old152152

old152152

Favorite films

  • Flowers of Shanghai
  • Stalker
  • Salò, or the 120 Days of Sodom
  • The Spirit of the Beehive

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  • Snowpiercer

    ★★½

  • Mickey 17

    ★★★

  • Terminator 2: Judgment Day

    ★★★½

  • Melancholia

    ★★★½

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  • The Last Dance

    The Last Dance

    ★★½

    趁食飯打低返。惡補左最近既港產片,焚城格局似明日戰記,敘事似寒戰,講得好聽就係傳承中既一種當代更新,抵睇,唔好聽就係另一種既苟延殘喘,但點都值得支持下。

    破·地獄比較值得講。如果話有咩surprise,誇張d講,就係衛斯雅救左呢套戲。之前我連衛詩衛蘭連詩雅衛詩雅都分唔到,但因為呢套戲,我會記得佢,可能佢會係第二個Stephy。睇返佢個filmography,邱禮濤都有用過佢幾次,但完全無印象。今次佢演活左一個三十到尾現代單身中女既堅韌、倔強同溫柔,戲中佢係親情、傳統、女性、兩性關係等不同價值中掙扎打轉,其中所有內心衝突都恰如其分係一頭俐落短髮和嗰張乾淨清秀的臉孔下隱隱發酵,並一直係情緒、道德和生死邊緣遊移的生活日常中逐漸溢散,而且堅持到最後完美釋放。眼前一亮。

    破·地獄比人吹到好好,但實際上仍有諸多缺陷,比如話好多鏡頭橋段都係行貨cliche,惟有靠金句靠BGM去推動情緒,而癥結所在,係電影既敍事節奏同佢拋出黎既總結式金句有牴觸,更準確咁講,係同依賴總結式金句呢個形式去推動情緒有所抵觸—如果「人生就好像一程車,重點不是上車的人可以陪你去到哪個站,而是你們一起欣賞過哪些風景」,到底會係邊一個時刻,車上面會有條友走埋黎同你講金句—除非係戲,除非係子華既棟篤笑。換句話講,所有輕盈靈動、細緻又傷感的殯儀日常都因為呢種金句同BGM既渲染變得笨重,尤其係導演必須借用呢種形式達至所謂既「深度」。

    導演會講,「婚禮和喪禮的本質都是一樣,只不過是一場show」,咁電影呢?導演會講,「在世的人的感受才是最重要的」,咁到底係電影觀眾重要,定係走出電影院回到日常生活的普通人重要?導演會講,「不止死人要超渡,生人也需要破地獄,生人都有好多地獄」,咁除左戲中既人需要破地獄,拍既人洗唔洗?睇既觀眾要,出左戲院既洗唔洗?地獄要破,「破地獄」本身要唔要破,點破?如果電影結局算係破左,咁既破法算係幾武斷同隔靴搔癢,一來許多習俗本身就會同科學有磨擦,如果要以某種比較「科學」既理據去支持女性可以破地獄,咁破地獄既儀式本身都應質疑,但更要緊既係,要老豆首肯個女先可以破地獄,咁只會加強性別定型同sexism—因為到最後都係要聽男既有權力既,而唔係睇個女仔有無能力(衛詩雅做得好好),將性別同權力既二元零和遊戲打破。當然結局可用純粹既親情角度解讀,但當電影中有對同性關係著墨,咁就可以有其他解讀。

    我係星期日無縫接着睇,做完家務見有時間,先睇焚城。有趣既係,睇破·地獄到中後段,心裡一直抱怨電影既不足,眼淚竟然不覺潸然而下,一時不止,於是立刻反躬自問,淚水何為,頃刻未有答案,只能喝一口保溫壺中冰涼既「清水」,冷靜一下,只是淚依舊熱,喉頭卻是涼的—只望心尚未寒。細究之下,或者衛詩雅演出了香港電影奄奄一息下垂死掙扎的縮影,一種係不同價值觀夾鏠中奮不顧身求生存既態度,或者咁樣好香港。比起金句,或者我地更需要呢種態度。

  • The Substance

    The Substance

    ★★½

    I haven’t watched a film with a thesis as muddle-headed but self-righteous as The Substance for a while. The film is meticulously engineered, with the employment of the classic Hollywood narrative devices and the current trend of film “entertainmentization”, to arouse our excitement and trigger our dopamine release, while adding some cautious little remarks and self-reflexive intricacies to say “hey, this is bad” and nothing else. It's akin to saying precisely what might trigger someone with PTSD, while paradoxically insisting,…

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  • Small, Slow But Steady

    Small, Slow But Steady

    ★★★★½

    This film kind of reminds us of the essence of film as art: sometimes we don’t need a complex and enchanting narrative, also not a self-satisfied message or an empty platitude from the director telling through a coherent and affectionate story, even less so about a self-righteous attitude of the director in so-called reproducing the “reality”, let alone the grand circumnavigations of superheroes allegedly manoeuvring through colossal yet lifeless difficulties. We just need a place, a character, its surroundings, and…

  • Mouchette

    Mouchette

    ★★★★½

    The mind-numbness and raw authenticity of Mouchette were best depicted with Bresson’s idea of “model”. It’s a film of ellipsis and repetition, a sort of minimalism in filmmaking which provides ample room for explorations and interpretations. That creates a vibe of tranquillity and solemnity with a trace of cold-hard truths and absurdity, which is truly powerful. The way of his cinema generates a pseudo centrifugal force that distances the character from its audience while giving the appropriate freedom for the…

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