Rex_Stephens Reviews

The Book of Boba Fett: Chapter 6: From the Desert Comes a Stranger (2022) Season 1, Episode 6

Grogu and Cobb Vanth returns

[8/10 · 24 March 2023]

Another episode where Boba Fett takes a back seat to Mandalorian's world as we catch up on so many characters. Absolutely brisk pace of a show suffers only because there is just too much that could have been more deeply explored. Great lessons, great conversations and a great cliffhanger altogether.

Cobb Vanth lets his presence known to the Pyke Syndicate, meanwhile Mando finds Grogu to check up on him.

Have to hand it to the writers for thinking the problem with The Book of Boba Fett was there was too much Boba Fett. They could have made a whole episode on Grogu's training and it would have not been a bad thing. Impressive how they have made him move along the story as well. Just an overall thumbs up to the episode.

The Book of Boba Fett: Chapter 5: Return of the Mandalorian (2022) Season 1, Episode 5

Boba tags out.

[8/10 · 24 March 2023]

Funny how The Book of Boba Fett improved by giving us a break from Boba Fett himself. This episode made the most of everything The Mandolorian has to offer by having us catch up to his side of the galaxy and what he has been doing since the end of the second season. Apparently a ton since the episode is, from beginning to end, full of action, moving dialogue and a cast that's dialled right into it.

Mando returns! After collecting a hard earned bounty and finishing his quest from his own show, The Mandolorian catches up with very little left of his brethren from Nevarro. But his heart still pulls towards his foundling and we see him set off to check up on him.

Memories of Phantom Menace are scattered throughout the episode. Favourite scene personally was the planetary security checkpoint. And did the Rodian boy say what I thought he said? Just altogether enjoyable episode and gives The Book of Boba Fett the shot in the arm it needed.

Thor: Love and Thunder (2022)

A heavy burden to bear, this thing called continuity.

[6/10 · 23 March 2023]

In Ragnarok, Waititi, Hemsworth et al had a certain looseness that made for an entertaining hero movie that did not feel like one. Tessa Thompson drinking herself off an entrance? Gold. Thor hijacking Gamesmaster's ship (Don't touch anything")? Another gem. Love and Thunder certainly began with hope when Thor throws his cloak at the beginning of the movie, but by the third song recycled from the Appetite for Destruction album alone (there was no other hard rock band they could use in a hard rock themed movie?), the film was showing its wear and tear. That's not to say Love and Thunder is a bad film, since the cast is all staying true to character, the pace of the movie is on point, the colour, the design, the shade... Love and Thunder is in fact a sharp movie, but the film itself is handcuffed to way too much continuity that has to be answered to.

A god worshipping soul loses all faith when unanswered drought claims his daughter. Answering to a cursed sword's call to seek revenge, all gods are put on notice as they are starting to be exterminated. Thor, who returns to shape and spirit after his latest trials, has a target on his back as he holds something of value to this God Butcher.

What I do like about Waititi's approach in Love and Thunder is the use of the children. Say what you will about the climax (it's a superhero film, people), Waititi's movies have usually featured kids as the protagonist and Love and Thunder could have used more of their screen time, particularly with Gorr, or have them enjoying New Asgard. What we get instead are some very tiring cliches bogging down an already heavy film. In the face of cancer and abducted children, we didn't need to know Korg's mating rituals. Thor's romance over a former flame (not Jane) was also adding to unnecessary screen time. The key that made Ragnarok feels effortless was the successful banter between characters and parties that made the plot hold. Love and Thunder, though flashy and full of heart, misses that same effortlessness, making for a sometimes tiring watch.

Puss in Boots (2011)

Strong characters hold up this adventure.

[7/10 · 22 March 2023]

Whether the scripts deserve it or not, Antonio Banderas has always brought his top game with the character of Puss. In his first standalone film, Puss in Boots not only gives a backstory to the protagonist, but provides an adventure with a hot pace, solid supporting cast and a thumbs up score to boot. Indeed, the three main characters have a rapport that pushes aside the leaky script and meh plot to give Puss in Boots an added flavour of fun not often felt in family films.

When outcast Puss returns to his homeland of San Ricardo, the opportunity to repay an old favour arrives when word of magic beans have been found. No easy task, though, as the murderous outlaws Jack and Jill have their own ideas on what to do with them.

The script rehashes a bit too often, and many of the zingers miss more than hit, but thankfully it's an insecurity of the writing, since the plot does plod and lose steam in the final act. That's why the chemistry of Banderas, Hayek and Galifianakis is exemplary for an animated film here. The conversations between them contain more substance than the final third of the movie altogether. That trio, mixed with a score and cinematography tailor-made for Puss, essentially creates an exciting pace, before and minding the 'twist,' altogether creating an entertaining family film, one that still holds.

Back to the Outback (2021)

Above average performances push this one through.

[6/10 · 21 March 2023]

Funny how we've grown spoiled with top of the line animation. Back to the Outback suffers, from start to finish, animation issues and the lack thereof what we've grown accustomed to in bigger budget family fluff. Underneath the hood of this jalopy, however, and you would be forgiven for scratching your head at how well this movie hums. Past the animation and general storyline for our protaganists, Back to the Outback has above average character portrayals, led by Tim Minchin's Pretty Boy, and a decent solid pace, even if bogged down at times.

Raised in captivity, Maddie the snake leads a group of deadly creatures and an uncompromising koala on a quest to return to the Outback. The zookeeper and his son chase them in pursuit, much to the former's dismay.

Casting in Back to the Outback was initially the biggest surprise. An eclectic gathering of commonwealth actors and actresses, the movie is propped up well from the start yet you wouldn't know from the animation. Secondly, the turn on the antagonist in the second half of the film was a pleasant surprise. Eric Bana's Chaz could have been one dimension front to back in the family film but a late tilt added a layer you never knew it needed. You could do better in the animation department, but you could do worse in the story, Back to the Outback is one that will not overstay its welcome no matter how you feel.

Shang-Chi and the Legend of the Ten Rings (2021)

An entertaining, yet familiar yarn.

[6/10 · 20 March 2023]

Funny how the pandemic cannot keep a decent superhero film down. Shang-Chi is an entertaining popcorn film that moves along the Marvel assembly line with more and returning characters than you could hope to keep track of. It might help if the supporting characters had more personality, more screen time or, heaven forbid, more substance than to drive along the story. After all, a karaoke machine added more nuance to the main character than a sibling rivalry for a start.

Shaun is happy as a hotel valet with a good friend until ninjas ambush their life. The ninjas all work for Shaun's Dad, Xu, who is convinced his wife is alive and calling out to him.

What pushes much of the boredom of the film out of the way is the style and colour of the cinematography. Colours are bright and lush, particularly in the second half of the film, however that is a hard push itself when the sheer length of Shang-Chi is daunting. There are two to three action scenes and about four supporting characters too many; they don't truly serve any purpose only to show up later in the MCU. Indeed, skipping through to just Tony Leung's scenes might save yourself a couple yawns. But all in all Shang-Chi does hold its end of the bargain in entertainment, with solid and expected performances from everyone.

Frozen II (2019)

Painful

[4/10 · 13 January 2020]

In the Iger Era, Disney does not produce many sequels and they learn very quickly when an idea falls flat on its face (Alice Through the Looking Glass, anyone?). So you can imagine the trust and investment when Iger Disney bucks the trend to greenlight the first ever wide release of a sequel to an animated Princess movie under their banner. What could go wrong? Frozen is the biggest animated movie ever and it's not like another certain Era, where direct-to-video sequel after sequel after sequel would be pumped out with our iconic characters. Anna, Elsa, Olaf and 'Let it Go' have defined a generation, so Creative have got this... or do they? Frozen was virtually open and shut, like most movies that studios sequel after. The current generation would not want to see Anna & Elsa put through the wringer again ir the payoff lets everyone down. One of the qualities to Frozen II is that Buck and Ms. Lee were not afraid to shake the status quo of their characters, but the delivery was off its mark and continues Disney's trend that if something isn't broken, find something within it to break to keep the world moving.

Surprise, Surprise, Arendelle is in an era or prosperity. Everyone is happy with their Queen Elsa and Kristof wants to pop the big question to Anna. Then Elsa hears a voice... and it somehow suckers her into putting the kingdom in a dangerous situation. The only logical solution is for Anna & Elsa to follow the voice into an enchanted forest where more revelations are found, be it of their parents, their lineage, and themselves.

Give it that, Frozen II's animation is at the top of its game. Be it the Elements, the Dark Sea, the characters themselves along with Arendelle have been touched up perfectly. The songs themselves are enjoyable, if not safe follow ups to the bar set by the first film. 'Into the Unknown' seems destined for Ms. Menzel to belt out come Oscar time ('Show Yourself' woukld be the better bet). Olaf's 'When I Am Older' is just a natural companion piece to 'In Summer,' while 'Lost in the Woods' channels 80s B-side soft rock ballads on a major Disney budget. Mind you, all of the high production and quality could not protect Frozen II from the script it carries. The film is a glaring example that countless care put into building an animated powerhouse can be undone with an uninspired, stretched-too-thin delivery.

***SPOILER ZONE*** The MacGuffin that causes Elsa to ditch her kingdom made little sense after all is said and done. Oaken and the rock trolls, though not part of Arendelle, somehow end up stuck on the hilltop with the kingdom. Anna is spent chasing Elsa throughout the movie, squabbling with her sister about her consistent abandonment only for to totally understand that and why she did (?). Nevermind the Elements themselves, who fight Elsa one minute and are subservient the next (the Fire Elemental in particular looking as though Disney put Tangled's Pascal and Coco's Dante in a blender and out this guy popped). The end product becoming a painful pretentious mess about what Anna is meant to be and what Elsa already is (Could you imagine Charlton Heston or William Shatner belting out lines in this movie? "You ARE the fifth SPIRIT!"), Frozen II continues the idea that, like Vanellope & Ralph and Woody & Buzz, duos are better for growth by busting them up (Watch Nick abandon Judy to start his own division in the ZPD). Let's see if Anna & Elsa get their own separate series now on Disney+.

On its own Frozen II may not hold up well, but it is the organic follow up to the smash first film. The movie could have been worse... it could have been made in a more direct-to-video era...

Vice (I) (2018)

Heavy on the overreach.

[5/10 · 3 April 2019]

There is someone in our family who gets bored easily, and starts poking at the other family members to get either a desired result or something that would staisfy or distract him from his own world... but sometimes he does not get the result he wants because, in reality, nothing is really truly there. But he keeps trying and trying and trying and trying because he believes deep down with all the cover ups and pushback there has to be SOMETHING that he sees in that person that is worth exploring and dismisses all of the other intriguing tidbits exposed because it is not what that person wants.

And unfortunately that sums up Adam McKay's view of Dick Cheney through the film Vice, with an all-star cast that ends up seeing more of a vision unexplored through the film than the reality put in front of us by the writer/director himself.

Casting for Vice was top notch. With Bale, Ms. Adams, Carell and Rockwell, the movie had awards potential written all over it from the start but the pacing, direction, post-production was just not in line with the story of the man they were talking about. McKay and Corwin truly had their work cut out for them and a debate should be put whether they were the right guys for the job in the first place. From the opening crawl, to the mid-credits scene, to the melodramatic moments when they truly feel they have something worth telling (Mary's wallowing over Liz's stance on same-sex marriage flip-flop stands out), the direction was overly reaching (read:desperate) trying to find something on a man who was as he is: boring. The man's hobby was fly-fishing... I mean c'mon...

There were either two ways to go (or both) and the reality is Lynne was the much more engaging character (Ms. Adams could have had a better chance of winning more trophys than Bale, though they were all equally excellent). Focusing 80% on her would have resonated better, and then McKay should have given up the autobiographical accounts to a more satirical look of the White House (fiction, non-fiction, wouldn't matter) in his own style. It's never too late with this current administration, but thank God Christian Bale carried the character, from beginning to end, as it was very wise to add that closing monologue, to let Cheney tee off, if you will. A last look of a perspective that Cheney himself would begrudgingly shrug off, probably. But Bale did a great job, overall.

Crazy Rich Asians (2018)

A romantic comedy in the right direction.

[8/10 · 12 February 2019]

When the Oscars were announced, one movie stood above all others on the snub list. The underlying essence of increasing the number of Best Picture nominees north of five was that there were not enough 'mainstream' movies represented to 'mainstream' audiences, hurting viewership. And granted, Jon M. Chu's vision of Kevin Kwan's novel is by no means a tour de force (we are talking a rom-com here), Crazy Rich Asians provides a diverse, mainstream look of what Kwan was trying to achieve: contemporary Asia.

So what originally returned me to writing reviews was one performance that stood out among them all: Michelle Yeoh. How could Penelope Cruz win an Oscar representing her culture and yet the presence and power displayed by Yeoh's Eleanor, carrying literally everyone on the screen with her (especially Constance Wu), come up short? The presence commanded from Yeoh's role really held court and is essentially the glue that keeps Crazy Rish Asians from dissolving into the fluff most accuse it of.

Crazy Rich Asians may be a romantic comedy, and those who know, know well how history treats them, but the movie succeeds in showing Kwan's vision. The level of effort, despite heavy limitations, shows that everyone knows what was at stake here, and I laud the movie for that. Enough to say that Crazy Rich Asians was contemporary enough, was diverse enough, to stand with others at the biggest show.

The Crazies (2010)

Well made.

[7/10 · 26 February 2010]

Not your run of the mill horror movie, The Crazies is a respectfully updated version of the original. It's not about blowing stuff up and gore and frightening chills but truly about surviving the errors and mistakes that have been created by the US. All from a downed plane. You enjoy the visual and the change of pace as our protagonists dodge 'crazies' and the military. It all works and falls into place, which is funny because some movies can get away with that yet most don't. The Crazies is what I hoped 28 Days Later would have been essentially and I recommend the film for fans of the zombie genre. With the exception of some overlength, the wit and intelligence of the script will give the film some decent legs, if not on screen, then guaranteed in the long run.

The Princess and the Frog (2009)

Disney comes back.

[9/10 · 21 December 2009]

As the 2000s exit, we can look back at CGI animation with mixed feelings. Pixar has always scored with their movies, but Disney, Dreamworks and 20th Century Fox has had their hits and misses in CGI, enough so that Lasseter has done the right thing, resurrecting the House of Mouse by bringing back traditional animation. The Princess and the Frog screams of ambition and effort. Plot, action and character are crammed firmly tight into 90 minutes of wall-to-wall animation, with the dancing, movement and Broadway scores tuned right up to 11 to create an excellent feature.

One problem with 2D animation is the generational gap. I firmly enjoyed the film but the kids around me under the age of 10 did not. One of the kids, who is 9, took out his Nintendo DS during the movie. "It's boring, I don't want to watch it." I think the hardest, yet boldest, move on Disney's part was setting the movie in the bayou. They stuck to their guns, and it's possible they invested for the long haul in Princess Tiana. Right now, in a time of Christmas, Avatar, and a whole generation of crummy 2D animated films (Home on the Range? Anyone?), that preceded this wonder, Princess and the Frog had a very big uphill slope to climb. A success critically yet underwhelming domestically, Disney has to go back to the drawing board and dig deep, now that they've dusted off their papers, pencils and ink. Which is a shame, simply because Princess and the Frog really is a smart and fun movie.

What makes Princess and the Frog great? It's largely due to character. Prince Naveen is far removed from any other prince in Disney's world. He's a layabout,  and it results in his family dilemma. He's flawed but he knows the difference between right and wrong. He's charismatic, yet it works to his disadvantage. Then there's Tiana herself, a Princess unafraid to run herself into the ground, so to speak. The Shadowman, Dr. Facilier, our main antagonist, is something or other. These characters, and everyone else for that matter, are exceptionally important to why this movie is so great. It's about the story, and Princess and the Frog has made a decent effort at providing a contemporary take on old themes. I look forward to what Disney has in store.

Avatar (2009)

Cameron aims for the knockout.

[9/10 · 19 December 2009]

$230-300 million later, James Cameron wanted to make the kind of movie he wanted to make... and it worked. Kids were leaving the prior screening to mine saying, "It was awesome!" Adults walked out of this theatre saying it was amazing. The guy beside me right now on the bus is telling his friends over his cell how incredible and really good the film is and he will see it again with them tonight after shopping. Steven Spielberg saw a viewing and said he hadn't felt this way since Star Wars. And in many ways, they're right. Watch the movie in 3D. It is a visual treat.

To dispense of the one standout flaw, the melodramatics and the acting, you have to really ask yourself, is all the really good action movies about the acting? Avatar succeeds because the plot is not as ridiculous as 2012 or Revenge of the Fallen. We can suspend belief because the film is not overly ridiculous, even with the 'indigenous' blue aliens. The only thing that had me scratching my head was having to buy the fact that Pandora, with the twigs, trees, glowing grass and creatures is one giant Facebook and that Aiwa is the Internet connection between them all. But if that is a complaint, I really have nothing to base it on because this is vintage James Cameron.

The theme is man vs nature and man is the bad guy. There is an image shot of the main bad guy in a mechsuit when a helicopter goes down behind him that is vintage Cameron. It shows the destructive nature of man and here he is. But that image is a footnote compared to the planet Pandora. The planet is very much full of life and leave it to the King of the Friggin' World, James Cameron, to be man enough to invent technologies and anything else he desired to realize his vision. That alone is reason enough to believe this movie will stun theatregoers. It really cannot be watched at home. Get the 3D glasses and experience it at the theatre.

Transformers: Revenge of the Fallen (2009)

Speechless

[3/10 · 24 June 2009]

Wow... as a childhood fan of Transformers, I'm really without comment. Maybe it's easier to tell you what I saw and you can judge for yourself but SPOILERS ARE EVERYWHERE so if you care like I once did, skip to other User Comments, read the critics who actually get paid or, if you want to, see the darn movie yourself. For a Transformers movie, there was a helluva lot more actors than robots, especially this being a sequel there should have been more of everything. I laughed once during the whole movie and it had nothing to do with robots humping, dogs humping, strategically placed wrecking balls or brownies. The big explosion you read of in trivia is not a robot blowing up. Another thing I saw is that the same writers also wrote this year's hit reboot Star Trek also wrote this film, believe it or not. I think what really left me speechless though was both Devastator and the Fallen (supposedly the first Decepticon) both died like punks, instead of some awesome fight. And instead of throwing in some saving grace at the end credits, maybe a coming of Unicron to justify why I sat down for a minute shy of 150 I get... nothing. No end credit clip. Optimus saves the day, that's a wrap. The guys beside me fell asleep during the fight scenes for Christ's sake and so did someone's girlfriend in front... So yeah. Revenge of the Fallen? Nero put up a much better fight in Star Trek. And if Unicron doesn't arrive to eat Earth and not have a pathetic death like Megatron's 'master' after this, Transformers should be graciously laid to rest. Right now.

Star Trek (2009)

A successful reboot.

[6/10 · 24 June 2009]

I remember in 2003 a survey in TV Guide. One of the questions was 'Is Star Trek dead?' 84% responded 'Yes.' I can tell you six years ago, I would not have thought of rebooting the franchise through recasting the original crew and providing the scapegoat that The Original Series is an alternate reality to the one we know now. And thank God, it worked. Abrams, Orci and Kurtzman have successfully revived a dead franchise, one I watched my whole sad life bringing youth, personality and a better vision of what it would be like traveling through space. I liked it. The movie as is though, does not hold up. Poor Eric Bana, not doing much of anything since Brad Pitt slaughtered him in Troy, is stuck with the tiring vengeful character that crippled the Star Trek universe in the first place (Shinzon in Nemesis, Ru' afo in Insurrection and Soran in Generations), reduced to el-lame-o lines such as 'Fire everything!' and 'I'd rather watch my world die a thousand times than give up to you,' or something or other. Next you unnecessarily pair up Scotty with a midget alien sidekick. Couldn't you at least give the poor guy a lady friend? And my last complaint is portraying an Orion girl, known for seduction, as a ditz of the highest order? *sigh* I'm done. I look forward to the next film. This could be the start of something great.

61* (2001 TV Movie)

Excellent story.

[8/10 · 24 June 2009]

An exceptional story. Brilliantly acted (excellent casting), perfect direction... Why can't films at the box office be scripted like this? Baseball films are usually well done and 61* is no exception. The story of Roger Maris and Mickey Mantle coming to odds with breaking a legend's record has never been told better. They even look like the players! Great job by Billy Crystal, Thomas Jane and Barry Pepper for a great film. 61* does a good job trying to explain its very tagline: Why did America have room in its heart for only one hero? Did Yankees fans really feel that Maris was not one of the team? Did the media truly want to make his life miserable for chasing the Babe's record? The subplot is as good as the main story itself. Thumbs up.

Night at the Museum: Battle of the Smithsonian (2009)

So much wasted space...

[5/10 · 24 May 2009]

I didn't mind the first Night at the Museum. Can't say I feel the same way about Battle of the Smithsonian, although in all its juvenile camp and disregard for an audience above the age of, say, 8, it's not too bad. High concept movies shamelessly spit in the face of anyone who might enjoy films in a passionate sense. Look no further than when Darth Vader offers his services to head bad guy Kahmunrah and is laughingly dismissed. Let alone seeing Vader side by side with Oscar the Grouch of all characters. So where does the movie go wrong? Well 80% of the time most of the original crew from the first film are in crates or imprisoned. Bill Hader spends 2 seconds of character development as General Custard before he gets locked up too, good God. Steve Coogan has the best returning role as Octavius and Ben Stiller, well, roles like this will be as good as they get for him and I think he's OK with that. So am I. Aside from Steve Coogan, the real treat to this film is seeing how much of a talent Hank Azaria is. There's a five minute back and forth between him and Ben Stiller that was so over the top childish I couldn't help but laugh. But don't watch the movie for that. If anything, Up is coming out next week and if what is coming out of Cannes means anything, Pixar is going 10 for 10, which is half the stars for what I can give for this sequel.

X-Men Origins: Wolverine (2009)

Jackman and Schreiber the lone highlights.

[4/10 · 11 May 2009]

I've always been a fan of Schreiber, and Jackman has survived well enough to earn my respect. With that said, well, Wolverine isn't bad but hardly great either. Clues throughout the film tip the plot grudgingly forward as actors say some of the worst lines that anyone can get paid to say, and if the action strays from Hugh, the film is a shameless bore. Hugh knows Wolverine and captures the best of the hero's moments despite the shortcomings of all the other characters we could hope would live up to, such as Blob or Gambit. If you have the best surround system at home with the best TV, Wolverine would be perfect for a home viewing, where any cheesiness that oozes out of the screen, can be handled with a beer, or two.... or three.

Alive in Joburg (2005)

Cleverly thought short.

[7/10 · 11 May 2009]

I hunted this short down after watching the trailer for District 9. And you have to hand it to Blonkampp for avoiding a plot-driven mess that this movie could have made. It's interesting to set the film in South Africa as well. The many perceptions throughout Alive in Joburg creates the questions needed to ask about these aliens that are genuinely terrifying in appearance. And the open-ended finale can be finally touched upon 4 years after Blonkampp began this. Does anyone think Blonkampp has the chops to handle Halo if District 9 works out? The short and the trailer would have you think so, but honestly, let's wait for August to continue that debate.

Quantum of Solace (2008)

Fresh evolution to the status quo.

[9/10 · 23 November 2008]

Bond is definitely back as Daniel Craig has settled into the role so perfectly well. Having not seen Casino Royale yet, much of the continuation from the first movie was fresh and new, but not hard enough to pick up for someone who is new to the current status quo. Past saying that, Quantum of Solace has lived up to the reputation that has become par for Bond. Espionage, action, car chases, beautiful women, international locales, etc. etc. And it's a good thing. Heaps of praise to the men and women responsible for the excellent action sequences and a witty dialogue, all of which compensated for an overly melodramatic score and plot. "For Bond, this time it's personal!" Good grief! At least Olga Kurylenka is beautiful.

Anyways, the movie is excellent, a must for fans of Bond and anyone who enjoys a good action film. Quantum of Solace will look nice whether at your theater or on your HD screen either way.

The Reaping (2007)

Not too bad.

[6/10 · 12 October 2008]

I always watch a horror/thriller with the obvious, preconceived notion that the film will stink. You expect that there will be no substance to the movie, to the plot, the characters, etc. In the Reaping, you will find that lacking substance in some parts, but the movie is not as hard to follow as expected, plus the pace of the film is surprisingly good, considering you have to go through ten biblical "miracles" in a certain amount of time. Hillary Swank is always consistent and I was impressed by Idris Elba and AnnaSophia Robb. The flaws in The Reaping are glaring but they do not override the clever editing and acting that help pull the murky screenplay out from the swamp.

Without a shadow of a doubt, the largest weakness in The Reaping is the direction. You know the shaky camera that skips five scenes a second in a flashback? The Reaping is full of that nonsense. Also, aside from the climax and a nice eye-wandering view towards the fit backside in Hillary's pants, the cameras cannot capture an ideal scene or angle to save themselves from losing the interest of the viewer. I find this vulnerability interesting because the story is structured well enough to survive on its own. If you've seen The Omen or Rosemary's Baby, you can expect more of the same if you are interested in this film. The Reaping retreads on a familiar, unoriginal path in the genre, but it's not all that bad and worth a glimpse if you are a fan of horror.

The Golden Compass (2007)

Excessive and overlong.

[3/10 · 12 October 2008]

The key fact, if you decide to try The Golden Compass, is that its world is not like Middle Earth, Fantasia, or Oz. The movie, which was to be the first in a trilogy, is heavy in exposition and politics, with the inhabitants of Jordan College and the Magistirium having more similarities with the political halls of Naboo than most other films. That first half drags the rest of the fantasy so drearily that it serves the rest of the film cold. Finally, no matter how they slice it from what I'm told, the ending was the lowest point of the film, bar none. It's much better than the book, but it's just terrible. Anyone unfamiliar with the book, let alone that it is the first in a trilogy, is left unsatisfied.

Any hint of atheism is non-existent. My concern was the lack of quality in the effects of the daemon's, particularly Mrs. Coulter's monkey. Daniel Craig's role was reduced to little more than a cameo, and the brutality of the fights makes the film worthy of it's PG- 13 rating. In Canada, The Golden Compass was marketed to kids, with souvenirs, incentives, and paraphernalia sold at department stores and fast food restaurants. After seeing a polar bear snap another bear's neck and a child left for dead in the freezing cold, this film is not for kids and, furthermore, it could be said this was New Line's marketing department's big "Oops" of 2007. Thank goodness they saved Roger's fate from being shown!

With a film heavy in exposition and politics in the first half and anticlimactic in the end, I cannot recommend The Golden Compass to anyone, particularly to kids.

Hellboy (2004)

Monsters are the real treat here.

[5/10 · 5 July 2008]

I would have never expected Hellboy to make the silver screen. There's something about the comic that never brought me toward it. But Guillermo del Toro has seen something I haven't, because the transition from comic to silver screen is exceptional. The film is very plot-driven, one scene moving to another at a faster-than-usual pace, but the real gift of Hellboy is the ingenuity and effort used in creating the monsters. Sammael and Kroenen are crafted with much care and I found it an absolute shame there wasn't more monsters to work with in a limited time.

Much of Hellboy feels underused. Liz is not used as much as I hoped, and Abe Sapien is out of commission about halfway through. Dr. Manning's fate wasn't fully settled on either and abilities used by Hellboy, like reviving the dead, are kind of just left out there, like who knew? But for a comic book film, with no expectations at that, Hellboy is a pleasant surprise, save for the fact that there should have been more monsters! This is Guillermo del Toro we're talking about!

Hancock (2008)

The second half ruins everything.

[3/10 · 5 July 2008]

The first half of Hancock was better than what I could have expected. Hancock is a homeless superhero with no respect whatsoever. The opening act has him stop an armed chase with a price tag of $7 million dollars in property damage. He destroys pavement wherever he lands. Everyone, from kids to criminals, call him an a-hole. Then the film gets surprisingly better. He saves the life of Ray, someone skilled but flawed at public relations and convinces Hancock to improve his image, by answering the demands of the public to answer for all his crimes, apologize and turn himself in. From this point, it all goes downhill from here, and it's the second half twist and ending that stinks up the whole movie, to the point where you don't care about how good the first half was anymore. How could they have screwed up such a good premise? Hancock's origin and weakness, though I will not spoil, are the mother of all cop-outs.

It's not as if Hancock shows any Achilles heel in Will Smith or Charlize Theron's acting abilities. The second half of the film is that bad if an Academy Award winning actress who worked with Will before cannot pull it through. Throw in a pathetic stinker of a villain, a story of love and tortured relationships and Hancock is crushed by the weight of too many generic superhero clichés.

Batman: Mask of the Phantasm (1993)

One of the ultimate Bat-films.

[8/10 · 29 June 2008]

Batman: The Animated Series was one of the best animated shows of all time. It was one of the cartoons that defined the 90s and, thanks to that very animation, will eventually become a timeless classic. Mask of the Phantasm was one of its defining moments. An executive decision to put the film on the silver screen instead of straight-to-video or leave it for the time slot on television shows how good this really is. And for any Batman fan, this is simply not-miss stuff. An alternative take on how Batman found the Bat-Cave and put together his suit, topped off with one of the definitive Joker appearances and, simply put, Mask of the Phantasm is a must watch film for any fan of Batman, animation, movies, you name it.

You Don't Mess with the Zohan (2008)

It could be worse.

[6/10 · 29 June 2008]

Sandler's latest comedy effort could be worse, but honestly, it's not that bad. If you look at the film from an artistic standpoint, Zohan stinks on all counts. The screenplay is a mess, the jokes are up and down, the accents are hard on the ears and Mariah Carey is undeniably out of place in this film. But the film is still funny at points and that's all you would hope from a comedy. What throws most people off I believe is the inevitable confrontation between the Palestinians and Israelis.

Two-thirds through the film Zohan stops cutting hair and making older women swoon as Palestinians descend upon him, mainly due to a chance encounter with one Salim, whose goat was stolen by Sandler's character at one point. This sub-plot break in the action, where the Israelis and Palestinians team up to find the Walbridge Corp. responsible for jacking up the rent and littering hate crimes across the neighborhood, is not really funny, despite the script's and actors' best efforts. But the movie is not really that bad, as it's good for maybe a one-time viewing. Hummus, hacky-sack and disco jokes can only last so good for so long, and if Sandler can still act now, he'll still find ways to make people laugh.