Reviews

I was incredibly disappointed with Stars Wars: The Last Jedi (TLJ). I cannot believe some people are saying this is the best one since Empire, bcoz it's not even close. There are so many problems with the movie; the writing, the poor structure, the lack of innovation and focus.

But first, I'll start with the positives. I think Daisy Ridley and Mark Hamill gave a wonderful and committed performance to their roles, despite qualms I have about the material they've been given. Daisy in particular really shines throughout; she has great screen-presence and is very enigmatic. Secondly, I was surprised by the abundance of humor in the movie. I really enjoyed the comedy and found all the jokes really funny and organic to the story in a way that never feels out of place. Also, the Porgs were kinda cute. Lastly, I thought there were two great action set pieces that really elevated the film above TFA & RO. The opening space battle was quite amazing and well-done. The dogfights and ship battles were very thrilling and suspenseful. Then there's a lightsaber fight towards the end that was just spectacular and could rank as one of the best set pieces in a Star Wars movie. It was also one of the most beautifully shot scenes in the movie, with really impressive lighting, wide angles and long takes to really highlight the complex but excellent choreography.

Now the negatives. Overall, I found the movie to be incredibly messy and badly paced. The story is incredibly boring and feel like they're threading the same ground as the original. There were many plot lines that felt lifted whole cloth from Empire and Return of the Jedi, and when they happened I was like "Are we really doing this again?" It quickly becomes evident that these movies feel like The Hobbit to the Star Wars franchise - in that, there's not enough material to warrant a new trilogy. TLJ never feels like the 2nd book of a trilogy. It feels more like the 2nd act of an incomplete story. Like TFA, this movie will leave you incredibly dissatisfied. Entire subplots were invented for our main characters, only for the outcome to yield absolutely no results. There were also way too many new characters introduced in the movie, all of whom took significant screen time away from characters that we already know. A character is introduced and is given the kind of epic send-off that should have been given to an established character we know and love, but bcoz we don't know this new character, that send-off lacks any impact. Also, too much time was spent on the island with Rey and Luke and nothing was accomplished. Rey's talents also remains largely unexplained.

My biggest issue with the movie however is the depiction of Luke Skywalker. Prior to this, I had read that Mark Hamill was really unhappy with Rian Johnson's direction for his character, and it's true. The Luke Skywalker in this movie IS NOT THE LUKE SKYWALKER WE KNOW & LOVE. Many of Luke's actions seem very out-of-character and contradicts everything that George Lucas had established about him in the originals. There is one particularly egregious act that Luke commits that feels like an absolute betrayal to that character. It undermines all the goodwill of Luke's arc in the originals that Lucas worked so hard to build-up and complete. Also, they seemingly established Luke as the main character and give him the same hero's journey as ROTJ again, only for him to be missing for 45 mins in the movie. And boy, do they really abused the classic John Williams Luke theme in this. You won't go for 5 mins without hearing his theme over and over again.

So overall, I did not enjoy watching TLJ. You're probably going to watch it once bcoz it's a Star Wars movie but trust me, there won't be any repeat viewings on this one, bcoz it lacks substance. My theatre audience was silent for the entire movie, saved for a few laughs at jokes that were effective, but there were at least 3 fan service/ shocking moments that should have elicited a response from the crowd, but everyone was dead quiet. You know the movie is incredibly ineffective when even the things fans want to see lands like a thud.

So I'm giving it a 3 out of 10; two points for that amazing 3rd act lightsaber battle, and 1 point for both Mark and Daisy. For those who are seeking a true sci-fi action adventure experience, I recommend watching Luc Besson's Valerian (2017) instead. That movie is bursting with creativity and feels like it's blazing a new path for the sci-fi genre that these new Star Wars movies should be doing but aren't. Most importantly, that movie feels fresh and innovative, two things that TLJ were seriously lacking.

This is possibly the most surprising movie of 2017 for me. It's about a straight-A high school student who forms an exam-cheating syndicate in exchange for money, and soon finds herself orchestrating very complex but clever schemes to overcome exams that become increasing more high stakes and difficult. What makes this film absolutely brilliant is that the exams are presented as a series of heist-like set pieces that are very intense, nail-biting and suspenseful, with the kind of edge-of-your-seat thrills befitting a Mission Impossible movie. From the camera movements to the pulse-pounding music, the film uses the cinematic language of bank-heist capers to frame its exam scenes, turning the mundane act of high schoolers cheating at exams into a completely enthralling high stakes set piece. It also features an incredibly talented and likable cast of young actors, but the breakout star of this movie is Chutimon, in her acting debut. She is the heart of the film and an unstoppable force, delivering scene after scene of phenomenal acting. As much as it's a thriller, the movie is also a very funny teen comedy, with many wonderful moments of levity. The script is really clever and there were lotsa creative ideas in the exam sequences. The music is also really good, very much Atticus Ross Social Network inspired.

Overall, I had an absolutely wonderful time watching this film, and cannot recommend it highly enough. It's an absolute crowd-pleaser, but also one of the most intelligent movies of the year. The movie completely earns the moniker of "genius" in its title. I'm not surprised that this is the highest grossing Thai movie of all-time, beating Tony Jaa's Ong Bak. It's one of the best Thai films ever made. It has a really clever and unique premise that's just begging for a Hollywood remake.

American Assassin is the first film I've walked out of the theatre this year. It's also the first film that I've ever seen that's had me convinced that the script was written by a computer. I was shocked to find out that this was based on a book franchise of which there are 10+ novels, because almost every scene or dialogue in the film contains a horrible and tired cliché that you've seen in any spy/ action thriller. It's as if the producers of the film typed the words "spy movie thriller for young adults" into a computer and it regurgitated a bunch of words describing popular plot lines from every action movie you've seen and slapped a link to Dylan O'Brien's wikipedia page on it. From the fridging of the main hero's love interest (the plot of every revenge movie ever) to the hero's lone-wolf, silent but badass demeanour (every action movie ever) to his rebellious nature against the authorities but always comes off more heroic than every single law enforcement officer in the film (every cop movie ever) to the utterly predictable villain backstory (every villain in every spy movie ever) to the unorthodox but wise mentor who the hero hates but grows to respect him (I give up) - to count the 5 out of a 100 clichés - it's as if American Assassin is trying to one-up every single one of these tropes by being a total parody of them. Like, are you really doing the beautiful-girl-treating-the-badass-hero's-wounds cliché? Really, movie?

All of this is further exacerbated by the completely lifeless and lackluster direction. The plot is pedestrian, derivative and painfully boring to watch. The action lacks tension and is shot horribly, with really lazy choreography and terrible editing. Visually, the film looks very ugly and desaturated all the time. As for performances, this movie was so bad it made Michael Keaton looked like a bad TV actor. The worse is the complete lack of charisma from the two leads Dylan O'Brien and Taylor Kitsch. Their characters are so boring to watch and every line from their mouth makes me want to barf. Once again, Hollywood commits the big sin of casting cult-favorite DTV action and martial-arts superstar Scott Adkins - who has proved he has more charisma and athletic talent than most living action movie stars today - and given him absolutely nothing to do and no spotlight to shine under.

This is one of the laziest movies I've ever seen, and possibly the most forgettable movie of 2017. I would NOT recommend this movie to anyone, because there's not a single aspect that's redeeming about it. It is a complete waste of time, the equivalent of watching two hours of paint on a wall dry. If you're reading this review then I might as well recommend some great films of this ilk that you should be watching. Donnie Yen's Killzone 1 and Tony Jaa's Killzone 2 (also called SPL1/2) & The Thieves (2012 Korean movie) are great. Scott Adkins Undisputed 3 and Boyka: Undisputed are two of the best martial arts movies ever made and makes full use of the actor's talents. Peter Berg's Patriot's Day. All of these are 10000x better than American Assassin.

I'M NOT HERE TO REVIEW THE STORY. I suspect conversations and debates surrounding the story of Mother! will be going on for a very long time so I won't add anything to these discussions as this is one of those abstract films that can be subjected to numerous interpretations and no two individuals will have the same reading of it. What I will talk about it are the technical achievements of the movie, which is so mind-blowing it alone is worth the price of admission.

Purely on a technical level, Mother! was an impressive feat. Having not seen any of the trailers I was under the impression that this was going to be a small indie movie set in a single location (a house). And it certainly begins that way, lulling you with its slow-burn pace and the intimacy of its humble premise. But there is a joy in completely surrendering your expectations and preconceived notions of how good a movie is into the hands of a masterful filmmaker and just going along for the ride, trusting that the director knows exactly what he is doing. Because where the movie goes particularly in the 3rd act is absolutely insane, crazy, ambitious and filled with the kind of imagery that rivals some of the best set pieces of some of the biggest blockbusters we've seen this year. It redefines what we think about single-location movies - that a single location isn't bound by limited space and with great writing and smart tension-building you can craft an excellent big-budget set piece in a small place.

The sound design and foley work in particular are top-notch. The cinematography is also excellent, with the camera deliberately closed-in on Jennifer Lawrence's face in every scene as the narrative unfolds from her POV, its movements increasingly more erratic as the suspense escalates. Geography of the house is well-established so you always know exactly where you are when things go crazy. As for Jennifer Lawrence herself, this is one of the most un-Jennifer-Lawrence-roles she has ever played. She's very grounded, understated and restrained throughout the film, making all the scenes where she demonstrates her Oscar-winning acting chops all the more shocking, impactful and affecting. This restraint is prevalent in almost every aspect of the film. It never reveals more than it should or overplays its hand unnecessarily. The storytelling and editing is tightly focused and disciplined, as not a single minute of film is wasted. Every plot thread introduced is paid-off. At every turn, the movie under-promises and over-delivers, every shift in tone (did I mention Mother! is also darkly funny?) and surprising revelation a desired and crescendoed effect.

There's a lot of talks and conversations being devoted towards the layers of meaning and symbolism embedded within the story of Mother!. Is the movie an allegory for the bible, environmentalism, the creative process and its pitfalls or Hollywood celebrity/ fame- worship? Or is it an honest but painful artistic depiction of Darren Aronofsky's own personal love-life? Regardless of your interpretation, there will be one universal reaction - WTF did I just watch? Half of us will defend, champion and marvel at the viciously thought-provoking choices of the film (myself included), while the other half will hate the movie and declare it a piece of trash and a waste of time. I won't begrudge the latter for arriving at that conclusion, because it's not for everyone. But for those who want to experience a film that's unlike anything you've ever seen and executes its bold, daring and uncompromising vision with such amazing production values, then you at least owe it to yourself to give this movie a chance and decide if you'll hate it or love it. Because this is going to be the most talked-about movie of the year and it deserves to have you be a part of that conversation.

I suspect that many who disliked this film are probably die-hard fans of the original Japanese Death Note. I do not consider myself to be in that camp. What I do consider myself to be is a fan of remakes that actually offer a smart and refreshing take on an existing property, not copying and pasting the same exact story beats, character types and plot points of the original, something that Force Awakens (which isn't even a remake!) is shamelessly guilty of. I'm also a fan of films with police procedurals and crime investigations. As such, I was endlessly entertained by Adam Wingard's adaptation of Death Note, a film that combines both the high concept premise of the original with an engaging crime procedural element. It doesn't dig deep, but its incredibly stylish and kinetic energy (from music choices to editing style) will entertain most while also offering several surprisingly new twists on a premise that's familiar to many who have read or seen the manga/ anime.

The biggest selling point of the film however, is Lakeith Stanfield's outstanding performance as the fan-favorite Death Note character L. He had already established himself as an incredible talent in films like Short Term 12 and Get Out, and this film is no exception. Lakeith manages to evoke all the cool quirks and mannerisms of L in a subdued and natural way, where else lesser actors would have come off over-the-top or trying too hard. There's even hint at a John-Wick style world-building aspect of his backstory that I hope will be explored in a sequel. I also appreciated the casting of Lakeith as L because it proves that racially diverse casting decisions allows a great talent like Lakeith to elevate an already awesome character regardless of race and skin color.

Speaking of which, many white-washing accusations have been made against this film for taking a Japanese property and transplanting it to a Western setting. I'm here to say that these accusations are completely unwarranted because the story takes place in America, and our main characters are Americans played by Caucasian actors, not Japanese people played by white people. One issue most ppl seem to hone into is the fact that lead character Light uses the name Kira but if you've watched the film you'll know that it is both simultaneously a plot point used by Light to divert authorities and also Adam Wingard's attempt to respectful homage the remake's Japanese origins. If Death Note is accused of whitewashing then you might as well accuse Oscar Winning Film The Departed for whitewashing as it is a remake of a Hong Kong film set in America.

As far as remakes go, this was different enough that it deserves more credit for trying something new. Being familiar with the original I was still surprised by the new twists and turns in the story as well as the new ending. Fans of Adam Wingard's other films should be delighted that he doesn't skim on the gore and violence either whenever the Death Note executes its victims. All that, combined with it's stylish energy and propulsive pace, makes this remake one that deserves to be given a chance.

There, I said it. Valerian is one of the most creative and original summer blockbusters of 2017. It's dazzling, visually spectacular and has more ideas and imagination than most of our summer films this year combined. People always complain about lack of originality from Hollywood. So when a bold and original sci-fi film like this comes around, why aren't we watching it? Why are we tearing it down (50% on RT, really?) instead of celebrating the audacity of a visionary filmmaker like Luc Besson who is trying to offer something different to entertain us? Hollywood doesn't make movies like these anymore, and won't unless we support them.

I really enjoyed Valerian on a level that was unexpected. Visually, it's breathtaking and one of those rare films that deserves to be watched in 3D. The costume design and background sets are so beautiful and colorful, it looked like the concept artists and production designers had a blast coming up with them. The setpieces are also really fun and enjoyable, with one action sequence early on taking place in a futuristic virtual reality market that's very inventive and visually impressive. There's also a show-stopping cameo by the wonderfully talented singer Rihanna that's worth the price of admission alone. But the biggest highlight for me is Cara Delevingne, who is just magnetic on screen. She's drop-dead gorgeous, feisty, kickass and absolutely captivating to watch. Both Dane Dehaan and Cara successfully capture the spirit and swagger of space adventurers like Han Solo and Captain Kirk, with their awesome space suits and witty-banter.

In an interview with Luc Besson asking for his reaction towards the critics, he said this: "Diversity is key for everyone. If on 10 screens we have 10 Marvel (movies), we're losing something. It's like eating fast food every day. And I'm from France, so I'm more for cuisine". Here is a great director and film auteur who creates art and desires to wow us with something we haven't seen before. To make a film with a bold and unique vision, uncompromised by studio interference. There was a time when blockbusters were about movie magic and escapism. Fun and adventure. Ideas and innovation. Adding to cinema as much as transcending it. Valerian is such a film. It's brimming with great sci-fi ideas and won me over completely with it's brilliance and inventiveness in a way that I wanted the new Star Wars and Guardians movies to do but never did. Yet people still flock to them even though they do nothing but regurgitate the same thing over and over again, completely lacking in vision, originality or heart. The future of cinema thrives on originality and bold thinking, and films like this need to be recognized, not ignored.

At a certain point during the film, the spotlight shifts from our two main leads (Kumail Nanjiani and Zoe Kazan) to two new supporting characters. This was a delightful surprise for me as the film had me convinced it was going one way (under the guise of a typical rom-com) but then going somewhere completely different. This was a bold, daring and risky move I haven't quite seen in a rom-com like this but it paid off spectacularly and elevated the film above its genre. The shift works entirely because of the wonderful interactions with these two new characters, both of whom are played by very well-known actors. The comedy, acting and chemistry between the actors are so compelling, heartfelt and really fun to watch that they basically become the centerpiece of the film's best act.

The Big Sick details the real-life courtship between Kumail (playing himself) and Zoe Kazan (playing Emily, his real-life wife), who has to face the cultural pressures of Kumail's Pakistani background as his parents plan many arranged marriages for him to wed a girl of his own ethnicity. This real-life inspiration lends the film an authenticity that is informative and insightful about interracial relationships in America, and the movie doesn't shy away from fully depicting the cultural clashes it presents in many scenes that are simultaneously hilarious and touching. All of these scenes work because the characters are imbued with so much heart and personality, thanks to the performances and writing. A lot of credit also goes to director Michael Showalter for having such a deft-understanding of character-building growth and boldness to depict the funny but sometimes complicated and messy ways that couples have to navigate through to maintain a relationship.

Where this film falters a bit is in its running time. Once the movie's central conflict is somewhat resolved and the perspective shifts from our supporting characters back to Kumail and Zoe again their romance unfortunately adheres to some cliché rom-com tropes that were a bit predictable and repetitive. These lead to extraneous scenes that drag out the drama unnecessarily especially when you already know what kind of ending you'll get with a movie like this. At 119 mins the movie is too long and at times, potentially derail all the hard-earned goodwill earned by the movie's surprising and well-executed comedy scenes.

Overall I still really liked the movie, but the film's best and surprising moments belong in the second act with the two aforementioned supporting characters and its the part where the film brilliantly redefines the romantic comedy genre with an unusual romance involving two other people that's not the main love interest.

This is one of the biggest surprises of the year. I encourage anyone to go into this movie knowing nothing about it because that's the best way to experience it. Prior to seeing it, all I knew was that it was a zombie movie and saw a screenshot of a little black girl strapped to a chair with a Hannibal Lecter face mask and I was immediately sold. Avoid seeing any trailers or reading any plot descriptions about it and I guarantee that you will have a great time.

I really enjoyed this film. It offers a smarter and more thought-provoking story than most zombie movies. The world-building is really intriguing and well presented, which might have to do with the fact that it's based on a popular sci-fi novel of the same name. At first, I was under the impression that A) it was a single location movie and B) it was an indie- drama but I was so happy to be wrong. The movie did not skimp on the horror or the kinda thrills we would expect from a zombie movie. The high production values were quite a surprise too, as the movie eventually gets to places that are interesting. Hardcore zombie movie fans might lament the lack of invention or creativity in recent zombie movies but they shouldn't be worried here. The Girl with all the Gifts manages to introduce some fresh new takes to the genre that lead to some interesting puzzle-solving scenarios, details I won't reveal so you can have fun experiencing it on your own.

As for performances, Gemma Arterton and Glenn Close are the two notable cast members but the biggest surprise here is Sennia Nanua who plays the titular Girl with all the Gifts. Her role is incredibly complex as she has to emote two completely different types of expression from each end of the spectrum at any given point. As such, Sennia gives what is arguably one of the best child performances of the year as she brings to life a character that is so unique and unlike anything I've seen in a zombie movie.

I alluded to the movie's similarities to The Last of Us, a popular 2013 zombie horror game made by Naughty Dog, in the review title and it is true. After watching the movie, I want director Colm McCarthy to direct the Last of Us adaptation because he manages to not only capture the exciting zombie horror tension and a look and atmosphere similar to that game, but also masterfully handling the nuance and subtlety of character-building and drama, which is a huge part of that game. I'm excited for what this director does next.

Overall, this film was a solid entry in the zombie genre. It ranks up there with the likes of 28 Weeks Later, World War Z and Train to Busan. Not a masterpiece, but a really satisfying and fun one. There's maybe like a 10 min lull towards the end but the first two acts are very good. It's a shame this film kinda flew under the radar because I think it would have played really well on a big theater with a huge crowd. I wanted to tell everyone about the The Girl with all the Gifts after seeing it and I hope you guys will do so too :)

Atomic Blonde isn't really an action movie. It's more of a spy movie, with some action in it. Is the action any good? Yes they are. Too bad there's barely 10 minutes of it. And the problem is, it isn't even a good spy movie. The plot is so convoluted and confusing, good luck trying to explain the story to anyone. Tonally the movie is all over the place. The soundtrack, costumes and feel of the characters are so comic-book-y but the story surrounding them is so grim and taken way too seriously. The characters are constantly posturing and trying so hard to look cool with over-the-top-affections that just grate on you. Like, how many glamour shots do we need of people smoking in slow motion? This movie made me yearn for an actor like Keanu Reeves who has a blank but empathetic face that you can project your own feelings onto the actor. In this, everyone is so try-hard and smug it's hard to care for anyone.

As the main lead, Charlize Theron is pretty convincing in the action sequences but all her talking scenes are pretty horrendous. This is not a problem with the actress but the horrible script. You never understand what her motivations are for doing anything and at times, she doesn't even seem very smart for a spy. This means that whenever she's engaged in any kind of action its hard to root for her coz you don't know if she's in danger or if she's a good person. McAvoy pretty much recycled his unhinged performance from Split. But the biggest sin this movie commits is casting Sofia Boutella in an action movie (Kingsman, Star Trek Beyond) and not giving her any action scenes. That's like casting The Rock and he doesn't fight. Instead she plays a lame character that could have been played by anyone.

The 80's soundtrack starts out strong but slowly becomes unbearable like nails on a chalkboard. As for the action, they are so few and far in between that it's not worth sitting through 105 mins for 10 mins of action. There's a somewhat impressive single take setpiece that goes through multiple storeys in a building but because you're confused by the story and not rooting for anyone that scene lacks tension and suspense. Overall this movie was really disappointing and overrated. Any comparisons to John Wick is seriously overpraise. Atomic Blonde thinks its cleverer than it actually is.

For suggestions of similar films that does this way better, I highly recommend Hanna (2011) and The Long Kiss Goodnight (1996) instead. The latter has great lighting and sharp writing by Shane Black while the former is incredibly stylish with great action and a phenomenal score by the Chemical Brothers. But both feature kickass and well-realized female protagonists and are superior movies than Atomic Bland.

Eschewing overwrought nationalistic propaganda in favor of non-stop, balls-to-the-wall action, Wolf Warrior 2 is a superior sequel that hits the ground running from the start and never lets up. From the opening Captain Phillips-inspired pirate underwater takedown, a convenience store fight, a jeep-chase through a shanty town to a factory gunfight at night and another at daytime, there's enough action here to fuel three Michael Bay films. The Russo Brothers (directors of Captain America sequels) apparently consulted on the action, hence its high production values. Other positives include Celina Jade as the female lead and Frank Grillo as the villain, a racially diverse cast respectful of its premise set in Africa as well as moments of levity and broad comedy that should appeal to a wide audience.

The film's biggest draw, of course, is Chinese action-superstar Wu Jing. As a leading man, Wu Jing is kind of a perfect package. He has the pretty-boy looks to draw the female crowd but also a natural, convincing tough-guy persona. As a trained martial artist he has the physicality of Donnie Yen and the on screen charisma of Jet Li. Most importantly, Jing plays the kind of action hero that's just all too rare these days, the one that takes just as much punishment as he dishes it. Yet he sells it with the kind of world-class commitment that is simply awe-inspiring, like Jackie Chan or Tom Cruise who repeatedly endanger themselves simply to entertain their audience. It's all rather impressive until you realize he also directed the movie.

Still, there are minor flaws. Like every other Chinese films of late, flashbacks and dramatic scenes are rendered like bad 90's soap dramas – cut to slow-motion with colored filter, bad sound FX and obvious sad music cues so laughably bad its beyond parody. Noticeable green screen work occur here and there, as well as some obvious bad CGI during explosions. However these are minor occurrences that shouldn't detract from the overall experience.

Modern action films have become too sophisticated for its own good. Plots are overly convoluted with unnecessarily complicated character backstories, bloated runtimes, headache-inducing shaky cam action chopped up into indecipherable bits, lead actresses have to be badass fighters to be a strong female and villains having overly complex motivations to be evil. Wolf Warrior 2 is a reminder of simpler times, where it's perfectly OK to have a straightforward story backed-up by identifiable character archetypes, damsel-in-distresses who gets saved by the male hero without being considered weak and inferior to them and cartoonish, two-dimensional villains who just enjoy being evil. Like, its OK if the male protagonist becomes a lone, one-man killing machine who takes out an entire army. It's not realistic but who cares? As long as it's fun. In a summer where we've had a loud, incomprehensible Dunkirk, a War of the Planet of the Apes without enough war and an insufferable Spiderman: Homecoming filled with obnoxious Marvel fanboy worship, consider Wolf Warrior 2 a fresh alternative - a perfectly satisfying old-school action film that won't tax on brainpower but won't disrespect your intelligence either.

The first 30 mins of the movie was, hands-down, the best 30 mins of a movie I've seen this year. Epic, intense, emotional and full of gravitas, I was like "No movie this year has made me feel this emotionally connected to a character." The dramatic weight and stakes were palpable and felt earned. I thought to myself, if the movie is like this the whole way, this is going to be a masterpiece. This could be one of the best films of the year.

Sadly, the movie went progressively downhill from that point onwards. Without getting into spoilers, the movie only became somewhat interesting once the premise switched to an army encampment. However the movie took so long to get there the story could have been benefited by excising long, needless scenes introducing new characters (who add absolutely nothing to the story anyway!) Instead, what we got was a bloated runtime and several narrative decisions that deeply undermined the integrity and intelligence of the main character. My biggest disappointment with War of the Planet of the Apes is that you never feel the resourcefulness and brilliance of Caesar as was first depicted in Rise. There, he was smart and always a step ahead of everyone else, which was how he became such a great leader. In here, Caesar is mostly depicted in a passive role, where things mostly happened to him without him seizing any real agency in the plot. It makes no sense bcoz he is our main protagonist. As a result, the dramatic weight of the ending feels unearned bcoz its emotional impact is completely dependent upon you buying him as a strong and protective leader driven to extreme measures of selflessness, traits which the movie unfortunately fails to depict.

Also, the title may be misleading to those who are expecting an action-packed epic finish to the trilogy. Whatever intense action there is in the army encampment (in a set-piece hearkening back to the one in Rise) is diminished by prolonged scenes of clunky exposition. The movie always feels like its building up to something big and exciting but never does, and feels like a wet blanket.

Personally, knowing the place where Caesar and the apes go to by the end, a part of me feels like the movie would have been better as a chase movie. Where it becomes a road movie and the apes are being tracked and hunted down while getting to some place. It would have been more interesting and made more sense for the story. Instead the movie got bogged down at a single place, going nowhere and ultimately undercutting any chances the franchise had at being one of the best trilogies of all time.

This movie is confusing, baffling and outright offensive for a number of reasons. For one, this is a Spider-Man movie that gets its titular character totally wrong. Since when did Spider-Man, the most popular Marvel character who is not only completely capable of holding his own beside some of the most iconic superheroes in the Marvel stable but besting them numerous times over, has to seek any kind of validation or approval from Tony Stark (aka Iron Man) ever? Since when did everything cool about Spidey is attributed to this MCU figure? What happened to the grounded, relatable kid whose primary concerns should be about getting good grades, acquiring a job, paying rent and providing for his aunt? Or the absence of a relative who is the sole motivating factor to Spider-Man becoming who he is? None of these are present or feel like they exist, and these are all crucial touchstones of the Spider-Man story.

Other negative points: At 133 mins, this movie is wayyyyy too long. The great Marisa Tomei as Aunt May, is completely wasted and woefully underused. Michael Keaton was great, but his transition to villain feels sped-up. Filmmakers tried to reference John Hughes, but the final product bears nothing but an insult to John Hughes. Characters in John Hughes movies were memorable & the humour was funny, none of which were found in this movie. Terrible action sequences, both in execution and story. Homecoming suggests Spider-Man is clumsy, inexperienced and in over his head when he's saving people. Which is so not true bcoz Spider-Man is one of the most agile, intelligent and fast-thinking superheroes in the Marvel universe. But he's only 15! Sure. But does it make sense when you think about the fact that he already went toe-to-toe with Cap, Ant-Man, Falcon and Bucky in Civil War?

The Sam Raimi Spider-Man films remain the superior adaptations of this character. That trilogy of films felt like it was about something important. Spider-Man: Homecoming is about nothing. I learn nothing and felt nothing. There was nothing that enriched my understanding of the character, in fact it lessened my appreciation for him. It's a shame bcoz I actually liked Tom Holland and was impressed by his scene-stealing cameo in Civil War.

Ignore the critics on this one - this is a wonderful return to form for the Pirates franchise! Fun, entertaining and filled with tons of clever set-pieces, directors Joachim Ronning and Espen Sandberg add so much inventiveness to the action - the bank vault opening scene, the guillotine set-piece, the naval battle cannons scene, numerous thrilling underwater sequences - and makes Pirates 5, for the first time in a long time, a movie that resembles being on a theme park ride, which is what a Pirates movie is supposed to be!

Pirates 5 also completely succeeds to do the thing that Force Awakens failed to do. What is it you asked? Let's face it, both films are trying to capitalize on our love for the original by evoking its spirit with familiar story beats -- two star-crossed love birds, another undead CG army, a plot to seek out a McGuffin treasure of sorts - except Pirates 5 captures that spirit while still adding something new to this installment. Clearly, Carina and Henry were designed to evoke Will Turner and Elizabeth Swann, but the actors do such a good job of winning you over that you stop making the comparisons. Of the two, Kaya Scodelario is the breakout star. She's beautiful, charming, feisty, intelligent and has all the qualities you want in a strong heroine lead. Pirates 5 also feels like a course-correction, learning from past mistakes - no more convoluted plot and bloated runtime!

But what about Jack Sparrow? Alas, this movie isn't perfect, and Sparrow isn't the same swashbuckling anti-hero, instead he's become a bit of a buffoon who gets away with sheer luck rather than wit. But none of this matters coz you'll be too busy marvelling at the inventive action sequences of which Sparrow still gets to do lotsa cool stuff, including a flashback scene where he reminds you why he's the badass, iconic character of the franchise. Not to mention the movie has an incredibly heartfelt ending that is emotionally satisfying for the fans of the franchise, of which there are still many :) Here is a film that finally rewards their loyalty.

This is one of the best Korean movies I've ever seen. I wasn't surprised to find out it was one of the highest grossing films at the Korean box office - this Korean/Chinese production is an international blockbuster designed for mass, global appeal. The Thieves is a heist action comedy about two teams of professional thieves teaming up for a heist with a surefire success rate, but only if each team members could avoid their personal agendas getting in the way ... and that's all you need to know about the film.

The movie's biggest success is that it proves that you can have an ensemble cast with no less than 10 principal characters and still make each one of them unique and memorable. By the end of the movie, I know each character's personality, motivation and quirks. To top it off, it has an intelligent script with lots of twists and turns, always keeping you guessing. Oh, and the set-pieces! The final action scene is one of the most entertaining set-pieces I've ever seen, involving complex choreography, wire-work and amazing stunts.

So yeah, do whatever you can to see it, you owe that to yourself as this is the kind of movie that Hollywood should be making and isn't. Director Choi Dong-Hoon crafts this masterful heist action comedy with such an assured hand that keeps you entertained and engaged throughout. Also, actress Jun Ji-Hyun (My Sassy Girl, My Love From The Star), is drop-dead gorgeous and absolutely magnetic on screen. She steals almost every scene she's in, and is worth the price of admission alone.