TENDERNESS (2009, John Polson, A++++++++++)
THE JUDGEMENT (1989, Permpol Choei-aroon, A+++++)
L’AFFAIRE DOMINICI (1973, Claude Bernard-Aubert, A+++++)
COMME UN JEU D’ENFANTS (2009, Daniel Janneau, A+++++)
THE SHOCK LABYRINTH 3D (2009, Takashi Shimizu, A+)
SIN CHRONICLES: PANATIPATA (2010, Nawapol Thamrongrattanarit, A+)
THE INTRUDER (2010, Thanadol Nualsuth + Thammanoon Sakulbunthanom, A+),
BROOKLYN’S FINEST (2009, Antoine Fuqua, A+/A)
IRON MAN 2 (2010, Jon Favreau, A)
THE EDGE OF THE EMPIRE (2010, Nirattisai Kaljaruek, A-)
TENDERNESS is surely one of my most favorite films I saw in 2010. It made me cry. I think it is almost unbelievable that this film was made by the same guy who made SWIMFAN (2002, C+). However, I think John Polson might be an interesting director, because SWIMFAN, HIDE AND SEEK (2005, B+), and TENDERNESS all deal with mentally-troubled female characters. I hope he has a chance to make a film about this topic again.
When the heroine of TENDERNESS says, “Dissolve me”, I wonder how enormous pain she has gone through in her life to inspire her to say something like this. And when she shouts “Nothing ever changes”, it makes me cry. I feel as if TENDERNESS understands my pain. Lori (Sophie Taub), the heroine of TENDERNESS, is one of my most favorite female characters. In a way, she reminds me of Kristin Spitz (Zhang Ziyi) in HORSEMEN (2009, Jonas Åkerlund, A+) and Aileen in MONSTER (2003, Patty Jenkins, A++++++++++).
A week has passed after I saw TENDERNESS, but I still feel like crying every time I think of this film.
THE JUDGEMENT (1989) might not be as aesthetically interesting as THE JUDGEMENT (2004, Pantham Thongsangl, A+), which is made from the same novel. However, what I like very much in Permpol’s version is the headmaster character. This is an evil character who is worshipped by the whole villagers, who sincerely believe the headmaster is virtuous. THE JUDGEMENT portrays one of the scariest societies I have ever seen. The “metaphorical blindness” of the society in THE JUDGEMENT reminds me of the “metaphorical deafness” of the society in ELECTRA, MY LOVE (1974, Miklós Jancsó, A+++++++++++++++), because the citizens in ELECTRA, MY LOVE praise Aegisthus a lot and refuse to listen to what Electra says about Aegisthus.
THE SHOCK LABYRINTH 3D somehow reminds me of CELINE AND JULIE GO BOATING.