From time to time, strange events catapult me into an unexplainable mood that borders a body high and the effects of emotional void. No emoticon designed for Myspace and Facebook could describe even the vacant stare on my face. My inner workings are as mysterious to myself as the readers of Soiled Sinema are to us. Knowing perfectly well that Ong Bak 2's hands were not guilt free, Tony Jaa's directorial debut, finally at long last, served as the irrational catalyst for what some could call a "strange day."
Awaiting Ong Bak 2 had become part of my routine film updates. Eagerly awaiting for any festival news of this became a hobby. Normally, I purge my mind of international releases as they mercilessly boast foreign treasures equipped with insane action, marvelous cinematography, and rampant yet dignified humor. These are, in fact, the very reasons why I abhor Twitchfilm.* Their extensive database of trailers and previews showcase the finest moments in globalized cinema or in other words, a collected hivemind of stylish and brutal antiques ranging from every genre. If there were a form of getting cinema blue balls, Twitchfilm would be the purveyor of such harm. Their seasoned gift of the Ong Bak 2 trailer baring ribbons & bows left me speechless. I began salivating precariously; incapacitated to the point of becoming oblivious to the animalic routine of eat/drink/fuck/sleep.
After the festival premiere of Ong Bak 2 came and went, I found myself with hardly anything left to anticipate. Sure, the film was an austere showcase of martial arts being simultaneously fused within a fighting orgy but to date, my thoughts are very scattered on this film and requires a bit of esoteric analysis to be fit into my schedule. Undoubtedly, the greatest contribution that Ong Bak 2 has presented to film is the resonating effects of the anti-triumphant ending. This ending in question breaches past a-typicalities and into a sarcastic fate denouncing valor and the very generic form of diplomatic immunity that most action heroes seem to find themselves coated in.
The tale of Ong Bak 2 seems to mostly manifest within the creative confines of a loosely adapted Count of Monte Cristo-like story of revenge, redemption, and inner growth. The creative genius of Alexander Dumas is partly what Ong Bak 2 must award the most credit, not just the [amazing] action choreography and the tedious and trivial back story/flashbacks. While taking a gander at several festival and randoms reviews, I noticed that many people seemed to lash out at this film as if some vendetta had boiled to a fiery temperament. Most of the negative energy seemed to circulate around the plot (or the lack of one by their offense). If you would, for a second, recall back on Jaa's previous efforts:
Ong Bak - A man must reclaim his traditional heirloom by going to a city and kicking people's faces in.
The Protector - A man must reclaim his traditional elephant by going to a city and kicking people's faces in.
Knowing what you know now, consider this: is calling a film lacking in substance, that strays far from previous works, a down right low blow on behalf of Tony Jaa, who left the team of Pinkaew as to escape from his one-note fate? Not even I stretch an idea of no-mercy as far as the gripping "fan base" of Tony Jaa. Ong Bak 2 stands steady as Jaa's own piece of period piece action while being stylishly fierce and a distant mirage compared to his previous starring roles. It also successfully made the jump from mindless action to thoughtful action, paying debts to lovers of classic literature and a bravado piece of epic brutality aided by the bestial visage of Tony Jaa. Real fight is back and Tony Jaa's tearing up the martial arts world with unapologetic body beatings that can be compared to bungee-jumping into a pool of straight razors. Have mercy on this film for its flaws as it won't do the same for you.
Final Note: mAQ is, in all actuality, is an avid reader of Twitchfilm and in no way persuades you to not read their news updates.
Awaiting Ong Bak 2 had become part of my routine film updates. Eagerly awaiting for any festival news of this became a hobby. Normally, I purge my mind of international releases as they mercilessly boast foreign treasures equipped with insane action, marvelous cinematography, and rampant yet dignified humor. These are, in fact, the very reasons why I abhor Twitchfilm.* Their extensive database of trailers and previews showcase the finest moments in globalized cinema or in other words, a collected hivemind of stylish and brutal antiques ranging from every genre. If there were a form of getting cinema blue balls, Twitchfilm would be the purveyor of such harm. Their seasoned gift of the Ong Bak 2 trailer baring ribbons & bows left me speechless. I began salivating precariously; incapacitated to the point of becoming oblivious to the animalic routine of eat/drink/fuck/sleep.
After the festival premiere of Ong Bak 2 came and went, I found myself with hardly anything left to anticipate. Sure, the film was an austere showcase of martial arts being simultaneously fused within a fighting orgy but to date, my thoughts are very scattered on this film and requires a bit of esoteric analysis to be fit into my schedule. Undoubtedly, the greatest contribution that Ong Bak 2 has presented to film is the resonating effects of the anti-triumphant ending. This ending in question breaches past a-typicalities and into a sarcastic fate denouncing valor and the very generic form of diplomatic immunity that most action heroes seem to find themselves coated in.
The tale of Ong Bak 2 seems to mostly manifest within the creative confines of a loosely adapted Count of Monte Cristo-like story of revenge, redemption, and inner growth. The creative genius of Alexander Dumas is partly what Ong Bak 2 must award the most credit, not just the [amazing] action choreography and the tedious and trivial back story/flashbacks. While taking a gander at several festival and randoms reviews, I noticed that many people seemed to lash out at this film as if some vendetta had boiled to a fiery temperament. Most of the negative energy seemed to circulate around the plot (or the lack of one by their offense). If you would, for a second, recall back on Jaa's previous efforts:
Ong Bak - A man must reclaim his traditional heirloom by going to a city and kicking people's faces in.
The Protector - A man must reclaim his traditional elephant by going to a city and kicking people's faces in.
Knowing what you know now, consider this: is calling a film lacking in substance, that strays far from previous works, a down right low blow on behalf of Tony Jaa, who left the team of Pinkaew as to escape from his one-note fate? Not even I stretch an idea of no-mercy as far as the gripping "fan base" of Tony Jaa. Ong Bak 2 stands steady as Jaa's own piece of period piece action while being stylishly fierce and a distant mirage compared to his previous starring roles. It also successfully made the jump from mindless action to thoughtful action, paying debts to lovers of classic literature and a bravado piece of epic brutality aided by the bestial visage of Tony Jaa. Real fight is back and Tony Jaa's tearing up the martial arts world with unapologetic body beatings that can be compared to bungee-jumping into a pool of straight razors. Have mercy on this film for its flaws as it won't do the same for you.
Final Note: mAQ is, in all actuality, is an avid reader of Twitchfilm and in no way persuades you to not read their news updates.
-mAQ
mAQ,
ReplyDeleteYou said, "Tony Jaa's tearing up the martial arts world with unapologetic body beatings that can be compared to bungee-jumping into a pool of straight razors."
How awesome is that?!? :-)
I so cannot wait to see this one!