2009年度我的20大電影

2009年看來是紀錄片突破豐收的一年, 擺脫掉沉悶的鏡頭調度,
深入地走進真實人物與歷史的世界, 原來憾動力不比戲劇低
《音樂人生》大膽拋開音樂傳記的框架,
從天才口中探索人生意義, 哲學層次提升到談論信仰與存在主義, 實為年度之冠
《與魔共舞》為以色列作品, 起用虛擬動畫尋訪真實戰爭的代價, 記憶與心理學運用描寫極致

《D-9 異形禁區》(District 9)、《沖天救兵》(UP)、《一百萬零一夜》(Slumdog Millionaire)
同為年度五強,
它們在製作水平上都達完美境界, 同時展現出人生道理或社會現實, 表現形式眼前一亮
《D-9 異形禁區》涉及的片種類型繁多, 節奏緊密野心巨大, 低成本下創造奇蹟, 很快會跟大家再分享詳細觀感, 暫居年度之冠
《沖天救兵》色彩繽紛, 配樂流麗, 背後卻是一個動人至深的故事
《一百萬零一夜》非凡的攝影剪接, 在艱難時刻激勵人心, 為生命注入奔放活力, 現代經典童話的誕生

政治電影也突圍而出, 多部高質素電影都圍繞著尼克遜的事蹟
奧斯卡提名確具份量, 五部最佳電影, 有三部都具備驚喜拍攝手法,
帶出現今全球化下急切關注的訊息
《驚世真言》(Frost/Nixon) 在宏大廣鏡下訴說傳媒的力量, 電視機小小屏幕可改變一切
《夏菲米克的時代》(Milk) 討論爭取自由平等的代價

個人最喜愛的超級英雄類型今年也有代表作,
譽為歷來最佳graphic novel的《保衛奇俠》(Watchmen)、
虛構新空間, 提及城市的黑暗面,
企圖製造災難而救世, 充滿驚險轉折

信仰主題亦一向為我所喜好,
福音主打的《流浪漢世界盃》處處見陽光, 失敗中尋覓夢想;
《In Bruges》深沉論述救贖與審判;
《血戰》(Defiance) 則為現代版出埃及記, 帶領猶太人逃離納粹, 建立新社群.

家庭, 親情與友情在今年依然大放光芒,
《小飛B》(Ricky) 教會每一個家庭珍惜;
《浮生路》(Revolutionary Road) 見證美好的家步向毀滅;
《Taking Woodstock》在音樂中找回自我價值, 在家人與好友的關係上得到啟發.

本土經典第三部曲 《麥兜响噹噹》對照數千年中華文化,
在迷惘前路中終尋找到自然而然的真理;
論到本地風味濃郁, 而又原創性高的最佳作品, 可要數到《意外》.

--
My Top 20 films:

1. 音樂人生
2. D-9 異形禁區
3. 一百萬零一夜
4. 沖天救兵
5. 與魔共舞
6. 尋找簡東拿
7. In Bruges
8. 小飛B
9. 福音戰士新劇場版: 破
10. 夏菲米克的時代
11. 流浪漢世界盃
12. 浮生路
13. 血戰
14. 保衛奇俠
15. 驚世真言
16. Taking Woodstock
17. 骨肉同謀
18. 麥兜响噹噹
19. 禮儀師之奏鳴曲
20. 意外

萬千星輝頒獎典禮2009 賽前分析

最佳男主角：
巾幗梟雄 - 黎耀祥

最佳女主角：
巾幗梟雄 - 鄧萃雯

最佳男配角：
學警狙擊 - 謝天華

最佳女配角：
宮心計 - 李詩韻

我最喜愛的電視男角色：
烈火雄心3 - 王喜 (鍾有成)

我最喜愛的電視女角色：
宮心計 - 楊怡 (姚金鈴)

最佳劇集：
巾幗梟雄

萬千光輝演藝大獎：
陳鴻烈

一直都沒有空寫心得, 如今來分析五強誰屬
今年男女主角都是五年來最強line up, 自從金枝慾孽04年內鬥後都沒感到競爭這麼激烈
不過今年只是演員有所發揮, 而非劇本寫得精彩, 製作做得出色
巾幗梟雄絕對是最佳劇集不二之選, 主要對手根本只能算上絕代商驕
兩大台慶劇雷聲大雨點小, 都犯上劇情犯駁角色情理不通的毛病, 全靠好演員好表現撐場
古靈精探b胡鬧誇張, 但整體演出效果討好理想,
與畢打自己人一樣主打輕鬆無聊, 反而更有另類吸引力

個人最喜歡的五套依次就是:
巾幗梟雄
古靈精探b
絕代商驕
宮心計
畢打自己人

演員真的戲碼強大, 先說女配角, 個人希望亦預期五強為:
巾幗梟雄 謝雪心
宮心計 李詩韻
宮心計 韓馬利
有營煮婦 伍詠薇
巾幗梟雄 惠英紅

謝雪心著實穩操勝券, 第一次看她在tvb亮相就盡顯霸氣, 大奶奶很搶鏡
只是宮心計的郭太后更得人心, 憑另一套提名反而削弱得獎機會
尤其巾幗將橫掃大獎, 女配似乎分給宮心計機會較大
李詩韻表現脫胎換骨, 演活任性而善良的賢妃, 娘親受絞刑時來不及送行痛哭一幕已值得肯定
加上女配角獎歷來皆頒予資歷輕的後輩, 繼有楊思琦, 陳法拉及楊怡, 輪到她也不為奇
只是目前還不夠呼聲, 韓馬利也得不少讚賞, 相當大熱
伍詠薇的戲份根本等同女主角, 她亦搶盡風頭, 讓全劇焦點集中在她的感情線, 只是劇集無反響, 還是入五強已經有交代
剩下一席沒什麼心水, 只是惠英紅確好戲又有發揮, 不過我更希望提名名單有程可為, 也很欣賞陳敏之在富貴門的演出, 更特別要點名稱讚復出的李綺虹呢

男配角預期五強:
學警狙擊 謝天華
碧血鹽梟 黃浩然
巾幗梟雄 敖嘉年
宮心計 李國麟
畢打自己人 歐錦棠

前四位口碑收視俱備, 絕對鐵膽, 獎項歸誰亦沒有任何懸念
只是沒有了laughing熱, 前四位的演技水平其實不相伯仲
最後一個只是自己喜歡, 但應屬蔣志光, 吳卓羲之爭
奇怪沒有許紹雄和郭峰, 兩人在今年不同劇集都大放異彩, 前者主要出色在絕代商驕,
後者在巾幗演王爺, 古靈精探演D.I.E.主管, 宮心計演棋博士都非常突出

女主角預期五強:
宮心計 楊怡
宮心計 佘詩曼
巾幗梟雄 鄧萃雯
富貴門 郭可盈
富貴門 戚美珍

這個名單應肯定有四位命中, 戚美珍通常會給tvb換上蔡少芬, 但珠光寶氣真的很不濟
鄧萃雯今次sure win, 撻q了兩次, 在tvb成為了收視保證, 應該不會再失手了
現時太多煙幕, 歷來視后每人一年拎一次, 汪阿姐例外, 連絕代商驕都剔出提名外, 可見今年不是屬於阿佘的
在台慶鋪排已見鄧萃雯終受重視, 加上tvb向來喜歡論資排輩, 楊怡還有大把機會, 今次只是要上位, 未需奪最大的獎
富貴門一早已知是陪跑, 不過還是要表達對兩位女演員演技的肯定~

男主角預期五強:
宮心計 陳豪
巾幗梟雄 黎耀祥
絕代商驕 黃子華
烈火雄心3 王喜
富貴門 羅嘉良

民心所向, 高層力谷, 天時地利人和, 柴九捨我其誰?
黎耀祥誠然為當今影視界最佳演員top5, 視帝當之無愧
陳豪演得有深度有層次, 角色也見豐富立體, 可惜了宣傳重點不在癡兒成帝的主線
以黃子華在tvb的地位, 有提名已算不俗, 最多贏到我最喜愛, 不要緊, 有觀眾的支持已足夠
王喜消防員形象入屋, 演到第三輯仍有突破, 悲劇人物塑造易惹觀眾好感, 我最喜愛獎要奪非難事
最後富貴門一元一鳴二揀一, 坊間反應算羅嘉良佔優, 回巢再演回成名奸角戲路, 實在得心應手

最後的演藝大獎, 到今天才確定該會給陳鴻烈
他對邵氏的貢獻, 在觀眾眼中的地位, 都是不會動搖的~

再在意也不敢介意《原來過得很快樂》

專輯: 原來過得很快樂
演出者: 楊千嬅

只要聽到楊千嬅的聲音, 我就會不期然將情感投入至她的感情世界
充滿感染力的演繹, 時而傷感抑壓, 時而活力爆發,
歌詞的詩意優雅, 專輯概念的完整統一, 演唱的藝術感及個人氣質
楊千嬅一年又一年帶著無數聽眾走進動人的情感經歷, 在音符下體驗真誠的對話交流
再見二丁目, 愛人, 有發生過, 冬天的故事, 少女的祈禱, 一個人的童話, 野孩子, 小城大事...
從華星到新藝寶, 從新藝寶到金牌, 專輯履歷表比任何一位殿堂級歌手有過之而無不及
更難得是親身參與製作, 用心與喜愛她的樂迷分享喜與怒, 樂與悲
她獨特出采的情感演繹功力外, 還有合作無間的班底如人山人海及林夕, 又與不同新單位擦出火花, 如藍奕邦等

All About Love 演唱會證明了給大眾看, 楊千嬅可以技巧感情共存, 是香港樂壇的親民天后代表
過去經典一一細唱的感動是年月累積而成的
親民在於其個性, 在於其樂觀果敢, 在於唱出自我, 在於可讓樂迷瞬間click中產生共鳴

撫心而言, a-music三張大碟, 哪一張可以找回這個樂迷心目中的楊千嬅?
Meridian摔得最重一跤, 是因為千嬅剛離開金牌走向新路程,
那時沒人意識到千嬅的音樂會突然出現災難性的變化
看到林夕黃偉文逐步退出千嬅的專輯, 支持者能不心痛嘛?
歌詞千篇一律, 旋律水過鴨背, 於是大家紛紛希望千嬅回到舊日的美好

黎明似乎聽到了我們的反對聲音, 於是路線開始懷舊了,
嗯, 既然fans喜歡之前, 就先來個造型曲風大回歸吧,
於是, 我們得到了這一張《原來過得很快樂》
哈哈, 黎生真愛跟大家開玩笑

封套到內頁設計有多簡單就多簡單, 簡潔是好事, 但簡陋就不行吧
製作人也算有心, 可拍到這幅充滿七八十年代風味的封套照, 放於新碟架中也懷疑是弄錯了
之前《明日再會》《撈月亮的人》好像很受市場歡迎呢, 不如照辦煮碗弄多兩三首放於碟內吧
於是我們得到了全碟編曲近乎一致的曲目
除了《你幸福嗎》是稍輕快一點的節拍外, 其他所有歌有想過以哪種樂器配製嗎?
沒有電子樂編排, 沒有古典中樂也不要緊, 至少專輯有完整故事也會補救得到的
整個流程是流暢有概念性也很好, 畢竟這是千嬅的拿手本領吧
而且《原來過得很快樂》看來像是可以說一個非常動人的故事, 或是精彩的回顧...
噢, 看來是想多了

那些歌名, 全都是表面看來有文藝的氣息, 又是美麗的錯覺
千嬅需要把每粒音扯高來吸引聽者注意嗎? 尖得刺耳是辛辣的批評, 但著實讓耳朵感受很不舒服
不要再刻意賣弄技巧吧, 若是靠唱功起家的, 千嬅怎可能有今時今日的地位? 又不是演奏廳大會堂

因為懷舊, 因為歌名引起的錯誤期待, 令人更感慨千嬅音樂性的倒退
《藍風箏》讓我太失望了, 因為千嬅有顏色作主題的歌都是很有特色味道, 如《藍與黑》《深紫色》
你不是把名字改作《對木偶唱歌》, 我不會想起《木偶奇遇記》給自身的震撼感動
那個沙鼓編曲到底在作什麼? 那個歌詞又在寫什麼?
怎說起 別企在赤地　對我哪需避忌? 仰望你星座　不必擔心我? 又和木偶何關?
大家都已可把《孖公仔》自動跟《姊妹》聯想起來了,
不將音域放置得這麼高這麼闊會更能感到千嬅的演繹深度
至於點題作《原來過得很快樂》每次聽其名我都會想到 "只我一人未發覺"
可惜是經典不能隨便引用的, 旋律偶有亮點, 但相信普遍樂迷都寧願聽回二丁目的聲音

已曝光的歌反而不俗, 《麥芽糖》得到一致盛讚而不獲派台的決定讓人可惜,
還是詞作帶出深刻意義, 令千嬅可當回一個出色的說書人,
旋律還略嫌過份曲高和寡及硬上高音, 不夠自然, 但情感真摯
《真命天子》有雷頌德在, 已經輕易給回大家一個舒服好聽的楊千嬅,
亦再次證明有林夕的靈魂, 可以提升歌曲的層次, 千嬅也會唱出更豐富的感情
《我在橋上看風景》夠豁達率性, 跟《我等我在》尚可打成平手, 相比回《如果東京不快樂》則還有很大距離

不過專輯前段以輕鬆看開作主調, 後來卻逐漸庸俗化, 歌詞也毫無連貫性,
主題鬆散不堪程度更勝《wonder miriam》, 無故又來首撈月亮的人國語版,
既沒有原曲的古典, 又保留不了演唱神髓
最後再讚一下黎明對樂迷要求的積極回應, 我們終於在專輯中看到《all about love》,
但曲目編排和專輯完整性有連繫嗎? a-music應該是回應沒所謂吧
畢竟千嬅的忠實粉絲們再在意也不敢介意吧, 我們的忠誠度一再備受黎生考驗
這三年也許就是大家對千嬅熱愛的最佳證明呢

最後, 若果分手前都未可能證實誰是真命天子的話
那這最後的專輯應已清楚告訴千嬅, 曲編的真命天子, 人山人海起碼應佔一席位吧
而填詞上的真命天子, 相信也不作他選了, 最重要是想說, 這人選絕非林若寧及黃仲凱

推介: N/A (或千嬅的華星金牌新藝寶專輯)

7 things learned from Eric Cantona

Life, always got more choices than we think. Always. More possibilities.

Take a risk. It depends on the limits you set yourself. Play safe no risk.

You have to trust your teammates. Always. If not, we are lost.

When you have learned how to ride a bike, how to kick a ball, it's for all your life.

There is no such word as 'can't'.

You try something, it doesn't work. Try something else. Always.

If they are faster than you, don't try and outrun them.
If they are taller, don't out-jump them.
If they are stronger on the left, you go right.

And...

What a friend we have in Jesus,
He's a saviour from afar,
What a friend we have in Jesus
And his name is Cantona....
Ooh Aah Cantona,
Ooh Aah Cantona...

應許之地

難以再回到我所夢想的地方了
你問我想嗎? 我想, 千個萬個億個想

每天想, 每夜想, 連夢中都想
那個就似天堂, 就似人間eden的美好

若然再選擇的話, 我又會作一樣的決定嗎?
當時的我忘了, 或是不知道, 離開了天之國後, 要重新再建立所需花費的日子與心思

在日復日的夢境中, 我又看到了那個夢幻的國度
又再走進, 彷彿從未離開過
我看到了熟悉的面孔, 懷著熱熾的歡笑等待著我
不過當中又夾雜了陌生的人, 陌生的說話

受到了無比歡迎, 就像得回失落了的光輝
親切的問候, 真心的寒暄, 真讓人捨不得放手

我又在某個角落看到了一位孤單的陌生人
這個地方使著我有歸屬感, 不期然我就自信的走前跟她說話
她好像很迷惘, 我決定安慰她, 鼓勵她,
我告訴她, 我在這個地方生活得很開心
她卻告訴我, 她看到的跟我都不一樣
那我就回答她, 若然這樣, 你嘗試跟我的眼光及態度去看, 不就會得著快樂嗎?

之後, 一群熱鬧高興的人們闖過來, 人多得讓我只看到面前的他們
但他們又如此善良, 如此開心, 每位都是燦爛地微笑著
我又怎能抗拒這巨大的力量?
他們逐個與我握手, 向我道謝,
每人只是簡單的一句話
但已經讓我感動不已
因為他們都是久違了的聲音, 在很久之前同一個地方遇見過的
萍水相逢也好, 點頭之交也好, 但他們都沒有失卻與我有關的記憶
在他們面前, 我彷彿沒有離開過

這兒愈來愈熱鬧, 群眾愈來愈多, 聚集一起談天說地
某些不認識我的人看到此情此景, 都從冰冷的表情轉化成溫婉良善的樣子
她們轉頭向我說, 不知道從前這兒有我的存在
更不知道這裡曾經出現過無比的興高采烈
她們不以為這裡是什麼天堂, 她們連說話的聲線也不敢提升
不停的低頭竊語, 像是當什麼見不得光的事
我看不過眼, 告訴她們過往逝去的光景

突然, 有一個人站在我前面,
她阻止我繼續高聲談話
她說, 現在你為他們的歡迎而高興嗎?
不要開心得這麼早, 這一切歡迎都是假的!
這些只是表面, 其實所有東西都變了!
你真的認為, 這裡還歡迎你嗎? 這裡還是你的天國嗎?

他馬上厲詞訓斥她,
這是他的自由, 他喜歡把這裡作天堂, 就是他的想法
若然你要當地獄看, 也沒要緊, 不要把人家都拖進來!
維護我的人起哄了, 我就是喜歡這股群眾的氣勢
一如無形的氣場, 將敵人驅走撃倒

然而, 我了解殘酷的一點
在現在這個時刻, 她才是屬於這裡的
而我只是曾經的過客, 終也留不住的
逃離天堂的人想辦法回到美好的家
活在天堂的人卻毫無意識自己正處於人生的最美好

意外 - 本年度最佳原創港產片

今年香港電影市場其實尚算興旺, 只是西片大製作當道
但暑期每周都總有一至兩部本地製作, 有另類有小品也有大宣傳有卡士

警匪題材可算是 《竊聽風雲》 票房口碑最成功
但是本人認為今年具質素港片卻在市場難尋
目前音樂傳記紀錄片 《音樂人生》是最出色的
其次為真人真事改編的福音電影《流浪漢世界盃》
還有代表兩地文化的經典動畫標記 《麥兜响噹噹》
論到本地風味濃郁, 而又原創性高的最佳作品, 可要數到《意外》

人為佈局再精密計算都總逃不過命運播弄
人類只是無奈的棋子隨上帝安排而行
失去親人之後, 再失去了對人的信任, 然後再失去親密的同伴戰友
愈走愈把自己鎖於心靈困局, 正是古天樂悲哀的領導者的寫照
自以為一切盡在掌握之中, 天衣無縫的佈局卻敵不過天意
製造意外者遭意外所害, 莫過於最大的諷刺與報應

鄭保瑞首度加盟銀河影像, 人物依舊極端執著, 影像風格繼續強烈
配合一貫銀河的浪漫攝影及剪接, 一流的演員配搭, 電影語言的豐富掩蓋了叙事的空白

Bandslam (勁Band青春鬥) - 青春音樂劇罕見佳作

成長的歷練、兩代的矛盾、音樂的力量，人氣偶像演繹經典樂曲，
《勁Band青春鬥》乃近年荷里活青春題材罕見佳作。
刻劃心路歷程細緻, 各段友情愛情親情恰到好處
將青少年面對的自身煩惱一一描繪出來
成功在於其平實親民的故事及拍攝技巧,
沒有high school musical的偶像感及遠離群眾, 不再柴娃娃
大家很易找到自己心聲, 共鳴位層出不窮, 同時充滿笑位, 喜與悲集於一身

兩段母子與父女的對比段落出色
朋友間的友好與分離又是佳章
平凡校園生活演變出幾段劇情轉折, 卻又處處反映現實
尾段依然樂觀, 依舊為自我奮鬥
源於過去的陰影, 需要直視面對
劇本有心思, 很多對白寫中人心與道理

更難得是音樂性的兼顧, 注入深厚搖滾音樂歷史
大量七十年代經典樂曲, 還有樂隊名字自然在對白間出現
讓真正愛音樂的樂迷都會心花怒放, new york 酒吧一段看得感動
男主角演技精湛, 具明星魅力
喜歡high school musical的也定能開懷享受

A Story about Love

Once upon a time there was an island where all the feelings lived;
Happiness, Sadness, Knowledge, and all the others......, including Love.

One day it was announced to all of the feelings that the island was going to sink to the bottom of the ocean. So all the feelings prepared their boats to leave.

Love was the only one that stayed.
She wanted to preserve the island until the last possible moment.
When the island was almost totally under, Love decided it was time to leave.
She began looking for someone to ask for help.

Just then Richness was passing by in a grand boat.
Love asked, "Richness, Can I come with you on your boat?"
Richness answered,
"I'm sorry, but there is a lot of silver and gold on my boat and there would be no room for you."

Then Love decided to ask Vanity for help who was passing in a beautiful vessel.
Love cried out, "Vanity, help me please." I can't help you", Vanity said,
"You are all wet and will damage my beautiful boat."

Next, Love saw Sadness passing by.
Love said, "Sadness, please let me go with you."
Sadness answered, "Love, I'm sorry, but, I just need to be alone now."

Then, Love saw Happiness. Love cried out, "Happiness, please take me with you."
But Happiness was so overjoyed that he didn't hear Love calling to him.

Love began to cry.
Then, she heard a voice say, "Come Love, I will take you with me."
It was an elder. Love felt so blessed and overjoyed that she forgot to ask the elder his name.

When they arrived on land the elder went on his way.
Love realized how much she owed the elder.
Love then found Knowledge and asked, "Who was it that helped me?"
"It was Time", Knowledge answered.
"But why did Time help me when no one else would?", Love asked.
Knowledge smiled and with deep wisdom and sincerity, answered,

"Because only Time is capable of understanding how great Love is."


from http://hk.myblog.yahoo.com/shirliechau/article?mid=6503

關心妍 妍亮心靈的福音之歌 年度專輯之選

專輯: 妍亮 Shine

演出者: 關心妍










福音詩歌的主流專輯!
主打流行樂曲而敢於大膽製作小眾大碟以圓自身理想使命的香港歌手少之又少!
可以將優美旋律化作意義訊息傳遞愛與信念給樂迷的更少
可以將聖詩提升層次至前衛反吸毒來作佈道會主題曲的更當只有關心妍第一人

不單是信仰毫無保留的分享, 這張大碟製作的精良水平才讓人驚歎
歌曲耐聽度可算超越了近乎所有過往BMA時代的大碟 (只有jade loves...可與此看齊)
也許用心唱自己喜歡的歌, 唱出喜樂, 唱出信念
最富感染的演繹, 配合本身渾厚的唱功, 讓妍亮令人一聽難忘, 震撼心靈吧

出碟前已很早聽過一半曲目
"愛是不保留" 為近代詩歌傳頌度最高, 多得溫暖人心的天作之盒,
鋼琴輕柔編曲, 沒有過份濫情, 關心妍唱得很清雅
歌曲在簡單音符彈奏下比豐富編曲更為動人, 經典總是永垂不朽
不過芸芸流傳版本中, 關心妍的愛是不保留都是我的首選
解讀來過數百次了, 何謂真愛, 何謂至死不渝的真愛
相愛是雙方無私的奉獻, 無盡的犠牲
不計較付出, 不計較得著, 超越人類之間的情感只有來自上帝

"愛若微風" 較輕, 沒有之前盪氣迴腸, 不是穿過生死的讚歌
是細風輕吹人間的平淡溫馨, 愛可很困難, 也可很容易
另一段愛的演繹, 沒有深淺之分, 只是上帝另一種安排
到了真愛滿人間後, 編曲到達最豐盛時刻, 如像迎接風的力量般強
整體是享受的, 細味感受, 遊戲人間, 感恩喜悅, 充實平穩

"總有一天" 是走入了悲傷低潮期, 看關心妍一開首較類似慘情歌的演唱可分辨到
但歌曲仍是釋放正面訊息, 解放心靈力量, 把悲傷慢慢化作祝福
pre-chorus的落寞昇華到chorus的信念
第二段已開始注入樂觀思想, 都是希望心灰的人不要放棄, 不要流淚
最後重覆的歌詞顯現出堅定的決心, 在曲風及歌詞上都充分勵志

"挪亞方舟"的調子走到更沉重, 末日降臨, 洪水掩蓋大地
關心妍的聲音在見證世界臨終的景象, 宏大編曲在一下鼓聲帶進了副歌
帶點慘情的唱腔更有氣勢, 然後再一下重鼓聲帶入更激昂的呼喊
不過jade依然是以溫柔的女聲去唱恩典, 逐字逐句去牽引進入天國的旅程
神聖, 悲哀又充滿澎湃力量, bridging過後開始雷聲雨打聲
編曲上的多變讓關心妍不變的聲音在旁顯得無懼及充滿準備
跟著提升到 "高呼等祢 傾出勇敢"之時, 編曲及演唱俱把感情位推上最高
洪水淹沒的時間, 整首曲稍為停頓, 回復寂靜無聲
編曲變回柔和琴聲, 只突出了關心妍想說出唱出的人間天國之喜訊
精彩跌宕值得一讚

"天使在左右"一開場已經氣勢磅礡, 天使吟唱的聲音構成背景, 樂器用上沙鼓打拍子
陰霾盡散之後, 世間愛無處不在的印證, 曲調全然開朗
開始的編曲如打開內心大門, chorus再來一下, 是讓內心靈魂等待接受神進入的時刻
聽得出歌者是掛著微笑去唱這歌, 編曲在左右是聽到不同樂器的演奏,
豐富繽紛如歌詞提及的色彩, 具層次而如像天使兩邊左右唱著
一到chorus開門聲就會兩邊齊響, 最後的ad-lib代表著隨意與自由
就是心靈已得著神愛的象徵

驚喜到說不出話的有首支主打, 一開場就來個現代警醒,
強勁節拍企圖改寫詩歌固有風格
重beat再加mc jin rap, 在開始已耳目一新, 到關心妍一唱, 是一種新的唱法
少少沙聲少少搖滾, 曲編演實在滿分, 突破度不下龐貝 21 世紀,
承接流暢, 曲式易記易上口, 訊息呼之欲出, 充分突顯非凡唱功
要挑剔只好說歐陽靖的rap詞吧, 但兩人又互有火花, 節奏感一流
"世代之初" 可能算得上她出道來最重要作品的首五位呢

大力敲撃重重教訓後到輕撫的傳道 "這是什麼道理"
福音傳揚在於其核心價值及聖經故事
歌詞上都一一細細訴說一次, 動聽舒服得可陪伴入睡或高聲祟拜
一切道理與感情俱奉上, 一貫詩歌式輕和編曲,
想不到關心妍不嘶聲力喊, 不竭斯底里, 也不jazz不pop, 聲音清晰度如此高
很細膩的像說書人帶聽眾進入音樂世界, 有點像發燒天碟的水準

"沒有祢那有我" 拍子感有點過火了, 整體依然是好聽與舒服為主
很easy-listening, 中段的ad-lib和音落得恰到好處, 歌頌恩賜還是很relaxing
宣講時盡心去唱, 宣告生存為神很有力, 聽得出有層層遞進

"得意妹", 嘩, 不得了來個爵士樂! 可知玉石樂隊可是top 5 of my jade playlist
很古式古香的琴聲編樂, 很soft, 關心妍時快時慢, 時重時輕的處理著實出色
意想不到福音碟也玩曲風嘗試, 也玩多元化, 一大驚喜
調子很歐式, 很西班牙舞會, 一人演唱卻熱鬧多采

"應許之國" 更加古典, 更回到grand的世代之初
有創世的浩瀚, 在挪亞方舟後出現更有重生重建的大藍圖
千古流傳自然要有弦樂配搭, 希冀, 信心, 力量, 有點娃娃看天下的震撼
不同樂器拼湊出極盡流麗的bridging, 一浪接一浪的打進心靈深處
尾段的echo及高音飆升更是神來之筆, 像在最高山上的歡呼
迎接上帝之國的美滿句章

嘩, 國語都出場, 完整性又提升了, 等候耶和華的人在兩首激昂之至
抵達充滿神與天使的國度後, 又再平靜下來, 又再回復緩緩的等待
為什麼我有感覺, 是可以在k場唱的呢, 水過鴨背式的情歌編排
重回人與人之間的微妙情感, 上帝之愛當然也可如人類男女之愛,
這次最愛不是喊叫出的, 是純粹唱出的, 自然率真的流露, 不俗

最後一曲 "We Will Worship" 是完好的總結, 理想的願景
大合唱的恢宏, 氣勢的大回歸, 強而有力的祝禱
更代表了關心妍音樂路的高調反撃
帶著充滿純真高興的愛, 迎向更光輝的未來

更值讚賞的是關心妍每首歌都咬字清晰, 字字鏗鏘, 落地有聲, 在當今世代太難得了
總括而言這趟音樂之旅驚喜處處, 曲式變化及旋律歌詞達到關心妍所有專輯之最
年度推薦!

推介: 全碟

方大同 Timeless 可啦思刻 - 重溫經典的永恆

專輯: Timeless 可啦思刻

演出者: 方大同












很久沒有寫碟評, 因為沒有太多時間
除去沒什麼值得寫的外, 有些則要留待年尾十大一併寫

說回這張擺明車馬翻唱經典的大碟, 有驚喜同時也有失望的, 所揀選的曲目, 都經得起長久時間的考驗, 於是有了timeless classic的美譽, 但更重要是, 這碟帶領我們走了一趟方大同音樂啟蒙之旅, 是什麼歌曲的洗禮, 才打造出如此soul, 如此relaxing的方大同呢? 他如泉湧的創作靈感之源, 都在這裡找到答案.

不要以為經典曲目都是隨意挑選, 他們對方大同著實有不同程度啟發, 可是在兩首主打過後, 我開始想, 這十首歌到底有沒有連繫或共通之處呢? 也許, 有時翻唱專輯只是沒有以直接的方式去告訴大家其自身概念與風格而已.

時間與記憶, 碟名正正告訴了我們, 這張專輯的真正意思
不只代表了經典的永恆, 透過不朽, 存在已久的歌詞, 再一次提醒樂迷
有什麼價值與經歷, 是時間不會磨滅沖洗得走, 在個人內心或大世界中是永久留存的

首先出場第一句 已經是 You are the sunshine of my life, 太陽亮光就是可永遠照耀人內心
所以Thats why Ill always be around. 即使愛了千萬年, 還只覺是個開始
愛到最發光之時就是時間定格之時
Forever you'll stay in my heart. 陽光燦爛的愛戀是timeless的可啦思刻.
同樣情懷也在Nothing's Gonna Change My Love For You之中找到
這次永恆在於至死不渝的承諾
I'll never ask for more than your love
有了愛就擁有一切, nothing gonna change就正正道中了愛不隨時間改變
承諾也是當下的可啦思刻
I'll help you see forever too, 又是另一個timeless既期許
bad也是timeless classic, 也許只因change都是另一種forever吧

狂潮掀起了大家庭恩怨情仇電視劇的潮流, 歌詞中每一字每一詞都是人生的真理
每個人不同經歷, 但喜怒哀樂的情緒都是一樣
每個人笑的時刻也許不一樣, 每個人哭的時刻也必不一樣
只是大家都在時代的狂潮中, 同樣真假難分, 愛恨交錯, 喜惡混雜
"是他也是你和我 同悲歡喜惡過一生" 是全碟最宏大的可啦思刻
每一個人自己的生命與感情也是timeless的, 幾許幾許一下子就會是一生

La Bamba 原是gathering, orientation所用的歌,
交新朋友或與好友暢眾的時間都是難得珍貴, 好應珍惜而狂歡一番
開心的起舞高歌便是另一段人生必經的可啦思刻
timeless是因為每個人在每個成長階段都會遇到la bamba的時候
當這曲旋律高奏時, 就請大家好好享受吧
可能是宴會, 可能是婚禮, 不論場合, 也該放輕鬆投入其氛圍吧

Red Bean 談時間流逝與永恆談得最有深度, 沒有什麼會永垂不朽的
再刻骨銘心的都有可能轉眼消失不見, 有時候我們也會悲觀的認為一切總有終結
很快就到盡頭, 然而我們終究相信, 這個世界是會有細水長流的
願意等待, 願意堅持, 願意放開, timeless的可啦思刻是存在的

經過red bean的頓悟後, 不再訴說浪漫激情的恆久
轉化成記憶的長存, 深愛的另一半未必永遠在身邊
但那感覺, 那在腦海中的回憶, 依舊是timeless classic
Georgia 可以永遠在我之中, 因為美好的已發生過, 及會牢牢記住
而且是平靜放鬆的, 因為千帆散盡, 激情已過
不需再時時提及you are sunshine, you are forever的甜言蜜語了

Remember 是這個永恆故事的另一註腳
分開了的留也留不住
誰還記得是誰先說 永遠的愛我
如果記不起當初的溫柔, 那曾經愛過傷過的也應早走過了吧
所以把所有留待時間印證
讓時間說真話, 看看這段過去的關係是否真的timeless
也在試驗過往的傷害是否也真的跟著一起永恆

兜兜轉轉又到原點
又記起了當下今晚墮愛河的陶醉
今晚是永恆的, 無論過多少晚上
你永遠過的都是今晚
而今晚永遠都是wonderful的
在我眼中, 在我心中, 就永遠記得這個今晚內的你
wonderful tonight, therefore, is another timeless classic

moon river一定是永恆中最佳的總結
走向永遠, 走向靜止定格的時間, 如同那條永不改變的moon river
世界這樣大, 夢這麼多, 就花一輩子的永生去追逐它去, 去跟隨它去了
每一個人前進著, 一直想走到彩虹的另一端, 可是只有逝去後才能到達那夢一般的天堂
於是就在等, 就在希望, 而這希望就變成永恆了...


此張專輯有的是認真, 有的是心意, 就靜待大家細心欣賞, 品味著經典的重新出發, 重新解讀
特別為狂潮背後的故事感動, 因為這是方媽媽愛看的電視劇
所以聽起狂潮來, 份外體會方大同的心意及情感
少了原作的盪氣迴腸, 卻多了一份滄桑無奈, 詩意的詞配上悠揚編曲太舒服了
當然也有較失色的, 如michael jackson的bad基本上無可超越替代
方大同的chorus也實在配合不了歌曲的型格,
而且方大同唱because i am bad不是太突兀了嗎? 怎聽khalil的聲音也不覺野性呀?
moon river一向深得本人喜愛, 方大同唱得也算動人
只是改動太少, 令新版本沒有突出之處
la bamba則前輕後重, 後段的拍子編曲破壞了懶洋洋歡樂的感覺
還有nothing's gonna change my love for you是唱得很好的,
不過mv拍得不理想, 令歌曲的甜蜜變得孩子氣, 大大扣分
而最大問題始終是每首歌都特意減短, 可能為了營造意猶未盡, build up歌曲的timeless
令我要不停loop局部金曲, 一聽再聽, 或許這也是可啦思刻的用心良苦吧~


推介: 狂潮, Moon River, You Are the Sunshine of My Life

《麥兜菠蘿油王子》的音樂

香港精神的logo, 音樂方向懷舊又好玩

過去, 現在, 與將來

麥炳為了追尋過去美夢, 甘願放棄家庭, 踏上征途
最後一切俱往已, 社會變化, 拆卸又重建
舊大角咀風貌只可於動畫中再現, 時空橫跨何止五十年

麥太失去命中唯一, 她寄望將來只是山頭墓地,

享受"悠悠的風" (原曲︰ Waltz In A Flat Op 39 No.15)

只有麥兜留在現在
對過去(殖民時代)一無所知, 對將來(回歸祖國)徬徨恐懼
孤獨寂寞

"咁咁咁" (Pancakes), "車衣女萬歲" (陳浩峰) 展現工廠妹的舊時代

過渡至今, 新一代的小孩, 都在春田花花幼稚園長大了, 是什麼光景?
像上一代的麥炳, 只懂沉醉過去嗎?
《春田花花同學會》給了答案

沒有昔日光輝感想, 更沒有遠大成就理想
消除了不切實際的白日夢, 代價是渾渾噩噩, 不思進取
兒時寫下"我的志願", 怎有人認真對待
校歌早照唱不想, 誰要做社會的棟樑?
打工一族, 但求安定生活, 符合大勢, 和諧穩定
未來的主人翁, 社會現實大過天
割肉義行大理想歸為異類,
平凡生命可愛, OL "fing fing下" (pancakes) 又一day
人生價值, 僅在於此?

麥兜, 一則又一則悲哀的成人童話~

今期介紹的是at 17 "我的心裏沒有他" 西班牙原曲
屬於麥太的歌 最愛這詞
Why did God make me love you To make me suffer more.

Ya no estás más a mi lado, corazón.
En el alma sólo tengo soledad.
Y si ya no puedo verte,
Por qué Dios me hizo quererte?,
Para hacerme sufrir más.

Siempre fuiste la razón de mi existir.
Adorarte para mi fue religión.
Y en tus besos yo encontraba,
El calor que me brindaba,
El amor, y la pasión.

Es la historia de un amor,
Como no hay otro igual.
Que me hizo comprender,
Todo el bien, todo el mal.

Que le dio luz a mi vida,
Apagándola después.
Ay que vida tan oscura,
Sin tu amor no viviré.

Es la historia de un amor.



You're no longer by my side, my love
And in my soul I have only loneliness
If I can no longer see you
Why did God make me love you
To make me suffer more.

You were the reason for my existence.
Adoring you, for me, was religion.
In your kisses I've found
The warmth that gave me
The love and the passion.

That's the story of a love.
Which has no equal
That made me understand
All the goods, all the bads

That gave light to my life
Then turned it off.
Oh what a dark life.
Without your love I will not live.

That's the story of a love

Days of Being Wild - A True Timeless Classic (2)

Days of Being Wild 阿飛正傳

Director: Wong Kar-wai

Cast: Leslie Cheung, Carina Lau, Rebecca Pan, Maggie Cheung

Rating: 90/100

Remembering and forgetting is not only about the love stories and feelings of the characters, but also the history of the city and self identity. The 1960 setting for the story matches with the old songs featured in the films give audience impression of the era back into the past, the characters and the stories give the impression of youth and energy, they are still in the mood for passionate love with vigor and vitality. The film name also reminds us of an old film Rebel Without a Cause (1955), the era with a forever memorable star James Dean and his image similar with Yuddy. The setting also remind people of classic Hong Kong culture, the dance ball and nostalgic old song in the background, the local unique restaurant where the characters go to have lunch/tea, etc.

In the film, memory is explicitly discussed. Yuddy always claimed to be forgetful, evident by the dialogue with So Li-zhen that he forgot how long they met, and his direct mention of forgetfulness in dialogue with Tide. However, we would understand he remembered that particular minute with So Li-zhen at the end of the film. He actually cared but refused to acknowledge it and admit the truth.

When the subject matter is discussed broader in terms of city and homeland, it would reflect the people’s attitude and worries towards Hong Kong’s future. The colonial history would sink to the past and the hangover to China would come. Days of Being Wild is a film shortly after 1989 June 4 massacre and it brings us a question along with Yuddy’s comment at the ending of film: would forgetting actually be better than remembering? Forgetting may set us free but in reality is it possible to erase the memory in our own hands? The director brings us these puzzles and it may never come to full resolution as same story would apply to another set of people and all things would repeat again in the vicious cycle.

The importance of being remembered is also brought to table. So Li-zhen wanted to know if Yuddy remembered the moment, Yuddy’s foster mother would prefer Yuddy to hate her rather to forget her; Tide sighed So Li-zhen might forget him already when they met again. Hence in this way, the society (the city) could never forget, because she is the carrier of all these memories, and she records all these experiences and embraces it into the landscape. The city planning could change entirely and the buildings and houses would collapse or rebuild, this film already help shape the contemporary image of Hong Kong in her colonial period, when days could still be wild.

Search of root is a way to find one’s existing value and realize the self identity. The bird without legs is a legend, yet a cruel truth to Yuddy as well. Yuddy could not settle down at home because he was homeless since birth. The love from mother is the element he would never receive in his life. He did not choose to become the birds without legs, but the light steps following music and the shot showing his back without return already drive to the conclusion that Yuddy could only be flying till the end and the scene that Yuddy walk further and further away from the camera hints the character would die with the knot and never resolve his issue.

Other characters have the home issue more implicitly portrayed. The cop became sailor after his mother’s death, he began to be on the drift after he lost the closest family or home in Hong Kong; So Li-zhen had her real home in Macau and she experienced an inferiority living here when talking to the cop, like she never really belonged to here but Yuddy gave her the sense of belonging. That would possibly explain she would like to have permanent relationship with Yuddy in order to establish the self-identity in Hong Kong. She felt happy when Yuddy agreed to let her live with him while sad when Yuddy seemed uncared of the existence of relationship.

Encounter and miss would be another theme to express. People could not end up together because of wrong timing. Leung finally went to Phillipines and found the apartment, yet Yuddy already died; So Li-zhen finally called the cop, yet he already become a sailor and could not receive the call. People sometimes have chance to meet each other but could not develop further and deeper relationship. The director here uses camera techniques to show their brief encounter would end nowhere, like the cop and So Li-zhen, Leung Fung-ying and Zeb, the shot often focus on only one person in their together scenes. Leung danced in front of Zeb, or Tide waiting for So Li-zhen, the scenes show one person on the upper layer while another on the lower layer. It is another evidence for them not to be together. Furthermore, sometimes the narrow focus would mean the person who the character is talking to only acts as the background, like the scene of So and Tide’s talk about the one minute. So refused to eat Tide’s oranges while Leung refused to take Zeb’s car would be another evidence.

Finally, these love stories are not only occurring in these characters and they would pass along as they are common and all people would be haunted by loving the wrong person or missing the right person. Therefore, the film has allowed a continuity to send us a message about Yuddy’s death would not mean his personality’s death. Chow Mo-wan’s presence would be a metaphor for the society that there are a lot of people like him. In addition, when So opened her mind again and became ready for starting to love again, it has reinitiated the atmosphere for love to enter, meaning hope would continue and the character is still on the ride. Maybe there would be hurt in the journey, however after the event the characters, which resemble you and me, could still stand up and bravely strive for one’s own happiness.

After all, everyone would experience the same struggle and painful memory in different ages of their life, however, to remember or to forget is up to everyone’s free will. Remembering the experience and learning from it would help shape a better handling of relationship in the future while forgetting the feeling would help relieve the emotional burden of your own self.

Days of Being Wild - A True Timeless Classic (1)

Days of Being Wild 阿飛正傳

Director: Wong Kar-wai

Cast: Leslie Cheung, Carina Lau, Rebecca Pan, Maggie Cheung

Rating: 90/100



Days of Being Wild is a film about hope and disappointments, remember and forget, the search of one’s own root, own home, and encounter and miss. Also it talks about the continuation of the journey for love, it is all the same when people are young and it applies to all people despite the generation gap or changes in the society.

Disappointment always emerges after a high expectation is given. Leung finds Yuddy’s house is not special after a long-time expectation, it would mean without the initial expectation, disappointment would be avoided. However people would always live with expectation, especially throughout the whole film. So Li-zhen hopes for marriage with Yuddy, Leung Fung-Ying hopes to be together with Yuddy while Zeb hopes to be with Leung, Yuddy wants to get along with his biological mother and Tide hopes to receive the phone call from So Li-zhen. Everyone has his or her own hopes but finally all of them are disappointed.

A lot of close-up shots are used for the characters when they experience disappointment and loss, like Yuddy’s foster mother had sadness in her face when Yuddy left with the truth of whereabouts of his mother. These shots are usually static and stay for a long time to magnify and emphasize the power and emotional level of disappointment.

There are also a lot of rainy days portraying the characters not satisfied or feeling a significant loss in their lives. So Li-zhen wanted to be together with Yuddy again only to be rejected and the rain poured heavily, the more obvious example would be Zeb drove the car to follow Leung and they both could not get who they loved, it could be resembled by the scene of heavy rain.

Nevertheless, after the rain, all the characters may not immediately recover from the pain, yet they all seem to rediscover their directions of life, they all made their choices which they would take action. So Li-zhen decided to start over, Leung decided to go to Philippines to find Yuddy while Zeb decided to sell the car to help Leung, meaning his decision for abandoning (or hiding) the love for Leung. The rain resembles a period for people to rethink and try to figure ways out of the maze they brought to themselves. The character who has no chance to experience the rain is Yuddy, he continues the journey without landing or stopping at anywhere. He is not going to land even after his death since the train is still heading forward. Therefore, the ultimate disappointment which cannot be recovered is not about the long-lost love between lovers, yet it is about the love devoted to home, to your own blood line.

The film name is actually reflecting days of youngsters and frivolity when young people would freely choose what to do without a price. They would not realize the end of life is coming, and they would try their best to go forward to search for more possibilities. No mentioning of responsibility and moral burdens would keep them move on and on, like the birds without legs said by Yuddy in the film.

The “Cha-cha” dancing in his room earlier already shows Yuddy’s personality which is so relaxing and light with mix of rhythm. “Cha-cha” does not contain the typical “rise and fall” motion and it perfectly matches with birds flying without landing. Furthermore, the panning of camera from left to right over the forest resembles a bird. The plot that Yuddy would not like to be financially supported by Leung would match with the free-flying birds as well. Yuddy’s death in the moving train would perfectly resemble the birds, and he still could not land on the ground when he died.

Another recurring theme in Wong Kar Wai’s films is the motif of time, which is directly referenced in characters’ dialogues, like So Li-zhen and Yuddy built up their relationship by the one-minute to 3 pm while Yuddy and Leung finished establishing their first sexual relation at around 3 am. Yuddy met Tide in the Philippines, and the time was also around 3 am. Both time periods are the same but distinct in terms of day and night. 3 am, or 3 pm, is at the middle of day/night, approaching sunset/sunrise, resembling the period of depravity and disorientation.

The sleepless nights of different characters and the dark cinematography of scenes would be evidence of an intoxicating and restless status of the society and people living in there. Tide and So Li-zhen talked the whole night and later he talked with Yuddy when Yuddy wanted to drink until dawn. The static shot shows that time seem not to pass away so easily at these nights; a lot of establishing shots would be used to capture the features of the city (Hong Kong but not Philipines) which expresses a feeling of loneliness in the characters and time of pain and being alone would not easily leave.

(con'd)

梅艷芳 - 秋天復秋天

詞實在經典
曲一開始已是震撼

恨到盡頭源是愛
追憶往事已只能拾回昔日碎片
時光消逝, 當回頭一望時已是秋天

一闕放逐之歌
愈親的總是愈遠, 愈遠的也就愈親近
只因人珍惜的永遠是過去, 而不是現在

In the Mood for Love - Angkor Wat Finale

In the Mood for Love 花樣年華

Director: Wong Kar Wai

Cast: Tony Leung Chiu-wai , Maggie Cheung

Rating: 75/100

The love story between Chow Mo Wan and Su Li Zhen left deep impacts on both characters and Chow chooses to unleash all his emotions in the remote place Cambodia. This analysis would include an insight for the mise-en-scene in the final sequence.

There are a lot of contrasts shown in the final sequence with the opening to demonstrate the forever loss of ‘blossom period’, like noise versus quiet in Angkor Wat, crowds of people versus nobody, and colorful versus lack of colour. They symbolize the established history would be gone and now comes a new space and hence another different life. Another technique used for audience to understand the lives would no longer stay the same is the change of theme music. “Angkor Wat Theme Finale” is only used once for the final sequence while the whole film features “Yumeji’s Theme”. Moreover, the most important contrast in the sequence compared with the entire film is the angle used is wider and a long shot panning from left to right in Cambodia gives us the whole view while the whole movie is like a pepper and always attempts to hide the whole view and gives audience part of the context only. The free space delivers the message that there is no more hiding and it gives an end to the covert love between two leading characters.

The religious approach in choosing Angkor Wat as the place for Chow to bury the secret is important because the betrayal to marriage from the character is always considered as a sin and cannot be revealed honestly in the entire film. The action for Chow to reveal all his secrets in the hole resembles closely with the confession concept, which includes admission of committing sins in the past. A religious perspective viewed in the sequence is the high angle showing a monk on the upper layer looking down on Chow when he delivered the secret in the hole. It represents that God would always know the secret despite the unawareness of the whole world for the feelings and past experience of the character.

Another important reason for using Angkor Wat is the place shares similarity with the situation in Hong Kong. The political instability in Hong Kong in 1966 closely matches the montage of news clips in Cambodia. Many empty shots show the destructive landscape and the holy place is incomplete. Not only do they represent the broken heart of Chow and his hopelessness, but the shots also give us an idea that the past history of Hong Kong, referring back to the good old days in the film when neighbors are close and friendly, would be frozen in time and always lost with the love story itself. The utter burial of secret is also shown by the detail shot of the hole filled up by wild grass. To conclude, the final sequence tells audience about Chow’s abandoning of the love and it further metaphors the lost history of Hong Kong. The romance would only be celebrated in the past.

麥浚龍 - 弱水三千

真係估唔到

首歌聽dj ver真係無feel
今日一開youtube睇mv
完全唔同感覺

錄音質素甘好既
我個垃圾耳機都聽出超強立體感
成首歌升晒le


utube咋wor, cd ver會係點樣, 再靚d喇叭會係點
建議用耳機聽, 強烈~

希伯來書 13:5
因 為 主 曾 說 、 『 我 總 不 撇 下 你 、 也 不 丟 棄 你 。 』

上帝承諾過的拯救, 祂會記得
在不經意的時候扶你一把, 提醒你祂的偉大

凡 有 耳 的 、 就 應 當 聽 。


在啟示錄中總共出現了七次的經文

有著上帝賜給人間的禮物與恩賜, 就應當聆聽著福音
等待神降臨的恩典

科大電影評論

本人現正主持 科大電影評論

www.sage-saga.org

所有近期影評都已在其網址

另外下周將有其他新環節

LOST best episodes each season and runner-ups

Season 1: Deus Ex Machina (Runner-up: Raised By One Another)

Locke's first story with his evil dad is sad and emotional, the kidney scene is magnificent, dream visions are crazy awesome, Also, the flashing light from the hatch to the sky, the anger from Locke for island/ Anthony Copper's deceptions is truly touching, of course the falling plane for Boone is really moving too

Season 2: Live Together, Die Alone (Runner-up: The Long Con)

LTDA is my favorite of the series and as a start of Desmond's epic romance story, Penny's letter is perfect. Desmond's faith and his destiny crosses the path of 815ers, how Locke save Desmond's life while Desmond restores Locke's faith. The theme is explored deeply. The first appearance of Charles Widmore is finally becoming more and more important as the story progresses. The purple sky and we first get a glimpse of four-toed statue and the strong white light flashes which suddenly becomes main plot in season 5, a lot more things can be praised here.

Season 3: Through the Looking Glass (Runner-up: Man Behind the Curtain)

My favorite season so far contains the most unforgettable finale in the TV history. The shocking flash-forward, the interaction with Jack and Kate, how desperate Jack looks have changed my perception of Jack totally. The start road for Jack to turn from Man of Science to Man of Faith, and the long-beard Jack is the strongest character transformation in the Lost universe, which leaves season 4's downturn road not satisfying enough compared with this. The suicide attempt, drug addiction, drinking habit are beautifully told and clues are left with care. Clever writing and of course Charlie's heroic death is the highlight of the series, if not the finale only.

Season 4: The Constant (Runner-up: The Shape of Things to Come)

Desmond rules again, the 8-year long love story is compelling. Perfect mix of science fiction and character development. How can a person not emotionally involved after this 40 minutes of sweet stuff? Consciousness travel concept is original and fresh, nose-bleeding and constant finding are on scientific basis at the same time dramatic. Great acting, great story, it leaves the finale Des-Pen reunion into thin paper.

Season 5: 316 (Runner-up: Lafleur)

Jack is getting better every season. The way to open his eyes as opening already acts as a unique trademark for LOST, especially with Jack's pupil.
It starts all over again and new mysteries are introduced for setting up future flashbacks, masterful handling of story and shots. Jack and Ben's dialogues are most memorable, like the resurrection of Jesus story, also like how Eloise tells Jack to take a leap of faith. Jack-Locke interaction is always great in LOST, now including Jack talks with dead Locke. The shoe putting scene is hilarious, yet important for Jack to grow more into Locke's side.

幽遊白書

屬於一部史上最愛長篇動畫的深厚情感

幽遊白書

集體回憶,

感動,

反思,

深省,

永在記憶中

動人片段, 震撼場面, 無法忘懷

千言萬語都無法說明對它的愛意敬意

角色之多, 訊息之繁複深遠, 有如川流不息

謹在此留下紀念, 人生中最愛動畫之冠的印記

一切不只是正邪對立的簡單,

每一次的戰鬥, 每一次的堅毅

永不言敗的精神, 享受過程的動力

驚人地展現於一幕幕肉博之中

沒有人知道危險何時降臨身上

沒有人預料到下一秒的事情

活在當下, 珍惜時間生命

學會隨時準備狀態, 勇敢向前到達使命

任務會愈來愈艱巨, 只要同心協力, 肯嘗試肯接受挑戰

撥開烏雲後的藍天會更明亮

經歷陰霾後的大地會更風光

暗黑武術大會每場都心力交瘁, 炸毀戰場後面就是綠草如茵

死去的將復活, 願望會達成的, 就在完成關卡之後

重回人間後的感動重逢, 伏在無憂無慮的海灘嬉戲

世界的美麗, 由大家無畏無懼的精神維持

從沒有動畫留下更精彩的註解, 對於戰鬥的定義

比試, 不為勝利, 不為偉大, 只為求享受

和對手交手的成就感, 高手過招的快感

原來, 戰鬥都是一種恩賜

去格鬥來為自己定下生存意義

生命影響生命, 生命燃燒生命

犠牲自我, 喚醒他人

正如桑原, 不惜拚死給戶愚呂殺害, 為了激勵幽助的潛能

不同篇章的段落, 動人得永誌難忘

所有感情, 不會隨風消逝

每個人物背後的故事, 不一樣的背景,

然而, 同出一轍的感動, 源於愛不止息

戶愚呂弟及幻海, 人生觀不合而分開

兩者各走天涯一方, 方向不同, 然而不曾後悔, 還是沒有機會後悔

因他的執著, 失卻一生深愛, 親手殺死最想保護的人

寂寞到心底的悲哀, 因為徹底了解而分開, 唏噓無奈

三途川橋上, 花葉飄落, 寒雪紛飛, 壯麗的鏡頭

幻海回首望向戶愚呂, 那個定格註定一生經典

溫柔的淚水, 畫面逐漸迷濛…

愛侶早已蒼老, 明白年華總會過去

縱然保持體魄強壯, 外貌依舊, 心境又可否停止成長?

簡單一句, “感謝你多年來的照顧…” 五十年來的心結解開

亦交代了幻海給幽助的勉勵

“你....不是一個人...別忘了...你是為誰而堅強”

感觸不已, 份外感動

一隻無定向的冷血狐狸, 竟然成為母親懷裏的一個小男孩

為了一個人類母親, 甘願放下邪惡身分,

甘願為她不惜一切擺脫過去, 面對從前過錯

藏馬, 沒有弱點的他, 冷靜聰明, 融化了他的心是母愛

漫天花開, 紅花瓣鋪滿大地, 他的種子象徵了希望

另一種一生經典的感動, 名字很簡單: 親情

更多更多經典情節角色不能盡訴,

飛影與軀, 雪菜的冰之淚, 幽助與螢子, 仙水的偏執

「為什麼許多人都忘了自己的生存是犧牲無數的生物而換來，卻不知感恩。」

本來很想寫仙水篇, 太多震驚的道理, 望有緣再續吧

回憶, 綻放於腦海角落裏…