“Wall-E” dares to be anything but predictable. It’s quiet, it’s subtle, it’s intelligent, it features barely any dialogue at all, and it asks us to think of a world where garbage has become so cumbersome we’ve been shoved off our planet by our own waste. “Wall-E” is simply a masterpiece. Continue reading
I can imagine that if there were a commentary for the “Birds of Prey” DVD set, it would begin with “Well… it seemed like a good idea at the time.” And in theory, it does seem like a great concept. After the success of “Smallville” the (then) WB Network tapped the well by digging in to the Batman universe. What with the new franchise being developed how do you work around DC’s ridiculously strict guidelines of not including the same character in more than two property? You make stuff up, and work with what you have. “Birds of Prey” is based on the successful comic book series where Gotham’s girls team up to take on crime. The problem was that audiences just didn’t care for these characters, and what was worse was that well… it sucked. I saw the entire series on the WB Network when it first premiered and I couldn’t stand how awful it was.
After the unfair lambasting of the disgustingly underrated and under appreciated “Hulk” from director Ang Lee, I found myself brutally conflicted on Louis Leterrier’s reboot (Remake? Revision? Restart?), because frankly, it was an apology to fans on a movie that didn’t need one. Lee tried something new, and was punished for it. Sure, Leterrier goes for the obvious, he goes for the simplistic, he shoots for the predictable, but that doesn’t mean “The Incredible Hulk” isn’t an entertaining movie. While I will be faithful to Ang Lee’s vision of the Hulk, Leterrier puts up a good argument for his version, too.
Why even review a video game? Well, we’re such big fans of “Indiana Jones” and currently can’t put down the game based on the original three movies. So, without further ado, a review of the Nintendo DS version…
If you think this game is just for kids, then you’re freaking mistaken, pal. While it is rated E for everyone, there’s really nothing simplistic about this video game. It’s a complicated, irritating, and awfully long game that I am currently having a blast playing. I honestly can’t stop. And while completing “Raiders of the Lost Ark,” “Temple of Doom,” and “The Last Crusade” would take at least three days, if you played non-stop, finding the tricks, secrets, hidden gems, and strategy will force you to replay all three at least three times. The keyword here is three, folks.
The Wachowskis aspire for something unusual and awfully contradictory with “Speed Racer.” They want an intentionally animated live action film, but a film that also looks as realistic as possible. They want a family film, but this is a film that may not be appealing to all children, and they want a story that simple but also quite complicated. Just when you think you’ve seen all of Spritle and his monkey, there’s an unusual tale about corporate corruption. Maybe it’s because of all the contradictions and hapless surrealism that I responded to “Speed Racer” with such enthusiasm. I know it won’t be for everyone, and it definitely has its own flaws present, but speaking as someone willing to meet the Wachowskis halfway, everything involving Speed and Racer X made for some interesting drama.
Doug Liman’s “Jumper” is the type of action fare that you come to see for the dazzling effects and interesting battles, and then… nothing more, after that. The common complaint is that the film doesn’t fully touch on the concept of jumping, and while that’s true, it does indeed explore how this power would be every man’s fantasy. To be able to jump everywhere, to be able to be anywhere you want without restrictions, and to be able to do whatever you want is something “Jumper” pulls off in emphasizing. And the character of David personifies this idea by often working on motives that are never clear. A firm anti-hero, David is that very wealthy young man that everyone worships and wants to be, and he’s turned into someone working for a cause by accident once he gets the psychotic Paladins on his tail.
The original “Harold and Kumar” became one of my favorite comedies of all time after an attempt at giving it a fair chance while on cable television one night. Since then it’s been a constant favorite, and on a replay whenever boredom strikes. Even though it was a prime example of product placement, the stoner classic is utterly hilarious and serves as a testament to the talents of John Cho and Kal Penn. “Guantamo Bay,” though, inadvertently serves as an argument against sequels to any and all films. If some director had attempted to mimic the success of “Harold and Kumar” with less comedic punch, and much more forced social overtones, “Guantanamo Bay” would be pointed at, almost immediately. Because frankly, the only thing offensive about this sequel is that every race joke is horribly unfunny, while so blatantly setting up part three, that it’s almost insulting.