Each writer is born with a repertory company in his head,
“
| — | Gore Vidal (via inwardheartbeats) |
When you rearrange the letters in the word ‘ASTRONOMER’, you get ‘MOON STARER’.
Same goes for DESPERATION = A ROPE ENDS IT,
THE EYES = THEY SEE,
THE MORSE CODE = HERE COME DOTS,
DORMITORY = DIRTY ROOM,
SLOT MACHINES = CASH LOST IN ME,
ELECTION RESULTS = LIES - LET’S RECOUNT,
SNOOZE ALARMS = ALAS! NO MORE Z’S
THE EARTHQUAKES = THAT QUEER SHAKE,
ELEVEN PLUS TWO = TWELVE PLUS ONE
and
MOTHER-IN-LAW = WOMAN HITLER.
anagrams are awesome :3
WOMAN HITLER. I ALMOST CHOKED ON MY COFFEE!
Frodo: “What’s in this?”
Sam: “Nothing. Just a bit of seasonin’. I thought maybe if we was having a roast chicken one night or somethin’.”
Frodo: “Roast chicken?”
Sam: “You never know.”
Frodo: “Sam! My dear Sam.”
Sam: “It’s very special, that. It’s the best salt in all the Shire.”
Frodo: “It is special. It’s a little bit of home.”
This brings me to the argument—one that is really tough to defend—that the best local movies of recent years are comedies. The best Star Cinema movies are awesome follies (Kasal, Kasali, Kasalo; You Are The One; My Only Ü); the best Cinemalaya entries deal with complex subjects treated lightly (Endo, Jay, Ang Pagdadalaga ni Maximo Oliveros); and the best films of last year (Ang Damgo ni Eleuteria, Senior Year) are infinite jests. If there’s an important quality of Filipino films that should be imported to foreign festivals, it’s humor. Our culture is defined, thoroughly and unfairly, by our comic sensibility. Whereas human suffering is universal, humor is unique. Art can only do poverty the favor of addressing it, but solve it? No. On the contrary, art often exploits poverty for the benefit of its makers. And that’s no fun.
“
| — | Richard Bolisay (via Lagarista) |
Antoinette Jadaone’s Six Degrees of Separation From Lilia Cuntapay. October 2011, Cinema One Originals
Rise of the Planet of the Apes (Rupert Wyatt, 2011)
Rise of the Planet of the Apes tries to deliver more than its cheap intentions to jack up a franchise that didn’t need resuscitating in the first place. What it does however is it creates a wider platform for Andy Serkis to exercise his motion-capture brilliance, injecting a much-needed humanizing of the film’s simian plight. Serkis bulldozes every performance in the film, providing a trajectory from his beginnings as a nurtured infant to an agit-prop simian rights activist.
The original’s racial relations core is sadly buried deep in Hollywood formula. The film gives way to formulaic pandering, questioning the moral grounds of every intention to further scientific research. Rise unfortunately falls back into the Franchise Syndrome, fracturing its scrutinizing of good intentions and the typical capitalist puppet show, something that the film actually convicts.
