Cinematic Paradiso

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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Rio 2 Review

08:59 | Labels: Movie Reviews

Directed by: Carlos Saldanha

Casts: Jesse Eisenberg, Anne Hatthaway, Jemaine Clement, will.i.am, Jamie Foxx

Genre: Animation, Kids & Family, Comedy

Release Date: 10 April 2014

It's bye-bye city and hello jungle as Blu, Jewel and their 3 kids head out to the Amazon forest in search of their kin thought to be history. Right on their feathery tails is Blu's old nemesis Nigel the cockatoo, with new aides of his own bent on revenge in this colourful sequel to 2011's Rio.

Praises: The second flight with our feathered friends is a frantic fun-filled one, full of toe-tapping musical scores that soothes the ears and gears the excitement. Brazilian beats and tempo echo seamlessly with the mesmerising choreography of dances and singing, offering the perfect remedy for my agonising Monday-blue (ironic huh?).

Many of the adorable characters that I have come to know and love in Rio reunites for the sequel, much to my delight. Jesse Eisenberg's talent effortlessly made Blu charming as always. The bird is fond of everything human and suddenly he's thousands of miles away from civilisation, surrounded by similar feathers he never knew existed and having to pick Brazilian nuts over toasts. His reluctance to embrace anything wild cooks up numerous hilarious moments that are pretty memorable (okay okay, no spoilers).

Jewel (Anne Hatthaway) on the other hand, sheds off her younger, impulsive self for a more calm, matured and family-oriented mother figure to her younglings Carla, Bia and Tiago. Her relationship with Blu is beautifully heartfelt as we see the two dealing with ideas of compromise and growth as the honeymoon is long over. The addition of the little ones made the film more appealing to kids but even as an adult, I simply adore them.

He may not be willing to catch any grenades for anyone but Roberto (it's Bruno-freaking-Mars!) jazzed up the atmosphere with his much confidence and swag. Being the idol of the flock and childhood friend of Jewel, he is considered a rival by the jealous Blu which often led to comedic results.

Nigel may be the star of the stage this time after all for his vocal talent Jemaine Clement turns up to be among the most impressive of the lot. Another noteworthy newcomer to the pool is Nigel's new sidekick/admirer Gabi (Kristin Chenoweth) who's performance gives a touch of musical magic to the film (albeit sadistically).

Of course, it won't be Rio without the dynamic duo Pedro and Nico. Their respective charisma compliments each other flawlessly and though they are less crucial than before, they're still entertaining to watch.

Blu's guardian, Linda (Leslie Mann) is now married to bird enthusiast Tulio (Rodrigo Santoro) and the pair plays a pivotal role in delivering the film's ecological messages: how we should never take the beauty of nature for granted and also on the danger that forest logging brings. These made the story a lot more engaging, as we are introduced to the many beauty and wonders of Amazon throughout. They symbolize the ideal that humans hold the key to either preserve or destroy their Mother Earth.

For those who have watched the film, doesn't the climatic scene reminds you much of Avatar?

Complains: Like most sequels to animation films, Rio 2 attempts to do too much of everything but end up focusing too little on what's important. It does not leave that great of an impact as its predecessor and relies heavily on the casts to maintain much of its charm. There are literally too many conflicts and subplots to digest, causing the narrative to lose its momentum. It's as if everyone is pulling at each other's neck to tell their own story.

To have 2 different sets of villains with their own agenda is a risky move. Not only does it made the plot felt jumpy but also distracting, as the scenes are quickly cut between one another to give room for progression. As if Nigel and the illegal loggers are not enough, we have the feud between the Spix Macaws and Scarlet Macaws. Seriously?

Also, I generally prefer the scores from the first Rio better. They are a lot catchier, the kind that leaves you in holiday mood. I'm not saying the ones in Rio 2 are bad, they just do not cling to me as they should. To add to that, I'm pretty disappointed that Jewel sings way lesser this time around. Anne Hatthaway has such an amazing voice, why let it go to waste?

Rating: 6.2/10
Hit or Miss: Rio 2 is visually beautiful with strong casts to carry the film but suffers from a congested storyline. Still, watching it is a pleasurable experience. Hit.

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Sabotage Review

11:09 | Labels: Movie Reviews

Directed by: David Ayer

Casts: Arnold Schwarzenegger, Sam Worthington, Terrence Howard, Olivia Williams, Mireille Enos

Genre: Action & Adventure, Thriller, Mystery & Suspense

Release Date: 3 April 2014

John "Breacher" Wharton leads an elite DEA task force, busting the world's largest drug cartels and kicking asses. Things begin to go wrong when their $10 million worth of stolen cartel money went missing and one team member after another gets picked off. It's a race against time as Wharton teams up with tough-female detective Caroline Brentwood to nail the perpetrator before he ends up on the chopping block.

Praises: What makes Sabotage even remotely chewable lies within its honest look into the integrity of law enforcers as they climb in and out of hell on earth. To bring down the drug cartels, Breacher and his team constantly has to go undercover and pretend to be the bad guys. Sometimes, people who do that too often found themselves morally lost - the line that separates them from the demons becomes indistinguishable. They see the highs and lows of humanity and forgot which end they belong to. Director David Ayer interprets these with sharp accuracy by utilising a plot that is dark, edgy and gritty, full with unexpected twists of events which effectively propel the film to the class of mystery thriller rather than being just another muscle-bound action flick.

This is perhaps the most interesting and unique role I have seen Arnold Schwarzenegger in since his return to the acting scene. It is nice to see "The Governator" playing a rather complex character with actual depth and story rather than the usual tough, mean-looking stereotypical grunt he always ended up as. Breacher has a compelling history that wasn't made known in the earlier parts of the film but once it does, it's enough to string along empathy from the audiences and gives the film an overall emotional touch.

Majority of the supporting casts offer strong performances and a special shoutout goes to Mireille Enos for her uncompromising take as the drug-addicted Lizzy, the only female crew in the drug-fighting team. Her character held her ground firm amongst the men and was never even close to being intimidated by her male peers. Sam Worthington too shows his diversified acting capabilities as James "Monster" Murray, the brutal yet easily-paranoid husband of Lizzy.

The cinematography employed is somewhat unorthodox yet creative - it brings a new height to the sense of realism in the film. Micro-cameras are carefully installed on the gun barrel to capture the shooting sequences from first-person point of view; this in turn enables the audience to see and feel the same intensity experienced by those wielding the gun.

Complains: The story itself is promising but the execution is poor. It offers audiences a grimmer look into the world of law enforcement but smears it with blood and guts splattered across unnecessarily. The gravity of the plot is seemingly lost in midst of the gore and violence, resulting in a film that is hollow, loud and messy.

The characters are a huge unlikeable lot, except for Breacher. I credit them for being distinct and individualistic but none of them are endearing. Honestly, I couldn't care less on their predicament and they are easily forgettable. The humours are dry and bleak - the film could definitely do well without. All the profanities and sexual insults strewn at each other seems to be without purpose as well.

The last thing I need is Arnold Schwarzenegger trying to be sexy. The Austrian champ is nearing 70 and he isn't even mildly attractive in both physical and demeanour anymore. The actor seem so out of place whenever he churns out flirtatious lines that got me gagging and his chemistry (romance or not) with the relentless Caroline played by Olivia Williams is close to non-existent. Speaking of which, it really upsets me to see Williams playing a tough chick that is so easily subjected sexually. Her character is simply tossed around and manipulated, mentally and sexually that I find her pathetic to watch.

Rating: 4.2/10
Hit or Miss: Sabotage ultimately felt dreadful and tedious, as there seem to be no proper direction that the disjointed narrative is heading. It's great that Arnie undertakes a role that is radically different from his usual stint but he lacks the proper charisma to carry his character well. The film could have been way better but fall short of expectation. Miss.

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Captain America: The Winter Soldier Review

12:23 | Labels: Movie Reviews

Directed by: Anthony and Joe Russo

Casts: Chris Evans, Scarlett Johansson, Sebastian Stan, Robert Redford, Samuel L. Jackson

Genre: Action & Adventure, Science Fiction, Fantasy

Release Date: 27 March 2014

Steve Rogers continues to assist S.H.I.E.L.D. in their espionage missions as Captain America while searching for a sense of belonging in this modern world. When a S.H.I.E.L.D. vessel was hijacked by pirates, Rogers and his fellow Avenger Natasha Romanoff/Black Widow are sent on a hostage-rescue mission - only to uncover a hidden agenda behind it. Things further complicate when Nick Fury, director of S.H.I.E.L.D. becomes the target for assassination by a secret Soviet agent called The Winter Soldier. Captain America soon finds himself in the midst of a malevolent scheme with very few left to trust.

Praises: Superhero films under Marvel have always been a fun ride - from the fantasy realm of Asgard to Iron Man's state-of-the-art home in Malibu. When Captain America: The First Avenger hits the big screen in 2011, it begs to differ in terms of tone and locale. Riding on nostalgia and set in WWII Germany, the film shows promise of darker, edgier and grimmer themes - the same themes fully explored this time around in Captain America - The Winter Soldier.

To quote Tony Stark, "Things have changed since New York." We no longer see Steve Rogers as a young man eager to step up to the bullies (Nazis). We now see a man, thawed from years of slumber in ice, thrown into a modern world he does not recognise and yet managed to save it from an invading god and his army of space aliens. We see a soldier haunted by regret, trying to piece together a life he had missed living and in constant doubt over the integrity of the agency he is serving now. When asked what makes him happy, his answer is "I don't know." Sad, isn't it?

When I think about it, it is Steve Rogers' humility and selflessness that makes the character so dear to me. He wants neither glory nor fame. He is earnest in protecting the country he loves and no tragedy that befalls him can ever shaken his resolve. He has no qualms in throwing his life away to save the innocent and this in turn makes him very vulnerable.

This second instalment puts the Captain on his toughest emotional journey yet and that is what connects the character to the audience. I really feel for the man, the hardships he had to go through to hold upright his beliefs. Connectivity is something the other Marvel films lack, making this one a class of its own. The last time I was able to feel such a connection was with Tobey Maguire's Peter Parker/Spider-man in Spider-Man 2 (and that was one of the greatest superhero films of all time).

Writers Christopher Markus and Stephen McFeely (who previously worked on The First Avenger) has come together to craft a brilliant and sharper script for this sequel, knitting together the events that will culminate in Age of Ultron. The narrative is full of twists and suspense while wittingly delivers the message on the peril of political-illness. The film could almost be considered satirical; from the governmental misuse of state surveillance and personal data down to the notion that in the chaotic world we are living in, the willingness to trade freedom for security is ever-present.

Coming from directing television comedy background, I'm astonished by the swift ability of directors Anthony and Joe Russo in handling a large-scale motion picture such as this. The crisp dialogues are expected but the cinematography amazed me most. It is top-notch, particularly on the action scenes. Trading heavy special effects for more gritty, raw and realistic approach is a bold move Marvel has taken. In fact, it defies the stereotypical bubble that encases the genre yet the result is nothing short of superb. The fight choreographies are the best I have seen amongst Marvel films, bringing a sense of homage to the 70's and 80's action flicks. The set pieces used are extensive and massive, comparable to those in The Avengers.

There is no shortage of strong female characters (by strong I don't just mean physically tough), starting with the multi-facet spy Black Widow. First introduced in Iron Man 2, her character quickly grows into one of the most complex in the franchise; her true emotions and feelings forever difficult to discern. It is nice to see her role being more crucial and better-established here than any of her previous appearances, with nearly as many screen-time as Captain America. S.H.I.E.L.D. agent Maria Hill (Cobie Smulders) returns, albeit for a more minor yet significant role. Her ability to call the orders in the absence of Nick Fury has shed some new light onto the character. Last but not least, newcomer Kate/Agent 13 also proves to be the better agent than most of her male counterparts. Plus, those who adore Peggy Carter would be thrilled to know she is back and still alive (this is about as much as I will say).

Let's not forget the man who successfully unite a band of radically different superheroes to form the Avengers. Nick Fury's role expands beyond that of leading the pack behind the screen - we finally get to see with both our eyes that he is a soldier first, commander second. Fans dying to see Samuel L. Jackson getting down and dirty ala Pup Fiction style won't be disappointed. I am delighted also with some new insights into the past of the one-eye patron, revealing more about the man that kick-start the party in Iron Man.

After the horrible excuse of The Mandarin and the mildly interesting but unimpressive Dark Elves, I'm pleased with the outcome of The Winter Soldier. The costume and grungy make-up illustrates the menace of the assassin for most part but its his void of empathy towards anyone - be it adversaries or bystanders is what gets me tingling. I love the fact that he is able to hold his ground against any foes and his fight sequences with Captain America are the best in hero vs. villain Marvel has yet to offer.

The inclusion of Alexander Pierce, a high-ranking S.H.I.E.L.D. officer cum secondary villain is well-pieced. The character guides audiences to darker secrets of the agency not known previously and is neatly linked to foes of Captain America thought to be long gone. The Winter Soldier is great but like his namesake, he is only a soldier set to kill. Pierce is the necessary devil pulling the strings from the shadows, setting up the stage for the film's epic climax. He is answerable to every betrayal in the story (and trust me, there's A LOT) and his often misleading actions are responsible for most of the surprise elements on-screen. Drafted with central importance to the plot, he completes the circle in making the film truly stand out.

Of course, none of the above would be possible without the balanced and talented casts. Their performances are ingenious in both leading and supporting roles. Chris Evans is astute as the hero out of his time and his on-screen chemistry with Scarlett Johansson gelled smoothly (as they are the closest to a couple you get this time). Newcomer to the universe Anthony Mackie is fun to watch on screen and I wouldn't mind seeing him return in future instalments as the Captain's new-found sidekick Falcon. By the way, Stan Lee has his best cameo-scene to date.

To wrap up the good parts, there are TWO credit scenes - one during the middle, which is probably the best Marvel has churn out as of now (and it's directed by Joss Whedon himself!) and one after. So be sure not to look stupid and walked out immediately when the credits rolled.

Complains: I am not saying this film is free from hiccups. For instance, why couldn't Captain America call on his fellow Avengers for help? In fact, the same applies to any of them when troubles came pouring. I know the Avengers-canon films are meant as solo outings but Marvel needs to cook up a logical reason explaining the absence of the other superheroes, particularly in a shared universe. Which brings up the question: where is Hawkeye anyway? The modern-day Legolas is one of Nick Fury's best agents and when S.H.I.E.L.D. gets compromised, he wasn't even mentioned? C'mon!

As with what happens to films that contain such a large pool of characters, there are bound to be those left underplayed. Steve Rogers finally found a friend capable of understanding the pain in his soul that is wearing him off in Sam Wilson but the poor guy lacks the proper development he deserves. There are just so many potentials with the former paratrooper-turned-superhero and hopefully he gets looked-into extensively in future.

Furthermore, I'm pretty upset with Maria Hill's screen-time being reduced to what little is left. She moves and threads the narrative together but instead I see Brock Rumlow (Frank Grillo), who serves no purpose other than being S.H.I.E.L.D.'s muscleman popping onto screen more than she did.

Rating: 9.3/10

Hit or Miss: To sum it up, Marvel has upped their game big time with Captain America: The Winter Soldier. The actions, dramas and suspense are over the top but even above that, it has got a heart. Hit.

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