Ken Chia's Profile - Rotten Tomatoes

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Rating History

Frantz (2017)
22 days ago via Rotten Tomatoes

An interwar romance set in 1919 between Anna (Paula Beer), a young German woman who lost his fiance died in the war and a mysterious frenchman Adrien Rivoire (Pierre Niney) who claim to know Anna's late love, Frantz before the great war. François Ozon's colourful use of flashbacks are infused with inviting warmth, which contrasts with the black and white of a reality in which everyone mourns at least one loved one. There's a pleasing symmetry to this story - lie is matched by lie, journey by journey - and Beer's silky self-possession is utterly beguiling.

Into the Wild
Into the Wild (2007)
22 days ago via Rotten Tomatoes

Sean Penn incredibly the whole of America as his backdrop is beautiful about a young man embark on his own hero's journey as he struggles with the elements, his increasing frailty and the cinematography's increasing grandeur mesh in a way that's at once iconic and wrenching.

To the Bone
To the Bone (2017)
22 days ago via Rotten Tomatoes

Despite its controversial subject matter that offer no certain way to heal from anorexia, and no right way to tell stories about it either. However,, Marti Noxon's drama is a moving, believable film made with earnestness, sensitivity, and skill, as well as riveting performances, Lily Collins' above all.

My Life as a Zucchini (Ma vie de courgette)
46 days ago via Rotten Tomatoes

My Life as a Courgette a wonderfully affecting French-Swiss stop-motion masterpiece based on Gilles Paris's book Autobiographie d'une courgette, tells a simple story simply, drawing its power from point of view, as a troubled 9-year-old recounts his stint in a group home following the death of his alcoholic mother conveys deep feelings.

Director Claude Barras succeeds brilliantly in his stated ambition to "make a film about children that speaks to them about abuse and its remedies in today's world". Part of the magic lies in the gentle rhythm of the editing, eschewing quick cuts for unfashionably lengthy takes, lingering upon tiny reactions - a blink here, a shrug there - through which the real story unfolds. The landscapes in which these children live may be full of shadows, but the use of bold colours - red, blue, brown, yellow - adds a bright spark of defiance to their characters.

Dunkirk (2017)
49 days ago via Rotten Tomatoes

Dunkirk tells of the evacuation nearly 400,000 Allied soldiers stranded on the beaches of France during World War II as German army surrounding them, with only days to escape.
Unlike other World War II movies, such as Saving Private Ryan or the more recent Hacksaw Ridge, Dunkirk never lingers on gruesome shots of mangled corpses to convey the horror of war, instead successfully conveys the sheer terror of it all through both small, human acts and deafening scenes of conflict. It opens in a hostile street, as young Tommy scurries toward the Dunkirk seafront, dodging bullets while falling leaflets threateningly declare "We surround you!", this land-based narrative strand entitled "The Mole" is one of three. A second, "The Sea", finds a determined Mr Dawson piloting his "pleasure craft" across the Channel, picking up Cillian Murphy's shellshocked soldier en route. A third, "The Air", follows Tom Hardy's Spitfire pilot Farrier as he battles with the Luftwaffe. Christopher Nolan ingeniously weave these strands play out over three different time periods; one week, one day and one hour respectively. As the stories interlace, with boats, boots and planes converging at Dunkirk, time variously compressed and elongated in a Inception-esque loops, conjuring shifts and reversals as complex - yet still crucially as clear.
Dunkirk main success thanks to their thunderous sound design, assaulting our senses and heighten our experience. Also Hans Zimmer's devastating score in the background is a blend of regret, tension and expectation that rises like the tide, moving from metronomic staccato stabs through growling bass beats to ethereal elegiac suspensions.
Although structurally immaculate, Dunkirk still left me marvelling that a film of such scale was ultimately defined not by its action sequences, but by quieter visions - of a man walking hopelessly into the sea (towards home?), or the expression on Branagh's face as he stares out into the lost horizon.