2010 - The Other Guys

 

2010 - The Other Guys

Unduh disini : The Other Guys

2010 - Tracker

TRACKER

Unduh disini :  Part 1  Part 2  Part 3 Part 4    

2011 - The Lost Bladesman

The Lost Bladesman is the history of the martial arts film that tells of political competition with the generals on the eastern end of the Han dynasty in 200. The film is adapted from the story of Guan Yu, one of the swordsman and one of the most respected generals in Chinese history. A famous warrior with courage, loyalty and always fight for the truth to bear the notion that he is a god. Even his popularity also made ​​him the glory, in worship in Buddhism, Taoism, and Confucianism. In his adventures Guan Yu killed six generals, as narrated in the historical romance novel by Luo Guanzhong, entitled the Three Kingdoms. The film stars Donnie Yen Guan acting as well as an action director. Written and directed by Alan Mak and Felix Chong.

Link The Lost Bladesman : part 1 part 2 part 3

2011 - Fast Five

Former cop Brian O’Conner partners with ex-con Dom Toretto on the opposite side of the law. Since Brian and Mia Toretto broke Dom out of custody, they’ve blown across many borders to elude authorities. Now backed into a corner in Rio de Janeiro, they must pull one last job in order to gain their freedom. As they assemble their elite team of top racers, the unlikely allies know their only shot of getting out for good means confronting the corrupt businessman who wanTS them dead. But he’s not the only one on their tail. Hard-nosed federal agent Luke Hobbs never misses his target. When he is assigned to track down Dom and Brian, he and his strike team launch an all-out assault to capture them. But as his men tear through Brazil, Hobbs learns he can’t separate the good guys from the bad. Now, he must rely on his instincTS to corner his prey… before someone else runs them down first.

Link Download : FAST FIVE

2011- Battle: Los Angeles

Earth was suddenly bombarded with a foreign object from space that fell in the area of ​​waters in various parts of the world. Initially, NASA even suspected the object was a meteor. But it turns out that object is a spaceship that contains thousands of evil aliens that will invade the earth. The whole world into panic, when the victims began to fall and major cities around the world shattered.

Setting the film begins with the background of the city of Los Angeles, with military forces inside the base near Los Angeles began to plan an evacuation missions against civilians remaining in the city. One of these forces is Michael Nantz (Aaron Eckhart), U.S. Marine Staff Sergeant who was about to retire, but the situation forced him to re-join the military forces with a very dangerous mission, to save civilian lives as much as possible while keeping the city facing an alien invasion of unknown strength.

Battle: Los Angeles itself was in large sieve as a therapeutic film disappointment, a rival version from Columbia Pictures of the Skyline which could make a scene late last year because of 'success' to make almost all the spectators of the world simultaneously berate frowned and made a sci-fi Strause Brothers were due to be assessed to present a film 'rubbish'. But unfortunately what happens then apparently did not end up as expectations of most people, because the fact Battle: Los Angeles also is not a film that was too special, not a few viewers and critics label him a respectable world a bad film, even to the point that there is which says that the film director from South Africa, Jonathan Liebesman makes Skyline looks better.

But for me personally at least the Battle: Los Angeles is a dish that is very exciting and entertaining, definitely better than Skyline.

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2011 – The Rite

An aspiring young American priest, Michael Kovak (Colin O'Donoghue) got the assignment to visit the Vatican to learn about the science of exorcism or the expulsion of evil spirits. But even if a prospective pastor, Michael is not one who believes in the existence of demons, ghosts and other supernatural things. As such events in a trance, it was more due to her mental condition and patients need more medical help than a priest. But since met with Father Lucas (Anthony Hopkins), a senior pastor, his views began to slightly changed especially after he witnessed the ritual expulsion of demons that infiltrate the body of a young woman. There, Michael would not want to believe that the devil is there just as he believes in God. But it turns out the problem that they (Michael and father of Lucas), are facing more severe than what they expected before, and they also need to act quickly before it's too late. How they adventure in the face of the devil, you please see yourself.

But in our opinion of The Rite probably no more than usual exorcism themed horror. Entertaining but not exceptional, and even tend to be boring for you that are less fond of horror grooved slow, unless you are a big fan and have missed the cold appearance of a Sir Anthony Hopkins, because maybe that's the only one who can say interesting here.

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2011 - THE RITE

2010 – Morning Glory

Becky Fuller (Rachel McAdams) never expect dedication and outstanding achievements in working on a television station where he served as producer for a morning television show, Good Morning New Jersey are able to do so to avoid a dismissal. And in the end he must accept the fact that he was fired, bright career quickly became a gloomy, like a love life.

Although it was not long before Becky could soon get a new job, as executive producer on a television show the morning of IBS television station Television, Daybreak. Is Jerry Barnes (Jeff Goldblum), the chairman of the television station that recruited him, by giving the main task for Becky to make Daybreak which currently occupies the lowest rating among similar events into a popular morning show. To realize these superiors demand Becky started doing some changes to them is to fire the hosts of the old and replace it with a legendary anchor who is also his idol when he was little, Mike Pomeroy (Harrison Ford) who will be paired with another senior anchor and former queen beauty that is Colleen Peck (Diane Keaton).

The biggest problem facing the attitude Pomeroy Becky is a stubborn, arrogant and unruly. Pomeroy feel Daybreak is an event that is too light and not important who does not deserve him. Shadow of past success makes Pomeroy forget that era has passed.

It seems not too surprising if the writing Devil Wears Prada and Notting Hill plastered so clear in the middle of one of the poster version of Morning Glory, because it can be said other than a series of names of the players grade "A" her, is also expected with the emergence of two popular dramas written title by Aline Brosh McKenna (Devil Wears Prada) and directed by Roger Michell (Notting Hill) can further make the audience became increasingly interested in watching movies distributed by Paramount Pictures.

Morning Glory became a dish really feel good movie that runs along the padded 107 minutes. The conflict is not as complicated as I imagined capable of mix well with his satirical comedy element is quite striking plus a series of intelligent dialogue without exaggeration. If there is a fairly disturbing lack of attendance may spice romance between Becky and which I feel is unnecessary, even if the part is removed will not have a major impact on the overall story that was already interesting.

So want to find a spectacle of light comedy drama but still has a weighty story and still entertain? Morning Glory could be the right choice to fill your leisure time. Not only able to provide an enjoyable dish, on the other side of Morning Glory also gives you a little knowledge about how the ups and downs behind the scenes of a television show. So, relax and enjoy the show!

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2011 - The Eagle

The Eagle begins with the story of the Roman troops of the 2nd BC who had never defeated except in a war in the mountains of Scotland. Roman troops called the Ninth Legion was when there was war in the mountains of Scotland lost without a trace, accompanied by the loss of a golden eagle statue is a Roman symbol of national pride. Setting the film then moves back in time 20 years later, in which the arcus Aquila (Channing Tatum), son of the Ninth Legion leaders who have a huge obsession to find the golden eagle statue and restore the good name of the family who is considered an embarrassment and as a form of responsibility for the defeat of the troops them. For the sake of these goals, Marcus to travel to where a tribe in the interior of which he expected to save the golden eagle statue. Regardless of his uncle's advice, Aquila (Donald Sutherland) to dissuade it, Marcus still leave the company of Esca (Jamie Bell), his slave. How Marcus adventure in the outback, please download and watch his own film.

 

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2010 - Takers

A specialist gang of bank robbers, consisting of: Gordon (Idris Elba), John (Paul Walker), AJ (Hayden Christensen) and two brothers, Jake (Michael Ealy) and Jesse (Chris Brown). This group just robbed a bank once a year, the goal for the activity does not smell by the police. The temptation comes when Ghost (Tip 'TI' Harris), a member of their group just out of prison offers a robbery plan that can produce a very large money. Can be guessed that Gordon and his friends finally interested in the bid Ghost, although there are doubts about the success of the plan and also coupled with a lack of confidence in some members of the group against the seriousness of the commitment of the Ghost, because there are slanting the news about the disappointment and resentment Ghost to his colleagues who have put him in jail for 5 years. As a movie-themed action, of action of this group will get a comparable opponent. This is where the position of the two detectives, Jack Welles (Matt Dillon) and Eddie Hatcher (Jay Hernandez) is, despite having a personal life full of conflict, plus the number of unresolved criminal cases making the two detectives are to feel responsible and determined to finish it. The next story too predictable, but you should watch and conclude its own course, and maybe for you fans of action movies you want to enjoy the actions of the two parties directly, safely watched.

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2010 - The Fighter

The film tells about the life of Micky Ward (Mark Wahlberg) is filled with personal problems before he won fame as a world-class professional boxer. Mickey feels that he always was under the shadow of Dick Eklund (Christian Bale), his stepsister, who is a former boxer despite widespread popular drugs entangled. Micky felt even when Dick was like at this time was struggling with drugs, Dicky always managed to be a major concern of his mother, Alice (Melissa Leo). Although when starting a career bertinjunya Alice and Dick is the manager and coach, but Mickey still feel the difference attention to it, especially after he suffered a career losing streak in bertinjunya. Along with a growing love life, since he met with Charlene (Amy Adams), a bartender girl, Mickey began to dare to leave the mother, sister and family in order to develop a career bertinjunya although his decision was not approved by his family that expects Micky involve families in the journey in boxing career. This makes the relationship becomes tenuous Micky with his family, including his brother Dick is actually very close to him. Thanks to the cleverness David O. Russell in choosing a player character, so although the story is quite cliché and with an ordinary storyline but the film is still quite interesting to watch.

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2011 - Battle : Los Angeles

This film Tells about Sergeant Michael Nantz (Aaron Eckhart) who want to resign from the military as a form of responsibility for the death of one of his men in a war that is being followed. But at Nantz had been ready to quit, he actually asked to go back on duty under the command of Lieutenant William Martinez (Ramon Rodriguez), and then shipped to Los Angeles which is under emergency conditions that originated from the collapse of a mysterious spacecraft on the coast of Los Angeles resulted in the whole city on fire. And it turns out the space shuttle is owned by aliens who are planning to invade the earth to rule over the water which is a source of energy for them.

Battle: LA many cliches and incorporate elements of the heroic war movies, such as conflicts with his soldiers when Nantz Nantz took over command of his soldiers, but in the end shoe to Nantz, then at Nantz had to take over the role as father to a child who lost his father who died in battle, then the story nantz closeness with a woman who has diselamatkannya and so forth. For lovers of action movies, this film includes the film is satisfactory but not yet arrived at the level of memorable and outstanding.

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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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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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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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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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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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