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joanna carlos
joanna carlos I HAVE followed the Twilight saga for a thousand years, so there is nothing to be afraid of, I won’t succumb to falling flat on my face (or have it twisted and then the bloody remains torched) and giving a review that is safe or charted, which is something others would do, or not pay homage to a quintessential ending, which was rounded just right. Before entering the cinema, I had time to gauge what kind of a Twilight follower I was, and then stopped. This happened because I had the rush of watching another film in the pinilakang tabing, Breaking Dawn: Part Two and undergoing the atmosphere of a darkened seating area and the sounds of persons who don't look like they could read much less afford the series (yes, I have always been elitist) afforded me the opinion that I have always been on the upper hand, so I let the emotions cascade against me and then move me. I knew the film industry was peopled with trustworthy talents; I kicked back and let it surround me, when ever had a movie disappoint one? (Does that ever occur, the pressure, perhaps, would have consummated into a success story.)

I had heard a block mate call the Twilight saga "crap" and it impressed me that she had a narrative behind her allegations, perhaps she read frequently betwixt that young adult market and had reason for comparison, or perhaps she had judged so because she was, and it appeared to me two years ago, a seasoned literary critic. I was always on the side of what I believe is true, morally abiding; I accepted her criticism with an upturning of an outer lip which betrayed that, yes, there was an untapped, sublime thatness that I connect with Twilight, an itness, that cast it like a four-starred constellation upon the great stories of our generation, and that given the sense of time, I would have given a more overt review, both in that memory and in my opinion of Breaking Dawn: Part Two.

The privilege of ownership of a quality, be it only singly, of anything that would perpetuate the rather illusion of godliness, an unearthly immortal beauty or a vapid intelligence is something that is noticed second-degree. You see only the kingly movement and the slight gait in the walk, peer closer and you would see that this disdain is disdain against what is weak. I often associate class with power, with privilege, watching the film made me feel odd, knowing that this time I'd be with a company of wolves instead of vampires. The successful film franchise could very well afford the two-cinema showing (watch it at any time, it is effective any way), the various shots and stills of forest life and overhead camera work which were placed cleverly enough but gave the visual portion a muddied appeal.

How do I think of Breaking Dawn: Part Two in its entirety? The plotline effects a modern epic, and because its storyline doesn't involve a ruse between the leading romantic protagonists, the film's strength built on creativity in every conceivable opportunity. The way new characters are introduced, the veritable Italianizing, the involvement in stead of all the elements. Personal moments between vampires and werewolves were milked for screen time, the look of the film was predictable enough, muted colors for fall and winter, outfits a betrayal of personality and even role-play (Charlie, Isabella's father). There was an agreeable cast of different races, cultural tribes. It was apocalypse and for so heartrending a reason.

It is a heartbreaking film. Watch it because it was sublime, the way the scene in the snow-capped mountain was sublime, or even moreso, the pristine battlecry when action implodes, which was, indeed, a moment of such effusive, rousing power. This is not sustainable, though, and shouldn't be, but for the mere existence of that moment in Breaking Dawn: Part Two, I decided that expectations were surpassed. The main problem represented by Renesmee was tempered appropriately, she could be an allegory, but this will develop as the final curtains of the love story "that has captured the hearts and minds of a generation" comes to a close, and given the faith to the novels by Stephenie Meyer, Breaking Dawn: Part Two delivers the way it should. The audience is to yearn as the saga ends, and did they? Those strangers in a now lighted cinema leave looking like they hadn’t known whether they'd seen a vampire or a werewolf.*

[About the author. Joanna Carlos considers herself Kapampangan, having grown up in an atmosphere in which the dialect was distributed freely among locals and expatriates here and abroad; thereby she ingested it like the smell of dying sampaguitas, the sound of cicadas by moonlight, and the sight of lanterns, ablaze in the sun, that decorate the city. She is dedicated and compassionate, and is interested in many things. After leaving the KSA, she has then immersed herself in the folkloric society of Pampanga. Joan is kindhearted and generous. Yet she has her pet peeves, her Lilith moments, so don't be a "cold-hearted capitalist" and irritate her, because even then you wouldn't realize who you are up against. Her writing was honed throughout the years and so has she. Joanna, then, is an amalgam of the child and the present, accepting, just..]

-Posted: 8:00 AM 12/12/12 | More of this author on eK!