2011 - I am Number Four

Nine infants Lorien alien from the planet that is very similar to human beings sent to Earth to hide from the pursuit of the enemy, which is destroying the planet Mogadorians Lorien. Knowing this, the ninth Mogadorians follow these infants to the earth. The nine infants, respectively numbered & protectors that can develop their strength in adulthood. Baby baby can only be killed in accordance with the order number. So far Mogadorians has managed to kill a baby number one, two and three. 

Number four (Alex Pettyfer) named John Smith has moved into the area Paradise, Ohio and masquerade as students. There John befriended by Sarah Hart (Dianna Agron), a photographer from Midwestern. John eventually end up falling in love, but at the same time John had a conflict with Number six. John faced with two choices, resolve conflicts with number six or defend Sarah.

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2011 - Drive Angry

This film tells about the mission of Milton (Nicolas Cage) to save her baby daughter from the pursuit of a satanic cult that would make such an offering Milton baby at a ceremony at the full moon later. 

Having managed to escape from hell, accompanied Milton Piper (Amber Heard) have time to save her baby 3 days before the full moon arrives. In such a narrow time they should be able to stop the act of a satanic cult sects, including the sect's leader, Jonah King (Billy Burke). 

But apparently the enemy Milton grew when the police is now also chasing him. And the more complicated situation because he is also hunted by "the accountant" a messenger of Satan's supernatural agent sent to bring back Milton to Hell.

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2006 - Cars

Reviewed by Josh Tyler

Most of Pixar’s previous films have happened in a world hidden beneath our own. Toy Story told us what our toys are like when we leave the room. A Bug’s Life revealed what the creepy crawlies in our lawn are up to when we’re not around. Monster’s Inc. showed us the secret world of monsters hidden inside our closets. But Cars creates an entirely separate universe, one where humans have never existed and never will. It’s an entire planet full of Herbie the Love Bugs, and as concepts go it’s probably their least inspiring. Somehow, director John Lasseter takes this rather weak gimmick and makes it work; continuing Pixar’s unbroken streak of fantastic filmmaking against all odds. The trailers haven’t done the best job of selling it and the character designs look like something pulled out of a low-budget PBS kids show, but Cars is good anyway.

Though the movie’s big-eyed, childish looking characters might lead you to think otherwise, what the film really is, is a love letter to the heyday of the American road and the faded mystique of Route 66. What could have been Pixar’s most simplistic, pre-teen limited film turns out to be one of their biggest and most mature as it tackles larger themes that’ll probably fly right over the heads of kids. Sure interstate highways are nice, but what are we all missing when we’re whizzing by on our elevated, disconnected roads?

Lightning McQueen (voiced by Owen Wilson) is the youngest, most celebrated car on the race circuit. He’s brash, self-absorbed, and in love with his own celebrity. When the film opens he’s racing in his profession’s biggest competition: The Piston Cup. The winner will get a juicy contract with the sport’s wealthiest racing promoter, replacing The King, a respected champion on the verge of retirement. The race ends in a three-way tie, and McQueen must travel cross-country to California to race in a tie-breaker. En route he gets waylaid, and ends up trapped in an almost dead little town lost on the bones of what was once Route 66.

There we’re treated to a stunning display of visual artwork as McQueen travels breathtaking landscapes and meets a motley assortment of classic cars and rusty old junkers living in the last remains of a once vibrant town, fed off a now dried up stream of eager Route 66 travelers. There are moments in this film where you’ll forget you’re looking at a cartoon. We’re quick to throw around the word photorealistic when talking about computer animation, but Cars comes closer to actually achieving that than any animated movie I’ve ever seen. It’s a stunning piece of work, a real visual masterpiece, the kind of movie that would be a must see even if the story weren’t any good. Sure, the car designs look a little goofy, but they work those designs with every bit of formidable talent and craftsmanship at Pixar’s disposal. When not emoting, there are times when you’ll forget you’re looking at cartoon characters and think you’re just watching freshly polished live-action cars cruising down the open road at breakneck speeds. Who needs drivers?

As usual, it’s the characters that really sell Cars. Lasseter and his team have an incredible knack for finding the right kind of voice talent. The real surprise for me was Larry the Cable Guy, voicing a brain dead, rusty old tow truck who is quick to pronounce himself Lightning McQueen’s best friend. Though Larry eventually works in one of his cringe worthy “Git R Dones”, for most of the movie he steals the show, creating another classic character in Pixar’s rather impressive pantheon of toy cowboys, fuzzy monsters, and superheroes. Pixar movie regular John Ratzenberger is back too, in a small role as a Mack truck named appropriately, “Mack”. There’s a great joke about his ever present role in Pixar’s movies during the credits, make sure you stick around for that. Paul Newman is deep and wistful as the town judge Doc Hudson, Tony Shaloub is brilliant as a little Ferrari obsessed car name Luigi, and Michael Keaton blend right in as McQueen’s nemesis Chick Hicks. You won’t notice any of these actors, since all are almost unrecognizable as anything other than their characters. That’s a compliment, since there’s only one weak spot in the film when it comes to voice work, and it’s precisely because he’s so recognizable. Owen Wilson isn’t bad as the movie’s lead Lightning McQueen, he’s just too Owen. It’s hard to get very involved in the character when he’s played as if the oldest Wilson brother grew wheels and started spewing out air pollution. It’s too easy to think of him as Owen instead of Lightning McQueen.

It seems almost indecent in these days of skyrocketing gas prices and greenhouse gasses to make a movie glorifying a time when Americans hopped in their cars and drove just for the sake of driving. Most of us now find ourselves looking for ways to drive less, we long ago lost whatever joy there was in the uniquely Americana road trip. We can’t afford to drive just for the hell of it. But there was a time before highways when the best way to see the world was simply to roll down your window and inhale the sweet mountain air. Those days are gone forever, but Cars presents a thoughtful, uniquely American story that asks you to stop and consider what we’ve lost since abandoning them.

Sumber : www.cinemablend.com

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2007 - Big Stan

reviewed by Albert Valentin

In what can be considered a very risky move on his part, Saturday Night Live alumnus Rob Schneider stars and directs this action-comedy about an embezzler who studies martial arts under a mysterious master before heading to prison.

Schneider plays Stan Minton, an embezzler who rips people off by selling them fake “property”. When he is finally busted and convicted, he gets a six month reprieve before serving a three-year sentence. Worried that he will end up being raped, Stan tries to learn effective methods of self defense. That is, until he meets “The Master”, played by the late David Carradine. Agreeing to train Stan during his reprieve, The Master has Stan go through very unorthodox and intense training until he is finally ready to defend himself in prison.

Once entering the prison, Stan wastes no time in finding the biggest and baddest prisoner and after taking him out, he eventually earns the respect of the fellow prisoners as well as the warden, who has a covert plan to get rid of the prison to create a housing community. At what price will Stan have to pay and what will he choose? His loyalty to the prisoners or uncovering the warden’s devious plan?

Let’s face it. When people hear the name Rob Schneider, they can’t help but only see him in more goofball fare like THE ANIMAL (2001) and the DEUCE BIGELOW films. BIG STAN marks Schneider in his directorial debut and sadly, the first half-hour concentrates on the goofball elements, but more in vulgar terms. Worried about getting raped in prison and virtually going on the brink of insanity, it might make viewers turn the film off after the first few minutes alone.

However, what stands out in the film is that Schneider may have that goofball effect that might not bode so well with viewers as much as say his appearances in Adam Sandler’s films, but the plot has Stan become a martial arts master. Sure, this has been done before to a more goofy effect like the late Chris Farley in BEVERLY HILLS NINJA (1997). However, Schneider wanted to minimize what goofball antics can be done in terms of martial arts fights in films and really, as they would say “bring it”

Enter the late David Carradine, who without a doubt hams it up as “The Master”, a mysterious martial arts master who uses some of the most unorthodox techniques imaginable. Some of it does bring a goofy effect that might not bode so well with martial arts enthusiasts, but there is also more serious-type training that really makes the viewer possibly interested. The goofy antics of the training remind you that, yes this is an “action-comedy”. Carradine makes good use of his screen time, playing that type who may act like a spiritual type but is more interested in vices like smoking.

The other big flaw comes in the forms of Jennifer Morrison, who plays that goofy eye candy type, in this case, Stan’s wife Mindy as well as M. Emmet Walsh, who does an over-the-top performance as Stan’s crooked lawyer Lou Popper. They were just a little too much and the way they come off could possibly make the viewer hit that fast forward button on their DVD players very quickly.

The film’s true redeeming factor, despite the trademark goofball antics of Schneider, are in fact the film’s fight sequences. One fight sequence was so intense that Schneider actually ended up hospitalized from heat exhaustion. However, he showed what a trooper he is and completed the fight which comprised of a short and sweet fight against mixed martial artist Bob Sapp, who hams it up afterwards as big softie “Big Raymond”; and then a three-on-one fight against the likes of Erik Betts and Mark “Afro Ninja” Hicks.

To show the physicality of martial arts, Schneider had undergone training in three styles. They were Kali-Silat, a Filipino style stickfighting art; Jun Fan Jeet Kune Do, and Muay Thai kickboxing. Schneider’s instructor was none other than the legend Dan Inosanto, who makes an appearance in the film as the prison chef. Schneider practically holds his own in all of the film’s combat sequences, which surprisingly unlike pure fodder like STREET FIGHTER: THE LEGEND OF CHUN LI (2009) and DRAGONBALL: EVOLUTION (2009), are not edited like a hack and slash job and shows some of the pure techniques of the arts. In a homage to Bruce Lee, Stan even gets to create a pair of nunchaku made of soap and a shoelace. Even the likes of veteran Simon Rhee and Tsuyoshi Abe get to take on Schneider under the watchful eyes of fight coordinators Mike Gunther and Marcus Young.

The film was originally scheduled for a theatrical release in 2007, but sadly, it was given a straight-to-DVD release in 2009. So while Schneider’s goofball antics may be a turn-off to fans, BIG STAN does have its moments, notably in the action department. From how he looked, if Schneider wasn’t a comedian, he could have been a potential action star. However, in the end, everyone will of course know him for his comedic elements a lot more.

Sumber : www.kungfucinema.com

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2009 - 2012

Reviewer: Kim Newman

Plot
Scientists realise 2012 will see extreme weather effects, seismic activity and continent-sweeping tsunamis — and a secret multi-national project is undertaken to save a select few. Failed science fiction writer Jackson Curtis gets wind of this, and tries to save his family from the cataclysm.

Review
For decades, Cecil B. DeMille was Hollywood’s go-to megalomaniac when it came to big, simplistic, spectacular devastation, with side-orders of religion and/or patriotism. In the 1970s, Irwin Allen became Master of Disaster, and ships sank, buildings burned, volcanoes blew, cities fell and killer bees swarmed. Now, Roland Emmerich presides over the carnival of destruction, commanding huge budgets, wilfully ignoring scientific advisors to keep the plot boiling (for future reference, sudden continental drift probably will affect your cell-phone reception — but not in this film) and cracking a whip over slave-like hordes of computer-programmers piling up the pixels which render the unbelievable photo-realistic.

DeMille’s specialty was historical/religious epic and Allen perfected the ‘disaster movie’, but a necessary escalation means Emmerich has to resort to science fiction to slake audiences’ need for destruction on a super-colossal scale. Godzilla, in which a monster only attacks New York, is one of his smaller films. Having written off the beginnings of human history in 10,000 BC, Emmerich now turns to the immediate and terrifying future and tries to outdo the genocidal upheavals he wrought through alien invasion in Independence Day and global warming in The Day After Tomorrow.

The disaster cycle of the ‘70s had to escalate too — after an ocean liner and a skyscraper had been trashed in CinemaScope, the stakes had to be upped to an entire city in Earthquake and a continent or so in Meteor.
2012 has a less easy-to-sell (and, therefore, harder to worry about) concept than earlier moviemageddons — impending doom here isn’t just one big thing, but a matter of solar flares, planetary alignments, earthquakes and big waves, with Biblical overtones of the Flood.

What it boils down to is all the disasters from all the other disaster movies happening in one long film. Emmerich tosses off towering infernos by the dozen in single shots, throws Poseidon-like ocean liners (and aircraft carriers) into maelstroms like toys in a bathtub, has entire cities levelled by quakes or swept away by tidal waves (LA, Vegas and DC get it worst, this time), transforms a scenic national park into a volcano, and swamps the Himalayas with a tsunami which makes Peter Weir’s Last Wave seem like a ripple on a duck pond.

As expected, the script is a load of old cods, delivered in a hurry by the wildly overqualified likes of John Cusack (everyman Dad), Amanda Peet (underwritten ex-wife), Chiwetel Ejiofor (scientist with integrity), Danny Glover (humane Prez), Thandie Newton (cute First Daughter), Oliver Platt (weasely politico), Woody Harrelson (ranting doomsayer) and George Segal (twinkly old-timer). We get glutinous sentiment, weirdly appropriate low comedy, non-denominational religious mutterings (though the Sistine Chapel cracks and the Vatican collapses) and doses of dignified self-sacrifice, my-kids-must-live heroism and cutthroat politicking from characters competing to secure first-class passage on the Ark. Yes, there’s a cute yapping dog whose survival seems more important than the entire population of India.

Many times, cars and planes escape from disasters that seem to chase them off-screen as whole cities fall down or blow up. And the finale brings on an impressive Ark, and plays ridiculous suspense games as the fate of humanity depends on John Cusack holding his breath underwater and ungumming the grinding-works of huge doors.

Verdict
Fundamentally terrible, but almost irresistibly entertaining. Its horrors get a tad monotonous in the mid-section, but it’s still a value-for-money hoot.

Sumber : www.empireonline.com

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2009 - The Hangover

Although the summer has become primarily the domain of special effects blockbusters, there will always be high demand for a few solid feel-good comedies as well. While the ones with the biggest stars inevitably tend to get the most attention, this year it may be a different story.

The Hangover does not have an Adam Sandler or Will Ferrell to rely on to bring in the crowds, so instead, it has been forced to build buzz the old fashioned way: by being hilarious. To be fair, Bradley Cooper, Ed Helms, and Zach Galifianakis are not entirely unknown (Ed Helms currently stars in The Office, while Cooper is known for his roles in Alias and movies like Wedding Crashers and Yes Man), but they’re also far from being bankable Hollywood A-list actors (yet). In this case, their relative anonymity is precisely what makes the movie work. None of these guys overshadow the film with their own established personalities, and instead they create a dynamic that is natural and relatable as a group of friends involved in a bachelor party gone wrong in Las Vegas.

The Hangover is, in essence, a creative twist on the “one crazy night” and “road trip” comedy templates. I don’t think it’s necessary to go into much detail as far as the plot is concerned; all you need to know is that a groom and his three groomsmen head out for a night of debauchery, and then wake up in the morning to find that their hotel room has been completely trashed and the groom has vanished. They have no recollection of what happened the night before, but as they try to retrace their steps, things get more and more out of hand.

One of the movie’s greatest strengths is the way in which the story is told; the audience is kept in suspense as the mystery unravels essentially in real-time. The shared state of confusion between the audience and the characters only serves to heighten the hilarity. I can’t think of too many comedies that use this little narrative trick, but it works wonders here. While it could limit the film’s replay value if the humour was too heavily dependent on shocks and surprises, this is not the only thing the movie has going for it.

As I mentioned, the chemistry between the cast is top notch, and much like the show Entourage, it isn’t about brilliant jokes and punchlines so much as it is about that feeling of camaraderie and trash talking among close friends who are stuck in a tense predicament. The script alone isn’t extraordinary (it’s written by the same guys who did Four Christmases, Ghosts of Girlfriends Past, and Rebound starring Martin Lawrence), but when combined with the incredulous reactions of the actors and what I assume are some improvised bits, it all becomes that much more infectious. The movie has a great sense of pacing for the most part, and manages to keep upping the ante and increasing the energy level along the way.

Although there isn’t any one actor whose individual performance makes the movie, I have to admit that Zach Galifianakis kind of steals the show. Ed Helms is the responsible square of the group, and Bradley Cooper is the straight man with a frat boy sensibility, but Galifianakis is the wild card. His character is introduced as an outsider to the group, being the brother of the bride, so no one quite knows what to expect from him. Viewers unfamiliar with Galifianakis may anticipate a stereotypical obnoxious fat guy act, but he turns this idea completely on its head with his strange demeanor, soft-spoken delivery and weird, sensitive moments. There’s no question that this is going to be a breakout role for him.

One supporting actor who brings a pretty noteworthy solo performance as well is Ken Jeong (Role Models, Knocked Up). His turn as the quirky Asian gangster Mr. Chow is so out there that you can’t help but laugh, and is certainly going to be another one of the most talked about elements of this film. Jeffrey Tambor (Arrested Development) also has a few funny moments as the father of the bride, and Heather Graham looks good while breastfeeding (!). Then, of course, there’s Mike Tyson.

Out of all the stuff that had the most potential, I felt that Mike Tyson’s scenes fell a bit flat. Maybe it’s because some of those moments were spoiled in the trailers, and maybe it’s just because Tyson is more funny in real life than in a scripted comedy. It could also be that it felt like they were checking off “ironic celebrity cameo” from their checklist of required elements for a successful comedy (they also have a musical number, full frontal male nudity, and yes, everyone’s favourite buzzword: bromance). There were also a few scenes that felt like they were upping the obscenities in order to inject life into some dull dialogue. All that aside though, the cards are just stacked so much in favour of The Hangover that it’s hard to imagine anyone not having a good time with it.

The movie is even pretty visually impressive for a summer comedy; Todd Phillips (Old School, Starsky and Hutch) knows how to take things to the next level, and cinematographer Lawrence Sher previously shot such indie films as Garden State and The Promotion. I particularly loved the way they put together the gambling sequence that parodies movies like 21 and Rain Man.

The bottom line is that The Hangover is a great movie to watch with a crowd, and by the time it reaches the soon-to-be-legendary end credits, there’s a strong chance you and everyone around you will be rolling in the aisles. How they managed to maintain an R-rating here is beyond me, but it is such a brilliant way to cap off the film that it seems only appropriate.

We’ve still got Year One, Bruno and Funny People to look forward to, but already I think there’s a good chance The Hangover will end up being the biggest comedy of the summer. If not in terms of box office numbers, then at least in terms of lasting impressions. This is one road trip you don’t want to skip. — Sean

Sumber : www.filmjunk.com

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2010 - From Paris With Love

review by Scott Collura

If Dune fans felt a knot developing in their stomachs when Taken director Pierre Morel was announced as the new shepherd of the big-screen remake of the sci-fi classic, then Morel's newest film, From Paris With Love, is bound to drive a few of those same fans to the brink of full-fledged nausea. For if it's a thinking-man's Dune that they want, From Paris is about as far from such an approach as possible -- it's fast, funny, and pretty dumb.

It's also quite enjoyable, thanks largely to Morel's very willingness to play loose with logic. And that's the only way the film could work with the whack performance that John Travolta turns in as Charlie Wax, super-spy and crazy-man extraordinaire. After years of forgettable and similar roles, he has finally given us a character that can stand alongside the likes of Vincent Vega, Tony Manero, and in terms of pure brainlessness, Vinnie Barbarino.

Which isn't to say that Wax is a dummy. No, he's certainly the kind of guy you'd want on your side if you were to find yourself in Paris on the wrong side of a drug ring/terrorist plot. Or something like that, for the plot of From Paris -- scripted by Adi Hasak and producer Luc Besson -- is fairly incomprehensible. Not in that it's terribly complicated, but incomprehensible in the sense that the viewer's mind very quickly switches off all reason and common-sense circuits once the first chase scene/gun battle/faceless henchman massacre gets underway.

Jonathan Rhys Meyers is James Reece, an alternate-reality take on his Chris Wilton from Match Point who rather than murdering Scarlett Johansson (five-year-old spoiler!) went American and became a low-level government agent in France. Bucking for a promotion to the James Bond big leagues, Reece is hampered by his domestic leanings -- he not only has a girlfriend, Caroline (the suitably smoking Kasia Smutniak), but he also lives with her and actually loves her. (SPOILER WARNING for real this time!) Of course, any great spy only becomes great at what he does after the woman he loves turns out to be a double-agent, or dies, or both. Though Caroline seems like a really nice girl. Really.


Shortly after his arrival in France, Wax teams up with Reece who sees this joint mission as the perfect chance to finally elevate himself to the big leagues. But only if the bald, earring-wearing, wisecracking, trigger-happy Wax doesn't get them both killed first with his penchant for shooting dozens first and asking no questions later. He's also prone to making Pulp Fiction references, something which would be nigh-on unforgivable in any other film than this one, which really takes almost nothing seriously.

So From Paris is ultimately a buddy-cop movie, and is pretty mechanical in that sense. But again, the Travolta performance is just too good to care about anything else. When we first meet him, he's in the middle of a diatribe against, in his words, "a self-important, American-hating, frog leg-eating, snail-sucking, mutherf*$king, c*#ksucking bureaucrat." Or, a French customs agent -- take your pick. Travolta has a ball with such outbursts for a good hour and a half, and the viewer will, too, if they're willing to go along with it.

Rhys Meyers plays the straight man to Travolta, though he's compensated for his trouble by getting more of an emotional through line in the film. And Morel, the third star of the film, proves that the success of Taken was no fluke and that while the diehard Dune fans may be entering ulcer city right now, the rest of us may be witnessing the birth of a new kind of genre blockbuster helmer -- the anti-Michael Bay, perhaps, in that he guiltlessly eschews dwelling on things like character and story, but not to the point of ruination. Rather, to salvation. For Travolta fans at the very least

Sumber : www.ign.com

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2006 - Bernard and Doris

HBO lined up two big stars to tell the story of billionaire tobacco heiress Doris Duke and her loyal yet shady butler Bernard Lafferty. Susan Sarandon and Ralph Fiennes star in Bernard and Doris and give it a go, but the truth is that they are both miscast, Sarandon especially, and that error subverts what is otherwise a witty half drama/half comedy.

Racing through the final years of Doris's troubled life in typically episodic biopic fashion, the teleplay introduces us to an aging but still feisty woman who doesn't suffer fools gladly and manages her sprawling estate and her finances with an iron fist. When a butler delivers cantaloupe that is chilled incorrectly, Doris fires him on the spot.

His replacement: the creepy Bernard, who is recently out of rehab and has questionable references. Soon enough, however, he's comfortably installed as the household majordomo, slowly loosening up and becoming friendlier with the lonely Doris as he travels the world with her and learns to share her expensive and exotic tastes. Given Bernard's developing fondness for eye makeup, flowery caftans, and his ever-lengthening ponytail, it's clear that the two will never become lovers, but even in her 70s, Doris is a maneater , bedding a dreadlocked jazz pianist 40 years her junior while Bernard fusses around the house and quietly drinks his way through her impressive wine cellar when he's not helping her repot her orchids.

And so it goes, with Doris's roundtable of gray-haired bankers and philanthropy advisors becoming increasingly agitated by Bernard's influence over her, especially as her health begins to decline and all attention starts focusing on what is sure to be an interesting will and last testament. If and when Doris dies, what is going to happen to her billions, and will Bernard get his hands on any of the loot?

Sarandon has loads of fun chewing the scenery, but her casting is historically inaccurate because she is far younger than the real Duke was when Lafferty entered her life, and the dynamic between them feels off. Fiennes does better as Bernard. He's truly oil y but manages to become a somewhat sympathetic character by the end, given that the screenplay really doesn't take sides. Still, the film would have been better served by someone truly weird, someone like Ferris Bueller's principal, Ed Rooney, actor Jeffrey Jones, who I don't think is working much anymore. Fiennes just can't help but be debonair.

Bernard and Doris is a fun enough diversion, but it's wishy-washy and doesn't dig dive enough into comedy, tragedy, sympathy, suspense, or anything else to make it ultimately memorable.

Sumber : www.contactmusic.com

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2007 - Wild Hogs

Wild Hogs reviewed by Josh Tyler

It seems like a good idea: Four middle-aged actors, three of whom are on the downside of their careers, in a movie about men getting older and fighting against it by trying to recapture their youth. Wild Hogs could have been First Wives Club for dudes, instead it’s just another wacky, mediocre comedy with a better than average cast. Oh well. If you’re a middle-aged biker, you’re probably going to love it.

Doug (Tim Allen), Woody (John Travolta), Bobby (Martin Lawrence), and Dudley (William H. Macy) are a group of suburban biker wannabees. On the weekends they hop on their shiny, barely ridden motorcycles and cruise to a friendly restaurant to escape their otherwise mundane lives. Except their weekend hangouts are nearly as mundane as whatever they have going on at home. They wear leather jackets with a patch on the back, but only because Doug’s wife made them and they didn’t want to make her feel bad. They aren’t real bikers, just fat embarrassing fathers, hen-pecked husbands, and computer nerds with nothing better to do.

All four friends seem to be hitting a life low point at the same time, and so the decide to try being bikers for real. Woody talks them into a cross country ride, where they’ll rediscover the freedom they’ve given up in getting older on the open rode. At least in theory. In practice they end up in standard comedy of errors. Wild Hogs breaks down into a group of individual scenes which all follow pretty much the same formula. Travolta, Allen, and Lawrence talk about or do something biker related, and then William H. Macy says or does something funny. It happens over and over again throughout the movie, and the only time the script breaks from that rigid format is when Macy wanders off by himself to leave the others without their comedy relief. Then the baton passes to Lawrence, who postures and flails around doing his overconfidence gag.

So the story is predictable and overly structured, but the cast is good enough to find decent performances between the movie’s rigid lines. Well, three out of the four leads are good anyway. Travolta is more of a train wreck than anything. The guy has no business doing comedy. When he’s attempted it before, he usually plays the straight man. When asked to be funny in Wild Hogs, he seems to interpret that as bizarre facial contortions and mugging for the camera. Compelled to participate in getting laughs rather than just standing in the middle of a maelstrom while the comedy goes on around him, Travolta seems totally lost.

But Allen is easygoing and comfortable to watch and Martin Lawrence fits right in with the formula. William H. Macy, usually a dramatic actor, seems to be having a blast using his sad sack persona on a light-hearted, silly character. Brad Copeland’s script may be amateurish but those three lift it to the level of mediocre comedy in spite of it. It’s hard to hate it, trashing the film would be kind of like kicking a puppy in the head. Odds are, you’ll enjoy Wild Hogs. You might even laugh along with it, but the next day you won’t remember anything about it.

Sumber : www.cinemablend.com

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2009 - 3 Idiots

2009 - 3 idiots directed by Rajkumar Hirani the flick opens with Farhan(R. Madhavan) and Raju (Sharman Joshi) beginning a journey in search of their lost friend Ranchoddas Shaymaldas Chajaad (Aamir Khan) who leaves college all of sudden.

The movie proceeds through narrations that take you into the flashback when Rancho, Farhan and Raju arrive at a premier engineering institute to begin their course.

The three are roommates and go about their life at college in a lively way occasionally Raju and Farhan being worried about Rancho’s antiques.

The so called “villain” of the flick whose ways are against that of Rancho is the Dean of the college Viru Sahastrabuddhe (Boman Irani). In addition, to make matters worse Rancho happens to find love in his daughter Pia (Kareena Kapoor).

The movie has some really hilarious moments with wedding reception mayhem of Viru’s oldest daughter played by Mona Singh, Raju’s father being reached to the hospital in a very funny way on a two-wheeler and so on.

The first half keeps you at wits end. But, enter second half and you are no longer given the same experience of the first half. The end stretches a bit too long and some things are just too away from spontaneity.

The music is light and entertaining. On the whole a decent flick. Only time will tell if it joins the ranks of Aamir Khan’s other blockbuster movies.

3 Idiots works and how! With a good grip on emotions and entertainment, 3 Idiots is the biggest hit of 2009 for sure. Take it from us.

Sumber : www.realbollywood.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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