- Tatum and Hill’s intimate moments are endearing and funny
- Rest of film is numb and cliched
THE bromance theme remains strong in this sequel to 21 Jump Street, a remake of the popular TV series. Tall and muscular Channing Tatum is a strong contrast to short and portly Jonah Hill. Together, however, they make a sweet and endearing pair.
The film starts off well, triggering a wave of sniggers and laughter in the audience. Unfortunately, it dies out in the middle, makes a mild return towards the end and eventually peters out.
- Despite the film’s pessimistic mood, it offers a gripping tale with a strong heartbeat
- Andy Serkis has created a character that’s bewitching
THE apes in Dawn of the Planet of the Apes ape practically all elements of human emotion and expression, and they also learn to use guns with ruthless effect.
The apeing part is of special importance to this movie, the sequel to Rise of the Planet of the Apes (2011), as viewers get to know the protagonists in this film in a more intimate and human-like setting.
- Who the heck conducts an exorcism in a police interrogation room?
- Eric Bana struggles to keep you interested in his travails while Olivia Munn’s delectable low-cut white dress is the only reason to see this film
GOD should forgive the filmmaker for making this run-of-the-mill horror film.
There’s mumbo-jumbo about a New York cop’s loss of faith, and a priest’s handsome curls distracting viewers from his message about fighting the devil.
However, the film’s penultimate scene is its most ludicrous.
- Found-video footage is the rage now but viewers’ interest will burn out quickly
- A film filled with horror film themes
WHY do films think that showing their narratives through found-video footage will entice viewers? Viewers have been overwhelmed by this format through the Paranormal Activity films, The Last Exorcism Part II (reviewed in this blog) and The Devil Inside, so there’s nothing new to get excited about.
Now you have last year’s Evidence, a horror film that acts as a whodunnit. You know this kind of film: just when you think you know who the killer is, the film proves you wrong and throws up another possibility.
- An avalanche of explosions, special effects and rapid-fire editing that will numb your senses
- Nicola Peltz is no Megan Fox
THE fourth instalment in director Michael Bay’s Transformers series is as brash, loud and excruciatingly painful to watch as the first one. Bay hopes to replicate the previous films’ unusual success by doling out more of the same stuff: a pretty girl, Autobots vs Decepticons and wanton destruction.
Bay’s films are characterised by a surfeit of violence, rapid-fire editing and special effects, and a distinct lack of proper narrative. He believes that editing an action film is similar to editing a Formula 1 race, which means the film will go by in the blink of an eye.
- MacFarlane’s brazen use of profanities doesn’t get him far this time
- You won’t die laughing watching this film
FIRST off, viewers must know that this film is co-written by Seth MacFarlane, the foul-mouthed guy who co-wrote, directed and starred in the profanity-laced Ted (2012). And if they are expecting a similar foul-mouthed rant in A Million Ways To Die In The West, they are right.
The problem is, viewers will feel that he’s trying too hard to make people fall under his spell again. I didn’t feel like laughing out loud during the screening; I was more prone to emitting the occasional snort of laughter, much like the rest of the audience.
- Boring and preposterous film about the dangers of unprotected sex
AT first, I thought I was watching a promotional film about the dangers of unprotected sex. Then I thought I was watching a film about bad acting. Finally, I realised the film was going down the drain and that the worst thing I can say about it is that it resembles a Malaysian film.
I don’t see the point in making Contracted, written and directed by Eric England. If it’s about cheating on someone and having one night of unbridled and alcohol-fuelled sex in a car, this film is the pits.
- Bill Murray will be upset that Cruise ripped the idea of his film from the former’s ‘Groundhog Day’
- No chemistry between the two leads and an entirely predictable ending
TOM Cruise doesn’t learn from his mistakes. His last sci-fi outing, Oblivion, was a dud. He returns to play Major Bill Cage, an advertising firm owner who unwittingly gets drafted to fight aliens in a scene reminiscent of the June 6,1944, D-Day landings in Normandy, France.
Cage says he’s not a fighter and does his best to get out of the carnage but to no avail. Naturally, he quickly gets blown up. But lo and behold, he wakes up the day before the invasion, when he had been sent to a departure point in Britain. He gets killed again, and again wakes up the day before the invasion. You know how the story goes.
Past and future collide in director Bryan Singer’s psychological thriller. 1973 vs a near future brings all the X-men together. As usual, McAvoy and Fassbender provide an emotionally satisfying conflict. There are very few blockbuster damages, unlike those in Godzilla, and that proves very satisfying.
Thumbs up for this film.
Posted in Drama, Sci-fi
Tagged Anna Paquin, bryan singer, ellen page, hugh jackman, Ian McKellen, jamex mcavoy, jennifer lawrence, Michael Fassbender, nicholas hoult, Patrick Stewart, review ulasan malaysia malaysian, Shawn Ashmore
- Delicious cooking scenes and super salsa music can’t hide familiar
father-child bonding theme
- Viewers will also have also seen innumerable films about doing something you love
CHEF is like a rich tiramisu dessert: you know it’s sinfully delicious and loaded with calories but you still come back to it for seconds.
The film — written, directed, co-produced and starring Jon Favreau (who directed the first two Iron Man films) — has a feel-good theme that will bring a tear to your eyes. It’s got salsa music, a terrific kid actor and food that will make you salivate for days on end. Continue reading