Ray's Rave Reviews

Star Trek: Into Darkness

2013-05-17T22:24:00.000-07:00

© 2013 Ray Wong

Since J. J. Abrams rebooted the waning Star Trek franchise and literally altered its universe, our universe has been waiting for his follow-up. Into Darkness is much darker episode that taps into much of today's fears: terrorism, military abuse, genocide, etc.

After a successful but "unauthorized" mission, James T. Kirk (Chris Pine) is demoted by Star Fleet. Worse, it creates a rift between the hot-headed, go-by-the-gut Kirk and the logical-to-a-fault Mr. Spock (Zachary Quinto). After a deadly domestic terrorist attack in London and another attack at the Star Fleet headquarters in San Francisco, Kirk is reinstated as Captain to lead the Enterprise on a secret mission to hunt down the mastermind behind the attacks: John Harrison (Benedict Cumberbatch).

The mission takes them to an abandoned Klingon outposts where Harrison is hiding. Their mission is to destroy Harrison with the torpedoes outfitted on the Enterprise. But Kirk changes his mind and decides to do the right and logical thing -- as Spock would have it -- by trying to capture Harrison and bring him back to Earth for justice without starting a full-on war with the Klingons.

This change of plans angers Admiral Marcus (Peter Weller), who follows the Enterprise into the Klingon territory. Marcus's motivation becomes highly suspect when Kirk and the crew discover the true identity of Harrison. As Marucs vows to destroy Harrison and everyone onboard of the Enterprise, Kirk, Spock and their team must outsmart the Admiral in order to survive.

Chris Pine (People Like Us) continues to mature as a rising star, and he has definitely made the iconic role his own, displaying his own brand of earnestness and charisma while channeling Shatner's swagger and cockiness. He and Zachary Quinto (Margin Call) make a great team together, successfully recreating the dynamics and bond between Shatner and Nimoy in the original. Quinto's Spock also has a sensitive side that sets him apart -- he can be at once infuriatingly logic and unemotional, and then becomes a full-functional human being (well, half-human anyway).

Zoe Saldana (The Words) has some key scenes as Uhura, and her romantic dynamics with Quinto (one of the true "What the heck?" moments in the first Star Trek reboot). Karl Urban (Dredd) reprises his role as the cantankerous but loyal "Bones" McCoy. Simon Pegg (Mission Impossible: Ghost Protocol) is again hilarious as Scotty, and John Cho (Identity Theft) is resourceful and stoic as Sulu. Anton Yelchin (Fright Night) daftly plays the young Chekov, and Bruce Greenwood (Flight) is solid as Admiral Pike.

Three new actors join the impressive cast. Benedict Cumberbatch, best-known as Sherlock Holmes, plays the mysterious villain Harrison with gusto, cool, and a deadly stare. Cumberbatch successfully makes us fear, loath and also admire and even root for the character, despite all the bad things he's doing. Peter Weller (Dragon Eyes) is superbly smarmy as Admiral Marcus -- it's really good to see him in another sci-fi blockbuster again. And Alice Eve (Men in Black 3) is beautiful and sexy as usual, good enough to be Kirk's would-be love interest (those who are familiar with the original Star Trek would know what I am talking about), but also convincing as a brainy science officer.

The story and screenplay by Robert Orci (Star Trek) and Alex Kurtzman (Star Trek) weave a nice yarn of intrigue, excitement and superb conflicts while still maintain the tongue-in-cheek humor and character dynamics that made the original Star Trek such a classic. They also pay tribute to the original -- even the casual fan would notice the references. The story itself pays homage to one of the best movies in the original Star Trek series. I wouldn't tell you which one for it would spoil one of the big reveals in this one, but you don't really need to try too hard to guess it. There are certainly enough parallels to the original to walk a fine line between homage and borrowing, and I think the writers did a great job. There are enough deviation in this version that makes you truly understand this is a true alternate reality. That realization is made even more apparent with the brief cameo of Nimoy as Spock Prime.

J. J. Abrams could do no wrong with this series -- and yes, he has toned down his infamous lens flares (there are still plenty to go around, but not as annoyingly distracting). The pacing is superb, the plot twists are well placed, and the character interactions, especially between Kirk and Spock, are wonderfully rendered. The set pieces are fantastic, the special effects excellent and, despite some logistic flaws, the story is strong. If there is one problem, I would be that the superb cast is rather underutilized. The cast had so much more to do and to show off their different personalities in the first movie. Here, they are truly a team and thus, they all kind of blend into one, leaving room for Spock and Kirk to play out their major bromance. That is fine for the story, as the focus is on Kirk and Spock, but I can't help but feel a bit cheated because I like this cast so much.

Still, Into Darkness is a wonderful addition to the series and a worthy second installment. It is pretty awesome. I can't wait to see what J. J. Abrams and his team will bring us next.

Stars: Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Simon Pegg, John Cho, Benedict Cumberbatch, Anton Yelchin, Bruce Greenwood, Peter Weller, Alice Eve
Director: J. J. Abrams
Writers: Robert Orci, Alex Kurtzman
Distributor: Paramount
MPAA Rating: PG-13 for intense sequences of sci-fi action and violence, brief strong language
Running Time: 132 minutes

Ratings:

Script - 7
Performance - 8
Direction - 8
Cinematography - 9
Music/Sound - 8
Editing - 8
Production - 9

Total - 8.0 out of 10.0

The Great Gatsby

2013-05-10T22:59:00.000-07:00

© 2013 Ray Wong

F. Scott Fitzgerald's classic novel The Great Gatsby has been made into TV and movies many times. So why does director Baz Lurman wants to make another one? Well, Lurman had a vision of modernizing it like he once did with Romeo & Juliet (or Moulin Rouge, which was based on the opera La Boheme). The result is a visually stunning, if only emotionally handicapped and stylistic jumbled, piece of art.

Nick Carraway (Tobey Maguire) is a struggling writer who goes into the bond business just to makes ends meet. He rents a small cottage on Long Island that is wedged between some grand mansions of "new money." Across the bay is a posh neighborhood of "old money," including Nick's cousin Daisy (Carey Mulligan) who married drug store tycoon Tom Buchanan (Joel Edgerton).

Nick's neighbor is a mysterious rich man maned Jay Gatsby (Leonardo DiCaprio), who throws a lavish party every week. While there are many stories about Gatsby, no one really knows him; not many have actually met him. That changes when Nick gets an invitation personally from Gatsby to attend one of his parties. The two soon become good friend.

As Nick gets to know his rich neighbor, he realizes that Gatsby seems to be hiding something -- his outer shell and lavish lifestyle are just a facade. Soon Nick understands why Gatsby is so eager to make friends of him. It turns out that Gatsby knows Daisy from five years before. And through Nick, Gatsby wants to reconnect with Daisy, who is deeply unhappy with her philandering husband.

Leonardo DiCaprio (Django Unchained) is in great form here, all dashing and charming and youthful as the Jay Gatsby. Don't get me wrong, DiCaprio's Gatsby is very different from Robert Redford's, and sometimes I do feel that DiCaprio is too youthful and slight to play the iconic role. As the iconic narrator Nick Carraway, Tobey Maguire (Brothers) fits the bill rather nicely as the cockeyed, naive, quiet observer who is swept into Gatsby's world of mystery, deceit and amazement.

Carey Mulligan (Shame) surprisingly is the weakest link here, despite her good track record. Her Daisy is lovely and beautiful, of course, but I can't help but feel somewhat disappointed by her passive portrayal that feels rather flat. Her chemistry with DiCaprio also seems off -- one only yearns for the same chemistry between Jack and Rose in Titanic. But alas, no such luck here.

The supporting cast is dutiful, however. Joel Edgerton (Zero Dark Thirty) makes a good Tom Buchanan, what with his handsomeness that is part smarmy and part pitiable. Isla Fisher (Confession of a Shopaholic) is suitably seductive and vulnerable as Buchanan's mistress, and Elizabeth Debicki (A Few Best Men) is memorable as Daisy's best friend Jordan.

The screenplay by Lurman (Australia) and Craig Pearce (Charlie St. Cloud) does follow Fitzgerald's novel, while the writers attempt to upgrade and modernize the story to make it less about the time period and more about the universal themes. The result is a hodgepodge of ideas and patchwork of execution that takes until the second act to jell. Lurman also depends heavily on narration; this may have worked for the book, but in cinematic form it feels clunky and surprisingly impersonal. It takes the audience out of the story and remind us that we're "reading" what Nick Carraway has to say. Besides, Nick himself is an unreliable narrator, given his own affinity toward Gatsby. Again, that works well in literary form, but in a movie, it is much less effective.

Not to mention the character of Daisy is underwritten here. Granted, this is really Jay Gatsby's story, but Daisy is such an important figure that I just don't feel any emotional attachment to her. Right off the start she seems like a shallow, materialistic woman whose affection for Gatsby seems misguided or disingenuous. Perhaps it's also a flaw in the book, but Daisy simply isn't a very likable character -- again, that may have worked better in the novel as Gatsby is the hero, but in the movie where Daisy is one part of a trio, she falls short as a character.

Visually, the movie is stunning to watch. Lurman pulls out all the stops to make this modernized version a visual feast. While not quite as arresting as, say, Moulin Rouge (the CGI effects are rather distracting), one can't argue that this a Lurman in his top form as a visual stylist. And I think that's my problem. The movie feels off at the beginning, trying to be too many things to too many people. It's not until way in the middle does it find its footing. By then I feel like I've been watching two different movies -- one that is chaotic and ADHD (much like Moulin Rouge to be honest) with pop music that stands out like a sore thumb against the 1920s backdrop; and one that is grand and fluid and epic (much like Australia) that is at times superbly lyrical and tragic.

That's a shame. Lurman is a great talent and has a great cinematic eye. He needs to stop directing his own writing or write to direct. Lurman has never be a strong writer, and he should just focus on the direction and leave the writing job to a great screenwriter who can put all those unique ideas together. As is, The Great Gatsby is sorely disappointing despite a lot of potential, a great cast and a great production. It just isn't great.

Stars: Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Isla Fisher, Elizabeth Debicki
Director: Baz Lurman
Writers: Baz Lurman, Craig Pearce (based on novel by F. Scott Fitzgerald)
Distributor: Warner Bros.
MPAA Rating: PG-13 for violence, sexual content, smoking, partying and language
Running Time: 142 minutes

Ratings:

Script - 7
Performance - 8
Direction - 7
Cinematography - 9
Music/Sound - 7
Editing - 8
Production - 9

Total - 7.4 out of 10.0

Iron Man 3

2013-05-03T13:00:00.000-07:00

© 2013 Ray Wong

Usually when a franchise gets to the third installment, it either shows signs of fatigue (think The Terminator) or sparks of reinvention (think Star Trek). The first film of the Iron Man series was so good and the second so unexceptional that Iron Man 3 could go either way.

After saving the world from alien invasion (in The Avengers), Tony Stark (Robert Downey Jr.) is suffering from a serious case of insomnia. While he can't sleep, he tinkers with his inventions, which have also become part of the military lineup called the "Iron Patriots" -- much of his chagrin but Col. Rhodes' (Don Cheadle) amusement. What keeps Stark awake at night is his imminent sense of dread, that something bad is going to happen to the love of his life Ms. Pepper Potts (Gwyneth Paltrow).

That imminent dread appears in the form of a terrorist leader named The Mandarin (Ben Kingsley), who wracks havoc in the world with his random bombings and assassination of powerful men, including an attempt to kidnap the President of the Unite States. At one of the bombings, Stark's trusted friend Happy (Jon Favreau) is seriously hurt. Seething with anger and frustration, Stark wages a personal war with The Mandarin.

Big mistake. The Mandarin attacks Stark and Potts at their Malibu home. Believed to have died, Stark goes on a detour to try to figure out how to defeat the Mandarin. His investigation leads him to Tennessee, and the trail of information leads him to an old flame Maya (Rebecca Hall) and her boss Aldrich Killian (Guy Pearce), who may be working with the Mandarin in developing some kind of secret biochemical weapons.

Robert Downey Jr. (The Avengers) reprises his role of Tony Stark with more maturity and thoughtfulness this time. The whole idea is that Stark is not the same person as he was when the series began. RDJ embodies that change rather nicely while still displaying his trademarked cockiness and arrogance. Still, RDJ has been playing similar characters since he resurrected his career with Iron Man (in some ways, Sherlock Holmes is just another version Tony Stark); I'd like to see him tackle something completely different because he is a very good actor.

Gwyneth Paltrow (The Avengers) has always been the lovely flower in this franchise, but here she has a bit more to do, to show off some of her fighting skills. Still, this is Tony Stark's show, and Paltrow would just have to be happy in the role of the love interest and damsel in distress much of the time. Don Cheadle (Flight) also reprises his role as Col. Rhodes. He and RDJ play off each other beautifully. One only wishes that Cheadle has more screen time instead of being a big sidekick.

Guy Pearce (Prometheus) plays an interesting villain who has a sympathetic past. Pearce does it with a lot of charm and flair, but his character is sorely underwritten that I just can't relate to him. "Obsession" and "ambition" are great, but simply not enough to be character motivation. Rebecca Hall (The Town) enjoys her role in one of her biggest movies yet, but her character is also significantly underwritten to make any true impact. The true surprise here is Ben Kingsley (Hugo) -- his performance during one of the movie's funniest twists is well worth the price of admission.

Supporting cast also includes Jon Favreau (Identity Theft) as Happy -- it must have been a relief for Favreau not to direct IM3, as he seems to have a lot more fun, here -- and James Badge Dale, best known as a cancer patient in Flight, who follows up as The Mandarin's menacing minion, Savin.

Written by director Shane Black (Kiss Kiss Bang Bang) with Drew Pearce (Pacific Rim), the script is a huge mess of too many plot threads and characters, and non-sensible motivations and consequences. I'm not a stupid person, and I have watched a lot of movies (including the first two Iron Man films), but I can't for the life of me figure out what is going on. The plot threads move in different directions but they never really come together in cohesion. It is fragmented. The plot and character misdirection also feels pompous and self-indulgent: "Hey look how clever we are." The threats are never urgent or real, and Stark's internal struggle is only touched on without a lot of depth.

This is by far the most cartoonish, comic book-like production of the series. Given that this is, in fact, a Marvel comic, I can understand the direction the writers and producers want to go, and I appreciate that. But the execution is something else. It is a big hot mess. I'm surprised because I thoroughly enjoyed Black's Kiss Kiss Bang Bang which had a great mix of humor, action, plot and character development. So far, the only thing I really like about Iron Man 3 is the humor. That, they did it right. Unfortunately, under Black's direction, the action is chaotic and murky, with too many close-ups and messy choreography. For a while I thought I was watching Transformers 4, and that is not a compliment by any stretch.

Stars: Robert Downey Jr., Gwyneth Paltrow, Don Cheadle, Guy Pearce, Rebecca Hall, Jon Favreau, Ben Kingsley, James Badge Dale, Stephanie Szostak
Director: Shane Black
Writers: Drew Pearce, Shane Black
Distributor: Walt Disney
MPAA Rating: PG-13 for intense sci-fi action and violence, brief suggestive content
Running Time: 130 minutes

Ratings:

Script - 6
Performance - 7
Direction - 7
Cinematography - 9
Music/Sound - 7
Editing - 7
Production - 9

Total - 7.1 out of 10.0

Mud

2013-04-26T23:15:00.000-07:00

The good thing about March and April -- the months before the summer movies come out -- is that once in a while a gem would slip through. A few weeks ago I was impressed with A Place Beyond the Pines. This week, it is a little movie called Mud.

Ellis (Tye Sheridan) and Neckbone (Jacob Lofland) are two precocious teenage boys who have been best friends since they were little, living in Dewitt. The boys are adventurers and they grow up by the river. One day they find a boat stuck on a tree on an island, and when they try to claim it, they discover someone is already living in it. His name is Mud (Matthew McConaughey), a drifter who is hiding on the island, waiting to meet someone.

That someone turns out to be his girlfriend Juniper (Reese Witherspoon). Mud tells the boys that he grew up in Dewitt, too, and he's come back so he can run away with Juniper, the love of his life. Eventually, the boys find out why Mud is in hiding -- he has killed the last man Juniper was with, who used to beat her up, and the man's family is hunting him (not to mention the FBI is looking for him, too). Mud's only way out is to fix the boat and ship out quietly.

Mud manages to convince the boys, especially Ellis, to help him. A hopeless romantic who is dealing with his parents' impending divorce, Ellis is attracted by Mud's undying love for Juniper. Despite everybody's warning (including Neckbone's, who is forever a skeptic), Ellis believes a man who loves so deeply can't be all that bad. But by helping a fugitive like Mud, Ellis is putting himself and everyone he loves in danger, as the bounty hunters are hot on their trails.

Matthew McConaughey (Magic Mike) gives a tour-de-force performance as Mud. At once devastatingly handsome and also characteristically disheveled and wrecked, he embodies the character's aloofness perfectly -- we can tell that he's a badass; he's resourceful; but we can't fully trust him either. And yet, he is so likable we know that he means no harm to these boys, and he's fundamentally a good man. McConaughey does a great job portraying a complicated man who is on the run, but whose sense of loyalty may be his real Achilles's heel.

Tye Sheridan (The Tree of Life) is also excellent as Ellis, another complicated character who's sense of hopeless romanticism may be his Achilles's heel. Sheridan's controlled and nuanced portrayal shows maturity of a seasoned actor. Newcomer Jacob Lofland has a more shallow character to play -- mostly as a comic relief and a counterpoint to Sheridan's stoic Ellis. Considering this is Lofland's first role, he's done a great job.

The outstanding supporting cast includes Reese Witherspoon (Water for Elephants) as Juniper. She plays a much different character than those in her recent movies, and reminded us how she impressed us in Cruel Intentions. Sarah Paulson (New Year's Eve) is solid in a small role as Ellis's unhappy mother, and Ray McKinnon (Footloose) shows great strength as Ellis's equally unhappy father. Sam Shepard (Killing Them Softly) is outstanding as the reclusive neighbor Tom, and Michael Shannon (Premium Rush) is in fine form in a surprisingly "normal" role as Neckbone's uncle Galen.

Writer-director Jeff Nichols (Take Shelter) has crafted a highly moody and atmospheric drama that has all the flavors of a modern-day Huckleberry Finn. His writing and direction are gritty, realistic, and brutally honest. There's a retro feel to his story though -- sometimes I am not sure if it actually happens in 2011, and not 1985. But then again, I suppose some things don't change much in certain parts of the country. And that's what is fascinating about this story aside from the colorful characters -- the location is a character itself.

Nichols have developed interesting characters, large or small, that feel real and flawed and complicated. Even the "bad guys" have reasonable motives and we can identify with them, even though we are rooting for Mud and the boys. There are no real villains here, but there are also no real heroes, either. These characters all have problems and issues, and that's why they are so relatable. And the relationships between the boys and Mud are well developed and believable.

That said, part of the plot is rather contrived and riddled with coincidences that seem rather convenient. By careful constructing the story arc and plot, Nichols have sacrificed some of the spontaneity that makes the movie such as riveting experience to begin with. Still, it is the seemingly irrelevant and minute details which embrace the movie with such an atmospheric tone and sensitivity that impresses me the most. I was at the edge of my seat the whole time, and at the end, I care about these characters deeply.

Stars: Matthew McConaughey, Tye Sheridan, Jacob Lofland, Reese Witherspoon, Sarah Paulson, Ray McKinnon, Sam Shepard, Michael Shannon
Director: Jeff Nichols
Writer: Jeff Nichols
Distributor: Lionsgate
MPAA Rating: PG-13 for some violence, sexual references, language, thematic material and smoking
Running Time: 130 minutes

Ratings:

Script - 8
Performance - 8
Direction - 8
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 7

Total - 7.7 out of 10.0

Oblivion

2013-04-19T13:27:00.000-07:00

As science fiction, Tom Cruise's new movie Oblivion follows a familiar story arc that is part mystery and part psychological drama, set against a fantastical post-apocalyptic planet Earth.

Almost 50 years after the alien invasion that almost destroyed the world, maintenance technician Jack Harper (Tom Cruise) and control officer Victoria (Andrea Riseborough) have the thankless job of fixing droids and keeping the "Scavs" -- surviving aliens who still inhabit Earth -- from destroying the hydro-plants that are turning Earth's seawater into reusable resources. For security reasons, their memories have been wiped to protect the integrity of their mission.

With two more weeks to go before they complete their tasks and join the rest of humanity, which has relocated to Titan, Victoria is looking forward to leaving this God forsaken world. But Jack feels differently -- somehow he wants to stay and call the deserted world "home."

After a beacon brings down an old spacecraft that has been orbiting Earth for over 50 years, Jack rescues a mysterious survivor, Julia (Olga Kurylenko), who has recently appeared in Jack's recurring dreams even though he doesn't know her. Having come out of her delta-sleep, Julia immediately recognizes Jack but refuses to tell him how until Jack retrieves her flight recorder. Meanwhile, the Scavs are trying to capture Jack, for reasons that are beyond his comprehension.

What Jack discovers will completely change his perception of who he is and what he is doing on Earth. Suddenly his plans change, and he is determined to do what he can to save Julia and the planet he wishes to call home.

As Jack Harper, Tom Cruise (Jack Reacher) is recycling his arsenal of reluctant hero characters ranging from Ethan Hunt of Mission Impossible to Claus von Stauffenberg in Valkyrie. Even though Cruise's brought nothing new to the character, his performance is affable and believable, especially during most of the movie when Jack is confused and frightened.

The three female leads bring different sensibilities to their roles and the story. Olga Kurylenko (Seven Psychopaths) is gorgeous -- one can believe why Jack can fall for her -- but her performance is rather thin and one-dimensional. Andrea Riseborough (Disconnect) fares better with the complicated role of Victoria -- we certainly feel sorry for her and her dilemmas. Melissa Leo (Olympus Has Fallen) has a limited but pivotal role as Sally, the commander that Jack and Vicky report to. As usual, Leo does a good job.

Morgan Freeman (Olympus Has Fallen) plays Beech, a militant character that is a composite of different archetypes: the mentor, the wise man, etc. He, too, is simply recycling one of the characters he's been playing all along. Nikolaj Coster-Waldau (Mama) makes an impression as Sykes.

The screenplay by director-writer Joseph Kosinski (TRON: Legacy) and Karl Gajdusek (Trepass) is a step better than the mess that was TRON: Legacy. Working off an existential question of "Who am I?" the story touches more many familiar sci-fi themes and tropes. The story is derivative for sure; I am not going to list the movies because then I will be giving out the plot twists.

Speaking of plot twists, there are a few and they are significant. However, they are not entirely new and unpredictable. Even the title of the movie foretells what some of the twists could be, and any sci-fi fans who pay attention would have seen the twists coming from a mile away. That said, the twists are well executed and timed and the effects are just as draw-dropping if we allow ourselves to be immersed in this production.

And it is a top-notch production under the direction of Kosinski. One of the most impressive elements of the movie is the production design. They have created a post-apocalyptic world that is as much an eye-candy as it is a series of haunting images that remind me of how much we are taking our planet for granted. The technologies devised in the movie also spark certain imagination of possibilities.

While Oblivion is full of sci-fi tropes and derivative characters and storytelling, it does a good job in entertaining the audience for a bit over two hours. He has engaging, though cliched, characters that we can root for. While the plot twists do defy logic at times, they are not severe enough to jar us out of the story. I find myself totally engaged. While Cruise's new adventure may not be a masterpiece by any stretch, I doubt it will disappear into the oblivion any time soon.

Stars: Tom Cruise, Morgan Freeman, Olga Kurylenko, Andrea Riseborough, Melissa Leo, Nikolaj Coster-Waldau, Zoe Bell
Director: Joseph Kosinski
Writers: Joseph Kosinski, Karl Gajdusek
Distributor: Universal
MPAA Rating: PG-13 for sci-fi action violence, brief strong language, and some sexuality
Running Time: 126 minutes

Ratings:

Script - 7
Performance - 7
Direction - 8
Cinematography - 9
Music/Sound - 7
Editing - 7
Production - 9

Total - 7.6 out of 10.0

42

2013-04-12T23:01:00.000-07:00

The golden rule is that biopics are difficult to do well, especially biopics of someone as iconic and popular as Jackie Robinson, the first African-American Major League Baseball player in American history.

In 1945, Brooklyn Dodgers GM Branch Rickey (Harrison Ford) has a crazy idea: he wants to recruit an African-American ballplayer. Everyone tells him it's a bad idea, but Rickey is determined to find the one player who would prove them all wrong. He finds such a man in Jackie Robinson (Chadwick Bosman), a rookie Rickey recruits to the Montreal Royals despite the displeasure of his players. Even then, Robinson poses no threat to the Dodgers and they tend to let him be, because Rickey says so.

Despite his temper, Jackie learns to control his emotions and ignore the racial slurs and unjust treatments he is and will be getting as he becomes more and more prominent in the sports. Rickey once tells him, "I want a player who has the guts not to fight back." Rickey and Jackie both know that they will have to turn the other cheek if they want to make history, as one wrong move will set them and "integration" back. The only way Jackie is going to change minds is to be a great player that everyone can't refuse to recognize.

In 1947, Jackie Robinson finally make it to the Dodgers. Unfortunately, even some his own teammates refuse to play with him. They only relent because Coach Durocher (Christopher Meloni) is able to intimate and persuade them. But when Durocher is suspended, Rickey and Jackie must face a brewing storm that they may not be able to weather, as the hostility toward Robinson grows while he, ironically, helps the Dodgers getting closer and closer to the Pennant. Can Jackie Robinson endure the racial attacks to triumph?

Harrison Ford (Cowboys & Aliens) seems to have a great time playing the Stogie-chewing Rickey, what with his trademarked smirk and curmudgeon charisma. There is a fine line between playing such a character and a caricature, and Ford walks that line rather well. Even though his Rickey is over the top and larger than life, never does he act or sound unauthentic. Soon you forget this is Harrison Ford, but a lovable guy who just wants to put fairness and dignity back into the game he loves.

Chadwich Bosman (The Kill Hole) is rather good as Jackie Robinson. Bosman definitely has the physicality, the good looks, and the charisma to pull it off. Though his Robinson is perhaps somewhat too earnest and gentle (we expect to see certain cockiness and quick temper), Bosman manages to give the role a voice, and he displays enough of his dark side and doubts to make us care about Jackie Robinson as a human being who triumphs over tremendous pressure and expectations.

The supporting cast is all excellent, from Nicole Beharie (The Last Fall) who plays Robinson's lovely and supportive wife, to Christopher Meloni (Dirty Movie) as the gruff and unbiased Durocher, to iconic Dodgers players such as Pee Wee Reece and Dixie Walker by Lucas Black and Ryan Merriman respectively. Andre Holland (Bride Wars) gives an affecting performance as Wendell Smith, an African-American journalist, and Alan Tudyk (Wreck-It Ralph) gives one of the most shocking and unnerving performances as Phillies manager Ben Chapman, who for over five minutes yells racial epithets to Jackie Robinson.

Writer-Director Brian Helgeland (A Knight's Tale) tackles Jackie Robinson's story with an old-school style and sentiment. This movie could have been made by Disney, and it does have all the typical Disney family movie trappings (despite the aforementioned racial epithets). The characters are mostly larger than life, animated and likable. Even the "villains" are not truly villains, but flawed people who are victims of their times and ingrained prejudices.

While Helgeland energetically and earnestly writes and puts together a beautifully crafted film about one of the most beloved figures in history, one can't ignore the fact that Helgeland also sugarcoats a lot. Sure, Robinson's struggle is there. The racism is there. But he also portrays the post-war America, especially among African-Americans, a glossy reality that feels sweetened and sentimentalized. Even the racism in the film feels rather benign at times, no more than catcalling and a few easy punches. I understand that Helgeland has to balance between telling Robinson's story vs. portraying America as still a land of the free and home for the brave. The movie has that nice, wholesome Americana look and feel as most post-war movies tend to have. But in light of the thematic elements in the films, I can't help but feel a bit letdown by its unabashed sentimentality that skews the harsh reality of a segregated country.

Still, I totally enjoy what the movie has to offer, and the inspirational story of Robinson as well as how his fellow men could see past their racial prisms and limitations. There is something to learn from this, even in 2013.

Stars: Harrison Ford, Chadwick Boseman, Nicole Beharie, Christopher Meloni, Ryan Merriman, Lucas Black, Alan Tudyk, Andre Holland
Director: Brian Helgeland
Writer: Brian Helgeland
Distributor: Warner Bros.
MPAA Rating: PG-13 for thematic elements, language
Running Time: 128 minutes

Ratings:

Script - 7
Performance - 8
Direction - 7
Cinematography - 8
Music/Sound - 7
Editing - 7
Production - 8

Total - 7.6 out of 10.0

The Place Beyond the Pines

2013-04-05T12:54:00.000-07:00

© 2013 Ray Wong

Writer-Director Derek Cianfrance made a great impression with Blue Valentine. He re-teams with star Ryan Gosling in another gripping drama, The Place Beyond the Pines that explores the intricate consequences of a person's actions.

Luke (Ryan Gosling) is a drifter who works as a stunt motorcyclist at a traveling carnival. Back in town, he discovers that his old fling Romina (Eva Mendes) is keeping a big secret from him -- that he has a son, Jason. Determined to stick around and provide for Jason, Luke tries his best to hold a job at a body shop owned by Robin (Ben Mendelsohn). Then through Ben, Luke gets involved in a series of bank robberies.

Unlike Robin, Luke doesn't know when to stop when things get too hot. Desperate, Luke gets into a crossfire with police officer Avery (Bradley Cooper) after a blotched robbery. Their crossed paths created a seismic shift in Avery's life, as he struggles with the outcome of what happened.

Years later, Avery's path crosses with Jason (Dane DeHaan) again. The consequences of his and Luke's actions years ago still ripple through their lives as Avery campaigns for the seat of State Attorney General while trying to connect with his own son AJ (Emory Cohen).

Ryan Gosling (Gangster Squad) is fantastic in the moody, complicated role of Luke. He embodies the character in both body, mind and soul and delivers a tour-de-force performance that is sure to generate some super-early award buzz. As his counterpart, Bradley Cooper (Silver Linings Playbook) has never been better in a more savvy and manipulative role as Avery. The two actors have only one brief scene together, but separately, they help glue the two parts of the film together in a mesmerizing way.

Eva Mendes (Holy Motors) finally finds a dramatic role that lets her show off her talent. As Romina, Mendes displays a nice depth as a woman who is torn between her love for the wrong man and doing the right thing for her son and herself. Ben Mendelsohn (The Dark Knight Rises) is impressive -- and channeling Sam Rockwell -- as the man that starts Luke down a path of no return. The supporting cast also includes strong performances from Rose Bryne (The Help) as Avery's neglected wife, Ray Liotta (Bad Karma) as a corrupt cop, Bruce Greenwood (Flight) as a DA.

The two young actors who play Luke's and Avery's sons are, too, to be commended. Dane DeHaan (Chronicle) is superbly moody (just like Luke) as Jason, and Emory Cohen (Four) is solid as the cocky, messed up AJ.

Written and directed by Derek Cianfrance (Blue Valentine), the screenplay boasts a gripping story that, through intricate intersecting threads and plot development, connects us with a varied group of characters. Cianfrance's story explores the themes of consequences, and how these consequences could have impacts and effects for years to come. It also explores the question of what is good and what is bad? Luke is supposed to be the bad guy -- he abandons Romina; he robs banks; he is reckless and violent. Avery is supposedly the good guy -- upstanding, heroic, and smart with a great family. And yet in The Place Beyond the Pines, the line between good and bad is blurry. The characters are three-dimensional, complex and intriguing. They make mistakes, with dire consequences. And that makes them extraordinarily human.

The intersecting plot lines also take us on a wild ride. We follow Luke, Romina and Jason for the first part of the film, then the film switches gear and now we're following Avery. The shift is coherent and essential, while exploring the same themes of morality, crime, and fatherhood. That said, the plot does seem forced at times, especially in the third act, as Cianfrance tries a bit too hard to connect the dots and come full circle.

What is mesmerizing is Cianfrance's gritty, intense and personal style of direction. From the very first frame to the last, the movie doesn't let the audience go. The movie does slow down and flounder somewhat in pace and tone during the third act, but it picks up again near the ending. Over all, Cianfrance's direction is impressive, stylistic and dramatic -- all in very good ways.

The Place Beyond the Pines is a superb drama that explores deep, personal, and troubling themes in very realistic ways with very realistic, relatable characters whose lives intersect and connect with one another's through the dire consequences. It has earned a place in my heart as one of the best films of the year so far.

Stars: Ryan Gosling, Bradley Cooper, Eva Mendes, Ben Mendelsohn, Rose Bryne, Ray Liotta, Bruce Greenwood, Dane DeHaan, Emory Cohen
Director: Derek Cianfrance
Writers: Derek Cianfrance, Ben Coccio
Distributor: Focus
MPAA Rating: R for language, violence, teen drug and alcohol use, sexual content
Running Time: 140 minutes

Ratings:

Script - 8
Performance - 8
Direction - 8
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 7

Total - 7.8 out of 10.0

The Sapphires

2013-03-29T23:50:00.000-07:00

© 2013 Ray Wong

Australian movies tend to have lots of heart, and The Sapphires, which tells a unique story of four Aboriginal girls who finds themselves in showbiz during the Vietnam War, is no exception.

Gail (Deborah Mailman), Julie (Kessica Mauboy) and Cynthia (Miranda Tpsell), together with their light-skinned cousin Kay (Shari Sebbers), are four Aboriginal girls who love to sing. Looking for a way to do what they love and get out of their small community, they seek out opportunities to showcase their singing talents, even though the white folks in town treat them like garbage.

However, their talents get the attention of Dave Lovelace (Chris O'Dowd), a music man trying to make a buck. Julie -- by far the best singer in the group -- suggests they audition for part of a singing troop for GIs in Vietnam. The gig would pay $30 a week. Out of a job, Dave volunteers to be their manager. The first thing he does is to urge the girls to sing Soul instead of Country/Western. His advice pays off as they pass the audition and earn their way to Saigon.

Once in Saigon, they realize that they may have bitten more than they can chew. The area is deep in the war, and their schedule is hectic without a guarantee that they will get paid, or not get killed, for that matter. Still, the girls are having the time of their lives. Kay falls for a young American GI named Robby (Tory Kittles), and Julie catches the eye of a local talent scout. But soon the war escalates and the group loses their military security. Things take a bad turn…

Ever since his breakout role in The Bridesmaids, Chris O'Dowd is making a name for himself for playing lovable dweebs. Here, as the down-and-out wannabe musician who sees his way out with these four talented girls, O'Dowd exudes a sense of self-deprecating confidence and like-ability that makes us want to see him win, despite his flaws. O'Dowd just makes it look so easy and affable.

Deborah Mailman (The Secret Life of Us), who plays the oldest of the girls, is excellently feisty, bossy, crappy and yet caring and vulnerable and sensitive. She and O'Dowd have tremendous chemistry together. Australian singer Jessica Mauboy has a great voice and does a good job as Julie, even though her character is probably the least developed. Miranda Tapsell (Magical Tales) is affectingly fiery, like a firecracker, as Cynthia, and Shari Sebbers (Violet) is dutiful as one of the "lost generation" children -- those fair-skinned Aboriginal children who were abducted by the government during the 50s and 60s.

Written by Tony Briggs (On the Nose) and Keith Thompson (Fireflies), the screenplay has a down to earth quality to it. Set in the late 60s, the story has to find a balance between being a period piece and yet connecting with the younger audience, especially with the Vietnam War in the backdrop. The result is that the story does gloss over some of the historical details of either of the plights of the Aboriginal people in Australia and the Vietnam War. While the story focuses on the main characters, which are really well written and developed, the side characters such as Robby or the soldiers, are somewhat sketchy and stereotypical.

In Wayne Blair's (Lucky Leonard) hand, however, the movie clips along at a nice pace, and the character development (of the main characters) is spot on. Blair manages to find a balance between comedy and drama, between excitement and introspection, between high emotions and humor. The movie never quite wanders into melodramatic territory, even though it comes close a few times. Instead, we get a solid musical about these interesting characters, sort of like Dreamgirls but set in Australia and the Vietnam War.

With its crowd-pleasing premise, likable stars and a good, heart-warming story, While not as spectacular as Dreamgirls, The Sapphires offers a different take on the same concept. It's quite an attractive little gem.

Stars: Chris O'Dowd, Deborah Mailman, Jessica Mauboy, Shari Sebbers, Miranda Tapsell, Tory Kittles, Don Battee
Director: Wayne Blair
Writers: Tony Briggs, Keith Thompson
Distributor: The Weinstein Company
MPAA Rating: PG-13 for sexuality, war violence, language, thematic elements and smoking
Running Time: 103 minutes

Ratings:

Script - 7
Performance - 7
Direction - 7
Cinematography =7
Music/Sound - 8
Editing - 7
Production - 7

Total - 7.3 out of 10.0

Olympus Has Fallen

2013-03-22T13:15:00.000-07:00

© 2013 Ray Wong

So it's not as bad as Transformers 3, but if you're expect something smart and suspenseful like Air Force One, then you'd be sorely disappointed with Olympus Has Fallen.

After making a difficult decision to save President Asher (Aaron Eckhart) during an accident, secret service agent Mike Banning (Gerard Butler) has been demoted to working at the Treasury Department. Mike misses his old job, hates his new one, and has trouble focusing on other aspects of his life such as his marriage.

On a fateful day, a series of events unfold and caught Washington DC in a surprise terrorist attack led by a North Korean fraction leader Kang (Rick Yune). The White House is under siege; the President, VP and top officials are held hostage in a maximum-security bunker under the White House. Springing to action, Mike finds his way back to the White House on a sole mission to save the President and his son Connor (Finley Jacobsen). Well, and to defeat the terrorists, of course.

The terrorists are well organized and manage to wipe out the secret service and keep the military at bay. Their demands not only threaten the stability of the two Koreas but also the way of life in America as the they try to break the highly classified Cerberus Code, which would detonate all the anti-nuclear missiles in the country. Alone on a one-man mission, Mike is racing against time not only to save the President, but also the world.

Despite a few missteps in recent years, Gerard Butler (Movie 43) is in top form in a Die Hard-esque role. Somehow Butler manages to add some layers to the super-human character and make us care about him as a real human being. He is also ruthless, strong and determined when he's called to do the incredible. Butler more than redeem himself as an action hero in this otherwise nonsensical thriller.

Aaron Eckhart (The Dark Knight) tries his best to rise above the material but it's just not enough. His President Asher is generic and weak especially compared to superhero Mike Banning. Finley Jacobsen (Marmaduke) is adorable as Connor but doesn't really have much to do -- at least he is not annoying as most child characters are in thrillers. Rick Yune (The Man With the Iron Fist) is one-note and stereotypical -- I counted, like, three expressions on his face and he constantly reminds me of someone who is suffering from constipation; Mr. Yune should learn how to be a memorable villain by studying Javier Bardem.

Dylan McDermott (The Perks of Being a Wallflower) is a caricature of the "good guy turns bad." We never quite understand his motivation or true character, and thus he is just a predictable pawn in the plot and nothing else. Morgan Freeman (The Dark Knight Rises) somehow still becomes presidential as Speaker Trumbull, and he could pretty much sleep-walk while playing his role. Angela Bassett (This Means War) used to do great dramatic work, but lately she's been reduced to playing stock "strong female" characters in otherwise male-dominated films. The standout here is Melissa Leo (Flight) who turns in one of the most memorable performances as Secretary of Defense, Ruth McMillan -- now that's a character we'd love to root for, not President Asher.

The screenplay by first-time writers Creighton Rothenberger and Katrin Bendikt shows how green they still are. Truth be told, the story and plot follow every genre trope imaginable, and the problem is that the writers don't let the story breathe. Instead, they pile on everything and then throw even more stuff in the sink. Other than a few moments of quiet reflection, they never give the characters a chance to develop. The motivations are often murky and generic. So, let's replace the bad "Russians" with yet another Communist group -- the North Koreans -- and they are basically regurgitating. The dialogue is mostly serviceable but generic as well.

Granted, there are some genuinely clever moments and plot deviations. I particularly like how Kang's plan slowly unfolds with precision and thoughtfulness, with one misdirection after another. Unfortunately, after such promising plot devices and development, the story turns to predictably absurd, only to set up one obstacle after another to make room for Mr. Banning to play Bruce Willis and save the world while going at it. The once-promising open road suddenly turns into a minefield of plot holes.

Director Antoine Fuqua's (Shooter) bombastic style is both a merit and detriment to the movie. On one hand, he keeps the action and thrills moving at a breakneck pace, rarely slowing down enough for the discerning audience to ponder the huge plot holes. On the other hand, it is exhausting as he leaves no room for the characters or the audience to breathe. It's not just one crisis, but multiple crisis and somehow we are expected to believe that Mike Banning can singlehandedly fix everything. As the body count cumulates, so is a sense of weariness. The production is handsome enough, and the replicas of the White House and Washington are well done, but the music is something else. The score by Trevor Morris (The Immortals) is equally bombastic and cliched -- by the second scene I am already tired of that overbearing score.

Die Hard at the White House is an apt description of what this movie really is. By and large, the best things about it is Gerard Butler, and that is no small feat considering the stinkers he has been in lately. Still, Mr. Butler alone can't save this bombastic by-the-number thriller, even if we manage to check our brains at the door for two hours of pure thrills -- it is just mind-numbing like bad porn.

Stars: Gerard Butler, Aaron Eckhart, Finley Jacobsen, Dylan McDermott, Rick Yune, Morgan Freeman, Angela Bassett, Melissa Leo, Ashley Judd
Director: Antoine Fuqua
Writers: Creighton Rothenberger, Katrin Bendikt
Distributor: FilmDistrict
MPAA Rating: R for strong violence and language
Running Time: 120 minutes

Ratings:

Script - 6
Performance - 6
Direction - 7
Cinematography - 7
Music/Sound - 4
Editing - 7
Production - 7

Total - 6.1 out of 10.0

The Incredible Burt Wonderstone

2013-03-15T08:33:00.000-07:00

© 2013 Ray Wong

Steve Carell used to be funny. What happened? That was the question I kept asking while watching The Incredible Burt Wonderstone.

Burt (Steve Carell) was a small town kid who used to get bullied, until he found his calling: magic. On his birthday he was given a Rance Holloway (Alan Arkin) Magic Kit by his mother, and he was hooked immediately. Through his desire to become a great magician like Rance, he became popular and also met his best friend Anton (Steve Buscemi). Anton became his partner in crime and together they became one of the biggest act in Las Vegas.

30 years of friendship and fame later, they see their following dwindling rapidly. There is a new guy in town named Steve Gray (Jim Carey), a street magician who performs outrageous stunts. Burt and Anton at first consider Steve a hack, but as their own act becomes stale and they lose their younger audiences, their boss, casino mogul Doug Munny (James Gandolfini) fires them. Burt's ego becomes so big and his lifestyle so lavish that he's instantly broke but he refuses to acknowledge his problems, and his friendship with Anton suffers. They finally go their separate ways.

Burt has to find odd jobs to make ends meet. Eventually, he works as an entertainer at a retirement home, and that's where he meets his idol Rance. The retired magician inspires Burt once again, as he did 30 years ago, and reminds Burt what magic means to him. Through the help of an aspiring magician Jane (Olivia Wilde), Burt finds his passion again, and most important, his friendship with Anton. Together, they must defeat Steve Gray and get back to the top again.

Steve Carell (Crazy, Stupid, Love) used to be funny when he was just a side character, but since he became a leader man, his brand of humor becomes more and more cliched and tiresome with every new film. That is, except when he is actually doing a dramedy such as Crazy, Stupid, Love. In a full-on comedy, though, he seems to be satisfied with playing the same character over and over again. Burt Wonderstone is no different from the assortment of bumbling fools he's played before, and throughout the film I keep reminding myself "there is a danger of being typecast." No doubt these films have made Mr. Carell very, very, rich, but they are also on the path of career suicide if he keeps taking them.

Steve Buscemi (On the Road) has a better time with the character of Anton, a soft-spoken, gentle friend that is so different from his character in Broadwalk Empire. Buscemi is the true chameleon here. Olivia Wilde (People Like Us) has done some good films as well as duds lately. Unfortunately, this goes to her column of duds -- she needs to find something better if she wants to break out of her "supporting actress in crappy movies" status. Jim Carrey (Mr. Popper's Penguins) also seems to phone in his performance as the eccentric, crazy street magician. There is absolutely no depth or dimensions to his character -- I think Mr. Carrey has resigned to steer clear of deeper, dramatic characters and stick with being a human cartoon.

Rounding out the cast are Alan Arkin (Argo) whose talent is wasted here, and James Gandolfini (Zero Dark Thirty) as the uncaring mogul (aka Donald Trump). Jay Mohr (Hereafter) also has a small role that amounts to nothing.

Written by Jonathan W. Goldstein and John Francis Daley of Horrible Bosses, the screenplay is a letdown considering how sharply satirical and funny Horrible Bosses was. They could have done so much with the bizarre world of Vegas showbiz, but they seriously miss the boat by focusing on the lame aspects of the story and characters that are caricatures and cliches. There is not a doubt where the story is heading and how it is going to end. There is no suspense, no twists, and no depth. If Bridesmaids could achieve all that while being hilariously funny, these writers need to up their game.

Don Scardino (30 Rock) came from TV, and it shows. His direction is pedestrian and uninspired, and the whole film has a TV episode look and feel to it. He does what he's paid for doing, but I'd be embarrassed to mention this on my resume if I were him, especially if I want to cross over to film from TV.

Burt Wonderstone is a lame, cliched, tiresome comedy that never really takes off.

Stars: Steve Carell, Steve Buscemi, Olivia Wilde, Jim Carrey, James Gandolfini, Alan Arkin, Jay Mohr
Director: Don Scardino
Writers: Jonathan W. Goldstein, John Francis Daley
Distributor: Warner Bros.
MPAA Rating: PG-13 for sexual content, dangerous stunts, drug-related incident, language
Running Time: 100 minutes

Ratings:

Script - 6
Performance - 6
Direction - 7
Cinematography - 7
Music/Sound - 6
Editing - 7
Production - 7

Total - 6.2 out of 10.0

Oz the Great and Powerful

2013-03-08T09:51:00.000-08:00

© 2013 Ray Wong

An unofficial prequel to the 1939 classic The Wizard of Oz, Disney's Oz The Great and Powerful unabashed pay homage to the film (while steering clear of any legal issue as the film is property of Warner Bros.) and L. Frank Baum's book.

Oscar "Oz" (James Franco) is a Kansas carnival magician, or a self-proclaimed conman, trying to make a few bucks. He is also quite a ladies' man. While escaping from a beating, Oz climbs into a hot-air balloon only to find himself in the middle of a tornado. Soon he finds himself in a strange land full of wondrous sights.

The first person he meets after he crash-landed is Theodora (Mila Kunis), who tells Oz that she is a good witch, and that Oz must be the wizard according to the late King's prophecy. The Theodora convinces Oz to come with her to the castle so he can help her and her sister Evanora (Rachel Weisz) defeat the wicked witch. At the same time, Theodora falls in love with Oz.

Lured by the promises of the kingdom and riches beyond his belief, Oz accepts the challenge of helping the sisters. He sets off, with is humble sidekick Finney (Zach Braff) to the Dark Forest to find the wicked witch and on his way, he saves a porcelain girl named China Doll (Joey King) from the ruins of her village. When they find the wicked witch, they discover something they didm't expect…

James Franco (Lovelace) could have been a great Wizard of Oz, what with his dashing looks and charm. But it is not an easy character to play -- at first Oz appears to be an unlikable conman and womanizer. Franco's portrayal never goes deeper than the obvious, and his goofy grins and demeanors are distracting. The role was originally written for Robert Downey Jr and I can see him as a much better Oz. That's not good for Franco.

Mila Kunis (Ted) is fine as Theodora, especially in the beginning. Later, as her character goes through some changes, Kunis' performance becomes less convincing and more grating. Rachel Weisz (The Bourne Legacy) is dazzling as Evanora, however. She is deliciously flamboyant and evil, even though she is extraordinarily beautiful in those outrageous costumes. Michelle Williams (My Week with Marilyn) is also fantastic as Glinda the Good.

The supporting cast includes Zach Braff (Tar) who plays both Frank (Oz's real-life assistance) and voices the flying money Finney. Braff does a fine job with both. Bill Cobbs (The Muppets) is steadfast and stoic as Master Tinker. Joey King (The Dark Knight Rises) also plays dual roles but her voice as China Doll is wonderful.

The original story is written by Michael Kapner (Romeo Must Die) and David Lindsay-Abaire (Rise of the Guardians), based on L. Frank Baum's classic novel. They've taken many elements of the book and weaved a backstory surrounding the arrival of the Wizard of Oz. It's hard not to compare this to the 1939 movie starring Judy Garland. It is not an easy job to steer clear of the classic film (since Disney has no rights to it) but true to the book. By and large, the writers have done an admirable job piecing it all together, although the story arc and plot do seem to feel tired and cliched -- after all, it is a story and characters we've come to love (and copied) for 100 years.

Sam Raimi's (Spider-Man) direction is a mixed bag. Visually stunning, the production is as fantastic as we can get. A good mix of CGI, old-fashioned effects and real ornate sets, Raimi obviously pays homage to the classic film while also trying to steer away from anything that is clearly not in the book but in that movie. While the imageries are fantastical, the pacing is off at times, especially in the middle when Oz is trekking his way to find the wicked witch. Also, Raimi's direction, at times, are bogged down by the huge production, large cast of extras and the special effects. It feels drawn out.

That said, the movie is every bit as colorful, vibrant, fun and entertaining as the MGM classic, and is a worthy prequel to it because of it. Raimi's taken care of matching the two films while sidestepping any legal issues with Warner Bros. and the result is a careful, thoughtful collaboration of creativity. Despite its flaws and a rather lackluster lead, I thoroughly enjoyed the film and it is mostly to Raimi's credit. Oz may not be great or powerful, but it certainly is lovely.

Stars: James Franco, Mila Kunis, Rachel Weisz, Michelle Williams, Zach Braff, Bill Cobbs, Joey King, Tony Cox
Director: Sam Raimi
Writers: Michael Kapner, David Lindsay-Abaire (based on L. Frank Baum's novel)
Distributor: Walt Disney
MPAA Rating: PG for sequences of action and scary images, and brief mild language
Running Time: 130 minutes

Ratings:

Script - 7
Performance - 7
Direction - 8
Cinematography - 9
Music/Sound - 8
Editing - 7
Production - 9

Total - 7.8 out of 10.0

Jack the Giant Slayer

2013-03-01T12:47:00.000-08:00

© 2013 Ray Wong

A retelling of the famous fairy tale, Jack the Giant Slayer follows a familiar story arc with added plot twists, actions and characters (a lot more characters).

Jack (Nicholas Hoult) is a farm boy always dreaming of adventures. He grew up reading the great story of King Erik and the kingdom of the Giants. One day at the market, as Jack is trying to sell his horse and cart so he can fix the decrepit house he and his uncle live in, he has a chance encounter with Princess Isabelle (Eleanor Tomlinson). Smitten with the Princess, Jack knows his place even though he has left an impression on Isabelle.

Somehow Jack ends up trading his horse for some beans. His uncle is furious with Jack and knocks the beans on the ground -- one of them falls through the crack between the floor planks. Trying to escape her royal duties and seeking adventures herself, Isabelle is lost in the woods when she comes across Jack's house. The two hardly have time to fall for each other when missing bean magically grows into a giant beanstalk, taking Isabelle with it.

The King (Ian McShane), upon seeing the giant beanstalk, arrives with his rescue warriors, headed by his royal advisor Roderick (Stanley Tucci) and valor knight Elmont (Ewan McGregor). Jack volunteers to join the rescue as he worries about Isabelle. When they finally reach the top of the beanstalk, they discover a strange land full of grotesque giants -- whose leader is General Fallon (Bill Nighy). Fallon has a plan to lead his warriors down the beanstalk to invade the kingdom. And little do Jack and Elmont know that Roderick has a plan of his own, too.

Nicholas Hoult (Warm Bodies) has lately craved a niche for himself as unlikely fantasy/science fiction heroes. While his role and performance in Warm Bodies were interesting, the same can't be said about this. As Jack, Hoult is bland and generally passive and, in some ways, too much of a nice kid to rise above the material. Eleanor Tomlinson (Alice in Wonderland) does better with her character Isabelle -- an interesting mix of traditional damsel in distress and the modern princess warrior. Unfortunately, Hoult and Tomlinson have almost no chemistry together, and the added romantic element to the fairy tale is distracting.

Fortunately, the supporting cast does a better job. Ewan McGregor (The Impossible) is loyal, charming, exciting, valorous, dashing as Elmont. And what great hair he has. One only wishes he were the hero of the story, and not Jack. Ian McShane (Snow White and the Huntsman) is solid and King Brahmwell, who vacillates between arrogance and kind consideration quite nicely. Stanley Tucci (The Hung Games) seems to have had a lot of fun playing the schemer, san that twirled mustache. Bill Nighy (The Most Exotic Marigold Hotel) provides the menacing voice and motion capture for General Fallon, and he does a great job.

Written by an army of writers headed by Darren Lamke (Shrek Forever After), the screenplay is a hodgepodge of familiar stories, cliches, and something new. The story adheres to the time period -- a cross between Medieval and Renaissance -- and the general arc of the original fairy tale. Still, there are plenty of upgrades. No longer just a tale of Jack and the beanstalk, there are many added characters and subplots, including an army of giants who look suspiciously like the trolls in The Hobbit. In many ways, this story and these characters are derivative, filled with old cliches and archetypes. If you're looking for something totally new and fresh, then look elsewhere.

Still, even though confined by these constraints, the movie manages to entertain. It is surprisingly violent and gruesome for a "family" movie, thus the PG-13 rating (don't worry though, parents; there is hardly any sex except maybe some mild kissing between the two leads). Young children may have nightmares afterwards after seeing men (and some sheep) being stomped on and chomped on, kind of like Jurassic Park set in Medieval times (and no, that movie isn't suitable for young children either).

Bryan Singer's (Valkyrie) hasn't directed a movie since 2008, and he jumps back into the fray with such a big budget movie. The risks are certainly there. The fact is, Singer didn't do anything that is phenomenal here, or really leave his mark. Instead, it seems like he is just a director for hire, and his movie could have been directed by someone else and we probably wouldn't even have noticed. That's not the say it is bad. The direction is skillful and the pacing is just fine. The production is quite easy on the eye, and despite some early criticism, the CGIs are adequate.

Jack the Giant Slayer is by no means a disaster. It is just not a very good movie, and it seems such a failure when we consider the budget. In truth, it is an enjoyable escape to a fantasy world which reminds us what it was like to be kids, fascinated by adventures and gruesome monsters. Boxoffice slayer it may not be, but it sure accomplishes what it is supposed to do.

Stars: Nicholas Hoult, Eleanor Tomlinson, Ewan McGregor, Stanley Tucci, Ian McShane, Bill Nighy
Director: Bryan Singer
Writers: Darren Lamke, Christopher McQuarrie, Dan Studney, David Dobkin
Distributor: Warner Bros.
MPAA Rating: PG-13 for intense sequences of fantasy action violence, scary images and brief language
Running Time: 114 minutes

Ratings:

Script - 6
Performance - 7
Direction - 7
Cinematography - 7
Music/Sound - 8
Editing - 8
Production - 8

Total - 7.0 out of 10.0

Like Someone in Love

2013-02-22T13:01:00.000-08:00

© 2013 Ray Wong

The title of this indie Japanese film refers to a Frank Sinatra popular song, which one of the characters play during the movie. It also summarizes what the movie is about; but as romantic as it sounds, it's not what we expect.

Akiko (Rin Takanashi) is a young prostitute in Tokyo who is living a double life. She is having troubles with her boyfriend (Ryo Kase) who suspects Akiko is lying about many things. She also hides from her grandmother who travels to Tokyo just to see her.

Akiko reluctantly accepts a call from a "respected" client. Takashi (Tadashi Okuno) is a retired Sociology professor who's very well respected in the community. Strangely, however, Takashi is more interested in serving her soup and talking to her about art and music than having sex with her. When exhausted Akiko falls asleep, Takashi leaves her be and in the morning, offers to drive her to school.

Once there, Takashi meets Akiko's boyfriend, who suspects that Takashi is her grandfather. The boyfriend confesses that he's deeply in love with Akiko but he doesn't trust her, and he believes that if he marries Akiko, she will have to answer to all his questions. Takashi tells him that love doesn't work that way. When one of her boyfriend's customers recognizes Takashi, Akiko begins to panic, thinking that she will be discovered. But Takashi promises her that everything will turn out just fine. Or so he thinks.

As the central character, Rin Takanashi is innocently pretty, demure, distant and distracted. She conveys well the inner struggle this young woman is feeling -- one who is not proud of what she does but seems to have no choice but put up the charade. Tadashi Okuno is solid as the kindly professor, whose gentle, grandfather-like way is rather confusing at first -- what is his intention with Akiko? -- until we learn more about him later. Ryo Kase is also effective as Akiko's edgy, rough, but seemingly devoted boyfriend.

Written and directed by Iranian filmmaker Abbas Kiarostami (Certified Copy), the film is an interesting concept about love of different kinds, set in modern-day Japan (and French-produced). Talk about an international undertaking. Surprisingly, Kiarostami effectively captures the Japanese contrasting culture -- one that is at once modern and old-fashioned, chaotic and ordered, erotic and respectable, misogynistic and generous. Kiarostami's character study is astute, detailed and yet subtle and understated.

The dialogue is sparse, and the actors get to convey a wide range of emotions and internal struggles by use of their facial expressions and body language alone. When there is dialogue, it serves to convey bits and pieces of information about the character. Sometimes that information seems rather heavy-handed in deliberate exposition (for example, the commentary by the nosy neighbor, or the discussion about a famous painting). At the same time, the information adds layers to the characterization and mystery, and we begin to understand what drives these characters to do what they do.

The first two acts of the film is a fine example of character study that intrigues us. Much is revealed in bits and pieces, gradually. And Kiarostami guides us with his languid camerawork and pacing, never rushing the plot to make a point. In fact, it is like a glass of fine wine -- we must take the time and study it, to really taste it to experience its delicacy.

Sometimes the long shots or purposefully extended shots of characters doing mundane things do seem to drag, however -- they don't really add to the story or the characterization. At 109 minutes, the movie feels long. And the story starts to falter by its third act, when it's clear that Kiarostami doesn't know how to end this delicate character study of love. The ending feels forced and abrupt, with no particular emotional payoff for the audience.

Despite its flaws and the disappointing third act and ending, Like Someone in Love, is delicate and smooth like the finest of wine, and it does succeed in showing the different aspects and faces of love in some of the most tenderest moments without being obvious. With a better ending, it could have been something we love.

Stars: Tadashi Okuno, Rin Takanashi, Ryo Kase
Director: Abbas Kiarostami
Writer: Abbas Kiarostami
Distributor: IFC Films
MPAA Rating: PG-13 for violence and language
Running Time: 109 minutes

Ratings:

Script - 6
Performance - 8
Direction - 7
Cinematography - 7
Music/Sound - 8
Editing - 7
Production - 7

Total - 7.1 out of 10.0

Beautiful Creatures

2013-02-15T13:08:00.000-08:00

© 2013 Ray Wong

Based on Kami Garcia and Margaret Stohl's popular YA fantasy series, Beautiful Creatures makes no apologies retelling a teenage love story between a "mortal" and a special being -- any resemblance to Twilight or any other fantasies is purely coincidental. Or not.

Ethan (Alden Ehrenreich) is a curious and book-smart jock (if there's such a thing) who yearns to leave his South Carolina small-town existence behind. When the Ravenwoods returned, the town is abuzz with speculations about satanic curses and abominations. Lena (Alice Englert), niece of patriarch Macon (Jeremy Irons) becomes the easy target when she enters the local junior high, trying to pass as normal. She also catches the eye of Ethan, who is drawn to the mystery and sensibility surrounding Lena.

In his pursuit of Lena, Ethan discovers that Lena and her family are Casters -- another term for witches -- beings with supernatural powers. Lena tries very hard to act normal and fit in, but she has little control over her increasing power. According to Lena, on her 16th birthday, she will be claimed by either the light or the dark side, depending on her true nature, and she is afraid that the dark side is going to win, just like with her mother or cousin Ridley (Emmy Rossum). Ethan convinces her that she has enough good in her to avert the fate of her mother.

As Lena's birthday draws closer, she and Ethan fall deeply in love. However, they also discover that their respective ancestors were once lovers, and the two families have been bound by a curse. And with this curse, Lena's chance of being claimed by the Light becomes slim. With the help of Amma (Viola Davis), Lena finally figures out how to break the curse, but it does come with a significant price.

The two leads, Alden Ehrenreich (Stoker) and Alice Englert (Ginger and Rosa) are relative unknowns. Englert has recently garnered attention for her role as Rosa in Ginger and Rosa. Her portrayal of the teenage witch is charming, vulnerable, and sweet but not without her fair share of darkness. Englert does a good job with her complicated role. In comparison. Ehrenreich is stuck with a stereotypical, too-good-to-be-true character who is simply a female's ideal. The character development doesn't allow Ehrenreich to do much except to be a love-sick puppy. Fortunately, Ehrenreich and Englert have good chemistry together that makes, at least, their relationship seem plausible.

The supporting cast tries their best. Jeremy Irons (The Words) plays Macon with the typical Iron-esque savviness and creepiness at the same time. Somehow, though, I feel that he's channeling everything from Gomez Addams to Snape. Viola Davis (The Help) is reduced to a stereotypical southern African-American woman who knows a thing or two about the underworld. Emmy Rossum (Poseidon) has not much to do with her peripheral character who seems to just storm in and out of town simply as a plot device. The standout here is Emma Thompson (Men in Black 3) who somehow turns a cliched character into someone that is fun to watch (well, it helps that she is actually playing two characters).

Writer-director Richard LaGravenese (Water for Elephant) tries his best to adapt Garcia and Stohl's novel into a coherent story with interesting characters. It has all the right elements: likable leads, a budding romance, Southern mysticism, witchcraft, supernatural powers, a handful of quirky and unusual characters, and for the most part it works as designed. However, that simply reveals the derivative nature of the story and characters. They remind me of everything from Twilight to True Blood with bits and pieces of The Addams Family or Beetle Juice or Romeo & Juliet or Teen Wolf, etc. thrown in.

We also can't overlook the cliches and stereotypes: a country boy falling for a worldly girl, a creepy patriarch, evil relatives, bratty ex-girlfriend, an African-American woman who happens to be a medium, etc. etc. In comparison, True Blood at least play around these familiar tropes (vampires, witches, werewolves, etc.) and comes up with twisted new ideas. In this story, we come to realize we've seen this show a thousand times already. Not to mention the smart, athletic, loyal, romantic, sweet, kind, and steadfast hero is too much of a female's dream to be believable. Wish fulfillment, anyone?

That said, I did rather enjoy the production. Under LaGravenese's direction, it has a giddy, perky and fun vibe. It is quite beautifully shot. The love story has its sweet moments. And there are a few scenes between Jeremy Irons and Emma Thompson that showcase how good these actors can be, if given the right material. Unfortunately, by and large these veteran actors are way too good for this material. Too bad, despite their best efforts, this simply isn't the beautiful creature we've hoped for.

Stars: Alden Ehrenreich, Alice Englert, Jeremy Irons, Viola Davis, Emmy Rossum, Emma Thompson, Thomas Mann, Eileen Atkins, Margo Martindale
Director: Richard LaGravenese
Writers: Richard LaGravenese (based on novel by Kami Garcia and Margaret Stohl)
Distributor: Warner Bros.
MPAA Rating: PG-13 for violence, scary images and some sexual content
Running Time: 124 minutes

Ratings:

Script - 6
Performance - 7
Direction - 7
Cinematography - 7
Music/Sound - 6
Editing - 7
Production - 7

Total - 6.8 out of 10.0

Side Effects

2013-02-08T13:34:00.000-08:00

© 2013 Ray Wong

After the immense success of his male stripper drama, Steven Soderberg follows up with a slick psychological thriller, Side Effects, that examines our dependency on prescription drugs. Side Effects is also rumored to be Soderberg's last film as he has announced his intention to quit making movies.

Emily Taylor (Rooney Mara) patiently and eagerly waits four years for her husband Marin (Channing Tatum) to be released from jail after being convicted of insider trading. They have lost almost everything, and so now they have a chance to rebuild their lives together. However, Emily is suffering from severe depressing that renders her suicidal.

After a failed suicide attempt, Emily agrees to see psychiatrist Dr. Jonathan Banks (Jude Law) on a regular basis. Meanwhile, to help Emily cope, Dr. Banks prescribes her various medications but many have severe side effects that make her irritable, sleepless and sometimes even more depressed. After another suicide attempt by Emily, Banks consults her former psychiatrist Dr. Siebert (Catherine Zeta-Jones), who suggests that Emily to be put on a new wonder drug called Ablixa.

After taking the drug, Emily's condition improves tremendously, except for the occasional episodes of sleepwalking, which is one of the side effects of Ablixa. Banks tries to convince Emily to get off of the drug, but Emily argues that the drug is helping her putting her life back together with Martin, and she can deal with the sleepwalking. Reluctantly, Banks agrees to keep her on the medication, until one day he receives a call that there has been an incident…

After giving an impressive performance in Anna Karenina, Jude Law plays a different role here, as a young, charming, helpful psychiatrist who unwittingly gets himself into much hot water by trying to help his patient. Law displays a wide range of emotions and attributes that makes his character believable despite some of the more outlandish circumstances.

Rooney Mara (The Girl with the Dragon Tattoo) is fantastic as Emily. A beautiful waif, Mara shows us a fragile, frightened and disturbed woman who is surprisingly strong and willful. I can't really discuss her other attributes as they will reveal part of the plot, but suffice it to say Mara gives a surprising but convincing performance.

The supporting cast is solid as well. Catherine Zeta-Jones (The Rock of Ages) is no stranger to mental illness herself as she battles bipolar disease in real life. Here, as a psychiatrist who may have an ulterior motive, she is collected, distant and somewhat cold, which suits her character perfectly. Channing Tatum (Magic Mike) doesn't have much to do as Emily's husband, but he fulfills his role adequately. Polly Draper (Our Idiot Brother) and Mamie Gummer (The Lifeguard) turn in admirable performances as Emily's boss and friend respectively.

The screenplay by Scott Z. Burns (Contagion) is a taut nail-biter that hooks us from the very beginning and keeps us on the edges of our seats throughout the entire movie. Despite a rather trite and unnecessary short prologue (although it serves as a great bookend with the ending shot), the script has a great set up and structure, and the plot flows well and coherently. Never was I confused by what is going on. The plot twist comes about naturally but also unexpected. Granted, anyone who is observant enough or comes to see the movie having been cognizant of the possible twist would not be surprised. However, the way the plot advances and how director Soderberg (Magic Mike) moves it along makes it harder for the casual audience to grasp the twist.

Soderberg makes a good decision to keep the story clipping along at a brisk pace, leaving no room for the audience to ponder and question what they are seeing. That allows him to set things up and following Emily and Banks's journeys. As a suspense-thriller, the movie has enough suspense and thrills to entertain and engross us. The story starts out as something The problem is, once we see the plot twists and where it is going, we start to feel somewhat manipulated. That's the inherent problems with suspense as the structure and construction are by nature manipulative. Certain things don't make sense anymore, or start to feel forced.

That said, Soderberg is able to keep the jarring plot elements at bay by keeping the characters in their respective frantic states, thus giving us certain parameters for doubt and inconsistency. Soderberg's skillful execution also reminds me of Ocean 11 or Traffic. It is a shame that Soderberg has decided to stop directing (whether it is true or not, we'll have to see), but if this is indeed his last film, Side Effects is a perfectly enjoyable swan song.

Stars: Jude Law, Rooney Mara, Catherine Zeta-Jones, Channing Tatum, Polly Draper, Mamie Gummer
Director: Steven Soderberg
Writer: Scott Z. Burns
Distributor: Open Road Films
MPAA Rating: R for sexuality, nudity, violence and language
Running Time: 106 minutes

Ratings:

Script - 7
Performance - 7
Direction - 8
Cinematography - 7
Music/Sound - 7
Editing - 8
Production - 8

Total - 7.7 out of 10.0

Lincoln

2013-02-01T12:43:00.000-08:00

Somewhat of a biopic but more a historical drama, Lincoln does not chronicle Lincoln's life or his death, but instead focuses on the President and his effort on passing the 13th Amendment to the Constitution.

In 1865, US President Abraham Lincoln (Daniel Day-Lewis) has just started his second term in office, and the American Civil War is winding down after four tumultuous years. During this delicate time, Lincoln intends to push forward the passage the the 13th Amendment which would abolish slavery from the United States.

Lincoln believes the amendment would be his mots important achievement, and that he is racing against time because if the war ends before the amendment is passed, the southern state could stop it. By trying to pass it before peace comes, he may just have enough votes. However, he is torn because an early peace would save thousands of lives, thus Lincoln struggles with his own conscience: end slavery forever or save lives.

The Amendment has already passed in the Senate, but Lincoln needs to persuade the Democrats to vote for it in the Congress to get enough votes, which may require compromises in other areas that may test his integrity. Meanwhile, the President also struggles with a difficult rift with his wife Mary (Sally Field) over their oldest son (Joseph Gordon-Levitt) who wants to leave law school to enlist.

Daniel Day-Lewis (Nine) only won his second Oscar five years ago for There Will Be Blood, and he might win his historical third (no actor has ever won three Academy Awards as best actor) for this performance. Granted, half the battle (pun intended) is already won as Mr. Day-Lewis, with the help of make up and costumes, looks and acts like what we envision the President would. However, he is such a great actor that he aptly disappears in the character, having us believe that we're witnessing the real Lincoln instead of an actor playing Lincoln. While an ensemble piece, the movie rests heavily on Day-Lewis's shoulder and the actor gives an extraordinary performance.

Sally Field (The Amazing Spider-Man) is solid as Mary Todd Lincoln, the President's supportive wife even though I find her portrayal somewhat over-dramatic in comparison to the rest of the cast. Joseph Gordon-Levitt (Looper) has a good turn as Robert Lincoln, whose patriotism gives Lincoln and Mary their dilemma.

The supporting cast is extraordinarily strong, led by Tommy Lee Jones (Men in Black III) as Thaddeus Stevens, leader of the radical Republicans who are staunch opponents of slavery. Jones's stellar performance rightfully earns him an Oscar nod, and perhaps even a win. David Strathaim (The Bourne Legacy) is stately as Lincoln's Secretary of State William Seward. And James Spader (Boston Legal) returns to film with a strong performance as white supremacist T.G. Bilbo.

The screenplay by award-winning scribe Tony Kushner (Munich) is rather breathtaking in its details and literary quality. Kushner's gift for words are highlighted in this dialogue-heavy production as the actors deliver the lines beautifully and authentically. The drama and tension unfolds organically as Kushner weaves together the political wrangling, the storms and relationships between these characters, and he offers us a fascinating piece of history.

And this fascinating piece of history is brought to us in vivid and immersive details by master Spielberg (Tin Tin), who seems to redeem himself after a slew of lukewarm projects. Granted, Spielberg does borrow from other classics, including his own. For example, the open sequence is intense and brutal, reminiscent of the opening sequence in Saving Private Ryan. The production is masterful and technically superior. The pacing can be a bit slow, and the drama may be dragged down by the heavy dialogue at times. Still, Spielberg steers a tight, grand ship with Lincoln.

While Lincoln is a tremendous and beautiful film about the fascinating time, politics, dilemmas of a fascinating President, it is not for everyone. Non-history buffs may be deterred by the material and pacing. Also, I feel that as good as the film is, it is a safe bet for Spielberg, and it lacks the edge and risk-taking of something like Saving Private Ryan or Schindler's List, and I am not sure if it can be considered as one of Mr. Spielberg's best. Still, on the whole, Lincoln is something of which President Lincoln would be proud.

Stars: Daniel Day-Lewis, Sally Field, Tommy Lee Jones, David Strathaim, Joseph Gordon-Levitt, James Spader, John Hawkes, Hal Holbrook
Director: Steven Spielberg
Writer: Tony Kushner (based on book by Doris Keams Goodwin)
Distributor: Sony Classics
MPAA Rating: PG-13 for mature thematic material and brief language
Running Time: 127 minutes

Ratings:

Script - 8
Performance - 8
Direction - 8
Cinematography - 8
Music/Sound - 8
Editing - 8
Production - 8

Total - 8.0 out of 10.0

Amour

2013-01-25T12:46:00.000-08:00

French movie Amour is an intimate, extremely personal and nuanced look at aging and dying that calling it "entertainment" would be tremendously wrong.

Retired music teachers Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) are in the 80s and have settled into their routines. They have been married for over fifty years and they take pride in their achievements especially in a special student named Alexandre (Alexandre Tharaud) who has become a world-famous, celebrated pianist.

Unbeknownst to their daughter Eva (Isabelle Huppert) and son-in-law Geoff (William Shimell), Anne has been diagnosed with a blood clog, and treatment has failed. Anne's condition begins to deteriorate rapidly as she has a mini-stroke. Her illness puts a huge burden on Georges, who is not completely in good health himself. But love endures, and they would not dare to impose on Eva. Anne asks Georges to never send her to the hospital again, and Georges reluctantly agrees.

As Anne's condition continue to deteriorate, Georges find it more and more difficult to cope on his own, but he's made a promise to Anne. So instead he's dipping into their savings by hiring two part-time nurses, and Georges will take care of Anne in between their shifts. Still, they are just counting the days when the inevitable will come, and every day becomes an emotional challenge of them.

A lot of attention has been given to Emmanuelle Riva (Can't Say No) and her Oscar-nominated performance as Anne. A veteran French actress and unfamiliar to most Americans, Riva is indeed amazing as the dying woman whose only mode of communication with her loved ones is via unintelligible speech and her eyes. Playing an invalid is not easy, and Riva makes us ache with her impeccable and heart-wrenching portrayal.

Yet I have to say Jean-Louis Trintignant (Janis and John) who practically came out of retirement to play Georges, Anne's doting husband and caretaker, is even more superb. The patience, annoyance, pain, and love in the character is expressed in such understated but affecting way that we feel for Georges even more than we feel for Anne. He is the one who is living every moment of agony by watching his loved one suffers with no end in sight, and no one to help him.

The small support cast includes Isabelle Huppert (The Nun) as Georges' and Anne's rather distant daughter, Eva; real-life pianist Alexandre Tharaud as their student prodigy; and William Shimell (Certified Copy) as their often-absent son-in-law.

Writer-director Michael Haneke (The Piano Teacher) has crafted an unabashedly intimate and personal drama that is devoid of any tricks and spectacles. In fact, the story is so "mundane" that one can only imagine this is truly a work of personal conviction and not of commercial prospects. Haneke's screenplay is full of nuanced dialogue, seemingly going on and on about everyday's life and uneventful details that at first glance, it sounds boring. Who wants to listen to two senior citizens talking about breakfast? But buried in that mundane dialogue and everyday details is a deep affection between the two characters and an extremely powerful connection that only people who have been truly in love can understand.

What is true love? Haneke explores that theme with the hardest of all challenges in any relationship: sickness and death. I remember someone once said to be, "True love is when you have to wipe your loved one's ass." Literally that's what Georges has to do for Anne, and it's difficult to watch. Coupled with outstanding acting, the story is simple yet elegantly told, with a powerful emotional core without melodrama and overt manipulation.

This is not an easy film to watch -- it is slow moving; it is personal; it is devastating. And yet out of all that is a true love story about two people who absolutely love each other, till death do they part. And that's Amour!

Stars: Jean-Louis Trintignant, Emmanuelle Riva, Isabelle Huppert, Alexandre Tharaud, William Shimell
Director: Michael Haneke
Writer: Michael Haneke
Distributor: Sony Classics
MPAA Rating: PG-13 for mature thematic material and brief language
Running Time: 127 minutes

Ratings:

Script - 7
Performance - 9
Direction - 7
Cinematography - 7
Music/Sound - 8
Editing - 8
Production - 8

Total - 7.8 out of 10.0

The Hobbit: An Unexpected Journey

2013-01-18T13:08:00.000-08:00

© 2013 Ray Wong

It's inevitable -- expected even -- that director Peter Jackson has brought The Hobbit to the big screen given how incredibly successful financially and critically the Lord of the Rings trilogy was. What is unexpected, however, is how Jackson decided to make it into a trilogy as well, and how tepid the final result is.

Taking off at the start of the Lord the Rings trilogy, where Bilbo Baggins (Ian Holm) is having his birthday party. At the same time, Bilbo is writing the story of his adventures some 60 years ago. In that story, the great wizard Gandalf (Ian KcKellen) pays Bilbo (Martin Freeman) a visit and speaks of an adventure that would be unlike anything Bilbo has ever experienced. Not interested, or so Bilbo thinks, until some uninvited guests show up at his home. These are dwarfs, led by Thorin (Richard Armitage), who have been driven out of their home by a dragon named Smaug. The dwarves are determined to fight and get back their home, but they need help. Gandalf happens to believe that Bilbo is just the right Hobbit to do the job.

Initially rejecting the idea, Bilbo is soon intrigued by the idea of a once-in-a-life-time adventure. Their journey will take them through the wild of Middle Earth, through the territories of dangerous orcs, wargs and goblins, finally to Lonely Mountain, and they have to get there at the precise time or they'd lose all possibilities of ever finding their way in. Their journey also takes them to Rivendale, the home of the ethereal Elves. The Dwarves and the Elves are not necessary on good terms either, as Thorin blames the Elves, especially the elven king Trandull (Lee Pace), for not helping them defend their home.

As the dwarves try to escape the goblins' tunnels, Bilbo is separated from the group, and comes in contact with a strange creature named Gollum (Andy Serkis). Here, Bilbo accidentally gets hold of Gollum's "precious" ring. Little does he know how that encounter and the ring will change everything.

The huge ensemble cast is led by Ian KcKellen (X-Men: The Last Stand) who reprises his role as Gandalf. McKellen handles the character as if time hasn't passed between Return of the King and The Hobbit, but this Gandalf is younger and more unsure. Martin Freeman (The Hitchhiker's Guide to the Galaxy) is rather good as young Bilbo, channeling Ian Holm (who also has a cameo reprising the role) while making the character his own.

The dwarves are played, sentimentally gruff and rough, by Richard Armitage (Captain America: The First Avenger) as Thorin, Graham McTavish (Colombiana) as Dwalin, and Ken Stott (One Day) as Balin. Even though the actors are buried in layers of hair and fur, they give each dwarf a distinctive personality and it's easy to set them apart. Hugo Weaving (Cloud Atlas) and Cate Blanchett (Hanna) also reprise their elven roles as Elrond and Galabriel respectively, and Elijah Wood (Celest & Jessie Forever) has a cameo as Frodo. Andy Serkis (Tin Tin) also contributes again as Gollum via motion capture.

The screenplay adapted from J.R.R. Tolkien's timeless work is a collaboration between Peter Jackson, his team of writer, and Guillermo del Toro. The material is similar to that of the Lord of the Rings trilogy except seemingly on a smaller scale. The tone is right, and there's this whimsical aspect of it. However, in a way, it lacks certain urgency as the story is told in flashbacks, and given what we already know about the Lord of the Rings, we already know how it turns out. The stakes are not high enough, and often it feels like a introduction to Lord of the Rings instead of a story of its own right. Also, Jackson et el has turned a 300-plus-page book into a trilogy, and this one installment is almost three hours long! There is just not enough material to give it an epic treatment.

So what we have here is a lot of repetitions. Bilbo, Gandalf, and the dwarves are constantly traveling, dodging one enemy after another, in one familiar setting after another. After a while, it feels very derivative and tiresome. The first hour of the movie also moves along in a dreadfully slow pace -- the plot doesn't move until Bilbo decides to accept the challenge. Even then, there is no sense of real adventure or high stakes, even though we're constantly reminded how dangerous it will be.

Visually stunning, as it should be, The Hobbit remains a masterfully made film in terms of technical achievements and cinematic storytelling. The visual effects are top-notch, even though some scenes do look too computerized or animated. With the advance of technology, Gollum looks and acts even more real -- between Gollum and Peter Parker in the Life of Pi, one can only imagine how incredible digital actors are going to be in the near future.

While technically a triumph, I simply can't overlook the derivative nature of the story, the pacing issue, and the repetitiveness of The Hobbit to make it enjoyable. It should have been one movie, and it should not have been 3 hours long. While it is a much anticipated prequel to the Lord of the Rings saga, how it trudges along is truly unexpected.

Stars: Ian KcKellen, Martin Freeman, Richard Armitage, Ken Stott, Graham McTavish, William Kircher, James Nesbitt, Hugo Weaving, Cate Blanchett, Elijah Wood, Ian Holm, Andy Serkis
Director: Peter Jackson
Writer: Fran Walsh, Phillipa Boyers, Peter Jackson, Guillermo del Toro (based on novel by J.R.R. Tolkien)
Distributor: Warner Bros.
MPAA Rating: PG-13 for extended sequences of intense fantasy action violence and frightening images
Running Time: 169 minutes

Ratings:

Script - 6
Performance - 7
Direction - 7
Cinematography - 9
Music/Sound - 8
Editing - 8
Production - 9

Total - 7.4 out of 10.0

Anna Karenina

2013-01-11T13:30:00.000-08:00

First I must admit that I know not much about the classic novel by Leo Tolstoy, the various cinematic versions before director Joe Wright's interpretation, or basic Russian history. So, I am basically reviewing this as an ignorant American and from a pure cinematic point of view.

On her way to visit her brother Oblonsky (Matthew Macfadyen) in Moscow, aristocrat Anna Karenina (Keira Knightley), wife of Russia's senior bureaucrat Karenin (Jude Law), fatefully meets young, charming Count Vronsky (Aaron Taylor-Thompson). A high-society married woman with a young son, Anna resists Vronsky's seduction for as long as she can.

Eventually, Anna and Vronsky become secret lovers -- well, not so secretly, as their social circles begin to gossip about their illicit love affairs. The words finally reach Karenin's ear. Deeply hurt, Karenin warns Anna of the dire consequences of her actions. Driven by a strong desire to escape her duties, her loveless marriage, and the chains of the society's scorn, Anna decides to leave everything behind and try to divorce Karenin, who in turn forbids her to see her son again.

The torrid love affair between Anna and Vronsky turns into mundanity as Anna is driven mad with her desire to see her son again, and the feeling of being trapped. Her pregnancy with Vronsky's child gradually sinks Anna in a deep depression, as she starts to suspect Vronsky's unfaithfulness.

Keira Knightley (Seeking a Friend for the End of the World) usually excels in period dramas, as her classic beauty, poise, and solid performance help to transport us to worlds in the past. As Anna, Knightley has shown a different side of her as her character descends into self-loath and madness. This Anna starts out sympathetic and warm and interesting, but as she sinks deeper into the emotional trauma of her own making, she becomes a much more unlikable character. Ms. Knightley walks a fine line here. It's difficult to not like Knightely as this beautiful woman on screen, but my gut tells me that I should hate her.

The men in her life are played deftly by Jude Law (Sherlock Holmes) and Matthew Macfadyen (The Three Musketeers). Law in particular is excellent as Karenina -- looking older and balding, Law conveys the inner conflicts of Karenina rather convincingly, showing great care and love for Anna but also resentment and hurt. Macfadyen is light and airy as Anna's brother Oblonsky, a family man who likes to wander. Unfortunately, the most important man in Anna's life, Count Vronsky, is played by handsome but wooden Aaron Taylor-Thompson (Kick-Ass). Thompson is of the right age, but he looks entire too soft and pretty to play a man that captures Anna's heart. Worse, Thompson plays Vronsky without much flare or personality.

The women in Anna's life are played lovelily by Kelly Macdonald (Brave) as her long-suffering sister-in-law Dolly, and Alicia Vikander (A Royal Affair) as naive but kind-hearted Kitty. As Kitty's suitor, Domhnall Gleeson (True Grit) gives one of the most affecting performances in the cast.

Adapted from Tokstoy's massive classic, the screenplay by Tom Stoppard (Shakespeare in Love) has the thankless job of streamlining the writer's complex and layered social-conscious novel into a 129-minute movie. Stoppard takes a risk by making Anna an unlikeable character, almost a villain in a sense that the men and women in her life are hurt and damaged in her wake. Such a risk could have been minimized had Stoppard made us relate and understand Anna better. Unfortunately, more often than not we're kept at arm's length from truly knowing Anna.

The story fares better when it focuses on the subplot of Levin and Kitty. As a juxtaposition of Anna's reckless love affair with Vronsky, the relationship between Levin and Kitty is developed gradually and with great care and subtlety. The trouble is that when the subplot resonates with the audiences better than the main plot, something isn't quite right.

Director Joe Wright (Atonement) is no stranger to sweeping period drama with larger than life characters. As usual, Wright's vision is stunningly realized with gorgeous cinematography, costumes and period details. However, he's made a fatal mistake of setting the story in a theater setting. The result is that the movie feels emotionally detached, as the audiences are constantly reminded that we're watching a play instead of something more tangible and real. The theatrical style sounds interesting in theory but in actuality, it strips the story of its emotional potency and keeps us away from the characters. Don't get me wrong, the visuals and the production designs are top-notch; but that's the problem, we are too aware of them that they become distractions, keeping us from totally engaged with the characters and story.

Anna Karenina could have been an amazing film if Joe Wright had taken a more naturalistic approach instead of trying to stylize it so extremely. Also, the risk of making Anna less sympathetic doesn't pay off at the end. It really is a shame.

Stars: Keira Knightley, Jude Law, Matthew Macfadyen, Aaron Taylor-Thompson, Kelly Macdonald, Domhnall Gleeson, Alicia Vikander, Emily Watson
Director: Joe Wright
Writer: Tom Stoppard (based on novel by Leo Tolstoy)
Distributor: Focus
MPAA Rating: R for sexuality and violence
Running Time: 129 minutes

Ratings:

Script - 6
Performance - 7
Direction - 7
Cinematography - 9
Music/Sound - 7
Editing - 7
Production - 8

Total - 7.2 out of 10.0

Quartet

2013-01-04T12:54:00.000-08:00

© 2013 Ray Wong

Dustin Hoffman has been an unlikely heartthrob, an actors' actor, and a legend for much of his long career. Now he can add "director" onto his resume as he makes his debut with Quartet.

Set at home for retired musicians in England, the story begins as the residents meander through their days and rehearsing for an upcoming gala celebrating Verdi's birthday. The show is being organized by resident diva Cedric (Michael Gambon), a flamboyant musical director. The stars of the show are three retired opera singers: Reginald (Tom Courtenay) is a stoic tenor who has a regretful past; Wilf (Billy Connolly) is a rumbustious bass who has the hots for young (and married) resident doctor Lucy (Sheridan Smith); and Cissy (Pauline Collins) is an alto who is slowly losing her battle with dementia.

Their routines are interrupted when a new resident enrolls. And that would be Ms. Jean Horton (Maggie Smith), a famous opera diva. The residents are at once thrilled by Jean but also threatened by her demands and the special treatments she receives from the staff. Wilf and especially Cissy are thrilled, because they were once friends with Jean and performed together on stage. Most irritated and upset is Reginald, who refuses to talk to Jean. It turns out Reginald had a brief marriage with Jean a long time ago. While Jean tries to reach out to him, Reginald simply cannot forgive and forget.

Much to their chagrin, however, Cedric has a great idea of reuniting the quartet as the headliners of the gala. The stakes are high -- the retirement home is running out of money and many of the resident musical programs will be cut if they don't come up with the fundings. The proceeds from the gala would keep the programs running for another year. Despite Reginald's objection, they try to convince Jean to join them. Jean, however, is horrified by the idea as she realizes she is not young anymore and she would not bear the embarrassment of revealing that she is no longer the amazing singer she once was. Most important, she has a score to settle with Reginald.

Maggie Smith (The Most Exotic Marigold Hotel) seems to play difficult old maids these days, but she is so good at it. As Jean, however, Smith brings certain grace and elegance to the character as well as a nasty temper and arrogance that are required of the role. Smith does a fantastic job portraying the aging star who is part diva and part scared little girl hoping to fall in love again. Tom Courtenay (The Golden Compass) is wonderful as Reginald. As the stoic gentleman who was once a super star, Courtenay comes across as kind and unassuming, while displaying real resentment toward Jean. Courtenay and Smith also work off each other well to convey the complicated emotions and relationship between the two characters.

Billy Connolly (Gulliver's Travel) has one of the most showy role as Wilf. But underneath that randy facade is a man who is frightened about getting old. Connolly strikes a good balance and avoids playing a caricature. Pauline Collins (Albert Nobbs) impresses as the forgetful but perky Cissy, who is the most likable character in the story. That doesn't mean Collins just cruises through the movie. Her nuanced performance is delicate and yet affecting.

The supporting cast includes Michael Gambon (Harry Potter and the Deathly Hallows) as flamboyant Cedric, and Sheridan Smith (Hysteria) as affable Dr. Lucy. The rest of the cast is comprised of mostly real retired musicians and opera singers (not actors), so there's certain level of authenticity if not perfect performances.

Ronald Hardwood's (Australia) screenplay is simple and straightforward, yet filled with interesting anecdotic moments. Some of those, however, are not staged. The real musicians and singers in the cast bring a lot to the story by sharing parts of their experiences. At the core of the story is an elegant question: how do we go on with life with dignity without giving up our identities, who we once were? There is also a love story in there, and it's one about regrets, mistakes, lost opportunities, connections, and second chances.

If the plot is too simplistic or contrived, Hardwood's story is compensated by his characters who are full of vim and vigor despite their age. It's also compensated by Dustin Hoffman's sensitive direction. Being an actor of a certain age, Hoffman fully understands what it is like to get older and the danger of trying to hang on to past glory while forgetting to live in the present. Hoffman hasn't stopped working, and in a way, his characters don't stop working either, even though they are no longer on a public stage. The story is all about keeping going and doing what one loves regardless of age. It's a very sweet and noble idea, and one that should be acknowledged and cherished. Hoffman's straightforward direction led to a heart-warming and poignant finale that lingered in my mind for quite a while. What a fine quartet!

Stars: Maggie Smith, Tom Courtenay, Billy Connolly, Pauline Collins, Michael Gambon, Sheridan Smith
Director: Dustin Hoffman
Writer: Ronald Hardwood (based on his own play)
Distributor: Weinstein Company
MPAA Rating: PG-13 for brief strong language and suggestive humor
Running Time: 98 minutes

Ratings:

Script - 7
Performance - 8
Direction - 7
Cinematography - 8
Music/Sound - 8
Editing - 7
Production - 7

Total - 7.5 out of 10.0

Zero Dark Thirty

2012-12-28T13:13:00.000-08:00

The biggest manhunt in recent history has been brought to you by the filmmakers who gave us the Oscar-winning The Hurt Locker. Given all the award buzz surrounding Kathryn Bigelow's newest film, I can't help but feel rather underwhelmed by the actual movie.

After 9/11/2001, Maya (Jessica Chastain), a CIA analyst, is recruited in a mission to track down Osama Bin Laden. Working within a team of field operatives, which includes Dan (Jason Clarke) and Jessica (Jennifer Ehle), Maya has to work with limited information provided by captured terrorists through unspeaking means such as torture and coercion. Even then, Maya has to use her judgment to discern which pieces of information is valid, and connect the dots as she goes along.

The manhunt turns into a decade-long obsession for Maya. Her boss, Joseph Bradley (Kyle Chandler), has better things to do, thus leaving Maya and her team to do whatever is necessary. Maya's investigation leads her to a man named Abu Ahmad, who she believes is a covert courier for Bin Laden. She believes that if they can find Ahmad, they will find Bin Laden.

Unfortunately for Maya, her instincts and ability are met with scrutiny and resistance from within her own organization. But Maya believes she is right, and after a tragedy strikes, Maya's quest becomes even more personal for her. Against all odds and obstacles, and after almost 10 years working solely on this mission, Maya realizes she has now found Bin Laden.

Jessica Chastain (The Help) is an amazing actress. Maya is a resourceful, intelligent, and headstrong character that Chastain takes no time to sink her teeth into. Maya has a job to do and she delivers. Same with Chastain -- her demeanors could be construed as brash, unapologetic and yet she can also be doubtful and vulnerable. Chastain did a remarkable bringing the character to life and carrying the movie, even though the story doesn't allow a glimpse to her personal life, thus making her character somewhat one sided.

Jason Clarke (Lawless) is Dan, a CIA operative who works closely with Maya. Clarke also does a good job portraying someone who has a job to do and will do anything to get it done. Both their characters hover on the border of moral rightness, but they also know that the end will justify the means. Jennifer Ehle (The King's Speech) is effective as Maya's coworker who is too emotional, as opposed to Maya, to do her job.

The large supporting cast includes Kyle Chandler (Argo) in an adequate performance as Maya's boss, but I have trouble distinguish this with his character in Argo. Mark Strong (John Carter) has a brief but strong performance as George, one of those men up the chain of power. James Gandolfini (Killing Them Softly) is interesting as the Director (they never said his name, but we all know he plays David Patraeus). Rounding out the cast is Chris Pratt (The Five Year Engagement) and Joel Edgerton (The Odd Life of Timothy Green) as members of the SEAL team that finally nailed Bin Laden.

Written by Mark Boal (The Hurt Locker) based on extensive research and declassified information, the screenplay is a taut exercise of procedural thriller. Almost no dialogue is wasted in this tight but long story (at over 2 1/2 hours), and there isn't a lot of room for anecdotal character development. The result is a fascinating and precise drama/thriller in the vein of David Fincher's Zodiac. The trouble with that kind of movie is that it lacks the emotional impact of a character-driven drama. At times, I caught myself thinking, "This is slick and great, but it's like a really good but long episode of CSI."

Don't get me wrong, under Kathryn Bigelow's (The Hurt Locker) direction, the movie is captivating. Bigelow and Boal also make no judgment for or against the controversial topic of torture. The movie makes a clever and deft reference to the "transition" as the Bush era ends and Obama becomes the President, but they never linger or make apologies. What is depicted on screen is a group of people dedicated to their job: to protect the American people, and to find Osama Bin Laden.

As masterfully made as it is, Zero Dark Thirty lacks the emotional connection that a strong thriller/drama about such an important mission should have. What has transpired often feels too calculated and cold. We really don't know much about these characters except for what they do on the job. We get a glimpse of Maya's personal life (or the lack of), but not enough to form a complete picture of her character. Even the famous conclusion of the story, I find myself unable to connect or empathize. What we get is a great procedural thriller that no one needs to see twice.

Stars: Jessica Chastain, Kyle Chandler, Jason Clarke, Jennifer Ehle, Mark Strong, James Gandolfini, Chris Pratt, Joel Edgerton
Director: Kathryn Bigelow
Writer: Mark Boal
Distributor: Columbia
MPAA Rating: R for strong violence, brutal images, language
Running Time: 157 minutes

Ratings:

Script - 7
Performance - 8
Direction - 8
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 8

Total - 7.6 out of 10.0

Les Misérables

2012-12-25T00:13:00.000-08:00

© 2012 Ray Wong

As star Hugh Jackman said, Les Misérables is the Mt. Everest of all musicals. Possibly one of the most beloved musicals of all times, the film version is long overdue (27 years to be exact). Under the risk-taking direction of Oscar-winning director Tom Hooper (King's Speech), the film is a triumph is many ways.

The story follows the protagonist, Jean Valjean (Hugh Jackman) from the time he was on parole after serving a 20-year sentence for stealing a loaf of bread. Downtrodden, Valjean decides to steal from a priest (Colm Wilkinson) and gets caught, but the priest's act of kindness opens Valjean's eyes to the meaning of love and respect, and he vows to use the priest's gift to start anew. Valjean breaks parole and disappears, and Inspector Javert (Russell Crowe) vows to track down and bring Valjean to justice.

Years later, Valjean becomes a factory owner and mayor of a small town under a fake name. Due to his negligence, a worker of his, Fantine (Anne Hathaway) is tossed out on the street. Fantine later succumbs to prostitution and becomes very ill. Knowing what he did, Valjean vows to dying Fantine that he will take care of her daughter Cosette (Isabelle Allen).

Eight years later, the students in Paris are staging a revolt against the oppressive government. One of the students, Marius (Eddie Redmayne), however, is smitten by Cosette (Amanda Seyfried), now a beautiful young lady. Their young love, however, is cut short when Javert is hot on Valjean's trail again. When Marius is wounded at the barricade during a battle, Valjean risks his freedom and saves Marius. Through Marius and Cosette, Valjean finally finds the meaning of true love and salvation.

Hugh Jackman (The Prestige) is arguably one of the few actors who can play Valjean in this film musical. Known as an action hero and a romantic leading man, Jackman also has the musical theater training to prepare him for the role of a lifetime. His Valjean is physically impressive but soulful and gentle and virtuous. Jackman gives an affecting and sincere performance and anchors the entire film. As his antagonist, Russell Crowe (The Next Three Days) has taken a different approach to playing the famous inspector. Here, Crowe gives Javert a soul and the kind of vulnerability you don't expect. His rock-opera singing voice may not be the best in the cast, but Crowe's nuanced performance is a welcome interpretation.

Anne Hathaway (The Dark Knight Rises) is the standout here, what with her dedication to playing the doomed, tragic Fantine. She's given a tour-de-force performance and in just one show-stopping number, I Dreamed a Dream, Hathaway has propelled herself as the frontrunner in this year's Oscar race, and deserves all the accolades she's been getting. Likewise, Eddie Redmayne (My Week with Marilyn) surprises and delights as the love-sick Marius. Redmayne has a beautiful voice, but more important, he brings a boyish, innocent charm and deep emotions to the often underwritten role (at least on stage).

Equally underwritten in the stage musical is Cosette, often serving as a plot device rather than a true character. But Amanda Seyfried (In Time) manages to give her a voice and make us believe that she is the light for Fantine, Marius and Valjean. Samantha Barks is also excellent as Eponine, the poor girl who is secretly in love with Marius. Sasha Baron Cohen (Hugo) and Helena Bonham Carter (The King's Speech) give the serious film much needed comic relief as the Thenardiers.

Adapted from the popular musicals, which itself is an adaptation of Victor Hugo's classic novel, the screenplay actually is better developed than the book by Alain Boublil and Claude-Michel Schönberg. William Nicholson (Gladiator) has done a fine job matching the musical with Hugo's original material, making small and big changes that make the story more sensible and, in many ways, more gritty and real than the musical spectacle. For example, Fantine's descent to her despair is now more evident and believable.

Still, the material has to work with the confine of the musical structure. Director Tom Hooper has made some risky decisions that may or may not have worked, depending on who you ask. The die-hard fans may have trouble understanding or accepting the changes he made, and people who are not familiar with the musical may not understand his vision. The most important decision Hooper made was that he insisted on the actors singing live, instead of lip-synching to pre-recorded soundtracks. The result is an amazingly emotional roller-coaster ride as the actors are free to make their acting choices while singing live.

To enhance that emotional impact and be even more "up close and personal," Hooper chose to film the actors, especially during their solos, with close ups and unconventional camera angles. The result may not be completely pleasing -- in fact it may unnerve many people who are not used to such cinematic techniques -- but the close ups and strange camera work heighten the emotions to a level that is almost overwhelming. For example, the unflinching long single-shot close-up of Anne Hathaway's I Dreamed a Dream is overpowering, and the Dutch angles and fast editing during the Lovely Ladies sequence made me uncomfortable and feeling queasy, exactly the way I should be feeling. Despite some missteps (the frantic editing may not always work), Tom Hooper is a genius.

Les Misérables does have its flaws. It's not a perfect film by any means. It's not going to convert non-musical audiences to avid fans. It may not please the die-hard fans of the stage show. Tom Hooper's unconventional direction may irk some people who expect a sweeping epic. But despite all that, Hooper has succeeded in bringing the two forms -- musical and film -- together on an epic, larger-than-life scale that offers both the intimacy and sweeping vistas that the stage show cannot. It's an emotional ride with a rousing score and a beautiful message. It's les incredible!

Stars: Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Samantha Barks, Sasha Baron Cohen, Helena Bonham Carter, Aaron Tveit
Director: Tom Hooper
Writer: William Nicholson (based on musical by Alain Boublil and Claude-Michel Schönberg, novel by Victor Hugo)
Distributor: Universal
MPAA Rating: R for suggestive and sexual material, violence, thematic elements
Running Time: 157 minutes

Ratings:

Script - 8
Performance - 9
Direction - 8
Cinematography - 9
Music/Sound - 9
Editing - 7
Production - 8

Total - 8.2 out of 10.0

This is 40

2012-12-18T13:03:00.003-08:00

© 2012 Ray Wong

We can always count on Judd Apatow, the guy who gave us The 40-Year-Old Virgin and Knocked Up, for a good laugh. But Mr. Apatow's racy comedies are always more than just being raunchy. In fact, I can tell that This is 40 is the most personal movie he's made so far.

Pete (Paul Rudd) and Debbie (Leslie Mann) are a happily married couple with two young daughters living in Los Angeles. Both of them are turning 40, within a week, and both of them are trying to cope with it. Debbie's main concerns are her aging body, her slowly slipping happiness, and her marital life. Pete's main concerns are his flaccid career as a music label owner, his boring family life, and his libido. Rather typical, mundane "white middle-class" problems, right? But everything seems to escalate as their respective birthdays approach.

They argue more and more, often over tiny, mundane things. Debbie believes that Pete is not attracted to her anymore, and Pete is so afraid of Debbie's judgment that he's hiding his problems from her. A lot of tension starts to build between them. Fortunately, to celebrate Debbie's birthday, they are able to take a short break away from it all and rekindle some of the love and magic between them. But as soon as they return home, reality hits even harder.

As Pete's business continues to falter and he gets more and more distracted by his problems, Debbie becomes more and more depressed about herself and her family. They are both under a lot of pressure but they don't seem to be able to communicate and connect and work it all out. Then they decide to blame everything on their children and respective fathers (Albert Brooks and John Lithgow).

Paul Rudd (The Perks of Being a Wallflower) has that market of affable guy-next-door type cornered. As the family man who is facing his mid-life crisis, Rudd is his usual charming, goofy self with a nice dose of snark and indifference to make him a jerk, too. There's a fine line between sympathetic and unlikable, and Rudd traverses that line rather skillfully. Leslie Mann (The Change-Up) can be whiny sometimes, but she does her best here as she tackles a complex character who is rather disillusioned about how her life turns out.

It's interesting that Apatow has cast Maude and Iris Apatow, the real-life daughters of Leslie Mann and his, as Pete's and Debbie's daughters. It clearly is a family affair -- if only Judd Apatow would play Pete instead of Paul Rudd. The girls are rather good as the slightly spoiled but mostly responsible daughters. To complete the family picture, Albert Brooks (Drive) and John Lithgow (New Year's Eve) play Pete's and Debbie's paternal units respectively, having done their respectable job portraying these irritating and unlikable characters.

The cast also includes Jason Segel (The Five-Year Engagement), Megan Fox (Friends with Kids), Chris O'Dowd (My Sister's Sister) and Charlyne Yi (All About Steve) in small supporting roles.

Writer-director Judd Apatow's signature style is evident in this production, right from the very first scene. There's no shortage of raunch and adult situations in his comedies. The fact that his wife and children play the wife and children of Pete makes me wonder if the story is highly autobiographical. In a way, This is 40 is very personal in nature, filled to the brim with everyday situations, mundane details and anecdotal episodes of life. And in a way, this is Apatow's most accessible, yet "mundane" offering so far.

The dialogue is sharp and witty and funny, of course, and many moments will make us chuckle. Still, because the movie covers so much "everyday materials" that sometimes it feels tedious and exhausting. Parents, however, may get a kick out of the situations and relate -- having to deal with our children and parents, while contemplating what life is about and how to be happy in the confine of our responsibilities and desires. Apatow tackles many deep and broad themes here. Sometimes he succeeded. Sometimes he failed.

As a comedy, there is no shortage of laughs and uncomfortably funny situations. As a drama, there are certainly deep themes and serious topics. As a combination of both, at times the movie drags and becomes very unfocused, especially with a slew of supporting characters that don't necessarily add to the plot. Things become muddled, before Apatow steers the ship clear again and delivers a rather heartfelt, if a bit too simplistic, ending.

This is the second time that Judd Apatow tackles the question of being 40. It seems like a rather significant point in his own life. The result is something personal, funny, insightful but also unfocused and uneven.

Stars: Paul Rudd, Leslie Mann, Maude Apatow, Iris Apatow, Jason Segel, Megan Fox, Chris O'Dowd, Albert Brooks, John Lithgow
Director: Judd Apatow
Writer: Judd Apatow
Distributor: 20th Century Fox
MPAA Rating: R for sexual content, crude humor, pervasive language and some drug material
Running Time: 134 minutes

Ratings:

Script - 7
Performance - 7
Direction - 7
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 7

Total - 7.0 out of 10.0

Hitchcock

2012-12-07T12:56:00.000-08:00

How could director Sasha Gervasi (Anvil: The Story of Anvil) do a sort-of biopic about one of the most iconic directors of all times? Ask Oscar-winning actor Sir Anthony Hopkins to play Alfred Hitchcock, of course.

Hitchcock in a way is less of a biopic but more of a behind-the-scene movie about the making of Hitchcock's seminal horror film, Psycho. On the keel of the success of North by Northwest, Alfred Hitchcock (Anthony Hopkins) is deemed too old to repeat that success. Indignant of that notion (he is, after all, only 60 years old) and defiant of his perceived limitation, Hitchcock is determined to shock the world when he comes across the novel Psycho. The director is fascinated by the subject matter, even as his wife Alma (Helen Mirren) and financial backers deem it too violent and grotesque. Instead, Hitchcock decides to put his own money into making the movie, by mortgaging his estate.

Hitchcock hires blond bombshell Janet Leigh (Scarlett Johansson) as the leading lady and a relative unknown Anthony Perkins (James D'Arcy) as the leading man in his new film. He also includes Vera Miles (Jessica Biel), with whom Hitchcock has a complicated history, to play a role. The eccentric director is under a lot of stress, even with the support of his loyal agent Lew Wasserman (Michael Stuhlbarg), assistant Peggy (Toni Collette) and of course devoted wife and creative partner.

In fact, Hitchcock is so wrapped up in his film and personal drama -- and his strange obsession with his leading ladies -- that he ignores Alma. Frustrated with the lack of affection and attention, Alma seeks solace in a new friend, dashing writer Whitield Cook (Danny Huston). Alma and Whitfield are working on Whitfield's new screenplay, but Hitchcock suspects they are having an affair. When Hitchcock confronts his wife, she unleashes her pent-up resentment and threatens to upset their rocky marriage.

Sir Anthony Hopkins (Thor) goes under extensive make-up and dons a full-body fat suit to look like Hitchcock. In a way, he doesn't really look like the iconic director, but Hopkins does wonder with his voice and body language to convey the essence of one of the most recognizable figures in movie history. Helen Mirren (Arthur) looks nothing like the real Alma Reville, but Mirren gives Alma a distinct voice and personality and fire.

Scarlett Johansson (The Avengers) does her best portraying Janet Leigh and by and large she's captured Leigh's effervescent personality. Toni Collette (Mental) is sharp as Peggy, Hitchcock's right-hand woman who has to navigate through the men's world of Hollywood. Michael Stuhlbarg (Lincoln) is earnest as super agent Wasserman, and Danny Huston (Stolen) is savvy as Alma's potential love interest, and Biel (Total Recall) is delightful as Ms. Vera Miles. But James D'Arcy (Cloud Atlas) bears an uncanny resemblance of Anthony Perkins in looks and mannerism that it is rather unnerving.

Written by John J. McLaughlin (Black Swan), the screenplay uses the making of Psycho as a backdrop for the personal drama between Hitchcock and Alma. In a way, it really is a love story between the famed director and his lesser-known wife. In every way, Alma is Hitchcock's equal partner in both his personal and professional life, but so little is known about Alma Reville that McLaughlin has to do a lot of research. Even though it is personal in nature, the screenplay is light and breezy in tone, and pays great homage to the men and women who made Psycho a reality.

Oscar-winning documentary-maker Sasha Gervasi ventures into scripted drama and does an adequate job. His direction is straightforward and no-frill. The camera work and color palettes may seem bland at times, but Gervasi uses his documentary skills well when re-creating the sets of Psycho. There is somewhat surrealism watching these famous actors playing other famous actors making a famous movie.

Unfortunately, Hitchcock is too lightweight and comical to be a serious contender in this upcoming award season, even though the cast, Hopkins and Mirren in particular, has given commendable performances. Still, the movie is a delight, and it's entertaining. It gives us a bit more insight into Hitchcock's life, especially with regard to his wife, and it is fun to watch. I think Alfred Hitchcock himself would have approved.

Stars: Anthony Hopkins, Helen Mirren, Scarlett Johansson, Danny Huston, Toni Collette, Michael Stuhlbarg, Jessica Biel, James D'Arcy
Director: Sasha Gervasi
Writers: John J. McLaughlin (based on book by Stephen Rebello)
Distributor: 20th Century Fox
MPAA Rating: PG-13 for some violent images, sexual content and thematic material
Running Time: 98 minutes

Ratings:

Script - 7
Performance - 8
Direction - 7
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 8

Total - 7.3 out of 10.0

Flight

2012-11-30T13:16:00.000-08:00

Flight

Actor-writer John Gatins spent 12 years trying to get Flight made. One thing led to another, and Paramount agreed to make it once Denzel Washington and Robert Zemeckis came onboard. It is definitely a work of passion.

Just hours before Captain Whip Whitaker (Denzel Washington) has to pilot a plane from Orlando to Atlanta, he is still boozing and snorting coke and having sex with a crew member. Before the flight, Whip violates the law again by drinking. When the plane malfunctions and nosedives, Whip makes a call and flips the plane upside down and thus averts a disaster that could have killed everyone onboard. Four passengers and two crew members die, however.

Whip is quickly hailed the hero. However, before he can celebrate and bask in his glory, he is being investigated for having been intoxicated while piloting the plane. He's helped by his friend Charlie (Bruce Greenwood) and lawyer Hugh Lang (Don Cheadle), who tries to convince Whip to get sober while they try to clear his name. While at the hospital, Whip meets recovering drug addict Nicole (Kelly Reilly). Nicole tries to stay clean and convince Whip to seek help, but Whip doesn't want any of that.

As the pressure mounts, Whip becomes more stressed and depressed, and he turns to booze and drugs to cope. That's the last thing he should be doing while he faces his hearing. He also becomes increasing out of control, and Nicole decides to leave him so she won't sink with his ship.

Denzel Washington (Unstoppable) won a Best Actor Oscar for playing a villain. Here, he once again plays an unlikable character, who is so deep in his own shit that he can't see the light. Deep down, the character isn't a bad person, but he is arrogant (he is the only person who could have done what he did, and thus he was the hero who saved all those lives including his own), stubborn, and often abrasive and unkind to others. Washington walks a fine line portraying this character, giving us enough to empathize but never a reason to condone his actions. He's given an impressive performance.

Kelly Reilly (Sherlock Holmes) surprises with her delicate portrayal of a junkie who is in dire need for help. Her performance, in comparison, is quieter and more understated, and thus provides a nice counterpoint to Washington's bravado. John Goodman (Argo) receives great Oscar buzz for playing Whip's drug dealer, and for a good reason. Bruce Greenwood (Super 8) and Don Cheadle (Iron Man 2) are both solid in their supporting roles. Melissa Leo (The Fighter) has a brief but commanding role as well.

John Gratins's (Real Steel) screenplay is very serious in tone and themes and subject matters. It deals with alcoholism, drug abuse and faith head-on without apologies. The dialogue and the plot are thoughtful and serious. At times, I do feel that Gratins preaches too much. It feels like a message movie. Also, Whip just isn't a very likable, although Gratins tries to give him many dimensions. But realistic since Whip is an alcoholic, he is realistically portrayed and written as an ass. The problem is that it makes it more difficult for the audience to identify and empathize. It's a risk that Gratins has to take, and I give him kudos for that.

Still, it makes it hard to really like this story or the characters. Nicole is a more sympathetic character and she serves as a nice counterpoint to Whip. Still, this is really Whip's show, so the parallel arcs don't really work. Also, the reasons for Nicole's sobering up isn't well explained.

The direction of Robert Zemeckis (A Christmas Carol), who took some much needed time off, is solid. The film has a gritty, realistic look to it, which serves the material just fine, if not entirely aesthetic. The pacing though seems uneven. There are some slow parts of the story where the plot doesn't seem to move at all. The plot seems to have stopped just to develop the characters some more. The crash scene is good, but not as amazing as Zemeckis's other crash scene in Cast Away.

While Denzel Washington gave a wonderful performance as the flawed man, this is not an easy movie to love. It just feels too heavy, without a lot of humor, and preachy. While the performances are strong and the direction solid, the movie never quite takes flight.

Stars: Denzel Washington, Kelly Reilly, John Goodman, Don Cheadle, Bruce Greenwood, Melissa Leo
Director: Robert Zemeckis
Writer: John Gatins
Distributor: Paramount
MPAA Rating: R for drug and alcohol abuse, language, sexuality, nudity and intense action sequence
Running Time: 138 minutes

Ratings:

Script - 7
Performance - 8
Direction - 8
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 8

Total - 7.5 out of 10.0