Stars Joseph Gordon-Levitt, Bruce Willis, Emily Blunt, Paul Dano, Noah Segan, Piper Perabo, Pierce Gagnon and Jeff Daniels Directed by Rian Johnson It might look contemporary, but this is actually a future set thriller with shades of The Terminator thanks to its time-travel and killers conceit. They don't explain how it works or who created - or even how its controlled by the mobsters - but in this world, time travel exists in the future (further on from where the movie is set). So, from this future, people are sent back by the mob to be killed in the present, thus removing all traces of that person in the future. The killers in the 'present day' are called "Loopers". An explanation is provided for this titular moniker. One of these Loopers, and really good at what he does, is Joe (Joseph Gordon-Levitt). When Joe comes face to face with his future self (Bruce Willis), matters get out of hand. Young Joe has to kill his older self before his boss gets hold of him, but his older self has another agenda. With some added prosthetics, Gordon-Levitt does an admirable job mimicking most of Willis' little smirks and tics, giving the two a solid link as the younger and older Joe. It is very much Gordon-Levitt's show with WIllis carrying on doing what he does best, although a little similar to what he did in 12 Monkeys. Paul Dano has a small but significant role while Jeff Daniels shines a little as the mob boss, Ace, who hires the Loopers. Emily Blunt is almost unrecognisable as a single mother living on a farm that Young Joe meets up with, but she also does well there. There are moments within the story that lend to some quiet dramatic moments between Young Joe and Blunt's Sara, and they really give in to establishing their characters (and motives or intentions) well in those moments. The nature and consequence of time travel is given a decent work-out especially in one early moment involving Seth (Paul Dano). While the nature of paradoxes is touched on, it is handled far too lightly and practically dismissed outright. The time-travel is there simply to serve a particular purpose and the mechanics of it don't matter much. There is one other element introduced early in the story that feels like an afterthought simply because it becomes crucial towards the end. For me, I wished it was expanded a bit more. There is an intelligence in the structure of the story. Writer and director, Rian Johnson, does fairly well with his take on The Terminator idea, but also manages to build a metaphor around the title itself. Like any decent science fiction piece playing with time-travel, it also poses some conundrums for discussion. An average movie-goer weaned on the likes of Terminator 2: Judgment Day might find this a little boring though as the pace does slack in those quiet character moments. It shouldn't dissuade you form checking out what essentially is an intelligent science fiction offering with some great performances and loads of brilliant ideas in the story, dialogue and design.
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The Raid [2012] ***1/2 Stars Iko Uwais, Ananda George, Ray Sahetapy, Yayayn Ruhian, Joe Taslim, Doni Alamsyah Directed by Gareth Evans This is one of those films that is going to be around for a long time, but it will probably survive as a cult hit more than anything. It's the same way any of Bruce Lee's four main movies have remained in popular culture, or Ong Bak, or OldBoy or any of many movies that have such awesome fight scenes. Yes - it's all about the fight scenes. Plotwise, it's a simple set up. A special team (could be SWAT) infiltrate a 30 storey tower block that owned and controlled by a local drug lord. His drug lab is in the building and he also rents out rooms to other criminals who want a momentary safe haven. This puts a lot of goons at his disposal to throw at the cops. That's when things go really bad for the cops and soon, those that remain have to formalise a plan to survive, which is to continue working and fighting their way to the boss, use him as leverage to get out alive. There is some drama woven in, like why these cops had to raid this particular building on this day, and there's an added twist for our main hero (Iko Uwais) that just raises the stakes. Director Gareth Evans (who made Merantau with Uwais a couple of years earlier) keeps things simple and clear, particularly with the fight scenes. The brutality of those scenes are outrageous at times but the choreography is amazing showcasing the art of silat as the main martial art. There are a few set-pieces that compete for the highlights from a corridor fight to rival that in OldBoy to the final showdown in a closed room Best to watch this in its original form with subtitles than a dubbed version tho. The dubbing was really annoying. Bait 3D [2012] ** Stars Xavier Samuel, Sharni Vinson, Dan Wylie, Alice Parkinson, Damien Garvey, Phoebe Tonkin, Adrian Pang, Qi Yu Wu and Julian McMohan Directed by Kimble Rendall Aside from two moments with CG sharks, this is a surprisingly effective little thriller. How little? An Australian coastal town is hit by a tsunami (pretty spectacular moment) which traps a bunch of survivors in a supermarket. Because the supermarket is below street level, it becomes flooded. AND there's a (12 foot, approximately) great white shark in there with the survivors. As a break from the supermarket scenes, there are also a bunch of survivors in the basement car-park, which s also flooded. AND there's also a shark there just to keep things interesting. The saving grace is that the main sharks were not computer generated effects - or if they were, it was actually pretty good. It kept the sharks at a steady size unlike some other films where the CG sharks would change in size relative to the humans in the water. The 3D did have a nice workout at some points while at others, it felt very much like a post converted film (It was shot in 3D). For the most part, it does feel like an above average SyFy TV movie, or a below average cinematic monster movie. At least the characters weren't all ciphers (the damn dog did survive despite being chucked into the water) while lead star Xavier Samuel broods as well as Taylor Lautner in some scenes. It's not going to appeal to most people but at least it's no Shark Night 3D or even Jaws: The Revenge, better than any of those crazy shark movies (Sharktopus, 2-Headed Shark Attack, Mega Shark vs Giant Octopus), maybe a little better than Jaws 3-D and not quite the waste of time that was Piranha 3DD. Still, for a Australian/Singapore/Chinese low budget co-production it's a decent waste of time for an undiscerning viewer. Stars Karl Urban, Olivia Thirlby, Lena Headey, Wood Harris, Warrick Grier Directed by Pete Travis I'll admit to being excited when word of a new Judge Dredd movie surfaced, mores when Alex Garland was to write it and that it would also feature Psi Judge Anderson (and I'm an Anderson fan). The arrival of the movie on our screens, however, is an example of poor timing, since it's opened against the Indonesian film, The Raid. Both movies have similar plots with certain crossover moments (The Raid was in production just months ahead of Dredd, so similarity is purely coincidental), but let's not dwell on that little sniggle. This is a wholly different cinematic take on the character and it is one that obliterates the Stallone version (tho not in style). Karl Urban give really good jaw and pulls off the lines beautifully, delivering a Judge that is tough, fearless and almost true to the comic counterpart. Or at least a lot damn closer than Stallone did. The straight plot here give the character room to be just who he is supposed to be. During an evaluation, Dredd and rookie Anderson, take a call looking into a triple homicide at the Peach Tree mega-block and they stumble into what becomes a assault/gauntlet scenario as the two judges ascend to 200 storey mega block to get to the main baddie at the top, Ma-Ma, played with restrained manic by Lena Headey. It does make her a little one-note, but there a darkness there, and it does chill from time to time. Balancing out the single-mindedness of both Ma-Ma and Dredd is Anderson (Olivia Thirlby), the young emotional rookie learning the ropes. Thirlby conveys her character's emotions well, being the obviously insecure and unsure rookie putting on a facade at the beginning and the one by the end. Anderson is our window into this brutal and violent world. Make no mistake, this is a violent film - practically hyperviolent in one bravura sequence highlighting the 3D effect gloriously that even has the blood splattering out of the edges of the screen. The gimmick of a drug in the movie, slo-mo, which slows down the perception of a user, enhances the 3D experience as well as various particles and smoke float about the scene, adding to the depth of the image. Overall, it's really no more than a simple adventure that would have been ripped straight from the pages of 2000AD. As an action film, it is decently above average and works even better in 3D (highly recommend watching in this format), and it does well enough in establishing Dredd and Anderson as well as the system within the world. Because of the limited budget, the action is localised to just the mega block and we barely get a glimpse of Mega City One or the Cursed Earth beyond it. The slightly more grounded take on this particular world is effective, making Dredd's outfit more that of riot gear that the more comic-book take that was employed in the previous incarnation. Fans of the comic will find lots of easter eggs around. If the plans for a trilogy pan out (especially if it goes where the plans suggested), it's a good introduction with Dredd and Anderson being front and centre. Of course, I'm really hoping for more. Stars Milla Jovovich, Sienna Guillory, Aryana Engineer, Li Bing Bing, Boris Kodjoe, Johann Urb, Kevin Durand with Michelle Rodriguez, Oded Fehr, Colin Salmon and Shawn Roberts Directed by Paul WS Anderson The Resident Evil movie franchise finally descends to its video gaming roots. Watching the movie felt a lot like watching a bunch of cut scenes sewn together while someone else had his hands on the controller as the action sequences played out. Part of it has to do with the scope and function of the plot within the movie, very much reminiscent of the second movie, Resident Evil: Apocalypse. The saving grace comes more from the production value and the technical aspects, but that's not going to matter to most viewers. The movie opens, like with the previous instalment, with a bravura slo-mo sequence as the main titles play through, a remarkable 3D presentation right there. Then we get a recap of everything that's gone before, 4 movies and 15 years that's more of a primer, really. Not that it helps with what follows since Anderson is treating this franchise of his as his own opus, never mind the new casual viewer who wants to see what the fuss is all about. He utilises almost everything that's come before, going so far as to revive the Red Queen (from the first movie, complete with archived special effects) as the main baddie, bringing Jill Valentine (a returning Sienna Guillory from RE: Apocalypse, she also had a cameo at the end of RE: Afterlife) as a nemesis for Alice (Milla Jovovich), and taking the idea of clones (seen in RE: Extinction and RE: Afterlife) to the next level as an excuse to bring back some characters that had been killed off before. What started out as a horror survivalist story has officially entered the realm of sci-fi thriller. ALthough, what we have here is very much a rehash of the first and second movie, just with different characters. While newcomers to the movie franchise, fans of the games will finally get Ada Wong (Li Bing Bing), Barry Burton (Kevin Durand and Leon S Kenndey (Johann Urb) putting in appearances in the flesh. I don't play the games, so I don't know the first two characters, but Urb does look a lot like the Leon Kennedy that appeared in the CG Animated feature, Resident Evil: Degeneration. Incidentally, one of those freaky creatures from that animated feature also appears here (I think - sure looks like it. It's been a while). On a technical aspect, the 3D isn't as flashy as it was in the RE: Afterlife, but there are a few effective scenes, the opening bit being a highlight. The scale of the show is rather epic with various city locations being used (New York, Tokyo, Moscow - and the end credits do suggest location shooting), even if it's still one location within the story itself. And, while the gunfights tend to be a bit of a bore now (just how long can you keep firing seemingly unlimited bullets at the undead) as is Alice running/fighting in slow motion, some of the fight sequences are impressive, especially the final showdown being a major highlight for fight fans. Director Anderson had done something similar in his last movie (The Three Musketeers) in keeping to one fight sequence for extended takes rather than using multiple cuts. That's always much appreciated especially since it shows off the fight choreography very nicely. By the end of the movie tho, it all falls into some very predictable areas and the customary ending (all the Resident Evil movies end with some sense of a cliffhanger) might suggest that it's all a set-up for the endgame. In reflection, it does feel like every two movies is one chapter, so this and the next might actually be the final chapter of the entire movie saga. The stage is set and the possibility of every single one of the characters who have appeared so far is primed for one final reappearance (Claire and Chris Redfield as well as K-Mart are missing here and we don't know what their fate is at this time), thanks to the clones. Who actually returns remains to be seen. Really, if you've come this far, are you going to stop now? In all, this is a transitory movie, more for a showcase of action scenes and trying out some new effects or techniques. It probably should be mentioned that the teasers and the trailers do not reflect what goes on in the movie. Only a small portion is true, but a lot of what has appeared and suggested in the teasers and trailers so far don't really appear in the movie itself. Still, as with most of Anderson's other movies, this is very much a B-Movie with an A-Grade sheen added to it. Strong technical aspects won't turn away the complaints of predictability and some dull action scenes. But really, would you care? One new movie and a couple of older ones that I caught up on... Katy Perry: Part Of Me 3D [2012] *** Stars Katy Perry Directed by Dan Cutforth and Jane Lipsitz There are certain artists that I would pay attention too, and perhaps acknowledge even if I don't particularly care for their music. I might lean towards Avril Lavinge over Britney Spears or Christina Aguilera, and perhaps more towards Christina than Britney. I don't particularly care for Lady Gaga and while I also don't particularly care for Justin Bieber, I would acknowledge the talen t he has, and it would be interesting to see how he progresses as an artist as he matures. Katy Perry falls into the same category as Beiber (who appears briefly) where I'm concerned. She wasn't just some overnight sensation. She has talent and she's been working hard at it for years, even if it may seem like she just became known a couple of years back. This concert film does look at her past as well as focus on the massive world tour she had undertaken in 2011. And it is a very intimate look simply because of how her personal life took a turn for the worse midway through the tour (in Brazil), and the emotional resonance of it hits during her performance itself. The drama flits between the performances of the concert as Perry belts through her songs with verve and excitement. The 3D effect is extremely effective here, giving the sense of scale for the concert itself, which makes it all the more impressive and enjoyable. Perry's songs are, at its core, very much bubblegum pop but with quite insightful lyrics. Nothing particularly astounding, but it's spectacular nonetheless (one performance has her going through six costume changes during the song) with the infectious Perry's bubbly persona infecting everything, even when she's at her lowest. And that's the quality of who she is at heart. The Three Stooges [2012] **1/2 Stars Sean Hayes, Will Sasso, Chris Diamantopoulos, Jane Lynch, Sofia Vergara, Jennifer Hudson, Craig Bierko and Larry David Directed by Bobby and Peter Farrelly When this project was first announced, it was hard to know what would be the outcome, and I wouldn't have expected this. This is - simply put - a Three Stooges movie, except with actors playing the Stooges instead of the original actors. In fact, it's made as it it's part of the Stooges repertoire. To that end, the three main stars (Sean Hayes as Larry, Will Sasso as Curly and Chris Diamoantopoulos as Moe) do physically embody their roles. If you're not too fussy, they could easily be mistaken for the original stars in this new setting. The gags and physical comedy are there, pretty much as you might remember them if you had seen the original shorts with the original Stooges. The movie has a singular plot - the Stooges are trying to save the orphanage they grew up in ( and that reeks of The Blues Brothers), while getting caught up in a murder plot - but broken into three 'chapters', each with a title card, as if these are three episodes sewn together. While it may look like a modern setting, it does feel fairly old-fashioned until the last act when the modern world comes screaming in courtesy of the cast from "Jersey Shore". And this is where the movie flouders. Still, there are laughs to be had, particularly if you're a juvenile while the nuns of the orphanage are fun (Jane Lynch as the Mother Superior, Jennifer Hudson's nun occasionally breaks into song, and there's strict and grumpy Sister Mary-Mengele played with grumpy aplomb by one Larry David). It just feels like there were missed opportunities or perhaps the Three Stooges aren't quite as effective within the expanded realm of a feature film. The Cold Light of Day [2012] *1/2 Stars Henry Cavill, Veronica Echegul, Josephe Mawie with Caroline Goodall, Sigourney Weaver and Bruce Willis. Directed by Mabrouk El Mechri At it's core, this is a Hitchcockian thriller, but without the touch of the master. Henry Cavill plays Will Shaw, who is visiting his family in Spain. When his family is attacked and kidnapped, Will, being the stranger in a storage land, has to chase down a mysterious briefcase supposedly stolen by his father. Other factions are involved including the CIA, represented by Sigourney Weaver. Both Bruce Willis (who plays Will's father) and Weaver appear practically listless and the movie rests entirely on Cavill, who also appears fairly uninspired (and that doesn't bode well for the upcoming Man of Steel movie). Uninspired is pretty much how the movie is as a whole. Coincidences flounder about, the plot meanders, character motives are telegraphed and the direction itself feels stifled. Even with its Hitchcockian aspirations, the movie stumbles at every step, try as they may. Can anyone explain what the title is supposed to mean? I must have missed something somewhere about that. Unless you're absolutely bored, this is something to pass on. |
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