are beautifully drawn, and, being children, the style suits them, but the adults are drawn in a very different style, very 1970s cartons!, which doesn't seem to give visual homogenity to the film or fit the story.
I felt that the movie was perfect for teenagers, with elements that would suit both children and young adults, not as much for adults, unless you are a Tezuka's fan. Entertaining nevertheless.
475 Beaufort St
Highgate Western Australia 6003
(08) 9227 8080
Hours:
Mon-Sun 7 am - 7 pm
Chatsworth Deli is, or it was, a deli that has been transformed into a florist by the overwhelming power of the flower section of the business; nowadays, the deli is reduced to a few fridges with convenience items located at the bottom end of the shop.
Chatsworth Deli has all sort of flowers and myriad possible flower colours and textures: big bunches, small bunches, individual flowers, seasonal flowers, cultivated flowers, Australian native flowers, arranged boxes, and anything to complement your bunches like balloons, cards, and ribbons.
Prices oscillate between cheap and extremely affordable, which explains why the place is thriving on any given weekday, no need of public holiday or feast on sight. This is not the place where you would order your wedding bouquet or get a bunch for Her Majesty or arrangements for the poshest of hotels, but it will serve you well for the rest.
The guys working here are matter of fact, but very fast at serving you, but not especially friendly, the truth be told. They wrap the bunches extremely well and you get them home in perfect condition even after having a walk.
Some of the old bunches are sold cheaper than the fresh, but I've found that they could be even cheaper due to the state of some of the flowers and leaves.
I pass by this "Deli" frequently, and the place is so gorgeous that it always turns my happy-o-meter up. I always stop, even if I don't buy anything, just to get all that beauty sink. Chatsworth Deli and its vastness of flowers makes you feel good without having to call your best friend or your psychoanalyst, and makes you smile without need of any joke. Chatsworth Deli is a micro-fairyland for Mount-Lawlyans and Highgatians - the poor, the hypster, the posh and the distracted passer-by. Chatsworth Deli is deli-ghtul!
++ This review contains or might contain spoilers++
Last Tango in Paris tells the story of the sexual relationship between Paul -played by Marlon Brando- a mature selfish widower, and Jeanne -played by Maria Schneider- a naive 20y.o. emotionally immature girl.
Despite what one might think, the movie is not about sex, but about obsession, manipulation, grieving, deceit, primal emotions and social constrictions.
THE CHARACTERS
One of the most fascinating things about this movie is how well drawn the characters are. They are multifaceted, never simple or linear, very human, but also very archetypal and symbolic. The viewer can hate or love them, but, even if one can't fully understand them, there is a feeling of acceptance and even empathy.
Paul is an obsessive person, who had an open relationship with his wife -the only way he believes love should be, free from any obligation. When his wife commits suicide, he is shocked. He takes the suicide as a proof of his wife's emotional treachery. A mix of grief and hatred, pain and disenchantment with love, is what Paul is feeling when he meets Jeanne. She is half his age and easy to manipulate, as she's emotionally insecure and unhappy with her boyfriend, who uses her like a doll. They are like water on fire.
Paul channels his conflicting emotions through raw sex. He forces Jeanne into a situation that it is not good for her, a fact that she realises early on. Jeanne is looking from love and for personal appreciation, the one she doesn't get with her boyfriend, and to be loved for who she is. However, Paul creates a situation of complete emotional and sexual domination by establishing the rules of their meetings, which only benefit him. The Society and world that Paul wants to leave behind is, after all, a wish to return to Paradise. The fact that the couple play and talk like baboons in their rendezvous is a metaphor of this primeval relationship and the space of mind that Paul wants.
Jeanne's character and her relationship with Paul is the catalyst for her inner transformation - the way she relates to men in general, and her boyfriend in particular. She is like a lamb at the beginning of the movie, but like a lioness at the end. Despite her obsession with Paul, she is able to see her own dependence and starts fighting it until she frees herself completely.
THE PERFORMANCES
The respective ages and
level of maturity/immaturity of Brando and Schneider are perfect for
their characters, and the acting is convincing and dynamic on both parts.
Brando is great in his performance, superb sometimes, especially when he's able to relax in front of the camera and improvise those monologues for which he became famous. The scene in which the recalls the story of his childhood is so real and powerful that you feel that he's the character he's playing; the same can be said of his scene with Massimo Girotti (who plays the lover of Paul's wife). I found some of his crying scenes heartfelt, but some others a bit phoney.
Despite Schneider's acting being labelled poor, she brings to her role exactly what it is needed, and what Bertolucci wanted from her. She plays with freshness, naivety, and emotional maturity a character that is extremely difficult, has many colours, and does so in front of a mature Brando, who was a legend at the time.
THE (IN)FAMOUS SEX SCENES
The movie is disturbing
sometimes, but not because of the sex scenes. The raunchy images that scandalised the world in the 1970s are, in most cases, not that raunchy for modern standards. Nudity is limited, and the bed scenes are more hinted and talked about than explicitly shown.
The only scene that I consider confronting is the one involving the butter bar. I had a strong emotional reaction against the scene, and I found it disturbing, despite the characters being dressed, and some men viewers considering the scene "hot". It felt like a rape to me. Alas, in an interview, Maria Schneider mentions that this scene wasn't originally in the script, that it was Brando's idea, that Bertolucci loved it, that she didn't want to do it; however, she was was forced to do it, and that she felt raped; her tears in the movie were real and personal, not the characters'.
THE ATMOSPHERE
I thought that it was one of the best things of the movie as masterly reflects the soul and essence of the characters, individually and as couple. The mix of colours, lighting, and music are in perfect tune with each other. Thus, the atmosphere is dark and claustrophobic, bizarre and horror-like when focuses on Paul's world.
The atmosphere is clear, luminous, fresh and bucolic when focuses on Jeanne's world.
The atmosphere is warm minimal and with a a pronounced chiaroscuro in the love meetings of the couple in the empty apartment.
The atmosphere is decadent, theatrical, and "run out" in the Tango dancing scenes.
To blend it all, the sound track by Gato Barbieri is beautifully unsettling.
THE FLAWS
I found the movie a little too long, too theatrical at times, and some bits unnecessary and distracting. The tempo is uneven, not fluid or natural, more theatrical than cinematic. Maria Schneider's wardrobe is really poor and she wears the same attire for most of the movie. This is not an easy movie to watch, or so did I find.
***
Last Tango in Paris is
one of these movies that gets stuck to your memory for a long time. The
more time passes, the more it settles in. Few movies in the History of Cinema have been able to achieve that, especially one as disturbing as
this one is.
Last Tango in Paris gets under your skin, gives you a gut reaction, and you like it and hate it at the same time. The movie is a terrific characters' study, and offers unforgettable images and performances that are already part of the History of Cinema.
Krysar is an adult stop-motion animation film, loosely based on the German folk tale the Pipe Piper of Hamelin. A real art-house piece of animation that has a mix of Renaissance and Medieval elements.
There are many original elements about this film. The first one is the story, which deviates from the original, or better said digs into its original meaning, to offer a social allegory. Barta's Hamelin is a greedy, glutton and lusty male-dominated society - a kind of Sodom and Gomorrah. The piper is the punisher and redemptor, and the catalyst necessary for human renewal. The children are only seen at the end.
The second element of originality is its language... which is onomatopoeic: sounds, grunts, mumblings and gibbering, perfectly understandable by anybody in the world. I found it hilarious!
The third element of originality is the visual style of the movie, traditional and innovative at the same time, very odd and very artistic. Hamelin's backgrounds, architecture and interiors are made of dark carved wood, similar to the ones you find in some Renaissance cathedral choir chairs. The overall design is German expressionist in its design, which is noticeable in the diagonal and curved collapsing lines, unbalanced proportions and oniric elements, and the general darkness and oppressiveness of the space and atmosphere. On the contrary, the luminous colourful paintings used for the landscape are bucolic and very artistic, the sort of images you find in Medieval Gothic Books of Hours. They are human spaces, associated to the most human characters in the story, and a complete counterpoint to the rest. I found in the movie very Bergman's, with the sort of vibe, feeling, and themes one can find in movies like The Seventh Seal or the Virgin Spring.
The third element of originality is the design of the characters. Most of the Hamelin dwellers are wood puppets, with mobile parts and fabric clothing; they have angular-faces and are thin and tall. The Piper is also a wood puppet, but it looks very different - a mixture of walking skeleton, a Goth band member, and an apocalyptic angel. The only two good characters and pure souls in the city -the lady living in the city outskirts and the fisherman- are very refined sweet and delicate wooden puppets. The rest of the characters are the rats, real ones (more like big mice!), which are as big the human characters, naughty monsters as greedy as the humans, which move rapidly and awkwardly.
The music is terrific - a mix of dark classic pieces and rock sounds with the ethereal sound of the flute as only breaker.
The ending is great, and has nothing to do with the traditional story. It couldn't be otherwise, as the movie is an allegorical reflection of Society's sins. The title in Czech means rat trapper, which refers to the rats in Hamelin and also to its dwellers, which are a pest as much as the rats are, and the piper also traps.
I found annoying that some general scenes -landscapes shots, movement of groups- were repeated over and over.
The film is not for small kids because there are too many adult explicit elements in it: lust, rape, killing of animals, stealing, death, and the general nastiness of the dwellers of the city.
Krysar is an amazing movie, but also a bit freaky and grotesque! Dare to watch it.
391, Fitzgerald St
North Perth Western Australia 6006
The North Perth Plaza has almost everything you might need to do you weekly shopping and help you relax in between errands.
The place is medium sized, small enough to move around easily and get things done fast, but big enough to find almost everything you need during your visit. Indoors, there is a decently-sized Coles, a chemist, an Italian continental deli, a corner cafe, a newsagent, two hair salons (a men's, and a unisex's), a beauty salon, a nail salon, a traditional Chinese massage shop, an office supplies shop, and a travel agent. Outdoors there is a bakery, a bottle shop, an Italian pizzeria, a posh deli cafe, a barber, and and dry-cleaning service.
Most businesses are very small in size, but there is a sort of community spirit around, and people are very serviceable and extremely friendly except for some exceptions.
The North Perth Plaza is not the sort of shopping mall you go to have a shopping spree or to pamper yourself with something posh, or a foodies joint. This is a place you go to keep you house running and to have some body-fix emergencies done at decent prices.
The place would need a make-over, but, being realistic, if it had it done, it would lose its charm, and prices would go up. Let it be as it is - a family-style, budget-friendly, all-ages favourite, men-friendly shopping mall.
The toilets are very small, but are usually kept clean. I would certainly refurbish this area before touching anything else.
There mall has two parking areas: a large one facing the bottle-shop, and a tiny one facing the chemist. Isn't that handy?
The North Perth Plaza is in a killer location and has everything you need.. even if you don't find it here. If you don't find something there, you will find it across the car-park or across the street. If you don't like the food around, you can cross the street again or go to the Angove St cafe strip, which is at a 5 minutes walk.
The North Perth Plaza is one of those old-fashioned places that has a charm you don't find in better equipped more modern malls, and better prices as well.
My Blueberry Nights is the first film shot in English by Wong Kar Wai.
Elizabeth, a girl with a broken heart, leaves New York to start a journey of emotional healing around the States; she will work in several night cafes and bars and meet different characters, with whom she will get involved. The story is told through the postcards and letters that Elizabeth sends to her special friend Jeremy, the owner of her favourite café. Most of the movie happens during night time.
My Blueberry Nights is, in a way, an homage to the characters, themes and the ambience of the black and white classic movies of the 1950s... but shot in glorious colours. The movie is an ode to the life of the American urban nights and of its characters.
This is a very artistic and stylish film, in which the settings, the characters, the colours, the textures, the music, and the wardrobe have been taken care of to the minimal detail.
The acting is good in general. I found Rachel Weisz, David Strathairn and Natalie Portman excellent in their respective roles. Jude Law is correct as cafe owner Jeremy, in a role that does is not dramatically demanding. On the contrary, I found the presence of Norah Jones as Elizabeth a big mistake; she is a great musician and singer, but she doesn't have any dramatic talent.
One of the main flaws of the movie is the underdevelopment of Elizabeth's character. She is supposed to be the main character in the movie, but she ends being only a link between the different stories. Elizabeth's miseries and emotional struggle are barely hinted, and it is difficult to empathise with her or understand her actions.
The film has poor reviews in general, but I loved it in spite of its flaws because of its stylish atmosphere, its emotional depiction of the American underground and night life, the wonderful music, and some of the performances.
