Check this out! - Inception

Even if it's Christopher Nolan ripping off The Matrix, I still want to watch this piece of plagiarism.

Review: The Book of Eli

What happens when you combine Blade with I Am Legend? You get another science fiction actioner for another prominent African-American actor, Mr. Denzel Washington. The million-dollar question is, is it any good? For a sci-fi actioner based on no existing franchise, The Book of Eli exceeds general expectations.

Set in a futuristic post-apocalyptic world (Which movie world nowadays isn't?), the movie follows seasoned survivalist Eli on his spiritual quest to deliver a mysterious book to an undisclosed location and person. Seems that an implied recent nuclear holocaust has reduced the world into a barren, brutal wasteland. The survivors no longer have the luxury of civility and humanity when even the basic necessities of life are scarce. As dictated by the requirements of the genre, Eli is of course gifted in the murder arts, which conveniently explains his longevity in such a ruthless environment. On the way, he meets Carnegie (Gary Oldman in his trademarked villain mode) who runs a water-rich town like a don and coincidentally has a strong interest in Eli's delivery package. Bloody carnage ensues. The movie is backed by a star-studded cast that includes Punisher No.3 Ray Stevenson, Dumbledore 2.0 Michael Gambon, the Flashdancing Jennifer Beals, That Seventies Showing Mila Kunis and A Clockwork Orangy Malcolm McDowell.

The movie is pretty realistic in depicting a post-apocalyptic world, so people who like realism or some intelligence in their action diet would have little to complain here. I'm only not convinced by Kunis' virginal character, although there's a passable logic behind it. The action sequences obviously does not pass the realism test, but what's a junk food without a little MSG? Give Eli an arsenal from any era and he'll dispatch a roomful of stock henchmen with unexplained superhuman efficiency.

The movie touches on the controversial topic of religion and actually has something interesting to say. There is also a Shyamalan-worthy end twist that gives you the urge to rewatch the movie, as you may have already heard from other movie critics. This is a solid sci-fi actioner that is definitely worth your time.

Format: DVD, 2.40:1 Anamorphic Widescreen
Source: Rental (Arts Brother, Jurong Point 1 Level 3)
Experience: Home, 47-inch LCD with home theatre surround system
Cost: SGD $4

The cardboard slipcase is unnecessarily extravagant as it repeats the artwork on the DVD case and serve no other purpose except to protect the case. Ironic, considering the subject matter.

There's a bleak but scenic spread that greets every opening. Less interesting is the disc artwork.

Blessed art thy maker, who hath maketh thee anamorphic widescreen. All is right in the world. - The Book of Wei Lam, Chapter 2, Verse 40:1.

Five more to go...

Anamorphic problems even in U.S. releases

The anamorphic woes continue. Previously, I have written about how the Red Cliff Part I DVD was not "anamorphic" and the image quality was not worthy of a high-definition LCD TV presentation. Inspired by a discussion on Facebook, I rummaged my DVD storage for my copy of Silence of the Lambs, the serial killer thriller that popularised the character of Dr. Hannibal Lecter (Anthony Hopkins), hoping to relive the grisly world that the bad doctor resides in. To my horror, the disc also suffers the same problem as the Red Cliff disc, as the video appeared squashed on the original or 16:9 aspect ratio setting.

Jodie Foster looking like prime material for Buffalo Bill's makeover.

Changing the TV ratio setting to 4:3 corrects Jodie Foster's fat quotient. However, this proves that the video was modified to fit the squarish frame of televisions of yore, and not widescreen televisions. Notice that Jodie looks just right, but because the presentation won't fit a rectangular widescreen TV, hence there are two vertical bars on the left and right. 

You can't really fix this, unless you can "zoom in" to fill the screen more, but the video quality will look worse, and the grainy, un-mastered condition doesn't help the situation. Getting the anamorphic Silence of the Lambs DVD or Blu-Ray is the best option if money is not an issue. The movie was shot in 1.85:1 aspect ratio, so the picture should fit the screen fully like this:

I should have used these graphic examples to highlight the problems on the Red Cliff I DVD. You guys may have been and maybe still are a little confused about my babblings on that post. But it's the same problem there and here.

What's frustrating is that the DVD packaging indicates prominently that the disc is made for widescreen presentation.

It didn't say that it was anamorphic, though. But that's like saying you could sell me a car without a steering wheel if they didn't mention it having one in the manual.

I bought the DVD probably five years or more ago, likely from Choa Chu Kang Laser Flair, Lot One branch. (Don't worry, Laser Flair, I won't charge. Free publicity.) High definition TVs weren't so prevalent during those days, so I guess people didn't take much notice of the ratio and anamorphic issues, including yours truly. I'm sure I played this very DVD for more than ten times (on my still-alive ten-year-old JVC cathode ray tube television, of course) and still never noticed anything wrong!  

Can't remember how much I paid for this. No special features.

Nice, freaky DVD box design, though. Sssssslurp!

If you want to know more about anamorphic DVDs, this site explains it pretty well.

MUST WATCH: A brand new test footage of MORTAL KOMBAT!

IRON BABY

Review: A Nightmare on Elm Street 2: Freddy's Revenge

In my review of the original A Nightmare On Elm Street (ANOES), I forgot to mention another reason why the Freddy Krueger movies aren't scary to me. I'm not sure about your own experiences, but my dreams are usually very hazy, disjointed, frightening, monochromatic, without any sense of time, and mostly beyond my control, like as if they were scripted events - just like a movie! (See Minority Report's psychic scan sequences, which is the closest cinematic representation of dream sequences I've seen so far, even though they're not exactly representing dreams in the movie.) However, when a person dreams in the Elm Street movies, it's like he or she is entering an alternate, parallel world or dimension that progresses in real time, where people can have a substantial amount of free will, participate in conversations, and even make informed decisions! The advantage of doing this is that it keeps the audiences guessing as to whether the onscreen characters are still in the real or the dream world, making the eventual Krueger attacks more unexpected and surprising. This formula makes the movie more fantastical and sci-fi-ish and less relatable to real-life experiences.

This is where ANOES2 gets interesting, as it veers away from the formula even before the formula became formulaic. After the tragic events in the first movie, a new family moves into the Thompsons house, unaware of said happenings. Inevitably, the ghost of Freddy Krueger haunts the sole teenager in the house, this time a reclusive, geeky boy. Probably because the whole nightmare killing thing didn't work out too well the last time, Krueger tries something new, by possessing the kid's body and embark on his killings in the real world. Strangely, his logic-twisting powers in the dream world also applies in the real one. This is more ridiculous than the "alternate world" concept. Trying something new is a good thing because we don't always want to see the same old thing and Hollywood is currently notorious for being creatively bankrupt, but then again in cases like ANOES2, new doesn't necessarily mean it will work for the better.

Many movie critics pointed out the quite-apparent homosexual vibe in the movie, because A: the protagonist is frequently topless and sweaty, B: there's actually a gay bar scene and one S&M-like sequence in the locker room shower involving two men, C: one jock character even made a sober remark that the protagonist would rather "sleep with him", and D: the director claimed that he deliberately made the movie that way. True, they're there in the movie, but they don't deter the movie the way another vibe, the "B-grade vibe" does. Although very tight on budget, the first ANOES felt like a slick, big studio production, with a talented crew and director who were able to stretch every penny with just a little bit of creativity and elbow grease. ANOES2 had more budget, but perhaps with a different director and crew, the producers were unable to replicate the X-factor of the original movie. ANOES2 feels more like a direct-to-video cheapo a la Leprechaun 4: In Space.

The pinnacle of cinematic achievement

With the shift of focus on the real world, ANOES2 loses the novelty that the first movie possessed. The real world of ANOES2 isn't even an interesting place to begin with, having to follow around a mundane lead character that has no apparent appeal or any matter of interest except that he's being psychologically tormented by a supernatural entity. Therefore, I have to agree with the general consensus out there that this may easily be the weakest and dullest ANOES movie, having not yet seen anything else beyond Part 4 except for New Nightmare and Freddy Vs. Jason.

Next: A Nightmare On Elm Street 3: Dream Warriors

Related links:
Review: A Nightmare On Elm Street (1984)
The stuff of Nightmares 

Check this out! - Splice

Official Web Site

WORLD CUP + ADIDAS + STAR WARS

Review: A Nightmare on Elm Street (1984)

Horror is a strange genre. Movies are supposed to entertain, excite, thrill, tickle your funny bone and even move or inspire you, if done right. Generally, they should affect you in a positive way. Horror movies, on the other hand, strive to affect you negatively, by shocking, provoking and/or frightening. Sometimes, you can admire the craft and thought put into the work, especially with The Exorcist, The Blair Witch Project, The Sixth Sense, etc. On a personal note, despite my respect for the genre, horror isn't my most favourite of genres, and I don't normally rush out to see the next big scare.

This may sound lame, but to me the most frightening movies are those with evil spirits resembling long haired women in white, which are probably the horror villains with the least amount of costume and makeup budget ever. (See The Ring, Ju-On, The Eye, A Tale of Two Sisters, etc.) They are frightening to me in a way clowns or lifelike dolls are frightening to some people.

That said, most Western horrors aren't very scary to me. Shocking, repulsive, maybe. But the scares rarely made me want to cower behind my blanket like the Asian varieties sometimes do. Vampires, zombies, werewolves, the Frankenstein monster, Michael Myers, Jason Voorhees, Leatherface and Freddy Krueger... they're more supervillains in a movie than something fearful on a subconscious level. They don't crawl under your skin like a good old apparation or just plain weird shit happenings could do. For example, a man standing and facing the corner of a decrepit room for no reason (The Blair Witch Project) does a lot more than the sight of a raised kitchen knife.

Yet, I still enjoyed movies like A Nightmare On Elm Street, although for the wrong reasons. Freddy Krueger, a very iconic horror staple recognisable through his trademark fedora, red and black striped sweater, Wolverine-like blades and charred face, is a memorable baddie more in the lines of The Dark Knight's Joker than a malevolent supernatural force like in the other movies I mentioned. With villains like The Joker, Hans Gruber, and Hannibal Lecter, you find yourself rooting for them despite their nefarious nature. I doubt anyone was in anyway concerned about Dr. Chilton at the end of Silence of the Lambs, and probably wished Lecter got to "have him for dinner" sooner!

Unlike other horror villains, Krueger dispatches his victims in their dreams (or nightmares) where logic and the laws of physics don't apply, which allows for creativity beyond the usual hack-and-slash-with-the-common-garden-utensil death sequences. One infamous scene depicts a teen being swallowed by his own bed, only to be regurgitated as a geyser of blood. This makes Krueger's nightmare attacks a constant highlight in every impending sequel. The Nightmare On Elm Street series becomes more of a morbidly humourous special effects showcase than a true fright fest.

"A Nightmare On Elm Street" is the kind of "must-watch" movie for the movie and horror buffs, simply because the popularity and iconic stature of the series cannot be ignored. I find the movie above-average, with some nice subversion of cliches (a trademark of director Wes Craven) marred by bad acting performances. I also didn't find it frightening for one second, but that doesn't mean you should show this one to your mum or kids either.

Also stars Johnny Depp and John Saxon.

Next: A Nightmare On Elm Street Part 2 - Freddy's Revenge

Related links:
The stuff of Nightmares

The stuff of Nightmares

I used to be the type who goes for the O.G., the original stuff. The days of breaking the bank for collector's editions and McFarlane movie-theme figurines are over. There's no bargain I could refuse. Thus begin my mild obsession with 4-in-1 DVD packs!

Two-in-ones, three, four, sometimes fifty-in-ones (ah, MP4s) are quite the norms in pirated wares, but the legitimate faction is also into the bargain pack game, although almost usually with older, evergreen titles. The great thing in going legit here is the quality: pirated bundle-packs usually cram several movies onto a single disc. Depending on the movie lengths, an 8.5 Gb double-layer disc (affectionately called by the pirates as "DVD-9s") is quite a tight fit even for just two movies. Video quality is sacrificed in the process.

Get an original many-in-ones though, and you'll not find such compromise. Using dual-side DVDs (equivalent to taking two DVDs and glueing them together on the label side), each movie in a way occupies its own entire disc space, no different than when the movies were produced and sold individually. The Nightmare on Elm Street 4-in-1 DVD pack has Parts I and II printed on the first disc. You watch one movie on one side, then flip it over to see the other. I don't know how the company is able to save cost and lower the prices significantly by using this format, since they would still have to burn the same amount of sides if the movies were produced and sold individually. Physically compacting 4 movies into 2 discs also helps a little in maximising shelf space.

One of the disadvantages of dual-side DVDs is that its "sensitive" regions are exposed on both sides, which encourages easy smudges and all other manner of scratches, the hassle is worth the price tag. Another problem is that one of the mainstays sacrificed in the name of bargain hunters is the second-disc special features. Unless the movie is truly one of your favourites, special features can be quite a chore to sift through. There aren't many titles (with more than two sequels) given the economy pack treatment, probably due to their everlasting appeal (e.g. the pricey Aliens Quadrilogy box set, Harry Potter, Die Hard, James Bond, etc.) So far, I've only found A Nightmare on Elm Street (pictured above), Lethal Weapon, Ocean's Eleven, Batman, Rush Hour, etc. There are some eco-packs that are a mixture of unrelated titles, but these are usually two-packers than four.

In conclusion, original 4-in-1 DVD sets are great value for money and takes no more shelf space than a standard DVD box does. Titles available on these four-packers aren't wide, though, and special feature discs that accompany the main feature on the individual DVDs are usually left out of the set. The highly exposed discs get easily damaged too, if you have butter fingers.

Next up: A Nightmare on Elm Street - The Review!

Review: Prince of Persia: The Sands of Time

When I think of an action adventure movie set in the beautiful, golden desert of a Middle Eastern land, I expect picturesque cinematography, exotic locales and people, and brave, noble warriors who greet each other by tapping their lips and forehead before finishing with a hand wave, like Ardeth Bay in The Mummy. In this world, things are either said to be blessed, while others are cursed. People smile alot. Warriors are proud, hold their honour in high esteem, and are penitent towards God/Allah. They wield curved sabres, and the sword fights are intricately choreographed, often along stairwells or at the topmost edge of a castle wall. The beautiful heroine is usually feisty, while the hero smiles in amusement. Yeah, these stuff are cheesy as hell, but that's also why it is so fun.

Sadly, Prince of Persia: The Sands of Time achieves only a few of these things. Picturesque cinematography was replaced by CGI landscapes. There were a few nice shots of sand dunes, but they were really tight shots, so you don't really see the full expanse of the desert. This is also one of the movies where the British accent doesn't work, especially with Prince Dastan's Cockney-like English. Nobody does the Middle Eastern hand-wave greet thing. And the "heroes" all started off doing something that is far from noble or honorable, trick or no trick. They behaved more like barbaric Vikings than proud Persians.

Another weak part is the use of the Dagger of Time. The use and limitations of this device are sketchy. No doubt, it is a magical artifact that can reverse time, but how far back does it turn the clock? Does it depend on how long the button is being pressed? Why is there a modern-day red button on the hilt of a medieval dagger in the first place? How much magic sand do you need for say, a 30-second jump back in time? How do you even measure the amount of sand per second of time travelling? Why does Princess Tamira wears a vial of magic sand around her neck even though the use of the Dagger is forbidden, apart from giving the hero (and hetero male audiences) an opportunity to check out her cleavage? None of these questions were answered in the movie.

The worst offender is the action, which is close to terrible. I heard some people calling the movie "Prince of Parkour", but associating the art of freerunning to this movie is an insult to the discipline. The action was filmed and edited in such a disjointed way that makes it very difficult to appreciate the parkour and swordfights on display. (For a good example of parkour action, see the Daniel Craig James Bond movie, Casino Royale.) Perhaps there never was much choreography in the first place, and the rapid edits serve to hide this shortcoming.

Still, I can't fully diss-miss this movie, as it does try its best to charm its way through humour, camaraderie among the cast, and some unexpected dramatic turns. Average at best.

Street Fighter Short Movie

Created by this guy:

"Desh" (Joey Ansah) from The Bourne Ultimatum.

A layman's lesson in anamorphic transfers: Red Cliff DVDs

Just wanted to share my experience renting the DVDs to John Woo's excellent Red Cliff bilogy. It is also a good opportunity to make known the importance of anamorphic DVDs.

Back to Red Cliff: The movies are not really sequels, but two parts of an entire storyline. The movies were shown separately in the cinemas, and were also released in two separate DVDs.

Red Cliff was a big hit in Asia, so it was a surprised to discover how poorly conceived one of the DVDs were.

The subject in scrutiny is DVD Part I, which was not an anamorphic transfer, meaning that the the video was recorded as a 4:3 fullscreen video (a near perfect square, like what you see on free TV). This isn't an issue if the video was cropped to fit a fullscreen TV, but they used the widescreen format (a rectangle, like in the cinemas) and "squeezed" it into fullscreen. This means that on a classic, square TV, you will see the two black bars on the top and bottom of the screen instead of a video that fills the entire screen. Not much problem there. But on a widescreen TV, the picture looks overstretched width-wise. Worse, the black bars eats up screen and data space, reducing the picture quality of the actual video presentation. If you are not familiar with anamorphic transfers, there's a bit of a technical explanation to it, but essentially it's a recording technique that efficiently retains video quality of movies shot in widescreen format on DVDs. Most good original DVDs would indicate whether it's an anamorphic transfer at the back of their covers. Red Cliff Part I DVD is not anamorphic, thus the video quality is glaringly low on a hi-definition LCD.

Red Cliff Part 2 DVD is anamorphic, though, and the picture fits my LCD correctly. Picture quality is a lot better than Part I DVD, but then I noticed that the video seemed to have fine, horizontal "black stripes". I was about to blame the DVD again, until I read this article about video interlacing and progressive scan. Nevertheless, the video quality is still not to my satisfaction when compared to other original DVDs I owned.

Bottom line: Don't buy Red Cliff Part I DVD (unless they release an anamorphic version), but Part II is ok, though you may see some interlacing issues if your player or TV isn't "progressive". Chim... The Red Cliff Blu-Rays are a better bet, but no comments on those until I finally get them.

All the Red Cliff discs in Singapore are currently distributed by Scorpio East.

Review: Kick-Ass

Fight like a little girl

Kick-Ass is a parody of superhero movies, particularly Spider-man. But unlike other spoofs, Kick-Ass is a notch better than the rest of its ilk, with cleverer jokes and no cartoon-illogic, anvil-dropping nonsenses, if I remembered correctly. Without a PG-rating restrain, the movie gets to spice things up with some gratuitous violence and darkly, morbid humour. Still, the movie was a few steps short of greatness because of the way it unevenly handles two different storylines that don't seem to gel all that well together.

The two main reasons to watch Kick-Ass are Hit Girl (Chloe Moretz) and Big Daddy (Nicolas Cage). They are the most compelling characters in the movie, and a strange mix of realism and exaggeration of some of your favourite comic book heroes. They are a bizarre and unhealthy father-and-daughter vigilante team where one of their crimefighting training involves the dad shooting his ten-year-old daughter in the chest with a gun. They do the most ass-kicking in the movie, especially the ten-year-old. Imagine O-Ren Ishii from Kill Bill during her prepubescent years.

Less interesting is the titular character, Kick-Ass (Aaron Johnson). Although he is the more realistic character, his storyline takes a too-obvious jab at Spider-man, from the Tobey Maguire-like voiceovers to the rooftop-jumping trials. Such smugness somehow doesn't really fit the realistic tone the movie was obviously aiming for. His story shows how completely stupid it is for a completely average guy to try and become a costumed hero. For a character named Kick-Ass, Kick-Ass spends more time getting his ass kicked than kicking asses.

As I said before, the two really doesn't mix when one is more fantastical while the other plays it real. Maybe it would have worked better if it is a story about an average dude who tries to be a superhero in a superhero world and not the real world. Or if the director or writer just removed some of the snide remarks about superhero cliches, which doesn't help when the movie actually plays to the cliches later on. Another idea is to relegate Kick-Ass' character to a supporting role and reduce his screen time. I had the same indifferent feeling when I was watching Watchmen, which later warmed me over on Blu-Ray. Perhaps I will like Kick-Ass more after a few home viewings. Right now, it's just a high Average for me.


Some cool taglines from the movie:
With no power comes no responsibility.
I can't fly/read your mind/be invisible/see through walls. But I can kick your ass.
Whenever Hit Girl swears.

Review: Clash of the Titans

The 2010 remake of the thirtysomething's childhood favourite tries to be grittier and Gladiator, but succeeds only marginally. Clearly wanting to separate itself from the original's childish leanings, the remake blatantly snubs Bubo the mechanical owl in its strive towards seriousness and "realism" (if that's even possible for a fantasy fest like this one.)

Still, the remake's story is actually weaker than the original. At least the motivations of the hero and other characters in the original were straightforward: kill the good/bad guy, get the girl, win the day. When you have a hero that just wants to kill the bad guy for revenge, doesn't give two poops about the girl, and couldn't care less about winning the day, it makes you wonder why he even bothers with the Kraken deadline. I'm sure if he taunts Hades long enough, the evil god would eventually show up for the hero to kick his ass. I mean, it worked pretty well for those Argos soldiers who smashed down Zeus' statue, though they were sorely lacking in contingency planning.

The action definitely benefits from a CGI facelift. Well, mostly. I enjoyed its version of the Kraken finale, which was able to convey the monster's immense and frightening scale through low-position camera angles, and did the job far better than Kraken 1981. The new Pegasus the winged horse is the most impressive special effect I've ever seen! The movement of its CGI wings are just so seamless and real, and it's impossible to tell where the CGI ends and the real horse begins. If someone tells me that what I saw wasn't even a real horse to begin with, I will take my 3D modelling course certificate and shove it up an orifice. Sadly, Clash of the Titans 2010 failed miserably in the Medusa sequence, which was easily the best scene in the 1981 movie. The original Medusa was a genuine Grade A uncompromising badass movie monster, while 2010 Medusa kept reminding me of The Mummy Returns' (2001) crappy CGI Scorpion King.

I thought Sam Worthington did a pretty good job with a lacking material, though he was much better in Terminator Salvation. Was surprised to see Ralph Fiennes, Danny Huston and Pete Postlethwaite, and Bond alums Gemma Arterton (Quantum of Solace) and Mads Mikkelsen (Casino Royale). The cast was put to ample use in a men-on-a-mission type of storyline, though it needed a little more humour and feeling of camaraderie.

Overall: Average actioner. The original wins by nostalgia and Medusa.

P.S.: I heard they haphazardly put in the 3-D effects at the last minute (upon hearing word of Avatar's success) and the end result was a murky, headache-inducing mess. Thus, I sensibly did not order the upsize, and opted for the regular.

The price you pay for original?

Caveat emptor... let the buyer beware! According to the Sunday Straits, video stores have been unwittingly peddling pirated wares forged by the Jack Sparrows of the movie industry, whose scanning and Photoshop skills have shown marked improvements.

However, this is not the first time poop like this has happened. Many ages ago, a video store with a name that rhymes with "taser" brought in purportedly original VCDs of Lord of the Rings: The Two Towers and Return of the King from Thailand, mere weeks after the theatrical release. Took a while before anyone noticed the aquatic stench, including yours truly, who was at the time just too elated to have the opportunity to revisit Middle Earth at such short notice. The company was slapped with a million-dollar fine for its efforts; unfortunately I can't seem to track down the original news article about this fiasco. Hopefully, the evidences of my gullibility, as pictured on the left, would suffice.



Anyway, the article suggests that we should all become digital artwork analysts and look out for slightly "pixellated" graphics, in order to guard ourselves from these fakes. We know how busy the officials are, catching those pesky teen downloaders and fining holiday-ers who bought the same fake DVDs abroad; we must do our part to protect the billion-dollar movie industry from losing millions. Actually, there is an easier and quicker way to spot a dodgy DVD - if an English movie has big Chinese titles on its cover, avoid buying it. This will reduce your chances of making a bogus buy by about maybe 99, 100%?


Left picture: The Maltese Falcon DVD, a made in Taiwan variant (with an all-English cover art) sold at Suntec Carrefour for a measly S$6.99...

Err... Then again, maybe not.

Subtitles: An Opened Mind is Advised

Review: Up

To my dear brother Will2k who fell asleep during The Mummy 3...

Saw "Up". You won't fall asleep on this one. In fact, bring extra tissues.

Pixar has done it again, again, again, etc. Shit, can they not fail? Maybe they should fail once, so that at least I don't have to say "they have done it again" once again.

It's one of those good movies where there's no point talking about it since it only ruins the experience for those who haven't seen it. All I will say is that a small chunk of it was inspired by Hayao Miyazaki's "Laputa: Castle in the Sky", but the rest of the magic is pure Pixar effort.


A bit surprised how Up is startlingly similar to Gran Torino's old white geezer meets Asian kid and both learn life lessons plot, complete with dogs, but with more balloons and lesser guns.

Seems like the best movie directors nowadays all work for Pixar. The rest of the crap goes to Hollywood. Easily, best movie of the year before seeing The Hurt Locker, District 9, and Inglourious Basterds.

Anyway, "Up" is two thumbs way up, with balloons tied to my thumbs.







55 MINUTES LATER: I just read The Outlaw Vern's review, and realised he has beaten me to the Gran Torino reference. So, credit is given where credit's due. http://outlawvern.com/2009/05/31/up/#more-5260

Spartacus, or 300?

Review: Transformers - Revenge of the Fallen

Some time has passed since the events of the previous Transformers movie. After the defeat and death of Megatron, "transformers" from every corner of the universe, Autobots and Decepticons alike, started making their way to planet Earth en masse. The humans recruited the Autobots to hunt and destroy the Decepticon nuisance, while trying to keep their existence under wraps from the public. Things start to get more complicated when an ancient Decepticon who calls himself "The Fallen" appears, looking for a Decepticon weaponry long hidden somewhere on Earth that could potentially destroy the world.



Transformers 2, or Transformers: Revenge of the Fallen still possesses all the problems from its predecessor, and worse. The comedy that held up the entertainment factor of the first one has deteriorated in quality in the second. With lesser good laughs, the second movie leans more heavily on the other major aspects - action, acting and story - but there isn't a marked improvement on these either. The action is still a mess, no thanks to the convoluted designs of the robots, where it is still very difficult to make out the head from the feet, especially when the robots are on the move. The camera does not jerk around as much, but it's just a mild compromise. Shia LaBeouf is less goofy and more serious and heroic and dramatic, a development that shortchanges on his character's core appeal. Megan Fox had more to do in the first one despite being objectified as a sexual conquest for the hero. Here, she's just purely an object positioned here for maximum oogling satisfaction. Like Pirates of the Caribbean, Transformers 2 confuses plot convolution with sophistication, making a baffling mess out of what is simply a "Decepticons want to destroy the world" tale. And finally, the robots are still relegated to supporting duties when they're actually the real stars of the show.



But the thing that finally derails the movie are the two blatantly racist depiction of African Americans via two twin robot characters, who sport gold-capped teeth, cuss a lot, and act like sub-intelligent buffoons. There are so many ways to make these characters more endearing and likeable (they're the good guys after all), but the filmmakers just had to make them as obnoxious as possible. However, the real "icing" on this putrid cake is when they introduce fan favourite Transformer, the Devastator, a gargantuan and destructively powerful Decepticon that is actually a formation of several construction vehicle-themed Transformers, only to have his awesomeness crash down several notches by letting the twins almost nearly defeated him. - BMF

Directed by Michael Bay (Transformers, The Island) and written by Roberto Orci, Alex Kurtzman, (Transformers, Mission: Impossible 3, The Legend of Zorro) and Ehren Kruger(Blood and Chocolate, The Brothers Grimm). Stars Shia LaBeouf, Megan Fox, Josh Duhamel, Tyrese Gibson, John Turturro, Kevin Dunn, Julie White and Glenn Morshower. Voiced by Peter Cullen, Hugo Weaving, Tony Todd and Frank Welker.

The original face of BigMovieFreak.com...

Spider-man director to helm "World of Warcraft"

Sam Raimi, co-creator of the Hercules and Xena TV series, director of the infamous Evil Dead movies and Army of Darkness, will take the reigns on the movie adaptation of massive multiplayer online role playing game (MMORPG) "World of Warcraft", says Harry Knowles of AintItCool.Com. Apparently, the notorious Uwe Boll (Bloodrayne, In the Name of the King) was a front-runner for the director's seat, much to the chagrin of game fans everywhere. Interestingly, Raimi was previously in Peter Jackson's shortlist of potential directors for The Hobbit, another medieval fantasy. Raimi is a far, far more revered director than Boll, and he's definitely a very reassuring choice to guide an adaptation of a genre known for its highly consistent cinematic failings.

Oh, did I forget to mention that he directed some comic book movies about some spidery superhero fella?

My Blog is now my Site

Surprise! Due to the financial crisis, I have decided to cancel my web hosting with Yahoo and make this Blog the official BMF site instead. Ok, honestly it wasn't the financial crisis, just that the hosting's awfully expensive that it's taking up half my annual movie budget, which could have been put to much better use. Also, beautiful though the old site may look, creating a new page is awfully time consuming, even with a ready template. Too many variables to customise. I could spend an entire night just to put up a new review. Blogger is a little aesthetically-challenged, but postings are relatively fuss-free and archive themselves automatically. A lot of other sites are also using this type of neater and simpler blog-posting format.

There'll be a lot of "transfer" work in the next few months. I will definitely bring over all my reviews and other stuff. Expect some funkiness on the blog too, with pictures missing from certain posts. I shouldn't have "borrowed" the pictures from my Yahoo-hosted site. (sigh)

I do feel a little sad because I really loved the old site's design. I have it backed up already, so I could still maybe one day restart another hosting again. We shall see.

This week's highlight: Star Trek!

If you're the kind who can't tell the difference between Star Wars and Star Trek, you'd likely not watch the latest "reboot" of the series, restarting the franchise with new actors reliving the adventures of familiar characters, albeit updated to current sensibilities. Similar treatments had been done and done successfully to the Batman and James Bond series. But based on what I've heard, this may finally be a rendition of the rather cult-ish sci-fi series that is meant for mainstream audiences, a.k.a. your "kind". The new Star Trek has the sexiest and youngest cast, as far as I know, and seems more action packed than the other Trek films combined. Friday U.S. box office receipts indicate a huge weekend opening take, while most critics reacted positively. Might be worth a watch.

This week's highlight: X-Men Origins: Wolverine!

Wolverine is arguably the most interesting and popular among the myriad of mutants that inhabit the world of X-men, despite having almost no significant offensive ability apart from his retractable and indestructible claws. His grizzled tough guy personality plays off to his team mates’ characters very well, but he rarely brings that magic to his comic book spin-offs when he becomes the centre of attention. Will the movie equivalent suffer the same fate? With the first cellulite appearance of Gambit, Tsotsi director Gavin Hood at the helm, and Liev Schreiber as Sabretooth reloaded, don’t count on it, bub. (Wait a minute, is that Cyclops in the poster?)

This week's highlight: Knowing!

Before you dismiss this one as just another one of Nicolas Cage's career disasters, Knowing is actually director Alex Proyas' latest movie, he of The Crow and Dark City fame. Coincidentally, Roger Ebert is one of the very few critics who lauded his new movie, just like what happened with Dark City before. I'll have to go with Ebert on this one, because I too agreed with him on Dark City. Could be the Speed Racer of 2009.

Alternative: chicks and fast cars in Fast and Furious (a.k.a. The Fast and the Furious 4.) I live my life a quarter of a mile at a time... (snicker)

This week's highlight: Gran Torino!

Clint Eastwood is 78 years old and still kicking ass. He's considered one of cinema's most iconic action stars, with memorable roles such as "The Man with No Name" in Sergio Leone's spaghetti westerns*, and the blueprint for endless reiteration of the movie rogue cop, Dirty Harry. Nowadays, he's more into directing and acting in his own work, and has created Oscar pedigrees like Unforgiven, Million Dollar Baby, Mystic River and The Changeling. Will Gran Torino be a reworking of Dirty Harry, like how Unforgiven was to his westerns? Nevertheless, it's just exciting to be able to see Eastwood sneering while wielding a gun in a movie poster again.

*There are only three with Eastwood: A Fistful of Dollars, For A Few Dollars More and The Good, The Bad and The Ugly.

This week's highlight: Dragonball Evolution!

I'd love to recommend Departures, the Japanese movie that won Best Foreign Picture, but you and I know that we're all going to watch Dragonball Evolution this week no matter what. Not because it's going to be good, but more like to appease that horrible human side of us that can't help but stare at traffic accident wreakages. I do sincerely hope that Dragonball turns out to be at least an okay, entertaining flick, but it's hard to keep the faith when there's a Caucasian Goku kamehameha-ing in a fake CG-heavy world, sidekicked by the handsomest rendition of Master Roshi in the history of the original manga.

Alternative: The X-men-esque psychic actioner Push.

This week's highlight: Watchmen!

Of all the Alan Moore movie adaptations (V for Vendetta, League of Extraordinary Gentlemen, From Hell), Watchmen is the only one that I've read its source material. Watchmen probably inspired The Incredibles, set in a similar world that once loved and now shuns its costumed crimefighters. The book oddly veers between cliche and brilliance that you wondered if Moore only had a few clever ideas and filled the gaps with the usual superhero melodrama. At least the clever parts do stick in your mind, and all of the characters are compelling and unforgettable. It'll be interesting to see what Zack Snyder's "slavish" adaptation is going to offer on top of what's already in the book. (Snyder directed 300 and Dawn of the Dead 2004.)

This week's highlight: The Wrestler!

Next week's biggest mainstream movie would likely be The Pink Panther 2, but stuck in limbo on Golden Village's Coming Soon page is a little movie called The Wrestler, still scheduled on this page to premiere last Thursday. If you have already done your Oscar homework and sat through The Curious Case of Benjamin Button, The Reader, Slumdog Millionaire and Milk, take this one as "additional study material". I never quite got the appeal of Mickey Rourke during the Eighties, but the guy was great in Sin City, and now he's a Best Actor nominee for what seems to be a Rocky-like movie. Others of note: Takeshi Kaneshiro starrer K-20: Legend of the Mask, star-studded rom-com He's Just Not That Into You, and Leon Lai probably channeling Leslie Cheung in Forever Enthralled.

This week's highlight: Valkyrie!

Bryan Singer is still one of my favourite directors around despite making Superman Returns, one of the most stunningly disappointing movies I've ever seen. This is because Singer directed The Usual Suspects, an innovative take on the now oft-copied Rashomon plot device, and the first two X-men movies, which help brought legitimacy to the comic book genre long before Nolan's Batman movies. I really hope this is his return to form, or at least an indication that he's got back some of his mojo, because it'll be a pity that his career would flounder after only a smattering of movies to his credit.

This week's highlight: Underworld - Rise of the Lycans!

I'm the kind of movie aficionado who relishes in skewering movies like 10,000 B.C. and Ghost Rider, and yet still finds room in his cynical heart to love movies like Death Race, Silent Hill, and especially the Underworld series. Nothing deep to analyse here. It's just a matter of how you like your eggs done - sunny side up or scrambled. To its credit, Underworld's vampires vs. werewolves plot is much more compelling than Van Helsing's, and the action scenes, crucial to movies of its ilk, were pretty entertaining, especially the werewolf transformations. Rise of the Lycans depicts what transpired long before the events in the first movie, chronicling the tale of Lycan king Lucian and the tragedy that jumpstarted the centuries-old feud between the two fanged factions.

This week's highlight: Red Cliff 2!

Among the recent batch of Romance of the Three Kingdoms adaptations (Three Kingdoms: Resurrection of a Dragon, An Empress and the Warriors, etc.,) Red Cliff is the most entertaining and lavish in terms of production design. It's not perfect, but perfectly epic and grand, with lofty and mighty men (both in strength and intellect) crossing blades in great and important battles. Red Cliff 1's momentum kind of dwindled in the final scene, so it'll be interesting to see how the story continues and finishes in this concluding chapter. My knowledge of Chinese literature is hopeless, but from what I've heard, there's going to be some major betrayals, and men hugging, crying and dying together. Also, doves. Lots of doves.

This week's highlight: Ip Man!

Firstly, it's "Ip Maa-an", as in "bun". Secondly, this is not a superhero movie about a guy who can turn into, or have the power of "Ip", whatever that means. Ip Man was actually the name of the man who taught Bruce Lee how to kick serious ass. With Donnie Yen as the lead, historical accuracy be damned; I just want to see some balletic bone crunching done better than anything Jet and Jackie could muster up in The Forbidden Kingdom. Keep an eye out for another Ip Man biopic in the near future, courtesy of Hong Kong film auteur Wong Kar Wai.

By the way, Happy New Year guys! : )