Lego stop motion has been taken to a new level! This is crazy shit and took just 440 hours to make. I need to raid my parents attic for Legos.

2006: Fireflies in the Garden di Dennis Lee

Scarso successo di pubblico per un film che, sulla carta, sembrava possedere più di una freccia al suo arco.

Giustamente la critica non è stata tenera: “Somministrato alla sera, in gocce, per accompagnare il sonno” (Corriere della Sera), “Attori divi e divi attori: da sempre il punto di forza dei film americani. Talvolta, però, il bonus non basta a tamponare le perdite: qui le belle presenze… non riscattano il film dalla sua mediocrità di fondo” (Il Mattino), “…un goffo melodramma a spasso tra passato e presente, privo di sostanza e di dialoghi sensati” (Ciak), “Un teatrino di provincia con interpreti di nome chiamati a una rappresentazione senza un copione adeguato e con un’idea di fondo talmente sempliciotta da risultare noiosa” (Il Manifesto).

Un segreto tra di noi (titolo fuorviante, preferibile l’originale, più evocativo e suggestivo, tratto da una poesia di Robert Frost e riferito a una delle poche belle scene del film) risulta un mélo freddo e poco coinvolgente che fa rimpiangere i capolavori di Sirk Kazan Minnelli… a cui probabilmente si ispira e che inspiegabilmente il Festival di Berlino ha ospitato (sui nostri schermi è giunto con quasi due anni di ritardo).

Ritmo colpevolmente lento, scarsa tensione, regia piatta e anonima, sceneggiatura non sempre chiara (e non priva di luoghi comuni), situazioni viste ripetutamente altre volte (e meglio realizzate), mancanza di scene-madri che si imprimano nella memoria, scenografia e fotografia poco curate, passaggio tra presente e passato non ben illustrato… Si aggiunga che i personaggi appaiono non sempre credibili e dalle azioni spesso immotivate. Una trama non gradevole che dovrebbe mostrarci cosa si nasconde all’interno di una famiglia americana apparentemente normale e tranquilla ma che non desta l’attenzione dello spettatore che più di una volta si chiede come mai non si sia sgretolata fin dall’inizio. Un comportamento da parte di tutti i protagonisti che dire assurdo è poco, inspiegabile e non realistico. Finale eccessivamente accomodante ed inverosimile.

Il cast è stellare ma sprecato. A nessuno dei celebrati attori si dà modo di mostrare il proprio notevole talento e questo è uno dei maggiori difetti di un’opera che dovrebbe avere il suo punto di forza nelle interpretazioni. Dennis Lee è un regista debuttante e non sembra all’altezza del compito affidatogli (…ma sembra che la storia sia autobiografica).

scheda

If you can’t remember anything, don’t be this guy.

Suffering short-term memory loss after a head injury, Leonard Shelby (Guy Pearce) embarks on a grim quest to find the lowlife who murdered his wife. To carry out his plan, Shelby snaps Polaroids of people and places, jotting down contextual notes on the backs of the photos to aid in his search and jog his memory.

One of the most mind-bending films I have ever seen in my life. Memento is a story that’s hard for the main character to keep straight just like us, because it tells its story. The ending of the story is actually the beginning and it is shown in such a way that it makes you think but also keeps you amazed, by this very original but clever way of story telling.

What this film really does is make us feel like him, because he knows less and less every time and we start to feel that, as his life goes on. I felt like I had short term memory loss after I watched this, but this is the only film that has ever had an effect on me that it also has on its main character.

The way the story is told is genius because we always have to think back to the beginning of the film. The film’s way of telling itself starts to take a toll on you as you have to think throughout the whole thing, it could’ve easily become a gimmick but it actually is one of the smartest movies ever told on film.

The only problem that by the end of the story I feel like it’s resolution wasn’t very told well. It brings a twist at the end which I wasn’t expecting but I still felt like I didn’t get it and it would’ve been told better through flashbacks.

The acting from the trio of leads is great and really smart. Guy Pearce does an amazing job as playing Leonard because his dry sense of humor towards his condition doesn’t make us feel pity but makes us cheer for him. Carrie-Anne Moss and Joe Pantoliano are very good as supporting acts because one minute you think their the good guys then the next minute their the bad guys and it really does play with your mind of your thoughts about these characters.

Consensus: Memento is a mind-boggling film that thrives in originality and a fresh new way of story-telling, that will keep you thinking even after the movie is over.

9.5/10=Full Pricee!!

Estamos en un futuro muy lúgubre. Un futuro cercano al siglo XXIII donde las máquinas han tomado el control del planeta. Tras una espectacular guerra que nos imaginamos, los humanos salieron derrotados por su propia creación, la tecnología. Ahora, éstos sólo sobreviven en Sion, la última ciudad humana. El último enclave de resistencia. Un reducto al que las máquinas quieren poner fin.

Tras la desaparición del sol, la fuente primaria de energía para las máquinas, éstas tuvieron que encontrar otra fuente de la que suministrarse, los humanos, a los que habían vencido en batalla. Los sometieron, los esclavizaron y empezaron a cultivarlos en cautiverio. Sus cuerpos físicos eran controlados, estaban encerrados dentro de unas cápsulas, chupándoles su energía, energía con la que mover el mundo tecnológico. Mientras, sus mentes eran liberadas a través de Matrix. Un mundo imaginario creado para aletargar a los hombres, para someterlos. En dicho mundo, todo es posible, pero nada es real. Sus guardianes, los agentes especiales, controlan Matrix, eliminan cualquier resquicio de rebelión.

Sin embargo, un grupo de libertarios encabezado por Morfeo y secundado por Trinity y su séquito (Enchufe, Apoc, Ratón, Tank, Dozer y el judas de Cypher), todos ellos humanos liberados que transitan por el mundo en su nave Nebuchanedzzar,  han puesto todas sus esperanzas en un hombre del que creen que será capaz de tumbar al enemigo, Neo. Al elegir la pastilla roja, descubriremos al mismo tiempo que Neo lo que es Matrix.

Espectacular cinta futurista que no sólo se sustenta en su gran argumento futurista, en clave distópica, sino también en sus efectos especiales, pioneros indudables de una nueva manera de hacer cine de acción. Los Wachowski, en su obra cumbre, crearon un antes y un después de Matrix. Ya nada volvió a ser lo mismo. Todo lo que rodea a esta cinta está en lo más alto de la historia del cine. Obra maestra.

Spoiler

Durante la mayor parte del metraje vamos aprendiendo con Neo lo que es real, y lo que es imaginario, artificial. Descubrimos Matrix de la mano de Morfeo y Trinity. Y sentimos la responsabilidad que poco a poco va creciendo en el interior de Neo. Una responsabilidad que se agiganta tras la visita al Oráculo. Sus palabras le penetrarán.

A partir de ahí, los Wachowski dejan la filosofía a un lado y comienzan con la acción. La atmósfera de opresión y asfixia que se había construido durante todo el film, se libera ahora. El rescate de Morfeo, capturado tras la traición de Cypher, será la excusa perfecta para que Neo demuestre si es el libertario que todos esperan o no. El final, entrando dentro del género de acción, es espectacular, por no decir que es el mejor que he visto. Y sí, Neo es el salvador. Controla Matrix, lo ha demostrado. Imagino que salvará a la civilización humana con la ayuda de su amada Trinity, de su mentor Morfeo y de la resistencia de Sion. No le brindo la oportunidad de jugar con mi imaginación a Reloaded y Revolutions, cine con alma de marketing, que echa por tierra en buena medida el logro de su antecesora, la inigualable Matrix.

Obviamente, también se le puede dar un voto de confianza a las secuelas. Ver si han seguido los dictámenes de nuestra imaginación. Si no es así, se las puede borrar de la memoria con bastante facilidad y sencillez.

Carrie Anne Moss

Hello, I lost my other post and I was almost done. I stopped posting to look up some more famous Canadian-born movie stars and my post disappeared!! Here is most of the list I started compiling.

John Candy and Dan Akroyd. Dan Akroyd actually attended the same University in the 1970’s that I did: Carleton University.

Ghostbusters

Jim Carrey. Actually hails from Hamilton, but is too embarrassed to acknowledge Ontario’s largest “Industry” town, so he lies and cites Toronto as his hometown, more specifically, Newmarket. Whatever dude, you are STILL hilarious!

Michael J. Fox. Self-professed Army brat. Lived ALL OVER Canada. Peace to you, Michael!

Mike Meyers, another Torontonian. Shrek? Yes, please.

Pamela Anderson Lee, sex-bomb ultranair, hails from B.C. aka British Columbia.

Neve Campbell (Party of 5 on TV) hails from Guelph, Ontario, and Rachel McAdams was born in London, Ontario. Both these towns are an hour’s drive from Simcoe.

Elisha Cuthbert is from Calgary, Alberta,  and James Doohan and Carrie-Anne Moss are from Vancouver, B.C. I wonder if they knew Pamela Anderson before she was famous?

Carrie-Anne Moss became famous from playing Trinity in the Matrix movies. Keanu Reeves, although originally born in Lebanon, emigrated to Toronto with his mother while still a child and grew up there. To this day he makes Toronto his home, and considers himself Canadian.

Both Donald Sutherland and 24 star Keifer Sutherland continue to live in Toronto. It’s probably cheaper than living in Hollywood. Donald was actually born in one of the East Coast Provinces, New Brunswick I think. I have only been able to find one listing for Keifer being born in Toronto. No matter, they both have very strong residential ties to Toronto.

I used to think that Brendan Fraser, star of the Mummy and the Mummy Returns, Journey to the Centre of the Earth and most recently, Inkheart, had also been born in Canada.

The Mummy Returns

However, upon visiting Wikipedia, I discovered that he is the son of one Canadian parent and one American parent. He does not reside in Canada (that we know of…), so I guess he doesn’t count. But I love his face so much I just wanted to figure out a way to stick him in here!!

Ryan Gosling is from London, and Tom Green is from Pembroke. That’s in the Ottawa Valley, that’s why he talks a little funny, Ha ha Tom!

Phil Hartman, remember that guy from SNL? He has since passed away for many years now due to a family tragedy, but that guy was from Ontario, as well as Catharine O’Hara. (Home Alone mom).

Anna Paquin is from Winnipeg, Manitoba, she’s pretty cool.

Ryan Reynolds (just did a movie called The Proposal with Sandra Bullock) and Seth Rogan are both from Vancouver, B.C. That must be a real actors playground out there!

Martin Short grew up in Hamilton, Ontario, and HE’S not afraid to admit it. And boy, that guy can really sing. He actually spent a few years on stage on Broadway honing those talents, and his comedic spin on dance numbers has always been an attribute that I appreciated.

My all-time favorite Canadian-born Hollywood actor is none other than William Shatner, born in Montreal, Quebec. While he was considered for many years to be little more than a dramatic actor, I have always loved his sense of humour. This dear man has also suffered from the effects of tinatia, which is ear-drum damage which he attributed to the mini-explosions that were set off routinely on the set of Star Trek. In the out-takes for the Sandra Bullock movie, Miss Congeniality, there is a scene where Mr. Shatner messes up his line, and either Sandra Bullock or Candice Bergen says to him, “Oh Bill!” Without missing a beat, he says, “You know, there was a time when it was, “oh Bill!” (in a cute, excited voice), and now it’s just “Oh Bill!” (disappointed voice).” They all cracked up laughing and I thought, That’s right! I don’t see any arrogance in this man, he’s very human. Still love you, Bill!!!

Directed By: Arie Posin
Written By: Arie Posin (Story); Zac Stanford (Screenplay)
Cinematography By: Lawrence Shor
Editor: William S. Schraf & Arthur Schmidt 

CAST: Jamie Bell, Camilla Belle, Alison Janney, Glenn Close, William Fichtner, Lou Taylor Pucci, Justin Chatwin,  Jason Issacs, Rita Wilson, John Heard, Carrie-Anne Moss, Ralph Fiennes, Rory Culkin, Lauren Holly, Caroline Goodall

Well apart from not the best title in the world.

Despite having a All-Star cast the material never rises above it’s quirky to be quirky premise.

The film seeks to be a Deep, Dark Comedy that comes off as Idiosyncratic comedy that deep down wants to be a satire of the suburbs and teenage alienation.

The story involves a teenagers suicide and the ramifications that it has through the small community. The teenager was selling drugs to his peers and without a constant supply they try to get his best friend to get them drugs when he refuses they kidnap his brother and hold him ransom the only thing is they kidnap the wrong kid. That is just one of the story threads in this of the characters are messed up in there own way. The title comes from a video game the kids all play that seems to mirror there lives.

The film seems to be what a Hollywood studio thinks a indie movie is supposed to be. The elements are there the All-Star cast that seems to be partially slumming because the material is so rich only here it is not. It has satire and social commentary with a handful of dramatic moments. A good looking young cast.

The only real dramatic moments or scenes that felt real come at the beginning and ending of the film.

Certain characters are memorable and hold there own in there scenes to ground the movie a little like Glenn close in the film.

The direction is stylish, I only wish the he had the material to match it.

Wait For Cable.

GRADE: C-

yes, zombies have leash laws too...

R

K’Sun Ray, Carrie-Anne Moss, Billy Connolly, Dylan Baker, Henry Czerny

Bill: I suppose you think he got so attached to the damn thing because I’m a bad father.  I’d say I’m a pretty damned good father!  My father tried to eat me.  I don’t remember trying to eat Timmy.
Helen: Bill…just because your father tried to eat you, does that mean we all have to be unhappy…forever?

It’s the 1950s (I think), and humans have prevailed in the great Zombie Wars.  ZomCon has arisen as the top zombie security company in the nation, and they’ve even developed an electronic collar that will modify a zombie’s behavior so that it’s more docile (i.e. they won’t want to eat you).  When little Timmy Robinson’s (Ray) new zombie has a collar malfunction and kills a neighbor, Timmy must try to cover it up before his new friend is taken away.

In case you can’t tell from the plot description, this is a zombie comedy (zomedy?) that’s heavy on dark humor, but surprisingly light on graphic imagery.  Sure there are zombie attacks, and a few limbs and/or heads are separated from bodies, but it’s not nearly as disgusting as most zombie movies.

The setup is great (and maybe better than the movie as a whole):  with the dead having been reanimated by some sort of cosmic energy, zombies are such common place that even little elementary school kids are expected to become sharp shooters.  The sharpest shooter in school is Cindy (Alexia Fast), the daughter of ZomCon’s head of security, Mr. Bottoms (Czerny). Timmy takes an interest in her, but Timmy’s mom, Helen (Moss) takes an interest in the fact that the Bottoms have six zombies working for them, while the Robinsons have none.  So, despite her husband’s fear of zombies, she gets a zombie for the family.  Dubbed Fido by Timmy, the zombie takes on the role of his friend, protector, and even father figure.  There’s a clear, and somewhat heavy handed, parody of Lassie going on here, which is somewhat funny, though nothing new.

The real comedy, to me, is in the little ways life has changed for everyone due to the zombies.  Funerals have taken on an interesting look, as the newly deceased have their heads removed and buried in a “head coffin” for fear of them becoming zombies as well.  Bill Robinson (Baker) has always insisted he wants a head coffin funeral, while Helen and Timmy eventually start to think that maybe being a zombie wouldn’t be so bad.  After all, their cannibalistic ways are not really their fault, it’s just the way they are.  After a well written philosophical conversation between mother and son on the subject, they inform Bill that they both plan to “go zombie” when they die.

It may not maintain its energy and humor all throughout the film, but the actors all do a good job of playing the material straight and letting the dialogue create most of the comedy.  It’s witty, interesting, creative, and shot so colorfully that I couldn’t help thinking it’s probably the prettiest looking zombie movie ever made.  Not that it has much competition in that arena…

Do not become too attached to your servant zombie.

10 – .8 for a few slow parts here and there – 1 for some of the parody/satire moments being heavy-handed – .7 because I thought the zombie performance(s)/behavior could have been done better = 7.5

VERDICT:
10/10 Brainfarts

I feel like this movie has gone from cutting edge to overrated over the past nine years, but I don’t care. This might be in my Top 5 and it’s not moving anytime soon.

Memento is about a guy named Leonard who’s searching for John G. -  the man who raped and murdered his wife. Only Leonard has a problem. The night his wife was killed he got knocked around in the process trying to help her, and ever since then he hasn’t been able to form new memories; he remembers everything about his life before that night, but everything after that just kinda goes blank at various times throughout the day, forcing him to start from scratch to figure out what’s going on. To keep things straight, he tattoos important information all over his body, carries around a Polaroid camera at all times, and goes off the testimonies of others that are either helping him or manipulating him or both.

It’s actually pretty hard to describe the whole memory thing without seeing it action, but trust me, it’s a completely fresh and intriguing twist on the thriller genre and it is just freakin’ brilliant.

Now, maybe I’m just rolling with the wrong crowd, but it seems like whenever I talk to people about this movie they don’t always share the same kind of enthusiasm for it as I do. The main reason for this actually always goes back to how the story is told in that it goes back and forth from chronological (the start of the story) to reverse chronological order (the end of the story) with each new scene and at the end of the two hours, it all comes together at the story’s center. The resulting effect is that every scene there’s a new reveal about the plot, the characters, and what’s going on so that you’re figuring out everything out very much in the same way Leonard does. You’re starting from scratch, you think you know what’s going on, but then again, life is tough when you can’t remember where and what you were doing five seconds ago.

I was talking about this with one of my old teachers a while back and he said that there’s a feature on the limited edition DVD (or something like that) where you can watch the movie from start to finish all in good old chronological order without having to rack your brain trying to tie everything together. He said that when the movie loses the whole back and forth element, it ends up being just an unspectacular, meh thriller.

Though I’ve never seen Memento like this, and while it’s something I should probably get around to doing one of these days, this movie is not meant to be seen that way. The biggest reason being that the intended ending of the movie rolls around an hour into the movie in this case and I can only imagine that the last hour after that must be pretty dull.

Anyway.

I can understand how some may write off the back and forth as a gimmick, but whatever, gimmick or not, it’s never been done before and it’s a hallmark of storytelling in film. It almost sounds like the way Pulp Fiction was put together, and while the influence is there, Memento’s plot structure is very much its own. And just because you have a gimmick doesn’t mean you have a good movie. On top of it all, the story is fantastic, the gimmick itself just makes you want to keep watching it, and by the time the ending rolls around, you’ll probably want to go and watch it all over again.

Look, Christopher Nolan is one of the best working directors out there today and even though I still think this is his best movie, everything the guy touches is a stroke of brilliance. The acting is also pretty solid, Leonard is played by Guy Pearce, and I think he’s pretty darn good here, though this was before I started realizing he kinda plays the same character in every movie. The writing is sharp and incredibly smart, and it’s just an all-around great movie to watch, enjoy, and marvel at.

The point is, otnemeM ees oG. There’s only a handful of movies I’ve willingly watched more times than I care to remember and hell yeah this is one of them.

Lonely people tend to recognize their own kind — in life and especially in independent films. Perhaps there’s a certain scent they give off, the musk of desperation cooled by a trace of sad resignation, or the look in their eyes, a mix of unyielding wariness and palpable longing. Maybe there’s an inner pull, a kind of magnetic attraction. Whatever the reason, the lonely, they know each other.

This is how the lives of three solitary people — Alex (Alan Rickman), Linda (Sigourney Weaver) and Maggie (Carrie-Anne Moss) — end up intersecting in icy, small-town Canada. Dynamic Vivienne (Emily Hampshire), an expert on lost-cause types, takes a liking to the tight-lipped Alex, newly released from prison. She interrupts his coffee at a diner, disarms him with her wit (her take on self-help books is hysterical) and begs a ride home to visit her mother Linda (Sigourney Weaver). But their friendship is not long for the world; there’s a car accident, and Vivienne’s death sends Alex in search of Linda. Alex, who’s cold but not heartless, feels guilty and wants to do the right thing … until he realizes Linda is a high-functioning autistic. Suddenly, being decent doesn’t seem quite so shiny.

Herein lies the emotional weight of “Snow Cake” lies, in the uncomfortable interactions between Alex and Linda, who aren’t all that different from one another. Linda is intelligent and functional but unable to process emotions like grief or anger; Alex, for reasons we discover later, tends to repress his feelings for fear if he lets one out they’ll all overwhelm him. Both Linda and Alex exist in their own isolated worlds, and it’s become comfortable not to need anyone else. So to call their acquaintanceship “odd” is a whopping understatement. There is no emotional bond; Linda informs this interloper she prefers “useful” people. Alex sees this as an opportunity: He can plan Vivienne’s funeral, take care of a few chores and move along. No messy emotions to sift through. No forced attempts to “connect” and “bond.” and share “quality time.” This becomes a workable and refreshingly unsappy relationship.  

It’s fair to say the same of ”Snow Cake” itself, for this is a film that lacks sap. Angela Pell’s script deftly avoids melodrama at points where we expect it most; instead, Pell favors humor and fumbling awkwardness and flashes of real poignancy (Linda’s funeral dance is one of the best scenes). Linda and Alex are two of a kind, living in a kind of emotional quarantine, and Linda’s sexually confident neighbor Maggie seems like an outsider to them. For Maggie, though, sex is a way to avoid real intimacy, to experience physical closeness without emotions. She is the most mysterious character, and the one who seems the most unaffected by Alex’s arrival.

Notice how that word “seems” keeps popping up? There’s good reason for that — “Snow Cake” is the kind of minimalist indie character drama where not much at all happens and what does happen is very, very subtle. The film is a bit like “Come Early Morning” in that way, with the characters undergoing changes so gradual they threaten to slip past unnoticed. Rickman, in particular, is genius at playing men who are thoroughly damaged but not unredeemable. With his guarded eyes, he doesn’t give us much to explain why Alex is the way he is. But there are small moments — feeding Vivienne’s dog for Linda, opening up to Maggie — where Rickman shows us the man behind the wall. Moss and Weaver’s performances offer up no such explanation. We know nothing about Maggie and Moss is unwilling to let down her guard. But watch the change in her expressions; hard as she is, she’s learned to trust someone other than herself. As Linda, Weaver has the toughest part; she must be a woman living in her own head, but one we develop affection for. It’s a thankless part, but Weaver gives it a certain kind of grace. 

Come to think of it, that’s exactly what “Snow Cake” is all about: grace. These three lonely people find it in each other, and it gives them strength to keep going. That’s not much, maybe, but it feels like everything.

Grade: B

American Virgin
d. Clare Kilner / 2009 / USA / 81 mins
Love Hurts
d. Barra Grant / 2009 / USA / 90 mins

Viewed on: Metrodome DVD (Region 2)

One element of my recent temporary employment at Metrodome Distribution involved watching ‘check disc’ copies of DVDs to ensure quality control, keeping an eye out for breaks in synchronisation, video fragmentation etc. Unfortunately, more often than not, it seemed to involve watching horrible, straight-to-DVD movies. American Virgin and Love Hurts are most certainly two of those.

American Virgin follows Priscilla (Jenna ‘Mrs Channing Tatum’ Dewan), a pure-as-the-driven-snow teenager about to embark on college life. Corrupted by her new roommate, she inadvertently becomes a star of a ‘Chicks Go Crazy’ video at the nefarious hands of softcore college-porn honcho Ed Curtzman (Rob Schneider).

On the surface, you could dismiss this as a kind of Porky’s or Revenge of the Nerds for the 21st Century, but it lacks both a social context and a meaningful undercurrent about the state of modern youth. There was simply something shallow about this film, about the way that – despite its moralizing against Schneider’s character – it seemed to lack any sort of condemnation of the objectification and exploitation of college age women by these sorts of ‘Girls Go Wild’ organisations. I also found it particularly interesting that this film, largely concerned with the very American phenomenon of half-naked college girls, was directed by a British woman, Clare Kilner.

As a side note, I should also say (with some sadness) that, discounting things I have edited, American Virgin actually constituted my first professional film watching experience. May it get ever better from here on in, I thought to myself…

…but then there was Love Hurts, a different beast entirely. It’s a strange kind of sub-Freaky Friday/17 Again/Big-in-reverse flick in which Richard E. Grant bumbles his way through a marriage breakdown by getting drunk, getting in touch with his ‘inner-youth’ and getting laid (repeatedly).

Its not so much like watching a car crash, as watching a car driven by your weird, awkward uncle slowly mounting the kerb and smashing a plate glass window. Love Hurts may be billed as a ‘comedy’, but I’m afraid it possesses a fatal flaw: It just aint funny.

Forced to watch either of these again, I’m afraid I’d have to choose American Virgin. At least Rob Schneider’s impersonation of an auto-amorous Taiwanese teenager is mildly amusing. Oh, and it has more boobies.

I am a huge fan of Matrix trilogy and I sculpted this when Matrix Reloaded just came out.
I was so excited about the movie and I had to do something so I did this.
This was little different than my other works because I only sculpted heads and then attach them to action figure body.
The clothes are all custom made as well. It was fun work.
The painting credit goes to Man Jin Kim.

If you love the beauty of Trinity played by Carrie-Anne Moss, you can find her in a thriller film, Memento (2000).

Entertaining enough. But ultimately predictable, riddled with stupid flaws. 5/10 [Lucy Glib]

Buy it

Har drygd det ei god stund med å se denne filmen og etter å ha sett den skjønner jeg ikke helt hvorfor. Dette er en skikkelig vakker film og det er lenge siden jeg gråt av en film… Willem Dafoe er utrolig sterk i filmen og jeg synes Ryan Reynolds passer godt i drama filmer etter å ha sett den her. Det var også hyggelig å se igjen Carrie-Anne Moss i en film (Har likt henne siden serien Models InC. og falt for henne i Matrix). Lenge siden jeg så henne i en film nå…

Dette er definitivt en film som er verdt å få med seg… for noen kan den sikkert bli for kjedlig men om du liker filmer med karakterdybde så synes jeg denne var skikkelig flott og jeg ser den gjerne igjen en dag.

Jeg gir denne filmen

(5/6 stjerner)

Leonard has a condition which don’t have a memory of new memory. And he believes that this condition happened to him after his wife had murdered by a guy name John G. So, he try his hard to find the answer with a help from cop, Teddy. And yes, it’s very tough for him to accomplish his revenge with his condition, so anything that happened to him, he just took a pen and wrote it down. And finally, he found “his” John G and killed him, but in fact, the real John G is… …

The beginning of the movie is the end of the story, at the end of the movie is the story where all the lies began…

Actually it is just a very simple and “normal” story line, but because of the way of Christopher Nolan captured and rearrange the story part, makes the movie so interesting. He breaks the movie into many small part and take the end of the story and put at the beginning of the story.

When I watched Memento, I can’t let my brain a break, I keep thinking and rearrange back the proper story inside my mind.

4.5 out of 5

Guy Pearce as Leonard
Carrie-Anne Moss as Natalie
Joe Pantoliano as Teddy Gammell
Mark Boone Junior as Burt