DEATH OF TRADITIONAL CINEMA

THOR works for me mainly because: 1. it doesn't feel like a comic book; 2. the hero does not conceal his identity to other people, and; 3. the heroine does not get kidnapped by the villain. In short, Branagh's adaptation of Marvel's THOR is a comic book film that is anti-comic book.  Most comic book film adaptations have a template that is used and reused- the protagonist gets a supernatural power, the love interest gets kidnapped, and the villain is usually the hero's friend. No disrespect to the Spiderman trilogy which was pretty enjoyable, but THOR for me ranks along THE DARK KNIGHT and IRON MAN. THOR is funny where it counts ("We have Xena, Jackie Chan, and Robin Hood"), and the action is not gratuitously excessive (hello, TRANSFORMERS 3!). Kenneth Branagh creates a comic book movie identity on his own by focusing on character development and an easy to follow plot. The movie heavily emphasizes the sibling rivalry between Thor and Loki and takes it as a

Those who went and saw this movie expecting some sort of higher aesthetic cinematic value must be mad. I only saw it because of Kristin Bell. But not even her charm, or her perkiness, or Josh Duhamel's suaveness can salvage the movie's lack of imagination. In summation, it's a formula film right down to the core, featuring characters who are lifted off of templates, and a rollercoaster ride that ends in textbook romcom fashion. But for someone looking for a light movie, there's plenty to be enjoyed here. The quad ensemble of Dax Shepard (ZATHURA), Will Arnett (LET'S GO TO PRISON), Jon Heder (THE BENCHWARMERS) and Danny De Vito (BATMAN RETURNS) are hilarious, especially when they torment Bell's character Beth across New York City. Nevertheless, the story's plausibility can be compared to the existence of Santa Claus.  One more scene which does not make sense: during the climax, Beth drops a poker chip from the fifth level of the Guggenheim, and the chip r

I haven't read the novel by Sara Gruen, but based on what I saw with Richard LaGravanese's (FREEDOM WRITERS) screenplay and Francis Lawrence's (CONSTANTINE) direction, WATER FOR ELEPHANTS is a really compelling love story not only between humans in the most unexpected of places, but for all creatures of God as well.  The traveling circus is indeed a great irony, or mockery if you will for life, which is billed "the greatest show on Earth" by this movie. You see, the circus hides behind the facade of joy, decadence and spectacle fragmented lives struggling for survival. As Christoph Waltz's character August puts it, when his star attraction has to be put down and the beasts begin eating scraps, then it's gonna get worse for the men and women of the circus.  (I'm just paraphrasing the thought.) And finally, a Robert Pattinson movie I won't feel guilty seeing afterwards. BREAKING DAWN is coming later this year, so this is a nice break from his pale

There's no denying that Woody Allen is one hell of a writer. Like Tarantino, Allen can tell you a story through a single take involving pages of dialogue and manage to be gripping. Such is the case in YOU WILL MEET A TALL DARK STRANGER, which contains the signature Allen characters and themes and treatment. It's a relationship story, which is both peculiar and witty, similar in form and style with his MIGHTY APHRODITE, VICKY CRISTINA BARCELONA and even ANNIE HALL. It's an ensemble piece, where the characters' lives intertwine eventually, like Garry Marshall's VALENTINE'S DAY, and his upcoming NEW YEAR'S EVE. However, this work by Allen is far better than the mentioned Garry Marshall films, not to mention that it doesn't humiliate us with a cliche in the face, so that's one of the things we can be thankful for I guess. I wonder what ever happened to Marshall who directed such gems as RUNAWAY BRIDE and BEACHES. But going back to Woody Allen, he cha

From the guys who brought us the Ewan McGregor-Jim Carrey comedy I LOVE YOU PHILIP MORRIS comes this ensemble romcom that plays out in cliched romcom fashion, develops quite earnestly and humorously, and manages to pack some surprises towards the end. I kid you not I howled like a madman in laughter countless times. I almost gave up. Halfway through the film the narrative drags like it's going nowhere, and not even Steve Carrell's charms can save the day; however, Ficarra and Requa knew how to keep the goods until the exact moment when we least expect them, and surprises after surprises unfold.  Carell and Julianne Moore play a couple who decides to get a divorce (or should I say Moore decides to dump Carell for Kevin Bacon who again plays the third party, remember SUPER?) which takes a toll on their household, especially on their 13- year old son. After much wallowing in self-pity in a classy bar, enter suave Ryan Gosling who's quite the ladies man, and transforms Carel

A mix of conflicting emotions and uncertain ideals surround Robert Redford's historical drama THE CONSPIRATOR. Capitalizing on the infamous assassination of US President Abraham Lincoln by John Wilkes Booth, the film shifts its emphasis onto a little known fragment of said event, namely the inquisition of the only "identified" woman conspirator, Mary Surratt.  Those who have little or no background on Surratt will find themselves on a thrill ride; the trial itself is a fiasco, and the outcome, though not necessarily inevitable, comes as a surprise. Past the second half of the film, you get visual hints as to what will happen to Mary Surratt in the end. A simple search on Google will tell you; I didn't have such liberty and didn't want to spoil my viewing experience so I went along. I was satisfied. Very. James McAvoy plays the young Union Captain Frederick Aiken, who after the war returns to being a lawyer, and is designated by Senator Reverdy Johnson (Tom Wilk

NO STRINGS ATTACHED is another cliched-ridden Hollywood romcom flick salvaged only by its two charming leads. The script gets real compelling when it wants to, and utterly stomach-churning corny during unguarded moments. Kutcher's line in the ending scene is unforgivable. But at least there's a new take on modern relationships, or does it seem fresh only because Natalie Portman acts so well that you sympathize with everything she is going through? On a sidenote, Portman never looked sexier onscreen.  Happy guy meets assertive girl and they decide to become fuck buddies. Everything goes so well until they fall for each other, and assertive girl maintains her thick overcoat of emotional distance. Or does she? Basically we watch this types of movies to escape. NO STRINGS ATTACHED is ridiculously funny I laughed so loud several times. I could not believe the guy who gave us ROAD TRIP and GHOSTBUSTERS directed a romcom. Ivan Reitman presents his two leads with such chemistry an

One of Hollywood's revered camp filmmaker, Wes Craven is back. Nope, I am not counting in MY SOUL TO TAKE, which was heavily plagued by negative reviews. I haven't seen it, and probably never will. I have become a follower of the SCREAM franchise over the years. I don't particularly love the movies, but I do enjoy them, especially that the SCREAM films also serve as a deconstruction of sensational media and the horror genre. So I'm pretty thrilled that a new sequel has turned up. One unmistakable and undisputed claim that SCREAM 4 can have, is that it is is the funniest among the four SCREAM movies. The lines are so campy you'll surely memorize them ("Your lemon squares taste like ass!") and you should see Courteney Cox's Gale everytime she mentions "Deputy Judy".  The lines are not the only humor in SCREAM 4. There's a creepy scene where Deputy Judy (Marley Shelton) speaks to Sidney, and her face is unseen in the dark; then there'

Directed, co-written, and starred by Tom Hanks, LARRY CROWNE is the feel good movie of the year. I know the term is such a cliche, but Tom Hanks knows what he wants; he wanted to do a feel-good movie, and that's what he did. Employing a light treatment in an otherwise mature subject matter (at least to me), Hanks brings to light a story of a middle-aged man who is kind, lovable, and charming, but who lacks college education, and for this minor flaw he is stripped down in front of us. He gets sacked at U-Mart, and therefore gets in trouble with the bank. But that doesn't manifest at all onscreen, that feeling of self-pity or despair or shame. As an audience I did not feel the weight of what Larry just went through, and that's what's great about Hanks' portrayal of Larry. He's so optimistic that problems seem not to bother him. Make no mistake. Larry is no idiot. He attends community college to make sure he never goes through that painful and humiliating exper

I partially read Eros Atalia’s novel before actually seeing the movie, and one difference I’ve noticed is that the movie did not follow the order of events in the book. But that isn’t my main objection to the movie adaptation. There was a lot of hype that surrounded even before the movie premiered during the seventh Cinemalaya at CCP, and I am one who was hit by all the buzz. I guess most of the festival’s audience (which are students) dig love stories, especially painful love stories. I remember the same reception for Jade Castro’s ENDO. I am not a buzz kill for these sorts of movies. I love watching people suffer in the name of love because only then, lessons are taught and empathy is expressed. However, I cannot get my head around the confused translation of Eros Atalia’s novel onscreen. When you’ve seen Wong Kar Wai and Almodovar and even Adolfo Alix, Jr. discuss about the pain of unrequited love, LIGO NA Ü stands elementary. Don’t get me wrong. I’ve read the entire novel prior

I don't know what the critics are raving about this latest superhero movie. I mean it's an enjoyable popcorn flick, and the action is pretty good. Plus, the focus on the little guy who can also become a larger than life hero is notable, but come on, between XMEN FIRST CLASS and THE DARK KNIGHT, CAPTAIN AMERICA is generic.  I still haven't seen THOR. The teaser for THE AVENGERS sure whets the appetite. But let's go back to CAPTAIN AMERICA. The pitfall of most superhero films is that they start at the very beginning and work they way to the end in a linear fashion. I guess not everybody can be Christopher Nolan. But with due respect for Joe Johnston, CAPTAIN AMERICA works best when the story emphasizes on the humility of its lead character. Chris Evans is truly superhero material. He previously played THE HUMAN TORCH in FANTASTIC FOUR, and I am surprised and delighted he didn't bring any notion of his Johnny Storm ladies man, full of hijinks character in CAPTAIN AM

SUPER is a subversive, ridiculously funny and balls-out deconstruction of the comic book superhero genre. What separates it from previous films DEFENDOR and KICK ASS to which SUPER shares a similar theme is the bold attempt to delete all visual restraints. What results is a crime fighter borne out of curiosity and self-pity, sex taboos to beat anything you've seen out of WATCHMEN, and a moral ground which is intentionally absent.  Rainn Wilson is so pitch perfect for the role of Frank D'Arbo/ Lightning Bolt that it must have been written especially for him. SUPER is the defining movie for Wilson's career, and I say that with utter respect for the man. I always knew he's up for great achievements since his Dwight Schrute in the TV series THE OFFICE. Woody Harrelson is a mentally challenged person who thinks he's a crime fighter in DEFENDOR; KICK ASS featured ordinary people propelled to punish evil and stop street crime; Wilson's Frank D'Arbo in SUPER is a

It's nice to see Jason Statham back in a British film set in a British landscape. THE MECHANIC was a little trying too hard, and though DEATH RACE was campy, it was also forgettable.  BLITZ runs like your usual police procedural, but a tight enough plot keeps the film afloat. Statham barely fires a gun (as compared to THE EXPENDABLES) and most of the time he's tracking down the cop killer code named Blitz (Aidan Gillen). As the stereotypical loose cannon cop character, Statham does little work, but during moments where it counts, he emerges the hero that the story requires. The film is formulaic, but enjoyable.  Credit that to Elliot Lester's pacing and careful direction. The scenes of violence are unrestrained, but not gratuitous. I don't know how much is lifted from Ken Bruen's novel, but the script by Nathan Parker is compelling enough. You have a drug element aside from the main cop killer plot, and on the side media sensationalism is grazed upon (David Morri

RED RIDING HOOD works well as a popcorn flick when you let yourself get whisked away with Catherine Hardwicke's storytelling focus on the small village with which the film takes place. Sure, RED RIDING HOOD is ridden with cliches and traces of Twilight, but it is a cliched film that is better than most cliched films, and certainly better than Twilight. Here goes your R-18 version of Grimm's Fairy Tales. Film critic Roger Ebert noted that he did not recall any "riding" involved with the kids' tale. I'm perfectly okay with a loose adaptation as long as it will not feel like an insult. Hardwicke's setting is dreamy. It's isolated, it's snowy, and full of trees- perfect for a semi-horror setup. Amanda Seyfried may very well be just a towering sex symbol,  and we do not necessarily have to admire her acting here (CHLOE remains as her only notable film outing). The presence of visual testosterone Shiloh Fernandez and Max Irons only confirms what I jus

There are not many lesbian local films around. Gay, yes but lesbian, no. However, ROME AND JULIET can hardly be called a lesbian film; Connie Macatuno staged her scenes so well that any notion of homosexuality is set aside, rendering the story as a normal love story involving humans fighting for their relationship. In fact, ROME AND JULIET neither condemns nor condones homosexual relationship. We are shown that being a lesbian isn't something that you planned on becoming for a long period of time- the thing is, it just happens. Maybe, because of the environment, or repressed feelings.  Opposing characters headline the story of the film. Juliet (Andrea Del Rosario) is the prim and proper school teacher who is set to be married to a politician (Rafael Rossell). Rome (Mylene Dizon) is the independent and  dominant florist who eats men's bones for breakfast. When they meet, an uncontrollable attraction ensues, and neither of them don't know what it is. It's romantic and

BABEL is a cinematic achievement for filmmaker Alejandro Gonzales Inarritu, proving he really is the master of interconnected storytelling. Inarritu has come a long way from AMORES PERROS, and while his debut film is a masterpiece in itself, BABEL, his third film improves his visual language a lot better, his emotional and moral pull more visceral. Working once more from a screenplay by Guillermo Arriaga, BABEL, like the biblical tower that caused mankind’s diverse language barrier succeeded in telling a single story from multiple and multicultural points of view. You see, what BABEL really wants to emphasize is how language creates communication and miscommunication; Inarritu translated it onscreen by showing four separate encounters set in three distant countries. A couple (Brad Pitt and Cate Blanchett) travels to Morocco to recover from marital problems, possibly grief; a young Japanese girl (Rinko Kikuchi) struggles with her deaf-muteness, and the troubles it presents, including