SAW

SAW: Horrifyingly Disturbing
By Reymundo Salao
Just Another FIlm Junkie
The Guardian, December 18-19, 2004

For those who want an appropriate "Christmas feel" of a movie, it would be an obvious and perfect choice to pick the movies "Christmas with the Kranks" and "Surviving Christmas". The titles of both films are pretty self-explanatory and promises give you such a yuletide of a treat. But for those who want to take time out from all the perkiness and the bright-colored jolly moods, and prefer to spend some time on the thrill of a shock-horror masterpiece, there's "SAW".

"SAW" may seem to have lacked that marketing hype from its producers and local distributors, that is why many of us never may not have heard about the movie till just now. So if you're hesitant over the film, thinking its just another small-time horror flick from a couple of "unknown" producers, be hesitant no more, because I would not lie when I say that "SAW" may be the year's most terrifying horror movie. Sure, "Dawn of the Dead" may have given us that post-apocalyptic fast-pulse shock, sure, "The Grudge" may have given us that hair-raising eeriness. But "SAW" makes you see, hear, and fear the horror, and makes you think about it later on, wishing that you would not be put on the same torturous situation as the characters of this movie.

Horror movies have lately focused on Ghost and/or Spirit activity; hauntings that kill with enigmatic effect. But "SAW" takes us back to the idea of sick serial killers; frighteningly realistic. Like any "serial killer" movie that has some quality, the killer always has a profound and sublime motive. Random, but ultimately sublime. For the killer on this movie, who is nicknamed JIGSAW, has one thought of mind that he tells his victims: The idea that many of us should be grateful just to be alive, yet everyday, we tend to make life wasteful or we never seem to stop bickering over the little insecurities of life. This strikes a chord on many of us, because it is the truth; many of us never seem to find contentment in our lives. It is being human, but it's not a human trait we should cultivate. On my column last Wednesday, I wrote a hysterical article about how I'm upset over life's complications and miseries, without even realizing the fact that I should be just glad to be alive. Each and every one of us tends to have the same feelings of contempt over how imperfect our lives are. And the sick beauty of the "SAW" storyline is that we, who are guilty of having the same natural feelings of discontent, could've been the victims of the serial killer on this movie. For the killer seeks for his victims to find that contentment, even if he has to drag them into torture to do it.

And how does he kill his victims? The victims usually die in a very gory, unbelievably shocking manner. Jigsaw does not technically "kill" his victims, he puts his victims in a situation, in a game, that they would end up killing themselves. A sort of a game of choice: Choose to die, or choose to torture yourself to get through that very thin chance of living through the game. An example is that of a victim trapped in an underground chamber. The only door that leads outside has a timer that is set to close at a particular deadline. If it shuts, that room will later be filled with lethal gas that would kill the victim inside. But in order to get through that door the victim must pass through a cage filled with barbed wires and hooks. And, by the way, the victim is naked. Do the math.

The film has a respectable cast, although their credits are not overblown (and seems to not even appear) in the posters. There's Cary Elwes, who has appeared in "The Crush" and has shined in comedies like "Robin Hood: Men In Tights" (he played Robin on that film), and "Liar Liar". But on this film he looks very different, this perhaps, attributing to the entire deadly mood of the storyline. There's also Monica Potter who was last seen in perky roles as well. And there's Danny Glover, who always is reliable on playing the "hardened cop" role. And there is Leigh Whannell, who played a very small role in Matrix Revolutions and is actually the brilliant screenwriter of this movie, plays Adam, who is one of the central roles in the movie. And along with him, everybody's acting is superbly scary. I have noticed a particular focus on the screaming in this movie. It is as if there is emphasis that lets you feel the screams, feel the fear in it. Like a howl of excruciating pain, the sound of the screams alone would give you the chills. There is also the entire mood of the film. The sets, the cinematography, the color tone of the film. Very gritty. Very dark. It reminds you of the music videos of Nine Inch Nails and Marilyn Manson, which makes sense because the musical director of this movie, Charlie Clouser, is once a band member of Nine Inch Nails. (Thanks for the info, nervegasm)

The movie was directed by James Wan (also has some credit in the storyline) which has earned my respect on the horror and perhaps the psychological films genre, and I would certainly be awaiting what his next project would be. "SAW" is rated R for strong grisly violence. Nays and Tays would best keep their kids away from this movie. But to everybody else above 13, especially the horror aficionados, this film is a "never miss" screamfest.

The Grudge

THE GRUDGE: Making That Perfect Adaptation
By Reymundo Salao
Oftentimes Disturbing

The GRUDGE is absolutely chilling, it has that creepy sensibility that justifies the original version. I usually have that unfavorable opinion about the recent American/Hollywood remakes of foreign films such as the remake of "Taxi", which was originally a fun-filled-ride-of-a-film from France, and "The Ring", which was awfully copied from the Japanese horror classic "Ringu". The fatal mistake of the producers of "The Ring" which makes it a weak adaptation that does not satisfy the reputation of the original, was that they thought they could make a better movie out of the Ringu concept, completely rewriting the storyline, forcing their own Hollywood brains into the material. It is as if the producers were trying to take credit for what was originally NOT their concept. (Moving on, and enough talk about the Ring,) THE GRUDGE, on the other hand, triumphs and does justice with the original Japanese version (The Grudge / "JU-ON"), because it does not attempt to diminish the standing reputation of what has been established. It never fails to acknowledge the Japanese aspect of what originally is Japanese. I knew that watching it from Cinema 6 of the Robinson's Movieworld was such a treat since it's the one with the great surround speakers, that effectively translates the life-like audio of the film.

First of all, on the purely basic, the producers of the film did what was best: get the director of the original version. The director is the captain of the movie; he is the visionary that guides what or how the movie should look. He knows the entire feel of a movie. And attempting to create a perfect adaptation for a film, would be hiring the director of the original. That director is Takashi Shimizu. Whose style made this film an enhanced version of the original, it may even serve as a serious sequel to the timeline of the original "Grudge / Ju-on" series of films. The second wise step in making this adaptation was never to change the setting. Other adaptations prefer to rewrite and re-conceptualize the entire original work and fit it into an American setting. The sense of it may be in order to let the American audience have a better grasp of the movie without some cultural alienation. But then again, we Filipinos, among other cultures are also audiences to these movies, and there's nothing wrong with minor cultural differences. Ultimately, if they plan to re-conceptualize the original, what's the point of claiming such film as an ADAPTATION? THE GRUDGE respects the setting of the original and has taken on the same actors, actresses, and characters, even the same house used in the original.

The film is set in Japan, and Sarah Michelle Gellar plays Karen Davis, an American who was drawn to a house where she was temporarily assigned to be the caretaker, and discovers that there have been serious ghost hauntings, mysterious disappearances, and inexplicable deaths. While the original "JU-ON" seemed to be more of a collage of short stories revolving around those who have been affected by the curse, this adaptation does the same but provides a bit more chronological and cinematic sense to it. In this movie, there seems to be a bit more of finality and closure compared to how strange some Japanese horror movies would usually end; with a hanging question and sometimes without even a heartbeat of a climax. This version offers a pinch more gore. But not to the point of overdoing it that it strays from the simplicity of the original concept. Like any good horror movie, it observes the rule of 'less is more', meaning, no flashy special effects (except for just one prominent CGI scene), no full-scale stunts, no elaborate chase scenes. The horror either seeps in like a tortuous consumption of fear eating up your spine, or a quick cut of fear that slams you in your face and leaves you pondering about the after-effects later on. The brilliance of THE GRUDGE may be credited to the fact that it blends well with the series. Not re-jumbling the original concept, it was as if there is this additional episode told from the point of view of its American protagonist, Karen Davis (Gellar).

The producers who were wise enough to responsibly create this adaptation are the team of Robert Tapert and director Sam Raimi. Before he was to become the famous director of "Spiderman", Sam Raimi who was the mastermind behind cult favorites as "Darkman" and "Army of Darkness (Evil Dead 3)", written and directed "EVIL DEAD" which was produced by Robert Tapert. "EVIL DEAD" has become one of the scariest horror movies of all time (one of my personal favorite films, in fact). Unfortunately, it was a cult-status fame that didn't last through time. And as cult masterminds in horror cinema, the team was a very appropriate team to launch such a project. It was no wonder that THE GRUDGE held a consistent spot on the blockbuster charts for such a long time. Its fear does not wither away with the Halloween; it's fear that can render you frozen in the December breeze.

THE GRUDGE is a never-miss for horror fans. It is never disappointing for those who love that creep-trip. But just like the curse of the Grudge that follows you home, you may find yourself later that night at home, paranoid of what you'll see around. There may be a stranger in the mirror or a sound of a cat in the other room. Don't worry; it'll wait for you to be alone before it appears.

AFTER THE SUNSET

AFTER THE SUNSET
(Film Review)
by Reymundo Salao
Oftentimes Disturbing

Just as the chilling coldness of December has greeted us (especially with last week's sad news about the storm), there's the film AFTER THE SUNSET to warm us up. This movie directed by Bret Ratner (of "Rush Hour" and "Red Dragon") and stars Pierce Brosnan, Salma Hayek, and Woody Harrelson, is set on a sunny Caribbean holiday spot where a sly game of cat-and-mouse ensues between an FBI Agent a and Professional Thief.

The film follows the story of Max Burdett and Lola Cirillo, both master-thieves, partners-in-crime, and romantic protagonists, who have decided to "retire" from the life of crime, to a tropical-paradise-of an island. But their romance seems to be threatened when Lola suspects Max of cheating. Not with another woman, but with a priceless diamond that has caught Max's attention. Fully aware that Max cannot resist the temptation of stealing the diamond, FBI Agent Stanley P. Lloyd gets in a playful game of cat-and-mouse, to try and catch the retired thief on the act. While on the island, he teams up with a local police officer Sophie played by Naomi Harris, whose femme fetale has caught Stanley's eye. While Max secretly plots to steal the diamond, Lola has felt great disappointment on her lover and plans to leave him for good. Now Max must figure out if he'll just abandon his great heist for the love of her woman.

At first, I was quick to put my faith on other reviews of this film, among them, a BBC film review which thought of this film as not to have offered "anything new". Sure, we may have already seen the Mission: Impossible high-tech theft scene, or the suave Bond-like master-thief, since "The Thomas Crown Affair" remake (also with Brosnan). But what was magnificent about the movie was its energy. It was a film that is full of life. If I may describe with a bit more clarity, an adult person's Walt Disney film. And adults will truly feel alive with the entire look of the film. Tropical, radiant and colorful. Beaches all around, sunshine, scenes as lovely as a holiday postcard and a coffeehouse painting. Very exotic. And for the guys; there's Salma Hayek. There may be no breast exposure on this movie, but there is a lot of boobs-exposures (if you dig my language. Read: Melons)

Maybe it is hard to shake off that James Bond image to pursue other roles, but Pierce Brosnan easily shook off his Bond image with his role on this film as a thief who surely is monogamous, and if he ever does cheat, it's with a priceless Napoleonic Diamond. It also may be the rugged unshaved look he is sporting on this movie, but I believe it's his performance, reminding us that Brosnan has already had that respected reputation as an actor even before he stepped in the Bond shoes. Salma Hayek, who plays Lola, Max's girlfriend, is never belittled as mere babe-wallpaper for the guy audience to just ogle. She plays the character who yearns to just settle down and move on away from the life of crime, and into just a simple life with the man she loves. And she does it very well. After the first minutes of the film after reviving male eyes of all the ogling, her performance grabs you into seeing the sincerity in her character having that desire to never look back to the life of stealing and just being regular people from now on. The film also stars Don Cheadle who plays a villain on this movie, you may have seen him in varied roles on films such as Ocean's Eleven, Swordfish, and Traffic. And then there's Woody Harrelson, whose dignified film credits include the controversial movie The People versus Larry Flynt and Natural Born Killers. He provides almost 90 percent of the film's humor, for his character is defeatingly funny, in a very "Wily E. Coyote" manner. The "cop-vs-thief" theme of this movie can be a modernized comparison of the old Pink Panther movies that we used to watch in late 80's Channel 12. With the character of Harrelson having resemblances to Inspector Clueseau, and Brosnan's to the Pink Panther thief. But more than that, AFTER THE SUNSET is also a romantic comedy and has its share of hilarious scenes that had made me laugh out loud inside the theater.

AFTER THE SUNSET is very enjoyable and full of bursting colors. It may be a great date movie and also a barkada movie. If you wanna take that short break from the chill of December, this is one film that feels like a cool trip to paradise.

National Treasure

NATIONAL TREASURE
by Reymundo Salao
The Guardian, December 3, 2004

When I got to the third level of Robinson’s last Wednesday, I was aghast in pleasant fever to find that almost all of the films being shown this week are must-sees. There’s the long awaited cold war-era novel-adaptation “The Manchurian Candidate” and the sequel of probably the best romantic movie I’ve ever seen (Before Sunrise) “Before Sunset”. Not to mention the Pinoy horror “Pa-Siyam” which has drawn me with a bit of intrigue. And there’s that temptation to watch “The Incredibles” AGAIN. But it has been a while since I watched a good “treasure-hunt-movie” a la Indiana Jones. So I decided to take a trip in search of “National Treasure”.

The story follows the lifelong devotion and obsession of our protagonist Benjamin Franklin Gates (Nicholas Cage) in search of a treasure kept secret for centuries by the founding (patriot) fathers of the United States of America and the few of their descendants who have kept that secret, but to unlock that secret and to seek for that treasure that has remained hidden for centuries, is an arduous, seemingly-futile quest. It is a quest that was actually shared by Ben's father and grandfathers as well, but they all failed and gave up, dismissing the existence of the treasure to be a myth, saying that it just leads to clues and more clues, that it leads to nowhere. But Ben firmly believes in the secret and has broken ground making one step ahead by discovering one very important clue. The clue revealing that the map of the treasure is hidden, engraved with invisible ink at the back of the historical Declaration of Independence document. But on his tail after the treasure is his rival ex-partner Ian Howe (Sean Bean). Left without a choice and with a desperate decision, Ben takes that daring step to steal the Declaration of Independence and from that point, his adventure towards finding the Hidden Treasure steams up with action, mystery and intrigue.

The character of Nicholas Cage in this film is his typical "thinking-hero" character, sort of refurbishing the same character he did in his previous film "The Rock". He takes that character one step ahead in a pinch of comedic tone, as his character Ben is believed by many to be a delusional "treasure-myth" geek who hastily and ineffectively tries to convince people of believing his concepts. He does it quite well and is so fit for such performance since Nick Cage really doesn’t shine in macho mouth-shut-action hero roles. More of the clean adventurer-action-hero-type, this kind of hero is best for this kind of wholesome all-out adventure kind of movie. Sean Bean's villain role carries a bit more serious tone than his previous villain roles. The depth of his being a feared villain is done well with his acting even without the aid of violence. The appearance of Christopher Plummer plays well in the storytelling narration of what the treasure myth is all about. Plummer has a voice and a way of speaking that exudes a serious mythical tone; you'd either believe it as fact or dismiss it as fiction. A tone that makes you think twice on the question "Does this treasure really exist?” Diane Kruger as the lovely Abigail Chase, is seen this time with a better acting role than her role as Helen in "Troy" And there's Justin Bartha playing Riley Poole, the hero's sidekick, gives a great addition of humor and life to the story. Jon Voight plays Ben's father who gave up on the myth of the treasure and has lost faith that it ever existed. Film nerds may make a comparison of his role to that of Sean Connery's in "Indiana Jones and the Last Crusade". It was interesting to see Voight play a typical father figure injecting that slight typical father-son tension on one part of the movie. Didn’t he play Lara Croft's father too? Then there's the ever-cool Harvey Keitel as Police Chief Sadusky, who delivers this convincing short speech at the end part of the movie that serves as a sort of epilogue for the film.

More than just a plain adventure movie, National Treasure has subtle elements of being educational and informative. As the story progresses, the characters tend to review details of events in American History. As they do this, some who are familiar with American History would tend to also think along of those details as well. Fortunately, this doesn’t come off in a cheesy manner as to give the film "school-textbook" segments. The informative stuff comes off naturally and appropriately.

What I like about the movie is that it immediately jumps into the action without long character introductions. There was no need of making complicated character-drivers since the characters are not-very-complicated and easy to comprehend in the first place; the visionary hero, the comedic sidekick, the greed-driven villain, the helpful damsel. The hints of romance between cage and Kruger does not lag the movie on the expense of its main storyline. The villains of this movie are non-American, which is simplistically in tone with the whole idea of the movie's semi-patriotic yet obvious un-pronounced undertone that the heroes are trying to stop the foreigner-villains from taking away what belongs to America. But that's beside the point because the thrill and adventure aspect of the film comes first. It is a film honest to itself as being marketed for pure all-around entertainment (especially on this season of holidays). The film is directed by Jon Turteltaub and produced by the big-budget icon Jerry Bruckheimer. Although it does not even attempt to compete with the immortal appeal of Indiana Jones and the femme testosterone of Lara Croft, and though it does not promise some unique new stunt, National Treasure is one adventure that doesn’t miss on giving you that suspenseful thrill of a great treasure-hunt movie, it doesn’t fail to give you that promised mystery-solving intrigue, that beat-per-second chase scenes, and it is very wholesome to all ages. The minimized violence is appropriate for the story without making it look too trying-hard-safe about it. The film appropriately steers the action more into the adventure level. The heroes of this film aren’t really the kind who’d face d bad guys with a fist or gunfight, rather more of your ordinary Joes in a cat-and-mouse race to get to the treasure.

NATIONAL TREASURE is one movie that everybody can enjoy. While most action-adventure movies these days tend to have that exclusively adult content, it is a relief that some action-adventures are family-safe without being tarnished with wimpy factors. This is one movie even you Lola will enjoy. In fact, I saw a lola inside the moviehouse that night.

The INCREDIBLES

THE INCREDIBLES: TOTALLY INCREDIBLE
By Reymundo Salao
Oftentimes Disturbing
The Guardian, November 26, 2004

I would sometimes dislike the idea of calling these kind of movies as "family movies" because the term usually suggests such mushy kid flicks as "Brother Bear" and "Little Mermaid", movies that are either too cute, too clean, and too loaded with cheesy moral undertones that its like a film adaptation of a secular morality brochure. I'm glad that this film is way better than your average family treat. In actuality, and in literal terms, "The Incredibles" is purely a spectacular family movie in the sense that everybody of all ages (of the family) could and would enjoy this movie. You've got the visual treat of the animation for kids, the fun and even smart humor for the grown-ups to appreciate as well, and the action-adventure for the boys of all ages. In a stricter sense, "The Incredibles" is a superhero movie that comfortably sits along great instant-classic superhero flicks like "Spiderman 1 & 2", Tim Burton's "Batman", and "X-2".

The story starts out when Mr. Incredible, among all other costumed superheroes, were at their height of their career in their battles against criminals and the forces of evil. Until that time when our main superhero protagonist saved the life of somebody who was actually trying to kill himself. That guy filed a legal suit against Mr. Incredible for the injuries he got during the rescue. Then all the other superheroes also got sued for various other direct or indirect offenses, damages, and injuries. Until society grew a discrimination for superheroes. And so it was resolved that all the superheroes must end their lives as their alter-ego superhero identities, and just start blending and rolling with the mediocrity of everyday life.

Along with the rest of the superhero community, Mr. Incredible, who was wed with fellow super-heroine, Elastigirl, must surrender their superhero lives and blend with the rest of society, with the rest of the normal world. Mr. Incredible must fully embrace his life as Bob Parr, insurance office employee. And jump forward years later, Bob is now husband and father to his loving wife Helen Parr who also surrendered her life as Elastigirl and is now a housewife who watched over their children who were also endowed with superhero skills; the naughty and relentlessly makulit Dash, who has the super-ability of speed, their shy and secluded teenage daughter Violet, who appropriately and poetically has the power to be invisible and/or create force-fields, and then there's their toddler, little baby Incredible (okay, so the character really didn't have a name there).

Just as Bob has reached one edge of his depression, boredom, and disappointments in life, he received a message from a rich and powerful secret company who required his services as a superhero. Needing a boost in self-esteem and the desire in his heart to do noble and chivalrous deeds once more, he takes the job. But little does he realize that the dangers that lie ahead of him are far more greater that he can comprehend. And it will also threaten the lives of his family, who must also answer the inevitable call of superheroism. Until together as a team, rather, a superhero family, they realize that their powers and their heroism isn't too obsolete enough for society to need.



The film was made by Pixar, the same company that brought us the "Shrek" movies and "Finding Nemo". You would most certainly guess it right that some of the animators of this movie are Filipinos (Mabuhay ang talento ka Pinoy!). One other thing that is enjoyable in watching these big animated movies is when you try to guess the names of the voices of the characters of the movie. The performers who did the voices include Craig Nelson, Helen Hunt, and Samuel Jackson (you can't just miss guessing that distinct voice of his), The film was directed by Brad Bird who also did the voice for the film's most favorite character (among adults anyway) Edna Mode.

The movie is rich in impressively unique sequences, original humor that never lags to boredom, and an interesting plotline that may have been used in many comicbook stories, but never on the movies. You'll just love the scene when Frozone and a slightly overweight Mr. Incredible try to relive their superhero glory days only to find that they "got old" from what they used to do. I was rather glad that there were no cheesy musical numbers on this movie. Neither were there cheap shots at trying too hard in making the animated characters look like famous celebrities. For me, "TheIncredibles" stepped in when the typical CGI-eye-candy animated family treat was getting to be boring and uninteresting (A Shark Tale). "TheIncredible" may nothave those corny musical numbers, but they have the action-thrill-ride sequences, the bullseye humor, and the slickety-coolness that turns me into an instant Incredibles fan. The entertainment dosage of this movie is adequate that it gave me a childlike grin the whole time I was watching it. If you ask me, it's the perfect movie to watch this holiday(-ish) weekend. I cant wait for a sequel.

EXORCIST: THE BEGINNING

EXORCIST: THE STUPID
By Reymundo Salao
The Guardian, October 12, 2004

This was supposed to be one of my most anticipated movies for this year. Not until I learned of the bleak progression of the film's production. Not until the producers wanted to make drastic changes on this prequel to the 1973 horror classic The Exorcist (which had a 1977 sequel entitled Exorcist II: The Heretic, and the third in 1990 "Exorcist III"). Actually, "Exorcist: The Beginning" was originally set to be released July 2003. May I just add that this film has had such a bleak production; Originally, notable director John Frankenheimer (Ronin, Manchurian Candidate) was set to direct this movie, but he passed away due to complications in a back surgery, then there was another notable director, Paul Schrader, who has directed, co-directed, written, and co-written classics like Taxi Driver, Raging Bull, The Last Temptation of Christ, Affliction, and Hardcore. Schrader assumed as director in early 2003, the film was going to have Liam Neeson as the young Father Merrin and among the cast even includes Fil-am actor Billy Crawford in one of the major roles. Director Schrader's approach is more on the psychological horror. A tale bent more on the deeper eeriness of the storyline rather than the visuals. Less on the revolving heads and shower vomits and more on the psychological shock. After all, this is the new millennia, we've been so desensitized by visual effects. Seeing revolving heads and levitation isn't going to scare horror-moviegoers anymore.

But just like the typical producer-pig twist of fate, things got ugly. A conflict "over a difference in opinion about the direction the prequel should take" (Greg Dean Schmitz). And so they got Renny Harlin (who directed Cutthroat Island, Deep Blue Sea, and Driven) to replace Schrader. Obviously, the producers wanted the film to be loaded with flashy visuals since Harlin is noted for eye candies. The cut and shots Schrader did were bagged for a DVD release, and the entire film was reshot, that would include re-casting, which has obviously put Billy Crawford off the cast (he doesn't seem to be a good actor anyway). And so, the result was that Exorcist: The Beginning became nothing more than another crappy visuals-dependent horror flick.

Right from the beginning of the film, at just seeing the early seconds of it, the horror is diminished by the quality of film used. I am not so scientifically familiar with the types of films used in filmmaking, but the one used in this film is that of the kind of film that has an intense and vibrant clarity, that watching through the film seemed like it anticipates a movie of large scale budget. You may have noticed the kind of film and lighting used in Sixth Sense, which has sort of a 1960's blur from the camera and the lighting. Such scenes delivered through this type of film and lighting evokes a simple and serene atmosphere which is a perfect set-up for a horror story. Same with the film and lighting effects of films like (the almost-lightless films) "Unbreakable", "Se7en", and the raw DV-cam effects of "Collateral". The clarity of film used on "Exorcist: The Beginning", on the otherhand, is the type of clarity in movies like Bad Boys and The Mummy. Too colorful, too radiant.

Dispensing with the film-factor, the movie had a fairly-good storyline set-up. Archaeological diggings discover a church built over an unholy place where, it is believed, the place where Lucifer fell after the war in heaven. A place where, centuries ago, a great number of crusaders died, killing each other for they have been "touched by the devil". The character of Fr. Merrin (well-played by Stellan Skarsgard) was also good; a priest whose experience with the Nazis led to the straying of his faith. Kind of cliché, but it was fine. For some moments, the story seemed okay. Then came the CGI (Computer Generated Imagery; animation) hyenas. Must you really have the hyena scenes computer-generated? The now generation can already tell the difference of a CGI scene from the real-deal scene, with the exception of those done in almost flawless manner. And the scene where the hyenas feast upon a child was obviously a badly-made CGI. That scene looked like something out of Clash of the Titans. CGI diminishes the realism of the film, and removes the scary appeal a scene would have. In a good horror movie, the general rule is "less is more"

Then there came the dumb dialogues. When Merrin says they "found an altar where sacrifices where made", you could spell out that the next thing he says is "…Human sacrifices" There's the cliché horror scenes. The inverted crosses and the swarm of ugly flies were out of "Amytiville Horror." The funniest part was when Merrin, at the altar, standing over the dead priest, picks up the bottle of Holy water and "decides" to be a priest again in order to fight Lucifer, and there was this ultra-corny "heroic" music played, and the music is so tackily in-synched with the scene just like a scene on a laundry soap commercial when the actress would use the advertised soap.

The final "battle" was sort of dumb also. It looked like an end-level of a video game with chase scenes in the caverns and "snatch the kid" scenes between Merrin and the possessed, rather than the kind of scene you would expect from a prequel to the scariest movie of all time. Then there's that scene before "Lucifer got busted" where the possessed is running through a long cavern path towards Merrin. This is the scene where you ask "What the fart was THAT?" It did not make sense.

The movie was SO NOT scary at all. All it ever tried to do to get close to being a horror film was to cheaply resort to scenes of violence against children. This is what happens when shallow-minded producers control their films in their own marketing image. Director Renny Harlin would comfortably find a home among our local giant film outfits; Viva, Regal, Star. Exorcist: The Beginning is such an ignorant horror film that would belong among such badly-made horrors like Sanib, Crow: Salvation, and the Shake, Rattle & Roll sequels.

The BOURNE SUPREMACY

THE BOURNE SUPREMACY
By Reymundo Salao
Oftentimes Disturbing
The Guardian, October 9, 2004

Hands down, I just love espionage movies. It is because these are the stories that actually happen in some parts of the world, especially in these times of terrorism and war. There is a sense of realism, and the secrecy and intrigue that goes with it.

In a TV interview, Matt Damon said there are only few sequels that stand out as classics to satisfy the excellence of the original, among them are the Godfather 2, The New Testament, and The Bourne Supremacy. I would agree to that. This film is one of the best espionage-suspense films that I have seen. THE BOURNE SUPREMACY is an adaptation of the book of the same title, written by Robert Ludlum. Although this isn't truly a faithful adaptation of the book, the tweaks and the alterations are well-done and have made this film a consistent sequel to the first movie/adaptation "Bourne Identity" for it answers many of the questions that the first movie posed.

In this sequel, Jason Bourne is now happily living the quiet life with the love of his life, Marie (played by Franka Potente) in Goa, India, away from the world of spies and conspiracies, away from the world of assassins. But Jason is still bothered by some nightmares of his past as a government assassin, a memory that was erased from his mind due to amnesia a few years back. Meanwhile, miles away, a CIA operation was botched and a couple of agents were murdered by a stealthy assassin who, in the process, planted Bourne's fingerprint on the scene of the incident. With such a frame-up successful, the CIA organized an operation to capture and bring Bourne to justice. Bourne, on the otherhand, knowing the hunt on his head has once again commenced, arms himself with his lethally brilliant skills in cloak and dagger, to turn the hunter into the hunted.

The movie is superbly brilliant, from the acting to its directing. this sequel is directed by Paul Greengrass, which meets up to his predecessor Doug Liman, who directed the first film with a certain modern-spy-thriller panache that is very lively and somewhat upbeat, and never misses on the action and the intriguing storyline. An example is that of an action scene, a fist-fight where the focus of the camera is closed-up on the characters and the intensity seen in their faces, and less-focused on the fighting techniques, since it is more interesting to feel the impact of the fight directly from the character's expressions. It may be contrasting the fact that there have already been so many action movies that focus on the martial arts and the stunts, and not so much on the acting that takes place during the fight scene. In so many aspects, acting on this movie is magnificent. When Matt Damon acts on this film, he really gets into his role, it is as if he really is a different person, as if he really is Jason Bourne. A character who is haunted by his past, a character that intends to pass through the gates of redemption and intends to, once and for all, end the haunting of the ghosts from his past. Recurring from the first film are the characters of Brian Cox, who always delivers an impressive performance, always playing a villainous character whose ruthlessness is as deep as it seems, and there's also the character played by Julia Stiles, who looks more pretty when she does not play a lead character as she is on this film. But the other main character, opposite Bourne, is the character played by Joan Allen, who also delivers a shining performance, especially at the scenes when she's having a conversation with Jason Bourne. Both their characters make a great clashing duo. And oh, in the end, there's this intense car-chase action sequence where we find Bourne against another assassin. In a typical action movie, the hero usually gets to fist-fight with the toughest bad guy. On this film, their duel takes place with their cars. Intense is the word, it stands up to, and even surpasses the chase scene of the first BOURNE movie.

Overall, BOURNE IDENTITY is one of the never-should-miss action movies of the year. Breathtaking action. Great intrigue. Brilliant action sequences. Triple-A acting. Brilliant dialogues. Superb storyline. Bourne Supremacy indeed has that SUPREMACY.

The BOURNE SUPREMACY

THE BOURNE SUPREMACY
By Reymundo Salao
Oftentimes Disturbing
The Guardian, October 9, 2004

Hands down, I just love espionage movies. It is because these are the stories that actually happen in some parts of the world, especially in these times of terrorism and war. There is a sense of realism, and the secrecy and intrigue that goes with it.

In a TV interview, Matt Damon said there are only few sequels that stand out as classics to satisfy the excellence of the original, among them are the Godfather 2, The New Testament, and The Bourne Supremacy. I would agree to that. This film is one of the best espionage-suspense films that I have seen. THE BOURNE SUPREMACY is an adaptation of the book of the same title, written by Robert Ludlum. Although this isn't truly a faithful adaptation of the book, the tweaks and the alterations are well-done and have made this film a consistent sequel to the first movie/adaptation "Bourne Identity" for it answers many of the questions that the first movie posed.

In this sequel, Jason Bourne is now happily living the quiet life with the love of his life, Marie (played by Franka Potente) in Goa, India, away from the world of spies and conspiracies, away from the world of assassins. But Jason is still bothered by some nightmares of his past as a government assassin, a memory that was erased from his mind due to amnesia a few years back. Meanwhile, miles away, a CIA operation was botched and a couple of agents were murdered by a stealthy assassin who, in the process, planted Bourne's fingerprint on the scene of the incident. With such a frame-up successful, the CIA organized an operation to capture and bring Bourne to justice. Bourne, on the otherhand, knowing the hunt on his head has once again commenced, arms himself with his lethally brilliant skills in cloak and dagger, to turn the hunter into the hunted.

The movie is superbly brilliant, from the acting to its directing. this sequel is directed by Paul Greengrass, which meets up to his predecessor Doug Liman, who directed the first film with a certain modern-spy-thriller panache that is very lively and somewhat upbeat, and never misses on the action and the intriguing storyline. An example is that of an action scene, a fist-fight where the focus of the camera is closed-up on the characters and the intensity seen in their faces, and less-focused on the fighting techniques, since it is more interesting to feel the impact of the fight directly from the character's expressions. It may be contrasting the fact that there have already been so many action movies that focus on the martial arts and the stunts, and not so much on the acting that takes place during the fight scene. In so many aspects, acting on this movie is magnificent. When Matt Damon acts on this film, he really gets into his role, it is as if he really is a different person, as if he really is Jason Bourne. A character who is haunted by his past, a character that intends to pass through the gates of redemption and intends to, once and for all, end the haunting of the ghosts from his past. Recurring from the first film are the characters of Brian Cox, who always delivers an impressive performance, always playing a villainous character whose ruthlessness is as deep as it seems, and there's also the character played by Julia Stiles, who looks more pretty when she does not play a lead character as she is on this film. But the other main character, opposite Bourne, is the character played by Joan Allen, who also delivers a shining performance, especially at the scenes when she's having a conversation with Jason Bourne. Both their characters make a great clashing duo. And oh, in the end, there's this intense car-chase action sequence where we find Bourne against another assassin. In a typical action movie, the hero usually gets to fist-fight with the toughest bad guy. On this film, their duel takes place with their cars. Intense is the word, it stands up to, and even surpasses the chase scene of the first BOURNE movie.

Overall, BOURNE IDENTITY is one of the never-should-miss action movies of the year. Breathtaking action. Great intrigue. Brilliant action sequences. Triple-A acting. Brilliant dialogues. Superb storyline. Bourne Supremacy indeed has that SUPREMACY.