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Tuesday, May 25, 2010

"Letters to Juliet"

'Juliet' is simply lovely. It has all the romantic elements of a true love that endures through time.  

Amanda Seyfried, fresh off her lead role in "Dear John," is ever-effervescent with the girl-next door look. A fact-checker with the New Yorker and an aspiring writer, Sophie travels to Verona, the city of love, with her self-absorbed fiancé, Victor (Gael Bernal Garcia) on a "pre-honeymoon"/business trip where he's there to meet with suppliers for his new restaurant. Watching the interactions between the two, I had a hard time imagining what made them a couple in the first place. They have nothing in common and live on a separate page.

While sightseeing, Sophie arrives at Juliet's courtyard (a real tourist attraction) where women (and men) leave love letters. The "secretaries of Juliet" open the letters and answers them on behalf of 'Juliet.' Curiosity gets the better of Sophie when she stumbles upon an old letter hidden in one of the wall crevices. She joins the ladies and feels compelled to answer the letter. She ends up meeting the woman who wrote it... 50 years ago, Claire (Vanessa Redgrave). Claire was torn after leaving her first love behind, Lorenzo, and going back home to London to be married to another in order to avoid the disapproval of her parents.

The letter arrives at Claire's family home. Upon reading a thought-provoking response, with her grandson in tow, Charlie (Chirstopher Egan), Claire rushes to Verona on a quest to find her Lorenzo. And so the adventure of love begins. Even after the location parameter is established, there are multiple dozens of men bearing the name Lorenzo Bartolini. There are some humorous scenes where the men seem to be quite taken by Claire's charm and warmth. The lush landscape of the Italian wine country bathing in sunlight is a natural canvas for a romance. It reminds me of another movie "Under the Tuscan Sun" starring Diane Lane.

After an encounter with a tombstone of Lorenzo, hope is fading fast. Maybe this is crazy after all. Could this be her Lorenzo? And if not, what if he didn't remember Claire? What if he's gravely ill? Or what about a wife who might possibly fly off the handle? What if...

After an emotional blowout between Sophie and Charlie in that graveyard, the trio are turning around to leave when Claire spots a young boy working in the farm with a connection to the princely owner of the vineyard, Lorenzo Bartolini (Franco Nero, Redgrave's real-life husband). Her long-lost love, Lorenzo. A seemingly chance encounter leads to the reunion of the century. Can fate be evaded? Can destiny be denied? Can soulmates reunite against all odds? The eyes, whom some say are windows to the soul, reveal the genuine connection and depth of emotions. It will warm your heart and make you believe that when something is meant to be, it will be, at the time that is deemed "right." And interestingly, in real life, Redgrave and Nero had on and off relationships for many years before they were finally married several years ago.

In the meantime, friendship grows between Sophie and Charlie. Initially "hating" each other, something's blossoming during this road trip. As stuck-up Charlie as he seems in the beginning, they both connect through sincere interest and appreciation for one another and deeper connection through the loss on the family end. While the chemistry doesn't hold a candle to the older couple, it's cute enough.

This is one of those stories, while predictable, it's a journey worth traveling. And the destination is a beautiful ending.

DVD: http://tinyurl.com/2aa7czd

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Monday, May 24, 2010

"Iron Man 2"

It's out of this world ROCKED!!! 

"I.privatize.world peace" sums it all.

The novelty of "Iron Man" hasn't worn off on me. While it would never be the same as witnessing the first scene of Iron Man soaring into space and the joy of the trial and error, Iron Man is still the only one of its kind that is as grounded in future reality as it could be.

Tony Stark is one of the rare exceptions of being a publicly known superhero. And possessing the traits of a superhero, he does not. Robert Downey Jr. doesn't disappoint in the sequel wherein the world knows him not only as the billionaire weapon manufacturer extraordinaire, but more pivotally as The Man in armored suit.

RDJ is the brain, heart and soul of Iron Man. It makes me wonder whether the script was written to be specifically tailored to him. Bold and brash, he's got that smug and swagger that commands the world over. Naturally narcissistic and sarcastic, oversized just doesn't cover it as far as his ego goes. Never known for subtleties, his flashy style and fast-paced lifestyle suits him just fine - even in his quest to discover the new energy source since the arc-core machine that keeps his heart beating is also slowly poisoning his blood.

RDJ's personality carries every single scene that he's in. Numerous outrageously riotous one-liners bring on continuous giggles and laugh out-louds. Be it frivolous or witty or sarcastic, Stark goes toe-to-toe with the newly minted CEO of Stark Industries aka love-interest Pepper Pots, newly appointed eye-candy secretary with an ulterior motive aka Black Widow, Hammer the competitor with an ambitiously ambiguous agenda, or Nick Fury from yes, the upcoming Avengers team (sidenote: the geeks in us would notice Captain America's shield and Thor's hammer). Everyone seems to have so much fun and it shows. I don't recall ever laughing so hard for so long in a non-comedic movie!

And Whiplash... what an entrance! I totally didn't expect the Monaco mayhem to happen early. With connected past through their fathers, he's a worthy adversary. The Grand Prix thrill of the peril where Whiplash faces off with Stark sans suit is the stealer of the movie (and the manner in which Stark ends up donning his suit is a real treat), even more so than the last sequence of dash, smash and blast of the battle of the war machines in the end. Although the mass zig-zag laser cut or the armed superobots is the incredible icing on the metal. If there's a "flaw" in all these, Don Cheadle as war machine is too flawless to be believable. Not anyone clad in the suit is "Iron Man."

One might argue that this "Iron Man" lacks heart, but I tend to think that it's just as it's supposed to be. "Iron Man" doesn't take itself seriously; it's a nonstop joyride starring a wisecracked eccentric, atypical superhero, and it deftly delivers.

DVD:  http://tinyurl.com/2vmrzbp

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Saturday, May 22, 2010

"How to Train Your Dragon"

Two wings up for 'Dragon'! All those hi-speed flying, soaring, fighting, frolicking, rumbling, tumbling, spinning, rolling, crashing in 3-D up, into, down, through, over the skies, clouds, mountains, forests, lakes, rocks, caves are huge adrenaline rush - you'd almost forget that it's kiddie animation! And the gentle gliding part is dreamy. The "species" of the dragons are distinctive with their own quirks. Definitely worth seeing - and you'd better see it at the theater!

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"Shutter Island"

I went back and forth before finally deciding to go for it since I heard it was "scary." The ever-supreme team of Scorsese and DiCaprio swayed me in. I thought that it should be more than "jump in the dark" kind of thing, right? And it's certainly not the kind of throat-slashing gory since it isn't classified as "horror."  

Ah, was I thrilled! Scorsese scores again... It's ingeniously jaw-dropping, inventive, provocative filled with mystery, intrigue and psychological terror (emphasis on *psychological*). And psychological terror can actually be more terrifying.

While the first half is rather slow-moving during its suspense-building where some tortured-thought scenes tend to drag on or seem excessive, the last third shocks and awes. It makes your hair stand and question which one is the 'real' deal and what to believe. Where does the hallucinations start and end?

The story expounds the profound power of the human mind. The setting, score, lighting, ambiance collectively sets a bone-chilling tone, but ultimately it's the story that seizes. Pay attention to the hints.

THIS is the kind of film that is made for mature audience - AND *messes* with your mind. "Shutter Island" shatters my expectations.

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"Leap Year"

Light, bright, delightful. It's sweet and provides just the right amount of sugar rush.  

Amy Adams is what I call a "consummate charm," who also happens to be stylishly fabulous here. Even during low moments, she comes across as cute as a doll, never haughty. Along the way, she learns that while she's got what she wants as far as life plans go, it may not necessarily be what she needs. She and Matthew Goode are absolutely adorable together. And the spectacular scenery of Irish countryside doesn't hurt. Evergreen as far as eyes could see.

Sure, it's rife with cliches and ridiculousness. But the storyline, while predictable (which romcom isn't?), is filled with misadventures and mishaps, draws guffaws out loud. Seriously, this one is a riot! Nothing deep, but its serendipity nature is uplifting for those of us who believe that life is full of surprises and somehow it works out the way it's supposed to be.

I was grinning from ear to ear and all smiles. And, guess what, the audience was clapping when the credit rolls!

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"The Road"

An anti-thesis of "2012," "The Road" is an intimate, harsh portrait of a post-apocalyptic survival. It zooms at a microscopic level of a gut-wrenching family relationship in a bleak and blighted world without civilization. A world where the forecast is always outcast and barren with ruins. A world of starvation and savagery where decency and compassion is lost. Yet as the father and son tediously travels through this trechearous path, they learn that there's still a sliver of humanity left. Make no mistake about it, it is a *hard* film to watch, to say the least. But I do recommend it for a change from the typical CGI-filled doomsday disaster flicks.  

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Monday, May 17, 2010

"The Box"

Incredibly intriguing premise; push the button of a box given as a 'gift,' one gets a million dollar... and a stranger that you don't know dies. It deals with "What would you do? moral dilemma. Of course, by pushing the button, they suffer personal consequences. Unfortunately, the intrigue stops at the premise. While it is suspenseful, it looks superficially scary.  Throughout and in the end, a huge letdown due to disconnected scenes and unexplainable chains of events (such a dreadful disappointment from 'Donnie Darko's Richard Kelly).  

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Sunday, May 16, 2010

"Up in the Air"

Smart, engaging, witty. Dialogue-intensive, it's sharply written with elements of compassion and empathy with a great dose of reality and human implications, and humor that hit on the right notes.  

George Clooney, a suave corporate downsizer, plays that single bachelor, peripatetic lifestyle to the hilt with charm and wit. As he takes to the skies, crisscrosses the country, and lives off of his suitcase, he meets his match, Vera Farmiga's character who's every bit his equal. Non-committal, secretive, alluring, intelligent, successful and sophisticated. The spark is off the charts. Oftentimes it felt more like battle of the sexes.

The other supporting character, Anna Kendrick, an astute, impassionate young woman just graduating from college has a certain naivety but is evenly comparable and matches Clooney line by line with ease and sass on the firing line. She delivers even the most cringe-inducing lines with a straight face and so competently.  

The use of real people and real stories of getting pink-slipped in this economy is a wise move and although hits too close to home. The ending is just right. It doesn't get tidily tied with a big red bow; like most things these days, it is... up in air.

DVD: http://tinyurl.com/2f6evu6

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"Sherlock Holmes"


A story of mystery, adventure and sorcery against the backdrop of cold damp London, Robert Downey Jr. certainly presents a different kind of "Sherlock Holmes." A cerebral character known for his intellect, his play of intellectual games and wit certainly do not disappoint. Clever rebuttals aside, this Holmes is also a buff action hero of sort. Blessed with ultra-sensitive senses and quick on his feet, and with the help of an equally mad, loyal sidekick Jude Law (who BTW, have terrific chemistry with RDJ) and feisty femme fatale Rachel McAdams, Holmes is deeper than smokescreens and mirrors. Don't let the illusion of black magic and wizardry fool you, all the dots are connected in the end. With slow beginning, it picks up momentum during the last third all the way to a rousing finish.  
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Saturday, May 15, 2010

"Avatar"

Absolutely astounding fantasy extravaganza. I was entirely immersed in this lush vortex of lively colors filled with floating mountains, living forests, glowing plants, thundering waterfalls, nimble beasts, flying dragon-birds, indigenous unicorns and Na'vis with bows and arrows. 

Never before seen such photo-realistic, life-like CGIs. Simply put, we're finally there... Arguably the most celebrated, avant-garde director of our times, James Cameron really did it! Visionary and brilliant, he broke through the motion-capture tech frontier and breathes life into these tall, lithe, sparkly blue horse-cat like creatures with expressive faces and gracefully fluid movements. One of my most favorite scenes was the initiation of the young hunter into adulthood through flying navigation lessons. I felt like soaring and steering along.

Dazzling spectacles aside, the core story has emotional and spiritual connections between the characters and nature. The blazing guns and bombs and robotic machines come charging signify the intense destruction of the planet, and the struggle to preserve and protect its existence and longevity. The war of the two worlds, a hybrid of computer animation and live action, can feel a little laborious at times, but the cartoonish villain captain provides the needed relief. And "Avatar" is not just a technically stunning sci-fi, it also has an underlying love story with real human moments. You'll understand when it gets to "I.see.you" scene closer to the end.

All in all, I was immensely amazed and amused, "Avatar" is magical.

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"2012"


Absolutely delivers on an epic scale! You know beforehand that you're going for the special effects. If you enjoyed world destructions in apocalyptic movies "Independence Day," "Day After Tomorrow," you'll surely enjoy this one. Roland Emmerich is "The Master of Disaster", hands down.

Calamity and chaos abound.  The ways the grounds crack apart by massive earthquakes, open up and swallow everything in part and whole, the land mass carrying the cities that shift and slide into sea, the volcanoes that erupt and shoots of fire boiling terrains into molten lava, the tidal waves of tsunamis drowning the earth, the nations' landmarks and monuments tumble and crumble, the avalanche of smoke and ash that flood the air, people by the millions hang on for dear life and plunge to their deaths, the arks to house and preserve the last of humanity... all look gigantic, realistic and scary. I was blown away and had goose bumps watching all these unfold.

Sure, the "plot" and lines are implausible and cheesy (no way the heroes can outrun so many global catastrophes and dodge fallen buildings, cars, train - you name it - in the nick of time every single time, right? Who cares!)

Leave your logic outside, grab a bucket of popcorn and soda, enjoy the roller-coaster ride. This one is not only tons of fun; it's also breathtaking and gripping at the same time. Who knew the end of the world could be so entertaining!

DVD: http://tinyurl.com/2bjcncp
DVD: http://tinyurl.com/26ukejd (blu-ray)

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"Law Abiding Citizen"

'Citizen' is morbidly, sickly, gruesomely entertaining. It's rare in movies when you're rooting for the bad guy. In this case, the "hero" (an unsympathetic one at that) could be deemed the villain as well.

And the villain's acts, of course, are not sustainable and justifiably ended eventually. But what bothers me though is the beliveability factor to pull off one asanine assasination after another. I understand that suspension of disbelief is a must, but not when it goes far beyond the borders of plausibility (something to do with the prison cell).

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"Coco avant Chanel" & "Amelia"

"Coco avant Chanel" and "Amelia" are both mediocre. There are certain films that come with high expectations, such as "Coco avant Chanel" and "Amelia." Unfortunately, both are mediocre. These are larger than life figures, which should have translated into epic stories. But they're just... flat. The stories are almost running laterally, instead of having distinctive beginning, middle, ending, with dramatic apexes and valleys.  

Fame and glam, lush landscapes and costumes, decadent estates are enjoyable to look at, but not enough, as well as having the main actresses who resemble their real-life counterparts. In 'Chanel,' Audrrey Tautou looks the part, an aristocratic beauty with regal poise and understated elegance. In 'Amelia,' Hilary Swank looks the part of the tall, striking, short-cropped hair and freckle-faced, tomboyish Amelia with a feminine flair.

With 'Chanel,' I wanted to see the dreams and desires, struggles and fights; a triumphant story behind a couture empire. Instead, it's more about the daily grind of life that goes through the motion and doesn't reveal much, tedious scenes after scenes that have no meaning or nothing to advance the story. The ending is rushed and unsatisfying.

With 'Amelia,' I wanted to see the challenges, obstacles, adversity, tenacity before the rise to stardom, but the story literally skips major life stages and merely starts at the cusp of her being The "Amelia Earhart." The unconventional love story between Amelia and her publisher-husband is sweet, it shouldn't be at the expense of the life of this free-spirited adventurer, explorer, globe-trotter who daringly imagines and pushes the boundaries where no woman (or man) has gone before.

Overall, they're both more of pretty pictures painted with brush strokes as opposed to painstakingly created masterpieces.

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"Surrogates"

If you could be forever ageless and flawless, sharp and strong, living a perfectly safe life - wouldn't you want to be? Is it wrong to be super-shallow in a surreal world of highly airbrushed society? This is the basic premise of "Surrogates." An intriguing one that translates into something that may satisfy both the brawny and brainy types.

In a futuristic world where most of mankind is connected ("plugged in") via robotic version of themselves ("surrogate") - or anyone whom you envision you want to be - humans rarely, if ever, step outside their homes as they live vicariously through their alter-egos.

But what happens when someone (or an entity) cracks the code and is able to do the impossible - murder the real human being through their avatar? Bruce Willis channels his "Die Hard" personality and embodies that weathered, tough cop who does the right thing in the end. The special effects not only buttress but essential to the story. If there are flaws, the short running time (88 minutes) contributes to the convoluted conspiracy storyline; it prevents the story and characters to be fleshed out and toned.

Overall it's compelling, engaging, thought-provoking, yet fast-moving, action-packed - and entertaining to boot.

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"Cloudy with a Chance of Meatballs"

SUNNY in food paradise!  Truly a feast for the eyes and treat for the tongue at every turn. Ingenious, bright, funny. No deep moral lessons or heavy sentiments; just one big, hilariously entertaining ride from start to finish. And the 3-D is utilized to the max and worth every penny! Anyone who loves food and is a kiddie at heart should definitely see this! :-)  

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"Love Happens"

It's not a typical, fluffy romantic comedy. I think the title is misleading. It's more of a story about the process of confronting one's fear, dealing with the grief of one's loss, and moving on with life. It's a heavy subject wrapped in a light package. There are lighthearted moments, which is a nice contrast with the background of perpetual-misty Seattle (actually shot in Canada 'tho). It's probably got its low marks from having an identity crisis; it doesn't know what it wants to be (melodrama or rom-com), and it's fragmented (focus split among different characters), not to mention the cliches and overgloss of such meaty materials. 

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Wednesday, May 12, 2010

"Whiteout"

Has very cool photography of icescapes, tense thriller with claustrophobic feel, but riddled with illogical holes.

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"Ponyo"

Different. I'm so used to seeing "life-like," realistic animation that I was intrigued by this old-fashioned, hand-drawn cartoon and the clip shown at the Con was pretty suspenseful (for kids' standard). It's rarity. The scenes, aside from the animated characters, are like matte-painting. 

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"GI Joe: The Rise of Cobra"

A chaotic mess; bland characters, blurry actions (you can't tell which ones are which), all glitz and gizmos, over-the-top flash, overkill of CGI, cartoonish extended sequence (you'll know which when you see it), tedious in some aspects - but it's entertaining, popcorn summer blockbuster. But it rivals the inspidity (if not more) of 'Transformers 2.' Just check your brain at the door, lay back, and enjoy the exhilarating, fantasy-ride!

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"Julie & Julia"

A delightful concoction, well-balanced culinary journey with sparkling personalities.  

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"Up"

Way UP awesome. Breathtaking colors, sad, funny, suspenseful, uplifting.  It's a story of adventure, fun, heartbreak and fond memories that uniquely appeals to adults and kids.   Kids will certainly enjoy the colorful adventures in the jungle of South America and fast-talking, cute animal characters and resourceful, chubby scout.  Adults can relate to a life story of boy meets girl, youth fantasy, marriage, broken dreams, and a life's worth of reflections. 

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"X-Men Origins: Wolverine"

"Wolverine" promises to tell a story of the origin of this magnetic mutant, feral creature with a heart of gold. Opening with brief childhood scenes, it glosses over and sprints to adulthood through violent montages. In the end, we're left wondering of who and why "Wolverine" is the way he is.  

I've wanted to witness a life journey and evolution of the human behind the steel claws. A story that is character-driven where the characters are drilled down to the core, connected and developed. A story that delves into the ferocious inner conflicts and progression of the antagonistic relationships with his brother. Instead, we're treated to a weak background, fleeting moments, repeated non-life threatening brotherly duels. This decade has elevated the bar for superhero movies, so I don't think it's unrealistic to expect such.

As a human being, 'Logan' (if this is his real name, it doesn't jive with 'Jimmy' as his family calls him) and his relationships do not grow. It seems like he and his brother end in square one, exactly the way they started in the beginning. If I have to rate "Wolverine," it's definitely sub-par compared to the first two "X-Men," but it is better than the third one in the series.

Like X3, it favors flash over substance. Heavy-laden CGI chases and explosions aiming for the 'shock & awe' factor, all fine and dandy for the eyes - if only they're not front and center, and accompanied with a story not lacking in origin and evolution. In other words, this could have been a far greater piece. It tries to cram too many unrelated, unsubstantial characters that add nothing to the story. It advances the plot of revenge of a loved one by leaving the body unburied in the woods, figuratively and literally speaking. Hugh Jackman, with imposing presence and charisma, is the saving grace. Although the real scene stealer is actually Sabertooth, who instills absolute primal fear with his blood-thirsty nature and sports-killing habit.

It's a grand spectacle, just like the "Spiderman," "Batman," and "Iron Man" before him. It captivates and thrills as one menacing scene races after another, and there's a 'wow' sense after it ends. However, unlike the previous ingenuous trio that engage the mind and connect the heart on a deeper level, it doesn't stick with me long after.

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Saturday, May 8, 2010

"The Dark Knight"


Dark, intense, harrowing. They don't call the caped crusader "The Dark Knight" for nothing. Always hiding in the shadow and striking at night, Batman is more of a tormented vigilante than a revered superhero, watching over his beloved Gotham.  

"Batman Begins" drills down to the core. It provides deep insight about the character and the life journey that he travels. It explains who he is, why, and how he becomes the way he is. Plagued with fear, guilt, and rage, it shows the transformation from a traumatized child to a debonair billionaire turned troubled hero. With the right intensity and anguish, wit and charm, Christian Bale is the only Bruce Wayne. Personally, I liked the complex breadth of the story of 'Begins' better than 'Knight.'

BUT, if there's one thing that 'Knight' shines is the provocative nature. It boils down to one element that overshadows everything else, the JOKER. Sheer insanity.  Here the story is no less complex, as a matter of fact, multi-layered. The characters are multi-dimensional and no less flawed. Batman has truly met his match.

Never before have I witnessed a nefarious nemesis with such disturbing deft that it leaves me hanging by a thread.  Heath Ledger's performance is legendary. Absolutely menacing and chilling to the bone, he strikes real terror as you can't hardly believe what he's going to do next.

If Gotham has already been shrouded in dread before with organized crimes, the Joker elevates it to horrifying heights. He takes everything that Batman believes in and turns his own convictions against him. With pure devilish exuberance, he dementedly experiments with human emotions like child's play. Watch when he tells the tales to different hostages about how he got his (smiley) scars; how he gets inside their head and under their skin. He meticulously and ruthlessly infuses anarchy and constructs chaos, gleefully rearranged order in society like pieces of a puzzle without superpower or fancy gadgetry. Just a brilliant psychopath who has no limit of what he's capable of or willing to do - except decimating Batman - because then, the fun would be gone and he would cease to exist.

Then there is Two-Face, tangled among the conspiracies. One side is a hero, a symbol of hope and goodness; the other a villain of inconsolable fury and revenge. His fall from "White Knight" grace shows how vulnerable the line between righteousness and madness is.

Yet it when it comes down to it, it's choices. Whatever fate or chances handed to us, we still make our own conscious choices.

The cinematography doesn't disappoint and the special effects never overpowers. While 'Begins' shines the light eerily on Gotham, the highlight in 'Knight' is an utmost daring escape from a skyscraper in HongKong. The heady run of the BatCycle trumps over the BatMobile. The score soars and especially captures those nerve-wracking moments flawlessly.

At 2.5 hours, "The Dark Knight" is a spine-tingling spectacle to behold. DVD:
http://tinyurl.com/28swy63







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"The Curious Case of Benjamin Button"

It's the most extraordinary film in years and the epitome of movie-watching experience. It's one of those few worth another viewing (and I could only name a couple on my list) and would still leave you magically mesmerized, profoundly stirred and satisfied. 

***Detailed review pending***

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"Wanted"

Words can't do justice. "Wanted" is ultra-cool. Stunningly slick and stylish, breathlessly gravity- and death-defying. It's absolutely The Coolest thing I've seen in years! It's a similar adrenaline rush I got from seeing Neo et al. in the very first Matrix and Christian Bale as human weaponry in "Equillibrium." When you thought all the novelty was gone, along came "Wanted."  

I can't describe the spectacular sequences of scenes (hyper-ballistic fights, leaps, drops, shoots, chases - humans and bullets) without revealing the 'coolness' factor of how they transpire. They've got style down to pat. The 'WOW' factor, literally jaw-dropping moments for me surpass the most recent phenomenon that is "Iron Man." Intensely bloody-violent aside, the movie is pure exhilaration from start to finish. As a comic-action movie, this one actually manages to put twists and turns into an otherwise linear storyline.

Powerful performances all around. The transformation of the main lead is actually believable. While Angelina Jolie is de facto when it comes to action movies (channeling Lara Croft with a killer instinct), James McAvoy is certainly not the first (or umpteenth for that matter) that comes to mind as a super-assassin. Morgan Freeman, as always, is right for the head role.

Lastly, perfect ending. I couldn't have asked for a more satisfying one. It's best to go in with a blank slate (don't read any summaries or spoilers) and leave every bit of logic at home. I may actually show up for a second round!

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"Iron Man"


I had been anticipating "Iron Man" since I caught the preview at a Q&A panel with Jon Fraveau, Robert Downey Jr., Gwyneth Paltrow et al. at Comic Con last July. Guess Fraveau has joined the ranks of director Sam Raimi ("Spiderman"), Brian Singer ("Superman," "X-Men"), Christopher Nolan ("Batman"). "Iron Man" blew me away.

Absolutely exhilarating. Ingenious (meticulous creation of the armor suit depicted in stages, 3D interactions, technologically advanced mansion, breathtaking special effects), audacious (closing scene), hilarious (hilarity peppered throughout and delivered). The working mechanics of the technology that make things in the movie seem to be "grounded" in reality, rather than some fantasy.

While suspension of disbelief is a must in every superhero movie, "Iron Man" really does look like a future reality. The set is "real" as well (and local to me). No futuristic Chicago or retro New York. Just plain 'ol Los Angeles, Malibu and Santa Monica, California.

The phenomenal feeling was akin to when I watched the first "Spiderman" or "X-Men." There is a novelty factor ("Batman" and "Superman," we had seen them on the big screen before). The characters are flawed. And people can relate to the human theme that is core in each movie. Be it the feeling of agony for being different and isolation, frustration for inadequacy or inferiority, having the chance to redeem and right oneself for erroneous ways in the past.

Flamboyant and brilliant, Tony Stark has a place in a crowded superhero society. Not dark and brooding as Bruce Wayne, not at all mighty and good as Clark Kent, and unlike the average Joe of Peter Parker. Unlike "Spiderman" or "X-Men," no overly or extended emotional scenes in "Iron Man," but the undercurrent subtleties actually work just fine. There are still smidges of heartfelt moments weaved in among the gizmos.

Lastly, it ought to be mentioned - such an amazing feat for casting a 40+ year old well-known actor with less than sterling reputation in a major superhero role (couldn't have imagined Downey in that role earlier).

Wait till the last of the credits roll. There's a bonus scene at the end. All I can say is sequel, sequel!
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"Vantage Point"

It has an interesting concept but doesn't live up on the execution. After a few times of rewinding to the exact same starting point for the purpose of putting the puzzles together from multiple angles (again, sounds conceptually interesting), it gets a bit tiresome. Bland performances, zero character development, outlandish key elements, absurd resolution. If you're expecting an intellectual political thriller, this is not it. It is a thrill, however. Frenetic pace, foot & car chases (reminding you of the style and implausibility of the "Bourne" series, "The Italian Job," "Live Free Die Hard"), gun shots and explosions. Actually enjoyed the last two-third tremendously - when it shifted into high gear (starting w/ Forest Whitaker's vantage point) and the actions never let up till the end.

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