Complete Synopsis: http://www.imdb.com/title/tt1441326/
I'm tempted to give Martha Marcy May Marlene a higher rating than it deserves for what it could have been, not for what it is. It boasts two young talents who are showing tons of potential - director Sean Durkin and lead actress Elizabeth Olsen; Olsen's performance is subtle and effective, and Durkin's directorial work creates a strong sense of atmosphere, which is aided by the superb cinematography of Jody Lee Lipes (who also had very little prior experience in feature length films). It's a film that looks and sounds great, but unfortunately it doesn't mesh into a satisfying experience.
It's probably because there's so much potential and so much to explore, and so little of it is actually brought to fruition, that I left the film with a bitter taste of a missed opportunity. The cult, for example, is fascinating, seductive and nightmarish, and John Hawkes delivers outstandingly, but on closer inspection it looks like a perfectly generic hippie cult of the classic Manson prototype, and we get no hints of what their philosophy actually is, or about the personalities of any of the members. The same goes for the relationship between Martha, her sister and her brother in law, and most of all the ending, which suggests some very interesting subjects which the rest of the movie doesn't really explore.
To be clear: I don't object to open endings or films that leave a lot of information out to allow viewer interpretation, but in this case I felt it was done as a cover up for lack of decision on Durkin's part - a flawed script that doesn't really feel complete. I'll definitely check out his work in the future, but this film isn't quite there yet.
Kid Friendly: No
Bad Ass Factor: No
Date Friendly: Yes
Overall Rating: 2.50 out of 5 stars
Wednesday, August 1, 2012
The Sitter
Complete Synopsis: http://www.imdb.com/title/tt1366344
'The Sitter' turned out to be a sort of amalgamation between 'The Pacifier' and 'Are We There Yet?' but certainly less child friendly. Though, the mix was disappointingly devoid of even half a laugh.
Jonah Hill returns in the shy but foul mouthed, jock aspiring comedic role that launched him to stardom in 'Superbad' where he is very much at home, but the script failed him miserably. As a matter of fact, the script failed the movie completely, the gags weren't all that original or even funny for that matter and the characters even less so to the extent that you ask yourself, what was the point? It tried the teen sex comedy angle which didn't work, it played the family comedy card at times which didn't work and then tried to salvage the whole thing with some 'heartfelt' themes which ended up really thrown in for the heck of it. Needless to say, that didn't work either.
We're yet to see a one man show from Jonah Hill, he seems to work better in conjunction with other cast, oftentimes in a supporting role, and revolving a film around him alone was an unprofitable punt from director David Gordon Green.
With barely anything remotely humorous and a meaningless plot, 'The Sitter' sat purposeless.
Kid Friendly: No
Bad Ass Factor: No
Date Friendly: Yes
Overall Rating: 1.50 out of 5 stars
'The Sitter' turned out to be a sort of amalgamation between 'The Pacifier' and 'Are We There Yet?' but certainly less child friendly. Though, the mix was disappointingly devoid of even half a laugh.
Jonah Hill returns in the shy but foul mouthed, jock aspiring comedic role that launched him to stardom in 'Superbad' where he is very much at home, but the script failed him miserably. As a matter of fact, the script failed the movie completely, the gags weren't all that original or even funny for that matter and the characters even less so to the extent that you ask yourself, what was the point? It tried the teen sex comedy angle which didn't work, it played the family comedy card at times which didn't work and then tried to salvage the whole thing with some 'heartfelt' themes which ended up really thrown in for the heck of it. Needless to say, that didn't work either.
We're yet to see a one man show from Jonah Hill, he seems to work better in conjunction with other cast, oftentimes in a supporting role, and revolving a film around him alone was an unprofitable punt from director David Gordon Green.
With barely anything remotely humorous and a meaningless plot, 'The Sitter' sat purposeless.
Kid Friendly: No
Bad Ass Factor: No
Date Friendly: Yes
Overall Rating: 1.50 out of 5 stars
Batman: The Dark Knight Rises
Complete Synopsis: http://www.imdb.com/title/tt1345836
Christopher Nolan has finished up the Batman series in remarkable style. Where Batman Begins was about conquering fears and the Dark Knight was about traversing the fine line between order and madness; the Dark Knight Rises seems to be a movie about compromise and acceptance.
It has been eight years since the death of Harvey Dent and Gotham has settled down into some semblance of peace. The main instigators of this crime-free age, however, have many scars for their trouble. Bruce Wayne ( Christian Bale ) is a reclusive cripple- with shot knees and scar tissue riddling his body. Commissioner Gordon ( Gary Oldman ) has found his career is now burdened by the lie that he and Batman wove to keep Harvey Dent's reputation spotless- so much so that he is separated from his family. Alfred ( Michael Caine ) despairs about Bruce Wayne's welfare- fearing that his master wants little more than a grand death. And Lucius Fox ( Morgan Freeman ) is attempting to stave Wayne Enterprises from bankruptcy thanks to all the money that Wayne has invested into Miranda Tate's ( newcomer Marion Cotillard ) renewable energy source.
However a new threat emerges in the guise of Bane ( Tom Hardy )- a massive masked mercenary who has a connection to Batman's past. He claims to want a new Gotham where the 'have-nots' can rule over the 'haves' and bring true justice to the rich and corrupt. Alongside him is Selina Kyle ( Anne Hathaway ) a cat burglar who motives are enigmatic at best. It is therefore up to the old guard as well as idealistic cop John Blake ( Joseph Gordon-Levitt ) to try and hold Gotham together.
Nolan has gone for bigger is better in his third movie of the trilogy and it certainly comes off as an sweeping, epic movie. Christian Bale probably gives his best performance as Bruce Wayne and Batman and the scenes he has with Caine's Alfred are particularly moving. Morgan Freeman and Gary Oldman are both very good also- with the scenes between Oldman and Gordon-Levitt ( probably the best of the newcomers ) nice to watch.
But as good as the film is...it doesn't really seem to cover much more new ground. This isn't really helped by their choice of villain. Hardy does a good job as Bane, but he isn't helped by his breathing mask which makes him, at times, hard to understand. Furthermore, while Bane is shown to be dangerous, Nolan seems to be forcing the viewer to show how dangerous he is. Without the personal and affable menace of Neeson's Ra's Al Ghul or the twisted and frightening charisma of Ledger's Joker, Bane's most menacing moments come before the real action kicks off. Furthermore, it's difficult to see why anyone would want to follow him- utopia or not.
As for Catwoman, Hathaway is very good in the role, but her character seems to be frustrating at times- seeming to just sit on the fence for the heck of it. Cotilliard's Miranda Tate is a fairly bland character that doesn't add much to the proceedings either.
Furthermore, while the movie is indeed epic in scope, it sometimes gets lost in its own arcs in a way that the Dark Knight never did. The twists and turns that would have been seen as remarkable in the Dark Knight in this movie came across as almost unnecessary.
Begins was a tight film that revolved around a single plot arc and holds together well. The Dark Knight was the true noir epic- a sweeping tale about morality and order in a insane city. The Dark Knight Rises is a flawed masterpiece- it's achievements not quite living up to the ambitions that it perhaps had. However, any Batman movie directed by Christopher Nolan is probably a good one. This is no exception.
Kid Friendly: No
Bad Ass Factor: Yes
Date Friendly: Yes
Overall Rating: 3.75 out of 5 stars
Christopher Nolan has finished up the Batman series in remarkable style. Where Batman Begins was about conquering fears and the Dark Knight was about traversing the fine line between order and madness; the Dark Knight Rises seems to be a movie about compromise and acceptance.
It has been eight years since the death of Harvey Dent and Gotham has settled down into some semblance of peace. The main instigators of this crime-free age, however, have many scars for their trouble. Bruce Wayne ( Christian Bale ) is a reclusive cripple- with shot knees and scar tissue riddling his body. Commissioner Gordon ( Gary Oldman ) has found his career is now burdened by the lie that he and Batman wove to keep Harvey Dent's reputation spotless- so much so that he is separated from his family. Alfred ( Michael Caine ) despairs about Bruce Wayne's welfare- fearing that his master wants little more than a grand death. And Lucius Fox ( Morgan Freeman ) is attempting to stave Wayne Enterprises from bankruptcy thanks to all the money that Wayne has invested into Miranda Tate's ( newcomer Marion Cotillard ) renewable energy source.
However a new threat emerges in the guise of Bane ( Tom Hardy )- a massive masked mercenary who has a connection to Batman's past. He claims to want a new Gotham where the 'have-nots' can rule over the 'haves' and bring true justice to the rich and corrupt. Alongside him is Selina Kyle ( Anne Hathaway ) a cat burglar who motives are enigmatic at best. It is therefore up to the old guard as well as idealistic cop John Blake ( Joseph Gordon-Levitt ) to try and hold Gotham together.
Nolan has gone for bigger is better in his third movie of the trilogy and it certainly comes off as an sweeping, epic movie. Christian Bale probably gives his best performance as Bruce Wayne and Batman and the scenes he has with Caine's Alfred are particularly moving. Morgan Freeman and Gary Oldman are both very good also- with the scenes between Oldman and Gordon-Levitt ( probably the best of the newcomers ) nice to watch.
But as good as the film is...it doesn't really seem to cover much more new ground. This isn't really helped by their choice of villain. Hardy does a good job as Bane, but he isn't helped by his breathing mask which makes him, at times, hard to understand. Furthermore, while Bane is shown to be dangerous, Nolan seems to be forcing the viewer to show how dangerous he is. Without the personal and affable menace of Neeson's Ra's Al Ghul or the twisted and frightening charisma of Ledger's Joker, Bane's most menacing moments come before the real action kicks off. Furthermore, it's difficult to see why anyone would want to follow him- utopia or not.
As for Catwoman, Hathaway is very good in the role, but her character seems to be frustrating at times- seeming to just sit on the fence for the heck of it. Cotilliard's Miranda Tate is a fairly bland character that doesn't add much to the proceedings either.
Furthermore, while the movie is indeed epic in scope, it sometimes gets lost in its own arcs in a way that the Dark Knight never did. The twists and turns that would have been seen as remarkable in the Dark Knight in this movie came across as almost unnecessary.
Begins was a tight film that revolved around a single plot arc and holds together well. The Dark Knight was the true noir epic- a sweeping tale about morality and order in a insane city. The Dark Knight Rises is a flawed masterpiece- it's achievements not quite living up to the ambitions that it perhaps had. However, any Batman movie directed by Christopher Nolan is probably a good one. This is no exception.
Kid Friendly: No
Bad Ass Factor: Yes
Date Friendly: Yes
Overall Rating: 3.75 out of 5 stars
TED
Complete Synopsis: http://www.imdb.com/title/tt1637725
Fans of MacFarlane and "Family Guy" will be the first to tell you that the comedy pioneer has been more cold than hot lately (I guess those manatees in the tank of idea balls have been worked too hard). It's not easy to keep scoring laughs using the same non-sequitur formula over and over again, but fortunately "Ted" is a more comically cohesive effort than you'd ever expect from the king of unexpected random jabs, references and political incorrectness.
If you haven't been curious enough to find out what the film is about already, "Ted" tells the story of how young John Bennett (who grows up to be Mark Wahlberg), who had trouble fitting in as a kid, made a wish on Christmas Day for his teddy bear to come to life. His wish comes true and Ted becomes world famous, even appearing on the Johnny Carson Show. But as Patrick Stewart lovingly and frankly reminds us in his role as narrator: like Corey Feldman and Frankie Muniz, eventually, people stop giving a ****.
Despite a serious relationship of four years with Lori (Mila Kunis), nearly middle-aged John is still ripping bongs and watching '80s "Flash Gordon" with his equally irresponsible teddy bear best friend. Eventually, John must start to make sacrifices if he wants to become the adult that Lori wants him to be, and Ted is arguably the chief reason for his inability to shape up.
There aren't exactly any curveballs in this story, but that's when you realize you're watching a film in which a man is trying to stop hanging out with his profane teddy bear. Despite the obvious outcomes, "Ted" has to be considered an original comedy.
It's also consistently funny. Sure, the nature of many of the jokes is that they exist in a vacuum and aren't necessarily related to what's going on or what matters, but much of the references actually tie into the plot later on (such as Flash Gordon ... it'll make sense when you see it) and it's far less random than skeptics will come in expecting. That said, some of its best jokes and references will resonate on a personal level, i.e. if you watch this with a group of people, you're bound to laugh really hard at times when they don't and vice-versa.
The only thing that feels a little out of place is a subplot involving Giovanni Ribisi as a creepy single father who has been a longtime admirer of Ted's and inquires about purchasing him for his overweight son. You've never seen Ribisi like this and that alone is amusing, but the focus of the film is on how John and Ted's mischief impacts his ability to grow up and get more serious with Lori, and this sort of butts into things.
Yet for all its shenanigans, the amount of heart and sincerity in some of the relationship drama between John and Lori is surprising. Wahlberg and Kunis are generally pretty convincing, even if it's a bit weird that John is mature enough to have a relationship last four years but not enough to not screw things up at his job or avoid giving in to Ted's peer pressure. (Bear pressure?)
The secret weapon is that Ted really is kind of adorable, and the mo-cap gives him an extra lifelike quality. The film hits some emotional notes early (who can't identify with loving a stuffed animal?) and this helps it to reconnect later on despite all the R-rated chaos in between. That ability alone assures "Ted" will be seen as better than a majority of foul- mouthed, dirty-minded comedies.
"Ridiculous" comes to mind as the best descriptor for "Ted," which one has to imagine MacFarlane aimed for in the first place. His performance as the titular bear is certainly reminiscent of Peter Griffin (there's a wink to the audience about that, by the way), but more importantly, Ted is treated as more than just an opportunity for a never-ending string of jokes that are simply funnier because "it's a teddy bear."
Maybe having to create a complete package in the form of a movie has helped MacFarlane learn how to tone down his shtick. Audiences will write you off if you deliver them something inconsistent and scatter-brained that goes beyond 30 inconsequential minutes of their lives, and MacFarlane and co-writers Alec Sulkin and Wellesley Wild make the majority of adjustments needed to honor that notion. "Ted" is as engaging as it is clever, funny and ridiculous.
Kid Friendly: No
Bad Ass Factor: Yes
Date Friendly: Yes
Overall Rating: 3.75 out of 5 stars
Fans of MacFarlane and "Family Guy" will be the first to tell you that the comedy pioneer has been more cold than hot lately (I guess those manatees in the tank of idea balls have been worked too hard). It's not easy to keep scoring laughs using the same non-sequitur formula over and over again, but fortunately "Ted" is a more comically cohesive effort than you'd ever expect from the king of unexpected random jabs, references and political incorrectness.
If you haven't been curious enough to find out what the film is about already, "Ted" tells the story of how young John Bennett (who grows up to be Mark Wahlberg), who had trouble fitting in as a kid, made a wish on Christmas Day for his teddy bear to come to life. His wish comes true and Ted becomes world famous, even appearing on the Johnny Carson Show. But as Patrick Stewart lovingly and frankly reminds us in his role as narrator: like Corey Feldman and Frankie Muniz, eventually, people stop giving a ****.
Despite a serious relationship of four years with Lori (Mila Kunis), nearly middle-aged John is still ripping bongs and watching '80s "Flash Gordon" with his equally irresponsible teddy bear best friend. Eventually, John must start to make sacrifices if he wants to become the adult that Lori wants him to be, and Ted is arguably the chief reason for his inability to shape up.
There aren't exactly any curveballs in this story, but that's when you realize you're watching a film in which a man is trying to stop hanging out with his profane teddy bear. Despite the obvious outcomes, "Ted" has to be considered an original comedy.
It's also consistently funny. Sure, the nature of many of the jokes is that they exist in a vacuum and aren't necessarily related to what's going on or what matters, but much of the references actually tie into the plot later on (such as Flash Gordon ... it'll make sense when you see it) and it's far less random than skeptics will come in expecting. That said, some of its best jokes and references will resonate on a personal level, i.e. if you watch this with a group of people, you're bound to laugh really hard at times when they don't and vice-versa.
The only thing that feels a little out of place is a subplot involving Giovanni Ribisi as a creepy single father who has been a longtime admirer of Ted's and inquires about purchasing him for his overweight son. You've never seen Ribisi like this and that alone is amusing, but the focus of the film is on how John and Ted's mischief impacts his ability to grow up and get more serious with Lori, and this sort of butts into things.
Yet for all its shenanigans, the amount of heart and sincerity in some of the relationship drama between John and Lori is surprising. Wahlberg and Kunis are generally pretty convincing, even if it's a bit weird that John is mature enough to have a relationship last four years but not enough to not screw things up at his job or avoid giving in to Ted's peer pressure. (Bear pressure?)
The secret weapon is that Ted really is kind of adorable, and the mo-cap gives him an extra lifelike quality. The film hits some emotional notes early (who can't identify with loving a stuffed animal?) and this helps it to reconnect later on despite all the R-rated chaos in between. That ability alone assures "Ted" will be seen as better than a majority of foul- mouthed, dirty-minded comedies.
"Ridiculous" comes to mind as the best descriptor for "Ted," which one has to imagine MacFarlane aimed for in the first place. His performance as the titular bear is certainly reminiscent of Peter Griffin (there's a wink to the audience about that, by the way), but more importantly, Ted is treated as more than just an opportunity for a never-ending string of jokes that are simply funnier because "it's a teddy bear."
Maybe having to create a complete package in the form of a movie has helped MacFarlane learn how to tone down his shtick. Audiences will write you off if you deliver them something inconsistent and scatter-brained that goes beyond 30 inconsequential minutes of their lives, and MacFarlane and co-writers Alec Sulkin and Wellesley Wild make the majority of adjustments needed to honor that notion. "Ted" is as engaging as it is clever, funny and ridiculous.
Kid Friendly: No
Bad Ass Factor: Yes
Date Friendly: Yes
Overall Rating: 3.75 out of 5 stars
Monday, July 16, 2012
That's My Boy
Complete Synopsis: http://www.imdb.com/title/tt1232200
That's My Boy is content with being a belligerent vulgarian comedy that it is willing to concoct any setup, any one-liner, or any character as long as it's on par with its irredeemable crude standard. It's first fatal flaw is that it erects so many raunchy situations that it completely undermines the characters that are involved in them, which is the whole reason we laugh. We laugh not at the situations themselves, but how these characters react to them. But this is only the icing on the cake of disgust.
Such topics covered in the film are teacher-student molestation, strippers, poor parenting, child abuse, browbeating the less fortunate, incest, and many more. Only Sandler would take such heartless and degrading topics and throw them all into a film where no wit, soul, or morals can be found. They are employed with such carelessness and such a disregard for humanity that it becomes utterly revolting. The only laughs to be found come from, not a main character, but one that shows up at the end of the film (something you should expect from a Happy Madison picture). He is Abdoulaye N'gom, who was also in the Sandler produced Grandma's Boy. How come somebody didn't think to put him as one of the side characters? The story can be summed up in fragmented words such as lazy, overwritten, camaraderie, inconsiderate, offensive, demeaning, and mean-spirited, but let's focus on the plot itself. It starts out on the ever-so bright note of teacher-student molestation, where young nitwit teenager Donny Berger is happily seduced by his teacher, Miss Mary McGarricle in a closet. It results in an unexpected pregnancy, where Miss McGarricle goes to prison, and their baby is left with the teenage Donny, who can barely take care of himself, let alone another child.
Donny names the kid "Han Solo Berger," and at eighteen, the kid becomes estranged from his parents, telling people they died in an explosion, changes his name to "Todd Peterson," and begins a new life. Donny (Sandler) went on to live off a six figure deal to sell his story to a Television show, and carelessly blew all the money, forgetting that he needed to pay taxes on the earnings. Donny now owes the IRS $43,000, and winds up striking a $50,000 deal with a filthy reality show executive to get him, Todd, and his mother (currently in prison) to do a reunion event on camera. It's scummy and outlandishly selfish.
Todd is Andy Samberg, who is stunned to see Donny show up uninvited and quickly tells his wife's family that he is a close friend of his, and this leads to some contrived shouting matches between the two as to how Donny was the worst parent ever. This is true. It's a too little, too late effort, but Donny decides it's time to make nice with Todd, so he stays at their house during the wedding to reconnect with his son, while trying to conceal the fact that he's only there for money.
This is yet another Sandler film I like to dub an "anti-character" study. First off, there is hardly a likable character in the film, except for Todd, who is just a poor man's version of a neurotic success story. The character Donny comes equipped with Sandler's most horrendous accent since his character in The Waterboy, and this could very well be Sandler's worst film in years (I have not seen Jack and Jill). It aims to go for the baddest of laughs, but due to the lack of discipline, plausibility in the writing (why isn't the baby given to child services?), and the removal of heart in its material, it's a middle finger to morals and an ode to chaotic, mean-spirited circumstances.
That's My Boy inhabits a world of such cruelty to almost everyone involved. The males are incompetent caricatures, motivated by ego and greed, the women are no better than the size of their breasts and buttocks, shown in a misogynistic light almost saying that women exist to either show off parts of their body or to be ditzy, foul-mouthed bimbos, and every middle-age side character is shown as an amoral horn-dog, both men and women alike. Remember Big Daddy? One of the few Adam Sandler films sort of slanted and aimed more for children? It involved a louse who is stuck raising an illegitimate kid for his best friend. You could sort of label That's My Boy the raunchy sequel to Big Daddy, an explain it extracted the heart and sentiment out of it. But saying that would give the film more purpose than it's entitled to. It's a loathsome, painfully unfunny affront to comedy.
Kid Friendly: No
Bad Ass Factor: None
Date Friendly: Yes
Overall Rating: 1.75 out of 5 stars
That's My Boy is content with being a belligerent vulgarian comedy that it is willing to concoct any setup, any one-liner, or any character as long as it's on par with its irredeemable crude standard. It's first fatal flaw is that it erects so many raunchy situations that it completely undermines the characters that are involved in them, which is the whole reason we laugh. We laugh not at the situations themselves, but how these characters react to them. But this is only the icing on the cake of disgust.
Such topics covered in the film are teacher-student molestation, strippers, poor parenting, child abuse, browbeating the less fortunate, incest, and many more. Only Sandler would take such heartless and degrading topics and throw them all into a film where no wit, soul, or morals can be found. They are employed with such carelessness and such a disregard for humanity that it becomes utterly revolting. The only laughs to be found come from, not a main character, but one that shows up at the end of the film (something you should expect from a Happy Madison picture). He is Abdoulaye N'gom, who was also in the Sandler produced Grandma's Boy. How come somebody didn't think to put him as one of the side characters? The story can be summed up in fragmented words such as lazy, overwritten, camaraderie, inconsiderate, offensive, demeaning, and mean-spirited, but let's focus on the plot itself. It starts out on the ever-so bright note of teacher-student molestation, where young nitwit teenager Donny Berger is happily seduced by his teacher, Miss Mary McGarricle in a closet. It results in an unexpected pregnancy, where Miss McGarricle goes to prison, and their baby is left with the teenage Donny, who can barely take care of himself, let alone another child.
Donny names the kid "Han Solo Berger," and at eighteen, the kid becomes estranged from his parents, telling people they died in an explosion, changes his name to "Todd Peterson," and begins a new life. Donny (Sandler) went on to live off a six figure deal to sell his story to a Television show, and carelessly blew all the money, forgetting that he needed to pay taxes on the earnings. Donny now owes the IRS $43,000, and winds up striking a $50,000 deal with a filthy reality show executive to get him, Todd, and his mother (currently in prison) to do a reunion event on camera. It's scummy and outlandishly selfish.
Todd is Andy Samberg, who is stunned to see Donny show up uninvited and quickly tells his wife's family that he is a close friend of his, and this leads to some contrived shouting matches between the two as to how Donny was the worst parent ever. This is true. It's a too little, too late effort, but Donny decides it's time to make nice with Todd, so he stays at their house during the wedding to reconnect with his son, while trying to conceal the fact that he's only there for money.
This is yet another Sandler film I like to dub an "anti-character" study. First off, there is hardly a likable character in the film, except for Todd, who is just a poor man's version of a neurotic success story. The character Donny comes equipped with Sandler's most horrendous accent since his character in The Waterboy, and this could very well be Sandler's worst film in years (I have not seen Jack and Jill). It aims to go for the baddest of laughs, but due to the lack of discipline, plausibility in the writing (why isn't the baby given to child services?), and the removal of heart in its material, it's a middle finger to morals and an ode to chaotic, mean-spirited circumstances.
That's My Boy inhabits a world of such cruelty to almost everyone involved. The males are incompetent caricatures, motivated by ego and greed, the women are no better than the size of their breasts and buttocks, shown in a misogynistic light almost saying that women exist to either show off parts of their body or to be ditzy, foul-mouthed bimbos, and every middle-age side character is shown as an amoral horn-dog, both men and women alike. Remember Big Daddy? One of the few Adam Sandler films sort of slanted and aimed more for children? It involved a louse who is stuck raising an illegitimate kid for his best friend. You could sort of label That's My Boy the raunchy sequel to Big Daddy, an explain it extracted the heart and sentiment out of it. But saying that would give the film more purpose than it's entitled to. It's a loathsome, painfully unfunny affront to comedy.
Kid Friendly: No
Bad Ass Factor: None
Date Friendly: Yes
Overall Rating: 1.75 out of 5 stars
Saturday, July 14, 2012
Prometheus
Complete Synopsis: http://www.imdb.com/title/tt1446714/
Prometheus puts you on the edge of your seat from its first scene, where we see a humanoid looking alien creature disintegrating into nature of planet earth, and thereby its DNA starts off the chain-reactions that inevitably lead up with the creation of the man kind. And then it swiftly jumps into the future to introduce our characters and keeps building on that mystery in a perfectly paced manner, and there is so much mystery in the air that you feel it in your stomach. Add to that the overwhelming art design, scenery and VFX of the film, and the straight to the bone performances by our the cast, and especially, Michael Fassbender as "David", which is by far the most established and interesting character and the most outstanding performance in the film.
That being said, Prometheus is far from being perfect, as it was after all, a movie designed (and edited) more as a "summer block buster" than than a movie to tangle with your intellect. Just as soon as our team reaches their destination planet to uncover the truth about our creators, you start feeling the film maker loosing his grip over the film to the studio execs, the film starts jumping off from one story element to the other with no warning, paying little-to-no attention to details to the point that you cannot not notice it anymore, and the pace starts picking up so quickly that it leads to a no-more than a standard Hollywood ending :(
The film tone changes noticeably right about the third act, from the focused, mysterious character-driven plot, to something that is random, broad and grand in scale and does not give enough attention to its character's stories, most events start serving as plot devices (with more gaps between them than solid grounds) to an ending that looks to be decided by the studio board. Oh and I almost forgot, throwing in 3-D into that blend and in a movie that has a rather-dark color pallet just to sell tickets with a higher price was, as always, more annoying than anything else.
There definitely will be a director's cut release that will give us a more settled version and give the franchise fans much more of what they deserve, but this is a review of the theatrical release, and I have to say, in the end, as good as it is, was rather disappointing.
Kid Friendly: No
Bad Ass Factor: Yes
Date Friendly: Yes
Overall Rating: 3.75 out of 5 stars
Prometheus puts you on the edge of your seat from its first scene, where we see a humanoid looking alien creature disintegrating into nature of planet earth, and thereby its DNA starts off the chain-reactions that inevitably lead up with the creation of the man kind. And then it swiftly jumps into the future to introduce our characters and keeps building on that mystery in a perfectly paced manner, and there is so much mystery in the air that you feel it in your stomach. Add to that the overwhelming art design, scenery and VFX of the film, and the straight to the bone performances by our the cast, and especially, Michael Fassbender as "David", which is by far the most established and interesting character and the most outstanding performance in the film.
That being said, Prometheus is far from being perfect, as it was after all, a movie designed (and edited) more as a "summer block buster" than than a movie to tangle with your intellect. Just as soon as our team reaches their destination planet to uncover the truth about our creators, you start feeling the film maker loosing his grip over the film to the studio execs, the film starts jumping off from one story element to the other with no warning, paying little-to-no attention to details to the point that you cannot not notice it anymore, and the pace starts picking up so quickly that it leads to a no-more than a standard Hollywood ending :(
The film tone changes noticeably right about the third act, from the focused, mysterious character-driven plot, to something that is random, broad and grand in scale and does not give enough attention to its character's stories, most events start serving as plot devices (with more gaps between them than solid grounds) to an ending that looks to be decided by the studio board. Oh and I almost forgot, throwing in 3-D into that blend and in a movie that has a rather-dark color pallet just to sell tickets with a higher price was, as always, more annoying than anything else.
There definitely will be a director's cut release that will give us a more settled version and give the franchise fans much more of what they deserve, but this is a review of the theatrical release, and I have to say, in the end, as good as it is, was rather disappointing.
Kid Friendly: No
Bad Ass Factor: Yes
Date Friendly: Yes
Overall Rating: 3.75 out of 5 stars
Amazing Spider Man
Complete Synopsis: http://www.imdb.com/title/tt0948470/
The Amazing Spider-Man's origin story is undoubtedly an improvement on Raimi's Spider-Man, a decade prior. The characterisation is a lot more realistic, which makes it easier for the audience to feel Parker's teenage pain, awkwardness and ultimate escapism when he dons the guise of Spider-Man. Emma Stone's Gwen Stacey is also a welcome replacement for Mary-Jane, who's sole purpose in Raimi's films was either to moan or scream. Stacey by contrast, is an intelligent character in her own right, who doesn't shy away from getting her hands dirty when Spider- Man's in trouble. Rhys Ifans portrayal of Curt Connors has the same Jekyllian vulnerability seen in Mark Ruffallo's Bruce Banner earlier this year, although his motives are distorted somewhat as the film progresses.
However, such interesting character development unfortunately does not hold together perfectly with the action. Of course, Spider-Man is foremost a movie that has to entertain; yet the cocky web-slinging CGI hero seems too unlike Garfield's brooding Peter Parker. The quality of the special effects is largely inconsistent, with POV scenes of Spider- Man diving around the city impressing greatly, whilst his actual battles with The Lizard are considerably less ambitious. The weighty retelling of Parker's familiar back-story also means that during the dénouement several large plot points, which could have expanded the action, are left undeveloped – and so the ending is a little too simple and unsatisfactory.
Webb has successfully addressed the new demand for superhero movies to be deeper and more human; yet he is not a director adept at providing big-budget action to an audience in the same way as Joss Whedon or Christopher Nolan. The Amazing Spider-Man is therefore the sum of two films, a satisfactory coming-of-age movie and an unchallenging action film. Unfortunately, Webb is not strong enough to convincingly hold the two together.
Kid Friendly: Yes
Bad Ass Factor: None
Date Friendly: Yes
Overall Rating: 3 out of 5 stars
The Amazing Spider-Man's origin story is undoubtedly an improvement on Raimi's Spider-Man, a decade prior. The characterisation is a lot more realistic, which makes it easier for the audience to feel Parker's teenage pain, awkwardness and ultimate escapism when he dons the guise of Spider-Man. Emma Stone's Gwen Stacey is also a welcome replacement for Mary-Jane, who's sole purpose in Raimi's films was either to moan or scream. Stacey by contrast, is an intelligent character in her own right, who doesn't shy away from getting her hands dirty when Spider- Man's in trouble. Rhys Ifans portrayal of Curt Connors has the same Jekyllian vulnerability seen in Mark Ruffallo's Bruce Banner earlier this year, although his motives are distorted somewhat as the film progresses.
However, such interesting character development unfortunately does not hold together perfectly with the action. Of course, Spider-Man is foremost a movie that has to entertain; yet the cocky web-slinging CGI hero seems too unlike Garfield's brooding Peter Parker. The quality of the special effects is largely inconsistent, with POV scenes of Spider- Man diving around the city impressing greatly, whilst his actual battles with The Lizard are considerably less ambitious. The weighty retelling of Parker's familiar back-story also means that during the dénouement several large plot points, which could have expanded the action, are left undeveloped – and so the ending is a little too simple and unsatisfactory.
Webb has successfully addressed the new demand for superhero movies to be deeper and more human; yet he is not a director adept at providing big-budget action to an audience in the same way as Joss Whedon or Christopher Nolan. The Amazing Spider-Man is therefore the sum of two films, a satisfactory coming-of-age movie and an unchallenging action film. Unfortunately, Webb is not strong enough to convincingly hold the two together.
Kid Friendly: Yes
Bad Ass Factor: None
Date Friendly: Yes
Overall Rating: 3 out of 5 stars
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