"Wall Street: Money Never Sleeps"

With "Wall Street: Money Never Sleeps" Oliver Stone provides a blast from the past that has never been so relevant to the state of times.

Serving an eight-year sentence on the charges of insider trading and securities fraud, Gordon Gekko (Michael Douglas) is released in 2001 with no one to greet him at the door of freedom. Fast forward to 2008, Gordon has milked his experience, and is now a sought-after book author ("Is Greed Good?") and speaker. Never missed a beat, he foretells the great financial crisis of 2008 and promotes his book in front of the "ninja generation" (lost generation facing chronic unemployment).

Douglas is back at the top of his game with his sharp and smarmy Gekko persona. He projects an authoritative presence that dominates the screens he shares with estranged daughter, journalist Winnie (Carey Mulligan) and soon-to-be fiance, stockbroker Jake Moore (Shia LeBouf).

Winnie blames Gordon for what he's done and the lost of her brother who overdosed and died. LeBouf (who wouldn't be on my roster for playing this role), known for his blockbuster "Transfomer" and "Indiana Jones" movies, doesn't pull off the financial whiz look believably. But he's surprisingly good with his love-hate dynamic with Gordon and shrewd trading efforts in bridging a father-and-daughter reconciliation. Young and idealist, he specializes in green energy idolizes his mentor, Louis Zabel (Frank Langella).

Mulligan plays off Douglas well as the emotional anchor in the relationship. When it comes to his infamous father, she knows that nothing is neither straightforward nor simple.

Has prison changed Gordon? Does he truly want to reconcile with her daughter? When confronted with dollar signs to the tune of $100 million, is time really the primary asset in life or is it too high of a price? What does Winnie know that Jake doesn't? Can Jake be trusted or does he have his own agenda?

In the meantime, years of reckless excess and abandonment slowly but surely spirals Wall Street out-of-control. The Manhattan skyline is marvelously outlined, following the ups and downs of the market. Greed gets greedier (and apparently legal) because everyone is now "drinking from the same koolaid." Mortgage-backed securities, leveraged debts, government bailout make their way into our vocabularies.

"Pious piranha" Bretton James (Josh Brolin) pushes Zabel's firm over the edge, along with its chief. He offers to buy out the shares at $3 each during a terse Federal Reserve meeting, plunging from $79 per share in the month prior. Together with Gordon, Jake worms its way into Bretton's side and plots for revenge (although it can be said that his illegal dealing is ultimately his own downfall).

The complexity of the transactions may not be easily understood in laymen terms (then again, had they made sense, we probably wouldn't have been in this mess in the first place!), but the story centers on money manipulation as much as family relationships. 'Wall Street' may not rock the charts, but it's pretty much right on the money as far as entertainment value goes.

DVD: http://tinyurl.com/2dx99am

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"The Town"

Ben Aflleck goes back to his roots and puts on a director's cap with "The Town," a gritty realist crime drama that has become the talk of town. After his directorial debut of powerfully shocking "Gone Baby Gone" and a second solid return, he proves that directing is in the cards for him(perhaps more so than acting).  

Set in Charlestown, a rough blue-collar suburb of Boston, the town has been a breeding ground for criminals for generations; murderers, armed robbers, carjackers. Mafia head (Pete Postlethwaite) brazenly conducts businesses behind innocuous storefront and strong-arms even hard-core perpetrators.

Having a convicted killer felon as a father (Chris Cooper) and a mother who left him (there's more than meets the eye) at six years old, Doug MacRay (Affleck), goes back to town after his short career in pro-hockey ended before it began. He joins the brotherhood of crimes; James Coughlin (Jeremy Renner, "The Hurt Locker"), Albert Magloan (Slaine) and Owen Burke (Desmond Eden). Sleazy sister Krista Coughlin (Blake Lively, "Gossip Girl") with a kid, presumably Doug's, rounds up the main players. While the story revolves around Doug and this may be Affleck's film, Jeremy is the star here. His trigger-happy James can turn predictable into unpredictable.

Doug's fate seems to be sealed in crime, until he falls for and pursues a relationship with a bank manager, Claire Keesey (Rebecca Hall), whose bank he has robbed, and is blissfully unaware about the real identity of her new guy. Complications soon arise as the FBI (Jon Hamm and Titus Welliver) is closing in and Claire is clued in.

The Bostonian fast-talks among tightly-knit characters occupies a lot of screen time, but it's evenly enthralling. There's a stretch of chase-and-getaway sequences that will keep your pulse racing. And the rapid-fire shootouts during the Fenway heist to the finish is adrenaline-pumping good.

Doug is clearly a bad guy; there's no shade of gray about it. I don't normally root for the bad guy, but somehow I found myself pulling for an escape route for him - and to give him an earnest chance to truly turn his life around. The ending, which could have swerved differently, is as realistic as it can be and it's just "right" at different levels.

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

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"The American"

I don't know how to make of "The American." It's not an action spy movie and it's not a suspense thriller either. If you're expecting a fast-paced flashy "James Bond," a gritty "Bourne," or even an international intrigue like "The International" (starring Clive Owen), you'd be sorely disappointed. It's simply not that kind of movie. The trailer is misleading, unfortunately. It's a foreign film set in a foreign country, which happens to star George Clooney, as yes, the only American.

Jack (or Edward - who knows), a former assassin-for-hire, lives a secluded life in a remote, picturesque Italian village on a hill. Constantly fearing for his life, he's persistently paranoid and always looking over his shoulder - for good reason. It seems that his past has caught up with him; other gun-trotting, shadowy figures are tracking him down. Although it can be said that when Jack's on the job, he doesn't leave anything behind.

For whatever reason, he agrees to accept a one last assignment from his obscured employer. And this time, he doesn't even have to kill. His job is to build a custom-made weapon, a compact rifle with machine gun capability. He's had exchanges with the buyer, a femme fatale with ever-changing hairdo (Thekla Reuten), to ensure that the specs will be precisely as ordered. Along the way, he has lurid encounters with a prostitute (Violante Placido), and somehow lust turns into love. He also befriends a priest (Paolo Bonacelli) with a sordid past.

"The American" is more like a character-centric drama (or rather, lack of the latter) with a languorous pace. It's been dubbed as a "character study" or "mood film." I am actually one of those who believe there's a beauty in silence and subtleties, but here the story just isn't there for me.

We're subjected to almost-still pictures of the day in-and-out in the life of a one-dimensional character. It's as if someone takes a camera, points and shoots at the minutiae of what someone does from the moment he wakes up in the morning until he goes to bed at night - only against the backdrop of majestic vistas.

For a character-centric film, it lacks a lot - background, history, motivations, emotions, meaningful connections - in other words, all the dimensions that would make Jack's character compelling. Whilst the ending exposes the purpose of his last job and hits the intended target with a bulls eye accuracy, I'm afraid that it's a little too late to care when everything comes to a disastrous end.

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

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"Eat Pray Love"

Having never read Elizabeth Gilbert's memoir, "Eat Pray Love," I came in with a clean slate, although I couldn't help looking forward to this adaptation with all the surrounding build-up. At the very least, this film should bear resemblance to Diane Lane's sunny journey in "Under the Tuscan Sun," or as pleasant and heartwarming as this year's travelogues, "Leap Year" and "Letters to Juliet."

World-travel, on its own, has always had an amazing appeal to me - learning about different routes of life, history, art, culture, architecture, people, food, and experiencing the kindness of strangers along the way. Born and raised in Indonesia, I was one of those kids who dreamed of traveling around the world and believed that there's something more out there for me.

While the story has all the ingredients of a best-seller book, the film is overwhelmingly underwhelming, not to mention running long past its time for this type of tale. Broken down into three segments (or four, if you count the prologue in New York) - Italy, India, Bali - it sweeps the details of Gilbert's (Julia Roberts) life events under the glossy cover.

Roberts (bless her heart), with her warmth and down-to-earth vibe, does the best she could and hopes that we would root for her. The backstory with the husband (Billy Crudup) doesn't depict the struggles and fights, those irreconcilable differences in a marriage that would lead to her exit. Instead, it's as if Gilbert wakes up one day, decides she's fallen out of love and is done for. I'd attribute it to Roberts that her desperate prayer, in which she asks for guidance from above to tell her what to do, to be believable. That's just about the only moment where I could feel her emptiness about her life.

Hopping into an affair right after with a young Broadway actor that looks like James Franco doesn't help with the image, however. Although one might argue that it is in her character; all her life she's always in one form of relationship or another. Similarly, this relationship isn't detailed here as well and Gilbert takes flight.

The film fails to mention that Gilbert has pitched the idea to trot around the globe to the publisher, and that she has received an advance to pay for the trip. It does beg the question whether she'd still go forward without. It makes the reality less 'authentic' than if she would go for broke and embark on the quest just because. A soul-searching journey, the longing to discover more about oneself and something greater, resonates well especially these days, where it's easy to become disillusioned.

Italy embodies the "eat" portion and a feast for foodies. Aside from the historic ruins and language, the parade of good food and fine wine showcases Italy as a culinary marvel. The hilarious hand-gestures and wee-hours of the morning of Thanksgiving dinner highlight this sojourn. It is true that there's a difference between pleasure and merely entertainment.

India, "pray," is the hard one. From the slum to the ashram, it's certainly a contrast to Italy. India is where the human connections seem most genuine. There's a moment in time where Gilbert connects with an Indian girl being thrown into an arranged marriage. There are meaningful walks and talks with Richard (Richard Jenkins), an American from Texas who shares about his painful past and relationship with his family.

And here Gilbert learns that just because she is at the center of a sacred place, it doesn't necessarily mean that she would feel more present. All the meditation and devotion won't do anything as long as she's in the pity-party mode, can't be still with herself and at peace with everything. Harmony and happiness are not to be pursued; they're already inside if only she could clear her mind and heart, trust and let things happen.

The beauty of Bali is shown through the rain-forests, terraced rice paddies and tropical flowers. Gilbert re-connects with Ketut Liyer, a Balinese palm-reader and healer who tells her in the beginning when she's there on assignment that she would return. She gets to know Wayan, a divorced woman with her little daughter, who grounds up traditional herbs to mend the wound on her leg after her bike was nearly run over by a jeep-driving Brazilian, Felipe (Javier Bardem), her soon-to-be export-importer lover and husband. What follows, donating a large sum of donation to Wayan so that she could buy a house, falling in love with Felipe and committing to the relationship, seem a little out of nowhere and rushed.

In the end, "Eat Pray Love" is passable but not palatable enough. When the transition process and interactions among the characters are not believable, it's hard to care. Instead of genuine emotional healing and spiritual awakening, Gilbert is simply swimming along from a river of events to another. "Eat Pray Love" is more of a romanticized travelogue, rather than a truly transformative one.

DVD: http://tinyurl.com/28mc3lm

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"Inception"

Inventive and imaginative... it's breathtakingly brilliant! It's the kind of conception that can only come from a mastermind such as Christopher Nolan. "Inception" lives up to the heightened expectations and more. Just like "The Dark Knight," Nolan takes it to the next level and surpasses it. And I've got to hand it to Leonardo DiCaprio. He's played a pivotal role in "Catch Me If You Can," "The Aviator," "The Departed," "Shutter Island," and now he can add "Inception" to his impressive body of work.

The vision, plots, characters, set design, special effects, visuals, score come together like a grand symphony led by a expert conductor. Its dreamlike storytelling is hypnotic; it draws you in and not only keeps you in that world till the end, but it still leaves intrigue that lets it open for interpretation.

DiCaprio (Dom Cobb) leads his team of extractors, specializing in invading people's dreams and extracting their ideas and secrets. The team is composed of protege-architect Ariadne (Ellen Page) who constructs dreams, second-hand man Arthur (Joseph Gordon-Levitt) who monitors the process, shape-shifting Eames (Tom Hardy) who can place himself in a dream and morphs into anyone, chemist Yusuf (Dileep Rao) who finds a way to induce simultaneous jolt out of the dreamers from the slumber state. If you wonder what Page is doing in this eclectic, but decidedly "adult" ensemble, halfway through the film it's clear why she's chosen. She's a real standout in this role.

The plan is to pull off this one last heist for a mysterious magnate Saito (Ken Watanabe), who can place a phone call to clear his name as a murderer so that he can return to the United States and reunite with his kids. Unlike all the other extractions, this project requires him to do the opposite; plant an idea in a tycoon's heir Robert (Cillian Murphy) to break up his belated father's empire.

Insanely intense, its multi-dimensions would command your full focus to decipher each dimension of complexity. In order for an idea to be planted successfully, it has to grow organically in the mind and consume that person. And what makes it complicated is that certain people have natural defenses that would reject this invasion of the mind.

"Inception" takes us into the abstract worlds beyond imagination. You step into different levels of subconscious hidden behind the dreams within dreams. The further up you go, the more risk it carries. In the extraction project if one dies, one would wake up. In the plantation project, however, it's a whole different rule. One could enter the limbo stage or nightmarish dream state, gets trapped for decades, and grows old there.

The realm of dreams (or nightmares) is naturally entrancing. I've had lucid dreams where I'd remember that I'm in a dream. I've had a series of dreams where the next dream would pick up exactly where it leaves off in different times. What strikes a cord is that we don't know how we end up in our dreams; we just arrive there and everything feels so real.

What would happen if you wake up but feel like the "real world" that you're awaken to is indeed the dream world? And that you couldn't wait to go back to the "dream world" because that's where reality is? What would happen if you begin to question our existence? What would you do if you truly don't know which world is reality because they both feel equally real? And if you could choose, would you rather live if a wonderful world of lies if it's better than reality?

The heartwrenching backstory hauntingly reveals the depth of Cobb's relationship with his late wife Mal (Marion Cotillard) and why he can't design the labyrinth of the dreams himself. He even can't allow himself to know the ins and outs of the construction for a certain reason. Powerfully chilling scenes provoke the mind and evoke strong emotions.

Visuals like inversely perpendicular city blocks and structures, mirrored gates, crumbling cliff walls, raising bridge, tumbling base, gravity shift, watery destructions, fiery explosions are surreally realistic. The zero-gravity floating and fighting sequences, with an ominously glorious score playing in the background, are nothing short of mesmerizing. Parallel levels of dream worlds crisscrossed with simultaneous movements. Floating, falling, breaking, chasing, exploding. Slow and agonizing moments are juxtaposed with fast and furious ones.

Mind-bending and time-twisting, disguised by dreams, "Inception" deals with reality, guilt, forgiveness and redemption. It's a thinker's film that packs as much punch as an action movie. An amazingly ambitious filmmaking, "Inception" is one-of-a-kind.

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

DVD: http://tinyurl.com/24r7k8e (blu-ray)

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"Special Highlight: Comic-Con"

As people began to gather their belongings and were leaving, ending the last day of hysteria in Hall H, we're asked if we'd be willing to stay just for a few more  minutes to "see something." We're expecting a trailer or something and there it was on the screen, a play on "The Avengers" logo... AND then ... the intro of Samuel Jackson aka Nick Fury, who strolled onto the stage and took the podium! The audience went wild!

Wait, wait... don't go yet! He started rattling off *names* one by one... Oh yeah, the CAST of "The Avengers." Scarlett Johansson aka "Black Widow," Clark Gregg (the agent who finds Thor's hammer), "Chris Hemmworth aka "Thor," Chris Evans aka "Captain America"... AND :::drumroll please" RDJ aka "Iron Man" himself (everyone just about *lost* it at this point!) in his typical "I.privatize.world peace" flair and rockstar suit.  He officially announced Mark Ruffalo as the "Hulk" (recast). If you've seen RDJ in person before, you'd know that he's just like his alter-ego Tony Stark, a real entertainer and crowd-pleaser. He asked whether we had seen "Inception;" he thought it's the most ambitious film he had ever seen - until he found out that Marvel was going to make the "Avengers."  Somehow during the thousands of the blitz I missed the announcement of another guy being Hawkeye, Jeremy Renner. 

They all stood shoulder-to-shoulder in front of the table on stage and pose along for pics.  WOW... this last stunt almost brought down the house!

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"Salt"

"Salt" premiers with high expectations partly (or probably, mainly) due to Angelina Jolie. I love spy-thriller movies but couldn't recall seeing one with a female lead. Jolie is, without a doubt, the obvious choice for the role. There are very few female stars who could open a blockbuster action movie. Milla Jovovich is one, Kate Beckinsale is another, but they're more fantasy-based. It would be unfair to compare "Salt" to "Wanted," as that, is fantasy-based too (bullet-bending, anyone?), as with "James Bond."

A fairer comparison would be the "Bourne" starring Matt Damon. While "Salt" didn't blow me away like "Bourne," it's a good, old-fashioned spy-thriller with a throwback to the Cold War era. And Jolie, with her physical prowess and photogenic presence, pulls off a secret agent like a pro. There are scenes that elicit oohs-and-aahs, specifically with the ways she uses a gun without shooting or chain link from her handcuff to disarm someone.

There have been female undercover operatives who are worth their salt (no pun intended). Valerie Plame is arguably the most famous case in recent history. Clandestine work is inherently alluring and I wish Salt's motivations are explored further in place of (still) over-the-top violence. In real life Salt would have bruises and broken bones all over during the continuous chase and shootout scenes, or even fall into a certain death.

I do appreciate purposeful acts that may seem minor are built in to give a touch of realism. You can't help but notice the way she removes her stilettos before taking off running or jumping sideways gradually down through the elevator shaft instead of leaping straight down like a superhuman. Adding flashback scenes to her training days at Langley and exploring the relationship with her handler would add more depth to the story.

So just who is Evelyn Salt? What's her allegiance? Is she a CIA agent gone rouge? What about her husband? Does she really get framed? If so, by whom and for what purpose? How would she prove herself on the haunt? Or could it be that she is indeed a double agent?

All of these questions surprisingly get answered in the end. And the closing scene doesn't tie everything up; instead, get ready for a sequel!  "Salt" is a relatively tasty summer treat.

DVD: http://tinyurl.com/25cg375

DVD: http://tinyurl.com/2bab22c (blu-ray)

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"Jonah Hex"

Incorrigible - non-existent character development with a story that's barely there. Now, I'm a fan of putting slices of a storyline together, but the execution is dicey (or a lot left on the cutting flor). Not to mention loud, LOUD. There's SO much meaningless firepower. If you expect this to be a unique sci-fi western, beware! It's western (with a sliver of supernatural element). It's a shame that it wastes talents such as Josh Brolin and John Malkovich. If you're going in and hoping to see a lot of Megan Fox, don't bother. She has minor scenes and her "acting" leaves much to be desired. That said, I came with such low expectations that I ended up enjoying it mildly.  

DVD: http://tinyurl.com/2e9u3j7

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"The A-Team"

Preposterously outrageous, "A-Team" is A-AWEsome! Big, bold, bawdy death-defying stunts that stun.

To those in the audience who are not familiar with the TV series from the 1980s, the movie opens with Mexico, providing about the background of the band formation of the fearless foursome. Liam Neeson as Hannibal is the brain of the operations; Bradley Cooper as 'Face' is easy-on-the-eyes all-around go-to guy; Quinton Jackson as Barracus is the big brawn with a teddy-bear heart and a flying-phobe; and Sharlto Copley (virtually unknown prior to last year's "District 9") is the insanely frenzied super-pilot. The buddy-chemistry cranks up the scenes; I was bowled over with laughter.

8 years and 80 missions later, they go to Baghdad on a black ops mission to recover millions in money plates. Predictably, they're setup by a conspiracy - without anyone in authority who could vouch for said mission, and subsequently find themselves court-marshalled and imprisoned. Chaos ensues. There's the army (Gerald McRaney), CIA (Patrick Wilson), mercenaries (Brian Bloom), Arab figure, Face's former flame (Jessica Biel). Who double-crosses who? Who's friend and who's foe? Who dunnit?

None will argue that the plot is muddled, the "strategies" are flawed, or that such actions are implausible to execute. Never fear - the plans of distraction, diversion and division launch the fireworks and that's all it matters. Commandeering a flying tank while shooting out drones in the sky? Sniper-shooting a building window and breaking into a room at hundreds of feet in the air? Skidding down a skyscraper among shards of glass? No big deal.

This is one of those "mission impossible" movies that thrives on the thrill of the skills in pulling off such impossible missions on accelerated speed, and dodging dramatic crashes and blasts. It propels 'cool' to the next level. No brain power required - enjoy the ride!

DVD: http://tinyurl.com/24x5jgm

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"Prince of Persia: Sands of Time"

A popcorn epic blockbuster fits for a prince (or princess). PoP has Jerry Bruckheimer's signature all over it. BIG FUN! For me it's "Pirates of the Carribean" part 1 all over again, only without Johnny Depp in it.

Jack Gyllenhaal more than makes up for it! Rogue and buff but agile and versatile, he looks and acts the part of a dashing prince, romantic hero, Dastan. As Dastan, he dexterously climbs up castle walls, leaps through rooftops, squeezes into tight spaces, gallops on horses through the desert, bungee-jumps, sword-fights with the best of them, not to mention outwits and outcharms the rest. He is the quintessential "good guy" and a parkour master to boot (for those of you who are not familiar with parkour, I'd suggest watching "District B:13" starring real-life parkour founders).

As a street kid, he was adopted by the King of Persia, who was impressed by his good heart and bravery. After deftly devising a strategy to conquer Alamut, a staggered village-city suspected for harboring a "weapon of mass destruction" (a jab at the previous administration), the king ends up dead and he's accused for the murder and going after the crown.

On the run for his life from his royal brothers and the Persian army and trying to clear his name, he and Princess Tamina (Gemma Arteton), the ruler of the conquered city and protector of the magical dagger, reluctantly end up on the rides of their lives together. Anybody who possesses the dagger has the potential to rule the world because it could reverse time if the jewel atop the dagger is pressed.

Honestly, I was surprised that the movie was an adaptation of a video game. The story works because all the elements are there. Fantasy. Action. Adventure. Humor. Romance. It's a "logical" fantasy with a sense of realism in a sublime set pieces and complemented with spectacular special effects. A heroic, dashing prince with a beautiful heroine, spirited princess working together for the greater good. A villain with a familiar face and familial ties to the prince (Ben Kingsley), along with snake-equipped dark forces. A sarcastic, shady sheik (Alfred Molina) in the business of ostrich racing as a sidekick with his knife-thrower sidekick. The chemistry between Gyllenhaal and Arteton is incredible that the romantic banters look so believable. The way they challenge each other, fight with one another, and join forces together come out as natural as their mutual attraction.

Exhilaratingly entertaining, PoP earns a fan who will be one of the first in line for (hopefully) the next installments of a trilogy!

DVD: http://tinyurl.com/2foa54s

DVD: http://tinyurl.com/249wc7m (blu-ray)

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"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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"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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"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!

DVD: http://tinyurl.com/2dwed5p

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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.

DVD: http://tinyurl.com/252pjor

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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!

DVD: http://tinyurl.com/2b7eaq2

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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.  

DVD: http://tinyurl.com/2es56po

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