a commentary

Well, basically, I am here again to expatiate on the prospect that Twilight(2008) sucks, and i meant to categorically imply that. Anyway, if 'suck' is a word characteristically applies on the feeding habits of vampires or any sort of creature like a giant leach or giant octopus like the one below,

i would die to suck on any film with a 'suck' on. However, the use of suckers should be accounted.

Last year was 'feel-good' for Hollywood and it is bad thing. In addition to that, the distribution of films sucks as usual, and i hate the fact that i did not see pertinent films from Cannes or Berlin Film Festival. I am too tired of waiting for 'local produce' because it will eventually lead to a frustration.

But then here comes Twilight parading the cinemas of Manila unmindful of its annihilation of what was previously destroyed and paralyzed film culture. A disappointment, mainstream Hollywood infiltrated the cinemas killing every possible value of TRUE AND AUTHENTIC cinema experience.

On a boring and restless night like this i struggle to find something substantial. Earlier this morning, i kept thinking what Drew Morton said about it(in response to Cenk Uygur"In Defense of Ben Lyons"), and I quote:
"Film history doesn't matter? How can we properly assess films without putting them in a historical and theoretical context? This assessment of our field is extremely depressing. As an instructor, I've seen many students come into my classroom without knowledge of film history or aesthetics and simply write papers on why they felt a film was good or bad. By the end of the quarter, they had begun to understand that film (or television or digital media for that matter) was a scholarly pursuit like any other and had its own roots and vocabulary and had begun to appreciate it anew. Some have even personally thanked me for this and have said "I'll never look at movies the same way again!"
So i borrowed a fine book on Film History: An Introduction by Kristin Thompson and David Bordwell at the library without second thoughts.

But anyway, let us not digress further to my point. I find it really great upon finding in VILLAGE VOICE'S TOP 10 POLL of 2008 a Swedish film masterpiece by Thomas Alfredson, titled Let the Right One In(Swedish, Låt den rätte komma in). With this prospect, my cinephilic blood starts to rise.

And with side comment in my head, "Distribution to Third world country SUCKSSSS(echo)!!!", I yelled, of course my roommate reacted on my exhortation, "Oh! Oh! Oh!" not that Pauline Kael would notice that.

It's basically about a love story between a 12-year-old boy being bullied at school and his/her androgynous vampire neighbor. it was adapted from John Ajvide Lindqvist of the same title. Gosh! It's like TWILIGHT times a billion times greater and grander.

Junta Sekimori, in her review about it on Edinburgh International Film Festival(Terror Incognita), she said, and I quote:
"It’s a horror film insomuch that there’s blood, and quite a bit of it, but it’s fundamentally not a horrific film.

Never does it draw on violin cacophonies or what’s-in-the-closet shock tactics to impress.

Rather, this is a gentle breed of horror which transforms the entrenched conventions into a new art driven by stunning, emotive cinematography and understated characters who are more than their narrative function.

When killings occur, they are very matter-of-fact, darkly comic even, and above all are incidental to the central coming-of-age interest of the story."

i do not want to draw implications of its artistic achievement now. I want to watch the film. I am dying to watch a 'good' horror film today. Enough of Saw I, II, III, IV, V, or Hostel I, II... I want blood spilled on the screen of my horrifically boring laptop. I want art for pete's sake.

KJ Doughton proclaimed, and I quote:

"Let the Right One In” transcends genres, but if one must put a label on this original work of art, I suppose “horror film” would suffice. Pray that it finds wide distribution and a healthy audience in this age of corporate slash-by-numbers sequels and remakes. Alfredson has helmed a classic-in-the-making, with a final set piece that uses visuals in a fresh, inventive, and startling combination that will be talked about for years to come. " (LINK HERE)
As much i hate to do this, for it occurred to me the disadvantage of trailers of film nowadays, i still want to let you in a little bit on Let the Right One In: Watch it!