Saturday, September 6, 2014

I’m Kayan, and I don’t live on a tree — Raynore Mering -

SEPTEMBER 5 — It was tough being the only Kayan in class and one who is half Hokkien at that. It also did not help that my name sounds like a thick-skinned one horn animal with a surname that you could easily rhyme to.
Not a day passed when I didn’t get picked on but my last years in those ugly olive green slacks were the ones I couldn’t forget.
Geography lessons were particularly sickening. The class would be in stitches when the teacher taught about the “kayu-kayan” or timber in some countries or that their fishing industry consisted of “ikan hering”.
Then there would be those jokers who just can’t resist it when the class is silent with everyone focused on their books. “Mering, Mering ... Raynore your phone!”
But the one that really stuck with me was “badak” (rhinoceros).  I won’t deny it, there were fights when some jokes went too far but not many, not after I show them what a “badak” is capable of.
You are probably wondering by now where I am going with this — I am too.
I just figured that this being my first article for this column, which has been thrust upon me when I am still coming to grips with life in the big valley, it is only appropriate that I introduced myself .
The Kayans are among some 30 ethnic groups in Sarawak called the Orang Ulu. They do not include the Iban or Bidayuh. And for the information of some of my ill-informed friends in the peninsula, we do not live on trees or caves.
Now to be honest, I speak very little Kayan.
The first words I learn in Kayan were “atak nyingam” which means “cold water”. Those two words kept me alive during my first visit as a boy to my longhouse, Long Panai, which is along the Tutoh-Apoh river in Baram, in northern Sarawak. (Find that on a map and I will reward you with a hering),
You see, my longhouse does not have electricity supply like in my hometown of Kuching. To this day, whatever electricity we have in the longhouse comes from a shared generator that rumbles to life in the evening and ends before midnight, except on some festive occasions.
At this juncture, I think I need to explain that a longhouse is essentially a row of houses all joined together and they share a common balcony.
In Sarawak, the commonly accepted term to call each house or unit is “bilik” (room) or “pintu” (door).
And so in my longhouse, a few units belonging to enterprising families, who turned their houses into tuck shops, would have their own generator sets to keep their all important refrigerators working.
Fortunately, one of those enterprising families are close to mine and when the days got too hot, I will pop by their shop, stick my head in their fridge and take long deep breaths of the cold air before asking: “Atak nyingam?”
The water in my longhouse taste nothing like that supplied by your utility company. Ours come gravity-fed from a stream on a mountain behind the longhouse and while some might say it’s gritty, I say it’s unadulterated H2O packed with minerals — best served after its boiled.An aerial view of Long Panai, which is along the Tutoh-Apoh River in Baram, northern Sarawak. — Malay Mail picAn aerial view of Long Panai, which is along the Tutoh-Apoh River in Baram, northern Sarawak. — Malay Mail pic
But it’s a long way back to Long Panai for that fresh-tasting water. Travelling in the basic conveyances takes two full days. A journey by car to Miri, then by express boat to Marudi and another express boat to my longhouse. And if you have never been in an express boat in Sarawak, think coffin with windows and that’s partly the reason, I rarely return to my longhouse.
Nonetheless, over the years, I managed to pick up more words in Kayan but I still can’t string a proper sentence together for lack of practise. There just aren’t many of us in Kuching.
I believe there are about 30,000 Kayans in Sarawak and they live mostly in Baram or in Belaga, and I don’t think there’s more than 5,000 Kayans among the 700,000 or so people living in Kuching.
I would certainly like to speak Kayan fluently one day. The fact that Kayan women, with their exotic features, are among the most beautiful women in Sarawak has nothing to do with it at all.
I am just proud to be part of a community with such a rich and unique culture and heritage.
It amazes me that my late grandmother had earlobes that stretched so long that it snapped, that our traditional motifs with its dragons and intertwining branches are so magical, that the sound of our “sape” (a four-string lute) can be found nowhere else in this world, that we dance with hornbill feathers with such grace, that we have such intricate beadwork — there’s just so much about being a Kayan that I am proud of.
But here I am again today, far from home, getting re-acquainted with the mad traffic and eating at the mamak’s. It has been an interesting six months so far and I am looking forward to the adventure ahead.
Now I’m not one for grand words or intellectual dissertations. I like keeping things simple. So if you would allow me, I would like to share my thoughts with you every Friday (fingers crossed) and hopefully, elicit some reaction from you which will make this all worth while.
- See more at: http://www.themalaymailonline.com/what-you-think/article/im-kayan-and-i-dont-live-on-a-tree-raynore-mering#sthash.pIwXTDKP.vuLc6q3T.dpuf

Thursday, July 10, 2014

Hot Young Bloods 92014 film0



Set in a rural town in 1982, Young-sook (Park Bo-young) is the feared leader of a female gang at Hongseong Agricultural High School. Although she is known for her toughness and foul mouth, she secretly has a crush on Joong-gil (Lee Jong-suk), the biggest playboy in school. Joong-gil is a legendary Casanova whose single glance has the ability to make girls' hearts melt, and he's attempted to woo all the girls at school, except for Young-sook. That's because Gwang-sik (Kim Young-kwang), the leader of a rival school's male gang, views Young-sook as his girl.
Then a new female transfer student (Lee Se-young) from Seoul arrives at their high school. So-hee is beautiful, innocent-looking and different from the other girls, and Joong-gil falls for her instantly. The jealous Young-sook picks a fight with So-hee to prevent her new rival from encroaching on her secret crush. Trouble brews as Gwang-sik, suspicious of the ties between Young-sook and Joong-gil, also harasses So-hee to instigate Joong-gil.

Sabotage (2014 film)

Extra Large Movie Poster Image for Sabotage

John "Breacher" Wharton (Arnold Schwarzenegger) is the leader of an elite team of DEA agents from the Special Ops Division, formed by James "Monster" Murray (Sam Worthington) and his wife Lizzy Murray (Mireille Enos), Joe "Grinder" Philips (Joe Manganiello), Julius "Sugar" Edmonds (Terrence Howard), Eddie "Neck" Jordan (Josh Holloway), Tom "Pyro" Roberts (Max Martini), Bryce "Tripod" McNeely (Kevin Vance), and "Smoke" Jennings (Mark Schlegel).
During a raid on a cartel warehouse, in which Smoke is killed, the team steals $10 million from the cartel's money, hides it in sewer pipes to collect later and split among themselves, and blows up the rest to cover their tracks. However, the money disappears, and their superior Floyd Demel (Martin Donovan) finds out about it and suspends them for several months, during which they are investigated for the theft. With no concrete evidence of their participation, Demel reinstates them. Later, Breacher finds out that Lizzy has become addicted to drugs and that her marriage with Monster is failing.
Pyro is killed when his trailer is rammed by a train, after someone drives it to the tracks while he's unconscious. Investigator Caroline Brentwood (Olivia Williams) and her partner Darius Jackson (Harold Perrineau) are assigned to the case and interrogate Pyro's teammates. Brentwood notes Neck is avoiding interrogation, and Breacher accompanies her to his house, where they find him nailed to the ceiling and disembowelled. Brentwood recognizes the execution as the M.O. of the cartels, leading Breacher to assume the cartel is hunting them down over the stolen money.
Breacher and Brentwood visit Tripod, who left the DEA after being suspended, and find him dead after a shootout in which he killed an assailant whom Breacher identified as a cartel enforcer. Monster later visits Brentwood, who is suspicious of Breacher, and tells her that Breacher's family was kidnapped by the cartels, who videotaped their murders and later sent the tape to Breacher alongside the severed limbs of his wife and son. Breacher spent months searching for his family's killers before the team convinced him to move on. Brentwood apologizes to Breacher, and they end up having sex.
Jackson traces the dead enforcer's cellphone to a cartel safe-house, which is raided by Breacher and his team. However, the enforcers are not there. They are later found dead at the bottom of a river near Tripod's house, and Brentwood realizes that they were killed before Pyro and Neck, meaning someone is framing the cartels of targeting the team. Breacher reunites the team to tell them what happened, and Lizzy lashes out and reveals she's been having an affair with Sugar. Grinder later confesses to Brentwood that they stole the money. Breacher meets with Grinder to discuss what's next when Grinder is shot dead by Lizzy, who is behind the murders alongside Sugar. Lizzy then meets with Monster to discuss her escape. Monster destroys her passport and Lizzy slashes him with a knife, killing him.
Breacher and Brentwood go to Lizzy's house and find Monster stuffed in a refrigerator. Lizzy calls Breacher, pretending to be alone, and arranges a meeting at a parking garage. Breacher goes there with Brentwood and engages in a shootout with Lizzy and Sugar, who attempt to escape in a SUV but end up crashing into a truck, decapitating Sugar. Breacher and Brentwood confront a dying Lizzy, who accuses the team of stealing the money behind their backs, causing her to swear revenge. Brentwood is puzzled, assuming Lizzy had stolen the money. Breacher tells the dying Lizzy that he took the money. Lizzy tries to reach for her weapon and Breacher kills her. Breacher tells Brentwood to be "a good girl and walk away." The local cops arrive and Breacher disappears.
Weeks later, Breacher is in Mexico, where he uses the stolen money to bribe a corrupt police officer into helping him identify the man who murdered his family. Breacher finds him in a Mexican bar and kills him and others loyal to him in a violent shootout, during which he is shot in the chest. Having avenged his family, a wounded Breacher sips on a drink and smokes his cigar as he hears the approaching sirens.

Monday, June 30, 2014

Fourth 'Transformers' Opens to $300 Million Worldwide





Transformers: Age of Extinction
June 29, 2014

Based on this weekend's returns, the Transformers aren't going to face extinction any time soon.

At the domestic box office, the fourth installment in the immensely successful franchise opened to an estimated $100 million. That's the biggest opening of the year so far ahead of Captain America: The Winter Soldier ($95 million).

More importantly, it took in over $201 million from 37 international markets. That includes a stunning $90 million in China, which is the biggest "foreign" opening ever there (and probably the biggest overall, though we don't have data to confirm that).

Overall, the movie earned over $300 million worldwide this weekend. With openings throughout Europe and Latin America on the way, Transformers: Age of Extinctionseems poised to make a run at $1 billion.
Domestically, Age of Extinction's opening ranks second all-time among Transformers movies behind 2009's Revenge of the Fallen ($108 million). That's not an apples-to-apples comparison, though: all three previous movies burned off demand by launching mid-week.

At 353 IMAX locations, Transformers earned $10.7 million (second all-time in June behind last year's Man of Steel). A 3D share is not available.

The movie's audience was 64 percent male and 58 percent were 25 years of age and over. They awarded it an "A-" CinemaScore, which is in contrast to its abysmal 17 percent rating on Rotten Tomatoes.

All three previous Transformers movies earned over $300 million at the domestic box office. While Age of Extinction's opening is undeniably good, it does not put the movie in a position to also reach that milestone. The upcoming holiday makes it difficult to draw specific long-term projections, though it does appear that Age of Extinction is on track for anywhere from $250 to $280 million.

In a distant second place, 22 Jump Street fell 44 percent to an estimated $15.4 million. The comedy sequel has now earned $139.8 million, which is already ahead of the first movie's $138.4 million total.

How to Train Your Dragon 2 dropped 47 percent to an estimated $13.1 million. That's another weak hold for the well-reviewed sequel. To date, Dragon 2 has grossed $121.8 million, and there's a good chance it ultimately winds up below $170 million.

After opening on top last weekend, Think Like a Man Too plummeted 64 percent to an estimated $10.4 million. Through 10 days, the comedy sequel has earned $48.2 million, and is on track to earn substantially less than its predecessor ($91.5 million).

Maleficent rounded out the Top Five with $8.2 million. On Sunday, it's expected to pass $200 million. MeanwhileJersey Boys fell 43 percent to $7.6 million. The Clint Eastwood-directed musical has now grossed $27.3 million.

Jon Favreau's Chef remained in the Top 10 for the sixth-straight weekend. To date, the indie hit has earned $19.4 million.

In its ninth weekend, The Amazing Spider-Man 2 passed $200 million at the domestic box office. The movie is on pace to earn over $60 million less than its predecessor, which was already the lowest-grossing entry in the franchise.

In limited release, sci-fi action movie Snowpiercer earned $162,100 from eight locations. That translates to a solid $20,263 per-theater average. A specific expansion plan isn't available right now, though it's safe to assume that Radius-TWC will get the movie in to many more theaters in the coming weeks.

At five locations, Once director John Carney's Begin Again opened to an estimated $148,000 (average of $29,600). The movie stars Keira Knightley and Mark Ruffalo, and should expand significantly in the next few weeks.

Ahead of a nationwide expansion on Wednesday, Dinesh D'Souza's America (2014) took in $39,000 at three locations. D'Souza's last documentary was 2016: Obama's America, which earned a sensational $33.4 million in 2012. That was nicely timed around the presidential election, though, and it's unclear if this follow-up can connect in the same way.

Around-the-World Roundup

Transformers: Age of Extinction opened to $201.3 million overseas this weekend, which ranks eighth all-time. That's more impressive considering it was only playing in 37 markets, and wasn't in any of the major markets in Europe or Latin America.

Nearly half of that opening came in China, where Age of Extinction earned a spectacular $90 million (nearly $10 million from 150 IMAX screens). The previousTransformers movie is one of the highest-grossing imports ever there, and this outing aimed to capitalize on that interest by setting the entire third act in and around Hong Kong. Ultimately, Age of Extinction is guaranteed to earn over $200 million in China, and could even wind up over $250 million.

Elsewhere, the movie had one of the biggest debuts ever in Russia with $21.7 million. It was also strong in South Korea ($21.5 million) and Australia ($10 million), and set opening weekend records in Malaysia ($6.4 million), Indonesia ($5.7 million) and Hong Kong ($4.8 million).

According to Paramount, the aggregate figure is a 35 percent improvement over the last movie. Of course, a large part of that gain can be attributed to China, so it's unlikely the rest of the markets saw much of an improvement. Still, this suggests that Dark of the Moon's $771 million overseas total is within reach for Age of Extinction. Next weekend, the movie expands in to the U.K.

With Transformers and the World Cup monopolizing attention, the rest of the market was fairly quiet. How to Train Your Dragon 2 added $17.7 million for a $106.1 million total. Maleficent earned $16 million, which brings its total to $383.7 million. Next weekend, it reaches its final market (Japan). The Fault in our Stars took in $13 million for a strong total of $85.3 million.

Finally, X-Men: Days of Future Past reached $713 million worldwide, which makes it the highest-grossing movie of the year ahead of fellow superhero movies Captain America: The Winter Soldier and The Amazing Spider-Man 2.

Friday, June 27, 2014

Superman in film

Ilya and Alexander Salkind and Pierre Spengler purchased the Superman film rights in 1974.  After numerous scripts,Richard Donner was hired to direct the film, filming Superman (1978) and Superman II (1980) simultaneously.  Donner had already shot eighty percent of Superman II before it was decided to finish shooting the first film.  The Salkinds fired Donner after Superman's release, and commissioned Richard Lester as the director to finish Superman II.  Lester also returned for Superman III (1983), and the Salkinds further produced the 1984 spin-off Supergirl before selling the rights to Cannon Films, resulting in Superman IV: The Quest for Peace (1987).  With over fifteen years of development for a fifth Superman film, Superman Returns, an alternative sequel to Superman and Superman II directed by Bryan Singer, was released in 2006, along with Superman II: The Richard Donner Cut.  Despite the disappointing financial results of Superman Returns, Warner Bros. rebooted the film series, giving it a summer release in June of 2013.  Zack Snyder directed the film, titled Man of Steel, with David S. Goyer writing and Christopher Nolan producing.


Superman (1978)


In 1973, producer Ilya Salkind convinced his father Alexander to buy the rights to Superman. They hired Mario Puzo to pen a two-film script, and negotiated with Steven Spielberg to direct, though Alexander Salkind rejected him as Jawswent over budget. Marlon Brando and Gene Hackman signed on to play Jor-El and Lex Luthor respectively, and Guy Hamilton was hired to direct. However, Brando was faced with an obscenity lawsuit in Italy over Last Tango in Paris, and Hamilton was unable to shoot in England as he had violated his tax payments. The Salkinds hired Richard Donnerto direct the film. Donner hired Tom Mankiewicz to polish the script, giving it a serious feel with Christ-like overtones.

Christopher Reeve was cast as Superman, having initially failed to impress the Salkinds before bulking up. Brando meanwhile, despite spending less than two weeks on the shoot, and not even reading the script until then, earned $3.7 million up front, plus 11.75% of the gross profits from the film. The film was a success both critically and commercially, being released during the Christmas season of 1978; it did not have much competition, leading the producers to believe that this was one factor in the film's success.



Saturday, December 7, 2013

Michael Bay Sets Record Straight on "Goofy" 'Transformers' Remarks

Michael BayFilmmaker Michael Bay is one of the most divisive people working in Hollywood – and as such, he gets interviewed a lot. One of the dangers of being interviewed frequently (or interviewed at all, really) is that you can get misquoted – or while you’re busy pontificating on things, you can say something awkwardly that gets taken out of context. This seems to happen to Bay pretty regularly – including last week, when Bay made comments that Transformers: Age of Extinction would be “less goofy” and “much more cinematic” than the previous films.
The Armageddon filmmaker has since taken to his website to clarify those sentiments while taking a few swipes at the film blogosphere in the process.
Bay opens up by saying how it’s a drag to do on-set interviews (okay – maybe don’t do them, then?) and how everything basically turns into the telephone game, wherein one site picks up a quote, skews it, then another site does the same, and eventually you wind up with a quote that has nothing to do with what was actually said. I agree with Bay here – this happens all the time. Unfortunately, that’s just how the Internet seems to work.
With that out of the way, the director goes on to clarify his meaning about the "goofy" stuff:
"No I did not ‘apologize’ for any Transformers movies. I did not say I shot the last three movies 'less cool' then the new fourth installment. I was talking specifically about camera style and tone, of the first movie compared to how I shot the new installment with a very big scale, cinematic style. I was very specific in saying the first Transformers was shot in a ‘generic suburbia’ area, not trying to be cool with any cinematic flashes. I wanted it to feel like this could happen in any backyard in the United States.”
With that out of the way, Bay goes on to let everyone know he’s finished shooting the latest – and that it’s not goofy.
Personally, this whole thing strikes me as weird. There’s nothing wrong with Bay saying his new film is somehow “better” than the previous ones, or even “less goofy.” That was one of the quotes many outlets used – Bay saying they went a little too goofy on the previous film. As /Film points out, it’s okay to say that – in fact, it’s the sign of a mature artist that he can look back on his previous works and see the flaws and try to learn and grow from them.
We’ll have to see if Bay hits the “less goofy” mark for sure when Transformers: Age of Extinction stomps its way to the top of the box office heap next summer.