Reviews

It's interesting and it's exotic, and so imaginatively rendered! Indeed, a cinematic thrill-ride! The film's CGI effects deliver a natural and unspoiled world to compare with a world of machines, and its digital characters are gorgeously stunning to behold! And the film does seem like one amazing futuristic action-battle razzmatazz, directed with the most uncanny computer-generated 3-D technological feat, James Cameron's epic film is, in fact, an eco-minded epic, gastulated with the most humanly issues, universally familiar ever since the colonial times. Indeed, the film's rich themes are immensely dark! Indeed, its story injects themes of colonization, imperialism, militarism, cultural differences and cross-cultural communication, and genetic engineering...all of which any misstep taken could be disastrous to peace, nature and humanity.

Needless to say, this film does again echo Cameron's trademark film themes of corporate greed and the love-hate relationships with technology. Indeed, like the love between Jack and Rose in Titanic,' this love between the movie's Jake and Nevtiri, is solid that could only wither when 'death doth them part.' And in war, there will always be those who'd be willing to fight as long as it's a just war, as exemplified by Michelle Rodriquez' Trudy.

James Cameron's film captures two worlds... Earth that is highly and technologically advanced and which we are familiar, and the other, a seemingly 'primitive' and physically-fit civilization of the Pandora planet, in which terrain and life remains little altered since God's generous Creation! The year is 2154, the year when modern and advanced technology has given way to the moist exclusive and unique weaponry and robotic achievements for war and science does allow avatars to be created for one human race to look like another.

Wouldn't anyone be as flattered as Sam Worthington's Jake Sully to be selected to be as part of the exploration team of the exotic Na'vi world, especially when it's headed by the brilliant botanist, Sigourney Weaver' Grace. After all, their mission is for the good of human curiosity, scientific research, and knowledge! After all, Jake does understand that his twin brother had died while on the same mission, and that, he has the same genetic match of his brother to easily replace him without posing any unsuspecting lab complication. As we follow the wheel-chair bound Marine veteran in his avatar status into the Pandora planet, what is captured is so amazingly dreamlike. It's a world filled with mysticism, and in which nature thrives in absolute pure beauty and in abundance, with blue-skinned, golden-eyed, and very tall and slender beings functioning with and around nature, and complying with nature's forces... sans technology; sans machines. Indeed, an absolute contrast to Jake's own harsh world of man-created machines and scientific labs! Though the presence of Grace serves to remind Jake of his mission, it is in Pandora that Jake finds his rebirth of life.... his ability to walk and fly without constraints, a refreshingly new way to live, and he is also falling in love. And Jake does enter a world in which unimaginable creatures, like viperwolves, thanators, and banshees,roam!

Oh, I do love the scenes in which Zoe Saldana's Neytiri, under the order of her mother, the Na'vi shaman Moat, teaches Jake the survival tactics of the Omaticaya people. My favorite moments are when Jake tries to control and bond with a banshee, and later, with the Direhorse! But when Jake discovers the real reasons for the interests of Center's Administrator (Giovanni Ribisi's Parker Selfridge) and Stephen Lang's Colonel Quaritch (Stephen Lang) in the Pandora planet, will he continue his mission? The Pandora planet has a rich natural resource, a rare and valuable mineral called unobtanium, deposited beneath a Hometree. Will Jake continue his scouting for Colonel Quaritch's soldiers and lead them to the mineral deposits? And will Grace and all her team members, including Jake, support the exploitations of Pandora's inhabitants? Will Jake betray his Earth people and can he be able to win Neytiri and the Na'vi people's trust? What if he goes against Selfridge and Colonel Quaritch? After all, these evil and greedy two have access to the lab that controls his avatar!

What follows is our observance of the character dealing with their conscience, as Pandora continues to face attacks and destruction, both from ground and from air, as nature and people are blown to bits! The amazing CGI effects make the battle - between Earth's military-industrial forces and the oppressed, arrow-bearing inhabitants of the Pandora planet - very engaging. And Director Cameron does take his story to its climax, ultimately reminding us that nature is not a force to be reckoned. And ultimately, this film is about 'good' winning over 'evil.' Every character, human or digital, is interesting to follow, providing his or her conscience to his/her role in delivering the film's themes, And overall, the film is spectacularly mesmerizing and very enjoyable!

Indeed, a lovely and feel good movie that reminds us how a nation so stricken by apartheid and rebellions, and 14,000 civilians dead, is able to heal, and its turning point in history in reconciliation and strife for democracy. Director Clint Eastwood's film does pay tribute to both Nelson Mandela and the captain of the previously hated Springboks rugby team, Francois Pienaar for the Springboks's epic win against New Zealand's All Blacks with the final 15-12 score at the 1995 World Rugby Cup, as well as for their initiating the first major step towards white and black South Africans living together in acceptance. And that famous hand shake we see in the film really does speak a lot.

The match between the two teams at Johannesburg's Ellis Park Stadium in 1995 is so phenomenally presented on screen. Boy, it does look so real that I can't help myself cheering for the Springboks as if it's a life event! Eastwood, too, brings humor in the film. Boy, that famous moment with the All Black's gigantic superstar being tackled near the try-line by the big size Springboks defender! And the black and white Presidential guards gradually building up their trust in one another! These are so captivatingly funny. And with minutes ticking and Stransky does his amazing kick, sending the ball almost 100 ft to strike the drop goal to deliver the final score for Springboks' victory is so stunningly awesome! Fabulous film direction from Director Eastwood! The scenes with Matt Damon's visit to the prison are extraordinarily chilling, and fabulously crafted... reminding the viewers of the 27 yeas of prison and hard labor Mandela had to go through in his fight for his people's freedom against the NP's apartheid programs. Director Eastwood's film offers incredible spot on with facts, to include the Springboks' green and gold jerseys with their Springbok and Protea emblems! And, after the Springboks made their epic win over the All Blacks, watching Morgan Freeman's Mandela presenting the trophy to Matt Damon's Francois Pienaar while wearing a Springbok shirt with Pienaar's own number 6 on the back, it's impossible not to be touched by that scene. Indeed, the many, who had watched that particular match in 1995 Rugby World Cup, can relate to that scene as seen live on TV worldwide.

Morgan Freeman does play Mandela to a tee, Mandela's frailty, his gait, his charm and the way Mandela talks and smiles! And Damon is also no lesser credible as an Afrikaner rugby captain! Anyone familiar with Francois Pienaar would be able see Damon and Pienaar's physical builds are pretty similar. Boy, oh boy, do I love his Afrikaner accent! Indeed, my best feature film seen so far for the Oscar race. A true work of artistic film-making value that superbly unfolds South Africa's major historical events and moments! To observe the faces of hope on screen is so heartwarming. I certainly hope that this film and both Freeman and Damon would be getting Oscar nominations.

I really can't wait to get all my family members and friends to see this film! Best feature film I've so far seen for the Oscar race!

Jason Reitman's film is clever, mesmerizing with numerous scenes succeeding in stirring up laughter, and has a host of memorable images of very expressive faces of characters ... at least for only the first 30 minutes before it gradually glides into tediously silly sub-plots. Luckily, the film does have George Clooney to keep the audience's eyes glued to the screen from scene to scene. In the same way Ellen Page's charming presence took over literally every scene in Reitman's Juno, George Clooney is built into every scene to charm the audience. Every other character is merely playing second fiddle to his screen prominence.

Clooney is marvelously captivating throughout the film. Indeed, he is the film. Yep, he's the Cary Grant of the 21st century and does deliver style, confidence, elegance, and phenomenal acting talent! Yes, he appears so iconic, immaculate and savvy in his suit! His stylistically, suave and handsome Ryan keeps the audience's eyes glued to the screen, and immensely charmed by Clooney. Clooney is Ryan, and Ryan is Clooney! Everything else, including the out-of-place and silly subplots, like the wedding scenario, and Reitman's awkward cameo scene, becomes secondary. Yep, Clooney holds the responsibility to make or break this film!

Vera Farmiga's Alex (at times, reminding me of Leelee Sobieski.) does try hard to steal the limelight from him, but fails. Her character is unconvincing and superficial, her moods and expressions pretty one-dimensional. Her acting performance hasn't changed much since her Madolyn in "The Departed", The interactions between her and Ryan seem too theatrical even with her flirtatious ploy, and there is no convincing chemistry between the two. It does make me wonder if that is meant to be a hint for predicting the story's ending.

Anna Kendrick's Natalie is an oddball, marvelous when exhibiting her peculiar and oft times, bizarre behavior. She is the only character in the film capable of stealing the momentary limelight from Clooney's Ryan. In a strange way, the camera seems to be focusing consistently on her set of teeth, at different angles, to make me wonder if they are meant to arouse laughter, or that they are elements relevant to her performance. Overall, the Natalie character is not very interesting. I doubt I'd miss her if she's written out of the script. Maybe, her character is meant to be there to pose challenges to Ryan's career security? Hard to tell!

CLOONEY DOES DESERVE AN Oscar NOMINATION. He is the story; he is the film, and he grabs the viewer's attention from scene to scene, allowing them to overlook any brouhaha, the tedious and slow pacing of events, and the silly subplots with little bearing to the film's initial 30 minutes of plot and themes. I was very glad for the film's ending before Clooney's Ryan starts to lose his complete poise and savvy disposition, and sinks to the same silliness exhibited by Natalie.

Clooney is fabulous; the film/storyline, overall, is mediocre.

As this is the last film of Heath Ledger's performance and he died without completing his role, I did have my doubts as to how this film can ever be completed. As an avid admirer of Terry Gilliam, I knew that this film is on my top list of 'must-see'. Having seen it, I'd have to say that it's a cool, grand, grand and wonderful tribute to Heath Ledger. If you are a fan of Gilliam's The Adventures of Baron Munchausen, TimeBandits, and Brazil, this film is certainly for you! Yep, the scriptwriters - Terry Gilliam and Charles McKeown – have reunited to write the script for this film.

Set in modern-day London,, the colorful scenes do bring to mind the Charles Dickensian days as well as of the Medieval times. The story plays out across two different worlds as we follow the characters -- the real world and the magical dream world and fantasies that transform from reality. Indeed, the Terry Gilliam deliriously kinetic expressions frequently juxtapose the screen!

The story begins with Christopher Plummer's Dr. Parnassus, an elderly and mysterious traveling and seemingly meditating in horse-drawn theater. With him is Andrew Garfield's Anton who hosts the show to attract the attention of the passersby. Dr. Parnassus' daughter, Lily Cole's Valentina, and Verne Troyer's Percy, play their parts to draw the audience to the show. It promises a lucky participant an 'experience of a lifetime' if he/she is willing to step up to the stage and enter the Mystical Mirror. Dr. Parnassus, as suggested, has the talent to enhance and guide the person's mind! Like those watching, we, too, would be finding it difficult to assess whether they are performing a magic show or play. And like them, we are anxious to find out what happens when anyone enters the Mystical Mirror!

As the story continues, the most interesting character in the film emerges as a hanged-man, left as dead. I was mesmerized by this Tony character from beginning to the end as his character is transformed from Heath Ledger's Tony to the Tony, performed fascinatingly by Johnny Depp, Jude Law and Colin Farrell. Indeed, multiple actors playing one role is not unknown as Todd Haynes had applied that formula in his 'I'm Not There.' All four actors deliver a very mysterious and charmingly handsome Tony before the audience's eyes, keeping the audience guessing who Tony really is and whether he really means well in his dept to the troupe. Indeed, all the Tony characters are amazingly captivating as we watch Tony pass through his realms of imagination. It is the final face change of Tony going through his last dream sequence that finally exposes his true color and motive.

The story has a love triangle gist to it; it is magical and stylistic in its appeal, and it swoops up mystery, fantasies, thrills and suspense. Dr. Parnassus is a very complex character. He relies on his tarot cards and never rejects any high-stakes bet. And the last tarot card he has is the card of the Hanged Man, or the Traitor. Who is the Hanged Man in this film? Ha, can Dr. Parnassus ever learn from his grave mistakes and judgment or from his moral missteps? Will he risk his daughter's fate with his third bet? With the appearance of Tom Waits' Mr. Nick, how Dr. Parnassus has sold his soul, and the consequences thereof, begin to unravel.

The fantasy scenes do remind me of Sam's dreamworld in Gilliam's Brazil. Any character, passing through the Imaginarium's magic mirror, would encounter his/her dreamlike scenes that range from landscapes with very dark tones to those with soft-muted pastel palette of colors. In all, the color schemes are immensely extraordinary! Every dream composition, with its twist and turn, is phenomenal to perceive and experience. In a strangely effective and striking way, all the characters in their dream-phases feel like they exist in various forms of Wonderland. It is these scenes that separate them from reality. challenging the viewers to look closely at their personalities, inner-selves, and inner-motives. The sound scores of Jeff and Michael Danna flow well with the scenes.

Director Terry Gilliam has, indeed, created a very sophisticated film with an amazing aesthetic appeal, without sacrificing his storytelling. The special effects are spectacularly impressive; the role played by every member of the cast is interesting and very memorable The themes of imagination and its importance, indebtedness, moral judgment, and the consequences of excessive alcohol-intake, are so brilliantly and interestingly conveyed, at the same time leaving us with a reminder that stories will outlive everything that dies. Every scene and every character in this film does bring surprises a heap of surprises to the story. Indeed, I was totally entertained!

The film's 122 minutes passed quickly for me last night, and though it was past 11:30 pm when the film ended, people were still hanging around the theater lobby, and on the street, talking and discussing the film. I learned that Gilliam had contributed to some fragments of a few of the songs in the film. And that the Tony character may be based on Tony Blair, and that the Dr. Parnassus character may be autobiographical of Gilliam.

Adapted from Cormac McCarthy's Pulitzer Prize novel of the same title, John Hillcoat's film is as much a virtually grabbing masterpiece as McCarthy's elegantly worded and sensuous masterpiece that transcends, at oft times, into prose and repetitions.

Like in the beginning of McCarthy's novel, the viewers are plunged into the film's dark and ash-filtered environment in which the story's unnamed protagonist is witnessed as protecting his son. Indeed. he is taking charge to get himself and his eleven-year old son out of the grim, barren, non-redeeming, silent and godless world. Examine the bleak post-apocalyptic topography that could very possibly be the resulting impact from disasters of nuclear wars or from global warming! Indeed, with everything they can salvage onto a grocery cart or into their knapsacks, they must hit the empty road ahead to find a safe place. And thus begins our gradual discovery of how the man and his son hold on to their souls, knowing nothing is guaranteed as apocalypse impacts the world. Can our protagonist keep up his hope and optimism when the worst of humanity does take over the souls of desperate survivors? Ha, will there be a possibility of civilization? In an apocalyptic world, we can expect humans to sacrifice their humanity as their price of survival.

This is an apocalypse thriller that's so phenomenally dark, and yet the persisting and unconditional love and bond, between the film's protagonist and his son, never cease to deliver the whispers of hope throughout their journey. It is their untarnished strengths, despite the appalling challenges, that are so terrific to behold. Indeed, Director Hillgoat has captured a beautiful father-son love story and their rise above the grim imaginings. Indeed, he has wonderfully delivered his lively characterizations of both as their humanly earnest defense against everything that could go wrong. I was truly awed by what I observed.

Mortensen is incredibly wonderful to follow. Watch out for that very precious moment when the son first felt his connection to his father! I'm indeed grateful to see Charize Theron's character being given more depth and weight in the film version. Oh yes, one of the most memorable scenes revolve around Robert Duvall's Old Man, and in a very meaningful way as well. The Boy connects with humanism, yet we see his father as being too afraid to really let his son get his way. Yet, it's the point in which the trainee becomes the trainer; the pupil becomes the teacher! And it's the first time we see both father and son in disagreement. And their encounter with Michael K. Williams' Thief doesn't help to cool down their temperament either. Spanish Cinematographer, Javier Aguirresarobe has delivered apocalyptic landscape and atmosphere in amazing forms that are totally mesmerizing. Observe how nature can no longer provide refuge to prevent human destruction, and scavengers hunt for food, including human flesh! And when Guy Pearce as the Veteran and Molly Parker's character as his wife appear in the scenes, it's debatable if the Boy has found 'the good guys' and whether they would be 'carrying the fire'!

Indeed, Director Hillcoat has terrifically captured the love story between parent and child, leaving the audience with increasing hope and optimism. Yep, the parent-child interactions emancipate an incredibly enormous and redeeming appeal... even when things get worse and far from being better. "We are not gonna quit. We are gonna survive this," the Man had said to the Boy at the most dreaded moment in the film. The Man in the story, indeed, is perpetually faced with his last chance of parenting, teaching, training and preparing his son for the worst scenario to come, in a world, so deprived of life, hope and optimism. And it's truly interesting to observe the Boy's extraordinary and constant inner battle between his mortal fear and his basic goodness. The father understands that the Boy is his warrant, and that 'if he's not the word of God, God never spoke.' Yep, the film's plot and sub-plots stay pretty faithful to McCarthy's novel. And I love Hilcot's changed version of the Man's wife, fabulously performed by Chalize Theron. And his treatment to the ultimate decision made by Charlize Theron's character gets my high approval over the troubling and traumatic decision she took in the book. Yes, indeed, Charlize Theron's character realizes the lack of food supplies as well as the existence of only two bullets left for the family of three, and like any good mother, she makes the toughest choice in leaving her husband and child to fend for one another's survival. And that brings me to think of the idiom: Two's a company; three's a crowd! However, Hillcoat did admit at the Q&A session, I attend, that the changed treatment was a hell of a decision for him to make. Having read the book, I'm happy for the change. Also, I love this film's flashbacks of the good memories shared by the Man and his wife. The Director did mention that the love story, between father and son, should also take consideration of the mother's influences, and that good things tend to be taken too much for granted.

The persistence of love between a father and a son against the ugly backdrop of the world is so magnificently portrayed by Viggo Mortensen and Kodi Smit-McPhee. I would be frankly disappointed if Mortensen doesn't garner an Oscar nomination for his role in this film. Definitely, this is a powerful and remarkably crafted film not to be missed by the indie-film buffs looking for a great state-of-the art film with enough metaphors, symbols, and references to decipher!

Based on Susan Butler's 1997 "East to the Dawn: The Life of Amelia Earhart,", Mary S. Lovell's 1989 "The Sound of Wings", and Elgin Long's "Amelia Earhart: The Mystery Solved," this film offers the story of Amelia Earhart with those parts of her life that have touched the psyche of so many since that day she and Fred Noonan disappeared, 72 years ago, over the tiny atoll of Howland Island. Not only does this film beautifully create striking visuals of the Great Depression Era, but Hillary Swank is an amazing choice for the Amelia Earhart role... the black and white newsreel footage of the real Amelia Earhart is very telling.

This delightful epic period film focuses on Amelia Earhart, from her first taste of fame in 1928 to her 1937 disappearance. We watch the charismatic dilettante whose true fidelity is basically her love of flying, leaving her romantic life as secondary… the men in her life seen as her stepping stones to realizing her big dreams. Even her sinusitis does seem to deter her from soaring high in the pursuit of her challenging goals. Hilary Swank's Amelia is a woman who chafes against gender barriers to inspire young women to follow her footsteps. This is the woman, who as a young girl, has let her sight of an airplane to grip her interest. An inexperienced pilot of her earlier years with her many unexpected and false landings, the fearless and determined Amelia, in 1932, insists on taking her first solo flight in the fire-engine-red Lockheed Vega (currently housed at Washington DC's Smithsonian Air and Space Museum) to succeed and become the first woman to fly across the Atlantic. Hilary Swank's Amelia mesmerizes. And this film brings an era in which flying is not without perils. And yet, nothing deters the determined the gutsy and spunky Amelia as she overcomes one obstacle after another. And yet, behind her feisty determination, the gentler feminine side of Amelia does not escape the viewers. Director Mira Nair's film celebrates Amelia Earhart as a heroic aviatrix as well as a woman with human sensibilities and sensitivities. The scenes of her interactions with young Gore Vidal are pretty telling. And love for Amelia and according to this film, is being defined in various interesting aspects.

Scenes, involving the Ninety-Nine organization that includes its original female pilots, her marketing of her Modemaire Earhart luggage, and her involvement in promoting commercial air travel, speak of Amelia's creative, organizational, and enterprising spirit and talents. And as we watch Amelia moving among the elite, her fashion sense is obviously different from the norm. It is not surprising that the real Amelia Earhart was known to influence a line of extraordinarily unique sportswear to the era.

Indeed Director Mira Nair's film focuses on the human foibles of the legendary Amelia Earhart, instead of merely letting the viewers see the same icon as created by George Putnam and his publishing machine! Interestingly, each supporting character renders a unique purpose in this film to offer the audience a better sense of the personality of Swank's Amelia as she pursues her dream and fame. It's truly cool to watch Richard Gere's charismatic George Putman, Ewan McGregor's charming and thoughtful Gene Vidal and Christopher Eccleston's macho Fred Noonan get to learn and accept Amelia's free spirited personality. Indeed, Gabriel Yared's orchestral score splendidly captures the varied moods of the spunky and fearless Amelia throughout the film.

A gorgeously crafted film that is both captivating, as well offering a study of Amelia Earhart, both as a celebrated and fearless aviatrix, a gutsy feminist in her era, yet never failing to reveal the humanely sensitive nature of Amelia as a woman! Indeed, Director Nair has revealed Amelia, not only a courageous and determined restless woman with phenomenal spirit, but underneath her close-cropped, blond hair hidden under her aviator helmet, her goggles, her leather flight jacket and sported flight pants, Amelia was also a human being with feminine sensibilities.

The final few scenes, in this film, are both touching and unnerving. It's finale succeeds in bungling my mind with lots of unanswerable questions… in the same way the mysterious disappearance of the real Amelia Earhart have continued, for the past seven decades, to trigger in so many minds!

Definitely a very satisfactory film for the thriller fans! It s thoughtfully crafted where characters cleverly lead or mislead the audience a nerve-wrecking experience, without the tiresome clichés, seen over and over in so many contemporary horror flicks and thrillers. Yep, it's not the typical formulaic and predictable horror flick.

This film cleverly combines an appropriate and nicely proportioned mix of the genres of drama, thriller, horror, mystery and action to keep the story solid and interesting to follow Even romance has not been excluded, subtly being molded into the story to offer an appeal that's not overwhelmingly silly or pretentiously absurd. On screen chemistry is well established in this film. The gory scenes are not over extended or become repetitively trashy and cheap.

I salute every actor for his/her performance. Each brings perfect timing to his/her role in the every event and scene, allowing a nice suspenseful flow to the story. The characters are indeed interesting to watch, providing the viewers time to analyze them, despite the fast-paced adrenaline rushes the film provides. There is not a single moment that any of the actors has failed to hold my attention. Steve Zahn's character will not be easily forgotten! The plot-twists are smartly contrived to pump up shock, surprise, and awe. Yes, there is a couple of brief knee-jolting experiences, but I'm frankly glad Writer/Director David Twohy has not depended on the continuous use of knee-jolting ploys to fill up his film's story for the lack of creative story-telling. Indeed, he allows his story's characters to develop in phenomenal ways, from frame to frame, to bring suspense, thrill awe and fear. The dialog is sharp, adding intensity to the story and for misleading the audience till the exposure of the 'who dun it.'

Overall, a pretty smart mystery-thriller that should satisfy those loving a tale with a strong and unsuspecting twist.

This film is probably for those unaccustomed with fishing cultures. And it is made to shock those who are clueless that the same tactics used for trapping the dolphins are no more different from those fishing aggregating devices used for luring and trapping pelagic fish sold in our own markets, such as marlins, tuna, mahi-mahi, lobsters and crabs. It happens that in Taiji, the aggregating device happens to be set up in a cove.

Polespearing is merely a more advanced form of harpooning as a form of fishing that goes back to Paleolithic times. Like harpooning, polespearing has been taught from generation to generation, for centuries, in small fishing towns/villages throughout the world. Some use tridents, and richer and more advanced fishing communities may use spear-guns, or other forms of net-fishing. At least, we should be grateful that these Taiji fishermen aren't using dynamite or blast fishing, the bottom trawling method, cyanide fishing, bottom trawling, or cyanide fishing, or use fish toxins and muroa to lure and kill the dolphins. Polespearing, as we see in this film, is also no stranger than what this film would want to suggest. A visit to the Cosquer cave in Southern France - to see its 16,000 years old cave art - would be a reminder that even seals had been harpooned for food to allow some of our forefathers to survive.

This film makes no mention that dolphin-eating has, for centuries, been a Japanese traditional culture. Should Americans' hunting and killing bear, elk, moose, antelope, bison, rabbits, quail, turkey, squirrel, wild hogs, ducks and geese, sand hill cranes, woodcock, snipe, crow, black birds, coyotes and bobcats, and feeding on some of their kills, be just as disgusting?

The cinematography is indeed lovely to look at, but I've seen better cinematography of coves, cliffs, and oceans, and in many, the dangers encountered by species in the oceans are even more intense and frightening. The documentary provides blur and cartoonish treatments of instances and landscapes of scenes of their 'spy' team on the 'witnessing' lookout, offering questionable proof of their actual participation at the actual scenes.

Overall, this film hardly moves me just like in the same way I watch those anti-fur activists staging nude performances in front of the Seoul Trade and Exhibition Center recently. If these activists can't stop Americans from killing moose, bison, elk, cranes, rabbits, squirrels, etc. it'd be foolhardy to think they'd succeed in bullying other nations to their terms.

I can see quite see Richard O'Barry's attachment to his "Flipper" days and treating Flipper's death like that of a daughter or wife. However, in reality, dolphins aren't always the cute, lovely and hapless victims that Louie Psihoyos' film intends us to believe. Mounting reports have revealed that even friendly dolphins can have shark-like, violent and indiscriminate killing behaviors, slaughtering their young, their mates and porpoises.

Exceedingly violent, exceedingly brutal and exceedingly sadistic! It's a film that literally glamorizes sadistic brutality and torture! And it's very difficult to watch. For me, nothing in it is entertaining, nor worthy of remembering. If you think 'Hostel' is mindless and unnecessarily brutal, this film is even more heinous and with more perverted violence! It seems to have a desperate need to drive the audience into a state of anxiety and shock. Do we really need to see Marcus Dunstan's gratuitous on screen violence and brutalities to deal with during our current economic turmoil? Frankly, I don't think so! We shouldn't welcome inhumane tortures and brutal abuses in real life; we don't need to see them in films. This film is, perhaps, reflective of the twisted and warped mentalities of Marcus Dunstan and Patrick Melton?

None of the cast members in this film does offer memorable or praiseworthy acting talents. The film basically is clustered with scenes of barbarous acts of killing, of gruesome traps, chasing or being chased, and a series of hide-and seek rigmaroles. Dialog is scanty and trasy, and basically a composite of groans and screams. It doesn't really take any experienced actor to take on any of this film's roles. Even Josh Stewart, as the main protagonist, clearly lacks emotional expressiveness!

It'd be hilarious if Dunstan and Melton should decide to offer a sequel of this awful film. What can they offer, except for the same opening with their 'evil' box landing in another address and the rest of the film with more glamorization of inhumane tortures and brutality in a crappy with lame dialog and ridiculous characters.

I'm surprised that this disgusting film is not rated NC-17.

An absolutely warped and tasteless film that upholds Bruno, the Flasher, as funny and entertaining! Anyone who has gay or Austrian friends could easily see how lame, superficial and low Sasha Cohen's performing talent has sunk. He is neither credible as a gay nor as an Austrian, but succeeds looking like a blond creep, far too tall to balance his own weight. Has Cohen become so short of refreshingly creative ideas to subject himself into looking like amateur actors, promoting cheap porn sex? Can Sasha Cohen, the actor, no longer entertain without the ploy of perverted vulgarity and sexually provocative gimmicks to make his audience laugh? The scene of Bruno parading his black adopted baby to a black audience is especially embarrassingly unfunny. His Bruno is nothing more than a blond, mean-spirited, vulgar jerk, so absorbed with his own body shape and moves, to have forgotten to sustain a consistency in his accented ploy. The whole film seems so disjointed, almost as if a string of contrived and staged, tasteless stunt-shows are being haphazardly clamped together to lengthen the film.

If Ang Lee's 'Lust Caution' had earned the NC17, and if this film escapes from being rated NC17, I would certainly question the credibility of MPAA and the members of CARA in their definition of values for public viewing.

Indeed, I've enjoyed seeing this remake. I was able to catch the 1974 original again recently. Sure, I do appreciate the remake's presentation of a NY, its characters and dialogue that are more credible to contemporary times and culture, and yet, without losing the themes and plot of John Godey's novel.

How three decades have not only changed the atmosphere of the City of New York, but also its demographic composition. Yep, a diversity of cultures and a city with lots of young people traveling on the subway and on the streets. Oh yes, I do welcome Tony Scott's more earnest reflections of this city – not the dark, gritty, ugly, and the somewhat creepy "Gotham City", offered by Joseph Sargent. Yep, Sargent's NY is ugly with stereotypes, his characters are oft times quirky, and the dialogue reeks with racial slurs.

The events and characters of the remake are far less predictable, subjecting the viewers to to take a hard look at the gray areas between the good guy and the villain. The story is no longer the same, old tale that defines good vs. evil as either black or white. We are given two principle characters that are as different as day and night, and yet these are two men have to deal with their unpleasant pasts. Two men with earrings, each wearing it on either his right or left ear! Two men with a desperate need to outwit each other, yet never failing in their attempts for soul searching. The passengers on the train, too, succeed in commanding our attention as they face their fate.

Denzel Washington's Garber, not a cop, but a subway dispatcher and very much our regular Joe (unlike the very predictable, grouchy, caustic and cynical Garber cop portrayed by Walter Matthau), and. John Travolta's mastermind Ryder (projecting more intrigue and mystery than the downright brutal and evil Ryder of Robert Shaw) are fascinating to study. Yep, I wasn't merely petrified with what Ryder would do, but was completely taken by the two men's dialogue that slowly opens up their hidden past. Indeed, the two actors' performances are absolutely awesome!

Director Scott certainly does understand contemporary human behaviors when terror strikes at the heart of this city! Yep, his remake offers a NY with contemporary realities... haste, speed, and fast-paced responses, actions, and chaos. Fascinating scenes of Manhattan and Brooklyn come alive, vibrantly busy, excitingly modern and full of energy. We observe a cosmopolitan NY with bridges and streets, jam-packed with traffic. Indeed, a tech-savvy city with savvy internet-based communication devices that speaks of our modern way of life!

Scott also brings a darker side to all his characters, seen as unsettling as the danger that lurks. Scott is not shy of using the profanity and insanity, familiar to our times, to rock us to unease as frustrated characters lose their mental bearings and temperaments.

Yep, most of the characters seem to have adrenaline-driven temperaments that seem to be spilling into madness. Oh yes, Scott's film brings all the thrills, chills, suspense, and loudness to sustain the viewers attention, creating a sense of non-stop urgency for them, from beginning to end. This film succeeds in making Sargent's original film's portrayal of sloppy attitudes, the OCD with cleanliness and mess, and bullying seem so far fetched, so out of trend, and so lame. Besides, there are plenty of neat and uncompromising surprises, new characters, and a cool twist, and a new ending to keep me entertained.

My rating: 7.5/10

I was happily entertained by this light comedy!

Nia Vardalos's 40-ish classics scholar cum tour guide, Georgia may be ordinary and plain in her fashion taste, but she's so full of energy. It's hard not to keep pace with her as she handles her diversified and obnoxious group of international tourists who depict the negative cultural stereotypes of tourists. You bet, these tourists are not the sort of ambassadors that nations would want to be represented. Sadly, these distinctively negative and stereotypical cultural traits are not a phenomenon that is unheard of.... especially if one has worked in a tour operation.

What I enjoy most about this movie is the way the characters are developed to move the story along. Yep, every character is amusing to follow. Hhhmmh, snooty Brits, Australian alcoholics, loudmouthed Americans with baseball caps and sneakers, sassy Spanish divorcees, and even a haughty International House of Pancake workaholic executive, to make up a colorful lot for laughs! To top it all, Georgia's career is constantly faced with ruin from the scheming and menacing Nico, a fellow tour guide. Like with her group of tourists, we are not missing out on the history and sightseeing of some of Athens' famous ancient archaeological sites, such as Acropolis, Temple of Olympian Zeus the Parthenon the Temple of Delphi. I was plunged into my own experience with Athens as I watch Georgia guide her group through the steps and ruins. Anyone who has been to Athens will be expected to say that shopping and dining at Plaka is a must, so is time spent at one of the beaches at Athens Riviera.

I even like the romance that is subtly crafted into the story. Two people who couldn't be more different in traits and temperament! The way Alexis Georgoulis's Poupi gradually transforms to his final appearance is so cool. Sure, we know what to expect from the film's appropriate title and we can easily guess how the story would ultimately reach its finale. However, the events, that initiate the changes in each of the characters' attitudes and values, are pretty hilarious to observe. Yep, overall, I was entertained, really delighted to see a comedy without crudity and without the same old toilet and boob jokes.

My favorite character is Sheila Bernette's Dorcas, the nimble kleptomaniac senior citizen. Every time she makes her presence, she does certainly command our watchful attention... and what follows never fails to kick off our chuckles. And I love the message the story seems to deliver... that in every person there's always an inner beauty to uncover. And that's the lesson we can learn from Richard Dreyfuss' Irv!

7.5/10

Wow, an installment of the celebrated franchise, without Arnie (oops, unless, he deserves to be credited for the virtual prototype of the T-800 killer machine cameo with the familiar face)! As this film thrusts before us lots and lots of new faces, knocking off Arnie, how will the Terminator fans react to this new installment? Truthfully, I haven't missed him! Hey, there are more advanced and deadlier Terminators in this film on the kill to put us on edge. Even, the motorcycle machine killer is refreshingly imaginative! Besides, this film is not robbing the audience of the series' central theme - humanity.

This fourth installment is just as entertaining and fun – darker for certain, and with a better focus on character development. Christian Bale does a good job as Connor, delivering enormous stamina and credibility to his immature character. Here, we see Connor, not quite close to the predicted 2029 prophesy, but drawing a step closer to fulfilling his destiny as the leader of the human resistance. In his twenties, he now steps into Bale's shoes to offer his new look, his physical skills, and his flawed mental judgment as the Skynet robots become more intelligent, almost non-destructible, and deadlier. The story begins with our introduction to Sam Worthington's Marcus Wright, a death-row inmate, who, under the persuasion and deceit of Helen Bonham Carter's Serena, donated his body to Cyberdyne Corporation. The year is 2003. We are then plunged to the post-apocalyptic 2018

We encounter Connor jumping into a helicopter for a strike at a SkyNet facility while human beings are being hounded and killed by the deadly machines in the human beings' determination to destroy the facility. Even from the moment we see him, it's obvious that we'd be facing a complicating and complex character that is, nonetheless, aware of his destined purpose. Observe how effective Conner is in inspiring the humans. In the midst of the calamity and explosions, the scenes shift to Marcus Wright. Awakes, dazed and hazy initially,he soon snaps out of his blurry state. As he bumps into a Resistance soldier, Anton Yelchin's Kyle Reese and young Star, it would be difficult for the viewers to refrain from smiling. Yep, it's the Kyle Reese in the first Terminator film, the protector and savior of Sarah Connor, and the father of her child!

Director McG has smartly created introductions of the three principle characters whose lives must insect to generate the relevant themes for this installment. In a subtle way, it does pay tribute to the first film. Besides, there's much to examine about the unpredictable directions the characters are taking us. Even the state-of-the-art special effects are well crafted to instill fear, hopelessness and uncertainties, associated with devastation, mess, and despair, scene after scene. In a way, they serve as metaphors to Connor's personality and feelings... a rapture of havoc. Yep, the special effects do also provide the feeling and smell of metal and death... cold, as cold as the way Connor treats Wright! Can righteous cause be justified without considering its ultimate effects on mankind?

While following the story, I have been struck by the realization of the vital and important relevance of Wright's story in this film. Frankly, it has dawned on me Wright's story does target the interesting theme of 'second chance.' Also, his psyche, and his decision-making choices settle onto another great theme - the important value of humane wisdom of heartfelt decision-making. What can Connor learn from Wright? And how important is that?

Director McG has succeeded wonderfully for not only giving us another too familiar and bombastic "terminator action film, but a story that allows the viewers to search, analyze and understand the different forms of leadership decision-making in human beings. We can see that Connor has a lot to learn before he can really succeed in moving from second-in-command to his ultimate and destined leadership. Even the brief take of the photo of Linda Hamilton's Susan Connor is a reminder that she has developed into a stronger and wiser character when she arrived at the South of the Border.

This film has surged up my excitement for the next installment to the celebrated series. I love this film! It does make me put on my thinking cap to examine the story much deeper than what flows visually before my eyes!

I am disturbed and shocked, not only by the contents in this film, but by how this film has caused some, at the screening, to adamantly stereotype the practice of stoning as solely an Islam culture. It has also served some as a base for promoting anti-Iran sentiments. Hey this film is a fiction! It is easy to forget that this barbarous and hideous judicial form of capital punishment has origins, not only in the history of Islamic shariah, but also in ancient Greek, Christian and Jewish texts of antiquity. While stoning, in Judaism and many other cultures, has long been abolished, cases of stoning are still being reported, not only in strict Sharia-governed countries, like Iran, but in Pakistan, Afghanistan, Saudi Arabia, Sudan, United Arab Emigrates, Nigeria, Somalia and India.

This film has its winning appeal as a result of the very memorable and remarkable performance of Shohreh Aghdashloo as Zahra, and the visually astounding shock-inducing scenes exhibiting the stoning of Mozhan Marnò's Soraya. Yes, this film succeeds fabulously in delivering phenomenally detailed visuals that are both dramatic and emotionally wrenching to experience. A woman so horribly stoned to death as a result of her husband's evil intention, lies, and desire to replace her for a younger woman! Indeed, as a woman, I do weigh that as highly abominable! As a woman, I'm already feeling obligated to rage against every detestable practice of stoning!

However and as with any other film suggesting to its viewers that it is based on a true story, this film is still a fiction... exactly in the way it is being classified. Interesting characters, fictionalized for our entertainment! Not surprising, there are many instances in the film that seem over-dramatized, and there are situations that fail to justify commonsense reality. Oh yes, the film does jolt one's senses to utter appall and disbelief, yet it offers little clue to what, in the film, is fact or what is imaginative creativity.

Based on the book of on the book of an expatriated Iranian journalist, Freidoune Sahebjam, who lives in France, this film takes the audience into a seeming God-forsaken and isolated, little rural Iranian village, with probably no more than 100 inhabitants. We are introduced to a soul-searching Muslim lady, Zahra, seen picking up skeletal pieces and washing them. An aggrieved lady, no doubt, trying to make sense of her world. Jim Caviezel's Freidoune, a French journalist, happens to be passing through this obscure village and he has troubles with his car. He finds a local mechanic to repair the car. . Freidoune becomes Zahra's stroke of luck to get her concern and anger heard. Like Freidoune, the audience is taken into a shocking revelation of the story of Soraya M, before and after her stoning. Yep, Cyrus Nowrasteh has succeeded in rocking the viewers' nerves with a horror tale about the most brutal and savage acts of cruelty in smallville Iran. Oh yes, we are observing a village with its social and cultural environment, and landscape, that seem not to have changed since the 7th Century, probably!

This film reminds me of the many isolated rural places in the world where great scientific advancements and achievements have bypassed, thus leaving their inhabitants without real beneficial progress. Can we blame their common folks for clinging to their ancient, oft times barbarous ways and beliefs, if there is really nothing exceptional to get excited about in their routine lives? Oh yes, I did enjoy watching Zahra's rebellious courage in the film. But poor voiceless Soraya... the lone cries and boldness of Zahra can't save Soraya from her ugly fate. To see women having to be treated like bonded labor, or chattels, in the guise of adhering to religious beliefs, is so awful!

There are abundance of intriguingly interesting events and elements in the film. Yet there are some questionable logic about this fictional film. For instance, the few scenes, close to the film's end, seem too hurriedly crafted, making the ease with which Freidoune is finally allowed to get into his car and leave, is too absurd for me to swallow. Hey, the people responsible for Soraya's horrendous and merciless death are the very same people, quick enough to suspect Zahra's purpose for inviting Freidoune into her house, yet so absurdly witless and unconcerned, at one point, about letting the journalist leave. Besides, does a taped voice-recording of an anonymous source have any evidential value to a journalist's claim as fact?

At the screening, the audience was informed that the filmmaker, responsible for producing this film, was also responsible for the production of The Passion of the Christ. However, I'm not sure whether the intention of Grace Hill Media, a religion-based PR firm, to stereotypically promote the film as an anti-Islamic or to pump up anti-Iran sentiments would actually benefit the film, its actors, or even its filmmakers. Of course, I'm reminded of how Mel Gibson's career and personal life had taken a toll... very possibly as a result of the anti-Semitic controversies over his "The Passion of the Christ" film.

6.5/10

Whoa, it's the return of Tom Hanks' Harvard University religious symbologist to the big screen, a little older perhaps, but... hey, wait a minute, isn't this film supposed to be a prequel to the $750 million box-office-"Da Vinci Code" ? Still, Tom Hanks, as Professor Robert Langdon, is not failing to bring his audience on a roller coaster ride, less thrilling and less chilling than I had expected, having read the book. Sure, it hasn't miss out the church intrigue, evil and mysterious cults, murders, violence and the greed for power to wet the audience's appetite. Events flow rapidly as Professor Langdon pieces together the abundance of puzzles to bring some tension and some suspense... all for good fun for the screening crowd and keeping the readers of Dan Brown's novel rather miffed with the unsuspecting changes from novel's contents. Refreshingly new in some way, perhaps, but the events do lose their energized, tantalizing, and mystifying appeals as Professor Langdon search his brains for clues and answers.

The film's opening is remarkably crafted to open up the story's theme - science vs religion. Hey, the juxtaposition of science and church, after all, is really nothing new! And when Professor Langdon lays his eyes on the Illuminati ambigram, shown by a Vatican visitor, he is ready for Rome. Yep, a dead Pope... and the four Preferiti candidates in Rome are missing. But, will the Professor be able to find the Path of the Illumination? Yep, be ready for your imagination to be stimulated. Oh yes, be prepared to unravel the mind-blowing conspiracies involving the 'Four Alters of Science' - Earth, Air, Fire and Water, and expect to be rocked out of your senses to learn about the many unexplained and mystifying 'Illuminati" symbols, vital to Professor Langdon in his quest to find the missing cardinals. Yep, a killer, from the mysterious ancient Illuminati secret brotherhood, is in Rome, on a vengeful quest against the Vatican's denial of science! And a highly powerful weapon of destruction, called the antimatter, is ticking close to midnight for the Vatican City's Armageddon fate. Can the symbologist save the Preferiti in time before the votes of the conclave are accounted? Can he save the Vatican City? The names of John Milton, Copernicus, and Raphael, are not spared in the Professor's race for clues. And expect to have fun, exploring some of Gian Lorenzo Bernini's celebrated creations... except everything is being rendered so visually fast to hinder the growth of one's fascination with Langdon's logic applications. I was expecting the version from Ron Howard, David Koepp and Akiva Goldsman to provoke and heighten my awe, disbelief, and admiration, as I follow Langdon's adventure. It failed!. Sure, there's nothing wrong for scriptwriters to take liberty with changes to their original sources. However, it can be rather discerning for the Dan Brown book fans to find their most memorable book moments are lost in the adaptation. No doubt, there are some new surprises to the story, but these fail to wet my emotional appetite to intensity. And the changes have reduced my shock and awe reactions. Unlike the book, it fails to lure me into wanting to revisit Rome. While Dan Brown's Rome reeks with compelling mystery and excitement, Director Howard's Rome is mostly dark, creepy, and unrelenting.

While the plot and subplots do capture some of Dan Brown's amazing twists and turns, rattling my brain's nerve tissues, it was Langdon's race against time that actually chills. Poor Langdon, he just can't avoid encountering deadly barriers! Oops, the story is not without the book's unconventional female protagonist, joining the Professor on his wild, 'wild-goose' chase to smoke out the villain's moves. Ayelet Zurer's antimatter scientist, Vittoria Vetra , may be watchable, but her Vittoria lacks excitement and curiosity, and, without the fascinating spirit, curiosity and energy of the book's character. Zurer's Vetra seems rather cold, prim, uninteresting, and her presence pretty irrelevant... not what I have expected Vittoria to be from the book's description - "lithe and graceful, unmistakably Italian - not overly beautiful, but... exude a raw sensuality." Besides, there's not one once of chemistry between Zurer's character and Tom Hank's in the film.

My favorite character is Ewan McGregor's Carmerlengo. He whisks in and out of sight without much ado, and yet, his presence is so astoundingly compelling. McGregor succeeds in bringing the unpredictable and charming Carmelengo directly from the book to the screen, with such absolute and immense exactness of characteristics of the novel's Carmelengo! My kudos to him! Stellan Skarsgard as Commander Richter does not disappoint. And Nikolai Lie Kaas's Assassin? He looks rather lame and passive, not the Dan Brown's mysterious, evil, and creepy Hassassin I was looking for. Of course, it's nice to see a film with a cast of international actors.... if only some of their characters don't look so awkward in their interactions. And while I miss the humor Dan Brown injected into his media characters, I am glad that this film is not missing out on how media folks can be so easily duped! I do miss the book's Agatha Christie-like style with which Dan Brown confuses and challenges one with inter-weaving and easy-to-miss clues and hints to keep one's brain cells moving helter-skelter before the final riddle is solved. Also, Ron Howard's film has not achieved in drawing me directly into the events as if I was there on the scenes. That said, I still wouldn't miss seeing Ron Howard's attempt to turn the book's 572-pages to life on screen in 138 minutes! The film may be scanty in its offering of memorable thrills and chilling suspense, it does, no doubt, give a very impressive visual observation of the lavishly and stylistically captured landlocked sovereign city-state with all the pomp and colorful ceremony, and... its enviable collection of some of the most famous and magnificent paintings, sculptures and architecture in the world.

Who exactly is Wolverine? Oh yes, I was hoping to see a solid story in which Director Gavin Hood leaves no stones unturned to bring out a stunning, astoundingly memorable character growth and character expansion of Hugh Jackman's iconic Wolverine, not seen on screen before. I wasn't disappointed. Even the events and twist involving Silver Fox are nicely rolled into the tale to support Logan/Wolverine's motivations. Do I care that Silver Fox is seen to have a tactile mind control ability rather than accelerated healing factor? Not really as the creative change works beautifully for this film. Her presence in this film is a vital part of the inner struggle between the Logan/Wolverine's animal savagery instincts and the Logan/Wolverine's noble human qualities.

We do get a little bit more of Wolverine's past, a past that flows back to 1845, building on a brief, but satisfying introduction to the relationship and sibling rivalry between him (James Howlett) and his troublesome half brother, Victor, and then onwards to their involvement in various war- whew, I sure did have a jolly good time identifying the four historical American wars! But as events move to Logan's mercenary involvement in the Weapon X project and with General Stryker, the scenes start to get more and more thrilling as the raging Wolverine faces deceit, betrayal, revenge, empowerment...and the loss of memory. Okay, there's relatively nothing ultra new about Jackman's Wolverine that X-Men comic book fans don't know, but, boy, oh boy, never have I seen Hugh Jackman going so super-energized and so fabulously athletic in a film... and so constantly highlighting his shirtless, well-preserved, sexy physique! And I'm especially pleased that his Wolverine has more character depth in this film. It's definitely compelling to watch his changing behaviors at each stage of his metamorphosis. Whoa, watch him growl and howl in rage...yep, a dark character, but never losing his charismatic charm! The most striking moments for me are when the opposing traits and sentiments come into conflicting play between the two brothers. Oh yes, Liev Schreiber is picture perfect and very credible as Sabretooth! Whoa, Jackman and Schreiber are indeed a dynamic duo in this film! Danny Huston, too, succeeds in bringing out the devious and villainous William Stryker. And as befitting its title, this film does not fail to deliver the many familiar X-men mutants in this film...hhhmmh, Deadpool, Gambit, Wraith, Cyclops, Mystique, Storm, Ice Man having made the list. Hey, surely no X-Men film can be complete without at least a cameo appearance of the most celebrated promoter of the peaceful affirmation of mutant rights? Although there are some rather interesting lines of dialogue, expressing clear political as well as social observation, the dialogue, overall, is rather clunky. And while some of the fight scenes are very impressive, they tend to loose their appeal with the over-repetitive takes. Some also feel too far-fetched. The chase and the slow-mo explosion scenes? These may be considered as clichéd, over-used, and almost obligatory, but I'm not displeased with those seen here. The cutting-edge special effects and stunt razzmatazz are outrageously spectacular, working well with the story's elements and to offer non-stop actions for inciting the audience's visceral reactions. Besides, it'd be foolhardy to think that we all aren't thrilled to see villains being blown to smithereens in films!

Overall, I was happily entertained. And I did stay to see the post-credit 'bar' scene, too.

Bold, heart-wrenching and very dramatic, this film lashes out on the topic of Iraq war syndrome that many would rather avoid discussing, lest put it on screen. However, Director Kimberly Peirce, who has a brother serving in Iraq, opted to bring her insider-story to expose the human side of those young men, returning home from the war. Oh yes, young men who have now come home, but are still being tested beyond their ability to withstand the drain and strain; each and every one of them continues to be heavily challenged in his search for self identity in regard to the importance of family bond, the loyalty of friendship, the limits of love, and the value of honor.

The story first introduces the audience to a group of young men, operating in the dangerous streets of Iraq. Indeed, a band of brothers who has bonded over time, and who has fought side-by-side and keeping themselves alive by being there for one another. Their loyalty bond is unblemished. We then see the survivors finally returning to their little Texas hometown, welcomed with a Main Street parade and joyous celebrations to crown them as American heroes. But, with the glorious razzmatazz of tributes and show extravaganzas ending, who really cares about these young war veterans? Writer/Director does… and her very touching film allows the audience to follow the lives of a few young men, seemingly wounded, either physically or mentally, as they adjust to civilian life.

Ryan Phillippe's Brandon has completed two tours; Channing Tatum's Steve has already served one and plans to marry his hometown gal, Michelle. Then, there's Joseph Gordon-Levitt's Tommy, and many, many others… all of them, seemingly no different from their community of young men who had not been to war… at least until we observe them closely. So many of them have a lot of healing to do, and like their days spent in Iraq, these young veterans depend on one another's protection, and with one leader keeping them in order. Yes, Brandon is always there for them; always taking charge and never letting them down.

Observe the effects war has had on these young men. Study how their families try to reach out to them. And as the story unfolds, the audience, just like these young soldiers, will come to realize that the government's policy has its way of enslaving young soldiers to eternal service. What if Brandon has to be deployed back to Iraq? How would stop-loss affect his life and the lives of those traumatized and hurting veterans he protects? The stories of these young men are very compelling to follow and their feelings are tragic and intense… as we examine the camaraderie these young soldiers share. It's about survival as a group; it's about their need and determination to protect each other. And it's about a soldier who feels betrayed by his government.

With appropriately edited in flashbacks of horrendous war scenes, the film creates an insight of the causes and effects to the soldiers' traumatic stress disorders. We study their fear, their courage and bravery, their traumatic sufferings, their pride and their hardship. This film also defines the meaning of the film's title, letting the audience see how stop-loss has its rippling bad effects on even the finest soldier. And what we capture from the story is that stop-loss does abuse the faith of soldiers. Brandon is being stop-lossed, Should he AWOL to Canada or Mexico, or should he willingly and dutifully return to Iraq? Young men volunteer to fight a war for different reasons, but ultimately, it's their being inseparable members of their unit, or band of brothers, that would ultimately leave them to decide how they'd deal with the war. Oh yes, it's not hard to see that stop-loss is no different from back-door draft. Does it appeal to those with little else to lose in life, or as a trade-off for criminal pardon, or as a death-sentencing certificate for a already injured illegal alien serving with the US Troops and whose death allows his family members to gain access to 'green cards?

Great cinematic realism, phenomenal performances by the cast ensemble, a story well-crafted with solid psychological analysis and depth, and an absolutely powerful, emotional, and heart-wrenching film to watch! It's a film that cries out in "Support of Our Troops".

The story starts off well and does set off expectations of some eventful occurrence, paving the entrances and involvement of a diverse cultural breed of principle characters. And from start to finish, Dennis Quaid exhibits some of his finest hours of performance as Barnes, bringing a perfect contrast to Forest Whitaker's calm and gentile Howard. Oooh, a refreshingly cool format to expect one same event revealed in 8 eye-witnessing accounts.

The dizzingly and bouncing virtuosic camera work and the over-use of flashback-scene technique never cease to test my nerves. Action packed, the story rolls at rapid pacing to serve like caffeine for the audience's adrenaline to kick. A horrendously chaotic situation with a confusingly scrumptious multi-colored environment and atmosphere, infused with crowds and crowds of people, secret agents, protesters, activists, and camera crewmen to add to the color. Images are aplenty with characters clinging dearly onto either deadly weapons, or palm pilots, or recording devices, or TV screens as if these machinations provide the only meaningful existence in their terror-saturated, contemporary world. Yep, the story is seeped with multifaceted visual actions and activities, bombs exploding, shootings, panic screams, haphazard movements, mess over mess, to satisfy the pyromaniacs.

Director Peter Travis hasn't missed out anything to keep the audience from picking up the film's bloopers, artistic flaws, or weaknesses. Too bad, the stereotyped bad guys, in every imaginable clichéd scenes, are way too predictable. Alas, one phone call and the observation of the 'window' scenes become an immediate throwaway for solving the mystery thriller! The use of car chases and little Anna in peril to round up the story is a cheesy tactic of the scripting trade. Oh yes, there's plenty to put the audience on constant panic and on edge… but sadly, nothing really original in substance.

Frankly, it's an eye-witnessing, but not a thought-provoking mystery thriller!

Wow… another fun movie of Writer/Director Michel Gondry! It attempts to reach out with a very subtle message. Gondry is again calling the shots for his creatively alluring visual style, never to cease his manipulation of mise en scène! And I love it! Indeed, this film is inspiring for the creative minds of America! With the story's delightfully charming and fun characters, and with very memorable one-liners zinging away throughout the simple tale, Gondry brings the audience a sweet and warm-hearted fable to salute America's creative talents.

The charmingly comedic cast ensemble, Jack Black, Mos Def, Danny Glover, Paul Dinello, etc., including Mia Farrow and Sigourney Weave, collaborate with Gondry very successfully to field up the loony razzmatazz about the inventive fun of "Sweding" films.

Boy, did I enjoy following Jerry's journey into his new career! Jack Black is such a natural comedian! Boy, did I have any doubt that Jerry and Mike would pull off their manipulation! Nope. And, you can bet that my heart warmed to the uncanny goodwill and appreciation, exhibited by those common-folks of their little community's heritage. Good or bad, the folks of Passaic are proud of their 'native' talents. And that's so emotionally touching! The story bubbles with so much creative hullabaloo, liv, and energized spirit. Hhhmh, the film even has Sigourney Weaver's Ms. Lawson – a spoil-sport villain out to make life miserable for all? Just to watch films, like Back to the Future, Robocop, Rush Hour 2, Driving Miss Daisy, King Kong, Ghostbusters and 2001: A Space Odyssey being revamped by goons for loons is worth paying the price of a regular tix to watch this film! Michel Gondry and his cast of actors are giving the audience a treasure trove of spontaneity, creativity, playfulness, fun, laughter and tears. Oh yes, their film does put a test to the audience's tear-ducts, especially toward the close of the film.

Gondry's film is bound to delight those with dreams of making movies. It's also a film that appreciates the passion of refreshingly new talents. But will it serve to remind film institutes, promoters, and sponsors not to neglect their objectives in inspiring and encouraging creative new talents? I should hope so. As Gondry's film does suggest, creative minds do inspire and spark off creative juices to flow in every walk of life! Yep, this is absolutely an uncanny and ingenious fable… presented in all good humor and in a pleasantly unique avant-guard dynamo-style to make it memorable. Call it a mock doc within a mock doc if you wish, but it sure will remind us that small-budgeted, homegrown indie films can sell just as well as big Hollywood blockbusters.

This film attempts to offer a wild and silly escapist's fling before ultimately getting the audience to a happy, happy Hollywood ending.

It basically relies on a script that throws in a cash-strapped and irresponsibly reckless beach bum with his bubbly, female sidekick; a wealthy English gent whose home and life, leisure and pleasure extend no further than his yacht would allow; a gang of violent scums, popping up in a helter-skelter manner, as if unsure of what they're supposed to do; a supplement of fable spin about some 1715 Spanish sunken ship carrying 40 chests of gold just waiting to be uncovered… all crammed into events circling no further than the ocean and beach span. It comes off as being unsure of relying on the focus of romance or actions, sometimes having scenes drag on, or suddenly having them interrupted by cut-and-paste scenarios, just to get them to link.

There's really nothing, in this film, to challenge one's brains, except for a nice splash of catchy, witty and humorous lines and phrases, especially those shot out of the mouth of Ewan Brenner's character, to provoke laughter. Yep, nothing unpredictable! Character and event links are oft provided awkwardly by insipid jesters like Alexis Dziena's Cemma. Yet, there are moments I really did enjoy with this film. Oh yes, the enormous chemistry oozing out of Kate Hudson and Matthew McConaughey's characters, his facial skits (despite his portrayal of an absurd, one-dimensional-minded devil-may-care character) that summon up memories of the articulated facial contortions and distortions of Charlie Chaplin's 'Tramp", and Hudson's ever so delightfully sweet and expressive face, plus the fabulous shots of the deep-sea scuba diving treasure hunt are worthy of capturing.

As I'm a great Kate Hudson and Matthew McConaughey fan, I'd be willing to throw my dollars for a tix to see this flick. This film may work really well for the young teen viewers.

A movie that will definitely plunge the audience –young and old - into plenty of film-watching fun with its strange and fantastical mysteries, challenges, unpredictable chills and thrills. Examine the Spiderwick Estate with its crumbling mansion that the three Grace children and their mother must now consider as 'home'. Yep, a mansion that seems more like a haunted house whispering to be explored, and one where invisible eyes seems to watch or stalk at every corner. Yet, there's more these family members must need to confront than just a spooky home. The film's introduction to David Stratham's Arthur does give subtle hints of the horrifying events to come, but only its ending will eventually expose the dark secrets, not only of their family heritage, but of the family's burden. Yep this film does have abundance of twists and turns to keep the audience emotionally glued to the screen.

Watching Freddie Highmore slip into the roles of the twins, Jared and Simon, is simply astounding. The film does focus on Jared's rebelliously thoughtless and unpredictable character… yep, his uncontrollable fits and tempers, his raging and bold independence, and his unwillingness to cooperate nature, so marvelously molded into the story as in Tony DiTerlizzi and Holly Black's book series, offering credible connection to the story's characters and eventful occurrences. I had expected the supporting actors to play fiddle to to the prominence of the main character, yet here, it's Highmore's Jared who seems to hold the support for the need and purpose of the rest of the characters. The talented young actor exhibits that fabulously well. Just observe how his despair gets from bad to worse to provoke the other characters' reactions and to win over the audience's compassion in seeing him as the victim of injustice! Yep, Highmore does lash out his two roles with perfect treatment to reveal the differences in traits and personalities. Well done, Highmore! This movie does give a good summary of the book series without going chronically to a tee, nor does it exactly flush out everything that follows in the series. Yet, the main substances are present, cleverly crafted to keep everything dancing and integrated in spectacularly satisfying momentum and perspective for the film version. Director Mark Waters has successfully flashed out even the boggarts' emotional traits and temperaments that are common to Simon's… very much in line with the book series. Book fans of the Spiderwick Chronicles will especially be delighted to see Arthur Rackham's book illustrations of Thimbletack, the faerie creatures, Mulgarath the ogre and his ferociously evil goblins, and even the griffin and Hogsqueal, come alive on the screen. The voices of all the characters are well articulated, succeeding in generating audience appeal and interactions throughout, and the scenes are at well-defined pacing to keep the audience's adrenalin flowing. Watch out for the very brief live-cameo take of Nick Nolte who provides the voice of Mulgarath. A unique list of intriguing characters presented by a well selected team of performers! A great, fun and excitement-filled family film, but there exists some really scary and violent visual moments. Parents should take heed when making decisions to bring kids under 8 to see it. It did trigger off some of those memorable highlights of films, like Jumanji, the Harry Potter and Narnia film series without being condescending in its approach. I was fully swept into it and, oh yes, I love it!

Just another of Sylvester Stallone's recent films that seems to scream out: Stallone has a fixation of fighting to be immortalized as a non-aging 'dinosaur' character! At 62, he dyes his hair in raven-red, swings, punches and kicks as if he's still 25, and, of course, just as egoistic in trying to preserve his Rambo's ancient avenging and violent streak and tactics. Oh yes, for all that youthful image that Stallone sets out to project, there's one thing he has failed to do: prevent the portrayal of his creative process and imagination as having aged over the 20 years. Even Julie Benz's sweet damsel-in-distress doesn't to help erase the image of macho Rambo's aging years.

Yep, there's nothing refreshingly new to this Rambo's revengeful fantasy, nor in Rambo's exhibition of his fighting skills and tactics. He keeps exploding in his killing spree, whipping out his weapon to blast opponents into multi-body parts - just like we've seen Rambo doing, flick after flick. And ferociously evil foreign government militia, attacking scared villagers through fields, littered with land mine with the unlucky ones being blown to fragments? Nothing refreshingly new, but can be considered as pretty stunted in creative imagination. Hey, we are seeing this same old scenario being repeated in so many war flicks. Unless Stallone actually believes that the audience do have short-memories and believe they are seen creatively new spins! By the way, are those Asian militia thugs the leftovers from the Vietnam wars in Stallone's imagination? Ah yes, nicely flavoured with Asian jungle atmosphere? Of course, it would be rather tricky for a Rambo, with aging brain-cells to flex his brawn and weapons in cities, cramming with spy-cams and cam-detectors. That would take better brains, like James Bond or Jason Bourne, than guns and muscles alone, to defeat any ugly and vicious militia government.

This film would have been fine, if seen in the 1960s. During contemporary days, it comes through as a very predictable film with nothing that's refreshingly imaginative or creative. It's like paying precious dollars to see repeated action scenes from other flicks. And that's pretty insulting to the hard-core film audience!

With scenes pumping off like in a TV show, this film exposes an urban community with an appeal that's worst off than the dirty red-light districts in some cities. The film blares with loud music that seeming competes with noise from the loud-mouthed characters. The Writer/Director brings out a Baltimore community, inhabited by either dysfunctional characters or low-based folks – gangsters, masseurs, street alcoholics, homeless folks, macho men who can't resist glaring at female bottoms, and those who fill their time in an overheated church where the choir director maneuvers around like a court jester and any one dressed like a manicured, fruity dude could be troublesome! Even the court room has the appeal of a noisy street market! Hhhmh, what a pathetic way to portray a community… especially when it's so absurd to see Ice Cube's Durell – a man obviously with brains and talent – so easily becoming enticed to crime by his dysfunctional pal, LeeJohn, or having nothing better to do than be obsessed by a female's wriggling rear end.

Boy, aren't we getting rather bored with film after film that makes excuses for irresponsible bums who turn into gun-trotting robbers just because they are short of cash or are being hounded by ugly loan sharks? Boy, it's even more freakish to have to watch misfits turning over a new leaf by some lonely old church ladies with ogling eyes! Absolutely a lame movie without any witty humor, but with lots of unflattering stereotypical clichés to attempt at drawing out laughs… and where events and characters flow and end at very predictable expectations. Yep, this film is simply overloaded with non-complimentary logic and ugly characterization of an urban community!

If you're looking for an excellently crafted and engaging psychologically suspenseful thriller or chiller that consistently tests your emotional senses, this is an amazingly clever, artistically horrifying and spooky flick to see. For me, this film does bring back the haunting memories of films like The Devil's Backbone, The Haunting, The Sixth Sense, The Others, Pan's Labyrinth, and Tideland. Stylistically detailed in the film-making art, from the beginning to its end, this film does keep the audience's imagination running wild… almost as if they have put themselves in the shoes of Belén Rueda's Laura.

The themes of motherhood, fear, memories, fantasy, loss and death, jotting from frame to frame, are the film's vital elements that subject the audience to their interactions with all the characters, and to consistently sink them into fuzzy and unsettling imagination as well as profound panic. Indeed, this film has a very creative and unique way of dealing with fear, loss and death. Every piece of setting, background, and location is captivating and does keep the themes alive, playing and tugging at the viewers' emotions. Is this film a ghost story or is it about a mother's unwillingness to face up to reality? It's the sort of film that has no straight answers. Fortunately, this is not a film that applies cheesy shock-inducing tactics for the testing of the audience's reflex actions.

Great script, great art direction, fabulously interesting and unique characters, and phenomenal performances! The characters do command the audience's compassion and attention throughout the film, And the audience will feel continuously trapped by forms of mysterious forces that are taking them on an unpredictable and creepy roller coaster ride in their attempt to distinguish between what's real or what's fantasy. And the music score? Masterfully accompanying the scenes to bring out suspense. Oh yes, this film does spooks and Laura's plight is so visually emotional to follow. The stunningly creepy scenes do persistently plague and play tricks to one's imagination. There are abundance of cool twists and turns… and when the film ends, it would leave the audience eager for discussions.

I was very surprised to learn that this wonderful masterpiece is the debut film of Director Bayona and Screenwriter Sanchez They absolutely bring so many brain-prodding and unforgettable moments to the story. An absolutely engaging and unforgettable film… and my favorite foreign-language film of 2007!