Cinematic Paradiso: May 2014

X-Men: Days of Future Past Review

Directed by: Bryan Singer

Casts: Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Patrick Stewart, Ian McKellen, Ellen Page, Peter Dinklage, Nicholas Hoult, Evan Peters, Shawn Ashmore

Genre: Action & Adventure, Science Fiction & Fantasy

Release Date: 22 May 2014

As war machines called the Sentinels lay waste to the race of mutants and any humans who dare assist them, the final remnants of X-Men hatches a plot to rewrite history by sending Wolverine (Hugh Jackman)'s consciousness back to the past, to unite a younger Professor X (James McAvoy) and Magneto (Michael Fassbender) together in a final attempt to save the future.

Praises: Being the most anticipated superhero film of the year, X-Men: Days of Future Past definitely live up to its expectations, much thanks to director Bryan Singer. Having directed the first two film in the franchise before dropping out in favour of Superman Returns (which turns out horrible by the way), we have seen some pretty disastrous mutant outings. X-Men: The Last Stand was fun but clumsy and cluttered. X-Men Origins: Wolverine was so outrageously f*cked up I won't even consider it canon. X-Men: First Class and The Wolverine restored some faith in the series, but weren't quite the spectacle unlike X-Men and X2: X-Men United.

Errk.... errrk..... rawwwrrr

The music playing during the opening credits immediately kicks in a warm nostalgic feeling, a heighten sense of familiarity that this IS a Singer X-film. It takes no time to plunge audiences right into the grim, dystopian future where the world is devastated by the war against mutants; where even humans cower in fear against their own weapon as the Sentinels spare not those who bore genes that could potentially give birth to mutants. We see some epic showdown between several surviving mutants and the killing machines before Wolverine earns himself a time travelling job, thanks to the fact that his brain won't snap in the process. In comes Kitty Pryde (Ellen Page) who's phasing ability allows her to send one's mind back to their younger self.

Charles: Damn I feel short

Back in 1973 (that's 50 years of time-leap!), Wolvie has to convince a beaten-down Charles Xavier and a grudging Erik Lensherr to set aside their bitter rivalry after the events of First Class and work side-by-side to find and stop Raven/Mystique (Jennifer Lawrence) from killing scientist Bolivar Trask (Peter Dinklage), which will inadvertently set in motion a chain of events that will lead to the creation of the Sentinels. While a plot that involves time travelling often or not give birth to confusing paradoxes, DOFP does the opposite: it closes most of the gagging plot holes unwittingly conjured by previous instalments. That feat alone is impressive, furthermore it's achieved utilising a large ensemble cast without complications.

The princess and the hunks

Despite majority of the story taking place in the past, Singer knows well to cater to fans of the original X-crew (not chronologically speaking, of course). Imagine my adrenaline when I see the chilling Bobby a.k.a. Iceman (Shawn Ashmore) in action, the thunderclap accompanying the presence of Storm (Halle Berry) and the magnificent sight of Patrick Stewart and Ian McKellen's version of Professor X and Magneto walking down the aisle. These characters represent the mutants' "real last stand" and Singer makes sure their presence are carried consistently throughout. He knows when to shift in-between time periods to cast a greater urgency for the heroes to complete their quest in '73, as every second ticks by the mutants are one step closer to total elimination. Rest assured, it ain't all retro as newcomers Blink, Sunspot, Warpath and Bishop have also joined the party in the last line of defence. Though they have little dialogues to speak from it's still fun to witness these newbies pit their powers against the relentless Sentinels.

Here, take my love! Voom!

That being said, those who expect DOFP to be an action-packed extravaganza might be disappointed. Cramming the screen with explosive, mindless showcase of mutant powers just isn't Singer's style. Look at the first and best two film of the lot. Are they swarmed with plentiful action? Not really. Just enough to compliment the intense storytelling, without giving out the feeling of "cheap entertainment". The same is done here; to truly appreciate the film one have to breathe in the complexity of the plot, the emotional conflicts between the leads and the resolutions that come thereafter.

I'm betting all my serum you're gonna miss, Erik.

Looking at the ensemble cast, it comes as no surprise that the performance bar in DOFP scaled sky-high. What piqued my interest most is one particular Evan Peters who played Quicksilver, the fastest mutant on the planet. His charisma is perfect in injecting the right dosage of humour into the otherwise serious narrative, to really give that comical vibe superhero films ought to have. I wish he has a more pivotal role to play and he is hands down, the single most fun character to watch in the film.

Just...Look at that face!

Complains: Some minor things are still left unexplained, such as to how Wolverine regained his Adamantium claws back after losing them to a Japanese zombie. They are not the kind that will ruin the story flow if left unchecked but still I prefer them sorted out. Also, more Quicksilver perhaps?

Rating: 9/10

Hit or Miss: I have waited long enough for a X-Men film that delivers. Thank god the wait is over. Hit.

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Godzilla Review

02:18 | Labels: Movie Reviews

Directed by: Gareth Edwards

Casts: Aaron Taylor-Johnson, Elizabeth Olsen, Bryan Cranston, Ken Watanabe

Genre: Mystery & Suspense, Science Fiction & Fantasy

Release Date: 15 May 2014

Godzilla is Hollywood's second attempt to bring the behemoth to the big screen after the 1998 disastrous adaptation of the famed Japanese franchise. As humanity stand helpless in the wake of monstrous forces of nature, their only hope of salvation may lie on the largest and most powerful of them all.

Praises: With over two dozens of Godzilla films in Japan and one horrid remake in '98, it's rather fair to ask: why do another one? What kind of story will it tell that could possibly be any different than before? Of course, when it comes to studio execs, it's all about profits. As bad as it is, Roland Emerich's version garnered well over $300 million, so why not right? Even if it means trampling all over a much beloved cultural icon and making it into a form of mindless, cheap entertainment.

Thankfully, we have Gareth Edwards in the director's chair, a genius who previously helmed the brilliant Monsters in 2010. He goes on to show that with the right directing, the right script and the right cast, he can turn even the cheesiest film to a masterpiece. And he did just that.

The story begins with a black and white montage of nuclear testing in the '40s and '50s, which actually turns out to be a highly classified operation to destroy Godzilla. Speeding forward to 1999, a massive radioactive fossil was discovered in the Philippines by scientists Dr. Ichiro and Viviene, played by Ken Watanabe and Sally Hawkins respectively. Around the same time, a mysterious earthquake destroys a nuclear power plant in Janjira, Japan and claimed many lives, including the wife of engineer Joe Brody (Bryan Cranston). That effectively turn Janjira into a "ghost town" overnight, with all its citizens evacuated under the premise of "radioactive hazard".

Unconvinced that the earthquake was a natural occurrence, Joe spent the next 15 years seeking the truth, inadvertently straining his relationship with his son Ford (Aaron Taylor-Johnson) who intends to move on with life. Of course, when it comes to government conspiracies no one believed him, including Ford who ended up joining the military and having a family of his own. Reluctantly he travels to Japan to bail Joe out of prison when he went beyond limit in his investigation, only to discover that all the wacko theories conjured by his estranged father may not be total bull after all.

So now you ask: what's so good about all this? And where's Godzilla? My answer is it's good because Gareth Edwards took his time to build up enough anticipation, drama and tension leading to the beast's grand appearance, making its entry more appetizing than ever. This also means the giant lizard won't be roaring until a good later portion of the film, which is fine by me. By doing so, there's ample time to immerse in the characters' individual conflicts, to absorb their emotional pain well enough to care for them.

Why give this darker, grimmer retelling of a 30-storey reptile a shot? Is it worth your money? In all modesty, yes. Reason for that is because Edwards defy viewers' expectations. Many walked into the cinema with a mental prediction on how the plot will play out - it's a monster film after all. Having indulged in Hollywood treats for years, it comes as no surprise we tend to know when the "big revelation" will come by. For some, they expect to see 2 hours worth of monster mega brawl simply because it's fun. Edwards clearly understands and he makes sure the trailers feed the eager audiences exactly these, only to subvert their expectations once the film starts rolling.

Confused viewers will then start whispering to one another: It's 30 minutes in. I still don't see Godzilla. Edwards is a genius at roping in the excitement to see the "king" rising with all its glory and magnificence, so much that the very sight of Godzilla's massive hind spikes surfacing itself is cheer-worthy. The whole build-up is a wonderful experience for me; contrary to popular claims I don't share the same sentiment that Godzilla had too little screen-time. He got just what he needed, nothing more and definitely nothing less.

We often see an array of rookie or B-list actors in monster films but evidently Edwards has no intention to let poor casting ruined his work of art. Bryan Cranston is an outstanding choice, his performance and screen-presence add gravitas to his character's tragic tale. Aaron Taylor-Johnson did marginally well, though a little more emotion on that handsome face wouldn't hurt. I really like Elizabeth Olsen in this, who played Ford's spouse Elle. It's good to see her stepped into a more matured role that of a wife and mother, a change from her previous common ones.

If you grew up in the 80's or 90's, chances are you're an avid fan of gargantuous kaiju and mecha face-off, and the reason why 2013's Pacific Rim was a pleasant fan service. Godzilla sets out to reinvigorate that passion by giving us one hell of a kaiju battle royale fans of the franchise have been dying to see. The climatic clash is a spectacle to behold, the amount of awesome-juice oozing out surpasses that of even Pacific Rim's. I won't give out spoilers but I assure you classic Godzilla devotees will applaud in glee when they see what it can do with its mouth apart from chomping, of course.

Complains: Nothing much to pick on, really, except that everyone's got a story of their own, except the "boss" of the show. Overturning expectations is great, but it has to be done with conscious subtlety in mind. I love how Edwards hold back in unleashing the big guy, but when Godzilla finally stomped the earth the awestruck can only last so long before I begin to ponder: what's his deal? What's his story, his reason for crashing the party? His awakening raises many questions, mostly unanswered.

Also, Ken Watanabe's talents could be put to much better use in the narrative. He happens to be "the scientist on board", there to give unappreciated side commentaries that got ignored for most part of the film. An actor of such calibre should never be played a decorative, with his charisma a proper character arc would have given the overall story greater depth. Aaron Taylor-Johnson answered his call okay, but his character, being the lead and all, didn't quite have a lasting impression on me.

Sushi for you, sir?

Rating: 7.5/10
Hit or Miss: A vastly improved reboot with fantastic CGI and plot treatment, Godzilla is a welcome addition to the franchise, setting a whole new benchmark for future monster films to come. Hit.

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The Amazing Spider-Man 2: Rise of Electro Review

01:59 | Labels: Movie Reviews

Directed by: Marc Webb

Casts: Andrew Garfield, Emma Stone, Jamie Foxx, Dane DeHaan, Sally Field

Genre: Action & Adventure, Drama, Science Fiction & Fantasy

Release Date: 1 May 2014

Peter Parker (Garfield) begins to enjoy his life as Spider-Man: swinging by skyscrapers, busting asses and kissing Gwen Stacy (Stone). However, he is also aware of the looming threat that being a web-slinger brings him and those close to him. While his uncertainties (and a now broken promise) haunt him and strain his relationship with Gwen, schizophrenic Oscorp electrical engineer Max Dillon (Foxx) landed himself on a tank full of genetically altered electric eels and was "reborn" as Electro. As if the high-voltage danger is not enough, his childhood best friend Harry Osborn (DeHaan) returns to his life, which is a cause for celebration until he decides to go green.

Praises: After months of heavy-duty marketing and promotional campaigns, am I excited for the new Spidey-sequel? Yes. Did the news that there will be three villains instead of one scared me? Well, after what happened to Sam Raimi's Spider-Man 3, yes. With a wary heart and mind, I braced myself for either a genius pull-off or a messy clusterfuck. End result? Neither.

Everything you pictured Spidey to be - an ass-kicking vigilante, a cocky-suave joker, a hero, a romantic - it's all there. Peter Parker's swift transition of personalities each time he's on and off the suit is what makes the Andrew Garfield's version charming. He did it in The Amazing Spider-Man and he did it again a whole lot better here. I still love Tobey Maguire's rendition but the new Pete is slowly earning a firm spot in me.

The narrative, while being jumbled up, did get one thing straight - the genuine goodness of Peter Parker despite his tragic past that made him the friendly neighbour to New Yorkers. It's kinda similar to how Marvel Studios did their Captain America. His act of selflessness in spite of all the pain he goes through daily is heart-warming and certainly made me care a whole lot for the character. Like Steve Rogers, he isn't about being the perfect hero or person. He is flawed in many ways just like every other ordinary people. The audience is able to identify and relate to him that way, and how he chose to uphold the responsibilities that come with his power - that's what makes him a symbol of hope.

You sir, need a hair treatment.

Clearly, the Garfield-Stone pair up ousted Maguire-Dunst on so many levels. Their chemistry is way off the charts; though both are couple in real-life it still takes a lot of talents to appear inseparable on screen. Spidey promised Gwen's father seconds before his death that he would stay away from his daughter to keep her safe, yet their love for each other proves to be too powerful a magnet to defy. The guilt arose from there formed heart-wrenching romantic hurdles for the two and the plot could have made better use of that. But no, in between Peter has to deal with a mentally twisted son, dig deeper into his daddy's work and avoid getting zapped. Pfft.

All. My. Feels.

What I really love about Gwen Stacy is how much of a strong character she is. Compared to Dunst's Mary Jane, she is brave, intelligent, level-headed, strong-willed and holds her ground even in face of a zillion bolt of electricity. She has this powerful presence that can never be overlooked and though not bitten by any radioactive bug, she is quite a superhero.

Who doesn't want a girl that's better in science than you?

Needless to say, the rest of the casts are solid in performance. Dane DeHaan's take on a deranged Osborn descendant is astounding and undoubtedly the actor has got a path of strong career ahead of him. Though I don't sit well with the way his character was written, DeHaan actually makes it okay. Now that's something, considering the fact that Harry was shrunk down to just being another plot tool.

Inner feral unleashed!

If you're looking for a good blend of action and humour then I guarantee you won't be disappointed. I had some good laughs; kudos to the writers for keeping up with the spirit of its comic origin. Visual wise I got to say it's the best one yet in the franchise. The battle scenes involving Electro are just breathtakingly gorgeous, a feast for graphic-junkies. They're exactly how I imagined a fight between him and the wall-crawler should be and I'm utterly pleased. Oh the dubstep that plays in the background? Totally awesome.

Can't touch me! Dum dum.... dum dum dum!

Complains: Sadly, Marc Webb and the writers got too ambitious. Perhaps they thought they could succeed where Raimi fails, obviously ignorant of the fact that you can't have a plethora of good baddies without the ample room to first develop them individually. Each has a story of their own to tell and none of it seems cohesive with one another. The inconsistent pacing and tone are jarring; at one point it's all funny, next it's dead serious and then it gets emotional. We don't get to stay in one long enough to register our thoughts and after an hour or so it just gets too tedious to catch up.

So Pete, do you think I look good in green?

Like I mentioned earlier, I wasn't happy with Harry's role in this sequel. Not only that it is ridiculously underserved, but also the fact that his friendship with Peter feels empty. They haven't met in eight years, their initial reunion was full of awkward conversations and the two doesn't seem to give off that best-friend-vibe, even after a game of skipping stones. So was it a tragedy when Harry turns rogue on Peter? I don't quite think so. They barely knew each other already; maybe if they're given more time to re-establish what they had then the outcome would be different.

You're hideous in green, Harry!

Once you exit the cinema, ask yourself this: does Electro even need to be in this film? Much like Sandman in Spider-Man 3, he holds no significance in the story other than being the muscle for a larger malice. You did think that as the central antagonist, his character would be better fleshed out. Try taking Max Dillon off the equation and what do you get? Still the same nifty tale of a crime-fighter college freshman seeking to make things right with his sweetheart and long-lost buddy, all while unravelling the mystery surrounding his father. No matter how you look at it, Electro is a case of misplaced villain, an oddball that don't synergize well with other aspects of the narrative. Further character continuity and development for Electro would be nice, also with perhaps more insight to the reason behind his mental state and behavior. There's only so much that Jamie Foxx could do to impress.

I. AM. SPAARRRRRRRKLEEEEEES.

Fan of the ending, I am not. Such choppy execution is intolerable; the very notion that it seems hurried to bridge the film towards sequels featuring the Sinister Six not only deprived it of a satisfying conclusion but also paving in several plot holes. I would prefer the denouement to be a poignant reminder of the sacrifices Peter has to make, with proper resolution in coming instalments. And don't get me started on that Rhino...

Damn you Sony... damn you.

Rating: 7.3/10
Hit or Miss: Marginally better than the first, I enjoyed The Amazing Spider-Man 2: Rise of Electro for all it's worth - a fun movie to catch after a hard day's work or over the weekend. But to call it amazing is too far-fetched of a thought. Hit.

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Transcendence Review

03:43 | Labels: Movie Reviews

Directed by: Wally Pfister

Casts: Johnny Depp, Rebecca Hall, Paul Bettany, Kate Mara, Morgan Freeman, Cillian Murphy

Genre: Science-Fiction, Drama

Release Date: 17 April 2014

Humanity are only a shy step away from the biggest breakthrough in A.I. technology and on the lead are Dr. Will Caster (Depp), his wife Evelyn (Hall) and partner Max Waters (Bettany). However, not everyone shares their enthusiasm as it is in human's nature to fear what they do not understand. The symbol of that fear is RIFT - a group of radical terrorists bend on stopping the technological advancement of A.I. research through mass assassination of the leading scientists. Falling victim to radioactive poisoning, Dr. Will's days are numbered and the only way to save him is to upload his mind and consciousness to a supercomputer that the trio had worked on earlier.

Praises: Reviews for Transcendence have been less than warm and that makes me rather sceptical in stepping into the cinema and catch this film. But seeing that Johnny Depp is in it and genius cinematographer Wally Pfister (Inception, anyone?) is on the director's chair for the first time, I decided to give it a try with relatively low expectation. Thankfully for that, I walked out the cinema rather satisfied.

If you're into a sci-fi flick with drama and emotional impact, then this might just be your cup of tea. Transcendence encompasses a great deal of heart-souring moments in its narrative as we see a wife dealing with mental distress and trauma when her husband is nothing more than a screen projection (though a very SkyNET-ish one, I kid you not). Do not let the huge Johnny Depp poster fool you - this is Evelyn Caster's story, told from her eyes and perspectives.

What I find fascinating is the reversal of gender roles. Typically, the male scientists get to do most of the techy-stuffs and many a time, save the day. Here, however, it's the exact opposite. As Dr. Will resign himself to death, his wife refuses to give up and pulls together every resources available to preserve what's left of him. Now that's something quite amazing.

The applications of nano technology, both formative and destructive, are well spread out and bound to fascinate tech-junkies all over. It plays on the concept of the actions a man would take once given the power to change the world in his image, to protect the one he loves and how easy all of that could cost one to lose one's identity, especially if that power comes in the form of internet dominance. It also raises thoughts on human's simultaneous fear and reliance on science and offer glimpses of future reality in our world that is to come.

Transcendence remains a visual flair, though Pfister is not behind the camera his style and influence is conspicuous. It cleverly nods at the need for balance between science and nature - in almost every scene where technological presence is strong there will be several elements of nature surrounding it. An artistic brilliance, I reckon. The soundtracks' pretty cool too, interestingly very Hans Zimmer-like at times.

Just look at that mixture of earth and metal beautifully captivated in just one scene!

The casts are pretty much well-rounded, with very strong performances from Rebecca Hall and Paul Bettany. Johnny Depp has quite little screen-time but his monotonous appearance (strange as it is) befits a man who's consciousness was seamed with the capacity of a supercomputer. And of course, there's Morgan "God" Freeman.

Complains: What this film suffers from is a tedious script. The writing incorporates too many side plots without properly resolve them, leaving many tinges of dissatisfaction. The pacing is uneven and lack of cohesiveness. A good script sells you even the most ridiculous story, a bad one hammers even the genius of ideas. What I'm impressed, really, is how the casts moved suavely around a derisory script.

Kate Mara and Cillian Murphy, who I know are capable of so much more are less than noteworthy here. Of course, it's not the them to blame as much as the script and the way their characters are written.

Transcendence aims to call out familiar concerns at a more current and realistic scale by bringing in emotional conflicts that everyday-people like you and me encounter, yet the lacklustre script affects that attempt like a virus, making the outcome appallingly shallow.

Rating: 7/10
Hit or Miss: I enjoyed the film more than I think I would so yah, it's a Hit.

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X-Men: Days of Future Past Review

Godzilla Review

The Amazing Spider-Man 2: Rise of Electro Review

Transcendence Review