MEOW! Presents: LADIES AND GENTS, I PRESENT TO YOU AN UNOFFICIAL LIST OF WHAT I BELIEVE ARE THE TWENTY-TWO GREATEST FILMS OF ALL-TIME!

May 23rd, 2013

MEOW!

22.) The Princess and the Frog (2009)

21.) Forrest Gump (1994)

20.) The Dark Knight (2008)

19.) Cloud Atlas (2012)

18.) The Shawshank Redemption (1994)



17.) Batman Begins (2005)

16.) TIE: Star Trek (2009) + Star Trek Into Darkness (2013)
They're both just too good NOT to be tied together.

15.) Beauty and the Beast (1991)

14.) The Prince of Egypt (1998)

13.) Toy Story 3 (2010)

12.) The Lord of the Rings: The Return of the King (2003)

11.) The Perks of Being a Wallflower (2012)

10.) Once (2006)



9.) Chicken Run (2000)



8.) E.T.: The Extra-Terrestrial (1982)

7.) The Land Before Time (1988)

6.) Wreck-It Ralph (2012)

5.) The Hunchback of Notre Dame (1996)

4.) The Iron Giant (1999)

3.) Finding Nemo (2003)

2.) Samsara (2012)

1.) HUGO (2011)

Until next time,

MEOW!

MEOW! Presents: I Venture INTO DARKNESS with the Seash--I mean, Starship Enterprise!--My Review of STAR TREK INTO DARKNESS!

May 22nd, 2013

MEOW!

In a couple of respects, Star Trek has been a semi-legitimate part of my adolescence. In eighth grade, I performed in a production titled Sahara Nights at Vernon Center Middle School (VCMS); I was given the role of Captain Kork of the Seaship Enterprise. I asked Mrs. Helpryn, "Who is he supposed to be?" And then she said "Oh well, it's sort of like Star Trek." I had absolutely no idea what that was, but I just replied with "Oh...sweet!" During rehearsals, I was curious as to why my good friend Corrine, who portrayed a satirical version of Dr. Leonard "Bones" McCoy (something I wasn't aware of at the time), kept on saying lines such as "Dang it, Jim! I'm a lover, not a fighter!" I was also curious as to what a *captain's log* and *stardate* was. No mater. Overall, it was a solid theatrical experience, with a few minor technical glitches (The two scooters that made up the *magic carpet* was collapsing right in front of the eighth grade class. Hehe. Solid times. Sol. Id. Times.).

One year later, I was introduced to J.J. Abrams' interpretation of Star Trek (2009). Two words: Awe. Some; it ended up being the second best film I saw that year (with The Absolutely WONDERFUL Princess and the Frog being the winner.). Not only was it brilliantly re-imagined by J.J. Abrams, but it had an infectious and intelligent script with excellent performances that perfectly matched the characters of the Starship Enterprise (Zachary Quinto's Spock, in particular, was highly logical). I loved it then, and I still have a great time with it today, lens flares and all. So that puts a ton of pressure on Star Trek Into Darkness, the sequel to the 2009 delight, and what do I think of that?

Let me put it this way: you know a film is unbelievably good when it plays in your dreams the night after you see it. A few flaws aside, Star Trek Into Darkness is easily the best film of the summer so far, the most satisfying film of the year so far, and quite possibly the best film of the year so far. So far, so good. Wonderfully envisioned by J.J. Abrams, the film once again features outstanding cast members that give it all they got, a brilliant musical score by Michael Giacchino that is easily reminiscent of the scores by maestro John Williams, a few jaw-dropping action sequences that will make your jaw drop as if you were ten-years old again, and a very well-crafted twist on a sacred cult classic (Unlike the disappointing Iron Man 3, I dare not give away spoilers surrounding this film. I'll also add as a word of caution: If you ever go onto the IMDb page for this film, DO NOT LOOK AT THE CAST LIST! Moving on.).

The plot? The crew of the U.S.S. Enterprise, led by Captain James T. Kirk (the terrific Chris Pine) and First Officer Spock (the AWE. SOME Zachary Quinto), are granted permission to track down terrorist John Harrison (the terrifyingly incredible Bennedict Cumberbatch), who was responsible for the murder of innocent people including Admiral Pike (Bruce Greewnood). From then on, it's spoiler season, although I must admit that it gets a little too complicated at times. This film demands you to be more alert about its storytelling more than most of the blockbusters produced over any given summer. Granted, it succeeds for the most part, and those who see it over and over again will be rewarded with more subtle information. But there are aspects such as John Harrison's backstory that are more ambitious than it needs to be; it suffers from too much telling and absolutely no showing. There should be an even amount of both, which would unleash an exciting amount of imagination from J.J. Abrams. So in regards to that, it's unfortunately a missed opportunity.

Several components compensate, however; all of the members of the Starship Enterprise return to reprise their roles respectively. Chris Pine's Kirk is even better than what he was in the last film, and gets a few powerful moments to finally show what he's made of. Simon Pegg once again makes a 100% pitch-perfect Scotty, and also gets a couple of moments that can generate thunderous applause (He also reminds me of a friend that I made at the East Hartford Summer Youth Festival. Take a wild guess what his name is.). While I do believe that a few characters deserved another moment in the sun as well, it's always a pleasure to see John Cho (Sulu), Zoe Saldana (Uhura), Karl Urban (Bones!), and Anton Yelchin (Chekov!) reprise their own roles once more with the amount of screentime that they have.

But the two stand-outs are Bennedict Cumberbatch as John Harrison and Zachary Quinto as Spock. Cumberbatch first. Even if the script requires him to memorize an overly ambitious monologue, his performance is as spine-tingling as some of the best movie villains to ever grace the silver screen. There's a moment when he's behind a slick glass cell while corrupting Kirk's mnd, and -shutters-, can he give one the creeps ("I can give you seventy-two, and they are onboard your ship, captain. They have been...all along." -shutters again-)! And whenever he's kicking Klingon butt or anyone else's, there's no doubt that it's all the more satisfying when feeling it in the comfort of a movie theater. 

And then there's Quinto. His portrayl of Spock is one of the best character studies in any film franchise that I've ever seen. Because this re-boot is set in an alternate reality, we are able to discover Spock challenging his ability to control his own emotional state. We only have Nero (Eric Bana--from the last Star Trek film) to thank for all this madness; if he hadn't sucked the life out of Spock's home planet, along with taking the life of his beloved mother (Winona Ryder) in the process, we wouldn't have an intriguing character to sympathize with. And when he becomes involved in an oh-so satisfying climax, we commence to root for him as if he was a Saturday Morning Television hero. Even though I've only seen him in these two Star Trek films, Zachary Quinto is slowly becoming one of my favorite actors of all-time.

Michael Giacchino's score also makes an enormous impact on the franchise as much as John Williams did while creating the compositions for the Star Wars films (HE'S COMING BACK FOR EPISODE VII!!!!). The minute you hear his theme when the STAR TREK INTO DARKNESS logo appears, you know that you are in for an excellent experience at the movies. But that doesn't stop there. Giacchino's compositions during an action sequence elevates the much needed tension, such as when the Enterprise is falling towards Earth's ground from the far reaches of space. It's awesome, jelly man. He also creates an emotional response during the quieter moments, such as a dialogue-free scene involving a father from Starfleet attempting to find a solution for his daughter to live, which naturally leads into a crescendo-ized introduction for John Harrison. The best part about his score is during the end credits, where you can just sit in the theater, close your eyes and surrender to those turbo-tastic notes (Sadly, I had to leave early before the entirety of the credits ended. Must...get...money...for...IMAX 3D).). This is one score that should not go unnoticed come Oscar time.

Much like Christopher Nolan, J.J. Abrams made a decision to shoot Star Trek Into Darkness entirely on film, and even though I observed the picture through the power of digital projection, it looked absolutely spectacular. The opening sequence contains a bold use of colors, such as a mixture of red and orange for the design of the planet's environment, yellow and white for the design of the natives, a blue-ish turquoise for the design of the ocean surrounding the natives' environment, and a brooding mixture of black and orange for the erupting volcano Spock attempts to cease. There's also a visually striking action sequence when John and Kirk fly through a field of debris in order to reach the U.S.S. Vengeance; the result of that sequence will leave you with a ridiculous grin. And I dare you not to get chills when the Enterprise begins to travel at WWWWWAAAAAAAAAARRRRRRRRRPPPPPPPPPPSSSSSSSSSPPPPPPPEEEEEEEEEEEEEEDDDDDDDDDDDDDDDDDDDDDDDDDD!!!!!!!!! (Side-note: One of my nitpicks of the 2009 film was that there wasn't an action sequence involving two starships traveling at WWWWWWWWWAAAAAAAARRRRRRRRRPPPPPPPPPPPPSPPPPPPPPYeah, you know what I mean. In this film, there is one; it made me feel giddy.).

A couple of complications aside, Star Trek Into Darkness is an absolutely wonderful entertainment with an outstanding cast and spectacular spectacle. This is the best film of the year so far, and one that I plan on revisiting sometime soon. Thank you for reading my review. Live long and bloody prosper.

Out of five legitimate stars, I give Star Trek Into Darkness...

Until next time,

MEOW!

MEOW! Presents: I Venture INTO DARKNESS With The Seash--I mean, Starship Enterprise!--My Pre-Review of STAR TREK INTO DARKNESS!

May 22nd, 2013

MEOW!



In a couple of respects, Star Trek has been a semi-legitimate part of my adolescence. In eighth grade, I performed in a production titled "Sahara Nights" at Vernon Center Middle School (VCMS for abbreviation); I was given the role of Captain Kork of the Seaship Enterprise. I asked Mrs. Helpryn, "Who is he supposed to be?" And then she said "Oh well, it's sort of like Star Trek." I had absolutely no idea what that was, but I just replied with "Oh...sweet!" During rehearsals, I was curious as to why my good friend Corrine, who portrayed a satirical version of Dr. Leonard "Bones" McCoy (something I wasn't aware of at the time), kept on saying lines such as "Dang it, Jim! I'm a lover, not a fighter!" I was also curious as to what a *captain's log* and *stardate* was. No mater. Overall, it was a solid theatrical experience, with a few minor technical glitches (The two scooters that made up the *magic carpet* was collapsing right in front of the eighth grade class. Hehe. Solid times. Sol. Id. Times.). 

One year later, I was introduced to J.J. Abrams' interpretation of Star Trek (2009). Two words: Awe. Some; it ended up being the second best film I saw that year (with The Absolutely WONDERFUL Princess and the Frog being the winner.). Not only was it brilliantly re-imagined by J.J. Abrams, but it had an infectious and intelligent script with excellent performances that perfectly matched the characters of the Starship Enterprise (Zachary Quinto's Spock, in particular, was highly logical). I loved it then, and I still have a great time with it today, lens flares and all. So that puts a ton of pressure on Star Trek Into Darkness, the sequel to the 2009 delight. What do I happen to think about that?

Tune in sometime next week to find out the answer!

Until next time,

Live Long and Prosper..

...and MEOW, of course! 

MEOW! Presents: THE GREAT IRON GATSBY, OL' SPORT?

May 15th, 2013

MEOW!



{SPOILERS--Skip to my review of The Great Gatsby if you wish to avoid them}

Full disclosure: I find both of the Iron Man films wonderfully entertaining in their own right, but I don't consider them mind-blowing, a la Batman Begins or The Avengers. Cue Iron Man 3, from writer-director Shane Black of Kiss Kiss Bang Bang (2005); he certainly loves Christmas, but it certainly doesn't help in the film's favor. Although Iron Man 3 contains a few hilarious one-liners ("You were really good in A Christmas Story."), and a climax with a surprising amount of twists and turns, it overall comes across as a boring and predictable ride along with pointless characters who have pointless motivations. 

For instance: what's the point of Aldrich Killian's (Guy Pearce) EXTREMIS experiment to remain hidden by having The Mandarin/Trevor (Ben Kingsley/George Melies) *perform* as though he's the one causing all the terrorism, even though the experiment is already a villainous plan all by itself? What's the purpose of The Mandarin/Trevor himself? Black and Pearce's screenplay doesn't justify his existence enough to make him an important character. Speaking of nearly non-existable characters, what's the legitimate purpose of Maya Hansen (the lovely Rebecca Hall)? Is she just a one-dimensional character who is involved in Tony Stark (Robert Downey, Jr.)'s past, while also unexpectedly changing her heart and going against Killian's plan in the second half of the film? Apparently so. It's difficult to emotionally or logically invest in characters that either have no legitimate purpose at all, or come across as egotistical for the sake of being egotistical. 

The film also suffers from a lack of imagination in its action sequences, even if the climax is reasonably entertaining. That airplane sequence you've probably seen in the advertisements? It's possible that you've been thinking the same thing: "WOW. How is Iron Man going to save all those people one by one in a uniquely creative way?" Well, the result is about as predictable and yawn-inducing as you can imagine. I know he's adjusting back into his normal self by the middle of the film, but really Stark? Couldn't you have put on the suit yourself and save those people instead of controlling a prototype to accomplish the job for you? The mark of a true hero isn't laziness, ol' sport.

Oops, save that for the next review in a couple of minutes.

And I know that it was inspired by this film rather than written for it, but it would have been AMAZING if "Ready, Aim, Fire" by Imagine Directions played at some point during the film. It would have added a sense of awesomeness that this film truly needed.

Time to be nice and talk about the good aspects. Robert Downey, Jr. once again seems to be having a good time with material that somehow doesn't seem to (hardyharhut) suit him this time around. He also develops a relationship with a boy named Harley (Ty Simpkins) that actually does have legitimacy. Unfortunately, it also shows the amount of potential the script had for Tony to develop into an emotionally complex human being. Instead, all we get are lines like "Dads leave. Don't be a pu**y about it." It's a funny line that could have been replaced with a more meaningful one. Such a pity, Stark. Such a pity. 

Iron Man 3 is not a disaster of a film, but it's not one that I would sit through again. It's ultimately a film that aims for the skies and instead collects a puff. I will admit, however: the post-credits scene makes me yearn for a Hulk-Iron Man collaboration. Now isn't that right, ol' sport?

Oh...I guess it's time, ol' sport.



^Isn't she a beaut, ol' sport?

So ol' sport...The Great Gatsby is a film adaptation of the "Great American Novel" written by F. Scott Fitzgerald. You see, ol' sport, it was directed by Baz Luhrmann, who also directed William Shakespeare's Romeo + Juliet (1996) and Moulin Rouge (2001). Now you have to understand, ol' sport, that while this film is visually colorful and interesting, along with an ensemble committed to Lurhmann's vision, that vision can also cause a headache mid-way through, and may lead you down a road to so much boredom that you'll count how many times Jay Gatsby (Leonardo DicaptainoftheTitanio) says the word "ol' sport" in no more than twenty minutes. Sometimes being too faithful to a literary source can have a few faults, ol' sport.

But see, ol' sport, I want to start off with the positives, because I did find some entertainment value out of this adaptation, ol' sport. The costume and production design by Catherine Martin is absolutely exceptional; some of the costumes the actors are wearing PERFECTLY match the environments that they are performing in, particularly in a scene when Gatsby and Tom (Joel Edgerton) battle it out in a motel. The rich colors, the anamorphic widescreen treatment--I felt like a first class citizen, ol' sport. While the modernized-music does feel out of place with the setting, ol' sport, some of the songs, especially "Young and Beautiful," will remain in your dreams for days. Gotta give props to that ol' sport-ette Lana Del Rey for such a beautiful tune. The performances are also fine and dandy, ol' sport. Leonardo Dicaprio's performance as Jay Gatsby is notable, especially when he is nervous upon meeting Daisy (the BEAUTIFUL Carey Mulligan) for the first time in five years. Now that's truly an ol' sport for ya, ol' sport? 

Oh, and Isla Fisher is quite a charmer as well. Sacha Baron Cohen is a lucky man, ol' sport. 

Alas, there are some complications, ol' sport. The beautifully visualized style is not fully appreciated with the headache-inducing fast editing, ol' sport. Think of it this way: it's as if Zack Snyder teamed up with Tom Hooper and said "Ya know what we need to make it really fast paced so that half of the audience can't catch up?WARRRRRRRRRRPPPPPPPPSPPPPPPPPPPPEEEEEEEEEEEEEED!!!!!!" It's understandable that the story takes place inside the head of Nick Carraway (Tobey Maguire), but crazy people can have some sort of focus, ol' sport. Ironically, ol' sport, perhaps the "WAAAAAAAAAAAAAAAAAAAAAAARRRRRRyagetthejistol'sport" should have also been infused throughout the second half, when it ultimately becomes a chore to sit through while counting down how many times Jay says "ol' sport" in the course of twenty minutes. You see, ol' sport, it gets annoying when somebody says ol' sport for the remainder of their lives. Isn't that right, ol' sport? Ol' sport? Ol' sport? Ol' futbol americano?

All joking aside, the film would have benefited more had it been an artistically crafted movie musical. They have the costumes, they have the sets, they have the source material, and they even have the music (although it would be more impressive if original songs were written instead). All that's missing are musically-talented performances and a focused vision to match it all. Hiring Luhrmann wouldn't be so wise since it would feel as if he's creating a sequel to Moulin Rouge (2001). 

Luhrmann's adaptation of F. Scott Fitzgerald's novel should have been re-titled as The Okay-Should-Have-Been-Better Gatsby, but I would put it slightly above Iron Man 3 in terms of its enjoyment level. Despite the hyperactive editing and uneven pacing, the film has its moments of unexpected charm and visual interest. Don't go in expecting a cinematic masterpiece and you'll be alright. You got it, ol' sport? 

Out of five ol' sports, I give The Great Gatsby....





Out of five George Melies', I give Iron Man 3...



Until next time,

STAR TREK INTO DARKNESS

and MEOW, of course! 

MEOW! Presents: MOVIE QUOTE QUIZ #1!

May 11th, 2013

MEOW!

Can you guess which movies these quotes are from??

1.) "If you've ever wondered where your dreams come from, you look around. This is where they're made."

2.) "I am bad
And that's good
I will never be good
And that's not bad
There's no one who I'd rather be
Than me."

3.) "The thing about perfection is that it's unknowable." 

4.) "What is an ocean but a multitude of drops?"

5.) "No it's true. I forget things almost instantly; it runs in my family. Well...at least I think it does. Hmmmm....where are they?

...can I help you?"

6.) "JACK!
ROSE!
JACK!
ROSE!"

7.) "Are you two still living?"
{Hint: It takes place around christmastime.}

8.) "You've kept him alive so he could die at the proper moment. You've been raising him like a pig for slaughter."

9.) "Oh...somebody gotta nail those girls' fins to da floor."

10.) "I can't believe it. I'm losing to a rug."

10.5.) "You're telling me. I'm losing to a BIRD!"

11.) "We really should stop this fighting, otherwise we'll miss all the fireworks."

12.) "....I just really want a milkshake."

13.) "Tell you the truth, I'd rather go bowling."

14.) "Is this your homework, Larry?"

15.) "Because Emily was just the same. She was my whole world."

16.) "Souls don't die."

17.) "I'd take it back. The groundhog is fine."

18.) "Get busy livin'. Or get busy dyin.'"

19.) "Ahhhhh.....fresh MEAT."

20.) "Your story may not have such a happy beginning, but that doesn't make you who you are. It's the rest of your story--who you choose to be."

21.) "ALRIGHT THAT'S IT. DISHONOR. DISHONOR ON YOUR WHOLE FAMILY. Make a note of this. DISHONOR ON YOU. DISHONOR ON YOUR COW. DIS--"

22.) "But there are times a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations. The new needs friends." 

23.) "Beautiful."
{Hint: It's a big-budget remake.}

24.) "Fine. Then Go AHEAD AND STARVE!!!!!!! If she doesn't eat with me, then she doesn't eat at all."

25.) "Th-tha-that's chaos theory."

26.) "No man can walk out on his own story."

27.) "I don't want to be a pie! I don't like gravy."

28.) "Place that idiot scientist under arrest!"
"I prefer to be known as EVIL GENIUS!"

29.) "When this is all over, I'm going to need a whole lot of serious therapy."

30.) "Turns out all we needed was a little...this." 

Until next time,

MEOW!

MEOW! Presents: The Ten Best Films I Saw As A RHODE ISLAND COLLEGE Freshman!

May 4th, 2013

MEOW!

I was going through my head about what to write for my next big post, and then it hit me: why not do a list of the best films that I saw when I was a freshman at Rhode Island College? Not just the films released in theaters during that time period, but also the films that I saw for the very first time, either from the library, Netflix, or some suitemate named Josh. So without further adieu, here are The Ten Best Films I Saw As A RHODE ISLAND COLLEGE Freshman! Starting with...



My Neighbor Totoro--Out of all the films created by Hayao Miyazaki, this is personally my favorite, primarily due to its quietly serene simplicity. I admired that the family is not treated as the stereotypical 'nice' family you would probably find in a '50s sitcom. They happen to be people going through a tough situation while remaining as optimistic as possible; it's an excellent interpretation of hope. There aren't a lot of hyperactive action sequences, nor a bunch of crazy animation from the master himself. Instead, it's just a simple story that respects everyone's intelligence--the mark of a true family film, indeed.



9.) Spring Breakers--The critical equator of this film has been divided into two camps: those who love it, and those who wish to burn it in the Hellfire. Count me in the former camp. Harmony Korine's colorful and remarkably insightful vision is responsible for one of the most interesting surprises of 2013. James Franco's Alien (you will never watch OZ The Great and Powerful the same way again) is an excellent character study, diving deep into what made him such a...um...an alien in the first place. The message is also an honest one: sometimes we have to head deep into Hell in order to genuinely find ourselves. Let it also be known that the message comes from a film titled Spring Breakers. It won't be for everyone's tastes--it certainly won't be for my mother's eyes--but it's the first great film of 2013 for anyone willing to take a chance.



8.) Silver Linings Playbook--Weinsteins, you win this round. Silver Linings Playbook, directed by David O. Russell, is a terrific film with absolutely winning performances from Bradly Cooper and Katniss Everdeen, THE GIRL. ON. FIRE (Academy Award Winner and Dolby Theatre Stair Tripper Jennifer Lawrence)! It's rare to come across a film about two people with mental illnesses that are actually likable, without having to dip their toes into classical Hollywood territory (well...maybe except for the ending...but even then, it's as natural as love can be). David O' Russell's screenplay is also briskly paced and wonderfully written, with a couple of scenes that manage to break into 'instant classic' territory. Out of all the nominees nominated for Best Picture, this was the one that I was rooting for. A terrific film overall.


7.) Evita--When I chose to review Evita as a part of MEOW'S MARCH MOVIE MUSICAL MADNESS, I didn't know what to expect, except that my suitemate Josh said it was his favorite movie musical of all-time. And after seeing it for the first time, I have to say, he's not that far off at all. With a bold vision by Alan Parker, excellent performances by Madonna y Antonio Banderas, and AWESOME music by Tim Rice y Andrew Lloyd Webber, Evita is an amazing film and one of the best movie musicals that I've ever seen. What's more? It's not just a one-sided argument. You get to see both perspectives regarding the life of Eva Peron (Madonna): one from Eva herself, and the other from a guy named Che (Antonio Banderas), who breaks the fourth wall on numerous occasions when discussing about how Eva is a fraud. It makes for a fascinating political debate...only sung-through! Wow! Who knew that politics would turn out to be a great subject for a musical? 



6.) Rise of the Guardians--You're kidding me. THIS was the film that was responsible for the 350 lay-offs at Dreamworks Animation? And NONE of those lay-offs were from the marketing team that did a poor job of having this film appeal to children of all-ages? FOR. FREAKIN'. SHAME. From the moment I was attempting to reach for a snowflake with my 3-D glasses on, I knew I was in for something special. Rise of the Guardians is an absolutely wonderful film that understands child-like wonder, and most importantly, children themselves. There are also oh-so beautifully imagined visuals that help enhance its overall message rather than just providing amusement. And I dare you NOT to get chills during the film's climax, or at the very most, I dare you NOT to hold back the tears by the time the words "For Mary Katherine Joyce--A Guardian Fierce And True" appears just before the end credits. Without a doubt, this is one of Dreamworks' best films, and quite possibly one of the best animated films that I have ever seen. Where it ends up on that list, I'll let you know. For now, "open up your heart and change your mind. Oh what you'll find if you still dream."



5.) South Park: Bigger, Longer & Uncut--Wow. I mean...yeah. Wow. Wow. Wow. I've rarely seen a film, let alone an R-rated one, that was able to take as many risks as it could, and have them all pay off brilliantly. I mean, really? How many films do you see when Satan is paying homage to a song a la The Hunchback of Notre Dame, and how many films do you see where the parents want to "Blame Canada" for all of the foul ruckus caused by just one motion pictuire? Yes, the film may contain...um...a few moments of profanity, but I wouldn't mind so much if it's used for a purpose. And the purpose here goes back that good ol-fashioned moral: we're all human. We make mistakes. We curse. We cheat. But everyone has their good side, and that can be released by another's spirit. My lord, what a great film. This is right up there with some of the best animated films that I've ever seen, and one of the best comedies ever written for the silver screen. All that's missing is a bunch of Mormons. 




4.) Cloud Atlas--"What is an ocean but a multitude of drops?"

I'll just cut straight to the heart: I absolutely LOVE Cloud Atlas. Every time I watch my favorite scenes on the internet, I always notice something different while my feelings remain the same. The ensemble led by Tom Hanks is nothing short of miraculous, having to portray more than five parts due to the profound idea that everything is connected in the universe. How the make-up was ineligible for an Oscar nomination is a mystery for the twenty-first century; the end credit roll where you get to see who plays who is one of those moments of pure cinematic magic (My jaw dropped to the floor when I found out what Halle Berry played). But the finest aspect of Cloud Atlas is, no question, the score composed by Reinhold Heil, Johnny Klimek and Tom Tykwer. Ever since I was introduced to their compositions for this film, I've listened to them every day. The score already speaks for the film itself: it's breathtaking, exciting, mysterious, passionate--it's just beautiful experimental filmmaking at its finest; one of the best films that I've EVER seen. 




3.) The Perks of Being a Wallflower--Walking out of this film the minute the credits ended, I was hypnotized for a good half-an-hour, so much to the point of riding on the wrong bus, where I would eventually walk another frustrating twenty minutes to the campus with a Yankee Candle item for my loving mother. But by god, it was worth it. The Perks of Being a Wallflower is not just a film; it's an experience. Even when you watch it on a tiny television set, you can feel the powerful and subtle emotions that come from each of the characters. You can feel the passion from Stephen Chbosky's nostalgic direction and beautifully written screenplay. Forget that these characters are high school students, and forget that these actors are much older than the characters they are attempting to portray: they are people. People with dreams, flaws, and infectious personalities. They are people you wish you can hang out with for another couple of hours, but that's the bittersweet reality of life. It's also one of the more positive qualities about life as well: you have to let go sooner or later, but when you do, the amount of accomplishments are just waiting a couple of feet away. And in that moment, I swear, you will feel infinite. This is a magical film--one of the best films ever made. 




2.) Samsara--I watched this film during my phase of taking DVDs out of the RIC library for my viewing pleasure. I randomly picked this film since the cover of the DVD looked interesting and vibrant. So I figured, eh, this might be worth it. I pop it into my laptop...

....A couple of hours later...I felt as if everything was right in the world. I literally felt as if I had a peaceful conversation with God. I was entranced for a good hour afterwards, and realized that I was probably never going to see another film like this. What is this film, you ask? According to Buddhism and Hinduism, it's the neverending round of bith, death and re-birth to which all conditioned beings are subject, and is conceived as having no beginning or end. It's one vision's perspective of our own home planet, and that vision allows us to indulge in some of the most beautiful imagery ever intended for a moving picture. In fact, that's what the film really is: moving pictures. I'm sure the Lumiere Brothers would certainly appreciate that. There's not a single phrase of dialogue spoken, but the images are filled with such artistic depth and emotional resonance, that it's irresistible to create unabashed references to the openly-interpreted meaning of life. It will not be for everyone's tastes, but for those who are wondering how cinema can stir the everlasting soul, take a dive into Ron Ficke's Samsara, an enchanting, mesmerizing, soul-stirring journey through the optimistic, vibrant eyes of God. Prepare to be wowed.

And the best film I saw as a RIC Freshman is...




Wreck-It Ralph--You can't change the Disney fan inside of me. When the advertisements and clips came out for this film on the internet, I was hyped like Rhino the Hamster in Bolt. It was one of my most anticipated films of 2012, and I was hoping that it would live up to my expectations, while also keeping them relatively normal like a good little wooden puppet. The moment the 8-Bit Walt Disney Animation Studios logo appeared on the screen, I was transformed into the giddiest seven-year-old over the next couple of hours. After those couple of hours, I was re-introduced to a word when I view such an exceptional piece of cinema: joy. That's what Wreck-It Ralph is, really; it's the equivalent of when Vanellope Von Schweetz (the WONDERFUL Sarah Silverman) is joyous over the new kart that she and Ralph creates (Also known as "I LOVE IT I LOVE IT I LOVE IT! IT'S GOT WHEELS AND AN ENGINE AND -kisses wheels- I LOVE IT!"). I could honestly go on and on and on about how astonishingly wonderful Wreck-It Ralph is, but for now, I'll stick to the basics. The animation is a kaleidoscope of bold and enchanting colors that allows you to taste the rainbow. All five of the focused characters in this story are incredibly likable and unique (it's impossible for me to resist the laughter of King Candy (Alan Tudyk)). All of the voice actors give the characters brains, (ENORMOUS) hearts and infectious personalities, whether they are cynical or optimistic. The script...I can quote the film all day. There are too many lines that are memorable, such as my personal favorite:

"Are you hurt, sire?"
"No, he just glazed me. GET THEM!"

Those two lines of dialogue and how it's delivered is the mark of perfect comedic timing, and is an excellent marriage of animation and screenwriting. 

And unlike a certain superhero flick that's opening this weekend, there's one BRILLIANT twist towards the end that will make your jaw drop even though it's glaringly obvious in repeated viewings. But part of the fun is to fit the pieces and see how it all comes together, while finding out that the script is truly ingenious, and not a 'typical animated comedy just for kids.' 

Wreck-It Ralph reminded me why I love watching movies, and why I love going to the movies, and why it's great to talk about movies. Because when you find something as special as Wreck-It Ralph, well, "there's no one who I'd rather be than me." And I am the writer of MEOW!: Movies? Entertainment? Ohhhhhhhh Wow!, here to make sure that my posts are worth a few minutes of your amusement.  Well, all I can say now is...

LET THE SUMMER MOVIE SEASON BEGIN! 

Until next time,

MEOW!