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This is the blog of Ian Rosales Casocot. Filipino writer. Sometime academic. Former backpacker. Twink bait. Hamster lover.
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Bibliography
The Great Little Hunter
Pinspired Philippines, 2022
The Boy The Girl
The Rat The Rabbit
and the Last Magic Days
Chapbook, 2018
Republic of Carnage:
Three Horror Stories
For the Way We Live Now
Chapbook, 2018
Bamboo Girls:
Stories and Poems
From a Forgotten Life
Ateneo de Naga University Press, 2018
Don't Tell Anyone:
Literary Smut
With Shakira Andrea Sison
Pride Press / Anvil Publishing, 2017
Cupful of Anger,
Bottle Full of Smoke:
The Stories of
Jose V. Montebon Jr.
Silliman Writers Series, 2017
First Sight of Snow
and Other Stories
Encounters Chapbook Series
Et Al Books, 2014
Celebration: An Anthology to Commemorate the 50th Anniversary of the Silliman University National Writers Workshop
Sands and Coral, 2011-2013
Silliman University, 2013
Handulantaw: Celebrating 50 Years of Culture and the Arts in Silliman
Tao Foundation and Silliman University Cultural Affairs Committee, 2013
Inday Goes About Her Day
Locsin Books, 2012
Beautiful Accidents: Stories
University of the Philippines Press, 2011
Heartbreak & Magic: Stories of Fantasy and Horror
Anvil, 2011
Old Movies and Other Stories
National Commission for Culture
and the Arts, 2006
FutureShock Prose: An Anthology of Young Writers and New Literatures
Sands and Coral, 2003
Nominated for Best Anthology
2004 National Book Awards
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Recent Crumbs
Blogs I Read
© 2002-2021
IAN ROSALES CASOCOT
Monday, May 25, 2015
12:12 AM |
Think Negative Thoughts
It is hard for me to engage in an unfavourable evaluation of Brad Bird's
Tomorrowland (2015), knowing how much I love the filmography of the director. Here is a film so earnest in its message, so eager in the presentation of its set pieces, that to find ourselves walking out of the theatre thinking of it as something of a forgettable experience is to finally acknowledge that the film is ... a mess. It is, at best, a noble failure.
I wasn't put off by its exuberant didacticism. Bird's earlier films (the animated ones, especially) had didactic streaks, too:
The Iron Giant is about tolerance and being anti-military;
The Incredibles is about owning up to what makes you special; and
Ratatouille is about being truthful to one's art and vocation, no matter how the world perceives you. His latest film is actually a distillation of all these messages, which in those films made us pause in contemplation and then invariably cry. But in
Tomorrowland, they have the quality of emotional Teflon, no matter the extra measure of exuberance.
I suspect it's a matter of structure: the script by Damon Lindelof is torturous and unengaging, proving to us once more that post-
Lost, Mr. Lindelof is a hack equipped with big ideas he cannot really handle, as also seen in the equal failure of his work on Ridley Scott's
Prometheus (2012). Bird tries to handle the unwieldiness of the material with his natural feel for wonder and whimsy but the film implodes from its own sense of having absolutely no narrative direction. (Negative thinking as villain? Really? Manila Bulletin has this film's number.) The throwaway revelation in the end about the "reality" of the world we bought into in the film's trailers is also off-putting, and in deeper regard, actually strikes me as cynical -- but no spoilers here. It is still enjoyable in bits and pieces, but you're better off with a third viewing of
Mad Max: Fury Road.
Labels: film
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