2011 - Green Lantern Emerald Knight

Green Lantern: Emerald Knights kurang sebuah, kohesif narasi film dan lebih merupakan serangkaian tindakan sketsa dirangkai dengan plot yang tipis. Film ini memiliki jajaran bakat suara, tapi gagal untuk memanfaatkan mereka dalam cara yang berarti. Jika Anda mencari karakterisasi yang mendalam, perkembangan plot menarik, dan wawasan tentang alam semesta secara keseluruhan Green Lantern, Anda tidak akan mendapatkannya di sini. Jika Anda ingin benar-benar cincin badass konstruksi dan ledakan sampai wazoo, kemudian mempertimbangkan ini Citizen Kane Anda.
Ada banyak basa-basi dibuat ketika fanboy favorit Nathan Fillion diumumkan sebagai suara Hal Jordan. Sayangnya, Hal bertindak sebagai tidak lebih dari mesin eksposisi, melayani sebagai suara narasi untuk memimpin pemirsa dari satu segmen ke yang berikutnya. Film ini dibingkai sekitar merekrut baru Arisia Rrab (disuarakan oleh Elisabeth Moss), saat ia mendapat didorong masuk ke dalam panasnya pertempuran ketika Lantern jatuh bernama Krona menetas plot licik untuk menghancurkan Oa, basis rumah bagi Lentera Hijau dan Penjaga alam semesta. Hal bertindak sebagai semacam mentor, bercerita nya Green Lantern Corps saat mereka mempersiapkan diri untuk pertempuran dengan Krona.
Jika Anda seorang penggemar buku komik, memikirkan Emerald Knights sebagai sebuah antologi, sebuah koleksi berbagai cerita yang semua bermain di tema sentral. Dalam hal ini, apa artinya menjadi Green Lantern. Beberapa cerita yang lebih berhasil dari yang lain. Hal ini tentu bagus untuk melihat kisah sersan Lantern Kilowog (disuarakan oleh Henry Rollins) disesuaikan dengan layar, dan berfungsi sebagai segmen yang paling emosional mendebarkan dari film. Sempurna merangkum tugas seorang Corpsmen sementara shedding terang pada karakter kipas-favorit. Kurang berhasil adalah kisah asal Laira (disuarakan oleh Kelly Hu). Emerald Knights mencoba untuk mendirikan sebuah kisah asal luas terlalu cepat - menggunakan kilas balik dalam kilas balik - semua melodrama sementara salah untuk kedalaman.
Meskipun kekurangan emosionalnya, Emerald Ksatria benar-benar memberikan urutan aksi terbaik di film animasi DCU sejauh ini. Ring konstruksi, habis-habisan pertempuran alien dengan makhluk aneh, ruang kapal, laser, staf, pedang, kapak pertempuran dan lebih semua membuat tampilan. Oh, dan ledakan. Banyak dan banyak ledakan. Secara visual, Emerald Knights adalah sebuah anime-keberangkatan dipengaruhi untuk film-film DCU direct-to-DVD. Hal ini berhasil mempertahankan desain Bruce didirikan Timm, tetapi memberikan banyak tindakannya urutan pengaruh Japenese. Apakah saya menyebutkan bahwa hal-hal yang meledakkan?
Jika Anda membaca komik non-fan film yang beralih ke Emerald Knights untuk melanjutkan petualangan sinematik Anda Green Lantern, sangat diragukan bahwa Anda akan menemukan banyak hal di luar ledakan tersebut untuk menikmati. Tetapi untuk fanatik dari komik, walaupun inti emosional adalah sangat kurang, Anda akan menemukan banyak telur easter menyenangkan untuk menunjukkan kepada teman-teman Anda kurang cerdas. Ada di besar-lelucon tentang kisah klasik Alan Moore "MoGo Tidak Sosialisasi" selama segmen yang melihat Bolphunga prajurit intergalaksi (disuarakan oleh tidak lain dari "Rowdy" Roddy Piper) pada berburu untuk planet berukuran Green Lantern. Kami juga bisa melihat sekilas Atrocitus, Lentera Merah pemimpin, dan epik Sinestro Corps War. Sebagian besar referensi harus datang tidak mengejutkan setelah Anda melihat kredit penulisan, mereka termasuk kepala Green Lantern arsitek Geoff Johns, Green Lantern Corps dan Green Lantern: Emerald Warriors penulis Peter Tomasi, dan DC Comics Editor Eksekutif Eddie Berganza.
Sementara hubungan emosional pada dasarnya tidak ada, Green Lantern: Emerald Knights memberikan pengalaman animasi visceral yang setidaknya bagus untuk menguji sistem home theater Anda, jika tidak ada yang lain. Penggemar komik dapat mencari referensi kosmetik untuk alur cerita favorit mereka, tapi tidak ada yang akan meminta Anda untuk berinvestasi dalam karakter. Terlalu retak film untuk menawarkan wawasan yang benar ke dalam jangkauan yang luas karakter, tetapi pengisi suara bintang melakukan yang terbaik yang mereka bisa untuk meredakan tersebut.
Dalam paling tidak, kita mendapatkan sekilas terlalu singkat di Green Lantern terbesar sepanjang masa, Ch'p - tupai yang hidupnya tragis dipotong pendek dengan bus sekolah kuning. Dan ledakan. Banyak dari mereka.

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Alternatif 1 : 2011 - Green Lantern Emerald Knight
Alternatif 2 : 2011 - Green Lantern Emerald Knight

2011 - Orcs!

Bagi saya, sebelum Lord of the Rings trilogi, kata 'Orc' adalah kata benda yang digunakan untuk menggambarkan mana Mork berasal. Berkat brilian layar-menceritakan cerita Toilken, saya sekarang memiliki pemahaman Peter Jackson yang lebih baik. Orc adalah makhluk humanoid suka berperang dengan nafsu untuk menumpahkan darah manusia. Dan mereka dalam layar penuh dalam film baru berjudul (tunggu ....) Orc!

Film ini dibuka dengan penambang dan Ranger Taman diserang di Black Lake Mountain, Wyoming 1909. Kita tidak bisa melihat binatang yang menyerang mereka, tetapi nasib tersirat mereka adalah platform yang memudar adegan untuk hitam dan membawa kita ke masa kini dan pengenalan Park Ranger, Cal (Adam Johnson) - karakter sentral kami dan sumber banyak humor film.

Dengan Marge Ranger Timbal (Barta Heiner) pada kasus dan mitra baru Hobart Moss (Maclain Nelson) bertindak sebagai Costello Lou untuk Cal Bud Abbot, Rangers akan menyelidiki kejadian aneh di taman yang pada akhirnya akan mengarah pada wahyu menggelitik menakutkan bahwa gerombolan Orc bertanggung jawab untuk ruam kota kematian.

Sebagian besar kematian atau gore dimainkan untuk tertawa (panah ditembak di beberapa lembut kano menyusuri sungai, sebuah kaki dan sepatu golf ditemukan dalam perangkap lapangan golf pasir) namun tidak ada kekurangan kekerasan di Orc! Ketika makhluk lapis baja mengenakan persenjataan menusuk serangan massa, Cal, Hobart dan perempuan kehadiran Katie (Renny Grames) akan mengambil tempat tinggal dan berkelahi, menembak dan mengusir agresor mereka yang tampaknya muncul dalam ratusan.

Sutradara James McPherson membuat kita tertarik pada karakter dengan membiarkan Adam Johnson untuk Emote dalam karakter yang akan menemukan sendiri di rumah pada Reno 9-1-1. Cal mendapat semua baris terbaik dan pengiriman Johnson memungkinkan kita untuk menerima baris seperti, "Mari kita membuat Orc maaf mereka kacau dengan AS Parks Service" untuk humor menghargai tanpa jatuh ke spoof.

Sebuah adegan inducing memanjang dan menguap dari Cal, Hobart dan Katie menembak putaran tak berujung ke injak pengisian terlepas Orc, Orc! adalah menyenangkan yang bergelut sesuatu tetapi anggaran yang lebih rendah, film jenis bersemangat independen yang judul dan kurangnya kekuatan bintang akan menyarankan. Akting oleh semua yang terlibat menunjukkan komitmen untuk naskah yang ditulis oleh Anne K. berempat Black, Jason penebang, Kynan Griffin dan Justin Partridge dan make-up, efek visual dan musik melengkapi penderitaan kami sempurna mengarah pada mereka pengembaraan.

Orc! mungkin bukan film terbaik merayakan makhluk berkulit abu-abu dan bertaring - beberapa fitur mewakili sebuah perjalanan trilogi oleh sekelompok hobbit bisa mempertahankan klaim mereka bayarkan. Tapi Orc! memberikan nilai hiburan tak terduga yang hilang pada judul yang paling yang segera dipanggil suatu Original SyFy pikir referensi. Dan dalam rak DVD ramai yang bersaing untuk dolar hiburan kami, Orc! memberikan.

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Alternatif 1 : Orcs!
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2011 - Paul

Paul bercerita tentang perjalanan dua sahabat pecinta berat komik. Dimulai dari menghadiri ajang Comic Con hingga pergi ke situs pedalaman yang terkenal tentang sejarah aliennya, dengan mengendarai mobil RVnya. Graeme dan Clive sedang menuju ke situs tersebut ketika tiba-tiba sebuah mobil mengebut dan terguiling di depan mereka. Dalam keadaan shock, keduanya keluar untuk menginvestigasi. Melihat mobil itu tidak ada penumpangnya, mereka setuju untuk menelpon polisi setempat hingga ada suara melarang mereka. Disitulah keduanya bertemu Paul, sang alien yang dulunya berwujud seekor anjing sampai sebuah pesawat luar angkasa menimpa dan merubah wujudnya.

Ketiganya dengan kecanggungannya pergi dalam sebuah misi akhirnya untuk mengembalikan dan menyelamatkan Paul yang sedang dikejar agent rahasia setelah Paul berhasil kabur dari tempat dimana dia bekerja untuk pemerintah. Bermaksud untuk bermalam, mereka bertemu perempuan taat agama, Ruth (Kristen Wigg). Gagalnya, Ruth mengetahui keberadaan si Paul ini dan mereka bereempat kabur dari kejaran bapak Ruth yang garang. Sementara itu agent Loenzo (Jason Bateman) dan kedua bawahannya berusaha menangkap Paul dikomandani suara atasannya lewat radio yang hanya bisa kita duga siapa itu.

Simon Pegg dan Nick Frost yang menulis film ini berkerja sama dengan Greg Mottola, nama di belakang  film Superbad dan Adventureland. Ditambah lagi dengan kehadiran Seth Rogen, pengisi suara Paul, film ini sudah sangat ditunggu dan ditagih jaminan menghiburnya.

Tapi sayangnya film ini seperti dibuat dua orang, pertemuan Hot Fuzz dan Superbad. Ada unsur lucu yang segar dipertemukan gaya film weed dan stoner ala Seth Rogen. Ujungnya, film ini ada momen yang terasa hambar dan dipaksa. Skrip baru dan segar ala Frost/Pegg dibawa dengan arahan film Superbad yang panjang dan berlarut. Jujur saya tidak menemuka keiistimewaan di Superbad yang disukai banyak orang, begitulah yang saya temu di film Paul ini.

Tapi Paul masih bisa menghibur dengan permainan akting dari aktor dan aktrisnya, seperti Kristen Wigg dan cameo mengejutkan dari Sigourney Weaver. Cerita di film ini makin ke belakang semakin menarik karena kejutan di plot siapa teman dan siapa lawan Paul sebenarnya.

Walau Paul kurang menghibur saya di level yang dibawa oleh Hot Fuzz dan Shaun of The Dead, Greg Mottola menawakan film menarik bagi pecinta film sci-fi dan alien seperti E.T  yang ditambah dengan unsur segar dan ringan serta cukup menghibur.

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Alternatif 1 : part 1  part 2  part 3
Alternatif 1 : part 1  part 2  part 3
Alternatif 1 : part 1  part 2  part 3

2011 - The Point of Regret

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alternatif 1 : part 1  part 2

alternatif 2 : part 1  part 2 
alternatif 3 : part 1  part 2

2010 - Black Swan

by Ryan Fleming  

Review: In the psychological thriller Black Swan, Natalie Portman and Darren Aronofsky offer a beautifully disturbed film that is among the year’s best.

I absolutely loved Black Swan. I’m just not sure I can accurately say that I enjoyed it. When I first walked into Black Swan, I wasn’t sure what to think. When the movie was over and I walked out, I still wasn’t sure what to think. Despite how that might sound, that is not a criticism, but rather high praise for director Darren Aronofsky (The Wrestler, Requiem for a Dream), and Natalie Portman, who present a movie that is complex, compelling, and never ordinary. It is also one of the year’s best.

Aronofsky walks a thin line between madness and genius in his movies, and you are never really sure which side he spends more time on. His previous films can justifiably be classified as being disturbingly brilliant, or brilliantly disturbed depending on your point of view, and Black Swan is no different. His movies are not what you might describe as being “feel good”, but they all are capable of evoking reactions in the audience. That reaction may not always been what they want to feel, but it is always deliberate, and always well done. Aronofsky’s films are not always well received (especially The Fountain, which was critically and commercially panned), but they can be respected for what they attempt.

Black Swan is an easy Oscar candidate in several categories. Aronofsky is deserving of a nomination, it will be a shock if Portman does not also receive a nomination, and many of the crew and supporting cast turn in performances that are noteworthy, including Vincent Cassel and Barbara Hershey. It is a film worth seeing, and one that is easily among the best of the year. But it is not a film that you will have fun watching, nor was that the intention.

To be perfect

The film revolves around Natalie Portman’s Nina Sayers, a woman who has dedicated herself so completely to the ballet and the art of dance, that it has stunted her development in many ways. She is cold and isolated, and has difficulty relating to people, while still retaining a purity and naivety that teeters between innocence and cowardice. She is afraid of everything, but has no idea why. Fueling this repression is Nina’s mother Erica, a former dancer who achieved only moderate success, and now lives vicariously through her daughter.

When it is announced that the star of the show, Beth MacIntyre (Winona Ryder) has been made to retire, the remaining dancers all compete to win the coveted role of the Swan Queen in the first production of the season, a role that will elevate the dancer to fame.

The show’s director, Thomas Leroy (Cassel), chooses Nina because of her near perfect mastery of the movements, yet has serious reservations.  The character of the Swan Queen is dual in nature, and while Nina can easily handle the White Swan’s role, Leroy worries that she may be incapable of releasing herself enough to truly become the seductive and dangerous Black Swan. In an attempt to coax her out of her shell, Leroy begins a series of mind games that are intended to relax Nina, and challenge her.  One of these challenges involves bringing in the dancer Lily (Mila Kunis). Where Nina is the perfect technician without the passion, Lily is all passion with sloppy technique.

As Nina attempts to express herself as the Black Swan, the pressure of the role begins to manifest itself in increasingly intense ways that range from visions to physical wounds, and as the opening date nears, Nina battles an increasingly personal and psychological battle against those around her, while attempting to explore her own place in the world.

The price of perfection

Portman delivers what is arguably the best performance of her career, and one that deserves at the very least an Oscar nomination, if not the win. Nina is a character that should be the background to a larger story, but in Black Swan, the cold and lifeless girl becomes the nexus from which everything begins and ends. Portman disappears so completely in the character, that despite how odd and repressed Nina is, and despite the fact that she rarely speaks to anyone other than her controlling mother, you grow an attachment to the character. You pity her and you feel for her, but you are also frustrated and annoyed by her reluctance to embrace her opportunities.

The actual dancing also plays a major role in the film, and Aronofsky approaches it in such a way that without wasting much time in lengthy explanations, you understand the logic of the ballet and its insulated world. Part of this is due to Portman, who does almost all of the dancing herself and treats the movements as an extension of Nina’s expression. With the help of Aronofsky, the acting of the supporting cast, and the complete way in which Portman threw herself into the role, even those that have no love for the ballet will understand through the movie what Aronofsky wants you to see. When Nina begins to dance, you can see the stiffness and frigidity her character emanates, and when Leroy demands that she show her passion as the Black Swan, you can see where Nina fails.

This early buildup is perhaps the only flaw in Black Swan. The film begins at a pace that allows the audience time to acclimate to Nina and the world she lives in, which requires a bit of patience. This seems an intentional decision to slow the movie down in order to build the tempo towards the end. It works, but the first act of the film might test the resolve of many. In comparison, the final act feels like a different film that was laid on the groundwork of an earlier movie, and that is a compliment.

To understand Nina, you must also understand her mother Erica, played by Hershey, another role that could easily justify an Oscar nomination. Erica is a woman who is living a life through Nina that she feels was denied to her when she was forced to quit to give birth to Nina. There is a menace and a resentment to Erica, but it is also tempered by love for her daughter. But it is an unhealthy and smothering love that is blurred between her daughter, and her daughter’s dancing, and it is never clear if Erica can make a distinction.

The supporting cast, especially Kunis and Cassel also offer compelling performances, and both are tools that Nina is either knowingly, or unwittingly feeding off as she attempts to embrace her Black Swan.

The myth of perfection

The movie hits its stride about 3/5 through, as Nina begins to change, both physically and mentally. She undergoes a form of mental torture that she subjects herself too, and this is where the genius and madness of Aronofsky shines. The director creates a world around Nina that is both familiar and yet wrong. Everything is suddenly being questioned, and both Nina and the audience will be left wondering what is real and what is not.

Nina’s rashes begin to turn to bloody scratches, and a glances in the mirror show a reflection of another Nina scratching the rash with glee. A second look and the scratches are just a rash. Moments of comfort become utterly menacing as the world begins to take on an alien feel and Nina is forced to keep moving forward or risk losing everything she has ever worked for. Everything becomes something to question, and nothing can be taken for granted.

Then everything explodes, and the film begins hurtling toward the climax like a runaway train. Aronofsky never stops to let you think about what is going on, instead he assaults you with a rapid fire series of incidents and images that are bizarre and increasingly disturbing. When the movie finally comes to its amazing, yet somewhat bizarre ending, the audience will be left feeling both breathless and confused. And that is the brilliance of Aronofsky and a testament to Portman.

Conclusion

Black Swan is film about the price of beauty, and the intensity of perfection. It is both beautiful and devastating, and brilliant while having moments that are difficult to watch. Aronofsky knows exactly what he wants, and like a hand crafted watch, if one piece had not worked correctly, the rest would be marred by it. But the pieces work perfectly, and the result is one of the best films of the year.

Black Swan is highly recommended, and while you may not leave the film feeling happy, you should leave it feeling fulfilled.

Pros

Beautifully filmed. Masterfully acted. A story that takes your hand then forces you to sprint with it to the conclusion. One of the best films of the year.

Cons

The pacing at the beginning might cause some minds to wander. Not a movie you will throw in the DVD and watch repeatedly.

Review Source : www.digitaltrend.com

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2007 - Epic Movie

Reviewed by Matthew Turner

Desperately unamusing comedy that lurches clumsily from one tedious spoof to the next, under the mistaken impression that just referencing a film is enough to get laughs.

What's it all about?
The tagline for Epic Movie says that it's, From the people who brought you Date Movie, as if that were anything to boast about. The plot, such as it is, revolves around four orphans (posh Brit Adam Campbell, ditzy redhead Jayma Mays, angry Kal Penn and sassy Faune A. Chambers), who are brought together when they win tickets to Willy's Chocolate Factory.

However, when Willy (Crispin Glover) tries to make them part of the chocolate, they escape through a mysterious wardrobe and wind up in the land of Gnarnia, where they have to defeat the White Bitch (Jennifer Coolidge). Along the way they get help from an aging Harry Potter (Kevin McDonald), some rubbish X-Men, Captain Jack Swallows (Darrell Hammond) and half-man, half-lion Aslo (Fred Willard).

The Bad
This is a film so bad that it may well be the reason that its own distribution company refused to show it to critics before its release. It wouldn't hard to see why, as there's not a single funny joke in the entire film.

The writers are obviously convinced that just including a scene from a well known movie (and there are plenty, ranging from Snakes On A Plane to Nacho Libre) or inflicting pain on a celebrity lookalike (squashing Paris Hilton, punching Ashton Kutcher) is enough to get laughs. It isn't.

The Worst
The actors do their best but you end up feeling horribly embarrassed for them, particularly Fred Willard and Kal Penn, both of whom deserve much better than this. To add insult to injury, the actual film runs for a mere 66 minutes, with 14 minutes of credits at the end.

Worth seeing?
In a word, no. This is lazily written, insulting rubbish and it's unquestionably one of the worst films of the year. Avoid like your life depended on it.
Sumber : www.viewlondon.co.uk

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2010 - Inception

review by Matt Goldberg

“True inspiration is impossible to fake,” explains a character in Christopher Nolan’s existentialist heist film Inception.  If that’s the case, then Inception is one of the most honest films ever made.  Nolan has crafted a movie that’s beyond brilliant and layered both narratively and thematically.  It requires the audience to take in a collection of rules, exceptions, locations, jobs, and abilities in order to understand the text, let alone the fascinating subtext.  Nolan’s magnum opus is the first major blockbuster in over a decade that’s demanded intense viewer concentration, raised thoughtful and complex ideas, and wrapped everything all in a breathlessly exciting action film.  Inception may be complicated, but simply put it’s one of the best movies of the year.

“I’m asking you to take a leap of faith.”

Inception requires so much exposition that a lesser director would have forced theaters to distribute pamphlets to audience members in order to explain the complicated world he’s developed.  During my first draft of this view, I realized I had spent three paragraphs simply trying to explain the plot.  I will simply avoid this exposition and present the movie’s basic premise.  Inception centers on a team of individuals led by an “extractor” named Cobb (Leonardo DiCaprio) who, through the use of a special device, construct the dreams of a target and use those dreams to implant an idea so that the target will make a decision beneficial to the individual who hired the team.  To say that scratches the surface would be an insult to both scratches and surfaces.  But since it takes Nolan about fifty minutes to set everything up, I hope you’ll forgive my brevity.

Why is it so difficult to explain the plot in depth?  First, I don’t want to spoil you.  Secondly, the film layers dreams on top of dreams to the point where a unique keepsake called a “totem” is required in order to inform a character as to whether or not he or she is still dreaming.  Then you have people in particular roles like “The Architect”, “The Forger”, and “The Chemist” in order to pull off the job.  Furthermore, dreams have rules: dying in a dream forces the dreamer to wake up, delving too deeply into a mind can cause an eternal slumber called “Limbo”, using memories to construct dreams is dangerous because it can blur the line between dreams and reality.  In addition, intruding in the dreams of another will cause the dreamer’s “projections” (human representations created by the dreamer) to attack the intruders like white blood cells going after an infection.  And these explanations only represent a fraction of the terminology, rules, exceptions, or details that are necessary for creating the world of Inception.

But it’s not a confusing movie if you provide it with your full attention.  There are a lot of summer movies that ask you turn off your brain and enjoy the persistent-vegetative-state ride.  Inception is not one of those movies. There’s a lot to take in, but the imaginative and thoughtful delivery of exposition keeps the viewer riveted despite the amount of information required in order to understand the premise, setting, and plot.

It tends to be the case that lots of rules create lots of loopholes.  Filmmakers can use these to cheat and let audiences fill in the leaps of logics. But Inception always plays fair.  It will twist your mind but it’s not a film built on twists.  It’s a film built on possibilities and the boldness of pursuing those possibilities.  On my first viewing, the film experienced a technical malfunction where a misplaced reel skipped the movie forward by twenty minutes and then played the scene upside down and in reverse.  Inception had already sent the audience through such a strange narrative labyrinth that almost everyone in the theater wasn’t sure if something had gone wrong or if Nolan had just made another bold decision.

The film deserves, demands, and rewards repeat viewings, but from your first viewing you can grasp the events on screen and how they interact with each other as long as you force yourself to be an active viewer.  But with set pieces so intricate, so jaw-dropping, and so breathtaking, you’ll find that there’s no exertion needed to stay focused.  You’ll already be swept up in the whirlwind.

“And I will lead them on a merry chase.”

Inception features one of the best fight scenes of all-time.  Take a moment to consider that: in the entire history of cinema, of every fight scene that has ever taken place, the one in this movie is among the best.  Watching a fight without gravity is incredible.  It’s not like in The Matrix where a character can defy gravity if they choose.  The fight scene in Inception has no gravity to defy and Arthur (played by Joseph Gordon-Levitt), the team’s point man, has to figure out how to achieve his objective while fending off projections.  I can only hope that someday in the distant future, when people with free time are on a space station in zero-gravity, they will re-enact this scene.  In the meantime, Nolan’s spectacular visual effects will have to suffice.

With the exception of one set piece (which I’ll get to in a moment), the action scenes in InceptionInception isn’t exhausting—it’s exhilarating. are spectacular.  Visually lush and imaginative, Nolan transforms car chases into countdowns, fistfights into puzzles, and shootouts into…well, shootouts.  There’s a mission on a snowy mountainside that doesn’t work as well as the other set pieces because there’s a poor sense of location, a lack of visual diversity, and sloppy editing.  But that doesn’t really halt or hurt the film because Nolan brilliantly placed the car chase, the fistfight, and the shootout on top of each other.  You would think this would cause action fatigue, but by cutting between three set pieces and having what happens in one set piece affect the others, the action climax of

“If you’re going to perform inception, you need imagination.”

You can be the best action director around but you can only get so far if you lack characters worth caring about.  With Inception, every character not only has a particular skill and task, but has a personality that mirrors their job description.

We learn about the characters of Inception not from long monologues about their past or even (with the exception of Cobb) delving into their dreams and memories.  We learn about them by how they interact with each other.  The small moments between Arthur and Eames, “The Forger” (Tom Hardy) indicate years of working on j tolerating each other on jobs but with no animosity between the two.  Neophyte “Architect” Ariadne (Ellen Page) is a total jerk towards Cobb, but she’s the only one who’s willing to cut through his bullshit.  Cobb’s relationship with his wife Mal (Marion Cotillard) is the heart of Inception.  The interactions among the supporting characters are standard for a well-made action movie, but the relationship between Cobb and Mal is yet another reason why Inception stands apart.

DiCaprio will take some flack for playing a similar character to his one in Shutter Island from earlier this year.  Both Cobb and Teddy Daniels have become separated from their families, suffer from unbearable guilt, and have a tough time handling the nature of reality.  Here’s another similarity: DiCaprio is great in both movies.  I wouldn’t worry about him getting typecast as tragic-figure-with-tenuous-grasp-on-reality-as-a-result-of-intense-guilt-and-regret.

Two of the film’s stars will (hopefully) find their careers at the next level after this movie opens.  Their names are “Joseph Gordon-Levitt” and “Tom Hardy”.  Gordon-Levitt has excelled at playing lost boys, tortures souls, and recently a charming male lead in (500) Days of Summer.  You can now add “bad-ass blockbuster action star” to that list.  Gordon-Levitt’s versatility is why I will be excited for any movie that lists him as one of its stars.

Hardy’s critically acclaimed performance in Nicolas Winding Refn’s Bronson brought him to Hollywood’s attention.  His performance in Inception will bring him the attention of countries.  He brings a light-hearted touch to the film and while the script forces other characters to remain serious, Eames takes a more laid back approach to the mind-heist game.  But he’s not comic relief and he’s not around to comment on absurd circumstances.  Like everyone in the cast, he’s there to help the team achieve their goal (although the script functions in such a way that you could see each character as a representation of a specific idea).

The only actor who’s a little shaky is Ken Watanabe who plays Saito, the team’s employer.  His performance is great.  He pulls off the impressive feat of being threatening without being menacing.  The only problem is that Watanabe’s Japanese accent is so thick that it’s sometimes difficult to make out what he’s saying.  In a movie where the dialogue is as delicately crafted as the rest of the film, it’s unfortunate to lose a few lines due to something as simple as pronunciation.  And it’s only noticeable because everything in Inception is so finely crafted.

The physical scope of this movie is astounding.  Worlds fall on top of each other, a freight train can burst onto a city street, hotels can lose all gravity, and everything that we know is impossible appears completely natural.  It’s not enough to say that the cinematography is gorgeous, or that the sound design is sensational, or that this is one of composer Hans Zimmer’s all-time best scores.  There aren’t “supporting” elements in Inception.  Just as the film layers its narrative structure and thematic subtext, so it does with its technical elements.  You will notice the cinematography and the art direction and the sounds and the score.  It’s like hearing beautiful solos mixed together in a glorious anthem.

“Dreams feel real while we’re in them.  It’s only when we wake up that we realize something was actually strange.”

As you’ve probably guessed, when I said at the beginning of this review that Inception was the first movie in over a decade to mix breathtaking action with thoughtful subtext, I was referring to 1999’s The Matrix.  The comparisons are inevitable.  Both movies deal with the nature of reality combined with pulse-pounding set pieces that will be included in any action-scene highlight reel.  But The Matrix is a freshman level course compared to the doctorate held by Inception, and it has nothing to do with how far special effects have come in ten years.  It’s about taking multiple genres, settings, ideas, emotions, and questions and weaving them into a rich tapestry that will have folks talking long after the credits roll.  But then you throw in those advanced special effects and you have a summer blockbuster that will blow your mind.

You’ve never seen anything like Inception, and you’ll want to see it again and again.

Rating: A

Sumber :www.collider.com

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2008 - Disaster Movie

reviewed by Ed Perkis

Although we still have a few months to go before the ball drops and 2009 is upon us, the title of Worst Movie of 2008 is already locked up. Disaster Movie is a horrible, unfunny, cheap, stupid, brain numbing piece of garbage that makes me want to go back in time and murder Thomas Edison before he invented all that motion picture equipment. If you can find a bubble gum wrapper on the ground that makes you laugh at least twice, you will have double the entertainment value that you get from this awful spoof.

The title, Disaster Movie, might lead you to believe that this is a spoof of, you know, disaster movies. Of course, thinking that would be stupid; much like buying a ticket to this train wreck. Instead writer/directors Jason Friedberg and Aaron Seltzer do what they’ve done in Date Movie, Epic Movie, and Meet the Spartans, spoof big movies and other miscellaneous popular culture from the last six to twelve months regardless of how it fits into the overall title concept. So the movie trots out imitators of Iron Man, Batman, Hellboy, The Hulk, Beowulf, the Superbad guys, the gals from Sex in the City, Juno, Alvin and the Chipmunks, Indy, the kids from High School Musical and many more movie characters, but mixes in Justin Timberlake, Amy Winehouse, American Gladiators, the Air Book, the “I’m F**king Matt Damon” song, and Hannah Montana. Sadly, none of this mixing results in anything remotely funny.

The plot does nod to Cloverfield as Will (Matt Lanter) tries to get back to his ex-girlfriend Amy (Vanessa Minnillo) while their city is being bombed by asteroids and maybe a monster. There is also a tornado that made me wonder if they were digging up Twister. Will is joined on his quest by his friend Calvin (G. Thang… seriously), Calvin’s girlfriend Lisa (Kimberly Kardashian), and, of all people, the Juno imitator (Crista Flanagan). Along the way they pick up the Enchanted Princess (Nicole Parker) and work at both finding Amy and getting a crystal skull back to the natural history museum where Amy works.

The plot doesn’t really matter in a spoof movie (look at Naked Gun!) but there needs to be something funny going on about every 15 to 20 seconds. Here there is, literally, one thing that made me laugh in the entire 90 minute movie. I did smile at a song by the High School Musical group that narrated Will and Amy’s breakup but other than that it was one outright laugh in 90 minutes. Most of the bits involved Will’s group standing there watching someone pretend to be a movie or pop culture character and do something colossally unfunny. The worst of these was the neverending, dreadful Alvin and the Chipmunks sequence. It could be the worst five minutes in movie history.

If Disaster Movie were even a little bit funny, I’d probably be able to ignore that it looks so cheap. They spent no money on special effects (or actors, or a script, apparently) and everything looks like it could have been shot on a camcorder by those two kids from Son of Rambow in and around L.A. If there were laughs, I’d also ignore that before the film is three minutes old a character has fallen face first into a big pile of elephant poop and been smacked in the nuts. Man, you’re probably laughing just thinking about that. Comic gold. If it even made me chuckle, I’d also probably ignore how they broke the cardinal rule of being funny in 2008… don’t mention Michael Jackson. Do you think it’s funny to see Michael Jackson in the trunk of the Mach 5 with that little kid and his monkey? Come on, pedophilia is funny and a Michael Jackson joke is never not timely, right? Wrong, it’s not timely or funny, and painting his face white isn’t funny either. It was maybe funny in 1998, but not now. It’s just tired, old, and stupid. Hey, like this movie!

Disaster Movie is not remotely funny. I’m trying to think of words to express how bad this movie is, but I don’t think they exist in the English language. I realize you want to blow off this stuffy fart of a critic and go laugh your head off. Believe me, you won’t. You will just wish you could have avoided this disaster… movie.

Note: That last joke really sucked, but was eleventy jillion times funnier than anything in Disaster Movie.

Sumber : www.cinemablend.com

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