Just sharing initial pics from Comic-Con preview night. Like in previous years, the first day is always "TV pilot" night for me. If "The Flash" was the breakout show last year, "Supergirl," while it won't topple its speedy counterpart, it should fly high as well. Another show with intrigue is "Blindspot," with intriguing elements of mystery, crime procedural drama and action. Other pilots shown at preview night are "Containment" (not my cup of tea) and "Lucifer" (skipped in favor of exhibit halls).
This year is a lighter year for me as the timing just about coincides with my moving to a new place (so much to do!) and three major studios skipping (Marvel, Sony and Paramount). But if tonight is any indication, there will still be plenty to enjoy. Will be back for more.
Amidst prequels, sequels and remakes, "Tomorrowland" offers something intrinsically exciting; an original story. An uplifting story about a future that is not veiled under the gloom and doom of dystopian societies commonly portrayed in sci-fi YA adaptations ("The Hunger Games," "Ender's Game," "Divergent," "The Giver," "The Maze Runner").
At the New York World's Fair in 1964, an exceptional young boy, Frank Walker (Thomas Robinson), submitted his invention for a science competition, a jetpack, or more like a prototype. Even though the jetpack didn't exactly fly, with an innocence of a child, Frank made a positive case to the head scientist (Hugh Laurie) about the importance of being inspired and thus making the world a better place. He attracted the attention of an intelligent android, Athena (Raffey Cassidy), who snuck him into a magical, parallel world... Tomorrowland. Bright-eyed with wonder, Frank found a hopeful place where the impossible became possible.
At the present time, Casey Newton (Britt Robertson), a spirited, optimistic tomboy with a bright scientific mind, gets arrested when she causes troubles at a NASA launch site. She has the best intention to help her soon-to-be-unemployed NASA engineer dad (Tim McGraw). When she collects her belongings at the police station, she finds a decorative pin emblazoned with a "T" symbol and is confounded when she is transported to a world beyond imagination. The same Tomorrowland young Frank landed on decades ago. A futuristic metropolis gleaming with glass spheres, spiraling roadways, hover trains and multileveled pools, occupied by the best and brightest and brimming with endless possibilities.
Possessing the pin leads to tribulations back in the real world. Eventually, the ageless Athena tracks down Casey and brings her to meet Frank (George Clooney, "Up in the Air," "The Descendants," "The Ides of March"), now a middle-aged man. The former young inventor is a bitter loner. Although it's obvious that inventions are in his veins, as proven with his high-tech home, equipped with cool gizmos and secret entryways.
Something happened to Frank at Tomorrowland that he does not want to have anything to do with Casey or Athena. Cranky Frank doesn't have a choice but to work together with Casey and Athena, however, once they're hunted down by mysterious figures in suits who will stop at nothing to eliminate them. Frank also has a change of heart once he notices something special about Casey.
The trio's interactions, filled with wit and heart, are among the highlights of the movie. Robertson plays Casey with gusto and doesn't take a backseat to Clooney, a supporting character here. Cassidy steals the scenes, imparting Athena with a precocious personality that is poignantly human and at the same time performing dead-on mechanical movements. While there's a smidgen of uneasy undertone in Frank and Athena's relationship, it doesn't distract from the experience.
The set pieces and action scenes are visual standouts. The pristine design of Tomorrowland, bizarre robot pursuit and attack at the toy shop and home invasion, and awe-inspiring antique rocket launch in the heart of Paris.
Watching "Tomorrowland" is like immersing yourself in a children's mystery adventure book. While the last stage of the journey is a bit wonky and preachy, it is fun to get there and the destination is worth traveling to.
Directed by Brad Bird ("Mission: Impossible - Ghost Protocol"), "Tomorrowland" appeals to the dreamers, explorers and discoverers in us. Exuberant adventures and boundless buoyancy makes it a dazzling and delightful trip.
It's as if Marvel struck a vibranium mine in 2008 when it introduced "Iron Man" to the world. And it marched on with "Thor" and "Captain America." Three years ago, director Joss Whedon attempted to do what no man had done before, assembling the iconic superheroes of the Marvel Cinematic Universe (MCU) in "The Avengers." It was a marvelous success.
"Avengers: Age of Ultron" starts off with an action-packed sequence, earth's mightiest heroes engaging in a forest battle and storming a Hydra fortress, with the goal of getting a prized scepter (Loki's) out.
The team, consisting of Tony Stark/Iron Man (Robert Downey Jr., "The Judge"), Steve Rogers/Captain America (Chris Evans), God of Thunder/Thor (Chris Hemsworth, "Rush"), scientist Bruce Banner/Hulk (Mark Ruffalo), superspy Natasha Romanoff/Black Widow (Scarlett Johansson, "Her") and master archer Clint Barton/Hawkeye (Jeremy Renner, "Mission Impossible: Ghost Protocol"), is able to walk out with the scepter, but they run into Pietro Maximoff/Quicksilver (Aaron Taylor-Johnson) and Wanda Maximoff/Scarlet Witch (Elizabeth Olsen, "Oldboy"), surviving humans of Hydra's experiment. Pietro has a superspeed ability and Wanda mind-control and force field-manipulation.
The eclectic ensemble, who got off on a rocky start in "The Avengers," has found its stride here. Teamwork and camaraderie are apparent during and outside of battles. One of the most enjoyable scenes is where the team gathers around and each pokes fun at one another, trying to lift Thor's hammer. Although the lighthearted air turns chilly when Ultron (voiced by James Spader) makes its surprising presence known and they realize the gravity of the threat. Ultron was created to be a peacekeeper around the world, but the artificial intelligence has a mind on its own and interprets peacekeeping duty differently. It believes that mankind creates destruction and thus must be exterminated.
The sentient being has taken a physical form and multiplied in robots. It is up to the Avengers to stop Ultron and save the human race. The mighty task is not made easy with Wanda wrecking havoc with our superheroes' minds. Inner fears about the past and future are exposed and they must overcome them, work together and win the war.
Whedon achieves a superheroic feat. There's a mechanical sense in the first part of the movie since the story dives right into the action business, but at the same time, the movie would never hold the same magic as the previous one, seeing all those superheroes together for the first time.
And in a movie overstuffed with these many main characters, not to mention supporting characters (S.H.I.E.L.D director Nick Fury, agent Maria Hill, Falcon, War Machine), it's commendable that they're able to perform their roles sufficiently and dole out one zinger after another. Hawkeye, who only appeared in the first installment and has never had his own solo movie, unexpectedly reveals a softer side to him that helps with the progression of the story. Tony and Bruce, as "mad scientists," bond together and interact more with each other. And Bruce and Natasha, while we've never seen their romance develop from the very beginning, have something here.
If you think destruction scenes are in epic scale in "Man of Steel," wait until you see this. A populated city uprooted, flying and hanging in the balance, with Ultron minions crisscrossing on murderous paths. Some of the most memorable scenes involve Captain America and Black Widow, with their acrobatic moves with the Cap shield and motorcycle stunts. Funniest are smashing moments between Iron Man and the Hulk, where Iron Man, with a bulked-up Hulkbuster armor and weaponry, tries to tame the green monster under a telekinetic influence.
J.A.R.V.I.S, Iron Man's A.I. system, is now a vision. It evolves in the form of cool-and-collected Vision (Paul Bethany, "Transcendence"), instantly stealing a scene with the Mjolnir and delivering the best one-liner to Ultron towards the end of the movie. He becomes a part of the Avengers, along with a few other familiar faces as new members.
The movie touches on the Infinity Stones, unique objects that, if possessed together, will provide the holder unlimited power to do absolutely anything with the universe. Gems sprinkled in 'Age of Ultron' set up not only the final installments, "Avengers: Infinity War - Part I" (2018) and "Avengers: Infinity War - Part II" (2019), but likely sequels "Captain America: Civil War" (2016), "Thor: Ragnarok" (2017) and "Guardians of the Galaxy 2" (2017), and new solos, "Doctor Strange" (2016) and "Black Panther" (2018).
Other MCU plans include "Ant-Man" this summer, "The Spectacular Spider Man" (2017), "Captain Marvel" (2018) and "Inhumans" (2019).
What if you could remain forever young?
Would you want to live forever?
Adaline Bowen (Blake Lively, “Green Lantern,” “The Town”) looks like any other young
woman, except that she's 107 years old. At age 29, she was in a car
crash and practically died. Her car plunged into a river in a
snowstorm, but due to a bizarre lightning phenomenon, her heart was
revived. Not only she survived, it froze her in time and since that
day she has never aged a day.
A widow with a small child, Adaline had managed through the earlier decades until she realized that she
couldn't go on without arousing suspicions. After all, genetics,
cosmetics, diets and exercises could only do so much. Reluctantly,
she left her grown-up daughter, although they have remained in touch
over the years. The mother-daughter bond remains, as clearly seen in her interaction with her now elderly
daughter (Ellen Burstyn).
Adaline moves to a new place every
decade and establishes a new identity. By and large, she never
allows herself to be attached to anyone or anything, except her dog.
But life has other plans. Love strikes
when she meets a princely philanthropist, Ellis Jones (Michiel
Huisman) at New Year's Eve event. He ignites romance through their
common passions for literature, history and adventure. Adaline ends
up agreeing to meet his parents, William (Harrison Ford, "Ender's Game")
and Kathy (Kathy Baker), for their 40th year anniversary
celebration. William turns out to be a man with ties to her past and
their exchange would change the course of her eternal life.
Lively is lovely. With praises to the
costume designer and makeup artist, she's refined in style. She
carries herself with an old-fashioned elegance and air of mystery.
There's a saturnine tinge, as a soul who experiences a long life of
solitude and sadness for not being able to live normally, getting
close to anyone, or growing old with loved ones. But she also manages
to appear natural when she feels affection or shares
laughter.
Adaline is fascinating by nature and
it's a shame that the filmmaker did not explore more about her experiences and develop
her as a character. Instead, she looks like gliding from one scene
to another and her life is shown like a montage with minimal
milestones. The movie also chooses to use lengthy expository voice-overs to explain the supernatural occurrences, which would have been better off toned down, or having the consequence discovered or experienced first-hand.
Other films with similar theme, “Tuck Everlasting” and “The Curious Case of Benjamin Button,”
and on television, “Forever” show (season 1 on ABC, currently playing),
delve deeper. They make you think or question your
perspectives about youth and aging, humanity and mortality, life and
living.
“The Age of Adaline” is a plushly
packaged and has its fantasy charms, but it could have been
infinitely more impactful.
[Originally published on 8/04/15] August 7
"Fantastic Four" (http://www.fantasticfourmovie.com/) - Four young outsiders teleport to an alternate and dangerous universe which alters their physical form in shocking ways. The four must learn to harness their new abilities and work together to save earth from a former friend turned enemy.
"Ricki and the Flash" - A musician who gave up everything for her dream of rock-and-roll stardom returns home, looking to make things right with her family.
August 14
"The Man from U.N.C.L.E." (http://manfromuncle.com/) - In the early 1960s, CIA agent Napoleon Solo and KGB operative Illya Kuryakin participate in a joint mission against a mysterious criminal organization, which is working to proliferate nuclear weapons.
"She's Funny That Way" - A screwball comedy featuring the interconnected personal lives of the cast and crew of a Broadway production.
Ava, the AI in “Ex Machina,” may be
fictional, but the progress of artificial intelligence (“Her,”
“Transcendence”) in the real world is accelerating at a
rapid pace. So much so that Stephen Hawking (“The Theory of Everything”), a world-renowned astrophysicist, has
recently warned that artificial intelligence poses a threat and could
spell “the end of the human race.” This sentiment is echoed by
Elon Musk, founder of SpaceX and Tesla, as well Microsoft founder,
Bill Gates. Earlier this year, AI experts signed a letter issued by the Future of Life Institute, pledging that
they would safely and carefully monitor such progress so that its
growth doesn't go beyond our control.
In “Ex Machina,” a directorial
debut by writer Alex Garland, a young coder, Caleb (Domhnall
Gleeson), wins an office prize for a weeklong retreat with Nathan (Oscar Isaac), the
company's reclusive CEO and inventor of the world's most popular search engine, Blue Book.
Reachable only by helicopter, the mountain cabin surrounded by
pristine nature of remote Alaska, is actually a custom-built research facility.
Nathan has been working on a secret project, artificial intelligence
in the form of humanoid-robot named Ava (Alicia Vikander).
Caleb learns that he's the human
component in the Turing Test ('Turing' from Alan Turing, “The Imitation Game”), where he's tasked not only to evaluate Ava's
advanced capabilities, but also human-like consciousness. The method
is simple. Caleb is to engage Ava with get-to-know-you
conversations. They're separated with a transparent wall and their
interactions are monitored by Nathan. With every session, Caleb and
Ava learn more about each other and develop a relationship.
Alarmingly, during recurring power outages where
the monitors are out, Ava reaches out to Caleb and tells him that
Nathan cannot be trusted. She provides tidbits that seems to support
her pleas. It doesn't help that Nathan is arrogant, controlling, eccentric and sardonic. Parts of his
interactions with Caleb are unintentionally, creepily humorous. It
becomes clear why Caleb is chosen for the experiment.
You'd feel things are not what they
seem and something sinister is going to surface, but you don't know
what, when or how. It's tantalizingly thrilling. The removed and
austere ambiance of the glass-and-stone, sprawling facility adds to
the undercurrent tension. The only other person there is a housemaid
(Sonoya Mizuno) who doesn't speak English.
Vikander is a wonder, walking a fine
line between human and machine. Her Ava, partially translucent with
wires and circuits and partially covered in human skin, is both
mechanically perfect and surrealistically human. Brilliantly and elegantly designed, she's intellectually and
emotionally intelligent, independent, intuitive, beautiful and
powerful. But there remains a question whether her emotions are real
or simulated.
The reveals come in pieces and they
boggle the mind. Ethical quandaries of identity, humanity,
freedom, life and mortality. If you could create a machine with
human consciousness, would you... just because you could? What if
artificial intelligence goes beyond artificial? Does it have the
right to exist? How would it be integrated to society? What are the
implications? What will become of mankind?
Strikingly compelling, cerebrally cool
and eerily suspenseful, “Ex Machina” delivers on the futuristic visual and
philosophical level and ceases with an ending that lingers in your mind.
The
2015 WonderCon was TV-heavy, and while it's great for certain members of the
audience, one would typically have to be fans of the shows to enjoy the
panels. There's barely any movie presence - studios, exhibits or panels alike (with
minor exceptions, see below). Panels were
dominated by TV or industry professionals and exhibits ruled by comics.
***
The
feature films segment, presented by Warner Bros, was initially planned for an
hour, but cut down in half at the last minute.
As
lackluster as it was, here are the highlights:
"Mad Max: Fury Road"
The
opening scene, with a lone figure standing in a wasteland, is the calm before
the storm. A man with a partial steel mask rising from the sands trying to free
himself from the chain that ties him to another man. And this other man, presumably dead, is trapped
in a vehicle buried in the sandstorm. He
tries to shoot off the chain and bite the other man's hand to no avail, so he
carries that man with him. He encounters
several scantily-clad beauties in white, washing themselves off with water, and
also a one-arm woman, appearing to be the leader, first eying him warily and
then ferociously charging at him. It
turns into a frenzied fight; hard-hitting beating, kicking, punching, rolling, bashing
and dragging. Then a desert battle shown
in rapid-fire scenes; firefights, explosions and chases (although not clear
who's chasing who or for what) with road-bikes, tankers and war rigs.
Wildly
kinetic and viscerally brutal, that was one heck of a footage!
"San Andreas" - in attendance: director Brad
Peyton, stars Carla Gugino and Alexandra
Daddario
It's
been said that California is due for "The Big One." Here viewers got a devastating taste of what
possibly could happen if the massive earthquake struck. It's special effects-galore with lands
cracking and splitting, skyscrapers crumbling and slamming down, ships blown
up, tidal waves rolling and swallowing up everything in its destructive path. It reminded me of "2012," but
the footage also zoomed in on one family and its struggle to survive.
The
director would like to build a ride and put the actors on it, presenting the
worst-case scenario (although it's unlikely that every chain of event would happen
at the same time), but also ground it in the realm of possibilities. It's a
story about honest reactions of a family under attack and what these people are
going through - not from aliens, dinosaurs or monsters - but from something
that could possibly be real. The
actresses mentioned about tons of stunt work, such as getting dropped several
floors down and being immersed in the biggest water tank possible for the
underwater scenes.
It
looks like the movie goes for big, both on the action and emotion.
***
Highlight
of TV pilots:
"The Messengers" (CW; April 17, 2015)- in attendance: executive
producer Trey Callaway and co-executive producer/creator Eoghan O'Donnell, stars
Shantel VanSanten, Jon Fletcher, J. D. Pardo, Joel Courtney, Diogo Morgado,
Anna Diop and Craig Frank
After
an extraterrestrial object crashes into earth and explodes, five ordinary strangers
fall dead and come back to life. They
will soon realize that they're connected and destined for a greater cause. They're now bestowed with supernatural gifts
and are known "Angels of Apocalypse."
Each character has a dire moment on the show where illuminated wings can
be seen sprouted from his or her shoulder.
Their paths will cross and choices must be made. They must unite and prevent the impending
apocalypse.
This
is a story about the hope we hold in the end and the people we love the
most. It's also a story about faith;
finding faith in ourselves, and sometimes putting our faith in strangers, and in
things greater than ourselves. Lucifer,
"Prince of Death," makes an appearance and plays a role in tempting
and testing humanity. And finally, it is
a story about good and evil, right and wrong, and how our choices affect
everything and everybody around us.
I'm
not a fan of angsty teenage supernatural shows on CW in general and the
execution wasn't the best. But the
premise appeals to me, so I will give this a try.
"American Odyssey" (NBC; April 5, 2015)
- in attendance: executive producers/writers Peter Horton, Adam Armus and Kay
Foster, and star Peter Facinelli
A
U.S. Special Forces team, which successfully killed an Al-Qaeda leader, is
ambushed and murdered in Mali. These
heroes are not massacred by Islamic extremists, rather, an American private military
group, purportedly sent by corrupt entities to cover up some criminal,
for-profit dealings. The sole survivor,
coincidentally saved by the virtue of timing, is the only female soldier, also
a wife and a mother. She happens to be
the one retaining suspicious evidence in a flash drive, a large money transfer document
between a local bank there and a U.S. corporation. She must use everything in her power to
remain alive, find the right allies, and make the long, arduous journey home.
Back
in the States, a corporate litigator (formerly a U.S. attorney) gets wind of
the shady conspiracy and starts digging.
But before he could go deep, the investigation claims its first casualty. There's also a political activist, in
communication with a computer hacker and reporter, trying to prove that the soldier
is indeed alive and to uncover the truth behind the story fronted by the U.S.
government.
The
panel discussed the shooting of the show, initially set to be in Toronto, but
moved to Morocco for authenticity. The
studio found a Morrocan boy, who had no acting experience, a block from their
office. He plays a character who is
imperative for the soldier's early survival. The lead actress (who wasn't
present at the panel) was said to be drawn to the show because of the physical,
mental and emotional challenges. And for
Facinelli, he would like to do dramatic and enjoys conspiracy thrillers. The show is about a soldier, lawyer and
protester trying to set the truth free at all costs and make a difference.
I
found the pilot to be dramatic and bleak, but engaging. I hope the show will connect the dots soon
and don't drag them out so that it won't be one too many players or extends its
welcome. At the same time, the show has
a tough task balancing out the layers so that it will last as a series. For now, the show has promise and I will make
it into my initial viewing schedules.
***
I
also attended a writers panel of some of the most popular TV shows. Discussions include writers creating a blue
print for their series, and story break, where a writer pitches an idea and breaks
things down beat by beat, either show how each character would act and move
forward or go for the big moments and merge them into one story. Writers pay attention to chemistry among
actors and how they grow, and they do adjust scenes based on what they see on
set. A TV pilot, said to be the captain
of the series, could be changed. For
example, a pilot might be shot in New York and when the series gets picked up,
the shooting might be moved to Los Angeles due to tax credit. As a result, the audience might not see the
exact same sets in subsequent episodes as they appeared in the pilot.
***
WonderCon
is getting more popular every year, as proven this year by sold-out tickets and
growing attendance (now topping at 60,000).
Even with minimal programming this year, it's enjoyable as ever (just check out some of the
cosplays!). While nothing comparable to
Comic-Con, it is an
entertaining alternative for pop-culture fans.
A word of advice, buy your ticket early next year!
[Originally published on 6/30/15] July 3
"Terminator Genysis" (http://www.terminatormovie.com/) - John Connor sends Kyle Reese back in time to protect Sarah Connor, but when he arrives in 1984, nothing is as he expected it to be.
"Magic Mike XXL" (http://www.magicmikemovie.com/) - Three years after Mike bowed out of the stripper life at the top of his game, he and the remaining Kings of Tampa hit the road to Myrtle Beach to put on one last blow-out performance.
July 10
"Minions" (http://www.minionsmovie.com/) - Minions Stuart, Kevin and Bob are recruited by Scarlet Overkill, a super-villain who, alongside her inventor husband Herb, hatches a plot to take over the world.
"Self/less" (http://selflessmovie.tumblr.com/) - An extremely wealthy man, dying from cancer, undergoes a radical medical procedure that transfers his consciousness into the body of a healthy young man. But all is not as it seems when he starts to uncover the mystery of the body's origin and the organization that will kill to protect its cause.
July 17
"Ant-Man" (http://marvel.com/antman#) - Armed with a super-suit with the astonishing ability to shrink in scale but increase in strength, con-man Scott Lang must embrace his inner hero and help his mentor, Dr. Hank Pym, plan and pull off a heist that will save the world.
"Mr. Holmes" - An aged, retired Sherlock Holmes looks back on his life, and grapples with an unsolved case involving a beautiful woman.
July 24
"Pixels" (http://www.sonypictures.com/movies/pixels/) - When aliens misinterpret video feeds of classic arcade games as a declaration of war, they attack the Earth in the form of the video games.
July 31
"Mission Impossible: Rogue Nation" (http://www.missionimpossible.com/) - Ethan Hunt and team take on their most impossible mission yet, eradicating Syndicate, an international rogue organization as highly skilled as they are, committed to destroying the IMF.
The second installment in the "Divergent" series, directed by a new director, Robert Schwentke ("RED"), picks up after the conclusion of "Divergent."
Tris (Shailene Woodley, “The Descendants”) and Four (Theo James), as divergents, now hunted and on the run after the decimation of the Abgenation faction, concocted by the ruthless leader of Erudite, Jeanine (Kate Winslet). They’re accompanied by Tris’ brother, Caleb (Ansel Elgort), and her frenemy, Peter (Miles Teller). The latter brings some well-needed humor in the bleak story.
In a dystopian society that is divided into five factions based on virtues (Abgenation, Amity, Candor, Dauntless and Erudite), Jeanine sees Erudite as the fittest to take over the government and keep the peace. Words have gotten out, however, that the coup was led by divergents, which make Tris and company fugitives. They’re able to seek a sanctuary temporarily in Amity, until the land is swarmed by the Dauntless turncoats, loyal to Jeanine.
Caleb and Peter choose sides, although not without twists. Tris and Four outrun armored tanks and gun fires and make a daring escape, hopping on a fast-moving freight train. They run into Factionless and are forced into fierce hand-to-hand combats. They finally end up in the Factionless headquarters and met by its leader, Evelyn (Naomi Watts, "The Impossible"), who has a history with Four. Whereas divergents are those who fit into more than one faction, factionless people are those who do not fit into any faction. Four wants nothing to do with Evelyn (although it doesn’t last long) and traipses over to Candor to reunite with the rest of the Dauntless currently sheltered there.
Being known fugitives, Candor isn’t easily accepting and wish to turn Tris and Four over to the Council. But when the truth serum is administered, deepest fears and painful truths are exposed and come to light. It’s agonizing to see Tris’ suffering from the all-consuming loss, grief and guilt from losing her parents and best friend in the attack, her anger to avenge, and her dread that those who get close to her would die.
At Erudite, Jeanine shows a mystery box thought to contain message from the factions’ founders about the future of humans’ existence. Divergents are not fitting into society and therefore she believes that they pose a threat and must be eradicated. The irony is that the box can only be opened by a 'true' divergent, one that can pass all five factions’ tests. And Tris, not surprisingly, is the chosen one. Jeanine would stop at nothing to get her, including killing innocents. Winslet and Woodley play out their characters’ antagonistic relationship well.
Tris, at her own volition, chooses to take the tests to end the killing. Each test is a potentially fatal simulation, testing how a divergent would take control or get out of a deadly situation using the dominant attribute of each faction.
The simulations are surrealistically well-done. Characters and graphics are integrated seamlessly that while you’re intellectually aware they’re not real, they feel frighteningly real. Burning house floating over a city in ruin, skyscrapers crumble, people disintegrate into fragments, with Tris leaping, falling, running, tossing, tumbling, crushing, sliding and escaping – deciding which one is simulated and which one is real, trying to survive or save the ones she cares about. The ultimate test is one where she has to face herself, accept what is, and leave the past behind.
“Insurgent” doesn’t delve much into the lives of the other characters that are part of the story or their connection to the main characters. It moves fast from one action scene to another and the film feels cold as a whole. But when the box finally opens and the message is delivered, it is indeed about the survival of mankind, except the message is not what has been propagated to the masses. The storyline actually makes sense and that’s what helps the movie surge forward with hope and anticipation.
Humanity unites and “Insurgent” ends on a promising note of what’s to come in the horizon. “Allegiant: Part I” will be released in 2016.
From 2/26/15 press screening: It's every little girl's fantasy. Being a
princess. And among all the princesses, Cinderella is arguably the fairest of
them all. Director KennethBranagh(“Jack Ryan: Shadow Recruit,” “Thor”) took
reign of adapting this timeless tale, “Cinderella.” Unlike thereinventionof the last several adaptations, which
edges on the darker side, such as “Snow White and The Huntsman” and “Into the Woods,” or leans towards modern feminism in “Frozen” and
“Maleficent,” “Cinderella” is a straightforward retelling of the
classic, although it's not without surprising gems. The story begins with a little
girl named Ella (Lily James), who lives in a stately
estate in a sunlit forest. Deeply loved and cherished by her parents, she has a
golden childhood. Before her mother
(HayleyAtwell, “Captain America:The First Avenger”) passes due to illness, she imparts upon her young
daughter to “have courage and be kind.” Ella grows up and continues to have a
loving relationship with her father (Ben Chaplin) , a worldly merchant. The
mansion is elegantly and artfully decorated with paintings, statues,
tapestries, brocades and other craft items from his travels abroad. Things start to change when
Ella's father brings home a new stepmother, LadyTremaine (CateBlanchett, “Hanna”) with
her two daughters (Holliday Grainger and Sophie McShera).Blanchettlooks like she's having a ball,
vamping up the role with style and malice. Ella's life becomes unbearable after
her father dies and her sinister stepmother and snobbish stepsisters took full
control. She's relegated to being a servant, sleeping in a dusty attic, serving
their every need on hand and foot, and poorly treated in general. She's
nicknamed Cinderella (from Cinder-Ella), since her face is often plastered with
ash. While sorrowful, Ella continues to show kindness and takes joy in simple
things, like friendship with her animated mice companions. One day Ella rides into the
forest to escape from her misery, she has a run-in with a handsome young man (Richard Madden), who unbeknownst to her, is Prince Charming. The down-to-earth
prince is instantly enraptured by her spirit, beauty and goodness. They part
ways without knowing each other's identity.
Majestic views of the coastal kingdom, nestled
among verdant mountains, will take your breath away. Back at the castle, the prince is pushed by
his father (Derek Jacobi) and adviser (Stellan Skarsgard) to find a princess and marry
for the sake of the kingdom. A kingdom needs stability, which means a suitable,
political marriage and an heir. The prince seizes the opportunity to hold a
royal ball and open the invitations to every maiden in the land, with the hope
of finding the mystery girl who has captured his heart. At his deathbed, the
king wises up and gives his blessing for his son to marry for love. It's a
tender exchange mirroring Ella's final scene with her mother. While in despair for not being able to attend
the royal ball, fairy godmother, gleefully played by Helena Bonham Carter (“Les Miserables,” "The King's Speech") makes her presence known to Cinderella, after initially
testing her for kindness. The fairy magic does wonders. It's magical to see
Cinderella transform, twirl and glow in the shimmery ball gown and sparkling glass slippers. And the rest is a
delightful treat because of the gradual transmutations where you can still see
partial semblance to the original forms. From pumpkin turning carriage, mice
into horses, goose into coachman, lizards into footmen, and back to their origins. At the entrance of the ballroom,
Cinderella glides through the staircase and sparkles among a sea of colors as the belle of the ball. She
enchants everyone's attention, especially the prince's, who asks her for a
dance. They only have eyes for each other and gracefully dance. They step out
and talk, and while Cinderella is now aware of the identity of the man she met
in the forest, the prince is still in the dark. True to the original,
Cinderella dashes before the clock strikes midnight and accidentally slips out
of one of her glass slippers. The prince vows to find her and orders a
kingdom-wide search. The right maiden who will fit into the slipper. He's smart enough to know there may be forces
against him and takes precaution to ensure that the searches would be thorough
and fair. Lady Tremaine eventually finds
out that Cinderella was the "mystery princess." She makes a wicked
offer to take advantage of Cinderella's position, one that she could easily
accept as a way out, but promptly refuses. She then makes a last-ditch effort
to lock Cinderella in the attic and hide her from sight. Love, of course, finds
a way, and Cinderella is reunited with her prince. For an old-fashioned story,
it ends with an empowering message to speak your mind, stay true to yourself and have the courage to
do the right thing. James is excellent throughout; she not only radiates
Cinderella's humility, pure-heartedness and innocence, but she also carries her
with poise and confidence.
“Kingsman: The Secret Service” is
one of the movies that could be really bad or really good. Luckily,
it's the latter. I first caught a teaser last spring at WonderCon and then at a press conference with the stars last summer
at Comic-Con. I was immediately intrigued. The movie
looked unique and different. It's like the earlier James Bond movies, meet “Spy Kids,” but not quite. Especially with dramatic
actor Colin Firth (“The King's Speech”) as the lead, playing
against type, mixed with Marvel's go-to handler Samuel
L. Jackson (“The Avengers,” "Captain America: The Winter Soldier," "Thor"), and directed by the
director who directed one of the best superhero movies of all-time,
Matthew Vaughn (“X-Men: First Class”), it could be a bloody good movie. Indeed.
Firth is Harry Hart, a veteran
kingsman, is a member of an elite spy organization that operates outside
of the British government. Kingsman gets critical missions done effectively outside of
bureaucracy or politics. He comes to the aid of Eggsy (Taron
Egerton), a young man running in trouble with the law. Eggsy's
father was a kingsman, who died in the line of duty, saving Harry and
his fellow agents. Harry takes Eggsy under his wing, offering him a
spot as a trainee in the top secret spy training program. He sees a smart
young man full of potentials, who can do much more with his life.
The movie lightly touches on class divisions and how one can change
his life forward, even without having the privilege of being been
born with a silver spoon. Being a gentleman is a learned skill; down to the
tailored suit and Oxford shoes.
Valentine (Jackson), a megalomaniac
mastermind, is hellbent on world domination. Through biological
warfare, he intends to use mind-control technology to steer humans to
destroy one another, in order to rid of overpopulation and start anew
with the select few, such as the rich, celebrities, prominent
business and academic figures, dignitaries and politicians under his
control. The way he does this and how it all goes down is something that
must be seen to be believed. Gloriously preposterous, ultra-violently
fun.
The opening action scenes are
impressively eye-popping. The first is the snowy mountaintop cabin
massacre, introducing Valentine's henchwoman, Gazelle (Sofia
Boutella), cleanly slices a man in half with her metal blade feet.
The second is the bar scene, where Eggsy is getting an eyeful of his soon-to-be-mentor, a mild-mannered gentleman, Harry,
showing his expert fighting skills disarming several bullies, partly
using his umbrella, beer mug and darts. Later he demonstrates his
prowess again in a crazed mass-fight in a church.
From there, the movie continues to roll
fast, ferocious and uproarious. Eggsy meets the head
honcho of the spy training program, Arthur (Michael Caine, “The Dark Knight” trilogy), tech master, Merlin (Mark Strong,
“The Imitation Game”), and his fellow recruits. The
recruits are tested and pushed to the limit through a series of
thrillingly twisted sessions; immersed in water, exhilarating
skydive and air spinning, trapped on a train track, and finally
firing a bullet during a high stake moment. What makes these more effective is because a scene can start or appear innocuous and then you'd
realize it's part of the test. Those who do not pass are let go.
Eggsy and a fellow recruit prove
themselves to be more than capable when they're called on to stop
Valentine from fully realizing his evil plan and subsequently save
the world. It's a massive, explosive (literally) showdown not to be
missed.
Firth can add another notch to his
seasoned acting belt, as he joins the league of late-bloomer action
stars here. Egerton is a newcomer no more. He carries his own
weight, with a witty, nonchalant confidence and believable fighting chops.
Jackson looks like he's giving us self-aware winks with this role, a play that
shouldn't be taken seriously.
“Kingsman: The Secret Service” has substance, even as it's heavy
with style. It has a plot and twists, pays homage to the spy genre and brings back the fun. It's dynamically directed, sensationally choreographed and exemplarily executed. As a disclaimer, some of
the violent elements (and must be one of the highest body counts filmed) or crude language may be a bit much for the
sensitive or squeamish. It should be noted though that the violence
tends to be 'comic-book' style, so it's not close-to-reality gore,
which makes it much easier on eyes.
“Kingsman: The Secret Service” is
absurdly over-the-top, sleekly stylized, expansive and inventive, and
most importantly, outrageously fun. And come to think of it, it's
the most fun I've had at the movies in a long time.
The Academy Awards show is taking place earlier this year (February 22), but there's still time to catch up on some of the nominated movies! (up for best picture, directing, writing, acting, visual effects, music). As in previous years, I've picked a half dozen highlights.
The opening scene strikes terror in your heart and the firing sound will make your heart feel like it stop beating for a minute. Throughout four tours, Chris Kyle is forced to make split-second decisions with supreme precision, every single time. Each time he returns, he's not the same man that left. Most of us would never experience the horrors of the battleground, let alone make the life-or-death choices that Chris did, where he's credited to be the most lethal sniper in U.S. military history with 160 confirmed kills. The story is brought to the screen just right. And realistic. The film does not shy away from the brutal reality of war, but it also feels close to heart. You'll hold your breath and feel every trigger pulled, every shot fired or blood splattered. It demonstrates costly personal ramifications, without glorifying the decorated war hero. An accomplished filmmaking and one of the finest, real and personal, harrowing and absorbing. An “as is” story, that tells the life of Chris Kyle. There's a collective applause and then reverent silence filled the theater as closing images concluded the film. “American Sniper” honors the memory of Chris Kyle, an exemplary life of service and sacrifice. Check out the full review and trailer here.
***
"The Imitation Game"
In 1939, Alan Turing applies for a cryptographer job at a secret government school and begins working on a stealth project, deciphering Enigma. If successfully decoded, the device would reveal military strategies and surprised attack plans deployed by the Nazis. The device resets itself every midnight and there are 159 million combinations. Alan focuses all his efforts into creating a machine that could instantly decode those complicated codes. A defining moment happens when the machine finally works and the team has to decide on the next step, which in essence, decides who lives and dies. It painfully remains a secret they have decoded Enigma so that the Germans would never suspect and adjust their strategies. This achievement has been credited to shortening World War II by more than a couple of years and saving millions of lives. If one were to conjure up a heroic character, it would be hard pressed to imagine someone like Alan Turing. Yet he is, and knowing how he lives towards the end of his life – after all he's contributed to humanity – makes it the more tragic. Paced like a ticking clock and suspensefully unfolded, “The Imitation Game” purposefully hits the mark in shining the light on one the most heroic figures of the 20th century. Check out the full review and trailer here.
***
"The Theory of Everything"
The film tells a life story of the world-renowned astrophysicist, Stephen Hawking. More of a love story than intellectual discoveries, it’s told from his first wife’s perspective, Jane. Stephen is first introduced as a vibrant young man with a brilliant scientific mind and quirky humor, quickly charming an arts student, Jane. Stephen receives a devastating diagnosis, degenerative motor neuron disease with an estimated life expectancy of two years. As the deadly disease progresses, he gradually loses his abilities to do routine things. It is painful to watch and serves as a powerful reminder of how much we take everyday living for granted. His brilliant mind remains, however. It’s the singular thing that he has control over and continues to put to great use. Life eventually does take a toll on Jane as a primary caretaker as Stephen's life stretches for many years, but through it all, Jane and Stephen’s bond is lifelong. They’re shown as very human and fully realized. Filled with much life, love and tears, and sprinkled with laughter, “The Theory of Everything” is a beautiful film. Check out the full review and trailer here.
***
"Gone Girl"
Nick and Amy Dunne are a married couple with marital woes. In the morning of their 5th wedding anniversary, Nick comes home to find the door to his house open, smashed coffee table, and no sight of Amy. Yet everything else appears suspiciously neat and immaculate. It becomes very apparent right away that things are not what they seem. Nick's nonchalance and unsettling clues left by Amy, along with Nick's own missteps make him a prime suspect. With Amy being sensationalized as America's sweetheart, Nick is guilty in the eyes of the public. While continuing to maintain his innocence, he finds himself running out of options and turns to a slick celebrity defense attorney. They uncover each layer of mystery and finds out what really happens. The film does feel long, but deft direction, sharp storytelling, purposeful pacing, brisk dialogue intermingled with surprising dark humor, accompanied by an eerie score maintain the suspense and keep us guessing. What begins as a whodunit puzzle unfolds as a complex, character-driven page-turner, ending with a brutally bizarre twist. Meticulously constructed, “Gone Girl” is layered with intricacy and laced with dread and wit. A deliriously diabolical psychological thriller, it won't be gone from our collective mind anytime soon. Check out the full review and trailer here.
***
"Nightcrawler"
Lou Bloom is desperate for a job, scours and scrapes for anything. One night he runs into a freelance videographer filming a crash rescue, a footage that can be sold to the highest bidding news station. This speaks to him. Riding a beat-up car and equipped with an amateur police scanner and cheap camcorder, Lou is in business and thrives. Lines are crossed, as Lou realizes that power and dollars come with getting the right shots at all costs. It's not just creeping or crawling into any crash, fire, murder, stabbing or carjacking. There's such thing as the “right” neighborhood, the “right” victim or the “right” circumstance. So what's the harm in manipulating frames at crime scenes? It gets the message across, scores and praises. But at what point a line is crossed to the point of no return? Nightcrawler” is a great macabre satire about how news are made, packaged and pushed to the limit behind the scene, sensationalized and consumed by the public, and those who profit from tragedies and atrocities. A dark comedy and thriller rolled into one. There's something to be said about the public's appetite for ghastly sensationalism. As long as people are watching and ratings are soaring, the media would continue to publish. And that, is where the horror lies. Check out the full review and trailer here.
***
"Interstellar"
Earth is on life support, on the edge of extinction. Cooper, a former astronaut, returns to his calling for a journey to the unknown. A wormhole has been found, which may be the key to find another place in space for humanity. Time is truly of the essence and there's a sense of scarcity. Every decision must be thought out thoroughly and calculated carefully. In one planet, an hour translates to seven years on earth. One mistake could cost decades and humans' extinction. “Interstellar” is a duel of philosophies, one for being human and feeling connected to our loved ones and our generation, and the other obligations to reach higher and do something greater for the future survival of mankind. And at its heart, an emotional tale between father and daughter that transcends time and space. The visuals are vast and victorious. Majestically framed and filmed, they invoke a sense of awe. The score impeccably underscores tense moments peaking with crescendo and cutting into silence. “Interstellar” is imperfectly perfect in its stellar storytelling, simplicity of the plot and complicated details. A celestial tapestry of space exploration, time bender and heartfelt human story, it earns its place among the stars. Check out the full review and trailer here.
Grounds crack and split, skyscrapers topple and fall, landmarks destroyed, tsumani wipeout, ships crash into land, bridges snap, the air thick with debris and ashes.
"San Andreas" depicts in great realism (as realistic as the most unlikely scenario could be) if (when) the overdue "The Big One" happens in earthquake central, California. As a precursor to the main event, a car perching cliffside after multiple flips and dam bursting in the beginning are effectively tension-filled.
The story focuses on a nuclear family where a fire and rescue personnel races to save his estranged ex-wife and daughter in time. The skydiving and speedboat riding add a different touch to the shaking and falling stuff. The women may still rescuing, but they're also resourceful and quick thinkers.
I found the global disaster "2012" more entertaining as a whole, but there's plenty of mayhem escapism to enjoy in "San Andreas."
[Originally published on 5/30/15] June 5
"Entourage" (http://entouragemovie.com/) - Movie star Vincent Chase, together with his boys Eric, Turtle, and Johnny, are back - and back in business with super agent-turned-studio head Ari Gold.
"Spy" (http://www.foxmovies.com/movies/spy) - A desk-bound CIA analyst volunteers to go undercover to infiltrate the world of a deadly arms dealer, and prevent diabolical global disaster.
June 12
"Jurassic World" (http://www.jurassicworld.com/) - Twenty-two years after the events of Jurassic Park (1993), Isla Nublar now features a fully functioning dinosaur theme park, Jurassic World, as originally envisioned by John Hammond. After 10 years of operation and visitor rates declining, in order to fulfill a corporate mandate, a new attraction is created to re-spark visitor's interest, which backfires horribly.
June 19
"Inside Out" (http://movies.disney.com/inside-out/) - After a girl moves to a new home, her emotions are plunged into chaos as they compete for control of her mind.
"Inifinitely Polar Bear" - A manic-depressive mess of a father tries to win back his wife by attempting to take full responsibility of their two young, spirited daughters, who don't make the overwhelming task any easier.
June 26
"Ted 2" (http://www.legalizeted.com/) - Newlywed couple Ted and Tami-Lynn want to have a baby, but in order to qualify to be a parent, Ted will have to prove he's a person in a court of law.
"Big Game" - A young teenager camping in the woods helps rescue the President of the United States when Air Force One is shot down near his campsite.
